Lee Hazlewood inpired doomed love duet 'Roses" follows featuring the mysterious Veronica - a Nicoesque chanteuse Nev discovered singing in the backstreets of Madrid. She has an ethereal quality. Not of this world'. Cellos and violins combine with vintage synths to create Nev's now familiar sonic landscape. The guy is THE guitarist of his generation. Not many musicians have their own unique sound but Nick does. It's a nod to the mythical Canyons of LA but through a very English lens. We just went at it workman-like from every day. I love the whole process - writing, demoing at home, the studio.
It's very gratifying to see an idea come to full fruition. I don't see anyone doing what I do.
I'm on my own. Finding some sense in all the crazy madness. I hope people can come and join me in this special place and find some repose. Recorded over a period of time that saw front man David Johnson return home to Massachusetts to spend time with his family after a traumatic event. While away Dave and Anthony back on board fully for this new lp tackled the recordings they had started while Tavan and Johnny laid down the drum and bass tracks and Mike Dieter also rejoined White Manna to lay down some synth parts honing a Klaus Schulze vibe.
When Dave returned to Humboldt they at long last got down to finishing the LP. Good stuff! With 'Help Us Stranger' The Raconteurs have returned right when they are needed most, unified and invigorated with boundless ambition, infinite energy and a collectivist spirit operating at the peak of its considerable powers, once again creating a sound and fury only possible when all four of its members come together.
They pick up where they left off ish and, taking it up a notch, create an album that feels more energetic than its predecessors. Fans of Jack White's latest solo album will probably dig this. Polish septet EABS apply an innovative approach to jazz, distilling it through the prism of hip-hop, blending it with elements of soul, funk and electronic music. They are joined by 22a head-honcho Tenderlonious who lends his exceptional soprano saxophone and flute playing to all seven tracks. For this LP the musicians turned to Slavic mythology and Polish demonology, while pondering upon the contemporary spiritual condition of Poles.
This sparse but perfectly-populated masterpiece takes inspiration from J Dilla and echoes elements of vintage Blaze, Larry Heard and Carl Craig. Warm and soulful, but also spacious and clean, Tender extracts maximum flavour out of just a few ingredients. After a long studio hiatus, this is a sign of good things to come from Tenderlonious and the 22a camp! His beautifully crafted sounds have graced a host of imprints including Distant Worlds, Exalt Records and, of course, FireScope. It is to the latter that Shima returns with his long awaited debut album, "The Lonely Machine".
John Shima is a master melody weaver, with this first LP attesting to his deftness of touch. Celestial chords and star gazing synthwork permeate this ten track odyssey. A range of influences come to the fore in this 2LP. Radiant pieces of elating electronics, complex and joyful compositions that chime with unbridled hope and open-hearted optimism. Poised, elegant, delicate nuances pepper all his productions, each one an instantly recognizable, crafted masterpiece. Wrought iron sonics, galvanized in Sheffield 4 our listening pleasure! Textasy Texas Terrortech Volume.
A joint release between Natural Sciences and FTP, "Texas Terrortech Volume 1" is a combination of hyper-frenetic futurism with the gritty global sound of the streets, wherever it comes from. It's the pop music on the radio, combining that with innately adaptable, yet eminently absorbable form which evolved in these different little things, all compatible, yet closely related. When they are decoded from the genome of our global musical collective, their inter-relatedness becomes even more clear, and a new perspective can be gained. The internet made everything smaller.
It turned the territory into the map, destroying the physical borders between geography and genres, reducing it into digital code, breaking it into bite-sized bits. This is the sound of the phuture digesting the people. This is the sound of the global underground.
Forging a co-dependent relationship, both labels and artist seem intent on delivering the mutant hybrids of dance music's sordid history in fresh new form and flavours. This could be the Texan maverick's magnum opus! Do check it out if you're keen on wrecking the dance. The feuding parties of the two planets make for a journey of determination and self-discovery for our techno lone ranger that will ultimately deliver him to the sacred site on which Telepathic Heights stands. Conceived as a space western soundtrack to the cinematic interpretation of this tale, "Return To Telepathic Heights" delivers ten chapters that journal the ultimate mission to reach the imposing tower of Telepathic Heights, where dream telepathy has become the primary communicative tool amongst its peaceful and harmonious community who have opted out of the planetary war that continues to rage, seemingly with no armistice anytime soon.
The score fittingly winds its way through the trials and tribulations of this journey, blending minimal and harmonic rhythms, industrial funk, dreamy synthwave and transcendental techno into the rich tapestry of music that documents the Return To Telepathic Heights. Not only do you get plenty of bass synth squiggle, percussive snap and icy leadlines from this floor filling set, you also get the bona fide E-funk smash "Lazer Battle At The OK Coral".
To capture the sublime on "Dusk to Dawn" Mr. The result juxtaposes experimental textures with pure rhythmic momentum. Tophat was an avid clubber as a teen, way before making his name as a cult DJ; 'everything started when my childhood friend Kalle and I first visited Berghain. It was and we were 18 years old. We had found each other being two individualists with our own nerdy interests. Together we plunged into them, Kalle in hairstyling, me in electronic dance music, computer games and cyber-punk.
Berlin and Berghain became a place we went and visited almost once a month during a two year period. As a space where you can freak out, be yourself, queer and believe in hedonism. It shall and should be about freedom. Thinking back to the time in Ibiza, Mr. Tophat remembers 'the turquoise sky and the coloured sea in peach were faded together into a seamless vision, the horizon was impossible to navigate; meanwhile the bright dusk was filled with hate, darkness and mayhem.
Nature - so simple, but still so complex. Tophat issuing an incredibly mature and detailed LP that belies his still young age. Top marks. This trans-generational meeting of the minds has yielded the most immediate and unadorned Titus Andronicus record to date. Clocking in at 38 minutes, it is also the shortest. Titus Andronicus is led by singer-songwriter Patrick Stickles, now flanked by longtime guitarist Liam Betson and the indomitable rhythm section of R. Gordon on bass and Chris Wilson on drums.
An Obelisk is the first record to showcase this lineup from tip to tail, each track bearing distinctive fingerprints of each musician, their particular chemistry honed through extensive touring and rigorous rehearsals. Excepting the background vocals of Ralph Darden Ted Leo and the Pharmacists , no outside musicians were utilized, leaving ample room for the pummeling drums and slashing guitars to thrive under the notoriously economical hand of Mould.
He has often zigged when he was expected to zag, but the consistent excellence of his output has earned him the unconditional trust of his audience. What more could you want than that? An Obelisk also functions as a companion to A Productive Cough.
- The Widow’s Chef!
- Delphi Complete Works of Walt Whitman (Illustrated) (Delphi Poets Series Book 5).
- The Green-eyed Monster (A Stanton Brothers Short Book 3)?
An Obelisk has all the trappings of a classic punk album, though, to hear Stickles tell it, it is moreso an album about punk. Heavy but reassuringly sludgy, 'An Obelisk' is a superb mix of all the influences that make modern punk so great. Top stuff. The release itself comprises 10 tracks of original music, plus a second collection of 6 soundscapes and sound design, an all-encompassing journey of almost two hours.
The 6 additional soundscapes are exclusive to the Laced Records release. STAFF COMMENTS Barry says: It's been a while, but there really is no more thrilling an experience in the computer gamesphere than jetting through the stars to an unknown destination with the machine gun percussion of 65DOS pumping in your lobes, or cataloguing completely undiscovered subterranean caves with trickling ambient washes and synth swells filling your ears.
This soundtrack is a perfect balance of the heft we've come to know from the band and a distillation of their ambient mastery, all in one beautiful double LP. Essential purchase. Great songs. Sometimes, a mystical, life-changing connection can be closer than you think. He reached out to friends in Los Angeles, in London, but nothing seemed right. Meantime, Eric Burton had recently made his way to Texas. Born in the San Fernando Valley, he grew up in church and then got heavily involved in musical theater.
He started busking at the Santa Monica pier, where he brought in a few hundred dollars a day and developed his performance skills. Burton traveled through the Western states before deciding to settle down in Austin—setting up his busking spot on a downtown street corner, at 6 th Street and Congress, for maximum exposure. A mutual friend mentioned Burton to Quesada, saying that he was the best singer he had ever heard. For the tracks that kicked off this project, though, he had a different direction in mind. When Adrian sent me the songs, it was like I had already heard them before.
We were on the same wavelength from the get- go. Stunning stuff. Few casual aficionados of rock music will know more than a song or two from this set - the likes of The Penny Saints and The Aardvarks and their kin not exactly being household names. Complementing those songs are covers of songs by two more recent groups. The Magical Record Of Blue Orchids is released in a strictly limited edition while the band works on their next album of originals.
Dark, brooding covers like 'I'm a Living Sickness' mix perfectly with the more upbeat offerings, showing the true talents of a band who can turn their hand to anything, without any sign of faltering. Lovely stuff. On first discovery you may ask whether they're dated to , or whether you've uncovered some forgotten classic.
It makes sense that singer-songwriter Azniv Korkejian's arrival — both musically and personally — on her second record has been influenced by her own wanderlust, displacement, and curiosity. Azniv is based in LA, but is often travelling for the sake of musical inspiration. Her album title is something she's still trying to decipher. White's impeccable Spacebomb label.
Drunk At The Zoo. Fruit Tones is a rock and roll band from Manchester. Nothing artificial - this is the real deal. Real music played by real people for real reasons. No budget. No gimmicks. No nothing. Stomping drums, choogling guitars, the vocals bite. These young chaps are quite the musicians, knocking out inspired riffs and solos like it ain't no thing! The vocals are authentic, garage-rock howlers with tons of energy.
Yes mate. This was before most things we now take for granted were common on our dancefloors, radio shows or live streams. Those ubiquitous Euro Pop dubs, unclassics that aficionados play at the wrong speed, or private gems that have since been reissued to the moon and back? They very probably popped up on our collective radars via the medium of www. While it remained niche, at its peak, www. Now, as the ESP Institute approaches its year anniversary, we revisit the significant role www. Total rarities, DJ favourites and daily discoveries for every head on the planet.
This isn't a collector's item or exercise in nostalgia, this is one of the best sonic selections you'll have the pleasure to own. Any historians keen on the subject of "French youth in the s" are holding a treasure in their hands. Fifteen musical nuggets, exhumed from the dungeons of history, each and every one of them teaching us about what really obsessed the youngsters at that exact moment, i.
The artists gathered here did not have the honour of breaking into the local charts, but they all individually reached for the sky. Each song of 'Pop Sympathie' tells more or less the same story: that of a girl who throws herself into the night like one immerses one's self into the void, who rushes into a one-night adventure to become a star. And too bad if in the early morning she finds herself back at square one. In all these miniature odysseys there is neon lights, lasers, smoke machines, broken glass on checkered tiles, strangers on leather benches, celebrities in the bathrooms, stolen kisses, alcohol, drugs and cigarettes, Polaroids, venetian blinds and radioactive tubes.
Mainly synthesizers. The child of punk and post punk, French New Wave celebrates the matrimony of machines and lolitas under the auspices of a retro trend that revisits the atomic age. These virtual stars are called Cecilia, Laurent, Sonia, Janou, Fabienne, Anne, Arielle or Ronan, not even 20 years old, and often leaving just an overexposed photo and their first name on a single as the only memories of their swift passage in this particular musical story.
It took all the love and sweet madness of Vidal Benjamin to bring them back in the light of day. Clovis Goux. The ever-popular "Under The Influence" series continues in earnest. Outside of the established record collectors Winston is pretty much unknown but those that know of him will tell you that despite his low profile he has one of the best record collections around.
Ps everywhere; and I had brought along a foolscap notebook which after eight hours or so, expanded my wants list considerably. I thumbed through hundreds of weird and mysterious independent and major label releases. Winston played whatever I was interested in hearing, occasionally spinning random 7"s "Space Funk" by Manzel, for example and various LP cuts of his choice.
I had perused around half of the collection by the time I left, but I'll never forget that kid-in-a-toyshop feeling, along with the realisation of Winston's buddha-like status as a master of this arcane pastime. Surprisingly, he has no truck with the internet — somewhat curious to the rest of us who now can't imagine life without it. And as a man with no online presence, knowledge of Winston's existence is restricted to the real world.
Some justification, perhaps, for giving this fervent ambassador of all things boogie an opportunity to share some of his favourites beyond those in the know. Volume Seven and losing no steam along the way; if boogie, disco and soul are your bio-fuel, then this should have you up and running in no time at all. Impeccable selection of hits, all legit and licensed - if you were to attempt to seek these tracks out individually it'd take thousands of pounds and hours! Winston does the leg work Much like Fleetwood Mac and Chaka Khan are stables of many people's record collections, there's a whole group of music lovers who regard these as house hold essentials.
Every home needs one! As you listen to Shepherd In a Sheepskin Vest, a feeling of totality, of completeness, steals over you, like a thief in broad daylight. The first one in almost six years! What more do you need to complete you? Or perhaps, after all the time, the obvious needs to be made just a little more explicit?
The songs are, by and large, shorter, and there are more of them. It took almost all of the previous three albums to add up to that many. But again, it goes a lot deeper than that. Good changes — marriage and a kid - but afterwards, it was suddenly harder for him to find the place where the songs came, to make him and these new experiences over again into something to sing.
His songs have always been elusive, landing lightly between character study and autobiography, as the singer-songwriter often does. This felt different, though. Or was he? Was there room for everybody? It informed the shape of the album. The sense of a life thunderstruck by change infuses Shepherd In a Sheepskin Vest— the songs wander from expressions of newfound joy and great contentment to other snapshots, considerations of the not-joy that we all know.
Unsettling dream-images and mythic recollections are patiently received; the undertow of the past is resisted, pulling against it instead into the present, accepting revolutions of time and the unconscious as a natural flow. These transcendent expressions are wedded translucently to the music. Acknowledging the uncertainty in which the songs were assembled, Bill went to the studio alone, unsure if he could find what he was looking for with a band riding along — because who knew how long it would take?
This allowed the fluidity of his song-thoughts to be laid down with the right feeling. Once there was guitar and vocals, the other parts came. Good listeners and tired dancers, sing along. A beautiful mix of brittle jazzy progressions, flickering percussion and swooning syncopated but never jarring melodic counterpoint show exactly why big Billy is still so present in our record collections and our hearts. Mattiel Satis Factory Heavenly.
This is probably down to the chemistry between them; they seem in awe of each other. I remember all of us being floored not only at the quality of her writing, stunning production and ear for a tune but thoroughly impressed at the way she rides a horse see cover for debut album. Absolutely brilliant. Their metaphorical roads diverged in the years that followed, but they kept in touch and cross-pollinated where they could. For his part, Beam had been intimidated by their virtuosic playing and their deep comfort in an encyclopedic array of styles.
Years to Burn features ten new original compositions. While Beam wrote all the songs for In the Reins, this recording features contributions from both Beam and Burns as well as from Convertino and those featured on the record. While the two may have taken differing approaches to songwriting, the spirit of collaboration was alive and well in the studio; Sam shared demos ahead of time and was ready for the others to con-tribute with arrangement ideas and instrumental parts, while Joey spontaneous as ev-er, came in with concepts and an eagerness to improvise.
And scary as shit. And the title can encapsulate a lot of things. Or, our life is ours to burn, to be inspired. For all the things going on in our world and in each of our lives, this connection, this friendship, this love that we have—this album is a vehicle for that bond. The highly anticipated album was crafted with Rick Rubin and Dan Carey over the course of the past five years.
A handful of words often tell you everything you need to know. When asked, who is Kate Tempest? She gives a brief, albeit telling answer. Tempest uncovers the missing link between the Golden Ages of literature and hip-hop. The London-born BRIT Award-nominated spoken word artist, rapper, poet, novelist, and playwright rhymes with a century-turning fury. Since her emergence in , she has redefined what it means to be a wordsmith in the Modern Age. To date, she has published three poetry collections, staged three plays, and released two studio albums.
In the midst of this whirlwind journey, she performed a passage of her popular minute narrative poem, Brand New Ancients, on Charlie Rose. Legendary producer and American Recordings Founder Rick Rubin caught the show, tracked down her phone number, and made a call. Deluxe CD Info: Hardback, 32 page booklet, bespoke finish. CD Info: Mintpack and 16 page booklet. Birdsong and bright mornings announce the arrival of spring, and Growing Bin celebrate the season of rebirth with the return of a hardy perennial.
In the three years since he introduced the world to his "Baltic Beat", Bartos Kruczynski has traded dub techno, Berlin electronics and jazzy Balearic on a string of highly regarded labels. Now the Polish musician is back in the Growing Bin, ready to take us on another audio adventure through the meadows and forests of his native land. Both the 2LP and the 2CD version are packaged in a top-load single pocket wide-spine jacket with two printed inner sleeves.
Audio quality is paramount, as always, with Shellac. The pressings are gram audiophile quality. Other than the informational sheet you hold in your hand or virtual hand , this record will have no formal promotion. There will be no advertisements, no press or radio promotion, no promotional or review copies, no promotional gimmick items, and otherwise no free lunch.
Photos of the band are available. And the band is available for email or telephone interviews. The band will continue to play shows or tour at the same sporadic and relaxed pace as always. There is no correlation between shows and record releases. It's an incendiary and mindblowing set, comprised of some of their most recognisable pieces. Recorded perfectly, and performed as if you were there. Bruce Springsteen Western Stars Columbia. Cat Number Release date 14 Jun ' Ron Aniello produced the album with Springsteen and plays bass, keyboard, and other instruments.
Patti Scialfa provides vocals and contributes vocal arrangements on four tracks. The musical arrangements include strings, horns, pedal steel and contributions from more than 20 other players including Jon Brion who plays celeste, Moog and farfisa , as well as guest appearances by David Sancious, Charlie Giordano and Soozie Tyrell. The album was mixed by time Grammy winner Tom Elmhirst. The Boss is clearly one of those people as the most recent outing shows Bruce in fine form, flitting perfectly between the southern country rock and hands-in-the-air balladry we've come to know and love.
Classic Bruce. Cave In Final Transmission Hydrahead. Cave In's sixth album, and the first since bassist Caleb Scofield died in March Originally intended as demos, Final Transmission marks the first Cave In album in eight years and the bands last with Caleb, who performs on all of the songs. Caleb's voice, musical and physical, are everywhere on Final Transmission. The opening title track is a voice memo of a song idea he sent to his bandmates the last time they saw each other. All proceeds from Final Transmission will be given to Caleb's wife and children. STAFF COMMENTS Barry says: I remember listening with absolute awe at 'Beyond Hypothermia' and 'Until Your Heart Stops' in the dying minutes of the 90's and being equally blown away with their more space-rock orientated diversion on Jupiter and beyond, but this as well as being a stunning tribute is the peak of their influences and drive distilled into one stunning package.
Absolute peak Cave-In. Meant as a companion piece to The Transition, The Cell picks up where The Transition left off, with David continuing the search to find his place in the world. With Allred recently collaborating with the splendid Peter Broderick, and he in turn collaborating with Chatal Acda and the superb Bridgid Mae Powers, the musical ouroboros continues to produce the goods. Allred is a hugely talented individual and clearly knows exactly how to accentuate his beautiful pieces with the help of some good pals. The melodies are brighter, the sound is bigger and the vision behind it more finely-tuned.
For example, new single "Say Something" is 'about speaking up for what you believe in; a call to arms for future humans to stand up against the AI systems which govern a now-dystopian world. He meditates daily, something he adopted partly in response to his issues with anxiety, and something which has shaped his worldview and informed his writing and production process.
On "Origin", Rakei has scaled up his ambitions, and is more confident in the way he goes about achieving them. Making tracks that speak more confidently, in brighter colours, and which deal with something bigger than himself. He channeled the classic songwriting and musicality of his heroes Stevie Wonder and Steely Dan, striving to surprise and delight with the form of his work, and always infusing it with the same effortless swing and human feel that he fell in love with listening to A Tribe Called Quest, Pete Rock and 9th Wonder. Absolutely gorgeous stuff! This might be the first hip-hop braggadocio song that invites us all to feel the same about themselves as long as they connect to the spirit and truth that is inside this song and inside us all.
Blu adds, '"Power To The People" is a call to the people, a call for the people to unite. Unification is power, power in numbers. His newest project, Anatolian Weapons, was conceived as a way to bring together these two seemingly mismatched concepts, with the polyrhythmic percussion and wailing tones of Greek folk music serving as their unlikely bonding agent. Created in tandem with Greek folk musician Seirios Savvaidis, it is a work of simultaneous collaboration and subtraction whose meticulous construction becomes more apparent with every listen.
An album-length exploration of what happens when the principles of dance music are applied to pre-digital musical modalities. It is a record of psychedelic folk music that has more in common with Kikagaku Moyo, Minami Deutsch, and the Habibi Funk label than it does with anything else Baltas has produced under any alias.
Savvaidis chisels his vocal melodies into hard, clipped syllables, their cadence recalling Gregorian chant, and yet Baltas cloaks these details in washes of distortion. That repetition and drone can shepherd us to a liminal space beyond thought and rationality, where the wall between perception and reality does not exist. Call it spirit, if you want, and watch as it courses its way through modern-day dance music, mid-century psych, and the ancient sounds of the anatol.
Ruf Dug's remix takes it to palm-sheltered tiki bars, taking shade from the blistering sun while the chef fries up some sardines to a backdrop of washed-out hippies and optimistic young adventurers. It's perfectly suited to the current landscape and sees our man keep is feet in his newly annexed purple patch. Restored from vinyl and mastered by Thomas P Heckmann at Trope. Cut by Andreas Kauffelt at Schnittstelle. Full colour cover with artwork by Mel Keane. This week he's getting totes emosh with the cowbell on born Italo curio "No Matter".
Tune in next week to catch up on the tropical cyberpunk's next adventure Naples on his newly minted ANS label. Carrying on the theme but certainly refining the alchemy into purer form, the 10 tracks here are faultless thru n thru; delving into a hypnotic house meditation that's unique yet beautifully digestible. Mining the best elements from dub-techno, deep house, VHS hued box jams and soaking the mixture in a lysergic acid before distilling and crystallizing into the double LP of noxious fun you have here. A red-shift, house music transmission filtered through fluorescent static, from a lone crazed genius working out on some other dimensional sound station.
Naples has produced. Ten tracks of faultless, fractal house music for the Big Trips and breakthrough doses. Ealom formed the band with drummer Darren Albert and guitarist turned bassist Rob Greene in Hill joined the band after helping engineer early recordings in The name was taken from a popular Playskool doll of the s. PVC transparent sleeve.
Art, Music, Life…An Independent Voice
Sound of vinyl download card. Doom Days marks something of a shift in perception from its widely acclaimed No. Doom Days finds Bastille at their most lyrically provocative, most accomplished, and most vital. It taps into globally felt worries whilst also working on a much more intimate level. Setting the album over the course of one night allows the band to hold a mirror up to the world using personal, relatable situations.
Crumb Jinx Crumb. Encouraged by the warm reception online and at shows, the band evolved into a full time touring and recording project. In June , Crumb will release Jinx, their first full-length album and best distillation to date of their singular blend of psych-rock and jazz. On Jinx, Ramani continues to helm the songwriting, with Aronow, Brotter, and Gilad each bringing distinctive ideas to match her ethereal, intimate vocals and luminous guitar lines.
The album was written and recorded over a two year period where ideas and arrangements were allowed to slow-cook and develop over time, in contrast with the last album "The Dragon Flies Away" which came together relatively quickly for the duo. The music comprises the usual for Bamboo mix of Horwood's flawlessly resonant folk cadence and Carlisle's pristine synth production, whilst TR drum machines and samples lock together with acoustic drums, themselves often given the "Tony Visconti" Eventide Harmoniser treatment of Berlin-era Bowie albums.
Ancient ARP synthesisers and Mellotron flutes and horns sit next to contemporary digital sounds and samples in a hauntological tapestry over which Horwood can intone her sometimes mournful, often uplifting vocals. The first single taken from the album, "Weeping Idols", reflects upon a recurring theme of religious dogma and spiritual entrapment, and is accompanied by a stunning video shot by Jack Barraclough around the North Coast of Northern Ireland, taking in the Giant's Causeway and the Kinbane Castle ruin. In the title track we see two perspectives of women spanning time and geography, Horwood drawing inspiration from the personal and also political.
In a Russian match stick worker looks out of her window dreaming for a better life; in a Filipino maid in Hong Kong yearns to return to the children she has left behind. Both share a revolutionary spirit, protesting and fighting for a new world. Here we track the journey of a displaced people who are rejected from pillar to post, prevented from crossing over political lines, judged by fellow humans by their few differences over their myriad similarities. Bar the brief instrumental coda "Tenebrae", the album ends on an optimistic note with "A World Is Born", an upbeat song of renewal.
Horwood sings of the creation of a new world for a new generation, out of the ashes of a society stagnating under the collapsing weight of late capitalism. Saxophones provided by Emma Gatrill her second guest appearance on the album answer each vocal line in call and response style over more harmonised drums reminiscent of Bowie's "Low". Carlisle originally wrote the music following the death of Bowie, and Horwood added some Prince-like backing vocals Prince having been name-checked in the title of the first Bamboo album.
Although her lyric makes no reference to the loss of these giants, their influence hang over the song in a way which can only add to the sense of hope and rebirth, a sense which is indeed felt throughout the album. The local Kentish countryside provides ambient noise. Melodien Enantiodromia Polytechnic Youth. Eight kosmische flavoured synth pop nuggets, heavy on nods to the sky label oeuvre of later Cluster, Wolfgang Reichmann, Harald Grosskopf, Deutsche Wertarbeit and co; yet with a freshness and boldness very much of today.
A wonderful record released on tasty transparent ochre wax in a pressing of so be quick…. Listening Center Retrieving Polytechnic Youth. Often playful, always diverse and with extraordinary depth- this is just wonderful! Fishman lives and works in Detroit, where she teaches painting at the Cranbrook Academy of Art. She spent a sabbatical in New York last year, and late in the summer I had the opportunity to visit her in her studio. Fishman spoke at length about drugs, systems of dependency, and the insidious nature of healthcare in America.
While I had prepared to discuss her geometric abstractions, her candor came as a surprise. We remain one of the few industrialized nations without universal healthcare. Furthermore, many American citizens take a cocktail of prescription and illicit drugs to simply feel normal. Fishman is a painter with the concerns of a sculptor, making paintings that require high levels of production. Her studio practice includes manufacturing uniquely shaped supports and consulting with automotive paint specialists to get the background she needs to achieve industrial finishes.
As I waited in the lobby of the Experimental Theater to see Juliana May's Adult Documentary , amid a scrappy installation by Franklin Evans composed of paper detritus and neon tape, I felt unmoored, uninitiated. Had I not read enough Butler or Sedgwick or Baldwin to fully understanding the goings-on? Has realness become institutionalized as yet another countercultural phenomenon that has been converted into an academicized aesthetic proposition? Sound bites from the crowd began to tell me a thing or two.
A young woman behind me said to a well-known choreographer: "I just wrote about you in my grad school application. I mean, I don't even know if I want to go to grad school, but it's, like, so hard out here. So I did that and, you know, walked away with a PhD. Though May's piece seemed milquetoast and insular full as it was of inside jokes about dance that made the dance-world folks in the audience chuckle to themselves , it became clear that a venture like American Realness is absolutely vital.
The conversation and kvetching and posturing and flattering that was going on before the doors opened galvanized the spirit of realness, which at its best foregrounds both attitude and inclusion. In a political moment where feelings of anger, alienation, and profound uncertainty are reinforced daily, American Realness continues to be not only an outlet, but a lifeline. The show presents recent drawings by the Illinois—based artist. While a younger generation of artists, led by Katharina Grosse, Carol Bove, and others, are finding renewed significance and surprising rewards in extemporaneous abstract painting and sculpture, certain veterans like Emily Mason never lost faith in its limitless possibilities.
Mason is heir to a long lineage of artistic forebears, perhaps most notably her mother, Alice Trumbull Mason, who was a founding member of the American Abstract Artists group in the mids. Her expansive and elusive compositions in some way establish a vital link between Abstract Expressionism and Color Field painting.
Emily Mason, a painter whose work represents both a unique marriage of understatement and gestural expression and a union of vibrant color and minimalist reserve, receives an examined look at her recent work at Ameringer McEnery Yohe Gallery. Waves crash. The skeleton of a huge ship rises through scaffolding.
Fishermen haul in their catch. Shoreline plants take on a delicate purple hue. The exhibit is also a chance to reflect, or learn about, the significance of that northern neck of the woods to the visual arts. Though he is considered one of the pioneers of abstract expressionism, during his long career the German-born painter-turned-U. Born in , he was first drawn to Impressionism. There is perhaps no genre in painting today more unassuming than the floral still life. Even at the height of Western genre painting, which reached its apogee in Northern Europe in the 16th and 17th centuries, the still life was considered to be the lowest within the hierarchy of painting, far behind history painting, landscape, and portraiture.
Though the modernists played with vases and flowers, distorting them into Cubist near-abstractions, or incorporating collage in ways that were revolutionary at the time, still life innovation may have peaked in that era. But perhaps, in the current arena of painting, the very act of still life painting can be transgressive, a flagrant rejection of other popular tropes. As such, the gusto of More at Mrs. Gallery in Maspeth, Queens — a two-person show featuring paintings by Sarah Bedford and Tracy Miller — is at once daring and sweet, both a refreshing revitalization of the still life as subject matter, and a cheery antidote to the doldrums of so many other painting trends.
The exhibition presents a series of recent paintings by American painter Emily Mason b. Known for works that celebrate the expressive possibilities of color, each painting by Emily Mason are impregnated with individual mood and captures specific emotional and chromatic temperature, invigorated with her nuanced touch. Sheets of vibrant hues with varying density fill across her canvases, as flat expanses merge with delicate clusters of pigment, creating deceptively complex compositions. Over six decades, the artist has explored through her distinctive style of lyrical, luminous abstraction, which reflects through her paintings executed in oil, carrying a sense of intriguing intimacy combined with uncompromising yet gentle intensity.
The Fountainhead Residency provides artists an environment to create, converse, inspire and be inspired outside of daily routines and traditional confines of their home life. In addition to creating work while at The Residency; artists attend openings and talks, visit museums and galleries, and receive vital feedback from art professionals through one-on-one studio visits and public open houses.
In numbers, they represent a mere fraction of the present art world, and there was reason to expect the list would grow. By contrast, in New York in the s, artists pretty much were that world, and one divided into several barely tangent circles. It looks the way history looks before the various MoMAs get their sanitizing hands on it: funky, diverse, down to earth, with things to teach us now.
There will be an open house from 12 to 5 pm on Sunday, 22 January Julio Larraz, extraordinary draftsman, painter and sculptor, is the quintessential embodiment of the post-World War II Latin American artist. Unmasking the angst of humanity, he sets out a new reality and politically conscious self-identity for existence in the modern world. Friday 10 February, 5pm to pm. The Medal of Arts award was initiated by Art in Embassies in to formally acknowledge artists who have played an exemplary role in advancing the U. Department of State's mission of promoting cultural diplomacy.
The exhibition presents large-scale oil paintings that are figurative, psychologically imbued, beautifully rendered, and wonderfully sublime by one of the most significant Realist painters of his generation. Bo Bartlett is an American realist with a modernist vision whose multi-layered narrative work falls within the tradition of American realism as defined by artists such as Thomas Eakins and Winslow Homer to Edward Hopper and Andrew Wyeth. Like these artists, Bartlett looks at America's land and people to describe the beauty he finds in everyday life.
Examining the New York art scene during the fertile years between the apex of Abstract Expressionism and the rise of Pop Art and Minimalism, Inventing Downtown: Artist-Run Galleries in New York City, — is the first show ever to survey this vital period from the vantage point of its artist-run galleries—crucibles of experimentation and innovation that radically changed the art world.
With more than paintings, sculptures, installations, drawings, photographs, ephemera, and films, the show reveals a scene that was much more diverse than has previously been acknowledged, with women and artists of color playing major roles. It features works by abstract and figurative painters and sculptors, as well as pioneers of installation and performance art. The release is accompanied by an installation, entitled XLtime, created by visual artist Franklin Evans made in collaboration with XL. And while he took up abstract painting in the s as a hobby, and was featured in a few local shows, he was never successful enough to devote his full time to art until, after 35 years in journalism, he finally turned to it Julio Larraz Havana, is known for a distinctive, almost metaphysical approach to painting and composition.
The contrasted aspects of the show do merge, as the artist uses the apt metaphor of memory to deconstruct the conceptual framework of time that runs throughout the exhibition.
John Sonsini | The Brooklyn Rail
Weisman Collection. Brightly colored stripes multiply in rhythmic repetitions across the surface of a painting by Gene Davis. Remarkably original when they first appeared in the s, these paintings became the signature expression for one of the leading Color Field painters. With no more than a rectangular canvas and multicolor stripes, Davis created a richly varied body of work that looks as fresh today as it did when it first was shown.
The large size of most of his canvases from the s requires a viewer to consider the relationships and rhythms over time, more like a musical composition than the dynamic, colorful, pop art images that emerged at the same time. The show includes works on loan from the Berkeley Art Museum, as well as from prominent American and European museums and private collections.
Additionally, the show weighs his exploration of his experiences and influences in his chosen homeland of America, while simultaneously emphasizing his theories and work, which made him an especially significant artistic mediator between the continents. Despite his fundamental importance to the development of modern art in America—where prominent exhibitions were devoted to him during his lifetime—Hofmann remains less well known in Germany and Europe as a member of the Modernist avant-garde.
The exhibition will be on view from 5 November through January with an opening reception on Saturday, 5 November, from 4 to 7PM. We know painter Wolf Kahn for radiant colors and landscapes that are more about formal and tonal relationships than they are about place. But in the s, Kahn dwelt in the shadows. His paintings from that period make up the last exhibition at modernist gallery ACME Fine Art, closing its doors after 15 years.
Owners Jim Bennette and David Cowan will continue their art-consulting business. You can see Lee's mind-blowing photo-realistic portraits in the "Deadly Friends" exhibit now up at the Huntington Museum of Art as the internationally known and shown L. Thursday, Oct. Lee will stay up on the hill this weekend to present a three-day workshop at HMA titled "Drawing Realism" from 9 a. Friday through Sunday, Oct. Visit www. Her large scale mixed media oil paintings are found in the public collections of the Solomon R.
She graduated from Brown University with a double major in fine arts and mathematics. In Isca was a visiting artist at the American Academy in Rome. The ideas and impulses behind this enduring term, however, took shape decades earlier, in his teachings, writings, and in his own paintings. Push answers with pull and pull with push.
His work is influenced by the architecture of the space, inspiring the form and space that he, in turn, will present to the viewer to engage with. Evans, who trained as a painter, is interested in materiality and incorporating paintings into an environment. I had a great conversation with American figurative artist Bo Bartlett. Bo is highly revered and his work is collected around the world in private collections and museums.
This is a long conversation and as we got deeper into it Bo talked about his experience of life and death and the underlying philosophy of his work and life. For "Small Changes Every Day," her recent series at Richard Heller Gallery in Santa Monica, Bennett started with an 8-byfoot hunk of plastic foam and built a model of an undisturbed patch of verdant terrain.
She painted a portrait of the land as seen from above, a handsome Eden dotted with ponds and etched with streams. During this workshop, Patrick Lee will share the specific techniques he uses to achieve a photorealistic look in the portraits he creates. He will teach other artists who are looking to accurately capture an individual or an object how to use pencil graphite. Lee will explain his process, from approaching individuals on the street and photographing them to editing images and choosing what will hopefully be a compelling composition.
In addition he will tell the stories behind his drawings in the gallery and help participants focus on how to pick subjects to draw. Drawings will be based on photographs the participants provide and will take shape over the three days of the workshop. SOHO — Vesuvio Playground will double as an art gallery for the month of October, featuring a mural project by downtown-based artist Isca Greenfield-Sanders — and the help of more than local kids. The installation, entitled "Playground Parachutes," includes four large-scale murals that Greenfield-Sanders gridded into 72 square tiles printed in four basic colors: blue, pink, yellow and black.
Teaching artists at the Children's Music of the Arts CMA in Hudson Square took the tiles and helped more than children fill them in with colored pencils, before returning them to Greenfield-Sanders so she could reassemble into four parachute images. Featuring all new works, Bennett's dreamlike scenes depict a miniaturized world playing at reality. Bennett designs and paints from miniature 3D models, allowing her total creative control of the scenes she imagines. She is able to manipulate composition, light, and vantage point, often in an attempt to simulate the inadequacies of memory, dreams, and the imagination.
Many of the canvases have not been exhibited since the year that they were created. The show will open on Friday, 30 September, and run through 26 November, with an opening reception held Friday, 7 October from to in the evening. The New York-based artist Isca Greenfield-Sanders transforms old slides by scanning and gridding them, and then applying multiple layers of watercolor, colored pencil, or oil paint.
The resulting painting blends photographic and painted elements to reimagine scenes of beach vacations or Nantucket outings. Journals, preparatory drawings, and palettes piled high with miniature cliffs of oil paint are just a glimpse of what Bartlett has donated to his center. The mid-career retrospective also features his latest work, along with his cache of props and ephemera, many of which are dutifully rendered in the works themselves.
He proudly carries on the American lineage of Winslow Homer, Thomas Eakins, and Norman Rockwell, but there is an oddity about his works that creates psychological pause within the viewer, and sets him apart from the Realist tradition. In response, the term Magic Realism is being revived. It went on to become the clearinghouse of the first internationally successful generation of American painters. A studio interior, from , has the bright blues and violets of Matisse, but the orange pigment of a chest of drawers bleeds past its contours, onto the wall and the floor, prefiguring a combustible abstraction of , whose uncontainable splatters offered a new model of creation.
In a season dominated by group shows, here's a nice solo show of Hans Hofmann's work. Hofmann, the German-born and later New York-based artist, is best known for his abastract paintings that feature layered geometrical forms against non-figurative backgrounds. Having been one of Harold Rosenberg's favorites, he quickly achieved fame and went on to inspire many more. This show should be a nice, light survery of a big-name artist at a time when many other galleries have turned over their spaces to lesser-known artists.
Composed by hand and painting knives, each stroke relays a rhythmic action that draws in the viewer to engage and react to every movement.
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The artist becomes absorbed; she physically responds to the canvas, creating a visceral and intuitive dialogue. On view October 22, — January 22, , this exhibition surveys the state of representational painting at the beginning of the 21st century and features approximately 40 works by 20 contemporary realist artists from throughout the United States and Canada.
New York - Cara Gallery is pleased to present Relevant Notes, a collective exhibition that presents a dialogue between the work of 11 artists to explore the boundaries of disciplines among installation art, land art and architecture. Studying their sustainability in the natural environment, these artists take the location and materials of their work into careful consideration using cultural, political and environmental histories to create art as a catalyst for change.
He was a contemplative. Now this is art that truly takes you places. A portrait of a federal judge that Columbus artist Bo Bartlett worked on for almost two years was unveiled Thursday night in a Washington courtroom. This exhibition highlights the generation of hyperrealist painters after the Second World War. In the aftermath of Pop Art, the hyperrealists portrayed and criticized the American consumer society in a fascinating semi-photographic style.
Life on the South Fork of Long Island is based on and intrinsically connected to the water, and this show explores water, bodies and the inevitable meeting of the two. The works in this exhibition depict the sea, the shore, the pool, sunbathers and the nude as a lively and expressive genre that interweaves themes of natural beauty and the nature of pleasure. Yunhee Min is a master colorist whose signature works—often featuring geometric color blocks in rainbow hues—have graced museums and galleries across the country. Her latest paintings continue that exploration of color, this time for a solo show at Ameringer McEnery Yohe, the New York gallery now representing the Korean-born artist.
Employing a time-based process to create these works, she continuously scrapes, sculpts, and re-works the paint until it hardens on the surface. The grey is the result of color being consumed, of constant editing. The grey is the result of a thousand paintings that got destroyed in the process of making a single one.
Yunhee Min is an artist based in Los Angeles. She is interested in painting as foremost a studio practice, where hands-on engagement with the material and the activity of making take priority. Although she has explored the cultural, social, and historical dimensions of signification of color in her previous work, she is currently interested in the potentialities of color as pure sensation.
Working primarily in colored pencil, Green draws images that are meant to change our perceptions by illustrating the subtleties between moments as light changes and objects are mysteriously moved by unseen occupants. Shades of gray a little sexual, yes with small hints of colors, concentrate the attention of the viewer onto the folds and smears of the lush materiality of the paint, drawing our attention to the shifting surfaces, with a surprisingly vibrant near-monochrome. They act as a form of memory storage for the here and now, tracking the allotted time and focused attention, her identity contained in the struggle between meaning, aesthetics and the personal.
It's not impossible to master space and time, apparently. If you're artist Eric Green, all you need is some graphite and a nice set of colored pencils. The exhibition opens at Kunsthalle Bielefeld on 5 Novemer and remains on view through 26 February It will travel to the Musee National d'histoire et d'art - Luxembourg and be on view from 28 September through 14 January A third venue for the exhibition will be announced.
Compared to solo exhibitions, group shows can seem unfocused—the artists arbitrarily arranged, their works adhering, however loosely, to a central theme. The show, featuring pieces by four artists, was specifically and intentionally planned down to the last detail.
The most striking moments occur in the mirrored works: each panel contains two identical renditions of the same space with the upper half the first drawing in an upright orientation while the lower part second drawing is rotated by degrees to form a mirrored counterpart to the upper half. The Spanish-born artist Esteban Vicente, whose career spanned eight decades, seemingly did it all.
Arriving in the U.
shattered illusions Manual
New York-based Portuguese artist Nuno de Campos created a series of portraits based on short stories and novels originating in Goa. Inspired by Robert C. Indicative of this moment are two trends in representational painting—the depiction of the natural world and the creation of fantastic imaginings. Each artist will be represented by multiple paintings including a new series of tondos by Lenaghan and four pastels by Jacquette.
Larraz creates monumental works of art that are majestic and refined, but still somehow accessible. His works, though painted naturalistically, are often highly imaginative, and this duality is what draws the viewer in. Larraz has had an impressive career dating back to the s when he drew political caricatures for the New York Times, The Washington Post, The Chicago Tribune, Vogue Magazine, and other publications. He is the recipient of an award from the American Academy of Arts and Letters and his work can be found in museums, galleries, and private collections all across the globe.
I had the great honor of speaking with Larraz about his work and what he thinks his art means. Liat Yossifor's calm yet dynamic grey works convey the very language of painting through every decision, hesitation and fearless swipe, scrape or whisper-soft marking. Rod Penner's paintings to be featured in "Photorealism.
When John Sonsini began painting Latino day laborers in Los Angeles, California, around , his intentions weren't quite political. They were practical. The subjects were available and abundant. A Los Angeles-based artist best known for his portraits of Latino day laborers, John Sonsini adds a conceptual twist to his portraiture by paying his subjects their normal hourly working wages to sit as his painting models.
Working with rough, lively brushstrokes, the artist renders the faces and figures of men seeking daily employment on the streets of L. A solo exhibition featuring new paintings and sculptures by Iva Gueorguieva opens 5 February and is on view through 14 March The opening reception is 5 February from - 9 pm. Isca Greenfield-Sanders has with her oil paintings spellbound a large audience in the US.
Her paintings in the exhibition All Roads in My Mind depict scenes that most of us are familiar with: a boat trip or a summer day on the beach, and you can almost feel the wind in your hair, touch the sand and feel the warmth of the sun on your skin. Isca Greenfield-Sanders utilizes private photo slides found on eBay and from the chosen photographs she arranges parts and details into her work.
The people she portraits are anonymous to her but also to the viewer by the way they are depicted, often from a distance and without any distinct characters. Her use of color and at times abstract fields in her paintings bring to mind painters like Claude Monet, Winslow Homer as well as the Swedish artist Carl Fredrik Hill.
Audacious: Contemporary Artists Speak Out officially opens to the public February 21, and will be on view through February Each square of the hundreds of crossword puzzles from newspapers and magazines, mounted on archival Tycore, is tinted with a drop of watercolor, estimated at , drops per panel. The process of creating these works must be as rigorous and contemplative as the resulting images, which are at once visually arresting and psychically soothing. The fluid color counters the rigid geometric patterns of the crossword sections in each work, instigating a luminous, pulsating surface.
The overall feeling must certainly correspond to that of finishing a particularly complex puzzle. As Stephen Dean was on his way back to the studio after a quick stop at the Outsider Art Fair last week, Artsy caught up with the artist to hear about his current show at Ameringer McEnery Yohe—comprised of a series of huge crossword puzzles, dotted meticulously with color. These works are counterposed to a set of smaller drawings on Chinese calligraphy paper, where glass-head pins punctuate evenly spaced intersections. In his sculptures, videos, and works on paper, Dean often approaches color with a scientific perspective.
In Aikido Dream, his new solo exhibition at MCA Santa Barbara, the Los Angeles—based artist Tam Van Tran slips sideways through the gaps separating painting, drawing, and sculpture, using multiple procedures and unusual materials chlorophyll and spirulina but also Wite-Out and staples to create densely layered objects, some of them quite beautiful.
Morphology of Archive , an international exhibition featuring the work of thirty three artists curated by Sabitha TP and Lina Vincent, is conceptualised around connected migrant histories of Goa. Goa has been an active site of trade and conquest from the years of medieval Kadamba rule to the more recent years under the Portuguese, profoundly shaping its architecture, music, cuisine, customs, and morphing identities.
It is this deep cosmopolitanism in the internal and external landscape of Goa that this exhibition reflects. Morphology of Archive is a multimedia artistic engagement with the archive of transoceanic associations with Goa, its memories of other places, other peoples, other visual and tactile cultures that have all gone into the making of its diverse identity.
They present moments in time that exhibit specific natural and subconscious occurrences. In a way, her handling of light and movement of natural elements makes her a contemporary Impressionist painter. It has been an exciting year for contemporary art, with a young generation of artists pushing the boundaries both in terms of materials and subject matters. But with so much going on it's easy to miss out.
In an effort to capture the moment, we at artnet News have put together a directory of the most exciting artists showing, living, and working in Europe at the moment. Here's Part Two of our list, continuing yesterday's Part One. Octogenarian painter Wolf Kahn—who was among the second generation of the New York School artists—continues to paint every day. Ameringer McEnery Yohe celebrates his recent work with a solo exhibition, featuring the luminous scenes of barns, rivers, meadows, and wooded New England landscapes for which the much-lauded artist is known.
Guy Yanai is an Israeli painter living and working in Tel Aviv. His work often depicts everyday objects and places using vibrant colors and simple shapes. Like snapshots of memories, the paintings feel familiar and yet detached from reality, bridging a wonderful divide between then and now. Julio Larraz describes the vivid images that he paints as visions that come to him as dreams he sees during the day.
There is a mixture of it. I prefer to take something and see it from fresh eyes, rather than see it forever. On the eve of his recent gallery opening in Chelsea, Julio Larraz met with Cuban Art News publisher Howard Farber for a second, wide-ranging conversation following their earlier interview. You could say that L. The latest iteration of Bloom Projects, which will go on view the same day, debuts a newly commissioned site-specific installation by Brooklyn-based artist Michael DeLucia, whose work addresses the condition of sculpture and spatial relationships in the technological age.
An opening reception for both exhibits will be held from 6—8 p. Saturday, Nov. They will be on view from Nov. Shila Khatami b. Smartly dressed gallerygoers spilled out of brightly lit spaces all in a row Thursday, on what seemed like an evening of openings. Past a whiff of wine from the makeshift bar flanking the entrance to Ameringer McEnery Yohe, a loud din filled the warm room, ceasing for a moment only when a glass shattered on the floor.
Julio Larraz may not have started an actual salmon club like his mother suggested, but he did become and continues to be an essential and illustrious figure in the art world. The work of Larraz belongs in no recognized genre. His paintings, all saturated with striking colors and sharp light reveal a world of metaphor and pre-meditated dreams inspired by Julio's past, present days and his small, poetic daily observations.
In diplomatic circles, the thaw in Cuba-U. But the same cannot be said for the art world. The past few months have seen several major gallery shows of contemporary Cuban and Cuban-American artists—and nowhere more than New York City, where no fewer than seven solo and group shows will be on view this month. The jungle is a magical one, dense with dangling vines and voluminous blossoms awash in green and gold glitter. The foliage sways in the breeze, casting glimmering shadows that dance on a nearby wall to the chorus of crickets chirping, leaves rustling and crows cawing.
Many of the works are created newly for this presentation. Fox, is on view from September 27, through January 3, An illustrated catalogue including texts on each artist will accompany the exhibition. The six canvases that make up Pre-Verbal Painting share a monochromatic color palette, mostly consisting of a light gray, almost white, with hints of blues, yellows, reds, or greens showing through. Iva Gueorguieva's paintings are tighter than ever -- and just as loose as they have always been. Gueorguieva collages, dyes, draws and paints fervently across every inch of each canvas or cardboard surface, playing every instrument in the orchestra and acting as the conductor as well.
Her new work at ACME is riveting. Paraphrasing Dave Hickey, who wrote a great essay that accompanies Michael Reafsnyder's latest catalog for his solo show at Ameringer, McEnery and Yohe, Michael is considered a radical, not so much because of how we look at his paintings, but more because he is concerned with how we look at paintings in general.
He is a radical who for many years has revived Abstract Expressionism painterly traditions, in his own way. Spreadsheetspace is a new installation by Franklin Evans using the grid and organizational format of the Excel spreadsheet to construct a three-dimensional painting space. The installation shows the how and what of painting, memory, and the construction and navigation of studio practice and the art world. This exhibition will address this theme in its broadest sense, serving as a framework for exhibiting and interpreting a wide range of different works of art.
Are we a product of our DNA or of our environment? The classic construct of nature versus nurture as debated by philosophers and scientists will be only one dimension of this multi-faceted exhibition. Opening reception: Friday, September 25, pm. Susanne Vielmetter Los Angeles Projects is pleased to announce, movements, Yunhee Mins fifth solo exhibition at the gallery. In her new work, Min continues to explore the sensorial potential of color, light, and gesture.
Movements refers both to literal and suggested motion and change: her gestures on the canvas, the viscosity of her paint, and the way these actions combine to produce a shifting spatiality within her compositions. These paintings neither suggest infinite depth nor firmly reinforce the flatness of the support; instead there is continuous expansion of space generated by the relationship of each movement to the next. As such, the exhibition, Liat Yossifor: Time Turning Paint, will explore abstraction as a political form and question the efficacy of both the medium and the genre as well as its relationship to artistic practice in the twenty-first century.
Stephen Dean is a French-American artist based in New York City whose work summons the mesmerizing physiological and cultural qualities of color. He employs a visual language that explores the saturated edge of the color spectrum through large-scale celebratory videos, sculptures and works on paper. Included in the exhibition is a new monumental painting that consists of 5 panels that wrap around a corner of the room, with one panel on the left wall and the other 4 panels continuing to the right wall forming an L-shape.
Included with Gueorguieva's new paintings will be three new sculptural works that she produced during her ongoing residencies at Graphicstudio in Tampa, FL. One of New York's most energetic patrons of emerging artists, Carole Server has been collecting up a storm with her huband Oliver Frankel ever since they caught the art bug half a decade ago—helped by a keen eye and voracious visual appetite, in particular for paintings in all forms. The exhibition brings together new paintings by Guy Yanai and Matthew Feyld, and ceramics and sculpture by Peter Shire.
The canvases of California-based painter Michael Reafsnyder pulsate with energy. Layers of abstract marks bear the traces of their making as paint is directly applied from the tube, weaving together to create dense, intricate topographies. The exhibition focuses on the artist's public mural projects, and also includes several key later paintings. It features nine oil studies each seven feet tall for the redesign of the Peruvian city of Chimbote Hofmann's visionary collaboration in with Catalan architect Jose Luis Sert that was never realized. A renaissance of abstraction has recently surfaced cross New York.
The sine qua non of modern art, abstraction fell out of favor in the late twentieth century with the emergence of postmodernism and its concepts of paradox, pastiche and deconstruction. But at the beginning of the twenty-first century, abstraction has arisen from the ashes of its professed death with a power and potency rivaling its inception. The approximately works presented include photography, video, painting and installation. At the same time illustrate the different approaches, such as taking artists who sometimes still male-dominated art scene for themselves.
In contrast to surface treatment painting and drawing , where patterns and structures are planned out and built in. The interconnections are most evident in those fabrics where the desired results - the concepts of the artist - are achieved by structural means inherent in and inseparable from the craft itself [ The works of these artists explore their origins in relationship with who they are today while living in an environment that is culturally very different from where they used to call home.
Through art, they aim to express themselves and create dialogues on the representations of South America and how living in a different country has changed their perceptions and perspectives on the places where they come from. Drawing inspiration from childhood, identity, political issues and even food, being South American has a different meaning to each participating artist.
Word and image act as close companions, kindred spirits that aid the remedy to heartache and misadventure. Artists draw from narrative through the lens of printmaking, comics, poetry and sculpture. What impressions are left behind? Moira is destiny. A story describing a transition from light to dark, and vise-versa.
San Francisco Art Institute will be the first venue in a series of three to present works from 40 student artists selected as finalists for the XL Catlin Art Prize. The prize established a reputation as an insightful overview of emerging talent. Over submissions were received from different schools, both undergraduate and graduate programs. The shortlisted artists are enrolled at 24 different schools and range in age from 19 to The artists hail from four countries and 19 states.
The focus of the XL Catlin Art Prize reflects the reemergence of figurative art in the contemporary art world and seeks to support the next generation of American artists. Art Award exhibition, opening October The first prize and second prize winners will be announced at the closing reception on Wednesday, November The Prize also includes an audience award, to be selected via Instagram.
Be sure to log in and cast your votes! Clients look to XL Catlin for answers to their most complex risks and to help move their world forward. To learn more, visit xlcatlin. Founded in by artists, scholars and patrons of the arts, including Andy Warhol, the New York Academy of Art is a not-for-profit education and cultural institution which combines intensive technical training in drawing, painting and sculpture with active critical discourse.
Academy students are taught traditional methods and techniques and encouraged to use these skills to make vital contemporary art. Through major exhibitions, a lively speaker series, and an ambitious educational program, the Academy serves as a creative and intellectual center for all artists dedicated to highly skilled, conceptually aware figurative and representational art. To learn more, visit nyaa. The resulting show includes a diversity of media including painting, sculpture, video, photography, and performance. Art Instructors and the Art Directors of the community centers will also show their work creating a continuum of exploration, experience and artmaking!
Courtesy of City Studio. Mirrors, water, mind, literature and cinema all help us to see ourselves through a filter of a reflection[s]. What do reflections signify, how do they communicate? With Light Comes Soft Collisions is an exhibition of works from four artists that deal with the body in ways that are simultaneously fragmenting, connecting, revealing, and obscuring while also challenging traditional notions of photography and video.
Sophie Appel investigates intimate collaboration exchanged through the camera as the impetus for mixed media works. Colleen Donovan exposes the limitations of the camera and the bias of the image-maker, disclosing fragmented information. Eliza Phelan-Harder transforms and transitions plant bodies with a precise awareness of space and material, turning the gallery into an environment for collaboration with exposed expired photo paper.
With Light Comes Soft Collisions is an exhibition that is a collaboration of collisions—an exchange of participation, light, and bodies. As a noun, it can refer to a specific kind of wave that is not caused by wind. It can be a rounded elevation, like a mound. Or something that is protuberant, like a belly. It can be the gradual increase in music or emotion. As a verb, it can be used to describe something getting bigger, like a swelling black eye.
And as an adjective, it can be used to mean fantastic, or its sarcastic opposite, horrible. Come to The Swell Show to explore works in various media that may swell, be swell or not , or are themselves swells. Spanning many media including sound, painting, drawing, photography, sculpture and installation, this exhibition highlights the breadth of investigations currently underway. Shadows are a dark area or shape produced by a body or object coming between rays of light and a surface.
Without light, shadows disappear: the two ideas are interconnected. Light and shadow are used symbolically and metaphorically in the stories of different cultures. The idea of shadows has both positive and negative connotations. Join us in exploring Shadows. As artists we speak through making sense of the past: Within the formal tradition of still lives, alongside tracing and stripping surface to reveal a new materiality, by retelling and subverting the stories that stay with us.
Time is the invisible ink that sings in cities and moves with our marks. Memory is an interdisciplinary process. For this show, I want to convey that painting has always been my control, a tool that I use to orient myself in the world. I draw parallels between my own experience with psychological illness, composed of varying scenes ranging from the domestic to the distorted, and to the impact of mental health on the human experience writ large through the deliberate use of specific materials.
Corian for example a non-absorptive industrial material designed to withstand abuse and reject staining is indicative of the empiricism of the everyday experience. On the other end of the surface spectrum, my works on watercolor paper, express fragility, vulnerability, and appear reflective of irrevocable decisions, representative of the mutability of reality.
Designated material attributes such as these, allow for a conceptual depth to my images. When painted on, the tension between these materials becomes necessary counterpoint and results in a more cohesive body of work. To unify these two veins of exploration, I have left areas blank, reflected areas with mirrored components, and redacted particular elements with paint, emphasizing mark-making as an act of complete cognizance. Nearly 1. Much of this cargo arrived via container ships—massive vessels stacked high with multi-colored containers arriving from East Asia to drift under the Golden Gate and Bay Bridges and dock at the Ports of Oakland, Richmond, or Stockton.
Martin Machado is a visual artist and alumnus of San Francisco Art Institute who has travelled the world on international commercial vessels as a merchant mariner. His work takes the form of drawings, paintings, and photographs that offer a window into this often-overlooked system of global commerce that underpins modern life. As a result, these images consistently highlighted the drama and heroism of early explorers as well as the otherness of the subjects they encountered; artists such as Webber shaped the primary visual record of these early explorations through the lenses of colonialism and imperialism.
Still more depict unnamed shipyard workers who agreed to a portrait session for a hand-rolled cigarette, yet another form of exchange. In several other works on view— The Albatross and the Shipping Container , at the entrance to the pier, and Flotsam and Jetsam , two sculptures in the center of the space—containers from commercial ships have escaped their regimented place in the global supply chain and are adrift on the open ocean. They float alone in the sea unwitnessed or have run aground beneath a palm. His artwork is partially influenced by his experience with maritime labor, spending portions of his year working on international containerships and commercial fishing vessels.
These voyages and the crew he works with have become intertwined with the narrative of his artworks. San Francisco Art Institute would like to thank the artist, K. Courtesy of the artist and K. Imperial Fine Art. Artists in this exhibition attempt to question and reimagine the traditional definition and roles of gender, exam-oriented education, modes of communication and the value of mundane objects.
We make art about our family because if one drop of blood is in anguish how could we bear to make picturesque photos of trees. We make art about race because even deeply personal work is a reference to a body that we are always part of. A womb we never left. All around us our family is hurting, black men, woman, and children are being killed and the powers in place paint a picture of a world that seems just as bleak as the days before. Through all this we are often alone, the black student body of SFAI is 3. Ordinary objects become unpredictable when translated into paintings, collages, and photographic sculptures, suggesting a complex relationship between objects and lived experiences.
They create artworks that provide a visual experience of the everyday life while challenging the value of the goods represented and the status of the art object itself, questioning art's place, at base, as a commodity. The Emergency Has Been Everyday is the siren song of our radiated cities. Sounds from an array of conceptual core samples beckon the viewer to apprehend the unstable and often untrue strata we stand upon.
Within these layers lies a series of buried narratives. Permeating, proliferating, transmitting, these artists propose a sentinel that rings an alarm in the wake of dreams, comfort, security, and capitalism. Curated by Resolana. Influenced by the social and cultural histories of ceramic as utility, we seek to utilize the material and surface to both conjure and create our own mythologies. We are concerned with the spiritual and meditative intimacy that forms between the artist and clay. We accentuate this intimacy through manifesting imagery and forms that elicit our personal perspective of good and evil.
The Love Below presents art about eroticism, sexual freedom, sensuality and personal expression. This show embraces the different aspects of sexuality while exploring how it functions. What are the stigmas surrounding sex? How is sex represented and discussed in different communities and cultures, as well as amongst varying identities? What role does sex play in the contemporary political climate? How does sexuality function socially and artistically? The show creates a place to openly express individual experience and question sexuality, thus providing a forum for others to evaluate and discover the depths of desire and passion.
This work aims to provoke thoughts and questions about sex and its related topics as well as formulate responses and answers. Artists explore sexuality in relation to themselves and their world in many different ways and this is what The Love Below seeks to showcase. Swiss architect Philippe Rahm is known internationally for groundbreaking work at the intersection of climate, architecture, and physiological space.
Citing evidence that construction and maintenance of buildings account for nearly 50 percent of greenhouse gas emissions worldwide, Rahm offers a new set of questions around aesthetic choice: By what process does an architect, a designer, and even a painter or sculptor choose a material or a color for an artwork? What are the criteria for choosing one material over another, one color over another? In the context of accelerating climate change, Rahm argues that properties such as effusivity, emissivity, conductivity, and reflectivity should guide these decisions—a development that inspired Rahm to coin the term Anthropocene Style , referring to a new decorative style specific to our aesthetic and environmental era.
The exhibition centers on a series of spatial and physiological audience experiences involving prototypes of tapestries, carpets, and other materials. Rahm argues that minimalist Modern architecture, which in its spareness often relies on artificial heating and cooling systems that use precious resources and produce harmful elements, has hastened global warming and is unsustainable for the future. Might not climate be a new architectural language, a language for architecture rethought with meteorology in mind?
Between the infinitely small scale of the physiological and the infinitely vast scale of the meteorological, architecture must build sensual exchanges between body and space and invent new approaches capable of making long-term changes to the form and the way we will inhabit buildings tomorrow. It also furthers our goal, as an educational institution as well as a producer of exhibitions, of working with international artists and facilitating cultural exchange.
His work, which extends the field of architecture from the physiological to the meteorological, has received an international audience in the context of sustainability. The New Genres Salon was first initiated by faculty Keith Boadwee, and since his departure students have worked to continue the tradition. The Salon changes shape every semester: this semester joining forces with the Diego Rivera Gallery to show New Genres work in a more public location on campus.
Please come join us, see all of the fun that usually happens in the secret new genres house! Presented by the New Genres Department. Originating from a central focus, five artists uniquely branch in different voices and mediums. The works are all centered in the mythos, storytelling, and conflation of feminine and personal histories. Individually, the four reclaim power while creating community. Curated by Adea Guldi. The collaborative team of Eliza Phelan-Harder, Giuliana Funkhouser, and Kate Rannells have come together to create a sonic landscape that can be seen, felt and heard.
The built soundscape surrounding us all is often unconsidered, resulting in unavoidable immersive experiences that can be harsh and hostile for many. Even as our ears are desensitized and deadened to the urgent volume of everything, there are many instances in the world where layers upon layers of cacophonous sound continuously act upon our bodies.
This is an architectural space where echoes continue long after sounds have ended. Here, we invite you to explore and discover sonic experiences designed for an architecture that was built for sight, but not for sound. Friday, Jul 5, - Tuesday, Jul 16, Croner, Night Visions, abstract , Oil on canvas; 35 X 30 inches. Saturday, Jun 29, - Sunday, Jul 28, Opening Reception: In A Flash.
Mutually Assured. Friday, Jun 21, - Monday, Jul 1, Mutually Assured On View: June 21—July 1 Opening Reception: June 21 5—7pm Life on earth is bound by an intricate web of connections—multinational, economic, scientific, technological, and military agreements; ecosystems; immigration; the internet; academic exchanges; international travel; religion; DNA research; politics; social media; and climate change. Opening Reception: Mutually Assured. Saturday, Jun 15, - Monday, Jun 24, Opening Reception: More Than Years. Wednesday, Jun 12, - Tuesday, Jun 18, Saturday, Jun 8, - Sunday, Jun 16, More Than Years.
Friday, Jun 7, - Sunday, Sep 1, Closing Reception: More Than Years. Sunday, May 26, - Saturday, Jun 1, Volatile substances take over; beyond geography and architecture. Some are thick and visible, some invisible even lethal. Imagine volatile, elastic bodies, pliant self-identity and flexible cultural norms. Volatile subjects: resilient, fierce, unapologetic. A collective breath can fill any room.
Volatility is a play -a chance- on adaptability. During hardship, our capacity to adapt, question and propose- so vital. The spacing between the lines, the breathing while reading out loud. The air so thick we take movement up on our hands. BFA Exhibition. Saturday, May 18, - Thursday, May 23, Saturday, May 18, , PM. MFA Exhibition. Friday, May 17, - Monday, May 27, Wednesday, May 1, - Monday, May 6, Memory Under Construction.
Monday, Apr 29, - Saturday, May 4, Opening Reception: Memory Under Construction. Tuesday, Apr 30, , PM. Monday, Apr 22, - Friday, Apr 26, We hope you will join us. Monday, Apr 22, - Tuesday, Apr 23, In the fold. Saturday, Apr 20, - Wednesday, Apr 24, In a grid they try to organize, they create the illusion of organization in a chaotic place.
Opening Reception: In the fold. Monday, Apr 15, - Saturday, Apr 20, Leaving Marks. Monday, Apr 8, - Saturday, Apr 13, Opening Reception: Leaving Marks. Monday, Apr 1, - Saturday, Apr 6, Gentle Dispositions. Friday, Mar 29, - Wednesday, Apr 10, Opening Reception: Gentle Dispositions. Maya Stovall: Under New Ownership. Friday, Mar 29, - Sunday, May 5, Friday, Apr 05, , PM. Maya Stovall: Theorem, no 1 Performance. Friday, Mar 29, , PM. Going Through. Monday, Mar 25, - Saturday, Mar 30, Opening Reception: Going Through.
Smash the Dunes. Friday, Mar 15, - Wednesday, Mar 27, Closing Reception: Smash the Dunes. Turning Over Tendencies. Closing Reception: Turning Over Tendencies. Mending Distance. Monday, Mar 11, - Friday, Mar 15, Image courtesy of Blythe Feeney. Opening Reception: Mending Distance. Monday, Mar 4, - Saturday, Mar 9, Worlds Apart. Friday, Mar 1, - Wednesday, Mar 13, Opening Reception: Worlds Apart. Dress Up in The Woods.
Tuesday, Feb 26, - Tuesday, Apr 2, Courtesy of Margot Pepper. The Adventures of Robinson Crusoe Tuesday, Feb 26, , PM. Tuesday, Mar 05, , PM. The Little Giants Monday, Apr 01, , PM. The Young One Tuesday, Apr 02, , PM. Panel Discussion: Blacklist Exiles in Mexico. Photography Without Camera. Monday, Feb 25, - Friday, Mar 1, Opening Reception: Photography Without Camera. From the Tower: Andy Warhol. Wednesday, Feb 20, - Sunday, Mar 24, Monday, Feb 18, - Friday, Feb 22, With humor, yearning and a sense of everyday movement, stories are told. Friday, Feb 15, - Friday, Feb 15, Friday, Feb 15, - Wednesday, Feb 27, Opening Reception: P.
Friday, Feb 15, , PM. Art As Protest. Monday, Feb 11, - Friday, Feb 15, ART AS PROTEST On View: February 11—15 Opening Reception: February 12 5—7pm artist talk at In a world of narrowing perspectives and under constant attack from fake news and rhetorical hyperbole, art provides a means of communication that has the ability to push through societal barriers and expose the stark reality. Exit From Within. Sunday, Feb 3, - Saturday, Feb 9, Exit From Within On View: February 3—February 9 Opening Reception: February 5 5—7pm Three artists of different approaches and ambiguities come together through fragmentation of the body.
Opening Reception: Exit From Within. Opening Reception: Moments. Friday, Feb 1, - Friday, Feb 1, Friday, Feb 1, - Wednesday, Feb 13, Fleeting Moments. Curated by: E. Opening Reception: Fleeting Moments. Friday, Feb 01, , PM. Color Me Vibrant. Monday, Jan 28, - Friday, Feb 1, Tuesday, Jan 22, - Sunday, Apr 7, About the Artists Ruth-Marion Baruch was a documentary photographer, poet, and educator who was born in Berlin, Germany in Monday, Jan 21, - Saturday, Jan 26, Courtesy of the Diego Rivera Gallery.