Posts Tagged ‘Collage’

Jorge Macchi: Perspectiva at Museo de Arte Latinoamericano de Buenos Aires

Jorge Macchi. Monoblock, 2013; paper. Courtesy of MALBA.

Maps, clocks, dictionaries, music sheets, signals, and words are all different resources we have to decode our reality. By living under a unified structure, we can rest assured that our messages will be understood. A sense of normality is reinforced. But what lies underneath these layers of language? Can we realize how reality is built around us? Do we know how to dismantle the rules[…..]

Fan Mail: Jason Kearney

Jason Kearney. Untoward, 2015; digital collage; 9.8 x 11.8 in. Courtesy of the Artist.

Jason Kearney’s collage Untoward (2015) juxtaposes one figure against another, creating an ambiguous relationship. A man sitting at the wheel of a car gazes through the windshield at a man on a fainting couch. The man at the wheel has a perplexed look on his face (viewers can see him reflected in the rear-view mirror)—or maybe he is simply squinting from the sunlight. Untoward is[…..]

Cut-Up at Franklin Street Works

Phyllis Baldino. The Unknown Series, 1994–96 (detail); mixed media. Courtesy of the Artist.

“Everything in the world began with a yes. One molecule said yes to another molecule and life was born,” professes Clarice Lispector in the first lines of her 1977 novel, The Hour of the Star. Like the universe, art also begins with a yes. Some yeses are small: get out of bed today, put this image next to that one. Other yeses are bigger: continue[…..]

Fan Mail: Fanny Allié

Fanny Allié. Horses, 2015; collages and mixed-media on cardboard; 31.5 x 33 in. Courtesy of the Artist.

For Brooklyn-based artist Fanny Allié, the human figure is a source of intrigue. In thinking about the body and how it moves through and inhabits space, the artist explores what she describes as the “ephemeral existence” of the human experience. Whether migrants fleeing trauma or the homeless seeking shelter, the notion of bodies in flux forms the crux of Allié’s practice. Initially trained in photography[…..]

Fan Mail: Ashley Pastore

Ashley Pastore. Real Women Make Their Mark; pen, tea, cut magazine; 40 x 32 in. Courtesy of the Artist.

Ashley Pastore has a thing for old science and life magazines. Poring over dated issues of National Geographic, Pastore has come to appreciate the visual aesthetic and color palette of print from the ’50s to ’80s, which she describes as being rich, deep, and full-bodied. After scouring Craigslist and rummaging through random thrift stores, the artist now has a sizable collection of vintage magazines that[…..]

Jay DeFeo/Alter Ego at Hosfelt Gallery

Jay DeFeo, Untitled, 1973; gelatin silver print, 7 3/4 x 9 9/16 in., Estate no. P0778A. May not be reproduced in any form without permission of The Jay DeFeo Trust, © 2015 The Jay DeFeo Trust/Artists Rights Society (ARS), New York.

Today from our partners at Art Practical, we bring you a review of Jay DeFeo/Alter Ego at Hosfelt Gallery in San Francisco. Author Anton Stuebner notes, “In reconceptualizing the forms of her everyday life, DeFeo’s work suggests the importance of embracing the imaginary and the real as necessary complements.” This article was originally published on October 1, 2015. Shadows suffuse Jay DeFeo’s work. In her gelatin silver prints,[…..]

Gwenaël Rattke: Not Fun And Not Free at Romer Young Gallery

Gwenaël Rattke: NOT FUN AND NOT FREE installation view. Courtesy of Romer Young Gallery, San Francisco.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Danica Willard Sachs reviews Gwenaël Rattke’s Not Fun And Not Free at Romer Young Gallery in San Francisco. Gwenaël Rattke’s exhibition Not[…..]