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Light, shadow, angles, curves

Copyright © 2021 Albuquerque Journal The images echo a slice of Arctic tundra or a promontory jutting from a mesa. Many photographers take their artistic practice well beyond the studio. For fine art photographer Catherine Roberts Leach, the pandemic instilled a set of restrictions confining her to her Eldorado home. ...................... Her photographer’s eye focused on light and shadow, angles and curves. She noticed how light crept across an exterior wall in her garden and the sky reflected in her birdbath. These subtleties transformed into two series: “Close to Home” and “Light Enchantment,” available online at crleach.com. This minimalist focus on mood and mystery is nothing new to Leach, who moved to Santa Fe from Los Angeles in 2017.

Black Art Chronicles A Pivotal Exhibition And Its Lasting Impact On Black Artists

Central to the new documentary Black Art: In the Absence of Light is a pivotal art exhibition that debuted in 1976. Two Centuries of Black American Art was the first major show by a Black curator to look at the history of art produced by African Americans. Covering the period between 1750 and 1950, it featured 200 works and 63 artists, with painting, sculpture, drawing, graphics, crafts and decorative arts. When it went on display at the Los Angeles County Museum of Art in the fall of 1976, it drew unprecedented crowds for an exhibit of American art. Two Centuries of Black American Art, which was shown at the Los Angeles County Museum of Art in 1976, was pivotal in giving attention to the work of Black artists who had long been sidelined. The exhibit went on to Atlanta, Dallas and Brooklyn in 1977.

Gabriel J Shuldiner: The Poetry of Black — Raphy Sarkissian

Gabriel J. Shuldiner: The Poetry of Black Raphy Sarkissian / / “Can there be a more hypnotic colour than black?” is a question that impulsively arises when we encounter a work by Gabriel J. Shuldiner, who has been unceasingly employing this achromatic colour in his unconventional paintings for the past decade and a half. Indeed, the evocative paintings of Shuldiner can be read as relief sculptures, where surface and space are in arresting dialogue. In many instances, the flatness of the painting’s surface has been entirely disrupted and reformulated through chaotic forms that emphatically protrude and recede. In other instances, the quadrilateral frame has been thoroughly contravened through formlessness. Often, both frame and surface have been rendered shapeless, as if to implode the inadequate lexical term “black” and majestically transcend its semantic value through ever-changing achromatic phenomena revealed upon iridescent, cambered bodies mounted on walls.

Black Art Chronicles A Pivotal Exhibition And Its Lasting Impact On Black Artists – Nation & World News

Black Art Chronicles A Pivotal Exhibition And Its Lasting Impact On Black Artists – Nation & World News
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