adplus-dvertising
Connect with us

Art

Art unites three generations of women

Published

 on

A few years ago, a granddaughter embarked on a labour of love.

Rae Bates — and her mother, Katherine MacDonald — are both well-known local artists and art teachers. In 2018, Bates decided to compile a narrative of her grandmother’s accomplishments. Her grandmother, Rae Hendershot, was a talented Hamilton artist who worked and exhibited from the 1940s to the 1980s.

“The project was done out of love for a brilliant and loving woman and the rare and powerful art that she created,” Bates tells me. “My mom has supported me in this work, supplying historical materials and her deep knowledge.”

Rae Hendershot, "The Three Graces," oil on canvas, 18 by 24 inches, 1946.

Their work resulted in the Rae Hendershot Project (raehendershotproject.ca), a newly launched online record of Hendershot’s life in art.

300x250x1

Bates and MacDonald believe Hendershot (1921-1988) was less successful than she could have been because, first, she was a woman and wife, and second, she did not embrace abstraction. Instead, she worked in a lifelike style, tackling many subjects, including still life, landscape, portraits, self-portraits and classical mythology.

“In her art, she explored women’s lives and experiences, especially through the themes of motherhood, obscurity, and creative identity,” Bates says.

And like many women who painted women’s subjects, she found that her work was not taken seriously.

“She was inventive,” says MacDonald. “But she was a figurative artist in an age that had little use for her. If given a chance, she might have become one of the most insightful and sensitive public portraitists of her day.

 

The Artist in her Studio, oil on canvas, 24 by 18 inches, 1979.

“As an artist who felt called to express herself through figurative forms, she had to discover how she could use these forms in new and contemporary ways.”

In 1950, Hendershot married T.R. MacDonald, an artist and the Art Gallery of Hamilton’s first director.

“As the wife of the director, she had a whole number of cultural duties connected to this role, like hosting people and preparing and serving them meals,” Bates says.

“It was very difficult for a married woman to also be recognized in an identity that was independent of her husband and home,” MacDonald adds. “Hendershot could never fully overcome the identity of director’s wife.”

Hendershot’s husband supported her as an artist. MacDonald says they sometimes painted together, on sketching trips in the Laurentians, Georgian Bay and Guelph area.

Sketching trips led to landscapes. In “Homestead” from 1942, Hendershot focuses on a rural landscape. The buildings link land to an expansive sky. To express the airiness of clouds, she applies her paint lightly, contrasting this with the layered, heavier strokes of the land.

“The Three Graces” from 1946 is a remarkable painting. It takes its inspiration from classical mythology. The three goddess types epitomizing idealized feminine beauty were popular with male artists for more than 2,000 years. They were almost always painted as nudes in three tantalizingly different poses.

Homestead, oil on canvas, 24 by 20 inches, 1942.

Hendershot clothes them and brings them up to date. She envisions them as contemporary waitresses. There’s a bit of tension among them. The two on the left are close together and in similar poses. A space exists between them and the one woman on the right, whose pose is different.

Hendershot’s portraits include those close to home. “Katherine,” a portrait of her daughter, was executed in 1962. The painting is small, the head and shoulders dominate.

“Both my parents encouraged me to do whatever it was I wanted to do, whether art or something else. I was never pushed into art,” MacDonald recalls. “My mother was encouraging because she understood both the challenges and rewards of having a child.”

Katherine, oil on panel, 9.5 by 6 inches, 1962.

“The Artist in her Studio,” from 1979, is one of Hendershot’s most striking self-portraits. The frame of a mirror leads to the artist — mirrors are essential tools for self-portraits. She shows herself pausing in her work to acknowledge the viewer’s presence. An expanse of ceiling looms large above her, almost dwarfing her.

 

Bates and MacDonald are putting together a complete catalogue of Hendershot’s works. To this end, readers are invited to reach out via the website, raehendershotproject.ca, if they have any paintings or drawings by the artist or know where any of them can be found.

 

RH

 

Regina Haggo, art historian, public speaker, curator, YouTube video maker and former professor at the University of Canterbury in New Zealand.
728x90x4

Source link

Continue Reading

Art

Goalie mask art exhibit on display at Kelowna Rotary Centre for the Arts – Kelowna News – Castanet.net

Published

 on


Madison Erhardt

Goalie masks are the centre of an art exhibit at the Rotary Centre for the Arts, all made by a former UBC Okanagan fine arts student.

Rylan Broadbent’s series, Behind my Mask, I am Secure is a collection of ceramic goalie masks. They are currently on display at the Alternator Centre for Contemporary Art.

300x250x1

“This whole journey started with wanting to engage with some of my hockey equipment. I have a Master’s of Fine Arts, so I am primarily an artist, but I also play hockey outside of this and I wanted to marry the two things together for this project.”

The artist and goalie says it has been rewarding being able to put his artwork on display.

“It has been really excellent to put the mask in front of people. To me that sort of completes the circle of spending all that time making the piece and then it is really rewarding actually put it in front of people,” Broadbent said.

He says his artwork took three months to complete.

“I started with one of my own goalie masks and took it all apart. I ended up making a plaster mould of it and then taking clay and pushing that into the mould then basically pulling masks back out and then finding ways to engage with them to open up different doors,” he added.

Broadbent hopes maybe one day an NHL goalie may call him up to help create a mask.

“I certainly wouldn’t hesitate if one of them wanted to pick one up and it would be great to get a goalie’s reaction.”

The hockey lover says he plans on expanding his exhibit in the near future.

The masks are on display until March 11.

Adblock test (Why?)

728x90x4

Source link

Continue Reading

Art

The Concept Art And Illustrations Behind Ghost Of Tsushima – Kotaku

Published

 on


I had three weeks off work over Christmas last year, and while I’d love to tell you I spent the whole time at the beach, relaxing with friends, sipping beers on a breezy summer’s evening, the truth is I spent loads of that time indoors. Hunched in front of my TV. Playing Ghost of Tsushima.

I really wanted to play it, but I’d missed out on the game when it was first released. My PlayStation 4 was in the process of dying a noisy, turbulent death, I hadn’t been able to get my hands on a PS5 when that edition dropped in 2021, and Sony had never got around to porting it to the PC like they had other first-party hits (Horizon, God of War, etc).

Having picked up a PlayStation Plus subscription in December, though, I saw that the game (its director’s cut, no less) was available on the service, and so I downloaded it and got to playing it ASAP. And boy, was I glad it did. I am in love with this game. I got into it, in awe of its gorgeous world and its cast of lovable characters, under its spell like I hadn’t been with a video game in years. I liked it so much, in fact, that I kinda made it my 2023 Game Of The Year, even though it was first released back in 2020.

300x250x1

All of which is to say, this isn’t a review, I just can’t believe I never showcased this game on Fine Art before, and am looking to rectify that tonight. Below you’ll find a selection of works from artists and studios who worked on the game. It’s not everyone who worked in every area of the game’s development, but it’s a nice cross-section. And so you can check out more of their stuff there are links to each artist’s portfolio in their names.


Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Image for article titled The Art Of Ghost Of Tsushima

Adblock test (Why?)

728x90x4

Source link

Continue Reading

Art

7 Leading Curators Predict the Defining Art Trends of 2023 – Artsy

Published

 on


Art

Ayanna Dozier

Jan 30, 2023 11:57PM

In 2022, we witnessed a rise in neo-surrealist art, NFTs, and textile-based art practices. These were trends that were bubbling to the surface by the end of 2021, but weren’t fully realized until the spring of the following year. Now, many other styles are emerging as key genres that may have their moment this year.

Artsy spoke to seven leading curators who lent their expertise and shared their insights on which styles and themes may newly emerge or continue to garner attention in 2023. Many anticipate that the sociopolitical climate will continue to inform artists’ practices, with some predicting a rise in more provocative art that critiques religion and systemic oppression.

Advertisement

Other curators are looking to Latin American new media practices, and are excited by how artists like Castiel Vitorino Brasileiro and Xandra Ibarra use video and installation to create immersive environments that challenge the separation between the screen and the body. Meanwhile, others are intrigued by the possibilities and questions that AI will continue to raise in relation to authorship in the art world.

All the curators expressed an overall interest in artists who push the limits of their given medium, and continue to expand upon their practices in innovative ways. Overall, there is excitement and hopeful promise that 2023 will bring about a year of artistic risks.

Larry Ossei-Mensah

Independent Curator; Co-Founder, Artnoir

New York

Portrait of Larry Ossei-Mensah by Aaron Ramsey. Courtesy of Larry Ossei-Mensah.

Larry Ossei-Mensah predicts that abstraction by artists of color will become even more prominent in 2023. The genre, Ossei-Mensah believes, is essential to shifting the public’s belief that artists of color should only make representational work that is immediately legible. As an example, he pointed to the divisive reaction towards Hank Willis Thomas’s recently unveiled public sculpture The Embrace (2022). Ossei-Mensah also expects that abstract masters like Mo Booker, Raymond Saunders, Howardena Pindell, Emma Amos, Atta Kwami, and Barbara Chase Riboud will receive overdue recognition in 2023 as more institutions reexamine their bodies of work in relation to the younger generation they’ve inspired.

Ossei-Mensah anticipates that criticism by writers of color, specifically those who engage with abstract art’s relationship to cultural practice, will be particularly impactful on the art world. He cited the work of Hilton Als, Robin Givhan, Folsade Ologundudu, and Doreen St. Felix as ones to watch. Additionally, he listed the 2023 solo exhibitions of artists Chase Hall, Guadalupe Maravilla, Ming Smith, Tomashi Jackson, Frank Stewart, Amoako Boafo, Kennedy Yanko, and Anoushka Mirchandani as indicative of what’s to come this year.

Hans Ulrich Obrist

Artistic Director, Serpentine Galleries

London

Portrait of Hans Ulrich Obrist by Andrew Quinn. © Andrew Quinn.

Hans Ulrich Obrist is looking towards the work of Black, Indigenous, and Latinx artists who are rethinking notions of ownership, land, and the body in relation to futurity. He is particularly excited by immersive and interactive new media art, like video games. As he explained, “Video games are to the 21st century what movies were to the 20th century, and novels to the 19th century. Today, it’s much easier for artists to develop their gaming environments.”

Obrist referenced the work of Gabriel Massan at the Serpentine Galleries as a key example of an artist who is “uncovering new meanings on video games and phenomenology…that invites players to activate a fantastical and disorienting world populated with Massan’s digital sculptures, bespoke animation, films, camerawork, and sound developed by his collaborators,” he said. Obrist situates Massan within an incredible generation of artists from Brazil, including Jota Mombaça and Ventura Profana, who use technology to reexamine futurity and a sense of place while in dialogue with decolonial thought and practice.

Adrián Villa Rojas, Yinka Shonibare, and Otobong Nkanga, as Obrist noted, are similarly starting transnational dialogues that imagine a new future for us all. “As artist Ian Cheng often told me, at the heart of his art is a desire to understand what a world is,” Obrist said. “Now more than ever, the dream is to be able to possess the agency to create new worlds.”

Vivian Crockett

Curator, New Museum

New York

Portrait of Vivian Crockett by Ciara Elle Bryant. Courtesy of the New Museum.

Vivian Crockett is fascinated by what will emerge in the fields of new media art, film, and photography, particularly by artists of color from Latin America. In 2022, more opportunities arose for critical reflection on Latin American art and artists, as evident at the Whitney Biennial “Quiet as It’s Kept,” and the Focus and Platform sections of The Armory Show. This will likely continue through 2024 as Adriano Pedrosa mounts the 60th edition of the Venice Biennale’s international exhibition, becoming the first Latin American curator in its 122-year history.

When approaching Latin American art, Crockett emphasized that an understanding of the continent’s political landscapes is crucial. “There is an increased acknowledgement of white supremacist logic affecting Latin American countries, both historically and in the present moment, resulting in more explicit conversations around race, class, and Indigenous struggles for autonomy,” she said.

In terms of the media art that is attracting her interest, Crockett is looking forward to the transnational conversations that the Sharjah Biennial and São Paulo Bienal will provoke. Stateside, she is excited by the major video and media exhibitions taking place at MoMA and the Modern Art Museum of Fort Worth later this year, as well as Isaac Julien’s survey at Tate Britain and Ja’Tovia Gary’s solo show at Paula Cooper Gallery.

Eileen Jung

Curator, Bronx Museum

New York

Portrait of Eileen Jung. Courtesy of the Bronx Museum.

Eileen Jung predicts that land art, Indigeneity, and immersive art practices will take center stage in 2023. In particular, she pointed to artists who use conceptual art to navigate history and memory, including Firelei Báez, Chloë Bass, Maria Berrio, Andrea Chung, Joana Choumali, Sean Desiree, Abigail DeVille, Anaïs Duplan, Scherezade García, Guadalupe Maravilla, Daniel Lie, and Jodie Lyn-Kee-Chow. Jung added, “Each of these artists have unique perspectives and contributions, and through their work, they’ve introduced a level of newness and depth to the overall artistic zeitgeist.”

Jung further elaborated that artists who provide counternarratives to the dominant historical record, and push the boundaries of their medium across abstract and figurative painting as well as sculpture, will continue to set the trends. She specifically noted the practices of Derek Fordjour, Tomashi Jackson, Sara Jimenez, Anina Major, Natalia Nakazawa, Angel Otero, Kevin Quiles Bonilla, Amina Ross, Tariku Shiferaw, Jean Shin, and Saya Woolfalk. Jung added that the critical scholarship of Lisa Lowe, Anna L. Tsing, and Saidiya Hartman will continue to inform artistic pulses.

She remains excited for new rediscoveries in 2023, like how ceramics has been in recent years. “Another area that is often overlooked are those artists who are self-taught, often labeled as ‘outsider artists’ (e.g., those whose work does not reflect an overt influence from the mainstream art world), and are bringing a new energy to the field,” Jung wrote to Artsy.

Jesse Firestone

Curator, Montclair State Galleries

Montclair, New Jersey

Portrait of Jesse Firestone by Jenna Bascom Photography, LLC’s Associate Photographer Nelson. Courtesy of Montclair State Galleries.

Jesse Firestone is on the lookout for more genre-breaking art in 2023. In particular, they point to outsider art practices—like using humor or making provocative works with unconventional material and subject matter—as big trends for the year. “I think performance artists who embrace failure while taking their work seriously, but aren’t self-serious, will receive a lot more attention,” they said. “There is a lot to learn from this type of work and I think people are hungry to see how we can work with imperfection, messiness, and unpredictability. 2023 is a year of embracing risk.”

Firestone’s attention to risk comes out of crypto art’s tumultuous year in 2022. The incredibly rapid rise and subsequent fall of NFTs have demonstrated that, while artists will continue to innovate art with new technology, some trends might crash as fast and they rose. Firestone believes that artists will continue to learn from the market and reflect upon the failures of these experiences in their work. Because of the NFT crash, Firestone sees physical media art, or art that embraces the body, as major for 2023. This is work they actively support as a curator: “Ultimately I like being able to provide artists with the space to stretch, take risks, and succeed in those efforts,” Firestone said.

Rachel Vera Steinberg

Curator, Smack Mellon

New York

Portrait of Rachel Vera Steinberg by Inna Svyatsky. Courtesy of Smack Mellon.

Rachel Vera Steinberg is excited for a greater number of artists to further deepen the mystery of art production across sculpture and computer-generated art. She is inspired by artists who push the boundaries of the medium they are working in, as well as the space in which they exhibit. She cited the work of Emily Clayton, Tomi Faison, and Charisse Pearlina Weston as key examples. Steinberg also anticipates more conceptually driven work in relation to text- and discourse-based art, like K Allado-McDowell’s recent book Amor Cringe (2022), which was co-written with AI software.

Additionally, Steinberg predicts that last year’s challenges around systemic injustice will usher in artists addressing class and social equity in the art world. “One of the most impactful trends from this past year was the proliferation of AI image generators,” she said. “It’s hard to forecast this as a direction, but it has the potential to further call into question images as receptacles of meaning.”

Separately, Steinberg believes that more artworks inspired by religion will reach the fore in 2023. “I feel like we are entering a moment of reconsidering religion, inclusive of, but also beyond, its relationship to spirituality,” she explained. “I see this formally in visual symbols and materiality: For example, in the way an artist like Tammy Nguyen incorporates metal leaf to reference illuminated manuscripts, but also in other modes of production that are trending, such as a heightened interest in metal work.”

Zoé Whitley

Director, Chisenhale Gallery

London

Portrait of Zoé Whitley by James Gifford-Mead. Courtesy of Zoé Whitley.

Zoé Whitley is looking to painters who are embracing unconventional materials or pushing the limits of their painting practice to render something vibrantly different and new. “The artists who currently inspire me defy genre expectations,” she said.

Furthermore, Whitley is looking forward to artists collaborating more with nonprofit organizations. She hopes that these partnerships, and their accompanying resources, will support ambitious art practices and culminate into long-running exhibitions that a greater number of viewers will be able to see and experience.

These later points are greatly influenced by Tricia Hersey’s manifesto Rest is Resistance (2022) and Avery Gordon’s Ghostly Matters: Haunting and the Sociological Imagination (1997), which both argue for a process of slowing down with media materials to allow for their presence to be felt, haunting the audience.

Ayanna Dozier

Ayanna Dozier is Artsy’s Staff Writer.

Adblock test (Why?)

728x90x4

Source link

Continue Reading

Trending