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    In Striking Assemblages, Portia Munson Elucidates Societal Constraints on Women

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    “Serving Tray #6” (2022), found figurines, string, rope, and serving tray, 29 x 17 1/2 x 18 inches. Photo by JSP Art Photography. All images © Portia Munson, courtesy of the artist and P·P·O·W, New York, shared with permission

    In Striking Assemblages, Portia Munson Elucidates Societal Constraints on Women

    November 27, 2024

    ArtSocial Issues

    Kate Mothes

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    From a vast accumulation of found and readymade consumer products, Portia Munson has created elaborate sculptures and installations for more than three decades that explore the thinly veiled messages and codes embedded in mass-produced objects.

    Based in Catskill, New York, the artist first began working with found consumer items like plastic figures and kitsch in 1989 when she presented an early version of a bright pink assemblage titled “Pink Project: Table” for her MFA thesis exhibition at Rutgers University.

    “Pink Project: Bedroom” (2011-ongoing), found pink plastic and synthetic objects along with salvaged pink bedroom furnishings, 96 x 216 x 120 inches. Photo by JSP Art Photography

    Munson had been collecting pink plastic objects to use as references for paintings, but over time, they began to overtake her studio. “I realized it was a piece unto itself,” she says. “If you have an idea and something you want to express, then you find the medium that’s best going to express those ideas.”

    Pink emerged as a central interest for Munson as she began to interrogate why the color is associated with women, especially babies and young girls. For years, she collected anything that was pink, plastic, and manufactured on a mass scale, often rummaging through knick-knacks at garage sales, thrift stores, and flea markets.

    Over time, Munson’s pieces expanded to include immersive environments constructed entirely from a single color, such as the fabric-draped interior of “Garden” or the Pink Project series that continues through works like “Pink Project: Bedroom.”

    “Bound Angel” (2021), found figurines, lamps, candles, string and rope, wedding gowns as tablecloth, extension cords, and oval table, 192 x 68 x 66 inches. Photo by Lance Brewer

    Tables and serving trays provide platforms for Munson’s seemingly jumbled compositions, bundling numerous figurines together with string and rope, like in her Serving Tray series or the large-scale “Bound Angel.”

    “Serving Tray #6,” for example, presents a mix of ceramic and glass representations of women, tethered with string and perched on a silver platter. Munson describes the group of blindfolded, fettered figures as “sacrificial martyrs, inviting the contemplation of what we are being fed as a culture and who ultimately pays for it.”

    Displayed across the entirety of a cloth-covered oval dining table, “Bound Angel” brings together dozens of found white statuettes and lamps, many of which depict angels. Munson has wrapped rope and string around their bodies and faces, emphasizing the constraints society places on women, illuminating struggles that may be hidden in plain sight.

    Detail of “Bound Angel.” Photo by Lance Brewer

    “This piece is one in a series of works that explore how femininity and the female body are portrayed in our culture,” Munson says in a statement. She adds:

    “Bound Angel” reviles the insatiable, consumerist, sexist, and repressive value systems which degrade society. By bringing these objects together, this piece harnesses their collective power, transforming their original function to pacify, sexualize, and infantilize women into one of retaliation, confrontation, and strength.

    “Bound Angel” will be on view at Art Basel Miami Beach in the Meridians area, a sector of the fair dedicated to large-scale installations, sculptures, and performances. The show runs from December 6 to 8, where Munson’s work will be presented by P·P·O·W. Find more on the artist’s website.

    “Pink Project: Bedroom” (2011-ongoing), found pink plastic and synthetic objects along with salvaged pink bedroom furnishings, 96 x 216 x 120 inches. Photo by Daniel Salemi

    Detail of “Pink Project: Bedroom.” Photo by JSP Art Photography

    “Crescent Moon” (2024), found figurines, string, and thread, 26 x 30 x 8 inches. Photo by JSP Art Photography

    “The Garden” (1996), found/recycled manufactured synthetic and plastic floral and garden-related objects with salvaged floral bedroom furnishings, dimensions variable

    Detail of “The Garden”

    “Nightstand” (2021), found figurines, lamps, string and rope, and bedside table, 51 1/2 x 34 x 27 inches. Photo by JSP Art Photography

    “Pink Moon” (2024), found figurines, string, and thread, 18 x 18 x 7 inches. Photo by JSP Art Photography

    Installation view of “Bound Angel” at P·P·O·W. Photo by Lance Brewer

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      in Art

      Idiosyncratic Ceramic Sculptures by Janny Baek Evoke Nature and Desire

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      “Flower Power” (2024). All images courtesy of Janny Baek, shared with permission

      Idiosyncratic Ceramic Sculptures by Janny Baek Evoke Nature and Desire

      November 22, 2024

      ArtCraft

      Kate Mothes

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      “I think of my pieces as life forms that are in the process of transforming in ways that may be both wonderful and strange,” says artist Janny Baek, whose otherworldly ceramics (previously) merge vibrant color, eclectic motifs, and botanical details.

      “I’ve been incorporating blooming flowers and puffy clouds into my work to think about our intimate and complicated relationship to the natural world,” the artist tells Colossal. “Changes in shape and color imply tendencies, possibilities, desire. Familiar forms, like the open vessel, plant forms, and heads, are a way for me to connect to the lineage of making and hand-building with clay.”

      “Olive” (2024), colored porcelain, 16 x 14 x 11 inches

      Baek explores the relationship between nature, science fiction, and fantasy in her sculptures, which are often around a foot tall and wide but sometimes reach up to 20 inches high. Some sprout coral-like appendages or appear to stand on four legs.

      The artist has focused on colored porcelain using the nerikomi technique, in which multiple pigmented clays combine to create a marbling or patterned effect. Baek recently began working with rougher, sandy stoneware, which affords more freedom to scale up in size and complexity.

      “I love to have the freedom to incorporate different materials and ways of making when it fits the work,” Baek says. “Even if I shift materials or techniques, I’m always drawing from the main foundational ideas that drive my work.”

      “Walking Cloudbloom” is included in the Korean International Ceramics Biennale exhibit at the Gyeonggi Museum of Ceramic Design in South Korea. She is also working toward a three-person show at ArtYard in Frenchtown, New Jersey, scheduled to open in February. Find more on Baek’s website and Instagram.

      “Walking Cloudbloom” (2024)

      Alternate view of “Flower Power”

      “Blended Party” (2024)

      Detail of “Blended Party”

      From the ‘Flowering Vessel’ series (2024)

      “Sweater-wearing Beast” (2023)

      “Cloudbloom with Small Clouds” (2024)

      Detail of “Cloudbloom with Small Clouds”

      Work in progress in the studio

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    • 138 Shares159 Views

      in Art

      Color and Repetition Form Optical Rhythms in Daniel Mullen’s Geometric Paintings

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      “Helix No. 2.” All images courtesy of Daniel Mullen, shared with permission

      Color and Repetition Form Optical Rhythms in Daniel Mullen’s Geometric Paintings

      November 6, 2024

      Art

      Kate Mothes

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      Transparent, glass-like planes sweep across Daniel Mullen’s canvases, dancing across the color spectrum and layering or rotating with mathematical precision. The Amsterdam-based artist (previously) has long been fascinated by the way pigments relate to one another and invite depth or contrast through opacity and tonal shifts.

      “At the moment, my work is taking shape in three forms: paintings on linen, wooden cut-outs that directly interact with their surrounding space, and sculptural pieces that play with illusion, light, and form,” Mullen tells Colossal. “Across these three mediums, the rectangle serves as a primal anchor, creating a framework for color and abstract illusion.”

      “Untitled Interaction No. 15”

      The artist is currently working on a series called Helix, in which he’s focused on capturing movement and rhythm through a pared-down palette. Quinacridone magenta, primary yellow, and turquoise phthalo—a family of blue and green pigments—form the basis of these explorations, allowing him to delve into their interactions and nuances.

      As if layering individual, tinted panes over one another in a twisting arrangement, the three hues interact to produce vibrant oranges, violets, and blues that appear to glow from within.

      Earlier this year, Mullen released his first book, Transfigurations, which showcases more than 40 works resulting from his investigations into form, color, and optical vibrations. “I consider it more an art object than a traditional book, reflecting my ongoing investigation into geometry and perception.

      Mullen is currently preparing for two solo exhibitions in Lima and São Paulo next spring. Find more on his website, where you can purchase Transfigurations, and follow updates on Instagram.

      Photo courtesy of Enlace Gallery

      “Vortex No. 9”

      “Spatial Drift No. 7”

      “Light Works”

      From the ‘Helix’ series

      Photo courtesy of Enlace Gallery

      ‘Transfigurations.’ Photo by The Book Photographer

      “Arising.” Photo courtesy of Enlace Gallery

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    • 150 Shares159 Views

      in Art

      ‘The Artist’s Palette’ Is Your Guide to the Process Behind Great Paintings

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      Edvard Munch’s palette (undated), paint on wood, 17 x 11 1/2 inches. Courtesy of the Munch Museum, Oslo. Photo courtesy of Munchmuseet. All images courtesy of Thames & Hudson, shared with permission

      ‘The Artist’s Palette’ Is Your Guide to the Process Behind Great Paintings

      October 23, 2024

      ArtBooksHistory

      Kate Mothes

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      One could argue that every great painting produces two works of art: the canvas and the surface where the pigments are mixed. The Artist’s Palette, forthcoming from Princeton University Press on November 5, dives deep into a timeless studio tool, exploring the beauty of the process.

      Compiled by art historian and writer Alexandra Loske, the volume features fifty palettes used by art historical greats, from Edvard Munch to Paula Modersohn-Becker to Kerry James Marshall.

      Paula Modersohn-Becker’s last palette (1907), paint on wood and metal. Courtesy of the Freunde Worpswedes, Käseglocke Collection, and Worpswede Tourist Information Center. Photo by Rüdiger Lubricht

      Loske presents the physical palettes—dried paint, worn edges, well-exercised hinges, stained wood, and all—alongside one or more of each artist’s paintings. She also analyzes the mixture of pigments, highlighting color relationships that illuminate both the methods used and the choices that led to a finished work.

      Modersohn-Becker’s palette, for example, tells a poignant story of an artist at a turning point in her career, which was cut short when she died giving birth to her daughter. She left a studio full of new and unfinished work, perpetually locked in a moment of transition—a reminder of the ongoing evolution of an artist’s oeuvre and career.

      Marshall incorporates the motif into the paintings themselves, depicting Black artists holding symbolically oversized palettes and provoking questions about the role of color in Black history and Western art.

      From Impressionist virtuosos to modernist greats, The Artist’s Palette traces the stories behind many of art history’s most significant paintings. Pre-order your copy in the Colossal Shop.

      Gabriele Münter’s palette (undated), paint on wood, 17 x 13 inches. Courtesy of the Gabriele Münter and Johannes Eichner Foundation, Munich

      Winifred Nicholson’s palette (undated), oil on wood. Courtesy of a private collection. Photo © Trustees of Winifred Nicholson

      Reproduction of photo of Edvard Munch holding his palette, printed in “Der Querschnitt, Jahrg. 11” (1931)

      Edward Hopper’s palette (undated), oil on wood, 14 x 10 inches. Courtesy of Edward Hopper House Museum & Study Center, Nyack, and The Sanborn-Hopper Family Archive. Photo by Dan Swindel

      John Singer Sargent’s palette (undated), oil on wood, 22 1/4 × 15 inches. Courtesy of Harvard Art Museums/Fogg Museum, Cambridge, Massachusetts. Photo courtesy of President and Fellows of Harvard College

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    • 188 Shares179 Views

      in Art

      A Fleet of Aging Cars Takes a Chromatic Turn in Fred Battle’s Caravan-Sized Color Chart

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      All photos by Agency.WTF, courtesy of Fred Battle, shared with permission

      A Fleet of Aging Cars Takes a Chromatic Turn in Fred Battle’s Caravan-Sized Color Chart

      October 15, 2024

      Art

      Grace Ebert

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      In an old French scrapyard, Fred Battle hits the brakes on a fleet of aging cars. For his 2019 installation “Solara,” the artist painted the exteriors of 144 dilapidated vehicles from the 60s to 90s with vibrant colors. Hoods, roofs, and trunks shine once again with bold hues corresponding to an RGB color value, their codes written on the bonnet.

      “I decided to create this color chart by observing the action of the sun on the horizontal surfaces of these cars,” Battle wrote. “As each of these cars has had its proper life as an object, then applying one specific color on each reveals its singularity, its personal and particular use.”

      Enveloped by lush foliage, the automobiles are parked in chromatic rows, creating an enormous, outdoor swatch book best viewed from above.

      Battle frequently works on walls, vehicles, and canvases, painting bright, dynamic works that grapple with movement, public space, and gathering. Find much more on his Instagram.

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    • 100 Shares189 Views

      in Art

      Thomas Trum’s Paint Machines Radiate Monumental Geometric Gradients

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      “Looping Line” in progress. All images © Thomas Trum, shared with permission

      Thomas Trum’s Paint Machines Radiate Monumental Geometric Gradients

      September 10, 2024

      Art

      Kate Mothes

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      For Thomas Trum, the methods artists use to apply a medium to a substrate is as much a source of fascination as the finished work. Around 2008, when he was painting graffiti, he began experimenting with different techniques and tools—a readymade paintbrush or spray can only accomplish so much.

      “The thing I like most about humans is how they constantly strive to improve efficiency in everything they do,” Trum tells Colossal. “Just as farmers invent tools to make their work more efficient, I observed the same drive in the painting world, where various innovations have made life easier or work faster.”

      “Duotone Shaped Line 18” (2024) in progress

      Trum began devising his own machines that could achieve a new level of precision at a large scale. “By 2014, I shifted my focus to monochrome paintings, concentrating on creating shapes and working exclusively with lines,” he says.

      On canvases, along walls, and across floors, Trum uses a variety of handmade machines that assist in applying fields or lines of color to sprawling surfaces. Paint is laid down with the assistance of modified hand-held sprayers and elaborate motorized mechanisms that rotate to apply perfect arcs and gradients.

      The transparency of the paint reveals numerous layers and points to the meticulous preparations required for Trum to complete a piece in one attempt.

      The artist’s often monumental works require a small team that brings different strengths to each project, pushing the boundaries of what they can make. His latest project was a collaboration with Porsche titled The Art of Dreams, which transferred his vibrant geometric motifs to boat sails, a pool, and a large-scale series of canvases.

      The artist is currently working on a project incorporating video and photography to capture the element of motion in his work, which will be presented in the spring at Gerhard Hofland Gallery in Amsterdam. Find more on Trum’s website, and follow updates on Instagram.

      “Two Fan Shaped Lines in Yellow and Pink” (2023) in progress

      Installation view of ‘Porsche — The Art of Dreams’ (2024). Photo by Thomas Lohr

      Test in the studio for “Multiple Lines” (2023)

      “Loops” (2022). Photo Arturo Sanchez

      Trum painting copies of his book

      “Two Fan Shaped Lines in Yellow and Pink” (2023), HNBM

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