AOIFE CLIFFORD FINE ART

[vyvansedaily]

apple blossom | april 2024

[notforthebin]

What do you think an artist is? An imbecile who only has eyes, if he's a painter, or ears if he is a musician or a lyre in every chamber of his heart if he's a poet, or even, if he is a boxer, just his muscles? Far from it: at the same time he is also a political being, constantly aware of the world, shaping himself completely in their image. How could it be possible to feel no interest in other people, and with a cool indifference to detach yourself from the very life which they bring to you so abundantly? No, painting is not done to decorate apartments. It is an instrument of war.

-Pablo Picasso

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Print works – Ria Czerniak-LeBov

RIA CZERNIAK-LEBOV

graphic studio Dublin.

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CARA DONAGHEY, DONEGAL PRINTMAKER.

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KAZLAND (Lisbon)

Insta: @KAZLAND

Hurray for us (The Nightmares Over)

Acrylic, Oil, Pastel, Pencil.

This artist uses wood panels to draw/paint on and the oil pastels come out beautifully and bright on it. Defiantly need to try this ASAP.

The colours and so concentrated and pigmented, nothing like what you get on paper I think.

[notforthebin]

He draws too……..

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MARK TENNANT

painter

I love the way he retracts part of the image, like certain details of the light and shadows but the image looks entirely whole. From a distance it looks like a photograph but up close you can see the brush strokes and intentional disasembalage of parts of the figures.

Even though they are paintings they have photographic qualities, with the colours and lights, and the snap shot style. In the paintings Tennant creates where the subjects are indoors there is a lighting that can only physically be achieved through flash, which seems like they are snapshots.

It’s like he’s combing painting and photography together to create a finished product.

He’s currently exhibiting in 462 West Broadway, New York. (Open since April 11)

@ the Georges Berges Gallery.

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CHRISTINA QUARLES

New Moon, 2021, Acrylic on canvas, 84 x 72 in

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Ailbhe Ní Bhriain, Interval VI, 2023

film, computer generated imagery, collage, tapestry, print and installation

Bhriain's work is rooted in an exploration of imperial legacy, human displacement and the Anthropocene. These intertwined subjects are approached through an associative use of narrative and a painstakingly crafted visual language that verges on the surreal. She sidesteps directive positions and familiar binaries, exposing instead the layers of ambiguity and contradiction embedded in these fraught issues. The resulting worlds she creates are at once idiosyncratic, irresistible and deeply unsettling.

[notforthebin]

Claudia Doring Baez

Claudia Doring Baez’s paintings are animated by a reverence for art history and literature, rendered in a contemporary, expressionistic vocabulary. Baez engages in conversations with the work of some of the great artists from the past centuries that she resonates with — she selects, re-creates, and adopts details from images to create her own language. Baez’s work is steeped with references that range from German Expressionism to Marcel Proust, Brassaï, the rich renditions of Titian to abstracted versions of the work of Fra Angelico and Johannes Vermeer along with inspirations from contemporary artists such as Cindy Sherman.

[notforthebin]

Portraiture, Performance, and Violence — Art21

Artist Laylah Ali discusses her work’s relationship to portraiture and the role of performance, symmetry, and violence in her painting

[notforthebin]

INCI EVINER

(Detail of Staging Politics 20)

Ranging from drawing and video to performative and collaborative practices, Inci Eviner’s large body of work comprises multi-layered pieces that originate from drawings. Especially in her works where power and representation politics on the female body are addressed, Eviner examines how the subjectivity is formed. On the other hand, the complex relationships that the artist establishes between video technologies and traditional painting suggest a different form of perception. Drawing is central to Eviner’s works; she defines the point of departure of her practice as “expressions made through lines on paper.” She builds and constantly enriches her artistic approach, strolling through a boundless visual language ranging from art historical allegories, iconographies, illustrations, and mythologies to contemporary ideograms and pictograms. Eviner has developed a unique mode of expression regarding the different states of womanhood, gender, and the politics of identity in their collective, political, and sociocultural aspects. Investigating the historical, discursive, and unconscious processes that influence our views of identity starting in childhood, the artist defines womanhood as a field of limitless possibility that does not fit any single image or concept. Exploring the quotidian gestures, Eviner not only questions, but also challenges the modes of representation and the prohibitions that engender these representations.

New Citizen (Pervert) – İnci Eviner

#INCI EVINER #drawing

[notforthebin]

making broken line and stippled pieces using graphite pencils to make portraits.  His early use of blotted line technique is also on view, as is his use of simple pen and paper.  What emerges is a renewed appreciation for Warhol as a draftsman and fine artist.

We thank Daniel Blau, Shelly Fremont, Paul Kasmin, Anton Kern, Stavros Merjos, Sam Shikiar, and Angela Westwater who lent the works on view here from their private collections, many of which have never been presented in public.  This show would not have been possible without their support.

[notforthebin]

“having a few rolls of film to develop gives me a good reason to get up in the morning.” -Warhol

[nobrashfestivity]

Andy Warhol, Eyes, 1952

[notforthebin]

"Warhol’s fashionable sought-after style looked different than other illustrations, characterized by his jagged “blotted line,” which he achieved by pressing paper to a wet ink drawing to create a blotchier duplicate. As curator Donna De Salvo has pointed out, the duplicate looked simultaneously handmade and mass-produced – an appealing duality long at the core of Warhol’s aesthetic. That simple form of printing foreshadowed the radical experiments with silkscreening that he’d use to forever transform the look and feel of painting."

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Walid Raad

The Atlas Project (1989-2004)

Title: Civilizationally, we do not dig holes to bury ourselves

Attributed date: 1958-1959

Attributed to: Dr Fadl Fakhouri

The only available photographs of Dr Fakhouri consist of 24 black-and-white self-portraits that were found in a small brown envelope titled, Civilizationally, we do not dig holes to bury ourselves. The historian produced the photographs in 1958 and 1959 during his one and only trip outside of Lebanon, to Paris and Rome.

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https://www.erikkessels.com/europe-archive-exhibition

Europe Archive is an archive that recreates a collective memory of Europe. At a time when the definition of Europe is increasingly under pressure, the project celebrates the European legacy, shows its complex cultural diversity, and common values. Transcending clichéd approaches to local features through sharing alternative histories, the project raises questions that prompt reflection on what unites us, and who we are as Europeans. Moreover, the archive can be seen as a commentary on our current times. Dominated by digitisation and artificial intelligence, flattening perceptions of reality and false expectations are emerging, driving an ever-increasing wedge between the virtual and the real world. Europe Archive is a celebration of the imagination, of human creativity and ingenuity, where alternative beauty and failure have valuable meaning.