International Art News

Bogoslowsky – astrobiology # 48 – 30” X 32” – Acrylic on canvas

From June 9 to July 29, 2013 – Elena Ab Gallery  – Tribeca, Manhattan, New York
COSMIC PASSION will feature work from the Cosmology Series of Andrey Bogoslowsky.
My fascination with the beauty of our Universe began in 2005,  when I first saw photographs from the Hubble telescope.  They were taken taken at long exposure, and reaching out to the deepest corners of the space. I realized that I also can create such clouds, and give them shapes familiar to us on Earth.  Soon I learned about possible origins of organic life elsewhere and that we, humans, are the results of four billion years of earthly transformation into complexity of our existence. The Universe is full of life and I, as an artist, can elaborate on this subject.  My paintings have become cosmic living symbols of humanity.

Bogoslowsky – Origins of life #732 – 50 X 40 – Acrylic on canvas

ELEMENTS is a series of paintings by Elena Ab that explore the physical and metaphysical building blocks of our world.

Elena Ab, Marilyn Monroe, 2013 – acrylic on canvas – gold and silver – 20″ X 28 “. (Detail)

Elena Ab was born in Leningrad, USSR (now St. Petersburg, Russian Federation). As a child she left Russia for Jerusalem with her family. After being discharged from the Israeli Defense Forces, as a sergeant, she attended the Bezalel School of Art in Jerusalem. In 2001, she moved to New York, and graduated with a BFA in painting from the School of Visual Arts (on a Scholarship Award). While still in school, she started 368 Broadway Studio, in Tribeca.

NYC by Elena at Alpha – 40 inch by 120 acrylic on canvas 2011

The Elena Ab Gallery Tribeca is a new addition to downtown Manhattan, located on 185 Church Street between Reed and Duane. The Gallery is located across from a bus stop, and is a short walk from Chambers Street Station that services the J, M and Z trains. A parking lot is located around the corner. Nestled on a street between many restaurants and shops, the gallery has quickly gained popularity in the community since the opening.

Elena Ab Gallery Tribeca

Heather Hermann - Farewell Cosmos - Oil on Canvas - 36” x 36”

From May 31st 2012     – Sin City Gallery
Romance and technology merge as one. Heather Hermann aka “Calliopie” presents a elegantly sexual view into the philosophy of love, and the fascination of repressed desires exemplified by the classic hard-style of pre-WWII Art Deco Germany.
Heather is 23 years old and is a native of Las Vegas. Attended LVA and graduated with a diploma in AP Visual Arts and Photography.

Heather Hermann - The Execution of Princess Von Hildus and Her Hero - Oil on Canvas - 30” x 48”

She is a current local rising Las Vegas artist star and has participated in several events contributing to the Cast and Reunion Showgirl Reunions, First Friday and much more. Heather works with Sin City Gallery and is prepping to show at Blackbird Studios this winter.
Heather now works at Emergency Arts in the Las Vegas Downtown Area.

Sin City Gallery

© Dulce Pinzón. "Spiderman"

From February 16 to May 20, 2012 – Art Museum of the Americas
Ñew York, featuring works by young, outstanding Latin American and Spanish artists residing in New York City commemorates a long lost artistic exchange and recovers innovative communication channels between Latin American and Spanish plastic and visual artists.  The exhibition incorporates New York City as the current setting where these creative forces re-encounter themselves.

The exhibition addresses mobility in an era of widespread displacement where barriers between the global and the local are broken down. Motion (mobility), emotion (personal artistic work) and promotion (promote and advance the careers of expat artists) are all addressed throughout the show.

The artists were selected based on their accomplishments, artistic careers and their approach to concepts of mobility, migration and cultural exchange, all intrinsic to a city where new ideas, experiences and diversity converge.

© Sol Aramendi. "Welcome to My Hood" (2011)

Curated by Paco Cano, Eva Mendoza Chandas and Jodie Dinapoli (all from Spain), Ñew York showcases the work of 19 artists from 10 countries from Latin America and Spain -all based in New York – who have made this city the gravitating force of their artistic discourse.

FEATURED ARTISTS
Sol Aramendi (Argentina)
Julieta Aranda (Mexico)
Ada Bobonis (Puerto Rico)
Alberto Borea (Peru)
Antón Cabaleiro (Spain)
Juanma Carrillo (Spain)
Nicky Enright (Ecuador)
Félix Fernández (Spain)
Jessica Lagunas (Guatemala)
Abigail Lazkoz (Spain)
Lluis Lleó (Spain)
Manuel Molina Martagón (Mexico)
Esperanza Mayobre (Venezuela)
Carlos Motta (Colombia)
Iván Navarro (Chile)
Dulce Pinzón (Mexico)
Fernando Renes (Spain)
José Ruíz (Peru)
Manuela Viera-Gallo (Chile)

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K S Appajaiah nurture mixed media 60 x 48 in. / 150 x 120 cms. ID: KSA03

7th January To 24th January – Arushi Arts
Artists such as K S Appajaiah and others like him often favor the use of mixed-media to create expressive, unique and dramatic paintings which explore themes that are important to them either politically, socially, morally, or emotionally. At his current exhibition titled The Persistence of Memory, Appajaiah uses ordinary objects, many of which are closely associated with his growing years in a simple rural household without the luxury of present day conveniences.

Telling a story with paint is called narrative art and Appajaiah like other artists of this genre appears to be making a social statement and defining public morality at some level.

The close-up of an old kitchen stove, the kind used by his mother to cook food on or heat water during winter, the heavy iron that preceded the lighter and more handy electrical appliance and was an integral part of most households keeping the family members in neatly pressed garments; a pair of scissors its blades split apart ready to slice into something; a black umbrella suspended in the middle of a stark white background, there are several metaphors like these drawn from everyday life in a bygone era that Appajaiah uses in his work.  He has also used techniques that combine various traditionally distinct visual art media. Some of his canvases combine ink, print and collage, some tell a story with paint and some pay homage to artists like Marcel Duchamp, who actually transported a man’s urinal into a gallery and defined it as art.

The feudal system with its myriad injustices, the hurt of a child who nurtured a lamb as a pet only to have it sold to a butcher, a pile of abandoned books stacked on a chair surrounded by grinning skulls, a glowing electrical bulb spreading light, dispelling darkness and attracting insects which are drawn to it in a self destructive suicide mission — many of his paintings are visually shocking, compelling and not necessarily ‘pretty’ in any real sense of the word.

By and large Appajaiah uses everyday objects in conjunction with traditional artist media

Gallery Hours

Natee Utarit, Tales of Yesterday, Today and Tomorrow, 2009, oil on linen, 240 x 200 cm, Singapore Art Museum collection

Until the 20th of  February 2011 – Singapore Art Museum
Predictions of the end of painting have been with us for over a century. Within Southeast Asia however, painting continues to develop as a major medium of artistic expression with its own unique aesthetic sensibilities, and it is in this context that the Singapore Art Museum presents After Painting, a mid-career survey of Thai artist Natee Utarit.

An exceptional painter whose career spans over two decades, Natee’s stunningly vivid paintings have for a long time, been a series of dialogues and debates on established Western painting traditions; his ultimate aim to develop new possibilities for painting. The artist’s recent work, however, has increasingly been commentaries on Thai society and identity, and helps place him among his fellow Southeast Asian artists who continue to use visual art as a way of reflecting on the changing social-political situations in the region. Natee Utarit: After Painting features more than 70 paintings drawn from the Singapore Art Museum, the Bangkok University, the Queensland Art Gallery as well as private collections in Europe, Asia and the region.

Museum Hours

June 19th – August 22nd, 2010 – Kunsthalle Düsseldorf
After more than 20 years, the Kunsthalle Düsseldorf is again presenting a comprehensive show of the works of Hans-Peter Feldmann in his home town. The exhibition curated by Gregor Jansen and Elodie Evers shows a broad cross-section of works from the past four decades and new works produced especially for this exhibition.

Since the 1970s, Feldmann (* 1941) has been collecting, archiving, and arranging everyday objects and photographs he has taken himself or found in photo albums, newspapers, and magazines. Seemingly banal, whimsical motifs compose his colourful repertoire. He takes pictures of shoes, sunsets, women’s knees, and portraits out of their original context, reassembling them in accordance with preset criteria. Presented in series, the pictures point to a world behind what they portray and construct stories that catalyse both collective and personal memories. They hence offer the viewer opportunities for individual identification. Owing to the omnipresence of reproductions, Feldmann’s authorship is not to the fore; he neither signs not limits editions of his works. Feldmann’s own version of appropriation art is thus logical for a democratic attitude towards visual art, which knows no distinction between amateur and professional, private and public, other and own. In the view of the artist, pictures belong to everyone.

From the early, small-format booklets with simple, black and white, everyday motifs to the 2002 installation “Shadowplay,” Hans-Peter Feldmann presents photographs, sculptures, and installations at the Kunsthalle. They include the portrait series “100 Years.” The artist photographed 101 people from among his family and friends. He has created two new works especially for this exhibition: a gigantic paper plane lying on the cinema floor and an old bicycle leaning against the wall. Whether crashed or parked, Feldmann’s interventions repeatedly call into question the dividing line between inside and outside, art and life in typical childlike naivete. It is only logical that Feldmann has set up a special space for children in the Kunsthalle where they can paint faces and make their very own “picture books.” He is convinced they produce better works than any artist.

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