Art
Art is a journey – Martha's Vineyard Times
For Julianna Sophia, making art is an experience as much as an outcome, a journey as much as a destination. “My objective is to express the feelings of joy and awe that nature inspires in me,” she writes in her artist’s statement. “I believe that painters have a vocabulary of color, texture, and other elements of design at their disposal that can be more powerful than words or even music in evoking an emotional response.”
Passion for the process of creating is as much the point for Sophia as is the passion for the subject she is revealing. Which may help explain why her paintings cover so many styles and media. Most recently, the artist’s work has been on view at both the Pathways ArtSpace in Chilmark and the West Tisbury library as part of their group show “Light.”
For the latter, she has chosen to show landscapes. For the former, she has contributed a selection of portraits and other subjects done in a very contemporary style, as well as a few abstracted landscapes. Among the paintings featured at Pathways are a self portrait executed in a folk art style, and a wonderfully stylized painting called “The Women,” which features multiple fine line images of figures blended into a colored swirling pattern. There are also some lovely simply rendered images of flowers with abstract elements and a couple of paintings of Balinese women.
The selection at the West Tisbury library displays a more traditional approach. Her deeply emotive landscape paintings benefit from a painterly execution with lots of layering and evident brushstrokes used to create very vivid scenes.
The sheer joy of expression is evident in all of Sophia’s work. “I’ve always loved paint ever since I was a little kid,” she says. “I really like to do things with my hands. I only draw with one hand but I paint with both arms. I really like the whole experiential process of being with paints—putting them on and scraping them off.”
Sophia also tries to incorporate her environment into her work. She often creates dyes with things like poke berries from her yard, and loves to paint on locally sourced birch boards and handmade paper. When possible, she recycles scraps of construction materials for her frames. “I really like working with found objects,” she says.
Sophia has been working as a professional artist since early adulthood. She has always been inspired by nature. One of her earliest inspirations was the fields and flowers of the Netherlands, where she spent time working on a graduate fellowship. In 1994 she moved to Carmel, Calif., where she painted with the renowned artist Gerald Wasserman. “The most important thing I learned from him was not to be daunted by conventional technique,” she says. “He used to say, ‘If you are true to your feelings that will appear on the canvas.’” The fact that she has since taken that advice to heart is clearly in evidence in all of her work.
After moving to the Island, Sophia found another mentor in the acclaimed Vineyard artist Allen Whiting. “I’ve been friends and colleagues with Allen for 20 years,” she says. “He hasn’t strictly been a teacher but we’ve hung out and painted together. Just his liking my work has kept me on top of things.”
Currently, Sophia is focusing on landscape painting. “I’m looking forward to deepening my work and also showing my work more,” she says.
On the Vineyard, Sophia’s work has been shown at the former Dragonfly Gallery, the Sargent Gallery, the Island Art Gallery, Featherstone, the Carnegie, and the Chilmark library. She has also exhibited at galleries in Westport, Conn., Halifax, Nova Scotia, and Carmel. For a dozen years, Sophia ran a little studio/gallery out of a shed outside her former home in Quansoo. Her work has been collected by people all over the globe.
Concurrently with her continuing landscape work, Sophia is pursuing a very ambitious art project titled Project Elevation: Multidimensional Journey Into Art as Medicine. The projected installation/immersive/performance art project will involve audience members enjoying a multi-sensory healing experience while the artist creates with physical enhancements like shooting arrows, and large brushes tied to her arms to enable her to create brushstrokes while performing tai chi moves. Discussion, herbal refreshments, music, and sound effects will all be part of the experiment, which Sophia is currently in the process of pitching to various arts organizations.
The artist is continually experimenting and working on advancing her skills. “I keep plugging away,” she says. “That’s what I do. Especially during these times, I find my work to be a huge solace to me. It helps me not only to express my truth but it brings me into a meditative state.”
Check out Julianna Sophia’s work at Pathways, which is planning to open to visitors Tuesday-Saturday, 11 am to 5 pm, so they can view the art there. You can also view Sophia’s work on Instagram @juliannsophia3 or contact the artist at jbjubilee@gmail.com to visit her studio.
Art
Art and Ephemera Once Owned by Pioneering Artist Mary Beth Edelson Discarded on the Street in SoHo – artnet News
This afternoon in Manhattan’s SoHo neighborhood, people walking along Mercer Street were surprised to find a trove of materials that once belonged to the late feminist artist Mary Beth Edelson, all free for the taking.
Outside of Edelson’s old studio at 110 Mercer Street, drawings, prints, and cut-out figures were sitting in cardboard boxes alongside posters from her exhibitions, monographs, and other ephemera. One box included cards that the artist’s children had given her for birthdays and mother’s days. Passersby competed with trash collectors who were loading the items into bags and throwing them into a U-Haul.
“It’s her last show,” joked her son, Nick Edelson, who had arranged for the junk guys to come and pick up what was on the street. He has been living in her former studio since the artist died in 2021 at the age of 88.
Naturally, neighbors speculated that he was clearing out his mother’s belongings in order to sell her old loft. “As you can see, we’re just clearing the basement” is all he would say.
Some in the crowd criticized the disposal of the material. Alessandra Pohlmann, an artist who works next door at the Judd Foundation, pulled out a drawing from the scraps that she plans to frame. “It’s deeply disrespectful,” she said. “This should not be happening.” A colleague from the foundation who was rifling through a nearby pile said, “We have to save them. If I had more space, I’d take more.”
Edelson’s estate, which is controlled by her son and represented by New York’s David Lewis Gallery, holds a significant portion of her artwork. “I’m shocked and surprised by the sudden discovery,” Lewis said over the phone. “The gallery has, of course, taken great care to preserve and champion Mary Beth’s legacy for nearly a decade now. We immediately sent a team up there to try to locate the work, but it was gone.”
Sources close to the family said that other artwork remains in storage. Museums such as the Guggenheim, Tate Modern, the Museum of Modern Art, the Brooklyn Museum, and the Whitney currently hold her work in their private collections. New York University’s Fales Library has her papers.
Edelson rose to prominence in the 1970s as one of the early voices in the feminist art movement. She is most known for her collaged works, which reimagine famed tableaux to narrate women’s history. For instance, her piece Some Living American Women Artists (1972) appropriates Leonardo da Vinci’s The Last Supper (1494–98) to include the faces of Faith Ringgold, Agnes Martin, Yoko Ono, and Alice Neel, and others as the apostles; Georgia O’Keeffe’s face covers that of Jesus.
In all, it took about 45 minutes for the pioneering artist’s material to be removed by the trash collectors and those lucky enough to hear about what was happening.
Dealer Jordan Barse, who runs Theta Gallery, biked by and took a poster from Edelson’s 1977 show at A.I.R. gallery, “Memorials to the 9,000,000 Women Burned as Witches in the Christian Era.” Artist Keely Angel picked up handwritten notes, and said, “They smell like mouse poop. I’m glad someone got these before they did,” gesturing to the men pushing papers into trash bags.
A neighbor told one person who picked up some cut-out pieces, “Those could be worth a fortune. Don’t put it on eBay! Look into her work, and you’ll be into it.”
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Art
Biggest Indigenous art collection – CTV News Barrie
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Biggest Indigenous art collection CTV News Barrie
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Art
Why Are Art Resale Prices Plummeting? – artnet News
Welcome to the Art Angle, a podcast from Artnet News that delves into the places where the art world meets the real world, bringing each week’s biggest story down to earth. Join us every week for an in-depth look at what matters most in museums, the art market, and much more, with input from our own writers and editors, as well as artists, curators, and other top experts in the field.
The art press is filled with headlines about trophy works trading for huge sums: $195 million for an Andy Warhol, $110 million for a Jean-Michel Basquiat, $91 million for a Jeff Koons. In the popular imagination, pricy art just keeps climbing in value—up, up, and up. The truth is more complicated, as those in the industry know. Tastes change, and demand shifts. The reputations of artists rise and fall, as do their prices. Reselling art for profit is often quite difficult—it’s the exception rather than the norm. This is “the art market’s dirty secret,” Artnet senior reporter Katya Kazakina wrote last month in her weekly Art Detective column.
In her recent columns, Katya has been reporting on that very thorny topic, which has grown even thornier amid what appears to be a severe market correction. As one collector told her: “There’s a bit of a carnage in the market at the moment. Many things are not selling at all or selling for a fraction of what they used to.”
For instance, a painting by Dan Colen that was purchased fresh from a gallery a decade ago for probably around $450,000 went for only about $15,000 at auction. And Colen is not the only once-hot figure floundering. As Katya wrote: “Right now, you can often find a painting, a drawing, or a sculpture at auction for a fraction of what it would cost at a gallery. Still, art dealers keep asking—and buyers keep paying—steep prices for new works.” In the parlance of the art world, primary prices are outstripping secondary ones.
Why is this happening? And why do seemingly sophisticated collectors continue to pay immense sums for art from galleries, knowing full well that they may never recoup their investment? This week, Katya joins Artnet Pro editor Andrew Russeth on the podcast to make sense of these questions—and to cover a whole lot more.
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