Summer 2024 edition of the making of art, its exhibition, and what we say about it
It was one year ago that I first became acquainted with the work of Stephen Cook and OneWay Gallery. Being in Narragansett, I was not expecting to see much beyond the stereotypical sails and sunsets in any ‘art gallery’, so I was completely taken aback by Cook’s versatility and vigor as a contemporary painter.
Continue reading “Where to Draw the Line at OneWay Gallery”
It was probably somewhere around 1987 when I read a quote attributed to Auguste Renoir in an art magazine. I don’t recall the exact passage, but he likened his paintbrush to his penis when discussing why he so obsessed over capturing the erotic aspects of a woman’s flesh. A month or so later I made a drawing, I was in my pseudo Post Modern stage making sculptures that looked like they could have been executed in the nineteen teens, twenties or thirties, and the subject was my interpretation of Renoir’s sensual sentiment about his female nudes. Continue reading “The Tale of Auguste’s Brain”
Magnetic Fields: Expanding American Abstraction, 1960s to Today, which celebrates “the contributions of black women in the field of abstract art”, is a wonderful and stunning exhibition that features many powerful examples of Abstract Art. Walking through the exhibition, I am immediately struck by both the diversity and depth of the selections and the overall scale of the exhibition. Continue reading “Magnetic Field @ MFA (Museum of Fine Arts)”
by Julie Garisto
Considering the scope of climate change, it really begs the question why more artists aren’t tackling the subject.
Fortunately, we’re seeing a sea change. Artists from the Sunshine State (and others) are assuming the mantle for bringing attention to a subject that is as dire as it is censored – heck, the words “climate change” are even forbidden from being included in official documents, a mandate from Gov. Rick Scott. Continue reading “Water Over the Bridge: Contemporary Seascapes”
M. C. Escher (1898-1972) has been a favorite of mine since the 1960s when that decade’s psychedelic, counter-culture mindset saw common ground in his transformative work. Escher’s art made it possible for all of us to see the impossible, to experience dimensions of space and time that were previously unimaginable. He combined math, architecture and science with a unique aesthetic in viewing the world around him, as it all coalesced in his brilliant mind resulting in the creation of a good number of incredibly iconic images. Continue reading “Industry City Meets M. C. Escher”