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      A Spectacular Collection of 40 Artist-Built Environments Are on Display in Sheboygan’s Art Preserve

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      Art

      #immersive
      #installation
      #museums
      #painting
      #sculpture

      September 28, 2021
      Grace Ebert

      Emery Blagdon’s “The Healing Machine” at the Art Preserve. Photo by Rich Maciejewski, courtesy of John Michael Kohler Arts Center. All images shared with permission
      On the edge of the city of Sheboygan in northeast Wisconsin is a new museum nestled into the hillside. Opened earlier this year, the Art Preserve of the John Michael Kohler Arts Center is home to 40 artist-built environments, or “spaces and places that have been significantly transformed by an artist to embody and express aspects of their history, place, and culture, their ideas and imagination.” The first of its kind, the spectacular, immserive space is an ode to the artists and their intellectual and creative trajectories, displaying a staggering array of installations, sculptures, paintings, and myriad works across mediums.
      Ranging from Emery Blagdon’s suspended kinetic assemblages made of sheet metal, holiday lights, and other found objects to Nek Chand’s troupe of more than 150 mosaic figures, the artworks are eclectic in discipline, scale, and aesthetic. Each of the environments consists of thousands of objects, structural components, and ephemera that form a holistic, comprehensive view of the artist’s life and work. Around the circular pathway winding through Ray Yoshida’s reconstructed Chicago apartment, for example, are ritual masks from New Guinea, printed works, pieces of pop culture from Maxwell Street Market, and notes and letters, offering an intimate glimpse into his diverse collection and personal relationships.
      In addition to the environments, the 56,000-square-foot space also houses 11 commissioned responses that included standalone works and projects literally embedded into the preserve’s structure. The stairwell, for example, was designed by the Denver-based architecture studio Tres Birds in collaboration with the late Ruth DeYoung Kohler II and uses concrete pavers that jut out beyond the walls to display a series of “hobo symbols,” or emblems travelers historically used to denote safety. Kohler conceived of the Art Preserve while director of the John Michael Kohler Arts Center, where she championed local and international artists and devoted herself to protecting their works and legacies.
      Watch the video below for a tour of the expansive space, and dive into the full collection, which includes pieces from sites in Wisconsin, New York City, Mississippi, India, and other global locations, on its site.

      [embedded content]
      Loy Bowlin’s “Beautiful Holy Jewel Home” in McComb, Mississippi
      Installation view of works by Nek Chand at the Art Preserve (2021). Photo courtesy of John Michael Kohler Arts Center
      The glittery “Beautiful Holy Jewel Home” by Loy Bowlin is flanked by an installation of paintings by Gregory Van Maanen at the Art Preserve. Photo by Rich Maciejewski, courtesy of John Michael Kohler Arts Center
      Installation view of works by Jesse Howard at the Art Preserve. Photo by Rich Maciejewski, courtesy of John Michael Kohler Arts Center
      Installation view of works by Ernest Hüpeden, Carl Peterson, Fred Smith, and Eugene Von Bruenchenhein at the Art Preserve, 2021. In the foreground is Fred Smith’s “Untitled,” concrete, glass, paint, and wood, 78 x 41 3/4 x 41 inches. Courtesy of John Michael Kohler Arts Center

      #immersive
      #installation
      #museums
      #painting
      #sculpture

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      Evoking Dutch Genre Paintings, Intimate Scenes Peer into the Lives of Mushroom Characters

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      Art

      #insects
      #mushrooms
      #painting

      September 27, 2021
      Grace Ebert

      “The Nap” (2021), oil on cradled wood panel, 16 x 20 inches. All images © Bella Ormseth, shared with permission
      In her ongoing series Human Nature, Dutch artist Bella Ormseth paints lavish domestic scenes inhabited by central mushroom characters and a cohort of plants and oversized insects. The evocative subjects stem from those the artist encounters around her home in Puget Sound off the coast of Washington and are human-like in their gestures and poses, whether draped over a chair during a nap, embracing over wine and oysters, or staring out the window.
      Each of the oil-based pieces is a study of Dutch genre paintings and their light, composition, color palettes, and techniques—Ormseth shares glimpses into her process and longer descriptions of specific references on her site. The ornate, tied-back curtains in “The Nap,” for example, mimic those in Johannes Vermeer’s recently restored “Girl Reading a Letter at an Open Window,” while “The Conversation” (shown below) works within the subgenre doorkijkje, or look-through, that offers a view of one room while in another, with the intimacy of family bonds present in Pieter de Hooch’s “The Bedroom” and “A Woman with a Child in a Pantry” apparent, as well.
      Although the works glean elements common in the Dutch Golden Age, Ormseth veils each with contemporary contexts, including the pandemic-induced loneliness that exudes from the character in “Waiting by the Window.” She explains further in a statement:

      Dutch genre paintings, with their depiction of everyday scenes of ordinary life, marked a significant turning point in Western art, away from biblical and historical subjects. It stirs me to see this elevating of domestic life to a subject of art—of seeing not only beauty but something profound in the everyday business of life… While I look to history for guidance, my paintings depict my own time. The idea for a painting always starts with an emotional response to something that is happening in the world, either in my own life or the world at large.

      “The Nap” is currently on view through October 2 at Copro Gallery, and Ormseth is working on another Human Nature piece for a January group show at Roq La Rue Gallery in Seattle. She’s also starting new series about an adventurous group of women in the 1920s and their connection to the intertidal life of the Salish Sea, which you can follow on Instagram. (via This Isn’t Happiness)

      “The Booth in the Back” (2020), oil on cradled wood panel, 24 x 18 inches
      “Waiting by the Window” (2021), oil on cradled wood panel, 12 x 9 inches
      “The Conversation” (2020), oil on cradled wood panel, 24 x 18 inches
      “The Wish” (2020), oil on cradled wood panel, 20 x 16 inches
      “Abandoned Reading” (2019), oil on cradled wood panel, 24 x 18 inches

      #insects
      #mushrooms
      #painting

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      Evoking Childhood Nostalgia, Color and Cartoon Commotion Burst from Kayla Mahaffey’s Paintings

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      Art

      #acrylic
      #cartoons
      #childhood
      #kids
      #painting

      September 15, 2021
      Grace Ebert

      “No Harm Done.” All images courtesy of Thinkspace Projects, shared with permission
      Surrounding Black children with jumbled masses of cartoon characters, doodles, and explosions of color, Chicago-based artist Kayla Mahaffey (previously) imagines adolescent daydreams and an array of playtime inventions. She infuses her acrylic paintings with a longing for carefree summer days, mornings spent watching the foibles of favorite animated characters, and hours left open for adventure, capturing feelings of joy and curiosity. Vividly rendered and layered with squiggles and globs of color, the large-scale works find “value in the sugar-coated nostalgia,” which Mahaffey explains:
      There have been numerous occasions where we omit the truths of our past to only be met with the disappointments of the future, a never-ending cycle that has influenced our current era for the best and the worst. Even though we’re currently going through a very troubling era, let’s take a moment to remember those times where we felt the most safe or where we felt the happiest. Many of us wish to go back to that life, but not to change anything, but to feel a few cherished things, once again.
      If you’re near Culver City, you can see the pieces shown here as part of Remember the Time at Thinkspace Projects from September 18 to October 9. Otherwise, find Mahaffey on Instagram to see where she’s headed next.

      “The Sweet Escape”
      “Head in the Clouds”
      “The Child In Us”
      “Tender, Love, and Care (TLC)”
      “Beautiful Day In The…”

      Left: “No Public Enemy.” Right: “Kid In Play”
      “Daydreamin”

      #acrylic
      #cartoons
      #childhood
      #kids
      #painting

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    • 163 Shares189 Views

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      Flora and Fauna Intertwine with Strands of Hair in Miho Hirano’s Dreamy Portraits

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      Art

      #animals
      #oil painting
      #painting
      #portraits

      September 15, 2021
      Grace Ebert

      “Heart Beating” (2020), oil on canvas, 33.3 x 33.3 centimeters. All images courtesy of Gallery Sumire, shared with permission
      Wrapped within the piecey curls surrounding Miho Hirano‘s subjects are twigs, vine fragments, and clusters of pink blossoms. Using a cool color palette tinged with blues, the Japanese artist (previously) paints ethereal, introspective portraits of women enveloped in movement whether through small fish swimming around their torsos or branches growing from under their hair. Hirano tells Colossal that she tends to center her oil-based works around finding harmony and the inevitability of change, particularly in relation to life’s fragile nature.
      Many of the pieces shown here are on view at Beinart Gallery in Melbourne, and Hirano is currently preparing for a solo show in London next year. You can see more of her dreamy paintings on Instagram.

      “Blooming Relaxedly” (2021), oil on canvas, 41 x 32 centimeters
      “Rest” (2021), oil on canvas, 41 x 32 centimeters
      “My Wishes” (2021), oil on canvas, 33.3 x 33.3 centimeters
      “Fragrance” (2021), oil on canvas, 53 x 45.5 centimeters
      “Spring Breeze Blowing Through” (2020), oil on canvas, 33.4 x 33.4 centimeters

      #animals
      #oil painting
      #painting
      #portraits

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      Bizarre Wide-Eyed Hybrids Reflect Imagined Landscapes in Naoto Hattori’s Miniature Paintings

      by

      
      Art

      #animals
      #miniature
      #painting
      #surreal

      September 3, 2021
      Grace Ebert

      “Green Walk.” All images © Naoto Hattori, shared with permission
      At once adorable and unnervingly surreal, the fantastical creatures rendered by Naoto Hattori (previously) seamlessly meld the myriad textures and colors found in nature into unusual hybrids. They’re often fluffy, equipped with horns in surprising spots, and bear eyes so inordinately large and glassy that they reflect full-scale landscapes. Whether a furry sea horse-like character or a large bulbous head floating mid-air, the figures are musings on Hattori’s experiences. “When I (am) lucid dreaming, I imagine myself as a floating hybrid creature or something in harmony with nature,” he tells Colossal.
      Primarily working in acrylic, the Japanese artist keeps his paintings small in scale, opting for miniature boards that generally don’t stretch more than six inches. He welcomes the technical challenge of such tiny spaces, although the size constraint originally developed when he was diagnosed with severe cervical spondylosis about 10 years ago. “When I tried to draw with my elbows and shoulders, my fingertips became numb and I couldn’t control the brush,” he says. “If it’s about the size of a notebook, I can draw without moving my neck or shoulders… So currently, I’m painting a smaller size that allows me to draw freely with the movements of my wrists and fingertips.”
      Hattori, who recently relocated from New York to his hometown of Yokohama, Japan, will be part of The Blab Show opening at Santa Monica’s CoproGallery on September 11. You can glimpse his process on Instagram, and shop originals and prints on his site.

      “Regeneration 3”
      Left: “Floating.” Right: “Regeneration 2”
      “Mind Pollinator”
      “Lucid Dreamer”
      Left: “Rooster.” Right: “Sing for Joy”
      “Baby Fungus”
      “Inner Sound”

      #animals
      #miniature
      #painting
      #surreal

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      A Restored Vermeer Painting Reveals a Hidden Cupid Artwork Hanging in the Background

      by

      
      Art

      #art history
      #painting
      #restoration

      August 25, 2021
      Grace Ebert

      All images via Gemäldegalerie Alte Meister
      A years-long restoration undertaken by the Gemäldegalerie Alte Meister in Dresden has entirely altered the understanding of a 17th-century painting by the Dutch artist Johannes Vermeer. What was once thought to be a somewhat glum depiction of a young girl reading near a window is now an amorous portrayal thanks to the unveiling of a naked Cupid hanging in the background.
      Conservators knew the image of the Roman god of love existed after a 1979 X-ray, although it was assumed that Vermeer had altered the piece himself. Only after they performed a series of infrared reflectography imagings, microscopic analyses, and X-ray fluorescence examinations in 2017 did they realize that the Cupid was covered decades after the painter’s death, even though they still aren’t sure who marred the original piece or when. This dramatic of an alteration is rare during restoration, considering standard processes generally involve simple cleaning and repairs.
      “When layers of varnish from the 19th century began to be removed from the painting, the conservators discovered that the ‘solubility properties’ of the paint in the central section of the wall were different to those elsewhere in the painting,” a statement says, explaining further:
      Following further investigations, including tests in an archaeometry laboratory, it was discovered that layers of binding agent and a layer of dirt existed between the image of Cupid and the overpainting. The conservators concluded that several decades would have passed between the completion of one layer and the addition of the next and therefore concluded that Vermeer could not have painted over the Cupid himself.
      The new restoration—dive into the lengthy process in the video below—is just one of the mysteries that’s surrounded “Girl Reading a Letter at an Open Window” since its creation between 1657–59. Originally attributed to Rembrandt and later to Pieter de Hooch, the artwork wasn’t properly credited until 1880. The piece is evocative of another one of Vermeer’s works, “Lady Standing at a Virginal,” though, which similarly features a painting within a painting by showing a solitary figure standing near a window with Cupid on the wall behind her.
      “Girl Reading a Letter at an Open Window” will be on view in its original form for the first time in centuries as part of an expansive exhibition dedicated to the painter running from September 10, 2021, to January 2, 2022, at the Dresden museum. (via Kottke)

      

      #art history
      #painting
      #restoration

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      A Poetic Book Illustrated by Tiffany Bozic Explores the Vast Diversity of Trees with Childlike Curiosity

      by

      
      Art
      Illustration

      #acrylic
      #books
      #children’s book
      #painting
      #trees

      August 16, 2021
      Grace Ebert

      All images © Tiffany Bozic, shared with permission
      In her first body of work geared toward children, artist Tiffany Bozic (previously) showcases the naturally occurring whimsy and wonder of the outdoors through saturated color, texture, and unusual perspectives: An upward glance frames towering redwoods with rugged bark, elusive flying squirrels cling to a branch, and dried leaves, fungi, and berries form a thick, colorful layer of groundcover. “I wanted to inspire children to notice how beautiful and important nature is and recognize that we are also animals, a part of nature. We only protect what we love. Trees are a great place to start because everyone has access to them, even in urban areas,” she tells Colossal.
      In the last two decades, the Marin, California-based artist has created hundreds of paintings on maple panel, often leaving the wood grain fully exposed or peeking through a thin veil of acrylic.  Bozic’s detailed interpretations highlight the singularity of individual plants and animals as she adeptly applies a surreal twist to her otherwise faithful portrayals—her earlier books Drawn by Instinct and Unnatural Selections show the breadth of this style—while Trees relies on a more realistic approach. Paired with a lyrical story written by Tony Johnson, the illustrated book is a reminder to celebrate the earth’s diversity with a sense of childlike admiration and curiosity.
      Trees is available for pre-order on Bookshop. You can follow Bozic’s new works, some of which will be informed by her research into the ways fire affects biodiversity in Tahoe earlier this summer, on Instagram. Find limited-edition prints and originals on her site.

      #acrylic
      #books
      #children’s book
      #painting
      #trees

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    • 175 Shares99 Views

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      Textured Patchworks of Sequins, Plastic Beads, and Oil Paint Comprise Trevon Latin’s Dazzling Portraits

      by

      
      Art

      #collage
      #fabric
      #painting
      #portraits
      #sculpture
      #textiles

      August 10, 2021
      Grace Ebert

      “Untitled” (2021), oil on canvas, fabric stretched on panel, plastic beads, and barrettes, 50 1/4 x 58 1/2 x 4 inches. All images by Guillaume Ziccarelli, courtesy of the artist and Perrotin, shared with permission
      Through a patchwork of glitzy sequins and humble cottons, New York-based artist Trevon Latin renders a fantastical world fit for an equally nuanced ensemble of characters. His mixed-media portraits and stuffed sculptures, which uniquely contrast color, texture, and medium in striking collaged pieces, draw their founding characteristics from queer nightlife, virtual reality, and mythology.
      Having completed an MFA in painting and printmaking at Yale in 2020, Latin expands on his classical training by utilizing various found materials, including swatches of patterned fabric, multi-color beads, plastic barrettes, and sequins. His portraits center on spliced, abstracted figures stretched on a round frame or couples mid-embrace, with lush, rolling fields occupying the foreground. These green expanses evoke the landscapes of southeastern Texas, which the Houston-born artist and performer knows well, and offer a contrast to the otherwise ostentatious subjects.
      The plush sculptures highlight the more mythical qualities of Latin’s practice, portraying shimmering hybrid characters elevated on pedestals. His 2021 work “I Break Too Easily” is similarly fantastical, featuring an aqua 3D-printed mask with long beaded tendrils hanging from its mouth. Whether depicted on canvas or as a fully-formed figure, each of the works is a flamboyant and elaborate embodiment of Shaturqua Relentless, a non-binary character the artist has performed in recent years. The resulting works reveal an inherent intimacy and idiosyncrasy, marking an entry point into an evolving narrative.
      All of the pieces shown here are part of Trinket Eater, Latin’s first solo exhibition at Perrotin’s New York gallery. It’s on view through August 13. (via Hyperallergic)

      Detail of “I Break Too Easily” (2021), 3D printed PLA mask, beads, barrettes, 52 x 36 x 36 inches
      Left: “Perched” (2021), fabric, earrings, sequins, wood, 81 x 23 x 23 inches. Right: “Lil’ boi blu” (2021), fabric, glass, sequins, wood, 87 1/2 x 34 x 18 inches
      Detail of “Untitled” (2021), oil on canvas, fabric stretched on panel, plastic beads, and barrettes, 50 1/4 x 58 1/2 x 4 inches
      “Untitled” (2021), oil on canvas and fabric stretched on panel, 83 x 51 x 10 inches
      Left: “Untitled” (2021), oil on canvas and fabric stretched on panel, 39 x 42 x 3 1/2 inches. Right: “Untitled” (2021),oil on canvas and fabric stretched on panel, 53 x 36 1/4 x 11 inches
      Detail of “Lil’ boi blu” (2021), fabric, glass, sequins, wood, 87 1/2 x 34 x 18 inches
      “I Break Too Easily” (2021), 3D printed PLA mask, beads, barrettes, 52 x 36 x 36 inches

      #collage
      #fabric
      #painting
      #portraits
      #sculpture
      #textiles

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