#artcritical

[wegleoni]

Gilda Leoni - 2020 Untitled. Mixed media on canvas 100x100 cm

https://www.instagram.com/gildaleoni/

[marioloprete]

ANYA oil on concrete 30 cm x 40 cm. Painting for my is the first love. An important, pure love. Creating a painting, starting from the spasmodic research of a concept with which I want to send a message to transmit my message, it’s the base of my painting. The sculpture is my lover, my artistic betrayal to the painting. That voluptous and sensual lover that gives me different emotions, that touches prohibited cords… For my Concrete Sculptures I use my personal clothing. Throughout some artistical process, in which I use plaster, resin and cement, I transform them in artworks to hang. My memory, my DNA, my memories remain concreted inside, transforming the person that looks at the artworks a type of post-modern archeologist that studies my work as they were urban artefacts. #artomity #artcritical #artaesthetic #arthivemagazine #xibtmagazine #flashartmagazine #brooklynrail #throwback #olddirtybastard #kunstmuseum #contemporaryartcollector #artcollector #bolognaartefiera #hauserwirth #theothers #artcollector #newyorkgallery #artuner #gagosianartsteye #artbaselcities #tate #artgallery #gagosianspotlight #artcurator #Artadvisor #artcritic #collection #artnewyork #artinvestiment #artmarket #theartshow (presso New York, New York) https://www.instagram.com/p/CDjPGJQoFoJ/?igshid=nowcpxac3qcm

[marioloprete]

UNTITLED concrete sculpture. Painting for my is the first love. An important, pure love. Creating a painting, starting from the spasmodic research of a concept with which I want to send a message to transmit my message, it’s the base of my painting. The sculpture is my lover, my artistic betrayal to the painting. That voluptous and sensual lover that gives me different emotions, that touches prohibited cords… For my Concrete Sculptures I use my personal clothing. Throughout some artistical process, in which I use plaster, resin and cement, I transform them in artworks to hang. My memory, my DNA, my memories remain concreted inside, transforming the person that looks at the artworks a type of post-modern archeologist that studies my work as they were urban artefacts. • #artomity #artcritical #artaesthetic #arthivemagazine #xibtmagazine #flashartmagazine #brooklynrail #throwback #olddirtybastard #kunstmuseum #contemporaryartcollector #artcollector #bolognaartefiera #hauserwirth #theothers #artcollector #newyorkgallery #artuner #gagosianartsteye #artbaselcities #tate #artgallery #gagosianspotlight #artcurator #Artadvisor #artcritic #collection #artnewyork #artinvestiment #artmarket #theartshow (presso New York, New York) https://www.instagram.com/p/CDi3zTfItzn/?igshid=ndp0mh3b12pd

[marioloprete]

UNTITLED concrete sculpture. For my Concrete Sculptures I use my personal clothing. Throughout some artistical process, in which I use plaster, resin and cement, I transform them in artworks to hang. My memory, my DNA, my memories remain concreted inside, transforming the person that looks at the artworks a type of post-modern archeologist that studies my work as they were urban artefacts. #artomity #artcritical #artaesthetic #arthivemagazine #xibtmagazine #flashartmagazine #brooklynrail #throwback #olddirtybastard #kunstmuseum #contemporaryartcollector #artcollector #bolognaartefiera #hauserwirth #theothers #artcollector #newyorkgallery #artuner #gagosianartsteye #artbaselcities #tate #artgallery #gagosianspotlight #artcurator #Artadvisor #artcritic #collection #artnewyork #artinvestiment #artmarket #theartshow (presso New York, New York) https://www.instagram.com/p/CDi1IY8ICEK/?igshid=ikv7tq1717f1

[tratist]

#objectinneedofanidentity with Eric Wong, Andrea Bowers, the birds and the bees in “ Who’s Revolution Is It Anyways? If I were Half Red, Half White, Half Scottish (White), Half Yellow (Chinese), I Would Be Called A Racist For Drawing This, In Any Context And Especially In Art School, Their Are Many Unsaid Rules And Prerequisites For Radical Racial Institutionally Represented Revolutionary Art Racers, So Many Symbolic Trappings Affirmatives And Literal Hierarchies In Fine Art Militancy, There Is A Kind Of Artificial Insertion Or Forced Urgency To Draw Bottom Lines On Fine Art Gallery Walls, Drawing Sides In-between The Regular Art Crowd And The Common Public No Where To Be Seen, In This Sincere Civil Rights Frontier, Just One Avenging Angel Pointing A Finger At The Roof She Lit On Fire, As The Homeless Laugh Outside In The Cold, At The Artist Who Had Become What She Hates “ . . . . . . . . . . . . . . . . #venicebiennale2019 #streetartphotography #streetartlondon #artcritical #shockart #artcritic #artcritics #politicalart #politicalartist #postmodernart #postmodern #mcasd #museumofcontemporaryart #sfmoma #moma #studiomuseumharlem #artadvisory #artadvisor #culturevulture #artreview #myfeatureshoot #photodocumentary #objectified #artreviews #highfructosemag #artforummagazine #hifructosemagazine #artfag #friezemagazine (at Basel Art Fair) https://www.instagram.com/p/ByoTbk-lyhB/?igshid=ptrmx17vrr80

[smackmellon]

Trouble in Eden: Luisa Caldwell at Smack Mellon

by Joy Sperling on Luisa’s exhibition in artcritical

Luisa Caldwell: A Cat in God’s Garden at Smack Mellon

September 29 to November 4, 2018

Luisa Caldwell’s recent exhibition at Smack Mellon, A Cat in God’s Garden, radiated nostalgia for summer, conjuring delicious fantasies of sitting in the garden amongst glorious blossoms with endless time to read. Caldwell’s show exuded such goodwill it was hard to resist, and the artist even installed a beautiful bunch of fresh flowers from her own garden in one corner of the installation and offered visitors a free poster of one of her drawings. But even as I was hypnotized by the shimmering mirage and wished it to be real, I began to see that beneath its heartwarming surface there was much more to this complex, intelligent, deeply imbricated installation.

The show comprised of 210 drawings, each eight and a half by 11 inches, arranged in a grid in two large wall panels, and six hand detailed vases on books stacked on wooden stools or chairs. The drawings of flora from a distance read like decorative ceramic tiles. On closer inspection, however, they revealed a complex intellectual and emotional narrative. Some were composed and rendered to suggest historical botanical drawings, many were even overlaid with geometric shapes and patterns. Other drawings were more compositionally formal with vases and flower arrangements, systematically drawn to suggest the illusion of depth. This alludes to the European and American floral painting tradition and its attendant symbolism, including the memento mori. Others were drawn in the lighter amateur style of nineteenth-century “lady-painters” who used the wholly different symbolism encoded in the “language of flowers” according to species. And still other drawings were flat and illustrative as if in preparation for decorative schemes or designs. Many are filled with such life and energy that they seem to jump off the page into the exhibition space with the over-brilliant color of markers that sing out with bright, glowing fluorescent colors. In among the various panels the sun, as a bright fluorescent highlighter-yellow orb, dances around repeatedly to tie the entire happy, zappy pattern together. And, hidden deep in the foliage of one is a small black cat.

[tracywilliamsltd]

Katelynn Mills from artcritical, the online art magazine, writes about “Almost a Kiss,” Morgane Tschiember’s solo exhibition at Tracy Williams, Ltd.