ART /42 / BASEL
Art Basel features nearly 300 leading galleries from North America, Latin America, Europe, Asia and Africa. More than 2,500 artists, ranging from the great masters of Modern art to the latest generation of emerging stars, are represented in the show's multiple sections. The exhibition includes the highest-quality paintings, sculptures, drawings, installations, photographs, video and editioned works in the world.
The top picture is the image the gallery is using to promote their booth at the fair, the larger bottom image is from the exhibition currently hanging in their gallery.
Leaping Hermit, 2011, Rodney Graham
3 painted aluminum lightboxes with transmounted chromogenic transparencies
232.8 x 556.5 x 17.8 cm / 91 5/8 x 219 1/8 x 7 in
Each panel: 232.8 x 182 x 17.8 cm / 91 5/8 x 71 5/8 x 7 in
The gallery's current exhibition features new monumental lightboxes ‘The Leaping Hermit’, ‘The Avid Reader’ and ‘Basement Camera Shop circa 1937’ by artist Rodney Graham. ‘The Leaping Hermit’ presents an intricately detailed scene, showing Graham bearded and bedraggled, a free-spirited Bohemian caught in mid-jump as though joyfully experiencing a revelation from above. The three-part format of the work evokes medieval triptych painting. Its garden landscape and composition loosely recalls Hieronymus Bosch’s ‘Adoration of the Magi’, while the pose of the hermit seems to borrow from Matthias Grünewald’s resurrected Christ. Yet despite the biblical associations alluded to, like many of Graham’s works, the image defies interpretation, its subject unknown to religious mythology.
Konrad Fischer Galerie
Konrad Fischer Galerie Düsseldorf presents Wuppertal-based painter Tatjana Valsang (born 1963 in St. Tönis). The artist studied at Düsseldorf Academy of Arts with Dieter Krieg.
In her large-format works executed in Acrylic on canvas, Tatjana Valsang stages a theater of painting. Numerous layers of paint – some opaque, others diaphanous – are built in succession, some colour patches are removed, others are added. This workflow finds expression in a multi-faceted sediment of colour layers. The artist combines both, controlled painterly gesture and coincidental organic-chemical process. The painting functions as an experimental test area for new forms. The beholder is invited to decipher organic shapes being suggestive of colours developing their own lives – like a gaze at live under a microscope reflecting microcosm in the macrocosm.
San Francisco, CA, USA
London Based British Photographer
Made with a giant camera comprised of two rooms, the subject occupies one room with a powerful light source, while the photographic paper occupies the adjacent "camera obscura" (dark room in Latin). Connecting the two rooms is a lens set at the front of a bellows for focusing.
The photo paper is formulated to create a direct positive color image
(there is no negative or digital image file).
The photographer yields portraits of unsettling psychological intensity.
Cosmos, planets, and magnetic fields that join together to change matter have always had a profound influence on Eliseo Mattiacci's imaginings; they were already recurrent themes in his works dating from the early 1960s, such as those seen in his actions and installations in the Tartaruga and Attico galleries in Rome or in the Alexander Iolas galleries in Paris, Milan, and New York. Central to the artist's career at an international level were his solo shows in the 1972 and 1988 Venice biennales; his shows in the Kunstforum Städtische Galerie im Lanbachhaus, Munich, in 1984; in the Capodimonte museum, Naples, in 1991; in the Mercati di Traiano, Rome, in 2001; and his project Danza di astri e di stelle in Reggio Emilia, 2006, where he placed imposing sculptures in the open air.
Galleria dello Scudo is once more paying tribute to Mattiacci by exhibiting a selection of large-scale works created between 1976 and 2010, all based on the theme of possible relationships between the earth, space, and astronomic bodies: the centre of his interest for some thirty years. Fabbrica del cosmo (Cosmos Factory) has been and continues to be the imaginary place where the artist, continually renewing himself, captures forms and brings them to life through a constant dialogue with the elements of the universe and the forces that govern it.
Montreal, a city of many enticements, had conspicuously lacked a major art gallery of international calibre until the summer of 1987 when Landau Fine Art opened. The creation of Robert Landau, a dynamic businessman, has focused primarily on the great masters of the early to mid twentieth century such as Picasso, Dubuffet, Léger, Giacometti, Jawlensky, Moore and Van Dongen.
Galerie 1900 - 2000
Arne Malmedal (b. 1937) has long been an important figure on the Norwegian art scene. As founder and head of the Faculty of Graphic Art in the Academy of Fine Arts in Oslo in the 1970s, and as Administrative Director at Kunstnernes Hus in the 1980s, he contributed to the realization of a series of important exhibitions. He was educated at the National College of Art and Design, Oslo (1956-60), and held his first one-man show in 1963. Malmedal was honored with a large retrospective exhibition in the National Museum of Art (Oslo) in 2003.
In later years, his focus has been on painting, and Malmedal’s current activity is marked by exploration and experiments in relation to space/plane, picture/frame, and color/brush-stroke, in a series of paintings using two to three colors. The works in this exhibition (his third in Galleri Riis) consist of medium-sized paintings from the past two years, executed in tempera and oil on canvas, as well as a new thematic series of ink washes with gouache. The character of the color is central in the paintings, which consist of a standing rectangle in the square canvas. The paintings’ pure surfaces are in contrast to the new ink washes, in which Malmedal returns to an expression with bold brush strokes.
In order to operate independently from institutionalized funding, it is active both as an independent art space and as a ‘commercial’ gallery.
Our avatar is styled after a meditating monk, his heart at ease, his board light, seemingly in mid-flight; he is constantly overcoming every sort of obstacle on the water, but never reaching anything resembling a final destination. This perhaps is the essence of games. Similar to certain phenomena in life, throughout constant elevation of the soul through transmigration, we complete a journey of self-cultivation.
Apes from both riverbanks screech
with echoes lingering on
Through thousands of mountain peaks
My light boat has gone
--Sailing from White King Town, Li Bai (Tang Dynasty)
Los Angeles, CA, USA
In Henry Taylor's work, the line between art and life is often indistinguishable; freely commingling intensely personal figurative paintings with totemic assemblage sculpture. Taylor has developed a unique visual dialect wedded to the downtown-Los Angeles community he calls home, addressing his subjects with the ease of an insider and the hand of an outsider. Taylor's nuanced portraits shed a sentimental light on near and dear friends, family members, lovers and heroes, both dead and alive, real and imagined. They are non-hierarchical, generous and democratic likenesses of the people most central to his life and thought, with equal emphasis placed on a portrait of his niece and nephew in relaxed pose or larger than life statuesque representations of Serena Williams or Jackie Robinson. An acute documentarian of his community, Taylor fits squarely into the lineage of painter as social observer, channeling amongst others, Alice Neel, Toulouse Lautrec and John Singer Sargent.
Born 1975 in Geisingen, lives and works in Berlin.
1996 – 2000 Akademie Isotrop, Hamburg
1997 – 2002 Hochschule für Bildende Künste, Hamburg
Johannesburg, South Africa
In his first solo exhibition at Goodman Gallery Cape – titled Resonant Structures – Stefanus Rademeyer expands on his interdisciplinary approach to art-making; intersecting the seemingly unlikely fields of art and mathematics. Rademeyer has developed algorithms that describe the inherent form and intricacy of various natural structures, which are then translated into the visual realm using digital processes. The result is a series of objects and digital drawings that are boundlessly engaging and eloquently beautiful. The show brings together new work and pieces from Rademeyer’s successful solo show at Goodman Gallery Johannesburg last year.
Not only are the objects and drawings he creates often mesmerisingly arresting, their visual complexity draws you in, compelling you to look deeper, to know and understand more.
Above GILBERT & GEORGE's latest "sticker and post card series"
A look at more galleries and videos from Art Basel 42 in the next issue.
Steppin' on the High Line,
in NY's Chelsea Arts District
"Stepping" started as a competition in America's historically Black men's fraternities. Youth Step USA are pleased to present Step to the High Line, a week-long festival of step performances on the High Line. Step is a form of creative expression that celebrates the power and energy of youth through synchronized stomping, clapping, calling, and other sounds.
Different step teams will perform at 6:30 PM daily it began on Monday, June 13, 2011 and will end Friday, June 17, 2011. The Step to the High Line festival will culminate in a showcase of all five teams, plus a special guest appearance by Phi Beta Sigma Fraternity, beginning at 4:00 PM on Saturday, June 18, 2011.
A film about Stepping: "Stomp the Yard" (Stomp the Yard centers around DJ Williams, a college student at a fictional historically Black university who pledges to join a fictional Greek-letter fraternity.)
Shrimp & Grits
Shrimp and grits are everywhere these days, but I had my first taste of this delight when I went to a wedding reception (thank you Bill and Mary Catherine). They were so good, I had to use total restraint in order to not over indulge.
Shrimp and Grits
- 2 bacon slices
- 1 pound unpeeled, medium-size raw shrimp
- 1/8 teaspoon salt
- 1/4 teaspoon pepper
- 1/4 cup all-purpose flour
- 1 cup sliced fresh mushrooms
- 2 teaspoons canola oil
- 1/2 cup chopped green onions
- 2 garlic cloves, minced
- 1 cup low-sodium, fat-free chicken broth
- 2 tablespoons fresh lemon juice
- 1/4 teaspoon hot sauce
- Cheese Grits
- 1. Cook bacon in a large nonstick skillet over medium heat 10 minutes or until crisp; remove bacon, and drain on paper towels, reserving 1 tsp. drippings in skillet. Crumble bacon.
- 2. Peel shrimp; devein, if desired. Sprinkle shrimp with salt and pepper; dredge in flour.
- 3. Sauté mushrooms in hot drippings with oil in skillet 5 minutes or until tender. Add green onions, and sauté 2 minutes. Add shrimp and garlic, and sauté 2 minutes or until shrimp are lightly browned. Stir in chicken broth, lemon juice, and hot sauce, and cook 2 more minutes, stirring to loosen particles from bottom of skillet. Spoon shrimp mixture over hot Cheese Grits; sprinkle with crumbled bacon.
- Makes 4 to 6 servings
The Grits (Cheese Grits)
- 1 cup fat-free milk
- 1 (14-oz.) can low-sodium fat-free chicken broth
- 1/2 teaspoon salt
- 1 cup uncooked quick-cooking grits
- 3/4 cup (3 oz.) shredded 2% reduced-fat sharp Cheddar cheese
- 1/4 cup freshly grated Parmesan cheese
- 1/2 teaspoon hot sauce
- 1/4 teaspoon ground white pepper
- 1. Bring first 3 ingredients and 1 1/3 cups water to a boil in a medium saucepan over medium-high heat; gradually whisk in grits. Reduce heat to low, and simmer, stirring occasionally, 10 minutes or until thickened. Stir in Cheddar cheese and next 3 ingredients.
This recipe is from Crook's Corner restaurant, a landmark in Chapel Hill, North Carolina. It was published in Southern Living Magazine, February 2008 issue.
ARTSnFOOD, All rights reserved. Concept & Original Text © Copyright 2011 Jack A. Atkinson under all International intellectual property and copyright laws. Images © individual artists, fabricators, respective owners or assignees.