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In ‘Keep the Kid Alive,’ Arielle Bobb-Willis Reaches for Exuberance

by Aurelia Butler 1 November 2024, 17:52

New Jersey (2017). All images © Arielle Bobb-Willis, shared with permission

In ‘Keep the Kid Alive,’ Arielle Bobb-Willis Reaches for Exuberance

November 1, 2024

ArtBooksPhotography

Grace Ebert

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Color, movement, and sweeping, expertly choreographed gestures permeate the works of Arielle Bobb-Willis. The Los Angeles-based photographer blurs the boundaries between art and fashion imagery, rejecting “the notion that Black expression is limited—or limiting.”

A slim monograph collects 90 of Bobb-Willis’s photos, highlighting her distinctive eye and bold, conceptual compositions. Published by Aperture, Keep the Kid Alive positions observation and imagination as useful tools to inspire awe for the overlooked. Models dressed in bright, color-blocked garments pose in parks or alleyways, their joyful dances and chromatic clothing enriching the nondescript spaces.

New Jersey (2017)

Bobb-Willis first picked up a camera at 14 and through moves from New York to Aiken, South Carolina, to New Orleans, found the medium was both cathartic through chronic depression and loss and also an essential tool for developing her taste and confidence.

“Photography is how I keep my inner child alive. Photography has taught me to fall in love with life,” she shares with Nicole Acheampong in an interview in the book, adding:

I love finding unexpected rainbows, and sunshine and a beautiful green park and kids’ chalk drawings on the sidewalk and melted ice cream and butterflies and flowers and Black girls with bright-blue braids and sweet graffiti poetry! I keep my inner child alive by taking pictures of my every day. I’m always finding things that I’m so in love with. …Photography is, and will always be, a daily practice of falling in love with as many things as I can.

Whether captured in a Los Angeles parking lot or against a purple wall in New Jersey, Bobb-Willis’s images are dynamic and vivid, drawing beauty and exuberance from unassuming spaces.

Keep the Kid Alive is available on Bookshop, and you can find more from Bobb-Willis on her website and Instagram.

New Orleans (2021)

Los Angeles (2020)

Williamsburg (2016)

New Jersey (2018)

New Orleans (2017)

New Jersey (2019)

New Jersey (2022)

New Orleans (2016)

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In ‘Hidden Portraits,’ Volker Hermes Reimagines Historical Figures in Overwhelming Frippery
by Aurelia Butler 18 October 2024, 20:00
“Hidden van Mierevelt IV” (2022), from “Portrait of a Man in a White Frill” (1620s) by Michiel Jansz. van Mierevelt
In ‘Hidden Portraits,’ Volker Hermes Reimagines Historical Figures in Overwhelming Frippery
October 18, 2024
ArtBooksHistory
Kate Mothes
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Engulfed in their own finery, the subjects of Volker Hermes’ portraits epitomize a bygone era. From the Italian High Renaissance to French Rococo, his digital reinterpretations playfully hide the faces of wealthy and aristocratic sitters.
Hidden Portraits: Old Masters Reimagined, a new book forthcoming this month, gathers a quintessential selection of Hermes’ works into one volume. Highlighting the artist’s wry commentary on luxury, social status, and fame, the selection delves into the history of portraiture through a humorous lens.
“Hidden Wright of Derby” (2023), from “Portrait of Dorothy Beridge, née Gladwin” (1777) by Joseph Wright of Derby
Hermes expands upon the ornate silk gowns, brocade, and lace ruffs that characterized elite fashion through the centuries (previously). An enormous bow cocoons a woman in “Hidden Wright of Derby,” for example, elaborating on a portrait of a wealthy woman painted by Joseph Wright of Derby, now in the collection of the Minneapolis Institute of Art.
In striking profile, strings of pearls and a green, helmet-like hood envelop Bianca Maria Sforza, Empress of the Holy Roman Empire, in “Hidden de Predis,” the 15th-century inspiration for which can be viewed at the National Gallery of Art.
Explore more of Hermes’ work on his website, and snag a copy of Hidden Portraits on Bookshop.
“Hidden de Predis” (2023), from “Portrait Bianca Maria Sforza” (1493-95) by the workshop of Ambrogio de Predis
“Hidden Titian II” (2021), from “Portrait of a Man with a Quilted Sleeve” (1511) by Titian
“Hidden de Bray” (2022), from “Portrait of a Young Woman” (1667) by Jan de Bray
“Hidden Cornelius Johnson” (2023), from “Portrait of Thomas, 1st Baron Coventry” (1631) by Cornelius Johnson
“Hidden de Keyser” (2019), from “Portrait of a Gentleman” (c. 1626) by Thomas de Keyser
“Hidden Pourbus VIII” (2023), from “Portrait of a Nobleman” (1593) by Frans Pourbus the Younger
“Hidden Anonymous (Munich Court Painter)” (2023), from “Portrait of a Young Lady” (1623), by an unknown artist
Cover of ‘Hidden Portraits: Old Masters Reimagined,’ featuring “Hidden Jacometto” (2019), from “Portrait of a Young Man” (1480s) by Jacometto Veneziano
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‘The Women Who Changed Photography’ Chronicles 50 Trailblazing Artists
by Aurelia Butler 16 October 2024, 10:00
Shirin Neshat, “Land of Dreams” (2019), film still. © Shirin Neshat, courtesy of the artist, Gladstone Gallery, and Goodman Gallery, Johannesburg, Cape Town, and London. All images courtesy of Laurence King Publishing, shared with permission
‘The Women Who Changed Photography’ Chronicles 50 Trailblazing Artists
October 16, 2024
ArtBooksHistoryPhotography
Kate Mothes
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In 1929, sought-after New York fashion model Lee Miller moved to Paris to apprentice with surrealist photographer Man Ray, joining an influential circle of artists. She and Ray worked so closely together, in fact, that many of her photos have been erroneously attributed to him.
Like many women, Miller’s work was often overshadowed by her male counterparts. A new book, The Women Who Changed Photography: And How to Master Their Techniques, marks Miller’s contribution to photography among 49 more groundbreaking artists who incorporated unique techniques blazed a trail for future generations.
Cindy Sherman, “Untitled #577” (2016)
From Zanele Muholi’s bold black-and-white visages to masters of disguise, like French surrealist Claude Cahun (1894-1954) and contemporary artist Cindy Sherman, identity plays a vital role in many of the practices featured.
Iranian artist Shirin Neshat, for example, often delves into the complexities of womanhood within Islamic cultural and religious value systems. Pushpamala N. employs narrative and figuration in images that critique stereotypes of women in India.
Released by Laurence King Publishing last month, The Women Who Changed Photography chronicles the individuals, aesthetics, and approaches that have shaped the field. Grab your copy on Bookshop.
Pushpamala N., “Yogini F-24” (2000–2004) from Native Women of South India: Manners and Customs
Claude Cahun, “Self Portrait (Holding Mask)” (undated)
Julie Cockburn, “Feed the Birds (Women)” (2019)
Shirin Neshat, “Rebellious Silence” (1994)
Julia Margaret Cameron, portrait of Julia Jackson Duckworth (1846-1895)
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Collaged Portraits by Emma Odumade Draw on the Past to Face the Future
by Aurelia Butler 8 October 2024, 12:31
“Call of Duty (A New Anthem)” (2024), charcoal, acrylic, ink, vintage photos, and black tea on canvas, 101.6 x 101.6 centimeters. All images courtesy of the artist and Unit London, shared with permission
Collaged Portraits by Emma Odumade Draw on the Past to Face the Future
October 8, 2024
ArtPhotography
Kate Mothes
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Growing up in Lagos, Emma Odumade always drew cartoons and created collages on paper. As he continued to make work, his interest grew in highlighting the world around him, especially young people in his community.
Odumade’s vibrant portraits and self-portraits, the latter of which he makes toward the end of every year, reflect a sense of unity, a search for self, love, and anticipation of the future. These particular works arose as “an attempt to have a diary—I never had one,” he says. “I needed to rediscover myself; see myself from an angle—from a third eye. My art became a mirror, through which I was a reflection.”
“Mister Fly” (2024), charcoal, acrylic, vintage photos, ink, graphite, colored pencil, and black tea on canvas, 147.32 x 119.38 centimeters
Portraits serve as records of activities and experiences, documenting the artist’s observations and referencing history and culture to tell personal stories. He combines images with other mediums like charcoal, acrylic, ink, and repurposed earlier sketches, invoking what he calls “stamps of moments”—a collection of memories viewed through the spectrum of past, present, and future.
“I love that I can reference historical events, stolen African artifacts, and my humble beginnings through a photo,” Odumade tells Colossal. He collages the backgrounds of many compositions with numerous black-and-white images dyed with tea to give an antique appearance. “The vintage brown look of the old photos is to remind viewers about [the] past and to give a ‘test of time’ feeling.”
Five new works will be presented by Unit London at 1-54 Contemporary African Art Fair in London, which runs from October 10 to 13. Explore more of Odumade’s practice on Instagram.
“My Favorite Albert’s Theory” (2020-2021), charcoal, acrylic, ink, black tea, and sketch paper on canvas, 163 x 148 centimeters. Additional credit to Lekan Abatan
“Seth; Why Run Away From Light Equals Infin9s” (2021-2022), charcoal, graphite, acrylic, ink, sketches, old photos, and black tea on paper. Additional credit to Ken Nwadiogbu
“A Wave to Remember” (2024), charcoal, acrylic, black tea, and vintage photos on canvas, 146.05 x 119.38 centimeters
“Three Sequences” (2021), charcoal, acrylic, black tea, ink, and old photos on canvas, 124 x 97 centimeters. Additional credit to Eshinlokun Wasiu
“First Motion to Fly (Mr. Professor)” (2024), charcoal, acrylic, ink, vintage photos, feather, and black tea on canvas, 147.32 x 119.38 centimeters
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In YoYo Lander’s Dynamic Portraits, Layers of Stained Paper Capture Light and Shadow
by Aurelia Butler 27 September 2024, 16:46
Detail of “Hold That Thought #1” (2021), stained, washed and collaged watercolor paper on watercolor paper, 20 x 16 inches. All images courtesy of YoYo Lander, shared with permission
In YoYo Lander’s Dynamic Portraits, Layers of Stained Paper Capture Light and Shadow
September 27, 2024
Art
Grace Ebert
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From individually stained snippets of watercolor paper, YoYo Lander collages elaborate portraits.
Each work begins with a photo session during which the artist focuses on capturing the sitter’s unique gestures, poses, and expressions. She then combines the reference images into a singular composition that conveys a particular emotion or experience.
“Kara”
In a recent body of work, Lander dresses her sitters in the same green sweater, the kindred knit signifying personal and collective growth and transformation. Similar to earlier pieces like “Hold That Thought #1” and “The Parts of Me That Get No Applause #2,” the more recent portraits are dynamic and impeccably constructed to convey light hitting a cheekbone or the shadow of a garment fold. Viewed up close, the textured, layered paper adds immense intricacy and depth to the already lively compositions.
Many works shown here are included in Lander’s solo show Yesterday Was Hard, which is curated by Superposition Gallery for Phillips Los Angeles and on view until October 11. The artist frequently shares glimpses into her process on Instagram, so head there for more.
“Hold That Thought #1” (2021), stained, washed, and collaged watercolor paper on watercolor paper, 20 x 16 inches
Detail of “Naty”
“The Parts of Me That Get No Applause #2” (2022), stained, washed and collaged watercolor paper on watercolor paper, 24 x 15.5 inches
Detail of “Helen”
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David Antonio Cruz Celebrates Queer Love with Joy and Opulence
by Aurelia Butler 24 September 2024, 20:45
“iknowyou’vebeenwonderingwherei’vebeen:adrift,adraft,astare,atilt,asigh,exhale.but,icamebacktoletyouknow,gotathingforyou,andican’letitgo_ the raft.” (2024), oil, acrylic, and ink on wood panel, 72 x 96 x 2 inches. All photos by Bob, courtesy of the artist and Monique Meloche Gallery, shared with permission
David Antonio Cruz Celebrates Queer Love with Joy and Opulence
September 24, 2024
Art
Grace Ebert
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In chosenfamily, David Antonio Cruz celebrates the bonds between people who have decided they will love each other unconditionally, no biological relationship required.
He paints lavish portraits of queer people of color dressed in vibrant, patterned gowns, strings of pearls, sequin tops, and chic, boldly framed glasses. Depicted embracing, lounging, and often piled atop one another in a monumental mass, the figures are at ease and appear to unite as one.
Detail of “icamebackthefollowingnightandwalkedthegoundslookingforyou,wegotturnedawayonthesecondnight,buticamebackagainandagain,andagain_ the mound.” (2024), oil and acrylic on wood panel, 72 x 98 1/2 x 2 inches
Emerging during COVID-induced isolation, Cruz’s chosenfamily series is set at home. Victorian-era sofas cradle the subjects, whose individual bodies dangle over the wooden frames and drape across one another. The most recent additions to the series reflect on what it means to feel at home. Stretching up to eight feet wide, these immense paintings are on view through October 26 in the artist’s solo show come close, like before at Monique Meloche Gallery.
When the artist prepares to make a portrait, he might first host a dinner party or intimate gathering to form bonds between the future sitters and foster a trusting community. What follows is an elaborate photoshoot during which the subjects are encouraged to dramatize.
“The way you pose for me isn’t just sitting, there’s this sense of dripping, of leaning; we’re performing and being extra, and for me that’s the radical part, that’s the joy of being non-conforming and not falling into rules,” he said in an interview.
come close, like before is also a response to the relationship between Spain and Puerto Rico, the latter of which Cruz has ancestral ties. Referencing maritime painting traditions and Théodore Géricault’s precarious scene in “Raft of the Medusa,” in particular, the artist questions the enduring, colonial implications of the ocean and the uncertainties associated with homemaking. Through paintings filled with love and unbreakable bonds, he subverts the seafaring genre by planting his subjects on firm footing, their sights set on a hopeful future.
In addition to Cruz’s show in Chicago, New Yorkers can find the artist’s exhibition when the children come home through February 16, 2025, at Sugar Hill Children’s Museum of Art & Storytelling. Visit Instagram for more.
Detail of “iknowyou’vebeenwonderingwherei’vebeen:adrift,adraft,astare,atilt,asigh,exhale.but,icamebacktoletyouknow,gotathingforyou,andican’letitgo_ the raft.” (2024), oil, acrylic, and ink on wood panel, 72 x 96 x 2 inches
“icamebackthefollowingnightandwalkedthegoundslookingforyou,wegotturnedawayonthesecondnight,buticamebackagainandagain,andagain_ the mound.” (2024), oil and acrylic on wood panel, 72 x 98 1/2 x 2 inches
“isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023), oil and acrylic on wood panel with aluminum backing, 72 x 60 inches
“Icouldn’tcallitbynamebefore,butmaybe it’sbeentheresinceIfirstknew” (2024), oil and latex on wood panel, 36 x 36 x 2 inches
Detail of “Icouldn’tcallitbynamebefore,butmaybe it’sbeentheresinceIfirstknew” (2024), oil and latex on wood panel, 36 x 36 x 2 inches
“ilovedeveryoneofthem” (2022), oil, acrylic, and ink on wood panel, 72 x 60 inches
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Sebas Velasco Reflects the Spirit of Brixton for London Mural Festival
by Aurelia Butler 21 September 2024, 13:20
“A Lasting Place” (2024), London. Photo by Jose Delu. All courtesy of London Mural Festival, shared with permission
Sebas Velasco Reflects the Spirit of Brixton for London Mural Festival
September 21, 2024
Art
Kate Mothes
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Drawing from photographs of landscapes and cinematic portraits, Sebas Velasco’s murals and paintings boldly capture people and places. For the 2024 London Mural Festival, the artist has unveiled a large-scale portrayal of a local resident of Brixton, where the piece was recently installed on the end of a residential building.
Shown waiting for the Brixton train line, the young man in Velasco’s painting leans back against a concrete railing and looks off to the side, illuminated by the station’s lights, which also glow in the background. Titled “A Lasting Place,” Velasco taps into a sense of time slowing down, contemplation, and ease.
Photo by Jose Delu
Velasco revels in the process of exploring and learning about the places where he develops his public art pieces. The compositions emerge organically as he immerses himself in the local environment and meets people who live in the area.
Along with his long-time collaborator Jose Delu, who assists with creating highly contrasted, vibrant photographs, Velasco draws on conversations and experiences in each place in order to reveal something of its spirit through his work. He often addresses the idea of connection, which is also the theme of this year’s festival.
If you’re in London, you can explore more than 100 murals through September 29 as part of the event, including pieces familiar to Colossal readers like Marija Tiurina. New installations this year have been created by Aches Elseed, BAPE, D*Face, Betz Etam, Anna Ovney, and more.
Find a map on the festival’s website, and to dig further into Velasco’s work, check out his website and Instagram.
Wedo Goas, 39 Lee Church St
Bezt Etam, Roundwood Estate
Liam Bononi, 125 South Lambeth Rd
Zoe Power, Jo Hicks, and Vanessa Scott, Canary Wharf
BAPE x D*Face collaboration
Sophie Mess, The Stage, Shoreditch
Anna Ovney, Leadenhall Building, City of London
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Bold Brushstrokes Overlap in Greg Breda’s Contemplative Portraits
by Aurelia Butler 18 September 2024, 18:36
“Arrival at knowing” (2024), acrylic on polyester canvas, 25 x 25 inches. All images courtesy of Patron Gallery, shared with permission
Bold Brushstrokes Overlap in Greg Breda’s Contemplative Portraits
September 18, 2024
Art
Grace Ebert
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In Greg Breda’s meditative paintings, noise and commotion are toxic to transformation. The Los Angeles-based artist ushers in quiet introspection, imagining figures deep in thought among houseplants and blooms.
Layering wide brushstrokes on synthetic silk, Breda renders delicate, fragmented portraits. Among the browns that contour each face are sweeping marks in periwinkle that overlap, intersect, and fade across the figures. Evoking the way light might hit a cheekbone or cast a shadow, the contrasts in color add a dynamic element to the still, serene scenes.
“Finding focus” (2024), acrylic on polyester canvas, 40 x 33 inches
The works shown here are part of Breda’s solo show Where I am found, on view now at Patron Gallery in Chicago. Drawing on his Hei series that references the fifth letter in the Hebrew alphabet, the paintings invoke a spiritual presence and self-reflection, emphasizing how quiet and solitude are essential for personal and collective change.
This body of work also considers interconnection and how all life interacts and influences one another. Flowers like hibiscus and allium encircle the figures, providing both a beautiful setting for contemplation and serving as visual metaphors for unity, grace, and self-love.
See Where I am found through November 2, and explore more of Breda’s portraits on his website and Instagram.
Detail of “Arrival at knowing” (2024), acrylic on polyester canvas, 25 x 25 inches
“Pathways” (2024), acrylic on polyester canvas, 18 x 18 inches
“Repose” (2024), acrylic on canvas, 33 x 40 inches
“As it is” (2024), acrylic on polyester canvas, 40 x 30 inches
Detail of “Repose” (2024), acrylic on canvas, 33 x 40 inches
Detail of “Arrival at knowing” (2024), acrylic on polyester canvas, 25 x 25 inches
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Narsiso Martinez Exalts the Individuality of America’s Farmworkers in ‘Joyfully Grown’
by Aurelia Butler 18 September 2024, 15:39
“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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portraits

Latest story

In ‘Keep the Kid Alive,’ Arielle Bobb-Willis Reaches for Exuberance

More stories

In ‘Hidden Portraits,’ Volker Hermes Reimagines Historical Figures in Overwhelming Frippery

‘The Women Who Changed Photography’ Chronicles 50 Trailblazing Artists

Collaged Portraits by Emma Odumade Draw on the Past to Face the Future

In YoYo Lander’s Dynamic Portraits, Layers of Stained Paper Capture Light and Shadow

David Antonio Cruz Celebrates Queer Love with Joy and Opulence

Sebas Velasco Reflects the Spirit of Brixton for London Mural Festival

Bold Brushstrokes Overlap in Greg Breda’s Contemplative Portraits

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