Balazo Gallery Wed, 25 May 2022 12:28:26 +0000 en-US hourly 1 Balazo Gallery 32 32 What do artists wear and why is it important? Wed, 25 May 2022 12:28:26 +0000

In 2015, writer Charlie Porter was visiting an Agnes Martin retrospective at London’s Tate Modern when he stopped in front of a photograph of the artist herself. In the image, Martin stands halfway up a ladder, in front of a canvas covered in lightly faded stripes – the first step in making one of his signature grid paintings – and with a spirit level under the arm.

In fact, it was Martin’s quilted work jacket and pants that caught Porter’s eye. That same year, London menswear maestro Craig Green had just presented his very first stand-alone collection, evolving the quilted lines of work jackets into the vertical stripes that would become one of his brand’s staples. “It just seemed to fall apart for me,” Porter says. “It made me think Why she wore these clothes. I realized that considering an artist’s clothes can make you think about how to work and be someone in a way that I might not have done if I had just read a biography or see the painting.

Seven years later, and Porter’s eureka moment has unfolded to fill an entire book, titled What artists wear. Loosely adopting John Berger’s timeless art text format ways of seeing, the book vividly illustrates Porter’s journey through the sartorial mores of some of the 20th century’s most influential designers, from Louise Bourgeois to Yayoi Kusama, to some of the most exciting new voices of the 21st century, from Martine Syms to Paul Mpagi Sepuya. The carefully considered outfits presented to the world by modernist titans are overlooked – Picasso’s High Bretons deliberately take just one sentence – and instead the spotlight is turned to a more eclectic range, most of which take a more playful. to clothes that fit with their broader practice.

The cover of What artists wear.

Courtesy of WW Norton & Company

“It’s not a book about best-dressed performers — I don’t care about that at all,” Porter says. “And to be honest, I’m actually more interested in performers who dress sloppy or messy. Like any human being, I find that much more interesting to watch. True to form, when we talk about Zoom, Porter wears a delightfully Frankensteinian knit held together by safety pins, made by young London designer Jawara Alleyne.More importantly, though, it’s a nod to the politically subversive undercurrent that runs through the book when you dig a little deeper.”It’s more like an invitation to start thinking about clothes in a different way and realizing that you can eventually escape from its power structures,” Porter notes. to read What artists wear it’s a more radical idea than you might initially think.

vogue: How did this photograph by Agnès Martin launch you into this project?


ORLANDO, Florida., May 24, 2022 /PRNewswire/ — The Kessler Collection, a portfolio of 12 art-inspired boutique hotels, continues its expansion across the Southeast by announcing a more than $150 million small-scale mixed-use village development in Cashiers, North Carolinadesigned by architect and urban planner Christian B. Sottile.*

Focused on conserving and preserving the character of the town, Cashiers East Village is set to open in 2023 and will leave around a third of the property open to green space and parkland. The 24.5-acre development will feature various accommodations, including a boutique lodge, mountain chalets and luxurious glamping cabins, as well as two full-service restaurants with a rooftop bar, cafe, upscale boutiques , arts spaces, an events pavilion and village residences anchored by a commercial and community center – Cashiers Hall. Cashiers Hall will include commercial and retail space to support local businesses, such as honey makers, farmers and artisans. Bringing the story of Cashiers, it will also feature educational experiences such as stories from local farmers and community members telling the rich stories of the region, as well as photography exhibits. It will also provide small-scale catering space and an event lawn for outdoor exhibits, art exhibits and special events.

“Together with community members and key stakeholders with whom we have worked diligently, I am thrilled that The Kessler Collection is bringing a destination resort with art, music and culinary adventures to the mountain charm of Cashiers, North Carolina,” mentioned Marc Kesler, President and Chief Operating Officer of the Kessler Collection. “Everything we do is uniquely suited to the community we find ourselves in, and the Kessler collection plans to honor the existing landscape of Cashiers while providing an elevated resort experience.”

The project connects the expanded mixed-use Village, the Ramble Greenway Trail and the Village Green – a bustling 13.2-acre public park located in the heart of Cashiers– while preserving the unique character of the mountain village and the lush forests of the hillside which define its image and identity.

With an estimated phase one completion date of 2025, East Village will be the brand’s sixth property located in the Carolinas, alongside partner hotels Grand Bohemian Hotel Asheville, Grand Bohemian Hotel Charlotte, Grand Bohemian Hotel Charleston, Grand Bohemian Lodge Greenville (September 2022) and a historic restoration of the Elks Building in New Bern (opening scheduled for mid-2024). The Kessler collection spans Alabama, Colorado, Georgia, Florida, North Carolina and Caroline from the south. Cashiers East Village will follow the recent Plant Riverside District, of the savannah entertainment district, a $375 million expansion project of the city’s iconic waterfront and the largest redevelopment in the history of of the savannah National Historic District.

One of the Southeast’s premier resort destinations, Cashiers is widely known for its historic village, mountain elegance, upscale dining and shopping, finest club lifestyles, breathtaking natural beauty, and activities such as kayaking, mountain biking, and hiking. fly fishing.

About the Kessler Collection

The Kesler CollectionThe portfolio of boutique hotels created with passion and artistic inspiration offers chic design, luxurious accommodations, an enriching ambience and intuitive service. Whether you are viewing properties in Alabama, Colorado, Georgia, Florida, North Carolina or Caroline from the south, the exquisite art, music and cultural influences of each hotel are deliberately accessible. Designed to inspire mystique and encourage unforgettable experiences, Kessler guests are immersed in bohemian luxury redefined, from a cutting-edge downtown icon to a premier luxury lodge, of the savannah entertainment destination and an elite ski lodge. The Kessler Collection was the founding member of the Marriott Autograph Collection, introduced with seven Autograph Collection branded hotels. Each property is a bold, original hotel carefully created with style and an eye for the individualistic traveler. For more information on the Kessler collection, please visit or call 888.472.6312.

* Sottile has won several national accolades, including the Urban Land Institute’s Global Achievement Award for a decade-long redevelopment, Plant Riverside District in Savannah.

[email protected]

SOURCE The Kessler Collection

What I buy and why: Peter Janssen explains how a flea market find inspired him to create a premier private collection of samurai artifacts Mon, 23 May 2022 21:45:04 +0000

Three decades after stumbling upon a samurai sword at a flea market in his hometown of Berlin, German entrepreneur Peter Janssen has amassed a formidable and highly focused art collection dedicated to legendary Japanese fighters. Its treasure trove of artifacts spans a millennium and explores the culture and myth that surrounded the samurai through the centuries.

Today, Janssen, who also has a black belt in karate, owns more than 4,000 items. About 1,000 of them are on display in a new museum he opened this month in the German capital.

Located next to the KW Institute for Contemporary Art, the Samurai Museum is a two-story venue in the Mitte district (the primary location was the longtime home of the Thomas Olbricht Collection, which closed in 2020). It highlights regions and styles of samurai clothing and tools, of an 18th century palanquin (a covered carriage supported by human porters) to delicate tea utensils dating back to the 1500s.

With its range of armour, helmets and masks, as well as rare hand-crafted swords dating back to the 8th century, the exhibition cleverly uses virtual reality and interactive elements to help bring samurai culture to life, demystifying customs, myths and rituals of through their history. On virtual educational panels, you can scroll through objects on display in nearby display cases, then zoom in to learn more about their aesthetic details and design stories. The museum also has film installations that bring these legendary characters to life.

On the heels of the Samurai Museum’s opening, Artnet News caught up with Janssen about his collection, the life-size Japanese-style theater and teahouse he commissioned for the space, and more.

Installation view, Matsudaira clan armour, Edo period (17th-18th century). Photo: Alexander Schippel © Samurai Museum Berlin

What was your first purchase?

I bought a Katana [a Japanese sword characterized by a curved, single-edged blade] in a flea market. I never intended to collect it, but here we are over 30 years later.

What was your last purchase?

There was a kid’s armor missing from the collection, so I decided to buy one when the opportunity arose. He belonged to a high standing daimyo (a feudal lord) and was painstakingly designed, just like a life-size model, but only meant for a short time as the child would quickly grow out of it. It fascinated me.

What works or artists do you hope to add to your collection this year?

A tsuba (sword guard) of the Ishiguro school. The school was founded by Ishiguro Masatsune at the end of the Edo period, who developed patterns and techniques that influenced entire generations. He is particularly known for using a dark alloy composed of copper and gold (shakudo) and his fine carving technique and his drawings of flowers and birds. I like that a lot of pieces are signed, you feel a connection with the person who made it.

Swords at the Samurai Museum in Berlin.  Photo: Mario Heller © Samurai Museum Berlin

Swords at the Samurai Museum in Berlin. Photo: Mario Heller © Samurai Museum Berlin

What is the most expensive work of art you own?

Armor of the Matsudaira clan. It is the clan from which comes Tokugawa Ieyasu, the founder of the Tokugawa shogunate. This armor is a representative example of the types of armor made in the late 18th and early 19th centuries for wealthy patrons. The period was characterized by nostalgia among the warrior class and a sense of nostalgia for bygone eras when their ancestors had performed glorious deeds in battle. Some had authentic old armor refurbished for their use, while others, like the one in my collection, had new armor made in old styles that incorporated old components.

Installation view.  Photo: Alexander Schippel © Samurai Museum Berlin

Installation view. Photo: Alexander Schippel © Samurai Museum Berlin

Where do you most often buy art?

Mainly through auctions and resellers. Over the years I have also developed many friendships with other collectors from whom I also occasionally buy.

Is there a work you regret buying?

No, each piece is dear to me for different reasons.

What work have you hung above your couch?

I don’t have a wall behind my couch! Other than that, I don’t keep much of my collection at home except for my office. My most prized possessions from the collection are now in the museum and I enjoy seeing them as I walk through it.

Noh Theater at the Samurai Museum in Berlin.  Photo: Alexander Schippel © Samurai Museum Berlin

Noh Theater at the Samurai Museum in Berlin. Photo: Alexander Schippel © Samurai Museum Berlin

What’s the least practical piece of art you own?

It would probably be Noh-Theater, which I commissioned for the museum. It was built in Japan using traditional building techniques, then shipped to Berlin and reassembled by Japanese craftsmen. It’s a beautiful thing to see and it really is a work of art.

What work would you have liked to buy when you had the opportunity?

An ancient suit of armor in its original condition from the 14th century. Now it is in another collection and I very much regret it.

If you could steal one piece of art without getting caught, what would it be?

The “Big Maple Leaf” exhibit at the Bode Museum, but it has already been stolen. I might be able to get it back.

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Want to stay one step ahead of the art world? Subscribe to our newsletter to receive breaking news, revealing interviews and incisive reviews that move the conversation forward. ]]> City Life Org – The Metropolitan Museum of Art announces upcoming exhibitions Sun, 22 May 2022 20:23:39 +0000

The Metropolitan Museum of Art David H. Koch Plaza © The Metropolitan Museum of Art.

Highlights include a major presentation on the history of the kimono, a Bernd and Hilla Becher retrospective, a new Hew Locke commission for the Met facade and a radical new take on Cubism

The Metropolitan Museum of Art has announced its exhibition program for the second half of 2022, which, in line with its mission, will present art from around the world and from all periods and cultures in the galleries of the Museum. The Met also announced a number of offers for visitors this summer, including the opening of the Cantor Roof Garden, the continuation of Date Night at The Met – with music and drink specials on Friday and Saturday nights – and a free bike valet program that will begin on May 28.

“The Met’s program of exhibitions is extraordinarily strong and varied, ranging from in-depth examinations of the work of individual artists to large-scale thematic investigations,” said Max Hollein, French director of Marina Kellen at the Met. “We are thrilled to invite the public to the Museum to connect with deeply compelling and innovative presentations of art from all eras and cultures.”

Met Highlights summer exhibitions include: Kimono Style: The John C. Weber Collection (opening June 7, 2022), which will trace the evolution of the kimono from the end of the 18th century to the beginning of the 20th century; water memories (opening June 23), exploring the importance of water to Indigenous peoples and nations in the United States through historical, modern, and contemporary artwork; Chroma: ancient sculpture in color(opening July 5), which will showcase new surviving ancient color finds on artwork from the Met’s world-class collection with a series of full-color reconstructions of ancient sculpture presented alongside original Greek and Roman works representing similar subjects; the posthumous retrospective Bernd & Hilla Becher (opening July 15), celebrating how renowned German artists changed the course of late 20th-century photography; and, Michael Lin: pentachrome (opening August 15), which draws inspiration from the Met’s collection and the building’s architecture and will bring contemporary art to the Museum’s Great Hall escalator for the first time.

The fall season will also bring a wide range of exhibits. Hear Me Now: The Black Potters of Old Edgefield, South Carolina (opening September 9) will focus on the work of African-American potters in the 19th-century Southern United States through approximately 50 ceramic objects produced in a center known for stoneware in the decades before the Civil War and the will present in dialogue with contemporary artistic responses. For The Façade Commission: Hew Locke, Golden (opening September 16), the artist will bring his singular approach – using appropriation and an aesthetic of excess – to shape sculptures that explore global histories of conquest, migration and exchange. The Tudors: Art and Majesty in Renaissance England (opening October 10) will trace the transformation of the arts in Tudor England through more than 100 objects – including iconic portraits, spectacular tapestries, manuscripts, sculptures and armor – from The Met collection and international lenders . Cubism and Trompe l’Oeil Tradition (opening October 20) will offer a radically new look at Cubism by demonstrating its commitment to the centuries-old tradition of trompe l’oeil painting. In The Life of the Gods: Divinity in Maya Art(opening November 21), rarely seen masterpieces and recent discoveries trace the life cycle of the gods.

The dishcurrent exhibition offers include In America: A Fashion Anthology (until September 5, 2022), the second in a two-part Costume Institute exhibition that examines the development of American fashion from the 19th to the mid-to-late 20th century through narratives related to the halls’ history of the American wing in which they are staged. part one, In America: a fashion lexicon (also through September 5, 2022), explores a modern vocabulary of American fashion. Fictions of emancipation: Redesign of Carpeaux (until March 5, 2023) is the first exhibition at the Met to examine Western sculpture in relation to histories of transatlantic slavery, colonialism and empire. Winslow Homer: Cross Currents (through July 31, 2022) is the greatest critical insight into the art and life of the American painter in over 25 years. In the first comprehensive exhibition of paintings by the iconic Franco-American artist, Louise Bourgeois: Paintings (until August 7, 2022) features works made early in his decades-long career. Charles Ray: Figure Ground (until June 5, 2022) is a focused presentation that brings together sculptures from all periods of the artist’s career. Before Yesterday We Could Fly: An Afrofuturist Period Room (ongoing) is a long-term installation that disrupts the very idea of ​​a period room by embracing the African and African Diaspora belief that past, present and future are interconnected. And in a notable first for The Met, The African origin of civilization (ongoing) showcases West and Central African masterpieces alongside ancient Egyptian art.

Additional programmatic highlights include Museum Highlights tours, now offered daily in English, Arabic, Chinese/Mandarin, French, German, Japanese, Portuguese, Russian, Spanish, Italian and Korean at the Met Fifth; and Tuesday, Thursday and Sunday at the Met Cloisters. The beloved program of Garden tours at the Met Cloisters is back for the first time since summer 2019, with tours offered every Monday, Friday and Saturday. The Museum also offers two new series of podcasts: State of mind launched earlier this year and explores the links between art and well-being, and intangible (beginning May 25) will examine the materials of art and what they reveal about history and humanity.

COLUMN: Rule 1 — Don’t talk about trans Art Club | Columns Sun, 22 May 2022 11:00:00 +0000

So when my daughter was little, I told her that if an adult ever said “don’t tell your mom or your dad about this”, the very first thing she had to do was tell mom and father.

Every parent’s fear is of an adult, especially one in a position of trust, attacking your child. Keep the Catholic Church sex scandals in mind as I tell this story.

No. This is not a story of physical sexual abuse. But it’s still predatory abuse. And unlike the church, public schools are government entities paid for by taxing your work — subject to open registration laws and transparency.

Erin Lee’s 12-year-old daughter was new to school in the Powder district. After more than a year of COVID-19 lockdown, her shy, sensitive and artistic daughter was back in class, hoping to make new friends and fit in.

Imagine the delicious anticipation when her daughter asked her if she could stay after school. Her trusted teacher asked her if she would like to join Art Club after school. What a perfect fit.

Funny thing about Art Club, though: They didn’t pick up crayons, paintbrushes, or clay. They weren’t even talking about art at all.

But at the end of her first Art Club meeting, Erin’s 12-year-old daughter was convinced by an adult in a position of authority that she was transgender and received gifts for embracing her transgenderness.

And she was instructed not to tell her parents anything they did or talked about on “Art Club.”

Turns out mom and daughter lied. “Art Club” was a bait and switch for a gender and sexuality awareness indoctrination session (I use that word not for effect but for accuracy).

The presenter who led the session, who is not a licensed counselor or educator, asked Lee’s daughter what people she was sexually attracted to, which at age 12 couldn’t have been absolutely anyone, or du less nobody’s business.

Talking about nobody’s business, the woman explained to (forgive me for constantly saying 12) to the 12-year-old daughter that thanks to a new law in Colorado, she could get medical treatment like hormones and surgery to change her sex without the knowledge of her parents.

The presenter, a person of authority, brought in by the teacher – a person of even greater authority – clarified that if you are “not 100% comfortable” in your body, you are transgender .

According to this science, 99% of us are all trans. And certainly at least 100% of all 12-year-old girls are trans. (If your tween is 100% comfortable in her own body, call an exorcist. She’s not your daughter).

Knowing now that she is trans and professing it, Lee’s daughter was rewarded with bracelets, stickers and small flags celebrating her newfound sexuality.

The presenter gave her private cell phone number and clarified that what happens in “Art Club” stays in “Art Club”. Don’t tell your cruel, binary parents what we’re doing.

The first rule of Art Club is not to talk about Art Club.

Erin Lee pulled her child out of school the next day. She asked for the teaching materials used. He was basically told to pound sand.

She called the police who told her that if it happened in a public park they could act on it, but since it happened during a school-sanctioned activity and no child was been touched (but, since kids can’t talk about Art Club…) there was nothing they could do.

There is no way in this short column that I can do justice to the telling of this story and the impact it had on Erin, her child and her entire family.

I’ve never asked this question before in a column, but please watch my conversation with Erin so you can hear, firsthand, her story. It’s unreal. And unfortunately, it is not unique. Here is the link:

LGBT children should have support groups at school, professionals to talk to, and peers to hang out with. In fact, it’s great and necessary.

But when government officials deliberately misinform citizens, democracy itself is at risk.

When government officials deliberately manipulate the sexuality and behavior of confident children, much like the Catholic Church’s problem, maybe, just maybe, people should go to jail.

Jon Caldara is president of the Independence Institute of Denver and hosts “The Devil’s Advocate with Jon Caldara” on Colorado Public Television Channel 12. His column appears on Sundays in Colorado Politics.

Major announcement at former Camp Picton site Fri, 20 May 2022 23:58:47 +0000

(Photo: Andrew Clarke / Quinte News)

It was a packed house for the announcement of the renaming and reimagining of Loch Sloy Business Park and Airport in Prince Edward County.

05/20/2022 – PEC Community Partners Inc. is a group of community builders including Tercot Communities, DECO Communities, PEC Placemaking and Rockport Group. (Photo: Andrew Clarke / Quinte News)

On Friday, PEC Community Partners Inc. announced that Base31 is the new name for the old Camp Picton site. The new title came from the sites former function as No. 31 Royal Airforce Bombing and Gunnery School.

05/20/2022 – Tim Jones CEO of Base31 and partner at PEC Community Partners Inc. (Photo: Andrew Clarke/Quinte News)

At the event, Tim Jones, CEO of Base31 and partner at PEC Community Partners Inc., announced Base31’s collaboration with 31 organizations, businesses and individuals.

Contributors include the Municipality of Prince Edward County, All Welcome Here, PEC Arts Council, History Lives Here, Dept. of Illumination, The County Foundation, Chamber of Commerce, Festival Players, Driftwood Theatre, PEC Library, Jacqui Burley and many more. .

Jones says Base31 is open to more collaboration with businesses and organizations in the community.

“Well our doors are really opening, we’re going to keep reaching out, we’re encouraging people to reach out to us, we’re looking for ideas.”

05/20/2022 – PEC Community Partners Inc. Assaf Weisz spoke about Base31’s priorities going forward. (Photo: Andrew Clarke / Quinte News)

Assaf Weisz, partner at PEC Community Partners Inc., has announced plans to begin revitalizing and reinventing Base31’s current landscape architecture through a collaboration with Picton-based VTLA Studio. Work will begin over the next few weeks in the northwest corner of the 70-acre site with plans to plant over 1,000 native plants and 150 trees in the 4-acre northwest area, north of Royal Road.

Along with plans to revitalize the surrounding landscape, Base31 continues to renovate buildings. Jones says there’s still a lot of work to do with restoring the sites.

“We have over fifty buildings on the site, but just over half of them are currently in use, so we have a lot of work to do to renovate and rehabilitate some of these buildings.”

Staff continue to commission public art and line up summer programming, with the site currently having two calls for artist submissions.

Base31 is set to open to the public on July 1. To kick off the season, Base31 will hold a benefit concert for the Tsi Tyónnheht Onkwawén:na language school in Tyendinaga on July 2, 2022.

Other summer lineup highlights include the PEC Community Craft Beer Festival, We’re Funny That Way Queer Comedy Festival, and musical performances by The Walkmen, The Mercenaries, and Sarah Harmer.

PEC Community Partners Inc. is a group of community builders including Tercot Communities, DECO Communities, PEC Placemaking and Rockport Group. The Ontario-based partnership brings together expertise in mixed-use residential spaces, affordable housing and commercial spaces, adaptive reuse of heritage sites, and comprehensive community development with a particular focus on creating creative places.

20/05/2022 – The site was built by the Canadian government and originally operated by the British Royal Airforce as No. 31 Bombing and Gunnery School. It was built in 1940 as part of the British Commonwealth Air Training Plan which trained aircrew from the UK, Canada, Australia and New Zealand during World War II. (Photo: Andrew Clarke / Quinte News)

The 70-acre Base31 site includes more than 50 former barracks, dining halls, hangars and administrative buildings. It is part of a property of approximately 700 acres. Today, the site is home to 75 tenants and is used for a wide range of commercial activities, including commercial and industrial operations, as well as spaces for manufacturers, artists and galleries.

Bay of Quinte MPP Todd Smith says maintaining the sites history along with improvements will be another reason for visitors to come to the county.

“Well, there’s all kinds of stories here with what we now know as Base31 and it’s important to maintain the heritage and the history that we have here at this former army base. With the people they have brought together, the vision of the community will come to fruition and the heritage will live on and this will only add to the many reasons to come to Prince Edward County.

For more details on Base31’s summer lineup and future plans, visit

Where to See Art Gallery Exhibits in the Washington, DC Area Fri, 20 May 2022 13:00:00 +0000
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Laurel Nakadate’s last name is Japanese, but the photographer and filmmaker has few ties to Japan among her known relatives. Undertaking a project based on her own DNA, Nakadate discovered that only three of the approximately 1,500 genetic connections she was able to locate were on her Japanese American father’s side. That’s one of the reasons the Boston and New York-based artist show at the Tephra Institute of Contemporary Art is called “Mother Line.”

The exhibition mainly includes photos from two series, “Relations” and “The Kingdom”. The first includes large DNA-reported portraits of relatives – mostly strangers, chromosomes aside – photographed outdoors at night in open territory when lit only by a flashlight. “The Kingdom” consists of snapshots of Nakadate’s late mother in which images of the artist’s son, born too late to be held by his grandmother, have been inserted into the grandmother’s embrace. These intentionally awkward pasted images have more emotional than visual power.

The reverse is true for “Relations” images, which are large, uniform in size, and dramatically lit. The subject may be a family of three, a woman holding a dog, or a baby in a crib, but all are targeted by harsh white light and framed by a deep-hued night sky. The photos are not titled after the people depicted in them, but for their locations – places such as Tyler, Texas, and Akron, Ohio.

“I realized at a certain point that it was not just about the people, but about these landscapes,” notes the artist in the press release from the gallery. Nakadate found people she has something in common with and gave them something completely different to share: the experience of being commemorated in epic and somewhat disturbing isolation.

Two of Nakadate’s “Mother Line” photos are also featured in “Mother,” a group show she co-curated for Mason Exhibitions Arlington. The selection is mainly made up of photographic prints, but includes several artists‘ books and a video of a performance.

Many paintings represent scenes of women, sometimes with a child; several depict nude women breastfeeding. Among these are Catherine Opie’s self-portrait, which reveals elaborate arm tattoos, and Justine Kurland’s study of six women with children in a shallow, bucolic stream. More ironic are Lisa Kereszi’s found object study, “Pregnancy Test Stick by the Side of the Road, Connecticut”, and Pao Houa Her’s image of a woman facing a child but looking at her own face in a hand mirror. Las Hermanas Iglesias’ (Janelle and Lisa Iglesias) photos of themselves are also playful, with one sister cradling her pregnant belly while the other similarly hugs rounded objects like a mirrored disco ball.

In several photos, a woman shares the frame with, but is separated from, a child (hers, presumably). A shadowy figure stands in the doorway of Tommy Kha’s photo, a child sits behind a curtain at Nzingah Oyo, and a naked man is behind a glass shower door at Malerie Marder. Perhaps the loneliest figure is Katie Gilmore in her video, stubbornly placing white cubes in drawers that ooze blood-like paint. This performance seems to be about being a woman more than a mother, but as a vision of loneliness it is as striking as Nakadate’s portraits of her distant cousins.

Laurel Nakadate: maternal line Until May 29 at Tephra Institute of Contemporary Art12001 Market St., Reston.

Mother Until May 29 at Mason Arlington Exhibits3601 Fairfax Drive, Arlington.

Motherhood is one of the themes of Isabel Manalo’s exhibition at Addison/Ripley Fine Art, although the overriding concern seems to be fertility. Some of the exuberant, expressionistic paintings in “To Grow a Life” contain depictions of the artist’s two teenage daughters from Maryland, but nearly all of them are filled with flowers. The vibe is tropical, connecting American-born Manalo to her Filipino heritage.

The centerpiece of the show is “What Remains Becomes Ravenous,” a five-foot-tall floral image dominated by a large white flower and a bold crimson background. As in the other paintings, the plants are depicted literally, but the realism is contrasted by touches such as random drips, loose brushstrokes, and decorative patterns. The effect is to give the impression that the flowers have sprouted as much from the artist’s efforts as from the earth. The abstract gestures also indicate “a kind of distrust” of contemporary society, according to Manalo’s statement.

The exhibition includes sketchy painting-drawings on boards, which are more pointed and more urban, and a commemorative portrait of the artist’s late father. It is embedded in a screen-like frame, surrounded by vegetation and framed by pre-colonial Philippine script, a motif in Manalo’s work. Likewise, the artist’s daughters appear in nature, and not outside of it. The flowers and drops separate the girls from the viewer, keeping them safely within the confines of the paintings. These lavishly flowered portraits seem destined to nurture and protect.

Isabel Manalo: To make a life grow Until May 29 at Addison/Ripley Fine Art1670 Wisconsin Ave NW.

The main subject of Trisha Gupta’s Neurodiversity: Biodiversity is the human brain, but that’s not the only thing the Maryland-based artist depicts in her prints, drawings and sculptures. The sprawling spectacle, across most of the Sandy Spring Museum, illustrates the structural affinities between brains, fungi and aquatic life. Among the stars is a collograph, “Ocean Luminescence,” in which parts of jellyfish are highlighted in yellow or white that appear to glow.

The term “neurodiversity” was originally coined to describe people on the autism spectrum, although it was later applied to other conditions. Gupta’s statement describes herself as a “neurodivergent immigrant woman,” and some of these works seem partly autobiographical. But her art encompasses other psychological and physiological circumstances: it includes covid-themed lung sculptures and a barely 3D fabric rendering of a refugee woman whose body is reduced to “a breath and a heartbeat.” as she is separated from her children.

Most of Gupta’s prints feature artful color contrasts, and some are part of a series that offers the same compositions in different hue arrangements. But “Portrait” shows a face all splashed in indigo, a reference to the blue-skinned gods of Hindu tradition. The image reminds us that identity comes from collective culture as well as individual synapses.

Trisha Gupta: Neurodiversity: biodiversity Until May 30 at Sandy Spring Museum17901 Bentley Road, Sandy Springs, Maryland.

]]> Center for Black Culture Gallery showcases community art Thu, 19 May 2022 19:38:36 +0000

The Center for Black Culture Gallery with Nick Guzzo’s photographs on display. Photo credit: Lynn Clouser.

Drexel University’s Center for Black Culture (CBC), in partnership with the Drexel Founding Collection, the University’s new flagship art collection, has opened the Center for Black Culture Gallery on the first floor of the Rush Building to showcase the artwork of Drexel students, faculty, and professional staff as well as the surrounding communities. The University’s new art space offers the opportunity to expand visitors’ knowledge of talented and diverse artists both on and off campus. The gallery officially opened in the fall of 2021 and will offer a program of rotating exhibitions throughout the year.

The first exhibition was It was yesterday May 30, 2020, by Nick Guzzo, a self-taught amateur photographer from Philadelphia who began using his interest in photography to deal with anxiety after his military career. On May 30, 2020, during protests in Philadelphia against unjust killings of black people, Nick used his art to capture the outrage he knew most people, especially the black community, were experiencing. His photographs show the raw emotions and frustration felt by protesters that day and the reality of what happened. These nine photographs were purchased by The Founding Collection (formerly The Drexel Collection), with a portion of each purchase going to The Philadelphia School District Fund.

In addition to the revolving gallery space, photographs and artwork are exhibited throughout the Center for Black Culture to portray the experiences, beauty, and contributions of Black people to music, athletics, and culture. Philadelphia. Artists with exhibits include renowned local photographers Walter Iooss, Jr.; Larry Finck, Shawn Theodore, and Roberta Gruber of Drexel, associate professor at Antoinette Westphal College of Media Arts & Design. These pieces were selected from the collections of the founding collection, initially donated by Albert Lord IIIBS business administration ’89, founder and CEO of Lexerd Capital Management LLC, in 2017, 2019 and 2020, as well as those purchased by the Founding Collection in 2021 and 2022.

Keep an eye out for new artwork purchased for the CBC and on loan from the Founding Collection that will continue to rotate through the Centre. The exhibits are available online through the Founder’s Collection and will soon be available on the CBC webpage. If you are interested in exhibiting artwork in the CBC Gallery or assisting with the installation and interpretation of any of the artwork, please contact Founding Collection Director Lynn Waddell at

Since It was yesterday May 30, 2020 by Nick Guzzo:

The audacious work of Dorman Grad Ludovic Nkoth is followed around the world Thu, 19 May 2022 01:03:38 +0000

Early on a school day in 2014, a retired police cruiser pulled up to the loading dock at Dorman High School.

Tied to the top of the Crown Victoria were a pair of giant canvases, paintings in progress for Ludovic Nkoth, who was trying, somewhat stealthily, to bring them to school for his senior AP art class.

His teacher, Robert Urban, was watching, amused.

“(He) saw me arriving at 7 a.m., 8 a.m. with two canvases tied to the car, and he was like, ‘What are you doing!? ‘” Nkoth recalls, laughing at the memory. “It’s a huge car, but the canvas can’t fit anywhere in the car or in the trunk.”

Fast forward to spring 2022: Nkoth flies to London, Paris and a few cities in Italy for gallery openings and appearances, his finished canvases carefully packaged and protected for the journey across the Atlantic.

Nkoth is considered a rising star in the world of contemporary art, represented by galleries in Turin, Italy, London and Los Angeles.

His colorful, often oversized works are in demand in the United States, Europe and Asia. They evoke the course of his life, across continents and cultures.

Ludovic Nkoth’s trip to the United States

Ludovic Nkoth is originally from Cameroon, graduating from Dorman High School and USC-Upstate in Spartanburg, SC.  He currently works in New York.

Ludovic Nkoth was born in 1994 in Cameroon in West Africa and moved to Spartanburg when he was 13 years old.

His first language was French, and he spent his freshman year in South Carolina learning enough English to go to college. Drawing was her way of interpreting her new home and staying connected to Cameroon. Hip-hop was his soundtrack and helped him master his new language. Even now he speaks with a somewhat lyrical inflection.