When Gwen Samuels created a realistic sculpture of a ram’s head, she was very excited. According to the artist, the result was “an excellent copy.” Proudly, she showed it to a good friend who unenthusiastically said, “Well, if that’s the way you want to go…” Luckily, this friend knew Gwen very well and understood what made her unique. Gwen went back to work. She cut the sculpture, added a few details, now her ram had its own personality. “It had this amazing neck piece. The horns were going in crazy directions. That’s ME! No one can copy that.”
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A new gallery has just opened its doors on Miracle Mile sharing the courtyard with Praz-Delavallade and 1301 PE Projects and Editions. Los Angeles outpost of Galerie Photo 12, Paris officially opened on December 1 with a solo show of Kacper Kowalski introducing the Polish aerial photographer to the West Coast audience.
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Artist Jwan Yosef is cool, calm and collected. With serious countenance, he jokes often. Through his work, Yosef has been trying to answer his own questions–identity, politics, religion, sexuality and sense of belonging are the topics he addresses. The concept of duality presents itself frequently in Yosef’s work and the origin of it stems from his personal history, filled with many opposites that produced so much unity. Only a person who questions his feelings about and understanding of his environment and his place in it, can eventually arrive at certainty about feeling uncertain and find confidence in spite of the inner ambivalence.
A walk through the exhibition rooms at Praz-Delavallade in Los Angeles reveals a number of paintings, sculptures and objects that ambiguously fall in either of the two categories. If this is your first time seeing the work of Jwan Yosef, questions, one after another, will certainly pop up in your head. You may or may not think of the answers, but you most likely will not stay emotionally indifferent.
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As you walk into Joseph Gross Gallery in Los Angeles, you come to face a large sculptural tapestry that immediately transports you from Chinatown to the Middle East or the Ancient Greece or Rome. The hanging white cotton rag looks like a facade of a marble mausoleum. It gives a sense of solidity, grandiosity, and at the same time of beauty, delicacy, and serenity. The protruding middle part looks like a mashrabiya, known in English as a “harem window,” a characteristic architectural element of Arab residencies, famous for the latticework decorating its wooden window panels. Evoking this images, the middle part of the artwork has several cut-out vertical rectangles that look like windows. The ‘walls’ surrounding them display intricate patterns of crossing lines and smaller diamond-shaped cutouts that form a grid allowing the light to pass through and create shadows on the gallery wall behind the hanging sculpture. Shadow adds to the visual perception of the work creating the depth and adding another layer of hidden patterns.
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A digital sculptor and 3D animator, Swedish artist David Aberg spent almost a decade honing his craft: staying up-to-date on the constantly evolving technology and learning the outlines of the human body to be able to digitally render corporal parts with anatomical precision. “I am a sculptor who creates sculptures that don’t exist in real life. Technology allows me to create these artworks in exceptional detail, to make them look entirely believable in virtual media.”
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Anna Shukeylo’s artistic career started at four and a half, when she aced the admissions test to Saint Petersburg’s art school and entered a rigorous art training in addition to her regular school curriculum. It was prophetic that her family lived on Xudozhnikov Prospect; translated from Russian, it is a Street of Painters. When Anna was around ten, her family relocated to the U.S. She continued studying art throughout school and ended up going to the Pennsylvania Academy of the Fine Arts. A few months after graduating with BFA/Certificate in Painting, she moved to New York, where she received her MFA in Painting from Pratt Institute in 2014. Today, Anna has her studio in the city and lectures full-time as a Fine Arts professor at Kean University.
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More then two thousand years ago, Plato compared society to life-time prisoners in a cave, where the reality they see and deem to be the only truth is a mere reflection of the world outside. According to Plato, people should not be taking sensory knowledge of reality (which comes from what we see and hear in the world) for reality itself and only philosophers are able to see beyond our perception and comprehend alternative possibilities. Artists, however, have that capability as well.
Continue reading “Carlos Luna James: artist, philosopher and Galactic wizard”