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And the fact that she leaves so much paint on her brush, that the faces are rich with texture and depth of surface is powerful. As the gallery notes, \"McCoy excels at evocation\u2014it is no wonder she counts Alice Neel, Deena Lawson, and Mary Cassatt among her inspirations. More About Everything<\/em> oversees the expansion of her powers of suggestion on the level of form, while holding steadfast to the conceptual heart of her practice: celebrating quotidien family life.\" We often ask for more out of life, whether in private or as a confessional to others. Wanting more is often associated with a weakness or a moment of need. But here, more is just the perfect harmony. \u2014Evan Pricco<\/em><\/p>","video":null,"gallery":"{gallery}72158{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"More About Everything\"},{\"id\":\"3\",\"value\":\"Shaina McCoy\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-09-07\"},{\"id\":\"2\",\"value\":\"2023-09-30\"},{\"id\":\"10\",\"value\":\"Stems Gallery, Brussels\"},{\"id\":\"9\",\"value\":\"Brussels\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"3\"},{\"id\":\"16\",\"value\":\"34\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" More About Everything Shaina McCoy Stems Gallery, Brussels Brussels Europe Brussels ","created":"September 07, 2023","created_by":"18541","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 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What I love about Shaina McCoy<\/a> is that she paints as if she wants just the maximum amount of paint on each brushstroke. MORE. Which makes the name of her new show at Stems in Brussels<\/a>, opening on September 7th, so perfect: More About Everything<\/em>. But what is so fascinating about the \"more\" here is that Shaina paints the in-between moments of memory, the almost B-sides of life that are ever so significant but can be missed. Really, she paints the life we actually live. <\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"72164","title":"Hideaki\u00a0Kawashima:\u00a0Stay Still @ Richard Heller Gallery, Los Angeles","alias":"hideaki-kawashima-stay-still-richard-heller-gallery-los-angeles","catid":"19","published":"1","introtext":"Richard Heller Gallery is pleased to present Hideaki Kawashima: Stay Still. This is Kawashima's third solo exhibition with the gallery. Kawashima has developed a distinc<\/span><\/span>","fulltext":"

Kawashima was born in Aichi, Japan in 1969. After graduating from Tokyo Zokei University in 1991, Kawashima undertook two years of training in Buddhism at the Hieizan Enryakuji Temple from 1995, thereafter commencing his career as an artist in 2001. Kawashima has presented his work in numerous exhibitions internationally and domestically. His major exhibitions include, \u201cJapanese Experience Inevitable\u201d (Museum der Moderne Salzburg, Austria, 2004), \u201cLIFE\u201d (Art Tower Mito, Ibaraki, Japan, 2006), \u201cIdol!\u201d (Yokohama Museum of Art, Kanagawa, Japan, 2006), and \u201cLittle Boy\u201d (curated by Takashi Murakami, Japan Society, New York, 2006). In 2007 he took part in the \u201cPocheon Asia Biennale,\u201d followed by a solo exhibition at the Kukje Gallery (Seoul, South Korea) in 2009. He has had five solo exhibitions with Tomio Koyama Gallery, Tokyo in 2003, 2005, 2009, 2014 and 2018 and three solo exhibitions at the Richard Heller Gallery (Santa Monica, USA) respectively in 2011, 2014 and 2023.<\/p>","video":null,"gallery":"{gallery}72164{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Stay Still\"},{\"id\":\"3\",\"value\":\"Hideaki\\u00a0Kawashima:\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-09-09\"},{\"id\":\"2\",\"value\":\"2023-10-28\"},{\"id\":\"10\",\"value\":\"Richard Heller Gallery, Santa Monica\"},{\"id\":\"9\",\"value\":\"Los Angeles\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"2\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Stay Still Hideaki\u00a0Kawashima: Richard Heller Gallery, Santa 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kawashima","published":"1","link":"\/tag\/hideaki-kawashima\/"},{"id":"832","name":"richard heller gallery","published":"1","link":"\/tag\/richard-heller-gallery\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/b12a14fe01d2ba2fb21a9e205c8e49c8_XS.jpg?t=1694065558","imageSmall":"\/media\/k2\/items\/cache\/b12a14fe01d2ba2fb21a9e205c8e49c8_S.jpg?t=1694065558","imageMedium":"\/media\/k2\/items\/cache\/b12a14fe01d2ba2fb21a9e205c8e49c8_M.jpg?t=1694065558","imageLarge":"\/media\/k2\/items\/cache\/b12a14fe01d2ba2fb21a9e205c8e49c8_L.jpg?t=1694065558","imageXLarge":"\/media\/k2\/items\/cache\/b12a14fe01d2ba2fb21a9e205c8e49c8_XL.jpg?t=1694065558","imageGeneric":"\/media\/k2\/items\/cache\/b12a14fe01d2ba2fb21a9e205c8e49c8_Generic.jpg?t=1694065558","cleanTitle":"Hideaki\u00a0Kawashima:\u00a0Stay Still @ Richard Heller Gallery, Los Angeles","numOfComments":"0","text":"

Richard Heller Gallery<\/a> is pleased to present Hideaki Kawashima<\/a>: Stay Still<\/em>. This is Kawashima's third solo exhibition with the gallery. Kawashima has developed a distinctive representational style characterized by exaggerated proportions, androgynous and sensuous figures, and monochromatic or minimal palettes\u2014a result of the artist considering himself to be \u201cbad at colors.\u201d Many critics have suggested the possibility that all of Kawashima\u2019s works are versions of self-portraits, but Kawashima is careful about this association: \u201cIt was not an ideological thing like a self-portrait. I think it was more like painting a character. Instead of being someone\u2019s likeness, it was my own character.\u201d His works touch upon themes of spirituality, mythical narratives, longing and transformation.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"72146","title":"How to Get a "Sunburn" in The World of Laurent Proux","alias":"how-to-get-a-sunburn-in-the-world-of-laurent-proux","catid":"19","published":"1","introtext":"Laurent Proux\u2019s recent paintings, created at the Casa de Vel\u00e1zquez, are flooded with sunlight. Madrid\u2019s climate is obviously no stranger to the sunburned element that has given a new twist to hi<\/span><\/span>","fulltext":"

The exhibition Sunburn<\/em> transports us into an overheated world that is at once familiar and discordant. Large, flamboyant scenes in spectacular formats address simple subjects: eroticism and work. These two themes delve into the very heart of our individual and social existences. Everyone can relate to them. \u201cNo one can imagine a world where burning passion would definitively cease to trouble us. No one, on the other hand, can envisage the possibility of a life that would no longer be bound by calculation.\u201d(1) \u201cBurning passion\u201d on the one hand, productive reason and its calculation on the other. It is clear that Proux\u2019s paintings burn or are illuminated by what is in most cases crepuscular light. The two series reflect this naturalistic repartition, each having its own luminescence. The stylized bacchanalian romps are set in an imaginary d\u00e9cor, while the workshops betray a more tangible, photographic source, originating from documentary photographs of certain social settings, taken by the artist since the beginnings of his practice. Sunburn<\/em> offers the spectator a vision of fiery yet tangible painting: the characters are completely absorbed in their activities, naked in the throes of sexual abandon for some, concentrated on their workplace machines for others.

The sun acts as the director of photography for the exhibition: its works, that one might describe as photosensitive, radiating a paradoxical energy, exuding a certain strangeness within clear, straightforward compositions. Its astral luminosity disrupts any initial evidence of a particular scene. Its mobile and intrusive eye penetrates the heart of each situation, insinuating itself between bodies, twisting and capturing them from any number of points of view at the same time, from above, frontally and from behind, as is the case with the bucolic frolicking. Proux approaches lighting like a baroque or classical painter, or perhaps more like a theatrical or movie director, constructing a precise scenic space with its own action, atmosphere and characters. One activity can conceal many others. \u2014Anne Bonnin<\/em><\/p>","video":null,"gallery":"{gallery}72146{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Sunburn\"},{\"id\":\"3\",\"value\":\"Laurent Proux\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-09-02\"},{\"id\":\"2\",\"value\":\"2023-10-07\"},{\"id\":\"10\",\"value\":\"Semiose, Paris\"},{\"id\":\"9\",\"value\":\"Paris\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"3\"},{\"id\":\"16\",\"value\":\"17\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Sunburn Laurent Proux Semiose, Paris Paris Europe Paris ","created":"September 07, 2023","created_by":"18541","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2023-09-04 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Proux","published":"1","link":"\/tag\/laurent-proux\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"},{"id":"23630","name":"semiose","published":"1","link":"\/tag\/semiose\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/e7ba3bccdbd9636d94eb6c3de61548d8_XS.jpg?t=1693870610","imageSmall":"\/media\/k2\/items\/cache\/e7ba3bccdbd9636d94eb6c3de61548d8_S.jpg?t=1693870610","imageMedium":"\/media\/k2\/items\/cache\/e7ba3bccdbd9636d94eb6c3de61548d8_M.jpg?t=1693870610","imageLarge":"\/media\/k2\/items\/cache\/e7ba3bccdbd9636d94eb6c3de61548d8_L.jpg?t=1693870610","imageXLarge":"\/media\/k2\/items\/cache\/e7ba3bccdbd9636d94eb6c3de61548d8_XL.jpg?t=1693870610","imageGeneric":"\/media\/k2\/items\/cache\/e7ba3bccdbd9636d94eb6c3de61548d8_Generic.jpg?t=1693870610","cleanTitle":"How to Get a \"Sunburn\" in The World of Laurent Proux","numOfComments":"0","text":"

Laurent Proux<\/a>\u2019s recent paintings, created at the Casa de Vel\u00e1zquez, are flooded with sunlight. Madrid\u2019s climate is obviously no stranger to the sunburned element that has given a new twist to his art. Proux\u2019s large-format, sun-drenched paintings play on naturally contradictory levels of intensity. Light cascades through them, bathing everything in its aura, or on the contrary, carving out and incising shadows and figures. Through this approach, the exhibition Sunburn <\/em>at Semiose<\/a> highlights two seemingly opposite scenarios: on the one hand naked characters frolic in natural surroundings, while on the other, figures labor in weaving or sewing workshops. Two universes sit side by side, the first a product of fantasy, the other one of realism. Light plays an essential, dramatic role: Proux has come up with contrasting storylines, alternating between naturalism and the supernatural. Bodies seem to be ensnared in the rays and nets of an invisible physical force. The paintings are pervaded by a certain tension, of which light is both the vector and the revealer.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"72160","title":"Final Days to "Look but don\u2019t touch" Callum Eaton's Work @ Carl Kosty\u00e1l, London","alias":"final-days-to-look-but-don-t-touch-callum-eaton-s-work-carl-kostyal-london","catid":"19","published":"1","introtext":"Carl Kosty\u00e1l proudly presents Look but don\u2019t touch, Callum Eaton\u2019s debut solo exhibition with the gallery. Having pursued that particular painterly perfection of photorealism since his time at G<\/span><\/span>","fulltext":"

For his London debut exhibition at Carl Kosty\u00e1l, Eaton has made an expanded selection of the oft-overlooked street furniture and urban architecture that populate the artist\u2019s hometown. Imbued with an acute awareness of conceptual art developed during his time at Goldsmiths and a wry critique of the ever-increasing commercialisation of contemporary culture in 21st-century society, Eaton\u2019s art inhabits a world reduced to two dimensions. These everyday objects \u2013 their coin slots, keypads and buttons eagerly awaiting use \u2013 appear rather as readymades. They retain their form but lose their function.<\/p>\r\n

Street-side telephone boxes made all but obsolete by mobile phones and now regularly removed by councils and city planners, remain as reliquaries to unrelenting digital advancement. Coca-Cola vending machines replete with Warholian repetition expose Eaton\u2019s labour-intensive like-for-like replication of on-demand appeasement, while elevators from the artist\u2019s own studio space in the City of London retain eerie echoes of their former life ferrying bankers and business people. Employing that trompe-l\u2019\u0153il trickery popularised by French genre-painter Louis-L\u00e9opold Boilly  \u2013 whose portrayal of overlaid sheets of paper was selected for the Paris Salon of 1800 \u2013  Eaton doggedly documents his everyday environment, each painting becoming a new piece of his Sims-esque city-building expansion pack.<\/p>\r\n

And just as the artist is present in Jan van Eyck\u2019s famed Arnolfini Portrait easter-egg or the secret self-portraits that Baroque-period painter Clara Peeters snuck into her still-lives, Eaton himself appears as both an apparition reflected in the door of a launderette\u2019s Washeteria and the example images one might obtain from a Photo-Me self-service photo-booth. The artist as subject \u2013 as object perhaps \u2013 blurring the lines between the real world he inhabits, and the flattened substrata simulation that exists on the surface of each canvas. \u2014Hector Campbell<\/em><\/p>","video":null,"gallery":"{gallery}72160{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Look But Don't Touch\"},{\"id\":\"3\",\"value\":\"Callum Eaton\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-08-18\"},{\"id\":\"2\",\"value\":\"2023-09-09\"},{\"id\":\"10\",\"value\":\"Carl Kosty\\u00e1l, London\"},{\"id\":\"9\",\"value\":\"London\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"3\"},{\"id\":\"16\",\"value\":\"16\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Look But Don't Touch Callum Eaton Carl Kosty\u00e1l, London London Europe 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eaton","published":"1","link":"\/tag\/callum-eaton\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"},{"id":"24961","name":"Carl Kosty\u00e1l","published":"1","link":"\/tag\/carl-kosty%c3%a1l\/"},{"id":"24962","name":"Carl Kosty\u00e1l London","published":"1","link":"\/tag\/carl-kosty%c3%a1l-london\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/3847e8d9ccee54f57675560f7eae7786_XS.jpg?t=1694041082","imageSmall":"\/media\/k2\/items\/cache\/3847e8d9ccee54f57675560f7eae7786_S.jpg?t=1694041082","imageMedium":"\/media\/k2\/items\/cache\/3847e8d9ccee54f57675560f7eae7786_M.jpg?t=1694041082","imageLarge":"\/media\/k2\/items\/cache\/3847e8d9ccee54f57675560f7eae7786_L.jpg?t=1694041082","imageXLarge":"\/media\/k2\/items\/cache\/3847e8d9ccee54f57675560f7eae7786_XL.jpg?t=1694041082","imageGeneric":"\/media\/k2\/items\/cache\/3847e8d9ccee54f57675560f7eae7786_Generic.jpg?t=1694041082","cleanTitle":"Final Days to \"Look but don\u2019t touch\" Callum Eaton's Work @ Carl Kosty\u00e1l, London","numOfComments":"0","text":"

Carl Kosty\u00e1l<\/a> proudly presents Look but don\u2019t touch<\/em>, Callum Eaton<\/a>\u2019s debut solo exhibition with the gallery. Having pursued that particular painterly perfection of photorealism since his time at Goldsmiths (BA Fine Art, 2019), Callum Eaton watched on with a sense of satisfaction when an inebriated attendee of an early open studio session attempted, inevitably in vain, to interact with a two-dimensional depiction of a conventional cash machine. The frustrated fumblings of Eaton\u2019s incapacitated patron recall that renowned Grecian tale of illusionary artworks, Zeuxis and Parrhasius\u2019 contest of artistic artifice. The latter, incensed at the former\u2019s ability to produce a still-life so accurate that birds would fly down in an effort to pick at the grapes portrayed, decided to develop his own deceitful depiction. When complete, Parrhasius invited his unwitting rival to view his latest masterpiece, safely stored behind the draped curtains of his studio. Upon reaching out to unveil the artwork, an unsuspecting Zeuxis encountered only solid surface and yielded to the superior draughtsman, the curtains themselves being Parrhasius\u2019s painting.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"72157","title":"Makito Takagi "What Is The Smallest Unit In Art?" @ Moosey Islington, London","alias":"makito-takagi-what-is-the-smallest-unit-in-art-moosey-islington-london","catid":"19","published":"1","introtext":"Moosey Islington is presenting a new show by Makito Takagi, titled What Is The Smallest Unit In Art?. Takagi is an emerging artist who has exhibited nationally and internationally since graduati<\/span><\/span>","fulltext":"

While using reliable painting techniques, Takagi has created images that evoke the depths of the psyche and other-worldly worlds that we do not usually observe.<\/p>\r\n

His images are arranged in a series by composition: the \u201cSnap- shot\u201d series, in which creatures are depicted as if accidentally photographed with a flash in the dark, a theme he has
explored since his days as an art college student; the \u201cMoon-shot\u201d series, depicting motifs bathed in light from sources like the moon; the \u201cNice Corm!\u201d series, portraying plant parts as creatures; and the \u201cStack\u201d series, showcasing characterised and stacked boxes, cans, metal and machinery.<\/p>\r\n

\u201cIn the past, I created a series of works, each exploring different themes> Takagi says. \"However, in recent years, I started to see commonalities within these various themes and realised that there was one question residing inside me. Could it be that the concept of art exerts a force upon us, much like the laws of physics, shaping our consciousness, expressions, and fragments of the images we create?\u201d Or, to put it another way, \u201cIs there an artistic space, resembling a metaverse, spreading within our very lives?\u201d Recently, I have come to think that to unravel that question, I might have been using characters as symbols, attempting to fix a map of thought\u2014a painting\u2014onto the canvas. In the vertical and horizontal axes of artistic space, and in the emergence of a new directional axis, I find hope\u2014and this sparks a strong desire to reach that place.\u201d<\/p>","video":null,"gallery":"{gallery}72157{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"What Is The Smallest Unit In Art?\"},{\"id\":\"3\",\"value\":\"Makito Takagi\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-09-02\"},{\"id\":\"2\",\"value\":\"2023-09-24\"},{\"id\":\"10\",\"value\":\"Moosey Islington, London\"},{\"id\":\"9\",\"value\":\"London\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"3\"},{\"id\":\"16\",\"value\":\"16\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" What Is The Smallest Unit In Art? 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Moosey Islington<\/a> is presenting a new show by Makito Takagi<\/a>, titled What Is The Smallest Unit In Art?<\/em>. Takagi is an emerging artist who has exhibited nationally and internationally since graduating from oil painting course, Department of Painting at Tama Art University. He currently lives and works in Japan.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"72136","title":"Matt Black's Central Valley and Mexico @ Robert Koch Gallery, SF","alias":"matt-black-s-central-valley-and-mexico-robert-koch-gallery-sf","catid":"12","published":"1","introtext":"Based in California\u2019s Central Valley, Matt Black produces highly narrative imagery deeply grounded in present-day societal and environmental disquietude. The Central Valley and Mexico at Robert Koc<\/span><\/span>","fulltext":"

In 1995, Black began capturing the struggle, disempowerment, and hopeful resilience of communities throughout the Central Valley of California. The work from The Valley portrays the many hardships faced by residents working and living in one of the world\u2019s most significant and powerful agricultural hubs. Despite generating billions of dollars in economic output, these communities bear the weight of poverty, unemployment, and inadequate access to healthcare and education.<\/p>\r\n

It was while photographing in the Central Valley, that Black noticed a shift in the agricultural workforce, historically a point of transition for various migrant groups. Black identified a group that intrigued him: indigenous immigrants from Mexico, speaking Trique, Mixtec, or Nahuatl. The reasons for leaving their homelands intrigued Black and led him to the mountains of Oaxaca, where he witnessed the erosion of an ancient way of life. These mountains, the birthplace of corn cultivation with a history spanning millennia, had succumbed to modern farming techniques, resulting in landslides, crop failures, and a mass exodus to the US in search of opportunities. Those left behind were mostly the elderly and children, struggling to sustain shrinking villages that became targets for drug cartels. Amid this intersection of environmental crisis and economic brutality, Black composed compelling photo essays, such as \u201cThe People of Clouds\u201d and \u201cThe Monster in the Mountains,\u201d which would eventually comprise the series Mixteca.<\/p>","video":null,"gallery":"{gallery}72136{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"The Central Valley and Mexico\"},{\"id\":\"3\",\"value\":\"Matt Black\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-09-07\"},{\"id\":\"2\",\"value\":\"2023-10-21\"},{\"id\":\"10\",\"value\":\"Robert Koch Gallery, SF\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"1\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" The Central Valley and Mexico Matt Black Robert 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Based in California\u2019s Central Valley, Matt Black<\/a> produces highly narrative imagery deeply grounded in present-day societal and environmental disquietude. The Central Valley and Mexico<\/em> at Robert Koch Gallery<\/a> delves into two earlier bodies of work, seemingly distant in geography but profoundly united in thematic resonance. Black\u2019s lens presents a captivating and profound exploration of some of the most marginalized communities in the Americas.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"72144","title":"Will.St.John is "Unveiling Brooklyn\u2019s Radical Bohemia In A Wizard Of Oz Fusion" ... in London","alias":"will-st-john-is-unveiling-brooklyn-s-radical-bohemia-in-a-wizard-of-oz-fusion-in-london","catid":"19","published":"1","introtext":"This morning we got a little teaser of Will.St.John's new solo show set for Saatchi Yates in London titled, Unveiling Brooklyn\u2019s Radical Bohemia In A Wizard Of Oz Fusion. St. John spent y<\/span><\/span>","fulltext":"

\u201cAs an inveterate daydreamer it took me many years to develop a system where I could actually turn my visions into reality,\" St.John says. \"Many, many failures. I must have discovered at least 10,000 ways how not to make a painting. Ultimately, I discovered that the point of art is not to make one great painting, but to develop a \u201csystem\u201d that can make great paintings. This all developed in the factory of the mind.\u201d

Unveiling Brooklyn\u2019s Radical Bohemia In A Wizard Of Oz Fusion opens September 14, 2023, in London. <\/strong><\/em><\/p>","video":null,"gallery":"{gallery}72144{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Unveiling Brooklyn\\u2019s Radical Bohemia In A Wizard Of Oz Fusion\"},{\"id\":\"3\",\"value\":\"Will St John\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-09-14\"},{\"id\":\"2\",\"value\":\"2023-10-22\"},{\"id\":\"10\",\"value\":\"Saatchi Yates, London\"},{\"id\":\"9\",\"value\":\"London\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"3\"},{\"id\":\"16\",\"value\":\"16\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Unveiling Brooklyn\u2019s Radical Bohemia In A Wizard Of Oz Fusion Will St John Saatchi Yates, London London Europe London 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This morning we got a little teaser of Will.St.John's new solo show set for Saatchi Yates<\/a> in London titled, Unveiling Brooklyn\u2019s Radical Bohemia In A Wizard Of Oz Fusion<\/em>. St. John spent years studying Renaissance painting techniques in Florence and around Europe. He brings these skills to his community of Bohemian New Yorkers. With a rigorous artistic style and approach to image-making, St.John's meticulously crafted paintings exude delicately fierce character. Reminding us of the French Rococo tradition, his works echo the genre's hallmark traits: a whimsical treatment of sensual themes, deployment of rich and intricate brushwork, and an infusion of pastel hues.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"72143","title":"Preview: Andrew Schoultz "Quantum Storm Rainbow" @ Volery Gallery, Dubai","alias":"preview-andrew-schoultz-quantum-storm-rainbow-volery-gallery-dubai","catid":"19","published":"1","introtext":"Los Angeles based-painter and longtime Juxtapoz featured artist, Andrew Schoultz, is set to take his worldly and historically focused works to Dubai for a new solo show, Quantum Storm Rainbow, an exc<\/span><\/span>","fulltext":"

Schoultz ingeniously employs the concept of \"quantum,\" the fundamental unit of energy, to mirror the interconnected tapestry of our digital era. Amidst a world shaped by technology, human interactions mirror the energy exchanges at the quantum level. These artworks stand as vibrant reflections of our time, capturing a world immersed in a \"Limitless sea of information,\" akin to a metaphorical \"Quantum Storm.\u201d<\/p>\r\n

Nature emerges as a steadfast companion amidst the tumult, serving as a poignant reminder of our profound bond with the Earth. Amidst scenes of upheaval and intensified weather patterns, Schoultz's pieces encapsulate both the impending tempest of global warming and the myriad responses it elicits. Amidst the chaos, the artist masterfully infuses moments of tranquility, inviting us to bask in the elegance of everyday life.<\/p>\r\n

Quantum Storm Rainbow<\/em> urges us to navigate the turbulent currents of information and societal dissonance, fostering unity amidst the chaos. This exhibition beckons introspection on our roles as caretakers of the planet and architects of its future. Join us in celebrating this mesmerizing visual odyssey that embraces diverse perspectives, encapsulates hope, and calls for a harmonious coexistence in a world that dances between intricacy and grandeur.
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Los Angeles based-painter and longtime Juxtapoz featured artist, Andrew Schoultz<\/a>, is set to take his worldly and historically focused works to Dubai for a new solo show, Quantum Storm Rainbow<\/em>, an exceptional exhibition of works at Volery Gallery<\/a>. Set against the backdrop of Dubai's vibrant art scene, this exhibition delves into the intricate interplay of weather, technology, and societal dynamics, refracted through a rich spectrum of tones and colors. The title itself encapsulates the multifaceted nature of our present world \u2013 a landscape marked by challenges yet adorned with enduring beauty and resounding hope.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"72149","title":"Leighton Kelly "Every Other Thing Exhibition" @ The Chambers Project","alias":"leighton-kelly-every-other-thing-exhibition-the-chambers-project","catid":"19","published":"1","introtext":"Heraclitus once said, \u201cIf you do not expect the unexpected you will not find it, for it is not to be reached by search or trail.\u201d  And so indeed, it would have been difficult to find Le<\/span><\/span>","fulltext":"

As we sit here perched upon the edge of the Abyss, eyes locked in its reflective gaze we may ponder what sort of tribute we might feed it\u2019s ever questing hunger.  And so, Leighton has decided to release his entire collection of works he had selfishly cloistered away in his hermetic studio of stubborn invisibility (located in scenic Hell-realm adjacent west Oakland California). Sparing no artistic medium from his meddling hands, your Ol\u2019 Pal Lay will offer for your consideration every thing he\u2019s ever done. Signs and sculpture, paint and pen, toon and reel will be revealed to the emissaries of the void; the people of the world.  <\/p>\r\n

It will now be up to you and your own mysterious trajectory to come and bear witness to this gratuitous display of artistic pandemonium in Leighton\u2019s show \u201cEVERY OTHER THING,\u201d  hosted graciously by the clever denizens of The Chambers Project Gallery.  If indeed the Fates decree, you may once again exercise that ineffable discernment certain favored humanoids possess to determine for yourself, in real time, the baffling alchemy of trash and treasure. <\/p>\r\n

Dear reader, if you have made it this far through this trial of excessive loquaciousness than I am fairly certain you have the moral fortitude to gird your loins and face the facts: You have been called to make the journey towards your destiny; to stand erect, mind agape and under the thrall of the most visually cacophonous art show you can find here at the very end of the world. <\/p>\r\n

After all, what else is there to do? 

Tickets here<\/a>. 

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chambers project","published":"1","link":"\/tag\/the-chambers-project\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/7eb7e718c33b70b1c6c41ee5465d9b54_XS.jpg?t=1694015995","imageSmall":"\/media\/k2\/items\/cache\/7eb7e718c33b70b1c6c41ee5465d9b54_S.jpg?t=1694015995","imageMedium":"\/media\/k2\/items\/cache\/7eb7e718c33b70b1c6c41ee5465d9b54_M.jpg?t=1694015995","imageLarge":"\/media\/k2\/items\/cache\/7eb7e718c33b70b1c6c41ee5465d9b54_L.jpg?t=1694015995","imageXLarge":"\/media\/k2\/items\/cache\/7eb7e718c33b70b1c6c41ee5465d9b54_XL.jpg?t=1694015995","imageGeneric":"\/media\/k2\/items\/cache\/7eb7e718c33b70b1c6c41ee5465d9b54_Generic.jpg?t=1694015995","cleanTitle":"Leighton Kelly \"Every Other Thing Exhibition\" @ The Chambers Project","numOfComments":"0","text":"

Heraclitus once said, \u201cIf you do not expect the unexpected you will not find it, for it is not to be reached by search or trail.\u201d  And so indeed, it would have been difficult to find Leighton Kelly<\/a> ensconced in his haystack of defiant obscurity. Denying the saccharine pleasures of social media, fickle infamy while shunning the acrid limelight, Ol\u2019 Lay foolishly thought he had successfully eschewed public notice. Nevertheless! The celestial bodies above decreed that the trajectories of Grass Valley\u2019s own The Chambers Project<\/a> and Leighton would mysteriously collude this September 9, 2023. <\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"72141","title":"Genevieve Gaignard: A Hit to the Head","alias":"genevieve-gaignard-a-hit-to-the-head","catid":"30","published":"1","introtext":"I\u2019ve seen many artists whose artistic ventures employ beauty to entice the viewer. Genevieve Gaignard\u2019s work is probably my favorite. A delightful multimedia artist who creates photographs, insta<\/span><\/span>","fulltext":"

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Genevieve Gaignard<\/h1>\r\n

A Hit to the Head<\/h2>\r\n

Interview by Shaquille Heath \/\/ Portrait by Charlsie Gorski<\/p>\r\n<\/div>\r\n<\/header><\/div>\r\n

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 <\/p>\r\n

I\u2019ve seen many artists whose artistic ventures employ beauty to entice the viewer. Genevieve Gaignard\u2019s work is probably my favorite. A delightful multimedia artist who creates photographs, installations, collages, and other mediums, her artwork tells the story of America\u2019s history of color blindness, and its eager violence upon Black people, women, and everything in between. Pretty pinks and bushy hairdos, florals, and red-lined lips cleverly conspire together, deconstructing the intricacies of race and cultural identity.<\/div>\r\n
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Understanding that white supremacy runs rampant in the darkness, Gaignard\u2019s artistic pursuits are there to shine that light\u2014to help you see. Gaignard shared with me that the level of visual acuity runs the spectrum, and this fact kind of boggled my mind. As a mixed Black child who never had a Black baby doll, how can I not see a work such as \"Black is Beautiful'' featuring numerous of these dolls all together on a bed, and know its meaning like it's been written with a sharpie on the wall? I can\u2019t comprehend how you could look upon a photograph of Gaignard herself (who often utilizes her own image to play into stereotypes), wearing an Antebellum dress with thick coarse hair, and not think about the histories she\u2019s clueing into. Her work is a reminder that race is entrenched in everything we do. It is in everything that we have. No house was built without wood from its trees.<\/div>\r\n
 <\/div>\r\n
And yet, I\u2019m sitting here after the disastrous Supreme Court rulings on this discontinuation of affirmative action and abhorrent LGBTQ+ discrimination, and all that I want to do is project Gaignard\u2019s work into the sky. In this interview, she tells me, \u201cBeauty seems fleeting and the underbelly of the work is not. I don\u2019t know if it\u2019s necessary for the message to always hit you over the head, yet if one feels compelled to spend a little more time with the work, the veil of beauty starts to dissolve.\u201d But I disagree. It\u2019s obviously a needed bonk to the skull. And all I can wish now, with a stiff hand on your noggin, is for the power of Gaignard to compel you fully.<\/div>\r\n

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Shaquille Heath: I\u2019m so excited to share words with you! How are you taking care of yourself right now, and where are you finding your joy?<\/b><\/div>\r\n
Genevieve Gaignard: I\u2019m currently an artist in residence at the Lunder Institute for American Art in Waterville, Maine, thanks to Director Erica Wall. Summers in Maine are gorgeous. I am happy to be here with fellow artists and immerse myself in my studio practice. I am feeling grateful to be able to connect with everyone here. It\u2019s refreshing to have the freedom to challenge myself in the studio unprompted. During my time here I am trying to tap into moments of joy. Sometimes it looks like singing along to music in the studio or going to a baseball game with friends, learning how to play Spades, and accepting the present moment.<\/div>\r\n
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Congratulations! That sounds so lovely. I'd love to jump back to the very beginning. Where did your practice begin? Did you always know you wanted to be an artist or was there an origin story?<\/b><\/div>\r\n
My journey began in childhood where I nourished a love for self-expression on the walls of my bedroom, which I always attributed to being an angsty teen growing up in the \u201980s & \u201990s\u2026 I don\u2019t know if you remember Kat\u2019s bedroom in 10 Things I Hate About You but there's a scene where she\u2019s laying on her bed and the wall is covered in posters, snapshots, and ticket stubs. If you look close enough in the corner, you\u2019ll see a sliver of pinkish floral wallpaper behind the posters\u2014that was me. I loved ripping out images from magazines and collecting band and movie posters. Those years were so formative to my expression and I didn\u2019t piece that together until after grad school. I was always creative, but I didn\u2019t really know I could be a serious artist. I grew up in a small town in Massachusetts and pursued a degree in pastry right out of high school. I\u2019ve been fortunate to cross paths with the right people in moments of my life when I\u2019ve needed guidance most. A former professor of mine offered me a piece of advice and told me to go after an art degree. I listened and never looked back.<\/div>\r\n

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Well, we thank that professor for their smart advice. Within your art, your identity molds and shifts into different portraits. There always seems to be a new story. Do you discover new things about yourself when you stretch your persona in new and different ways?<\/b><\/div>\r\n
When I\u2019m creating a character for a photograph, it\u2019s a very focused process. It can seem like I am \u201cstretching\u201d my persona, but I view the characters as a cast of societal stereotypes. I think the images make it easy for viewers to believe these characters are solely facets of who I am specifically, but that\u2019s not entirely true. Shapeshifting plays a role in the way I navigate through the world and in my practice.<\/div>\r\n
 <\/div>\r\n
I understand. Knowing how important it is to shapeshift, how would you describe your identity? Does that feel that it's at the heart of your work?<\/b><\/div>\r\n
Yes, my practice encompasses the many layers of who I am, but I am more focused on the deceptive ways race operates as a construct in our everyday lives (past and present). I am Genevieve Gaignard. Yes, I am the daughter of a Black man from Louisiana and a white woman from Maine, a biracial Black woman who looks White to many I encounter. I am the sister to three brothers, an aunt, a friend, and an artist. I\u2019m also anxious, sarcastic, sensitive, and a lot of other things. But, there is something beyond the individual experience of my identity that shapes the work. I am responding to fabricated representations of what my Blackness symbolizes in our society.<\/div>\r\n
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I imagine that many mixed-race people, as I am myself, are so fulfilled by your work. especially with ambiguity in representation. Is that a motivator for you?<\/b><\/div>\r\n
I really appreciate you saying that. I started making this work to understand my own ambiguity as I move through the world, and there\u2019s comfort in knowing others feel seen. Some people feel a sense of validation or recognition with the work, and others can be confused or completely oblivious to the message. I guess that means ambiguity is inherent to my practice. Right now I\u2019m motivated by letting go of the anxiety around how I (over)think I\u2019m supposed to show up in the world.<\/div>\r\n
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Have you discovered anything about self-identity that has been surprising in regards to yourself, or even, from others?<\/b><\/div>\r\n
What I\u2019m discovering is that I don\u2019t always have to perform my identity in the same old obvious ways. And there\u2019s been conversations around my work that make me feel like I have to constantly do that. It\u2019s an exhausting and confusing facade that I\u2019m trying to shed. I\u2019m not ashamed of my identity or who I am, I just don\u2019t want to talk about it in this way anymore. At this point, I no longer want to convince or remind people of my \u201cidentity.\u201d Who I am is steeped into my being and that is absorbed into the work. If I\u2019m less focused on convincing an audience and just allowing myself to be. I hope the work speaks in more profound ways.<\/div>\r\n

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 <\/p>\r\n

I love that. Part of your practice is collecting racist and anti-Black objects that appear within your art. I'm curious how often these are items you have to seek out, or if these kinds of objects are still very prevalent.<\/b><\/div>\r\n
Yes, part of my practice involves sourcing objects that can be referred to as \u201cBlack Americana.\u201d While I wasn\u2019t necessarily seeking out Black Americana collections, many of these objects were in my periphery growing up. In my own process of sourcing objects, I\u2019ve often come across racist advertisements, figurines, toys, kitchenware, and other random everyday objects of the late 19th-early 20th century that use images that embodied racial stereotypes or caricatures. The Mammy figurine, which is often used in my work, was produced until the second half of the 20th century by multiple manufacturers. They were one of the most popular collectible items from the 1920s to the 1950s, found in homes all over America. Eighty years isn\u2019t that long ago. If you walk through a Sunday flea market or any antique shop, I\u2019m sure you\u2019ll see some form of racist or anti-black objects in their collections. I am not actively looking for these objects, they find me. And now I can\u2019t unsee them.<\/div>\r\n
 <\/div>\r\n
You play a lot with stereotypes that are attached to both Blackness, but also womanhood, glamor, and beauty. Is there a line there that you don\u2019t want to cross?<\/b><\/div>\r\n
I think I\u2019m still figuring that out. I tend to play on the edge of making folks comfortably uncomfortable. But at times, I feel like my work isn\u2019t risky enough.<\/div>\r\n
 <\/div>\r\n
I imagine that many people (cough, cough, White people), may get transfixed on the \u201cfun\u201d or \u201c beauty\u201d that's the Trojan horse in your work. How do you mitigate that? Does this feel like feedback or just a \u201cshrug and eye roll\u201d?<\/b><\/div>\r\n
It\u2019s funny because so much of my energy is poured into the things I make, and the work is often met with \u201cOh, this is so beautiful.\u201d But I find I\u2019m so focused on the darker context of my work that these fixations of beauty become veiled for me. I can\u2019t always see it, but I know the materials I use to create this allure. It\u2019s complicated for me to fully describe. Beauty seems fleeting and the underbelly of the work is not. So that\u2019s what I\u2019m up against. I don\u2019t know if it\u2019s necessary for the message to always hit you over the head; yet if one feels compelled to spend a little more time with the work, the veil of beauty starts to dissolve.<\/div>\r\n
 <\/div>\r\n
Your work unabashedly confronts racism and racist histories. I imagine working with that day in and out can become triggering and overwhelming. Do you have any sort of ritual to prepare yourself, to kind of hold yourself safe?<\/b><\/div>\r\n
You know, my last solo exhibition titled Strange Fruit was a really tough show for me to produce. I feel like I was trying to connect a tender point of American history with the frustration of wanting White folks to try to feel the grief and violence acted out on Black people which they cannot fully contend with. The show didn\u2019t have the impact I expected and I had to check in with myself. For me, the work can be triggering, though it was necessary to make this body of work. The emotions that it brought up were overwhelming and that feeling hasn\u2019t yet ended.<\/div>\r\n
 <\/div>\r\n
It's been a year since Strange Fruit and I\u2019m still figuring things out. I lost a feeling of safety after the show, or maybe I never had it to begin with. But life has been throwing moments at me to push the boundaries of how I show up. And with that, I am trying to build new rituals that bring me peace in my own essence.<\/div>\r\n

 <\/p>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n

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\u201cI tend to play on the edge of making folks comfortably uncomfortable. But at times, I feel like my work isn\u2019t risky enough...\u201d<\/p>\r\n<\/div>\r\n

\r\n

 <\/p>\r\n

When you begin a new work, where does that idea usually stem from? Is it finding an object? Or do you have an idea in your mind and then seek out objects that fulfill that?<\/b><\/div>\r\n
New work stems from different sources. I am responding to happenings in the world. Sometimes it starts with an object or an image that gets my attention. Perhaps a childhood memory or a conversation I had with someone. The most recent works I\u2019ve made are for an upcoming show at The Frist Art Museum, Multiplicities: Blackness in Contemporary American Collage. At the time of creating these works, I leaned into Tarot cards, which helped me navigate my emotions over the last year and gave me inspiration to create these new collages.<\/div>\r\n
 <\/div>\r\n
How do you think your work has evolved the most over your career? What events, reflections, feedback, or advice instructed that shift?<\/b><\/div>\r\n
My work has lived with me and evolved alongside every step in my life: growing up in a small mill town with no diversity, pursuing formal art education, moving to Los Angeles, losing my niece in a tragic accident, the pandemic and national uprisings, and even my last show.<\/div>\r\n

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 <\/p>\r\n

Who are some of the artists who have inspired you along the way?<\/b><\/div>\r\n
My influences are all over the map from Diane Arbus to Arthur Jafa, Luther Vandross, Betye Saar, Blk Mkt Vintage, Vanessa German, Umar Rashid, and Ghetto Gastro, to name a few. Being a panelist for the Yale MFA Photography cohort has also been a great source of inspiration. Even though I\u2019m in a position to offer guidance to the cohort, I feel like I\u2019m learning so much from them and the other panelists. Also a special shout out to the artists I\u2019m currently in residency with, Kenny Rivero and Papay Soloman. They are two dope humans who make me laugh while at the same time keeping me in check and have helped me reflect on the artist I want to become.<\/div>\r\n
 <\/div>\r\n
What are you working on now? Anything exciting you can share?<\/b><\/div>\r\n
Being in residency is giving me the time to work on a few exciting upcoming projects. I can say that collaboration is a big part of where the future is heading, and I am loving all of what is unraveling for 2024.<\/div>\r\n
 <\/div>\r\n
Genevievegaignard.com<\/a> \/\/ @creativecurvyginger \/\/ This interview was originally published in our Juxtapoz FALL 2023 Quarterly<\/span><\/i><\/b><\/div>\r\n
 <\/div>\r\n

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Evan","username":"editor2","email":"youwishyouwerenick+evansremadeaccount@gmail.com","password":"$2y$10$uHN5nIZxlft2axTzIcqxxegnDK6IjKbJAEKw6gYh\/pIoManBl566O","password_clear":"","block":"0","sendEmail":"0","registerDate":"2018-09-14 15:32:30","lastvisitDate":"2023-11-22 01:27:06","activation":"","params":"{\"admin_style\":\"\",\"admin_language\":\"\",\"language\":\"\",\"editor\":\"\",\"helpsite\":\"\",\"timezone\":\"\"}","groups":{"6":"6"},"guest":0,"lastResetTime":"0000-00-00 00:00:00","resetCount":"0","requireReset":"0","otpKey":"","otep":"","link":"\/k2\/user\/editor2\/","profile":{"gender":null},"avatar":"https:\/\/secure.gravatar.com\/avatar\/c9ca4d8d3c0adb3dacb88fa096e98421?s=100&default=https%3A%2F%2Fwww.juxtapoz.com%2Fcomponents%2Fcom_k2%2Fimages%2Fplaceholder%2Fuser.png"},"numOfComments":"0","text":"

I\u2019ve seen many artists whose artistic ventures employ beauty to entice the viewer. Genevieve Gaignard\u2019s work is probably my favorite. A delightful multimedia artist who creates photographs, installations, collages, and other mediums, her artwork tells the story of America\u2019s history of color blindness, and its eager violence upon Black people, women, and everything in between. Pretty pinks and bushy hairdos, florals, and red-lined lips cleverly conspire together, deconstructing the intricacies of race and cultural identity.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"72131","title":"Busy Romance: Martin Ka\u010dmarek's Rural Realism","alias":"busy-romance-martin-kacmarek-s-rural-realism","catid":"19","published":"1","introtext":"Gray skies, rural scenery and manual labor\u2014Martin Ka\u010dmarek's paintings are a heartfelt tribute to the countryside. In Busy Romance at NBB Gallery, he portrays farmers and hand-workers in agrarian <\/span><\/span>","fulltext":"

However, rather than being an opposition to urban life, Ka\u010dmarek's countryside motives are inspired by the digital realm, drawing inspiration from online spaces and computer games. Conversely, the starting points for his compositions are found in online spaces and computer games such as Farming Simulator or in the vlogs of farmer micro-influencers who share their daily life online. While he grew up on a farm in Slovakia and takes care of his family\u2019s farmland himself, his artistic vision is expanded by incorporating gaming aesthetics. This fusion allows him to create a wider range of motives and breathe life into his captivating artwork. Moreover, the mastery of the air brush technique used together with hard edges of his objects provides his canvases with an aesthetic of digital or rendered images.<\/p>\r\n

In addition to the seven canvases in Busy Romance<\/em> there are tools for agriculture inside the main gallery room elevating the art experience. Spades, sickles, and rakes enable a connection between the gallery space and the paintings. Although Busy Romance<\/em> might celebrate work, there is also a component of relaxation: the artist even assembled a seating made out of straw bales for all visitors to sit on, bringing a tangible bit of the spaces depicted in his canvases to Berlin.<\/p>\r\n

\"N\"N<\/p>\r\n

Also on view at NBB Gallery is Dominika Kov\u00e1\u010dikov\u00e1\u2019s<\/a> exhibition Good For Her. <\/em>Her small format oil paintings combine symbols of purity with disruptive imagery. Emphasizing feminine elements such as ribbons or lace, the paintings include blood, guns and weapons. As much as weapons appear dangerous, the artist rather emphasizes their protective function, making her female characters appear even stronger and more determined, ready to take revenge, protect themselves and overcome their past. The duality of the imagery as well as its interpretation is what Kov\u00e1\u010dikov\u00e1 indeed strives for. It can be the depiction of innocent characters in a mysterious forest or in haunting environments that evoke uncomfortable feelings. The manipulation of the environment allows one to go beyond the boundaries of the classical depiction of figures and keeps the viewer in suspense and anticipation. \u2014Gabriela Klemov\u00e1<\/em><\/p>","video":null,"gallery":"{gallery}72131{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Busy Romance\"},{\"id\":\"3\",\"value\":\"Martin Ka\\u010dmarek\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-08-18\"},{\"id\":\"2\",\"value\":\"2023-09-08\"},{\"id\":\"10\",\"value\":\"NBB Gallery, Berlin\"},{\"id\":\"9\",\"value\":\"Berlin\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"3\"},{\"id\":\"16\",\"value\":\"19\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Busy Romance Martin Ka\u010dmarek NBB Gallery, Berlin Berlin Europe Berlin ","created":"September 05, 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Gray skies, rural scenery and manual labor\u2014Martin Ka\u010dmarek's<\/a> paintings are a heartfelt tribute to the countryside. In Busy Romance<\/em> at NBB Gallery<\/a>, he portrays farmers and hand-workers in agrarian settings with a perfect blend of realism and emotional depth, telling captivating stories of his characters. On one hand, Ka\u010dmarek is focusing on visually striking work motives such as the light of the welding machine, on the other he is telling personal stories through contemplative farmer portraits. With a hint of humor and satire, Ka\u010dmarek outweighs the dreary reality of rural life making his paintings relatable for all viewers.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"72140","title":""What Happened" Was That Nicole Eisenman Became One of America's Most Important Contemporary Artists","alias":"what-happened-was-that-nicole-eisenman-became-one-of-america-s-most-important-contemporary-artists","catid":"23","published":"1","introtext":"When Nicole Eisenman was the October 2016 cover story, the artist told us, \u201cI don\u2019t think of painters as being dead or alive. The work is dead or alive, depending on whether it has something to s<\/span><\/span>","fulltext":"

The exhibition surveys for the first time the entire spectrum of the artist\u2019s three decades of work in painting and sculpture, bringing together approximately 100 works dating from 1992 to the present. Relevant from an art historical and social, political and deeply human perspective, it is an oeuvre that manages in an anarchic way to be both an homage to and a critique of its own subject.

From the gallery: In her large-scale figurative paintings since the 2000s, Eisenman references her living environment, depicting the everyday in ways that are both humorous and compassionate. They are often group portraits, yet they tell not only of unity and connectedness, but also of loneliness and alienation within society. Since the mid-2010s, the artist has produced a series of monumental paintings in which she references the tense political atmosphere in the United States following the 2016 presidential election. Some works criticize those voters who fell for Donald Trump\u2019s populist promises. Others feature politically engaged communities working together to confront a social culture that is on a dark path (\u201cThe Darkward Trail,\u201d 2018). In recent years, sculptural works have also become more prominent in Eisenman\u2019s practice. After initially working with plaster at the beginning of the 2010s, these days there is no material that the artist does not use in her sculptures. Their materiality references queer themes that continually preoccupy Eisenman, along with her unwavering humanist and universalist stance.<\/p>","video":null,"gallery":"{gallery}72140{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"What Happened\"},{\"id\":\"3\",\"value\":\"Nicole Eisenman\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"2023-09-10\"},{\"id\":\"10\",\"value\":\"Museum Brandhorst, Munich\"},{\"id\":\"9\",\"value\":\"Munich\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"3\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" What Happened Nicole Eisenman Museum Brandhorst, Munich Munich Europe ","created":"September 05, 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When Nicole Eisenman<\/a> was the October 2016 cover story<\/a>, the artist told us, \u201cI don\u2019t think of painters as being dead or alive. The work is dead or alive, depending on whether it has something to say. It\u2019s not a gender thing. I\u2019m not interested in reclaiming art history for women or queer-ifying it. It\u2019s simply a place to go to get ideas, to find inspiration, to form questions.\u201d This felt like an apt quote when looking at the phenomenal Nicole Eisenman. What Happened<\/em>, on view at Museum Brandhorst in Munich<\/a>.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},[{"type":"next-url","url":"\/news\/page\/25\/?json=true&"},{"type":"next-link","url":"\/news\/page\/25\/"}]]