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  • MaximillianGroup 10:48 PM on 20 June, 2018 Permalink | Reply
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    There Is So Much You Go Through Just Trying to Make It’: Amy Sherald 

    There Is So Much You Go Through Just Trying to Make It’: Amy Sherald submitted by /u/villagew0lf
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  • MaximillianGroup 5:47 PM on 20 June, 2018 Permalink | Reply
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    How to ahead at The Barnes Foundation: Be White, Paint Black People 

    None of the artists I know seem to want to talk about this, but I find it creepy and opportunistic.

    submitted by /u/GrizzleTusk
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  • MaximillianGroup 3:17 PM on 20 June, 2018 Permalink | Reply
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    Working on an essay on the politics of the pathetic (primarily in American art and visual culture) any suggestions for texts or questions on the topic? 

    It’s a very fascinating topic I found myself interested in, I am looking at the works made during the aids epidemic as well as works made during the holocaust. Largely my findings are showing that the pathetic is used to force the viewer to acknowledge power it holds over the subject. One quote that illustrates this well is “vulnerability is a recognition of its own flaws, while the pathetic is a resignation to its own flaws.”

    People I’m looking at David Hammond, David wojnarowicz, Paul McCarthy, Esther Lurie. A major part of this as well is the body of Rosalina Lombardo (look it up if your not familiar its fascinating).

    If you’ve got questions or suggestions on the topic let me know.

    submitted by /u/Albaugh
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  • MaximillianGroup 12:47 PM on 20 June, 2018 Permalink | Reply
    Tags: , , , , , , , , , , , , , , Asad Faulwell, , , , , DENK, , , , , , Illusions, , Katy Ann Gilmore, , , , , , sharpie art, ,   

    Asad Faulwell and Katy Ann Gilmore at Denk 

    Katy Ann Gilmore, Fold #14 at DENK Gallery. Photo courtesy of the gallery

    Asad Faulwell, Phantom and Katy Ann Gilmore, Visual Field

    at Denk Gallery

    Through July 7th

    By Lorraine Heitzman

    Asad Faulwell and Katy Ann Gilmore take over separate spaces at Denk Gallery in two shows that fully exploit their contrasting styles. These imaginatively paired exhibitions complement each other’s work to create a perfect symmetrical synergy between the decorative and the minimal. The distance between their subjects and methods is great, but their propensity towards obsessive, delicate and nuanced work draws comparisons.

    In Phantom, the richly colored and densely patterned portraits by American-Iranian artist, Asad Faulwell, reference the visual language of many cultures and religions. His textile-like paintings, exacting and complex, invite comparisons to Islamic art, Christian icons, Persian miniatures and illuminated manuscripts. Imagine Tibetan monks painstakingly creating sand mandalas and you will get an idea of what his process must be like.

    The initial impression of Faulwell’s paintings of intensely ornamented floral and geometric patterns soon gives way to his secondary imagery and his subject. Deeply embedded within the ornate surfaces are many small photographs of women who allude to the “phantom” of the show’s title. These photographs run through both the portraits and the abstractions and honor the contributions of the largely unknown women who participated in the Algerian War of Independence. The subjects of Faulwell’s commemorative portraits were mistreated in their lifetimes and their stories largely forgotten. In creating this body of work, Faulwell acknowledges their sacrifices and in doing so, indulges in what is perhaps his greatest interest, his compulsion to embellish. His obsessively decorative paintings deify his heroines as he enshrines them in halos and tiaras, sanctifying their otherwise mundane appearances with the passive expressions of martyrs and saints. But this contradiction is only one of many that Faulwell highlights. He is addressing cultural appropriation by immersing himself in other cultures while he presents a pleasing façade to a dark moment in history. Faulwell dazzles the viewer by his command of technique much in the same way that artists and artisans for millennium have sought to enrapture those entering a place of worship, and just like that, you surrender to the spectacle.

    Asad Faulwell, Les Femmes d’Alger #II at DENK Gallery. Photo courtesy of the gallery

    Katy Ann Gilmore’s work is neither decorative nor figurative. With a background in mathematics and art, her stringent abstractions adhere to a different kind of religion, more aligned with asceticism and science than pageantry. Her hand drawn works rely on mathematical systems and graphs and although the illusions of conjured spaces are quite convincing, the contrivance is only half the pleasure.

    Gilmore’s Visual Field is an optical funhouse filled with snippets of incongruous topographical maps. The implied spaces of her diagrammatic drawings tease with their impossibilities but reward with delicate line renderings that are as sensuous as they are meticulous. The illusions float weightlessly against the white gallery walls, two dimensional puzzle pieces that play with the idea of space. Experiencing the works in situ greatly enhances the work as their unique shapes and suggested forms are heightened in relationship to one another. They are curious things, but Gilmore achieves a unique balance between an intellectual exercise and object making. She succeeds in artfully bridging not only two and three-dimensional worlds, but also the disciplines of art and mathematics. Visual Field is her first solo show at Denk.

    Denk Gallery
    749 East Temple St
    Los Angeles, CA 90012
    Tuesday-Saturday 11am-6pm or by appointment


  • MaximillianGroup 12:47 PM on 20 June, 2018 Permalink | Reply
    Tags: , , exhibition design, , , , ,   

    Redesigning the Getty Villa Galleries 

    A young woman with long curly hair and wearing a leather jacket places a white label on the pedestal of a case above which are about five small bronze statuettes.As an exhibition designer, I have the privilege of working closely with objects, to learn by looking at them from all angles, in just the right light. Seeing them from different viewpoints often reveals why they are so special—whether it’s clues from the artist’s hand, marks of wear from its ancient function, or a smile-coaxing beauty. My challenge and goal is to extend this privilege to museum visitors.

    When approaching the redesign of the galleries and reinstallation of the antiquities collection at the Getty Villa, the design team focused on supporting connoisseurship—the skill set of close looking and visual discernment—in the galleries. Enabling meaningful encounters with the objects requires presenting each artwork at its best. More importantly, we wanted to offer visitors opportunities to make their own discoveries—to see for themselves what artworks stand out for their formal mastery or exquisite craftsmanship.

    Along with the curatorial reorganization of the galleries by culture and chronology, this guiding principle is carried through the Getty Villa in three main ways.

    Getty Iris

  • MaximillianGroup 12:47 PM on 20 June, 2018 Permalink | Reply
    Tags: Bastide Projects, , , , Gijs Milius, Marseille   

    Gijs Milius at Bastide Projects 

    Gijs Milius at Bastide Projects

    Artist: Gijs Milius

    Venue: Bastide Projects, Marseille

    Exhibition Title: Le long des raduses

    Date: May 5 – June 23, 2018

    Click here to view slideshow

    Gijs Milius at Bastide Projects

    Gijs Milius at Bastide Projects

    Gijs Milius at Bastide Projects

    Full gallery of images, press release and link available after the jump.


    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects
    Gijs Milius at Bastide Projects

    Images courtesy of Bastide Projects, Paris. Photos by David Giancatarina.

    Press Release:

    A reflection on Gijs Milius’s exhibition “Le long des raduses” By neither.

    A long desert red area and a dark horizon.
    On the forefront, the corner of a balcony or at leat a grey maybe concrete architecture.
    A small grey rectangle triangle assumes its role of a floor and two walls erect to protect a potential character from the risks of falling down.
    And rain drops.
    One can count 14 of them but it’s not important.
    What is happening in this drawing.
    But still those droplets.
    And if you may, if you want you look at them a bit longer.
    Something is there, in the heart of all that nothing, produced by that nothing.
    The drops are in between the surface of the painting / drawing and the space that is represented. Some are resting on the surface of the canvas while others lie on the ledge of the concrete building, forcing the eye to navigate between two alternate realities : that of the gallery space and that of the fiction Mister Milius offers us.
    It’s not a trick, it’s a storytale.

    “In philosophy, the Real is that which is the authentic, unchangeable truth. It may be considered
    a primordial, external dimension of experience, referred to as the infinite, absolute or noumenal, as opposed to a reality contingent on sense perception and the material order. The Real is often considered irreducible to the symbolic order of lived experience, but may be gestured to in certain cases, such as the experience of the sublime.”

    Gijs Milius draws from moments that have yet to happen.
    Characters that exist already but on the side of your streets you forget to look upon. Outside of the frame.
    There’s an underlying and strong cinematic sense to his work.

    From the first films in history, cinema has become the art of time through its capacity of capturing movement and therefore the illusion of time.
    The Lumières already experienced that in their first films.

    In 1896, in Démolition d’un mur, they film four men working on breaking a wall and making it fall on the floor. The men start breaking it apart and all of a sudden their movements stop and then go backwards. And all a of a sudden, the wall itself rises from the floor to take back its original place, standing strong.

    Gijs’s work sets itself in the frame where the lumières decided to turn time back around.
    That one single frame accepting and showing a real and profound sense of time.
    It can be a moment in which weather is just about to change, a moment where a character is surprised by the spectators or just any moment waiting to happen and withholds in it an endless number of stories that take place in between the drawing and the space of the gallery.

    “Equation wise, the first thing to do is to consider time as officially ended We’ll work on the other side of time”
    Madvillain – Shadows of tomorrow

    The works can’t be “framed” per say, since what takes place in them is of the “hors-champ”. Milius attempts to bring us to another side of the frame and with it an other side of time. Leaving us to accept that nothing is to be known or understood but just to be lived.
    And that is quite reassuring, to us at least.

    Link: Gijs Milius at Bastide Projects

    Contemporary Art Daily is produced by Contemporary Art Group , a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

    Contemporary Art Daily

  • MaximillianGroup 12:46 PM on 20 June, 2018 Permalink | Reply
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    Anish Kapoor Sues the NRA for Showing “Cloud Gate” in Recruitment Video 

    Anish Kapoor Sues the NRA for Showing “Cloud Gate” in Recruitment Video submitted by /u/cameronj
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