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    Colossal’s Top Articles of 2024

    Image courtesy of Wally Dion

    Colossal’s Top Articles of 2024

    December 10, 2024

    ArtColossalDesignHistoryNaturePhotography

    Colossal

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    Throughout 2024, we were awed by archaeological finds, vibrant paintings, striking sculptures, remarkable photography, immersive installations, and so much more. It’s tough to choose only 10 top articles for the year!

    Lucky for us, dear Colossal readers, you’ve helped pick the best. Below, dive into our most-read stories on the site during the past twelve months, and find hundreds more in the archive.

    “Untitled (after François Gérard)” (2023), oil on canvas, 100 x 80 centimeters. Images © Ewa Juszkiewicz, courtesy of Almine Rech

    Ewa Juszkiewicz’s Reimagined Historical Portraits of Women Scrutinize the Nature of Concealment

    From elaborate hairstyles to hypertrophied mushrooms, an array of unexpected face coverings feature in Ewa Juszkiewicz’s portraits. Drawing on genteel likenesses of women primarily from the 18th and 19th centuries, the artist superimposes fabric, bouquets of fruit, foliage, and more, over the women’s faces.

    Image courtesy of Greg Jensen

    A Rare Cross-Section Illustration Reveals the Infamous Happenings of Kowloon Walled City

    At its height in the 1990s, Kowloon Walled City in Hong Kong housed about 50,000 people. Its population is unremarkable for small cities, but what set Kowloon apart from others of its size was its density. For a now out-of-print book titled Kowloon City: An Illustrated Guide, artist Hitomi Terasawa drew a meticulous cross-sectioned rendering of the urban phenomenon to preserve its memory.

    Image © Isak Finnbogason

    Remarkable Drone Footage Captures a New Volcanic Eruption in Iceland

    In January, photographer and drone pilot Isak Finnbogason captured stunning footage of an eruption on Iceland’s Reykjanes peninsula in December, documenting the nearly two-mile-long lava vent on the first day it was active. 

    “Water Lilies in Bloom” (2023), oil on canvas. Image courtesy of Erin Hanson

    Landscapes Radiate Light and Drama in Erin Hanson’s Vibrant Oil Paintings

    In vivid pinks, blues, and greens, radiant landscapes emerge in Erin Hanson’s impressionistic oil paintings. The artist is based in Oregon’s Willamette Valley, where the rolling hills and surrounding mountain ranges cradle miles of vineyards.

    Image © Richard Johnson

    Framed by Frozen Lakes, Richard Johnson’s ‘Ice Huts’ Capture Wintertime Communities in Canada

    Every year, Ontario’s 279-square-mile Lake Simcoe draws more people for its ice fishing than any other lake in North America, attracting upwards of 4,000 huts each year. The colorful villages caught the eye of Toronto-based architectural photographer Richard Johnson (1957-2021), who captured hundreds of the structures, from the artistic to the ad-hoc, in a series of bold portraits taken between 2007 and 2019.

    Image courtesy of the Italian Ministry of Culture / AFP Photo

    Archaeologists Discover an Extraordinary 2,100-Year-Old Mosaic Near the Colosseum

    Early this year, we shared news that the Italian Ministry of Culture had a remarkable find in the heart of Rome. In the late Republican era, a luxurious townhouse had been laden with designs made from shells, glass, white marble, and Egyptian blue tiles. A large “rustic” mosaic dating to the last decades of the 2nd century B.C.E.—a little over 2,100 years ago—was likely inspired by the decorative styles of Near East monarchies.

    ‘The Whole Booke of Psalmes.’ London: Company of Stationers, 1643. Image courtesy of The Grolier Club

    Spanning Seven Centuries, ‘Judging a Book by its Cover’ Celebrates an Enduring Art

    The Grolier Club’s exhibition, Judging a Book by its Cover, highlighted some of the most unique editions within its collection, including a pigskin- and brass-bound Jewish Antiquities and the Jewish War created for a Benedictine monastery in Bavaria around 1473—the oldest in the club’s library. The collection also features several religious texts, like the miniature book of psalms shown above, made by women at the Royal Exchange in London with a variety of silk and gold threads.

    Image courtesy of Wally Dion, shared with permission

    Vivid, Translucent Quilts by Wally Dion Stitch Together Indigenous Culture and Making Traditions

    For many rural and economically strapped communities throughout history, quilting was a necessity. Tattered clothing and blankets were cut up and refashioned into new blankets, their patchwork styles evidence of the fabrics’ earlier uses. For Indigenous people, though, quilts “hold a particularly important cultural value,” says artist Wally Dion, “appearing as gifts, ceremonial objects, and celebratory markers.”

    “লয় [Loy]” (2019), Arjunpur Amra Sabai Club, Kolkata. Photo by Vivian Sarky. Image courtesy of Asim Waqif

    Immersive Bamboo Installations by Asim Waqif Whirl and Heave in Monumental Motion

    In his monumental, swirling structures, Delhi-based artist Asim Waqif merges tenets of architecture and sculpture into sweeping site-specific compositions. Using natural materials like bamboo and pandanus leaves, he often incorporates found objects, scaffolding, sound elements, cloth, and rope.

    “Animal in the Wind” (2014), clay, 36.7 x 20.8 x 30 centimeters. Image courtesy of JiSook Jung

    From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements

    JiSook Jung has long been drawn to clay for its inherent malleability. “Clay has the advantage of being able to quickly mold an image in my head into a visual form because it is soft and plastic,” the Seoul-based artist tells Colossal. “In that sense, I think clay is an intuitive and instinctive material.”

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    Michael McGrath Summons Symbolism and a Folk Art Style in Expressive Paintings

    “Unearthing Buried Gods.” All images courtesy of Michael McGrath, shared with permission

    Michael McGrath Summons Symbolism and a Folk Art Style in Expressive Paintings

    November 6, 2024

    Art

    Kate Mothes

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    From fanged cats and all-seeing ravens to anthropomorphized botanicals and disembodied faces, Michael McGrath’s uncanny works nod to the symbol-rich, flat compositions of folk art or “naïve” painting. His mixed-media works combine materials like graphite, oil paint and oil stick, ink, and acrylic on a variety of surfaces, including wood, canvas, and burlap.

    Inspired by the expansive scenes of contemporary artists Peter Doig and Mamma Andersson, and self-taught artists Henry Darger (1892-1973) and William Hawkins (1895-1990), McGrath harnessed a narrative approach in his own practice. “I decided to experiment with figures and storytelling in my painting,” he tells Colossal. He also counts Jim Henson among his influences.

    “Threats and competition for tiny vampires” (2023), graphite, colored pencil, and India ink on wood panel, 14 x 11 inches

    Populated with an array of characters, from trees with alarmed expressions to tiny, fairy-like black critters with bulbous wings and long legs, McGrath delves into mysterious, emotional tales with plots as enigmatic as they are supernatural.

    The artist’s interest in painting evolved from an early fascination with design, especially album covers and advertising in magazines like Spin and Thrasher. “I never had the patience to develop classical skills, so I focused on dimensional and collage work for a while, until I eventually decided to invest more time in painting,” he says.

    McGrath’s work will be part of an online group show with MePaintsMe, Slight of Hand, which opens on November 12. In February, he will also have pieces on view in a group show at Court Tree Collective in Brooklyn. Find more on his website and Instagram.

    “Monster control, future systems No. 3,” (2024), acrylic, oil stick, and oil on canvas, 78 x 120 inches

    “Night float, threat window” (2024), oil and oil stick on canvas, 60 x 48 inches

    “Hunting songs” (2024), oil, oil stick, and grease pencil on linen, 30 x 24 inches

    “Muppet moon nightmare choir” (2024), acrylic, acrylic yarn, embroidery thread, painted canvas, and burlap on burlap, 40 x 30 inches

    “Moon float” (2024), acrylic, watercolor crayon, enamel, and oil pastel on canvas, 60 x 48 inches

    “Stories to frighten your children with and dangerous literature” (2023), oil, oil pastel, and acrylic on linen, 30 x 40 inches

    “Cat song, moon riot, No. 2” (2024), oil on canvas, 48 x 36 inches

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    Mingle with Maurice Sendak’s ‘Wild Things’ at the Denver Art Museum

    Installation view of ‘Wild Things.’ All images courtesy of the Denver Art Museum and the Maurice Sendak Foundation, shared with permission

    Mingle with Maurice Sendak’s ‘Wild Things’ at the Denver Art Museum

    October 29, 2024

    ArtIllustration

    Kate Mothes

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    This holiday season, immerse yourself in the dynamic, theatrical world of Maurice Sendak at the Denver Art Museum in Wild Things. Organized in cooperation with the Columbus Art Museum, where a sibling exhibition was presented two years ago, Wild Things celebrates the characters that have accompanied millions during story time since the mid-20th century.

    The author and illustrator of perennial classics like In the Night Kitchen (1970), Outside Over There (1981), and, of course, Where the Wild Things Are (1963), Sendak was born in Brooklyn in 1928 and began illustrating children’s titles in 1947. He was largely self-taught and illustrated hundreds of books throughout his six-decade career.

    ‘The Magic Flute’ (1980), poster, 24 x 17 1/2 inches. © The Maurice Sendak Foundation

    Sendak produced an astounding array of drawings, paintings, mockups, and set designs and costumes for his books, along with their adaptations to stage and screen. He was also an avid collector of other renowned illustrators’ works, and viewers can see pieces from Sendak’s personal collection by the likes of William Blake, Beatrix Potter, Walt Disney, and more.

    Wild Things continues through February 17. Plan your visit on the Denver Art Museum’s website.

    ‘Where the Wild Things Are’ (1963), watercolor, ink, and graphite on paper, 9 3/4 x 11 inches. © TheMaurice Sendak Foundation

    Sketch for ‘The Griffin and the Minor Canon (1963), graphite on tracing paper, 11 13/16 x 8 15/16 inches. © The Maurice Sendak Foundation

    ‘Outside Over There’ (1981), watercolor and graphite on paper, page: 15 x 26 inches; image: 6 1/8 x 93/16 inches. © The Maurice Sendak Foundation

    ‘Pierre’ (1961-2), ink on paper, 4 1/4 x 3 1/2 inches. © The Maurice Sendak Foundation

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    Narsiso Martinez Exalts the Individuality of America’s Farmworkers in ‘Joyfully Grown’

    “Delano Grapes” (2024), ink, charcoal, collage, acrylic, and simple leaf on grape box, 16 x 24 x 5.5 inches. Photos by @ofphotostudio Yubo Dong. All images © Narsiso Martinez, courtesy of the artist and Charlie James Gallery, Los Angeles, shared with permission

    Narsiso Martinez Exalts the Individuality of America’s Farmworkers in ‘Joyfully Grown’

    September 18, 2024

    Art Social Issues

    Kate Mothes

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    “In the Works,” the centerpiece of Narsiso Martinez’s solo exhibition at Charlie James Gallery, spans three walls and is made from dozens of found produce boxes. At the center of the piece and above a doorway is a long table resplendent with apples, kiwi, oranges, and grapes, all crowned by a chandelier.

    Flanking the dinner, farmworkers climb ladders or sit on the ground, sorting the harvest into the very boxes the composition is made from. Back in the center, the faceless attendees at the table enjoy the literal fruit of the workers’ labor.

    “In the Works” (2024), acrylic, gouache, charcoal, collage, and simple leaf on produce boxes, 178 x 305 inches

    In Joyfully Grown, Martinez (previously) continues his exploration of the labor system, relationships, and power imbalances. He taps into his experience emigrating from Oaxaca when he was 20 years old, determined to find a more sustainable livelihood in the U.S.

    Martinez finished high school at 29, then went on to study fine art in college. While he pursued an MFA, he began working seasonally in eastern Washington’s sprawling apple orchards where he became acquainted with other farmworkers and learned their stories.

    The artist was struck by how individuals in America’s agricultural system, whose intense physical labor the entire framework relies on, go unseen by those who depend on freshly stocked produce in the supermarket.

    “Resist” (2024), ink, charcoal, and simple leaf on strawberry box, 20 x 11.5 x 5.5 inches

    Beginning with photographs, Martinez employs visual languages of prestige—drawing specifically on Catholic portraiture’s emphasis on luxurious fabrics and backgrounds of gold leaf—to empower and uplift workers.

    In “Resist,” for example, a young man is portrayed within the frame of a berry box, backed with gold and wearing a graduation gown. The cap encircles his head like a halo, invoking the divine and signaling the glorious potential of education.

    By elevating the humble cardboard box to the status of picture frame and depicting hardworking people in their esteemed individuality, Martinez scrutinizes who and what society values.

    Joyfully Grown continues through October 26 in Los Angeles. Explore more of Martinez’s work on his Instagram.

    “The Planning” (2024), ink, gouache, charcoal, acrylic, and simple leaf on berry box, 15.5 x 20 x 4.25 inches

    Detail of “In the Works”

    Detail of “In the Works”

    “Blue Joy” (2024), ink, charcoal, collage, acrylic, and simple leaf on blueberry box, 16 x 23.5 x 5.5 inches

    “Fresh is Our Favorite” (2024), ink, charcoal, collage, and acrylic on red seedless grape box, 24 x 16.5 x 6 inches

    “Embracing Future” (2024), ink, charcoal, and simple leaf on orange box, 23.5 x 16 x 6 inches

    Collaboration with Ashley Jose-Isip, “On the Grass” (2024), ink, gouache, charcoal, and simple leaf on grape box, 15.75 x 23.75 x 5.5 inches

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    Tran Nguyen’s Ethereal Portraits Portray Melancholy Moments

    All images © Tran Nguyen, shared with permission

    Tran Nguyen’s Ethereal Portraits Portray Melancholy Moments

    September 12, 2024

    Art Illustration

    Jackie Andres

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    In Tran Nguyen’s portraits, spirited subjects coexist with ethereal environments. “I’ve always enjoyed themes revolving around melancholy, the female figure, and species found in nature,” she says.

    Whimsically walking alongside praying mantises, embracing a tiger in a suit, or encircled by swans, each character is presented with delicate detail, down to their flowing tendrils of hair and gossamer garments. This daintiness lends itself to the compelling air of fantasy that characterizes Nguyen’s style.

    After working on large-scale murals for some time, the Georgia-based artist mainly uses acrylic paint and colored pencils. On heavyweight watercolor paper, light washes of acrylic block in initial fields of color and precede layers of paint to create value. Colored pencils execute final details, like refining darker values.

    Though she loves working with traditional materials, Nguyen is also creating a new apparel line. Check out her website and Instagram for updates.

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