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Masuda Hiromi born in Jokohama 1942 is a japanese glassartist. The installation, titled ‘Play the Glass’, is one of the artist’s most famous works, expressing his poetic creativity with a play on words. “Hiromi Masuda’s glass creations”, explains art critic Cristina Trivellin, “are not only objects of extraordinary beauty, but something much more profound, born from the passion and love for the subject they breathe
While staring at a painting by artist Titus Kaphar at the Yale Art Gallery, a man named Benjamin Vesper experienced a psychotic break and attacked one of the figures in the painting. Vesper was arrested and subsequently admitted to the Connecticut Valley Hospital where his full identity and background remained a mystery. During the course of his sessions with a psychologist, Vesper began to reveal
Zhanna Kadyrova started working as an artist at an early age, employing a wide range of media, with which she engages with the world and with history. Her practice has taken various forms, including video and performance, but it is her sculpture that brought her to the attention of critics and the viewing public. Regarded as a talent destined to establish herself on the international
Marco Paganini work appears like a box, a closed box. Each box has a different size, different measures, different structure, a different way to open up, a different arrangement in the space. Inside is the name of this work, because it is on the inside of these boxes that something happens. Is indeed “inside” of each box that a world exists, becomes possible and replicable.
Sabi Van Hemert, lives and works in Rotterdam. Hemert creates sculptures that are a fusion between child and animals. Her sculptures have a quality of alternately denying and confirming what you think you see in them and what feeling they give you. Because it is not immediately clear what you are seeing, the relation between viewer and sculpture is more complex. “I create images that
My recent work involves the literal collapse of three-dimensional objects and structures into the picture plane. These found, utilitarian objects are deconstructed and cut into sometimes hundreds of abstract fragments before being reassembled two-dimensionally. The negative space is filled with carefully fitted pieces of painted wood, creating a solid plane in which the object is trapped in a parody of its former perspective. Through this
Franklin Evans presents fourpaintingstwowallsiowatonewyork, literally four paintings on two walls replete with references to the past, including of his graduate school time in Iowa. The Volta walls mimetically reflect the studio walls on which the paintings were made, exposing the interior thought and memory driving Evans’ practice. Evans’ recent obsessive explorations of 1913 Armory and Matisse’s Blue Nude in that exhibition, Robert Irwin’s 1960’s
“My photographs are about removal: bringing people to nondescript locations, to places that aren’t recognizable, removing their clothes, capturing them with a very limited style palette. I try to think about how timelessness, isolation, and style interact”. Ryan McGinley, Artforum, September 2010. Ryan McGinley’s aesthetic has evolved over the past decade from a verité snapshot style to one that is more cinematic, even epic. More
Georges Rousse is unmistakably a photographer: his photographs are intrinsic to revealing his images, and deciding the composition, cropping and lighting and clicking the shutter are all essential to his process. But he is simultaneously a painter, sculptor, and architect, carrying out the same relationship to his worksites as a painter to his canvas, or a sculptor to his clay or marble. His raw material
In this series of works photographed old childhood friends with whom I no longer maintain contact and also individuals I have just met. The portraits were made during a conversation. From this encounter, I separated 10 photos of each one and, for the most part, I did not treat the photos with any particular color in mind, leaving the color and light as they were
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