Zap a Gap // Rosa Yaghmai // silicone, silk, tulle, gap filler, pigment, bricks // 78 x 47.5 x 3.75 in // 2017
Recently on view at Kayne Griffin Corcoran Gallery in Los Angeles was an exhibition on Rosa Yaghmai’s work called “The Courtyard.” LA artist Yaghmai transformed the gallery space to create an indoor courtyard equipped with light-color changing benches and standing sculptures, made of mixed-media such as corrective lenses, which resemble trees.
(L) Courtyard, Figerglass Bench // Rosa Yaghmai // fiberglass resin, UV LED lights // 18 x 72 x 20 in // 2017 (R) Imitation Crab // Rosa Yaghmai // silicone, quilting cotton, pigment, tin weave, bricks // 84.5 x 47.5 x 3.75 cm // 2017
Pipe #4 // Rosa Yaghmai // resin, corrective lenses, produce bags, aluminum, miscellaneous debris, steel, rust // 68 x 28.5 x 27.25 in // 2017
Lugi Luigi // Rosa Yaghmai // resin, plastic debris // 85 x 3.5 in // 2017
Untitled #49 // Roy Colmer // acrylic on canvas // 1970 // 190.5 x 127 cm
Untitled #118 // Roy Colmer // acrylic on canvas // 1968 // 127 x 127 cm
Untitled #57 // Roy Colmer // acrylic on canvas // 177.8 x 127 cm
Reclining Figure – 1981 // Henry Moore
In a tight hang, Zachary Armstrong’s “Keith’s Paintings,” were shown in China Art Objects gallery in Culver City. Armstrong’s paintings combine childhood imagination with adult themes to create a complex painting. Unicorns and flower crowns coupled with grimaces and menacing faces with tongues sticking out are juxtaposed in Armstrong’s works. He even painted a work of art specifically for the exhibition, a painting that states his name, title of the show and location.
The Bedroom // Vincent Van Gogh // oil on canvas // September 1998
Automatic Mojo // Britton Tolliver // 2016 // acrylic & mixed media on panel // 43 x 22.5 in
Stranded Islands // Britton Tolliver // 2015 // acrylic & mixed media on panel // 30 x 22.5 in
Hot Wishbone // Britton Tolliver // 2017 // acrylic & mixed media on panel // 30 x 22.5 in
Silke Otto-Knapp’s grisaille watercolors were inspired by the choreography of Frederick Ashton’s ballet. The figures represented in Otto-Knapp’s “Monotones” move with fluidity, resembling a ballerina dancing on the stage. These large scale watercolor canvases demand presence and grace, a shared characteristic with ballet.
Monotones (Seascape), 73 by 244 (4) // Silke Otto-Knapp // watercolor/canvas // 2016
Monotones (Figures and groups), 73 by 183 (3) //Silke Otto-Knapp // watercolor/canvas // 2016
Monotones (March), 73 by 61 // Silke Otto-Knapp // watercolor/canvas // 2016
A recent exhibition, “Nepalese Seasons: Rain and Ritual” at The Rubin Museum of Art in NYC explored the natural element of rain in the Kathmandu Valley in Nepal. On view were works which related to the importance of rain and rain deities for both Hinduism and Buddhism.
Divine Ancestor Hatha Dya // gilt copper alloy // Nepal, 16th century
Upper Section of a Torana // copper alloy; repoussé // Nepal, 1810
Pablo Picasso and Diego Rivera. Two artist living in different cities at the same time. What possibly could they have in common? Much more than you think. Despite Picasso living in Spain and Rivera living in Mexico, both artists were inspired by historical works (antiquities for Picasso, Mesomerica for Rivera) yet developed styles of 20th century modernism unique to them yet had remarkable similarities. Cubism is one such style painted by Picasso and Rivera. While Picasso is best known for his work in Cubism, as he is considered one of the founders of the movement, Rivera also made great strides in his cubist pieces. This can best be exemplified in Picasso’s Man with a Pipe (Homme au chapeau melon assis dans un fauteuil) and Rivera’s Sailor at Lunch (Fusilero marino).
Portrait of Sebastià Junyer Vidal // Pablo Picasso // oil on canvas // June 1903
The Era (La Era) // Diego Rivera // oil on canvas // 1904
Man with a Pipe (Homme au chapeau melon assis dans un fauteuil) // Pablo Picasso // oil on canvas // 1915
Sailor at Lunch (Fusilero marino) // Diego Rivera // oil on canvas // 1914
Woman in a Blue Veil (la femme au voile bleu) // Pablo Picasso // oil on canvas // Fall 1923
(L) Seated Standard Bearer // Mexico, Aztec, Veracruz, 1250-1521 // sandstone, laminated (R) Frida’s Friend (El Amigo de Frida) // Diego Rivera // oil on canvas // 1931
Reversing Service (Oreo) // Kendell Carter // 2017 // cast latex // 38.1 x 28.1 x 5.1 cm
Cranes for Solange // Kendell Carter // 2017 // denim jeans, lightbox, ephemera, locks, brackets
Effigy for a New Normalcy VI (Accepting Greatness) // Kendell Carter // 2017 // gold-plated sneakers
From left to right (1) Waves for My People // Kendell Carter // 2017 // cast latex & aerosol float mounted in frame // 71.8 x 57.8 x 5.1 (2) Thai Waves in Scandinavia // Kendell Carter // 2017 // cast latex & aerosol float mounted in frame // 101 x 85.1 x 5.1 (3) Waves for Breakfast // Kendell Carter // 2017 // cast latex & aerosol float mounted in frame // 118.8 x 95.9 x 5.1 cm (4) Waves on Beverly // Kendell Carter // 2017 // cast latex & aerosol float mounted in fame // 129.5 x 88.9 x 5.1 cm (5) Dirty Waves // Kendell Carter // 2017 // cast latex & aerosol float mounted in frame // 137.2 x 121.9 x 5.1 cm (6) Waves for Amit // Kendell Carter // 2017 // cast latex & aerosol float mounted in frame // 153.7 x 125.1 x 5.1 cm (7) Waves for McQueen // Kendell Carter // cast latex & aerosol float mounted in frame // 203.2 x 143.5 x 5.1 cm