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From Vosartists…
Ahmed Haizoune, an artist born in 1968 in Marrakech, is a laureate of the Tetouan School of Fine Arts (90-93). He is originally from Oulmès in the Middle Atlas of a Berber family that adopts and raises horses. It was at the age of 13 that he began to draw this animal with which he totally merges. The support also participates in the search for the quality of its achievements. Of course, in the general artistic concept, it is necessary to cultivate a homogeneous perception and spontaneity of the gesture suitable for keeping the whole an easily identifiable chromatic outfit. This is why he works, among other things, on geographical maps or with playing cards. He works a lot between Morocco and Italy where he has exhibited many times in prestigious galleries.
During these trips in the Moroccan south, from the Todra Gorges to Taroudant, he was particularly charmed by the Kasbahs of southern Morocco which constitute a central element of his canvases around which horizons, purple-ochre chromatic nuances and a sober atmosphere that perfectly declines the spirit of the southern spaces where the mountains and desert expanses are joined. Coming from a Berber family that raises horses, Haizoune began his artistic passion at the age of 13 when he began to draw the noble mount with which he totally merges. The artist then joined the School of Fine Arts in Tetouan (90-93) where he perfected his talent before leaving for Italy to learn about the plastic arts. The support also participates in the search for the quality of its achievements. Of course, in the general artistic concept, it is necessary to cultivate a homogeneous perception and spontaneity of the proper gesture, to keep an easily identifiable chromatic outfit as a whole, it is indicated in an appreciation of the artist's work.
I'm not normally a big fan of the horse-drawn carriage. It seems to me like the sort of thing that looks romantic in the movies, but which doesn't smell so good in real life.
But it was the Saturday before Christmas, and dozens of cheating spouses naturally chose to burn off a few ounces of guilt by taking their future ex on a charming ride through the park.
Pritika Chowdhry is an installation artist and a Forecast Public Art grant recipient in 2012. Her statement for her AIS submission reads:
Tamas (Darkness): A Record of 1919 is an investigation into the history of the year 1919, from a transnational perspective. It was the year after World War I, and many significant events happened around the world - the Treaty of Versailles was finalized in 1919, Irelandʼs war of independence from the British Empire began in 1919, and the treaties and events of 1919 created the Middle East as we know it today. The project also seeks to highlight the lesser known events that happened in the rest of the world, and posit connections between them. For example, the Jallianwala Bagh Massacre that happened in India, the Race Riots or Red Summer of America, the Anglo-Somali War, the Great Iraqi Revolution, the Egyptian Revolution, the May Revolution in China, the Turkish War of Independence, the Russian Civil War, the Anglo-Afghan War, the Third Battle of Juarez, and others.
The name of the event and a map that locates the city and building in which the event occurred have been enameled and etched on brass spittoons, which are small but decorative containers in which one expectorates spit, phlegm, chewing tobacco, etc. Discarded bodily waste (spit) is made to function as
a metaphor for the events that a nation or a people forget, as if history itself were a cultural waste and was being discarded. www.pritikachowhry.com
Photo by Carrie Thompson
My dad working on a sheet of flash
Garden of the Womanimal: Artists Book. 11 1/2 x 17 3/4 inches, 60 pages, screenprinted cloth hardcover with post binding. An exhibition in book form, a small survey of works from 16 years of printing and self-publishing includes risographs and printing ephemera, screenprints, hand-painted screenprints, linocuts and stencil work. Edition of 5. $2,400. For availability please contact aimee@booklyn.org
Booklyn Art Gallery
Pinacoteca do Estado de São Paulo
de 24.jul a 19.out 2014
A Pinacoteca do Estado de São Paulo, instituição da Secretaria de Estado da Cultura, apresenta de 24 de Julho a 19 de Outubro 2014, exposição retrospectiva da artista suíça, naturalizada brasileira, Mira Schendel que ao lado de seus contemporâneos Lygia Clark e Helio Oiticica, reinventou a linguagem do Modernismo Europeu no Brasil. Com Patrocinio do banco Credit Suisse, a mostra é organizada pela Pinacoteca de São Paulo e a Tate Modern, Londres, em associação com a Fundação de Serralves - Museu de Arte Contemporânea, Porto.
Com curadoria de Tanya Barson da Tate Modern e Taisa Palhares da Pinacoteca, a exposição já foi apresentada na Tate onde foi um grande sucesso de público, depois foi para a Fundação de Serralves e agora completa a última parte da itinerância na Pinacoteca.
Mais uma vez, o público brasileiro será privilegiado. Além das obras expostas nas mostras anteriores, no Brasil serão incluídas maior número de trabalhos das séries Bordados e Naturezas-mortas (década de 1960) e Mandalas (década de 1970), bem como a série Papéis Japoneses (década de 1980) e um conjunto significativo de trabalhos do acervo do Museu de Arte Contemporânea da USP, que foram doados pelo crítico de arte e amigo de Schendel, Theon Spanudis.
Apresentada em ordem cronológica a exposição, que ocupa o primeiro e segundo andar do museu, reúne cerca de 300 obras, entre pinturas, desenhos, esculturas e instalações, todas realizadas entre os anos 1950 e 1987, incluindo a última série produzida em vida pela artista, as pinturas conhecidas como Sarrafos.
O grande destaque da mostra fica por conta da produção de obras em papel de arroz dos anos 1960: a série Monotipias, Trenzinho, Droguinhas, todas de 1965; a sala de Objetos gráficos, 1967, os Cadernos, 1970, as instalações Ondas Paradas de Probabilidade, 1969, e Variantes 1977; além da série O retorno de Aquiles, 1964, em que pela primeira vez Mira Schendel utiliza o texto como elemento visual da composição.
“Esta é a primeira grande mostra da Mira Schendel (Zurique, Suíça 1919 – São Paulo, Brasil 1988) desde 1996. De lá para cá, a artista tornou-se muito mais reconhecida no contexto internacional, o que se reflete na exposição pelo grande número de obras de coleções e museus internacionais como o Museum of Modern Art – NY, o Houston Museum, a Tate Modern - Londres entre outros. Neste sentido, é uma oportunidade única para o público brasileiro apreciar essas obras que dificilmente serão expostas novamente no Brasil tão cedo”, afirma Taisa Palhares.
This artists drawing, originally posted by the Muskegon Chronicle, shows the former Daniel's Office Supply Building would be restored to it's original 1891 look in the front and windows would be added to the side.
Met him on a festival. Enjoyed exchanging ideas about art. He graciously gave me permission to take a picture of him.