transforming museums

In light of the holidays, I thought I'd take a break from blogging about NKG's artists and include a portion of thoughts that I've brainstormed for several upcoming paper proposals that my friend Emily and I are working on - the most recent being for the Transforming Museums conference that is due in less than 3 weeks. Feedback or any kind of constructive commenting is greatly appreciated as I piece this abstract together [that means YOU, the reader, has to comment and comment well]. Happy Holidays!

:: TOPIC ::

How do we transform museums? By putting together unconventional exhibits and display art that goes against the norm of typical museum practices – to have a healthy dose of resonance and wonder, to educate people, to address to the general public questions that are “politically incorrect”, that forces them to think outside the box, to tell the truth when presenting historical exhibits (such as the history of colonization), to extend beyond the visual interpretation and cater to all five senses of our human existence, to question the museum as a space and use it for other (more meaningful) purposes

Who is leading these transformations? Museums in the UK and Europe, and also in Asia. Most definitely NOT in the United States (although some can allude influence given in place such as NYC, Miami and California)... mostly contemporary art museums, though I believe this can also exist in other museums. The V&A in London is a great example of this. The Venice Biennale is an eve better example, though not a museum, was amazing in adhering to all of these transformations.

How do we define transformation? Transformation in museums perpetuates when these age-old institutions stops being “a colossal mirror where man finds himself literally an object of wonder” and visitors begin to experience liminality (which, characterized by ambiguity, openness, and indeterminacy, can also be denoted as a period of transition, during which your ordinary limits to self-understanding, thought and behavior are relaxed) in the changes that are taking place.

Why are these transformations taking place? Because people like ME are sick and tired of seeing the same, boring, "Blockbuster" exhibits in museums worldwide… because art that thinks outside the box does no longer exists as a painting on the wall… because the mission of contemporary art is to act not only as a creative (or not so creative) form of human expression, but a catalyst to ask questions, to seek answers, to respond, to experiment, to instill meaning (or lack thereof) and to create a fluidity of meaning in order to exploit some kind of physical representation that links both the viewer and creator of the artwork together. On the international level, it is also accurate to state that contemporary art takes an even bigger risk not only in unconventional media, but also in subject matter that might be highly offensive to the general public (usually having to do with nudity, politics, religion, homosexuality and horrific events in history of humanity – wars, slavery, famines, genocide)… and because it makes things more interesting, as a breath of fresh air is always needed.

Are there discernible patterns in this change? There better be. It’s all a matter of time and how much money people have to re-create museums, and the response of the audience of course… as well as how many risks museums are willing to take without losing the sponsorship of their patrons.

Merry see, merry do...

In an age of technological advancement, it is difficult to remember that life can be lived without constant access to our ipod(s), computers and cell phones. The average person is bombarded daily with a million more images than those who lived during the Middle Ages. It also seems that today, many parents spoil their kids with all latest gadgets and promote little human interaction in return. Not very long ago, Mary Chiaramonte’s parents did the exact opposite.

Local artist Mary Chiaramonte was raised the old fashioned way in Harmony, WV, a remote town of no more than 100 residents in the early 1980s. Growing up, Mary and her siblings had no TV and lived off of and worked on the land. They were encouraged to entertain themselves with objects in nature, thereby turning twigs into toys. As a result, Mary was left with the workings of her imagination and observation of the world around her to produce amazing paintings and drawings.

For as long as she could remember, Mary’s interest was in the visual depiction of the human story. As a child attending a Ringling Brothers Show with her family, Mary paid more attention to the people in the audience than the performers on stage. She is the kind of person who enjoys sitting on a park bench and watching the world go by. The thing that drives her day to day is knowing about other people and the lives they lead.

Though some may consider her work to be more on the darker side (due to the artist’s choice of a melancholic color palate), Mary’s heavily lacquered paintings explore the most intimate moments of the human experience. In her unique oeuvre, she “rejoices with those who rejoice and weeps with those who weep.” Mary’s paintings are personal and represent both the reactions of the persons depicted, and her own. Obvious symbolism also occurs in her paintings, such as a heart cut in two, roses and a string of dead fruit. The best part is that no matter what feelings are conveyed, Mary always leaves an air of mystery and personal interpretation in each piece created. This happens when images are cropped, she emphasizes her graphic style and certain body parts are purposely not shown.


One of my favorite works by Mary Chiaramonte is currently featured in NKG’s Third Annual Attainable Art show. Daylights (pictured above: 2007, mixed media, 20 x 16 in.) shows a female torso wearing a black dress from chest down, walking in the middle of a double-yellow lined road. This story takes place at night, and the figure is surrounded by five small, illuminating balls of light. The bottom part of the figure shines while the top morphs into the dark of the night. Given the intriguing cropping of the figure at bust level and a brilliant imagination, one can only begin to surmise the powerful story behind this painting.

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Mary once said that she hopes to successfully document the lives of those she comes into contact with in her paintings as a way of doing something worthwhile in life. I think she has done just that, if not more. Check out her extraordinary paper-cuts at her official website, www.merrysee.com

Holiday Open House TOMORROW!

Deck the WALLS with amazing contemporary artwork...

Just a reminder that NKG's Holiday Open House happens tomorrow afternoon, December 1, 2007 from 4-7pm. Come celebrate the holiday season with us! The Third Annual Attainable Art Show features a variety of artwork under $1500 available for purchase, from both local and international artists. Holiday goodies and drinks will be served. See you all tomorrow!

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Nevin Kelly Gallery

1517 U Street, NW

Washington, DC 20009

T: 202.232.3464

F: 202.232.3465

E: info@nevinkellygallery.com

Nearest Metro: Dupont Circle (red line) and U Street/Cardozzo (green line).

Lyrical Collagist Rocks DC (and your inner soul?)

Pictured in this Entry: (1) Duplex and Concentric Green, 2007, mixed media on plywood, 21 x 25 in and (2) Duplex I, 2007, mixed media on plywood, 21 x 25 in

Let's take a closer look at Chilean-born, Washington DC based, lyrical mylar collage mastermind Joan Belmar. Pronounced "Joe-on", Belmar might be unfamiliar to some NKG visitors as he does not yet have a page on our official website, but his work is certainly not to be overlooked! He started out with paintings, but in recent years have moved towards the world of abstract collages. Though one might observe that there are echoes of OP Art and minimalist qualities in his general body of work, Belmar's mixed media collages are certainly one-of-a-kind. They are a reflection of the inner workings of his spirit, and does not immitate the work of anyone else: he is his own, unique person.

Pristine strips of solid-colored mylar are delicately placed under the glass of a plywood frame, constructed into circles of all shape and sizes; some slightly more representational than others. There are usually no more than 4 colors/hues represented simultaneously. Some of these compositions can easily be compared to a 3-dimensional approach to the biological system of the human body, found in the science textbooks of today. Due to his use of modern materials, such as plastic, acetate, mylar and glass, an optical illusion is easily created. Viewing these works allows one's sense of curiosity to leap out, to question the purpose of his art and to be able to reach in and physically feel the materials in order to fully grasp the concept of each collage. Undeniably, there is also a deep sense of nostalgia connected to Belmar's collages that purge the viewers to take a deeper look at their own respective lives in light of his art. The somewhat uncomfortable, tingly sensation never dies, and an air of mystery prevails.



Strongly influenced by Anish Kapoor's scuplture at the Hirshhorn, which depicts a bisected egg painted blue, Belmar's work exists in order for us to test our eyes and abilities to perceive the things that take place around us. His constant exploration with circles (specifically with the mandala principle) helps us realize the importance to constantly access deeper into the levels consciousness, that life is not perfect and that we as humans are all in this together. This is why Belmar creates worlds in his art where some things are clear, others translucent and the latter opaque: it makes the journey of life more interesting to discover.

Prior to moving to the United States in 1999, Belmar lived and experienced "multiple lives" in both Spain and his native Chile. His response to the events of his life are blatantly reflected in his artwork, which he describes with adjectives such as "alienation" and "disconnectedness". Through the daring use of his concentric collages, Belmar excels in his goal to not only examine critical social structures, but also to [psychologically] analyze those who struggle within them; including, himself. It is like reading the artists' autobiography in his artwork, making himself completely vulnerable to the masses and allowing us to respond in light of our own life experiences. Isn't this is what the circle of life is about, after all?

Rivaling the likes of Mark Rothko...

Here is an Artist Feature I wrote the other day about one of Nevin Kelly Gallery's most prominent local artists: Sondra Arkin. Her work serves as beautiful, abstract meditation pieces, and she is molto passionate about what she does in life. Take that... Mark Rothko!

Pictured Above: Orange Tide, triptych, 2006, encaustic on dibond, each panel 32 x 32 in.

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For over 25 years, local DC artist Sondra Arkin has transformed whatever space was available to her at that given point in time (spare bedroom, dining room or basement) into a haven for creative expression. Although art-making was always in her blood throughout the course of her life, it wasn't until 2001 that Sondra took a risk and quit her day job in marketing to pursue art full-time. This huge leap of faith resulted in a myriad of awards, features in newspapers such as The Washington Post, participation in both group/solo shows all over the mid-Atlantic region and most recently, working as a project curator on behalf of the DC Commission on the Arts & Humanities on the new City Hall Art Collection @t the John A. Wilson Building downtown. Sondra's colorful, abstract, mixed media canvases, which rival those of Mark Rothko, and imaginative box-construction works have been widely received by local and national audiences alike. She is also a frequent exhibitor at our gallery and will be featured in the Third Annual Attainable Art Show, opening November 24th.

What strikes me the most about Sondra Arkin's work is her ability to create art that is both purposeful and powerful. No matter the size, material used or color combinations (only warm or cool colors, a combination of the two, a more monochromatic palate), Sondra's work never ceases to create a lasting impression for all who come into contact with it. It is not abstract for the sake of being non-representational, but abstract to evoke every little emotion that is hiding behind our imperfect, human façade. There is a distinct type of [positive] energy in her work that forces the viewer to pause, observe and think beyond what is physically represented on the canvas. Furthermore, Sondra's free style of painting caters to just about anyone: the hip, young art school student to children learning their colors for the first time, spiritual soul-seekers and even to those in the professional world who value high aesthetics.

In recent years, Sondra Arkin's unique encaustic (otherwise known as "hot wax painting", which uses heated beeswax to which colored pigments are added -- dates back to 100-300 AD) technique has led the artist to break free from the picture plane approach and make paintings that take on a more sculptural feel. Now, her compositions are not only conceptual and vibrant, but also boast a soft, playfulness of colors that echoes a dichotomy of the combination of diverse materials. She also extends her experimentation of focusing simply on individual work with the inclusion of diptypchs, triptypchs and polytptychs, thereby proding the viewers to look at these pieces as a whole and enhance the conversations further.

Those who attended the Color: Field Tests show back in April/May of this year may remember Sondra's involvement to help promote the citywide Color Field Remix -- a movement from the 1960s that emerged after Abstract Expressionism and is widely characterized by abstract canvases painted with large areas of solid colors. Her entire oeuvre, be it a mixed media collage/box of found objects or a spiritual landscape of vibrant layers of warm colors, has the power to communicate a positive message to the masses: that life, as we know it, is comprised of layers, both good and bad. We as humans will experience both highs and lows in this journey called life, but these feelings are necessary as we stretch, evolve and grow.

Ultimately, Sondra hopes that what surfaces out of these layers of influence is something of value and beauty. By encouraging her viewers to take an introspective approach while confronted with her artwork, Sondra desires that a tangible layer will then be added to our respective lives, which will hopefully enrich it all the more.

SOLD!

On Thursday, 1 November 2007, I sold my FIRST painting: Michal Zaborowski's After the Race [oil on canvas, 59''x32'', 2007] from the H20 Show at the Nevin Kelly Gallery, 1517 U Street, Washington, DC. Congratulations to the lucky buyers! But don't worry, there are still 11 Zaborowski paintings left to be sold from now until the end of the show.

Spread the word...

A Timeless Snapshot: Michal Zaborowski

"...a romantic impressionist with a contemporary voice."

I now work for the Nevin Kelly Gallery here off U Street in Washington DC. Our current exhibition is a show entitled H2O by Polish contemporary artist Michal Zaborowski, which opened on October 11, 2007 and will be on view until November 11, 2007. I was going to do an exhibition review, but have volunteered my art criticism services to our official gallery blog which can be found by clicking here. I am responsible for the weekly artist features on NKG's blog. Pop on over there and stay tuned for more of my muses on this exhibition... and, enjoy!

IAM, therefore I create.

IAM has finally moved to their new, physical, studio space on W. 59th Street in the heart of mid-town Manhattan. IAM gathers artists and creative catalysts to wrestle with the deep questions of art, faith and humanity in order to inspire the community to engage the culture that is and create the world that ought to be.

Art has been and will continue to be society's existential statement, by answering the question, "Why live?" International Arts Movement works as a catalyst in the NYC area and worldwide to inspire people to hope, to engage deeply into the depth of culture, with the hopes of creating a world that ought to be. After all, in order for artistic excellence to pave the way for lasting, enduring humanity, this is what we "ought to be".

IAM founder and prominent artist Makoto Fujimura's art is described by art critic Robert Kushner as, "The idea of forging a new kind of art, about hope, healing, redemption, refuge, while maintaining visual sophistication and intellectual integrity is a growing movement, one which finds Fujimura's work at the vanguard." International Arts Movement is an outgrowth of this "forging", and desires to collaborate with other influences from all walks of life, empowering their work and growth.

To learn more, click on the link above or visit Mako's official website here. Here's to more purpose-filled creativity in the years to come!

China Square

"She & I: Sculpture of Xiang Jing and Guangci", curated by Gao Shiming and Lilly Wei. On view from Sept. 7th through Nov. 15th, the life-sized sculptures explore and narrate Chinese cultural discourse, with an emphasis on the post-feminism era. Both Xiang Jing’s and Guangci’s work, made of industrial strength synthetic materials, investigate the social and political changes surrounding China. A must see for anyone browsing the Chelsea galleries this fall...

innocent fear?

Contemporary Indian Art

Urban Landscapes

Bathroom Art?!!

Taken during a post-lunch visit to what might have been mistaken for a suave cocktail bar playing eerie, Eurotrash techno music... this was one of the coolest bathrooms I've ever step foot in. Now, going to the bathroom can also be an artsy experience. You too, can experience the fabulous ambiance of this bathroom, found inside Jersey City's hip Chinese/Thai fusion chain restaurant, Nanking!

No purchase necessary. Simply come with an open mind and something to put out...

101 Hudson St
Jersey City, NJ 07302
T: 201/333/6500

Warehouse turned Artsy

Senti con la MENTA...???

I have returned to the country where @rt always sits on its ass in a museum and does nothing, where the majority of the people who attend "Blockbuster" exhibitions go mainly because they enjoy looking at pretty pictures and where risk-taking is a definite no-no...... =( Alas, I'm stuck in Washington DC, yet again. I long to be back in Europa, but I guess its time to identify the movers and the shakers in the good ol' US of A while I'm still here.


However, before I left the beauuutiful BOOT, that is, Italia, I had the opportunity to attend the 52nd International Art Exhibition: La Biennale di Venezia. The Venice Biennale was amazing yet a bit too much of a visual overload, and too much to sum up all in a review (will probably end up being a dissertation --- ahhh, run for the HILLS). Robert Storr is a freakin' genius and the overall exhibition was executed very well. And heck, it took place in VENICE... who can possibly complain about that? So, I made it easier for all of you who were unable to see it (goes on until mid-November) to experience it via this slideshow video a la' IMovie on my new, freakin' awesome, MACBOOK PRO.

VIDEO JOURNAL: http://georgetown.facebook.com/video/video.php?v=510378011764

Enjoy it, and stay tuned for more blogs to come on exhibitions in museums, galleries, public spaces and wherever the journey of life takes me!

reinventing an all'antica tradition

Black. Textured. Tangible.These adjectives alone can only begin to describe the exquisite craftsmanship that goes into these bucchero wares, created by an extremely talented and passionate ceramicist from Orvieto, Italy. Anna Spallaccia’s work has taken contemporary ceramics to another dimension. In her small yet quaint shop on Vicolo dei Dolci, 2, across from the splendid Orvieto Duomo, one can find an interesting collection of objects (from jewelry to bowls, candle holders to decorative spheres) created in the bucchero tradition. She combines the ancient techniques of firing this black terracotta (so to speak) wear with the etching of contemporary designs, the revival of an all’antica tradition into this art form that also looks forward, while at the same time, takes inspiration from past traditions.

This indigenous art form was dominated by the Etruscans (who resided in what we know of today as the provence of Umbria in Central Italy), from the 5th to 7th Century A.D. At that time, this process of firing was new and revolutionary. This “smelly earth” type of clay (derived from the word “bucaro”, which signifies such in Portuguese, always presents a chromatic composition of black, uniform tonality, with a bright and superficial glean on the surface. The types of objects produced are therefore more purified, maybe mixed with carbon and came out of an extremely advanced technique. Like terracotta, when one lightly taps these bucchero wares, one can find that although the objects may appear to be durable, there is a distinct echo that bounces off the metal. These wares, when produced, turn out to be either light or heavyweight, and can be reproduced in many different forms.

Above all, Anna Spallaccia’s bucchero ware stands out because of her unique ways of implementing designs. Back in the days of the Etruscans, the typical designs found on these utilitarian wares consisted of graffiti, horses, symbols and other figures. Today, Anna has created a conceptual landscape on each of these wares, combining an assortment of shapes, lines dots and swirls. Certain parts are removed and interesting shapes are made to render a more contemporary look for the art of today. Pieces may look similar, but no two pieces are exactly the same. These designs may be minimalist, but they never fail to add a dash of pizzazz to yet another “white cube” contemporary art gallery, or to someone’s modernist living room. In fact, Anna’s bucchero ware is the perfect example of how one can combine an ancient tradition with the stylistic attitude of our post-post modern times.

molto avanguardie!

Exhibition Review :: Milano (IT)
Galleria Gio’ Macroni
Franz Ackermann “From Eden to Lima”

Galleria Gio’ Macroni, where I had my first interview in Italy for a real job after graduation, consists of a very well-designed modern building with two floors and lots of professional gallery space. The dominate colors of this gallery are yellow and white, and boasts of a good use of exhibition space, as well as excellent lighting. At this stellar contemporary art gallery owned by a famous father-son duo, there is A/C (almost unheard of in Italy, still!) and a large, very professional staff to help out with the necessary gallery functions. It was evident, when browsing the gallery after my interview, that this was the type of environment I wanted to work in.


Unlike most of the galleries I frequented this summer, there were two shows going on simultaneously at Galleria Gio’ Macroni. The one that took place downstairs displayed what seemed to be the chaos caused by typhoons and hurricanes in some South American country (Peru?). This exhibition, which took place in three galleries, consisted of big and small paintings (think abstract/morphed land and cityscapes), mostly painted with bold and daring neon colors, clutter of the actual damage caused by these natural disasters (think damaged palm trees scattered on the ground and a broken, deserted boat) and photographs (both color and b & w, mounted on a pedestal as a collage or in a horizontal line on the wall) of people, places, landscapes, street signs, religious icons, nightlife and scenes of everyday life. In addition, there were also pictures of rundown buildings, new and very contemporary urban developments, beaches, highways, airports and street art. The point to be proven seemed to be simply this: Material things and the geniuses of mankind are here today, gone tomorrow, for one can never predict what will happen tomorrow.

One of the most creative ways of combining mediums was a funky shaped, neon colored painting that was plastered to the wall. The painting itself plays out to be a conceptual image of twisted, circular branches floating into the trunk of the tree; the top part of the painting, which seems to represent a huge wave (duo-toned blue), has a peep-hole one can peer into and see, inside the wall, a (silent) video of people and monsters protesting, walking around a stadium, carrying flags, and cheering. There was also a float going around the stadium, with people dressed like Captain Hook in yellow and white costumes. This parade seemed to take place in Brazil, due to all the Brazilian flags and such. Could it be that these creatures, emerged out of the video and were the ones responsible for the damage? Could this be their celebration of victory?

But hey, remember that this IS contemporary art… which can be just about anything anyone feels like creating, RIGHT?!


As a whole, this exhibit was creatively imputed and in your face, chaotic yet boldly honest. Even though it was (as the British put it) “a right mess”, it emphasized what once was and what will never be again. This was an exhibit that you could feel with all that was within you, as you stand in the middle of sheer chaos. It forces one to stop and ponder on what is truly valuable in life, and which things are worth holding onto. It also questions the worth of art as something incredibly temporary, and asks why we put so much time, money and creative energy on things that could easily be wiped away within the blink of an eye.

WE <3 JOYS

Exhibition Review :: Milano (IT)
Allegra Ravizza :: ART PROJECT
JOYS; Personale




On virtually every other building in Milan, there is some sort of graffiti scrawled on it - some well-scripted and visually appealing; others, not so much. Some consider it an art form while others call it an act of vandalism. Many argue that its the only way to keep a culture alive, to communicate important messages to the masses. Graffiti may be unconventional and unsolicited, but it does not disqualify it from being a kind of art, a kind of expression. Graffiti in every major citiy of the world is similiar, yet also different; each culture develops its own creativity and skills.


I first came across Allegra Ravizza Art Project during the opening night of their exhibition, entitled JOYS (the pen name of artist Cristian Bovo, Padova, 1974), on 24 May 2007. Due to the amount of people and the delicious bellinis served that night, it wasn't until weeks later that I went back to get a closer look at the art of this JOYS fellow.


My first reaction to the work of JOYS was how different his work was from the works I've seen at other gallery openings of the same genre (meaning, Contemporary Art). It was so refreshing to stand before art that thinks outside the box. To me, this man has taken (Italian) penmanship to the next level, where the forms remain attached together yet one is still able to make out what these letters are supposed to represent. His sculpture represents an eclectic but cool three-dimensional approach to graffiti, better known as "art on the wall" (in the case of this exhibition, since it is mounted on the walls). Bold colors of red, yellow, blue and purple grabbed my attention. These sculptures were far beyond what the human mind could comprehend, and although I did not immediately identify the works as "script", I did feel that they could jump off the wall at any given time. I felt that his works have overcome the confines of two-dimensional space and because each letter was so precise, geometrical and so perfect, knew that he must have been influenced by mathematics and probably the works of M.C. Escher.


I can see JOYS' sculptures being used as a means of not only communicating the need to be creative and the survival of a culture, but profound words and phrases with the ability to spread a message across, be it something political, cultural, social or religious. Art that has a purpose, which also has a presence, is much needed in our seemingly nihilistic urban environments.

Colorful pipes, anyone?

Arte Italiana @t its Finest

On Thursday, 13 July 2007, approximately 500+ people raced through the doors of Milan’s Palazzo Reale for the opening of its latest exhibition: Arte Italiana, 1968-2007. On display until mid-November, these paintings, under the ideas of Vittorio Sgarbi and curated by Maurizio Sciaccaluga, re-unites la crème de la crème of what modern/contemporary Italian painting has been known to express in the last half of this century, from 1968 until the more recent experiences.


Some artists represented in this exhibition were the following: Domenico Gnoll, Renato Guttuso, Piero Guccione, Valerio Adami, Gianfranco Ferroni, as well as artists who are not so well-known, such as Adelchi Mantovani, Gustavo Foppiani, Lorenzo Tornabuoni and Giancarlo Vitali. Cultural and aesthetic watersheds are not only political, as 1968 represents the symbol of the landslide of ideologies. It also represents unanimated ideas shared between the beauty found in art and the outpouring of the spirit expressed to the viewers. There was also a side exhibition of Italian architect mastermind Gio Ponti, who designed a myriad of stylish yet functional furniture and urban buildings. Many of his works still stand in Milan today.


Since I did not possess an invitation (and I couldn’t jump in line with somebody else since everyone came as a couple), I had to wait over two hours to see this exhibition. It was a madhouse, to say the least. Everyone was pushing and shoving, cutting in line and yelling just to have first dibs on viewing the exhibition. The three security guards, 2 at the door, one responsible for checking everyone’s invitation (and yes, there were a few frauds!) kept saying: “Piano, piano, piano”, urging everyone to slow down and stop the madness!

Once inside, there was no direct flow, which made it hard for people to make their way around to these exhibits. It was obvious that the Italian Paintings galleries were arranged chronologically while Gio Ponti’s exhibition was arranged by medium (furniture, decorative items, photographic collages/newspaper clippings/press releases/letters, etc.). There were only short paragraphs on the wall, describing the time period and influences of these painters, as well as photographs of Gio Ponti’s architectural successes from all over the world.

Being that this opening took place in one of the greatest fashion centers of the world, it was also interesting to note the kind of people that attended this event and what they wore. The majority of the populations were, of course, middle-aged Caucasian Italians who were extremely well-dressed (as if they were going to the opera or a fancy dinner) in the season’s latest fashions. The ballpark average age was older, probably around 40. A few families came with their children, and judging from the fact that most of these kids had their own cell phone, plus name brand clothing, indicated that this “leisure” event was definitely for the upper-middle class and beyond. A few exceptions included a small group of university art students and young professionals – also mostly Caucasian Italians, sporting the latest trends. As a result of their high status in society and level of education, there were many interesting and in depth conversations going on regarding art criticism and theory as well. Needless to say, Europeans are TONS more educated about the arts than Americans ever will be.

All in all, despite the lack of vino and other antipasti delights every show opening ought to have (especially in Italy), it was a worthwhile experience that I was happy to have experienced. Next time, I will try to join the VIP list. ☺

Larger than Life... and then SOME!

EXHIBITION REVIEW :: Milano (IT)
Julian Schnabel, "Paintings: 1978-2006"
@t Rontanda di Via Besana

"My paintings take up room, they make a stand. People will always react to that. Some people get inspired, others get offended. But, that's good. I like that."

-- J. Schnabel, on Painting

This is no understatement. Julian Schnabel's paintings are massive and take up a lot of room. They are huge, larger-than-life and make us ordinary mortal beings pale in comparison within their presence. His subject matter ranges from portraits of both men and women (friends/colleagues of his over the years) to self-portraits, from his take on Oriental geishas to mixed media collages, recycled art and drip paintings. Born to immigrant parents from the Czech Republic, Schnabel grew up in Brownsville, TX for most of his formative years. At first, he struggled in the art world and worked as a short-order cook until his first solo exhibition in 1975, in New York City. This retrospective of his nearly 30 years of making art led him not only to participate in the Venice Biennale, but also to become a major figure in the Neo-expressionism movement in the mid-1980s.

His portraits are abstract, with elongated figures and much influence alluded to Picasso. His paintings show that he was clearly influenced by Pollock; his "found-objects" collages, by Gaudi. Unconventional religious iconography (a male AND a female Jesus?) are also included in his oeuvre. These works come in all shapes and sizes, which forces one to really ponder on what is going on in all of these works. I personally walked around this exhibit for a good hour, searching every quadrum of my brain to figure out how on earth these canvases were created. It was as if I was seeing Michelangelo's Sistine Chapel for the first time. WOW... did Schnabel use a ladder, or did he simply hang them on the wall and run into them with his paintbrush? Or were they laid flat on the ground and painted on, detail by detail?


It is important to state that sometimes: art is not about how beautiful the final product is, but more about the process it took to get there. You either like it or hate it: the choice is up to you. But, in any case, the closer you look, the more you will come appreciate the technique, skill and the amount of effort it took the artist to create these crazy works of massive quantities and sizes... whether or not you favor the subject matter.

After a thorough analysis of Schnabel’s works as a whole, I decided that my favorite technique was the globs of plaster paint over pieces of broken ceramic plates and saucers, used in his portraits, icons and landscapes, to help achieve tangible texture and taking the influence of Chuck Close to the next level. The wide variety of found and natural objects used by Schnabel, such as nestled together tree branches, as well as the incorporation of classical art materials such as pen & ink, conte' crayon and charcoal -- were more than enough to make my head spin in a state of awe.


The Rontanda di Via Besana is obviously the appropriate venue for such an exhibition. The huge, dome-like, former Renaissance basilica facility is extremely accommodating to the massive size of Schnabel’s works, the cool (and AIR-CONDITIONED) gallery space comfortable for its visitors and lots of natural light coming from the open windows above, along with the dim spotlights shining from above, exudes an essence of spirituality onto each work of art. Indeed a monumental location for a monumental exhibition.

holy COW! moooooooo....

MOOOO: Taking during the evening passageitta one cool evening in June, along Corso Vittorio Emmanuale II, aka. one of the major shopping streets in Milan.

Cows, cows, cows... everywhere! I thought this was something only small cities in the United States (ie. Harrisburg, PA) participated in, but lo' and behold, they are all over the streets of Milan's gorgeous historic centre. These cows were to be sold to raise money for charity, and were to be exhibited for a mere three months (April - June). Sounds like a great plan, right?

Street art is always a concept to ponder on, as it adds piazzazz to the mundane streets of the city and gives local/up-and-coming artists the chance to express their creativity. Both tourists and locals love taking pictures with it, and most importantly, can be used as a way to spread any kind of message (polticial, religious, social, cultural) to the masses.

Milan's Cow Parade 2007, however, was far from successful and street art didn't fare so well in the fashion capital of the world. Both local and national newspapers reported that Milan set a record for the number of cows vandalized, particularly during the night that the AC Milan football club won the European championships (24 May 2007). The poor cows were either burned, thrown into a fountain, vandalized with all sorts of materials or simply stolen.

Alternative ways to raise money for various charities are now being explored, and the cows have been replaced with neon sculptures that ironically do not light up at night. Hmmm... who knows what might happen next. Better luck next time, Milano!


For mooooo.re information, please visit: http://www.cowparademilano.it/index.php

ice ice milano?

Appropriate Music: Ice Ice Baby by Vanilla Ice

This ice sculpture was errected around 5 June 2007, in honor of World Environment Day 2007. This was built to raise awareness for environmental issues, and some sort of activist, public art disply took place in all the major European cities during this time.

celebrating 10 years of colourful explosion!

EXHIBITION REVIEW ::: Milano, IT
Günther Förg, 10 Anni -- Ala -- Förg
Salvatore & Caroline Ala Galleria

Wide open spaces. Think big, clear open windows, minimalist fonts used on the text panels + labels, white walls and amazing graphic design. This is the space gallery owners Salvatore and Caroline Ala are more than lucky to have. Now, think an incredible mixing of colors on the palatte before dabbing them on these huge, larger-than-life size canvases... and you now have the work of Günther Förg, a contemporary German artist, who has worked on these conceptual masterpieces for the last decade. The body of work he has created over this period of time is hard to narrow down to a single medium. Add in some of the friendliest, dressed in business casual attire, gallery assistants... who took the liberty to greet you at the door, hand you information about the artist, and even offer you water on that hot June afternoon (acqua naturale o frizzante) and you got what is perhaps the most professional art gallery in all of Milan!



From his early Conceptual Art of the 1970s, Förg has come a long way from the simplistic monochromes and greys. Over the years, he has specialized in photography, sculpture, prints, drawings, and of course, paintings. He also makes installations and murals, in all of which there is a distinct reference to architecture, landscape and form. This rings true in that although Förg's work is minimalist in nature (due to the constant repetition of his designs), there is always something spontaneous that seeks to erupt out of the paintings and seeks to be different.

Just like what art experts believe to be Cezanne's last painting (of the garden outside his studio, unfinished), Förg's work appear to be "almost landcapes" and "almost cityspaces"; the colors, shapes and form bunch together to form an "almost" identified subject matter. It is as if his intention was to finish these paintings to look somewhat representational, but purposely left them "unfinished" in order to instill an air of mystery and wonder for those who view his work. In fact, if you look closely at his canvases, you might just catch a glimpse of where he was headed with his idea. This, my friends, is conceptual art at its very best: born out the mind, conceived by the brain and carried out in an exhasting expression of colors and forms, dancing off the canvas for all the world to see.

This show, which comprises of 19 works of acrylic on canvas (1o of which are in a large format -195 x 230 cm), 6 acrylic collages on paper, 8 pastel designs on paper e 3 square cross-hatched designs on paper... exhibits the work of this German contemporary artist at its very best, while one can truly grasp where he is coming from. It is no wonder that when asked about one of his watercolors, Förg responded with the following quote:

"I have always avoided subject matter. In the watercolors of windows, I was able to approach the subject matter of the window and even let some figures sneak in... Another frequent motif is the staircase, which is the result of one of my favorite movies, Vertigo. Unpleasant, but it haunts me."

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meager photo show

:: EXHIBITION REVIEW ::
Louise Lawler/Cindy Sherman
Studio Guenzani ; Milano, IT

This was one of the first openings I went to in Milan, on 31 May 2007. This gallery alone cannot sum up the contemporary art scene in Milan, yet it did not make ways for a good impression. I call this show the "meager photo show" because there were only 7 works in the whole exhibition dedicated to these two artists. I was expecting a larger gallery with a wider collection of photographs, so this, of course, completely took me by surprise. Sometimes, one must realize that less can certainly be more....

About the Artists: Louise Lawler was born in 1947 in Bronxville, NY; Cindy Sherman ( New York ). was born in 1954 in Glen Ridge, New Jersey. Both artists live and work in New York, NY. Since 1988, both artists ingurated a collaboration with Studio Guenzani.

Lawler and Sherman were two revolutionary artists that used photography as a method of expression in the late 70s and the 80s. Both are creative genuises: while Lawler underlines the influence of our perception of artistic objects (ie. paintings, sculptures, furniture, etc.) in her photographic ouevre, Sherman focuses primarily on contemporary iconography, and in the 80s and 90s focused on the representation on the stereotypical female by dressing up as those characters (housewife, model, clown, etc.) as well as violent scenes in our society that might appear to be grosteque and violent -- but yet, are blatantly honest.

This show, although small and meager in size, shines in that it provides a glimpse into the diverse photographs of these two American contemporary artists, who continue to transfigure the proper image and disperses the proper subject in a million different reflexes which in the end, represents a body of work that is stronger and more evident -- to communicate a message to the masses. Indeed art that does more than sit on its ass just to look pretty.

isolation & self-identity crisis

:: EXHIBITION REVIEW ::

Nowhere Gallery, Milano (IT)

Pier Paolo Maggini

"UNA SOLITUDINE TROPPO RUMOROSA" (A very noisy solitude)

Yet another gallery located in the back of the courtyard, with a secret door that leads you back into the bustling streets of Milan. These things amuse me as a foreigner, yet at the same time is something I have gotten used to over the months I've spent in this country. I was told to visit this gallery because the owner, Orio Vergani, is a close friend and collegue of my boss Pasquale Leccese. I did not know what to expect, nor did I know what kind of art this gallery specialized in.

Upon arrival, I was greeted by a flustered, middle aged man, who was smoking pot and his aggressive dog. I thought I was going to be attacked by the dog, who kept barking verociously at me, but thankfully the owner pulled him back and told him to knock it off. Needless to say, the pot smoking and barking of his dog continued during the whole time I was at the gallery. Afterwards, I scoffed at the lack of professionality yet would have found it to be more humorous if these actions were done in purpose, as if to allude to the title of this exhibition as a whole.

This gallery may have been small and overlooked, but the artwork was poignant and powerful. Pier Paolo Maggini has created a series of detailed, realistic paintings of empty football (soccer) stadiums and race tracks, depicting what is described as "confined solitude between vitality and vivaciousness". These paintings are small, no bigger than 11 X 14 and are extremely detailed. These objects become alive, and are like forms of life to us: they are jolted from a point of restlessness and a more optical motion of what is real. They are not vital, and it is not the life of one to shake them, to cross them, but solely one's fiction, or better yet its desire, that is to be carried out.




The "waitings" represented in these paintings are the state of mind of those who will wait to get rid of a hidden inertia. It accumulates refusals from the trash dumps, which then attend to transform itself into masses, in compact structures. The end of these territories become landscapes. The shapes that fill up the stages, which eventually change themselves, become figures. Some works echo the fascination of the instinct ones that seems to take on while in these situations, acting dishonestly in order to exceed the anonymity. The painting is serenely pulverized, and is stretched to be ulteriorly dense, yet coincided.

This seems to be enough to get his message across and continue to ask why so many are "screaming in silence" yet cannot be heard. So many people are isolated, hidden in the seats of the stadium and wondering what their purpose in this world is. Like rubbish, so many people feel that they are isolated, and are only here to eventually rot away into the earth. Why bother with morality? Why even live?

Though depressing in nature, this was a powerful exhibit that although made one feel uncomfortable, are important questions to consider regarding why many feel we are simply a means to an end. We've created this concept. Just look at the empty stadiums/racing tracks.

ARRRRRRRR.... some!

:: EXHIBITION REVIEW ::
AR Contemporary Gallery, Milano (IT)
Danny Rolph, "Happenstance"

A stunning mixed media and collage attempt. A variety of shapes, swirls and colors reminicent of the groovy 70s. Texture abound, and materials are mixed to create new forms the human eye can only begin to imagine. This is the artwork of Danny Rolph, heavily emphasized in his current exhibition: "Happenstance", his second solo exhibition in Milan.

A native of Great Britain, Rolph has been influenced by Italian culture since the days of his youth. Back then, he was interested in a combination of Italian design, fashion and football. Those interests never escaped him, and now has been linked by an astounding fascination with the country’s art, its colors, architecture, energy and most importantly, confidence. This exudes with full force in the body of work exhibited in this show.

When looking at conceptual art, and well, art in general, it is important to instinctively respond to what is before you, rather than making assumptions of what the artist's original intention was. That was the challenge I gave myself while viewing Rolph's works in this exhibition. I noted that several of the paintings were done in the form of a collage, that had a 3-D effect and that almost always, the artist used strong, bold colors on a white canvas, with a sharp grey background. I also found his shredded paper collage, composed in a variety of media (including glitter) to be extremely compelling. Just by looking at these works, one could immediately tell that they were meant to be an exclamation of sorts, a celebration of art, design and culture... but yet, at the same time, the bombardment of all these things together at once. My observations, of course, came pretty close to the artists' original intent, which was the following (taken from the AR Contemporary Gallery Press Release):

"Above all, the mixture of different paints, applications, outlines and collage generated a striking metaphor for the sensual bombardment of modern life by simultaneous sounds, smells, shapes and colours; by the continuous overlapping of fleeting glances, textures in movement, changing light and the memory of all that."




It is also important to note the successful exhibition design of Rolph's show. The use of space was terrific, because there weren't too many paintings hung together side by side, and allowed the viewers to walk around without feeling bombarded, even though Rolph intended to illustrate that very concept in his work. The space inabled the viewers to breathe easier while viewing the artwork. It was almost as if each painting were its own, hung on a single wall space individually, for each viewer to marvel at. The walls coincided with the mettallic effect found in most of Rolph's paintings, and the floor (the original color, I'm sure) was this shiny, grey slate color that dazzled and spiced up the atmosphere even more. There were no labels or wall text, only numbers -- which is, indeed, a very contemporary way of exhibiting artwork.

All in all, it was a very well done show that was both asethetically stimulating and pleasing to the eye. "Happenstance" is an imaginative route that will definitely open doors for British abstract painting from here on out.

east meets west

EXHIBITION ::: REVIEW
Galleria Stragapede/Perini (Milano) IT
"East West Art"

From 31 May 2007 until the beginning of July, one can find the show "East West Art" in Galleria Stragapede/Perini, conviniently located in Milan's hip Porta Romana neighborhood: the hubub of trendy bars to take appertivi early in the evening. Not surprisingly, this gallery is located in one of these establishments and attracts the attention of the both the fashionable Milanese and art lovers alike. Browsing through the gallery after happy hour is not a bad way to wear off a buzz after one-to-many Cosmos, or to walk off the extra calories consumed at the buffet!

Now, back to the art. "East West Art" is an eclectic collection of works by widely acclaimed international artists. Led by Raz Degan, artists such as Christian Balzano, Pietro Geety Crivelli, Charlotta Janssen, Filippo Sciascia, Federico Tomasi and Wolfgang Widmoser are represented. This project was born in 2003, out of Degan's passion for traveling around the world and to satisfy his curiosity for the diverse cultures of people from all over the world. During the course of his travels throughout the past 4 years, Degan has come across a series of talented, young international artists and as a result, found their own voice (despite the bounds taken on by culture and language barriers) as creative citizens of the world.

This show was beautifully done, and gives one a sense of pride to see how contemporary artists of the present day create their work, what subject matter is more important to them and how they use art as a medium to communicate a profound message to the masses. Subjects such as poverty, racism, animal rights, music, love, sexism, murder and religion are depicted in these works, and the complilation as a whole is asethetically moving... leaving one in awe by the creation in front of them. The creation of a dialogue is also present here: what can we (as Caucasians/Italians) embrace the diversity of these artists from all over the world and incorporate the messages conveyed into our own culture and history? This is an important question to consider, especially as globalization takes place more and more here in Milan.

To further promote the show, there will be a total of 40 events in various Italian cities this year, as well as collaboration of the art with music and videography. See http://www.stragapedeperini.it/galleria.php?mostra=11 for more information and visuals.

[abstraction] : affiliation with...

EXHIBITION ::: REVIEW
Enrico delle Torre
"Percorsi" opere 97-07
Lorenzelli Arte, Milano (IT)

On the far back end of a typical Milanese courtyard, off the bustling Corso Buenos Aires, lies Lorenzelli Arte, a contemporary art gallery who has its focus on both promoting great international masters as well as the works of artists that have been forgotten by art critics and the media alike. The courtyard outside may be cheery and bright, but once inside, the viewer immediately realizes that ARTE is serious business. The interiors are intensely minimalistic, with white walls, light grey maisonite tiles, lots of space and an ample amount of skylight coming from the open glass atrium above. Three white columns can be found in the room with the atrium, There is even spacing between each painting hung on the wall; the rooms are divided by a pair of steps and a half-wall, thereby providing easy flow throughout the gallery as a whole.

The current exhibition is a 10 years retrospective by Italian contemporary artist Enrico della Torre (1931 - ). At first glance, his work seems to be dull and too restricted. Sure, there were abstract compositions, reminiscent of modern artists such as Mondrian and Ben Nicholson yet there was something about it that lacked the ability to be free. The colors were dull, for the most part. Every line and shape was too symmetrical, too perfect and gave me the impression that the artist wanted to so desperately to color outside the lines, but had a hard time committing such a crime. But why? He obviously lacked the in-your-face kind of creativity and I wanted to race through the exhibition, make some mental notes and leave.

It wasn't until I saw a few works that used diagonal and wavy lines, shapes of all sizes and colors and paintings with borders that I began to understand where della Torre was coming from. He seemed to be working with what is conventional (ie. geometric shapes, primary colors, symmetry) and adding his own twist to it. This isn't exactly what I'd like to call a revolutionary breakthrough, but it was getting somewhere. There were also a few pieces towards the end of the exhibit that I like to describe as, "Trying to be representational, but not really". These were abstract pictures that included shapes that could symbolize ladders, stars and moons - objects that were in the process of morphing into what they ought to be. Interesting!

According to della Torre's artist statement, it seems that with every show, he tries to explore a dimension of ambiguity and uncertainty. He transforms every possible definition into a doubt, every construction into a fragment and in a moment of temporary aggression (at either him or his work) a continuing instability is developed inside oneself; where it can flow and prevail one's well-being on every level. Basically, the art is there to make you think deeper and question why things are the way they are, and how they can be different.

Italian art critic Francesco Tedeschi probably sums up the motive behind della Torre's work the best by concluding his artist with the following: [paraphrase/translation] "This day in age, we are living on an absolute, where della Torre's show, in all its clarity, remains far from every logical abstract of rationality or of spiritual metaphysicality."

fenomeno Kandinsky

(please excuse the long pause in writing, but a few ephiphanies and prodings from dear friends made me realize that its high time to get those creative juices flowing... again).



"There is no must in art because art is free."


-- Wassily Kandinsky

Powerful. Poignant. An outpouring of the spirit. There are so many phrases and so many adjectives to describe the artistic oeuvre of Wassily Kandinsky, from his first Compositions and Improvisations to his more geometrically rendered shapes of his final years in Paris. His colors literally dance on and off the canvas, always communicating some sort of message to the masses. If you aren't careful, these colors can absorb you and tingle your insides, until you feel an explosion of energy coming from within. This, however, can only be the beginning of something incredible that does more than satisfy one's artistic taste buds. Perhaps I am a bit bias, because I consider Kandinsky to be one of my "art heros"... but in my opinion, any kind of art that grabs you and has the ability to move you in unimaginable ways can be denoted as "great art". Capito?

Exactly 60 years ago, in January of 1947, Milan's Palazzo Reale held an exhibition of great European modern artists, the first major show since the end of the second World War. Kandinsky was one of the artists represented; the other artists represented were mostly Italian: Bassi, Bonini, Licini, Mazzon, Munari, Rho, Ettore Sottsass and Veronesi. Up until 24 June 2007, curator Luciano Caramel has made it possible for art critics and fans alike to stand in the presence of Kandinsky's work, as well as the work of other Italian modern artists whom he influenced from 1930-1950. This show is entitled Kandinsky e l'astrattismo in Italia. Here, for the first time in Italy, viewers can see over 42 works by the Russian Expressionist master, including watercolors, oil on canvas and pastel.

The show was arranged [as expected] in a chronological order, starting with Kandinsky's early work (ie. Improvisations) and moving to the Bauhaus years, his collaboration with Paul Klee and his final years of painting in Paris. Text panels were available to the visitors in both English and Italian, giving a detailed and historical/cultural information about each period in Kandinsky's art career. The walls were painted in a slate grey-ish color, with bright flourescent lights shining down on the main *highlights* of the show -- which allowed viewers to really see every single detail painted. Quotes from Kandinsky's Concerning the Spiritual in Art filled the walls, giving visitors permission to stop and muse about his art on a deeper level. Besides historical facts, color was also another theme that was highly emphasized. Several rooms held the works in specific color schemes, such as "black-grey", "red-orange-yellow" and "blue-violet". These quotes were rendered on color circle panels, presenting a more theoretical approach to the usual chronology of events and famous works. I felt that this methodology could have been taken further, maybe dedicating the whole exhibition to what Kandinsky had to say about color theory. The traffic flow throughout the exhibition was all right, and I didn't get the audio guide because I don't like people telling me how to think and look at a piece of artwork.

The most brilliant set-up, however, can be found in the first gallery. There, Kandinsky's famous Composition VII (see picture above) is hung in a niche in the wall, as if it was floating, with a soft irredescent blue light along the borders and shining through the background. I wish I had my camera, so that I could have taken an illegal picture of it. In this case, the museum was indeed a muse -- sucking me into a state of deep reverence right in front of this very painting! To be honest, this was my favorite part of the show, and bearing previous knowledge of the heavy spiritual aspects behind Kandinsky's early work stabbed me in the chest and nearly drove me to the point of tears. Art can be powerful like that sometimes.

The rest of the show was not rendered quite as well. Although it was interesting to see the influence Kandinsky had on these "contemporaries", it was also a huge bombardment of images and wall text, which I must criticize, throw my hands up in frustration and ask what the need is to know every single detail about the artists' life/career and paste both Italian and English text panels side-by-side... overcrowding the already lack of wall space... and blocking the flow of traffic. To be honest, I zipped through this portion of the show and found it to be rather cold compared to the warm, embracing liveliness of dancing colors and shapes on Kandinsky's canvases.

Other notable highlights of the Kandinsky portion?

*Kochel, 1902
*Zigzag Blanc, 1922
*Movimento I, 1935

Considered by many to be the Father of Modern Expressionism, Kandinsky carries out his expression of the SOUL throughout his artistic career and even into the modern day. The revolution he started brought about lots of criticism from his peers and those in authority, but in the end paved the way for greater things to come. This is why even 60 years after Kandinsky graced Europe with his presence at the January 1947 exhibition, people are still talking about the legacy he left and those who have come to love his art the way it ought to be loved feel the need to carry this principle deeper into the 21st Century.

Viewing this show instilled a huge breath of fresh air to my nearly stagnant artistic exsistence, and forced me to think on a deeper level about how to successfully intertwine the beauty of art theory and exhibition installation once again. Heck, I even bought the catalogue.