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    Reen Barrera’s Expressive ‘Ohlala’ Characters Evoke Emotions and Empowerment

    All images courtesy of Reen Barrera, shared with permission

    Reen Barrera’s Expressive ‘Ohlala’ Characters Evoke Emotions and Empowerment

    January 23, 2025

    Art

    Kate Mothes

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    Sporting colorful garments and richly patterned faces, Reen Barrera’s doll sculptures (previously) evoke an expressive, make-believe world. Often dressed in striped tops and hand-stitched hoods with animalistic ears, his imaginative Ohlala characters represent the universality of human emotions while emphasizing every individual’s unique qualities.

    Barrera creates the sculptures from wood and patchwork textiles, and he also makes paintings depicting Ohlala figures in pensive moments or expressing a sense of empowerment. Find his work at Art Central Hong Kong in March, and see more on his website and Instagram.

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    Dinosaurs Overrun a World Post Climate Disaster in Michael Kerbow’s Paintings

    “Late Capitalism.” All images © Michael Kerbow, shared with permission

    Dinosaurs Overrun a World Post Climate Disaster in Michael Kerbow’s Paintings

    January 17, 2025

    ArtClimateNature

    Jackie Andres

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    After ending another year of record-breaking climate statistics, we stand at the precipice of 2025, which has already revealed its own devastating challenges. As the window for meaningful change continues to narrow during the next several years, we’re left to wonder what the world might look like if we stay on this path. Through the lens of hyper-consumerism, San Francisco-based artist Michael Kerbow (previously) envisions the future in his wry and imaginative landscape paintings.

    Swarming decayed gas station roofs, perching atop abandoned vehicles in forests, and sauntering past crumbling highways and fast food joints, the dinosaurs in Kerbow’s paintings govern a world overrun by the effects of late-stage capitalism. Hints of climate devastation reveal themselves through small details in the background, such as volcano eruptions, dense, hazy skies, and pools of floodwater.

    “Bypass”

    Kerbow scatters familiar signage and advertisements from recognizable chains within his scenes to introduce humor and make his work more approachable. However, the artist emphasizes the gravity of the issue at hand:

    We like to believe everything we currently have will always be there for us, but I suspect it could just as easily fall apart and slip away.  I try to stay optimistic about the future, but the truth is I am troubled by where I see things appear to be headed, specifically with the health of our ecosystem. Each passing year seems to bring more alarming statistics, and this comfortable place we call home seems to grow more precarious.  It is sobering to consider my artwork as foreshadowing a future reality.

    As Kerbow continues to make new paintings, you can follow along on Instagram and see his website for more.

    “Adaptive Reuse”

    “Vestige (Golden Arches)”

    “Black Monday”

    “Highwater”

    “Glade”

    “Economic Decline”

    “Siren Song”

    “Shadowplay”

    “Oasis”

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    The Dog Did It! Stephen Morrison’s Trompe-l’œils Brim with Canine Character

    “Housework Won’t Kill You, But Why Take a Chance” (2024), oil on canvas, 48 x 48 inches. All images courtesy of Stephen Morrison and Hashimoto Contemporary, shared with permission

    The Dog Did It! Stephen Morrison’s Trompe-l’œils Brim with Canine Character

    January 16, 2025

    Art

    Kate Mothes

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    To say that Stephen Morrison’s work is inspired by dogs would be an understatement. Through sculptural assemblages and paintings of puppy faces tucked in foliage or morphing from household items, Morrison evokes the timeless love for our pets.

    “I think I’ve always been a bit of a hedonist and kind of set up to love the life of a dog, of doing whatever you want when you want to do it,” Morrison recently told Hyperallergic in an interview. “That’s why making work with dogs feels so natural because it’s deeply a part of my character.”

    “Every Direction at Once” (2025), oil on panel, 20 x 16 inches

    Morrison also draws inspiration from his beloved pit bull mix, Tilly, who was the ring bearer at his wedding and died three years ago. Her curious visage lives on in the artist’s idiosyncratic compositions, bringing expressive life to everything from birdhouses to table lamps.

    In the artist’s forthcoming solo exhibition at Hashimoto Contemporary, Morrison continues to channel canine personalities in Dog Show #4: House Broken.

    Trompe-l’œil paintings portray the supports on the backs of canvases, teeming with botanicals, stuffed animals, magazine clippings, and fruit. Likewise, a series of sculptures made from epoxy clay, resin, paper, and oil paint appear like assemblages of seemingly disparate items.

    In “Clump Spirit #5 (Study),” for example, a puppy’s face emerges from the front of a violin hanging from a hook, and “Clump Spirit #1 (Living Room)” displays a happy dog on a TV screen, stacked high with other objects that also feature distinctive eyes and snouts. Everything appears in a state of joyful yet barely contained disarray.

    “Clump Spirit #1 (Living Room)” (2024), television, silicone, textile, resin, and epoxy clay, 12 x 21 x 12 inches

    “This show reflects on the chaotic messiness of home life, inspired by the lively and dysfunctional environment I grew up in,” Morrison says. “Our house was filled with dancing, yelling, slapdash crafting, and a constant swirl of half-finished projects. Amid all the noise, there was an odd harmony—moments where the chaos seemed to hum along just right, as if disorder itself had a rhythm.”

    Dog Show #4: House Broken runs from January 18 to February 8 in New York City. Find more on the artist’s website and Instagram.

    “Build a Little Birdhouse in Your Soul” (2024), oil on panel, 24 x 24 inches

    “Clump Spirit #4 (Study)” (2025), epoxy clay, paper, resin, and oil paint, 26 x 10 x 5 1/2 inches

    “The Council of Plastic Limbs” (2025), oil on panel, 24 x 36 inches

    “Clump Spirit #3 (Bedroom)” (2025), epoxy clay and oil paint, 15 x 8 x 7 inches

    “Thank You for Your Business” (2025), oil on panel, 48 x 36 inches

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    Time and Geography Dissolve in Otherworldly Landscapes by Sholto Blissett

    “The White Heat of Cold Water” (2024), oil on canvas, 78 3/4 x 118 inches. All images courtesy of the artist and Hannah Barry Gallery, shared with permission

    Time and Geography Dissolve in Otherworldly Landscapes by Sholto Blissett

    January 10, 2025

    Art

    Kate Mothes

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    Encircled by light, water, or stone, the central subjects of Sholto Blissett’s oil paintings simultaneously highlight and defy our aesthetic understanding of “nature.” Drawing on the rich history of landscapes, from the Dutch Golden Age to 19th-century British paintings to the Hudson River School, the artist illuminates spiritual associations and the universality of the sun, moon, the elements, and the earth.

    In his solo exhibition, Life in Deep Time, at Hannah Barry Gallery, Blissett’s large-scale works explore “the tenderness between natural architecture, ecological thought, human fantasy, and celestial forms of light and visibility,” says a statement.

    “Creatures of the Flame I” (2024), oil on canvas, 78 3/4 x 118 inches

    Blissett often employs classical architecture or historical references that create a kind of gulf or divide between the scene and the viewer, separating us from the scene by time, geography, and a sense of the unknown.

    In his most recent works, architectural facades like grand palazzos or towering obelisks have been subtly replaced by the more organic forms of trees, caves, or boulders. We’re ushered into subterranean realms flooded with moonlight, suggesting a continuum of prehistory through to the future.

    Blissett is fascinated by the scale of human existence. Think of the way you might feel peering out the window of an airplane and comprehending the magnitude of the world beneath you—how small you feel, and yet, how connected. Compared to millions-year-old caves, tectonic shifts, or dried sea beds, the time span of human existence reads as merely a speck within that timespan.

    Almost portrait-like, Blissett centers trees, monuments, and natural phenomena in each composition, silhouetted in the light and framed by rock walls or foliage as if the landscape has transformed into a boundless stage.

    “Vertigo” (2024), oil on canvas, 78 3/4 x 118 inches

    The light itself—what it reveals or conceals—is a character unto itself, reminding us of the limitations of sight, and that outside of the two-dimensional format of the painting, we are always enveloped by our surroundings. Blissett suggests that the darkness continues around and behind us, too, reiterating our focus toward the light, toward comfort and knowledge.

    Often more than six feet wide or nearly as tall, Blissett’s expansive scenes approach immersion. He “calls attention to our manufactured and shifting relationship between social constructions of ‘nature’ and ‘culture’—their cosmically entwined, spectral, and thorny coexistence,” the gallery says.

    Life in Deep Time continues through February 8 in London, and a book published by Foolscap Editions to accompany the exhibition will be launched on January 25 with a reception from 2 to 4 p.m. The artist’s work is also on view in The Silver Cord at Huxley Parlour, which continues through January 18. Find more on Blissett’s website and Instagram.

    “Borrowed Light” (2024), oil on canvas, 78 3/4 x 118 inches

    “Ship of Fools II” (2022), oil and acrylic on canvas, 94 1/2 x 78 3/4 inches

    “Creatures of the Flame II” (2024), oil on canvas, 78 3/4 x 118 inches

    “World Maker II” (2024), oil on canvas, 78 3/4 x 118 inches

    “Feral” (2023), oil and acrylic on canvas, 78 3/4 x 118 inches

    “World Maker I” (2024), oil on canvas, 78 3/4 x 118 inches

    “Ship of Fools XII” (20220, oil and acrylic on canvas on board, 43 3/8 x 39 3/8 inches

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    Mantra’s Murals Collect Enormous Butterflies in Building-Size Specimen Cases

    Mural on the Southeast Financial Center building in Miami, Florida. All images courtesy of Mantra and Justkids.art, shared with permission

    Mantra’s Murals Collect Enormous Butterflies in Building-Size Specimen Cases

    January 10, 2025

    ArtNature

    Kate Mothes

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    French artist Youri Cansell, a.k.a. Mantra (previously) continues to brighten neighborhood streets and large cities alike with his vivid insect murals. Drawing on a fascination with nature and its preservation, he creates monumental specimen cases on buildings around the world, filled with a wide variety of butterflies.

    The artist recently completed his largest mural to date in Miami, positioned on the rooftop of the Southeast Financial Center building. Nestled into the surface of a characteristically organized case, a range of colorful butterflies rest alongside the structure’s utility systems.

    Detail of progress on mural in Miami

    The mural features numerous species, including the endangered Miami blue butterfly that’s native to South Florida. “It’s always a pleasure to paint in Miami, a city that thrives on its vibrant mix of people and cultures—much like the butterflies in my mural, which represent a diverse selection of specimens,” the artist says.

    Additional recent projects include a giant glass-fronted display on the side of a building in Brooklyn and a towering, narrow composition in downtown Houston. Find more on Mantra’s website and Instagram.

    Houston, Texas

    Brooklyn, New York

    Crans-Montana, Switzerland

    Breda, The Netherlands

    Detail of progress on mural in Miami

    Rombas, France

    Detail of progress on mural in Miami

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    Tens of Thousands of Individual Dots Bring Ornamental Rugs to Life in Antonio Santín’s Paintings

    “Momo” (2024), oil on canvas, 63 x 86 5/8 inches. All images courtesy of the artist and Marc Straus Gallery, New York

    Tens of Thousands of Individual Dots Bring Ornamental Rugs to Life in Antonio Santín’s Paintings

    January 9, 2025

    Art

    Kate Mothes

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    From grid-like woven patterns to intertwined strands of fringe, Antonio Santín’s hyperrealistic oil paintings (previously) look incredibly similar to the ornamental carpets they’re modeled on. By studying real rugs and the way they scrunch, fold, and interact with light, he transfers these qualities to canvas. The overall designs, however, are a product of the artist’s imagination.

    Santín trained as a sculptor, and his eye for shapes and the power of contrast lent itself to paintings with tactile textures and a dimensionally illusory quality. “In the past two years, as his technical skills allowed for far more detail than is found on a sewn carpet, he began to invent the entire image,” says Marc Straus, who is presenting Santín’s work in the artist’s seventh solo show with the gallery.

    Detail of “Puente de plata”

    The artist continues to employ a precisely calibrated pneumatic compressor that allows him to apply oil pigments millimeters at a time. Tens of thousands of individual dots are arranged to create a consistent rhythm across the entire surface.

    New paintings in Puente de plata, or “silver bridge,” celebrate the relationship between abstraction and pure pattern, reveling in vibrant color and intricacy in works that are more personal. The show opens tomorrow and continues through March 1 in New York. Explore more on the gallery’s website and Santín’s Instagram.

    “Puente de plata” (2024), oil on canas, 63 x 85 5/8 inches

    “Tafalla” (2023), oil on canvas, 23 5/8 x 19 3/4 inches

    “Victoria” (2024), oil on canvas, 94 1/2 x 78 3/4 inches

    Detail of “Victoria”

    Detail of “Victoria”

    “Carambola” (2024), oil on canvas, 70 7/8 x 78 3/4 inches

    “Aldealengua” (2024), oil on canvas, 25 3/8 x 21 1/2 x 2 inches (framed)

    Detail of “Aldealengua”

    “Puente de plata” (2024), oil on canas, 63 x 85 5/8 inches

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    Gertrude Abercrombie’s Autobiographical Surrealism Traverses Dreams and Reality

    “Where or When (Things Past)” (1948), oil on canvas, 21 1/2 x 35 1/2 inches. All images courtesy of the Carnegie Museum of Art and Colby Museum of Art, shared with permission

    Gertrude Abercrombie’s Autobiographical Surrealism Traverses Dreams and Reality

    January 6, 2025

    ArtHistory

    Kate Mothes

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    “Surrealism is meant for me because I am a pretty realistic person but don’t like all I see,” Gertrude Abercrombie (1909-1977) once said. “So I dream that it is changed. Then I change it to the way I want it.”

    Abercrombie’s stark, symbol-rich landscapes and enigmatic portraits painted in oil were influenced by the European Surrealist movement, magical realism, and her own dreams. A leading figure in Chicago art, she was also involved in the city’s jazz scene, counting musical greats like Dizzy Gillespie, Charlie Parker, and Sarah Vaughan among her friends.

    “Queen and Owl in Tree” (1954), oil on masonite, 4 1/2 x 6 inches (unframed)

    The artist’s mystical works “suggest a life of wistful introspection and emotional struggle,” says a statement for the forthcoming exhibition Gertrude Abercrombie: The Whole World Is a Mystery at the Carnegie Museum of Art. The show and accompanying catalog present an opportunity for visitors to experience the artist’s highly personal work in significant depth, with access to artworks held in a range of private and public collections all gathered in one place.

    Born in Austin, Texas, Abercrombie grew up in the Hyde Park neighborhood of Chicago and spent some time in her father’s hometown of Aledo, Illinois. The small town in the northwestern part of the Midwestern state eventually became a source of inspiration for her atmospheric paintings.

    The artist studied the Romance languages at the University of Illinois—Urbana-Champaign and then pursued a course in commercial art at the American Academy of Art in Chicago, where she may also have briefly attended the School of the Art Institute.

    In 1932, Abercrombie began her career as a professional artist, which was spurred soon after by the support of the Federal Art Project of the Works Progress Administration (FPA/WPA). The program ran from 1935 to 1943 and provided economic relief to artists and craftspeople during the Great Depression. Along with Abercrombie, a slew of notable artists participated, from Arshile Gorky and Lucile Blanch to Jackson Pollock and Diego Rivera, among many others.

    “Demolition Doors” (1964), oil on masonite, Masonite, 20 x 25 1/2 inches (unframed)

    The Federal Art Project set up community centers around the U.S., sustaining the careers and livelihoods of around 10,000 artisans who contributed an estimated 400,000 easel paintings, prints, murals, posters, and other works during the program’s eight-year run.

    Abercrombie participated in the FAP/WPA from 1935 to 1940. Around this time, she showed her work widely, including in annual exhibitions presented by the Art Institute of Chicago and venues like Katharine Kuh Gallery, one of the city’s first commercial galleries to feature avant-garde work.

    Motifs like solitary women, dead trees, forking paths, stark landscapes, doors, cats, towers, and shells recur in her work. Abercrombie remarked that the scenes were always “pretty real,” merging facets of reality and the fantastic. “Only mystery and fantasy have been added,” she said. “All foolishness has been taken out. It becomes my own dream.”

    “Split Personality” (1954), oil on masonite, 8 x 10 inches

    In “Demolition Doors” (1964), for example, a black feline parks in front of a series of three multi-colored panels occupying most of the frame, behind which sits a gray, mostly empty landscape that could be either indoors or outdoors. Portal-like, the doors represent choices one makes about what direction to take, what threshold to cross. The cat stands sentry, waiting on the viewer’s—and by extension, the artist’s—ultimate decision. “The whole world is a mystery,” she had said.

    Abercrombie associated some of her recurring symbols with a witch’s persona—historically an identity connected predominantly to women—which she sometimes embraced in her own fashion choices. She occasionally donned a pointed velvet hat to accentuate her sharp features and tall stature. The female figure, including Abercrombie’s own likeness, is often shown traversing barren terrain, reclining in pensive quietude, or interacting with otherworldly forces.

    In an interview with Studs Terkel shortly before her death, Abercrombie said that “it is always myself that I paint.” For example, in “Split Personality” (1954), a woman in a blue dress, standing inside an unadorned room, has been cut in half at the waist. Her torso and head hover over a pitcher, and she reaches out toward her legs, but the shadow on the wall to the left depicts a complete figure—the sum of two parts—as a way of suggesting that looks can be deceiving.

    “The Ivory Tower” (1945), oil on masonite, 15 x 19 inches

    “With a deft hand, a concise symbolic vocabulary, and a restrained palette, she created potent images that speak to her mercurial nature and her evolving psychology as an artist,” says an exhibition statement.

    Later in life, Abercrombie’s artistic output gradually waned as ongoing health issues related to arthritis and alcoholism took a toll. She became more reclusive as she eventually required a wheelchair, before being confined to bed. A major retrospective of her work was held at the Hyde Park Art Center the year she died, and her will established the Gertrude Abercrombie Trust, which distributed her work and pieces by others in her collection to cultural institutions across the Midwest.

    Gertrude Abercrombie: The Whole World Is a Mystery opens in Pittsburgh on January 18 and continues through June 1. The exhibition then travels to Colby College Museum of Art in Waterville, Maine, opening on July 12 and running through January 11, 2026. Find more on the Carnegie website.

    “Winding Road” (1937), oil on board, 7 7/8 x 10 inches (unframed)

    “Letter from Karl” (1940), oil on canvas, 24 x 30 inches

    “The Countess Nerona” (c. 1945), oil on masonite, 8 x 10 inches (unframed)

    “Self-Portrait Brooch” (1954), oil on board, set in wire mount, 1 x 1 inch overall

    “The Church” (1938), oil on canvas, 18 x 24 inches

    “Shell and Drape” (1952), oil on canvas, 24 x 36 inches (unframed)

    “Charlie Parker’s Favorite Painting” (1946), oil on masonite, 17 15/16 x 21 7/8 x 1 1/8 inches

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    Near Liverpool, a One-of-a-Kind Art Environment by Ron Gittins Is Saved

    “The Minotaur Room.” All images courtesy of Historic England, shared with permission

    Near Liverpool, a One-of-a-Kind Art Environment by Ron Gittins Is Saved

    January 3, 2025

    ArtDesignHistory

    Kate Mothes

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    Behind the unassuming red brick facade of a gable-roofed flat in Birkenhead, England, sits a home like no other. The only clue passersby would have had, until recently, was a pair of hand-sculpted figurative columns that flanked the wooden front door. But to step inside this corner flat near Liverpool is to be transported into the imaginative world of Ron Gittins.

    A gifted artist who also dabbled in local acting groups and music, Gittins was a complex character. He took day jobs here and there, but he was much more inclined to work for himself, on his own terms. Anecdotally, he was known for his zest for life and determination to do great things; his sister recounts that he once exclaimed to their brother, “I will not be ignored!” His creativity shone through in every facet of his life, and his home is no exception.

    Hallway

    In a ground floor rented flat, which he let in 1986, Gittins created monumental hearths in the shapes of a lion, minotaur, and relief-adorned Roman altar. He painted bright murals inspired by ancient Greece, Rome, and Egypt, including a central hallway adorned with hieroglyphs. The columns at the front door were reminiscent of palatial stone depictions of pharaohs and deities.

    Gittins turned to the era of English romantic portraiture in one room’s Georgian era-inspired murals, which feature framed paintings in a row above an ornate hearth. And in the bathroom, the walls swim with aquatic-themed images.

    “Although Ron was extremely proud of his artwork, he generally refused entry to landlords, maintenance staff, and any kind of officialdom in order to protect the fantasy world he had created for himself,” says a statement from Wirral Arts & Culture Community Land Trust, which now owns and manages the property. It adds, “After all, not every property owner would allow their tenant to build an epic concrete lion fireplace in their living room.”

    Gittins’ tenancy agreement permitted him to “decorate the interior of the property to his own taste and the external porch in classical style without the prior written consent of the Landlord.” He also had access to the garden, which he was able to landscape at his own expense.

    “The Lion Room”

    Few people were granted the privilege of seeing Gittins’ creations during his lifetime, as he was protective of his art and preferred to maintain his privacy. He continued to collect unique objects and transform his home into his ultimate fantasy, his self-described “villa.” Then, following his unexpected death in 2019, its fate was suddenly uncertain.

    In December 2021, artist Jan Williams—who is also Gittins’ niece—along with Chris Teasdale of The Caravan Gallery, launched a campaign to save the flat. Along with a dedicated team of volunteers comprising family, friends, and experts in arts and heritage, a last-minute purchase at auction was successful in March 2023. Since then, the team has continued caring for the installations and sifting through the artist’s eclectic collection of books, magazines, videos, clothes, furniture, and trinkets.

    The Wirral Arts & Culture Community Land Trust continues to catalogue Gittins’ belongings and work to preserve this unique environment for years to come. Learn more and take a virtual tour on the organization’s website.

    “The Georgian Room”

    Ceiling of “The Georgian Room”

    The “Roman Altar” in the kitchen

    Bathroom

    “The Minotaur Room”

    “The Georgian Room”

    Exterior of Gittins’ flat in Birkenhead, England

    Front door columns

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