Collaborative exhibition by Casey Reas and Jan St. Werner on view at bitforms gallery
Casey Reas and Jan St. Werner, Untitled 2 (Kiss me.), 2020. Video (color, sound, screen or projector, speakers, media player. Dimensions variable, landscape orientation, 4 min 19 sec, loop. Edition of 3, 1 AP. Courtesy bitforms gallery, New York.
NEW YORK, NY
.-bitforms gallery introduces Alchemical, a collaborative exhibition by Casey Reas and Jan St. Werner. Alchemical presents the artists suite of videos alongside a selection of prints by Casey Reas. The online component of this exhibition is presented in collaboration with New Art City.
Untitled Film Stills are a series of prints that trace Reas exploration of generative adversarial networks (GAN) as image-making instruments. This empirical procedure more closely resembles alchemy than the artists usual practice of software art. Reas and technical lead Hye Min Cho trained GANs with specific films selected for their visual and emotion
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Caribbean Roots Artist Collaborates with Rihanna To Interpret Beauty
News Americas Now introduces us to Lorna Simpson, the “Caribbean roots artist [who] has teamed up with the Caribbean’s biggest superstar to interpret modern-day beauty.” [See our previous post Lorna Simpson Shoots Rihanna.]
Brooklyn-born Lorna Simpson, whose father is Jamaican-Cuban, collaborated with Rihanna for ESSENCE’s January/February 2021 issue.
The magazine commissioned the esteemed Lorna Simpson to interpret modern-day beauty in collaboration with Rihanna and the result is a series of original photographic collages for the cover and 12-page portfolio entitled, “Of Earth & Sky.”
Simpson grew up in Crown Heights in Brooklyn, New York and attended the High School of Art and Design. She later attended the School of Visual Arts in New York City where she received a Bachelor of Fine Arts in Painting in 1982 and her Master of Fine Arts degree in visual arts, from the University of
Remarkable creativity of painter Doug Argue brought vividly to life in new book
Its wonderful to be reminded of the 35 year trajectory of Doug Argues work. Its a gorgeous book- great images, beautifully printed. Adam Weinberg, Alice Pratt Brown Director, Whitney Museum of American Art
NEW YORK, NY
.- The remarkable creativity of protean American painter Doug Argue is brought vividly to life in Doug Argue: Letters to the Future. Words and images explore, explain and contextualize Argues trajectory from art-school rebel to celebrated, much-exhibited artist on a global stage.
With a colossal curiosity and tireless dedication to his solitary studio practice, Argue stands as a thinker-painter admired by a growing circle of curators and collectors. His work has been shown in museums and galleries from New York (where three large paintings are on permanent view at One World Trade Center) to Sydney and from Vienna to Venice. His often giant canvases shed virtuosic light
“[Collaborating] with Rihanna and
Essence magazine is quite incredible…as an artist, I’m able to deliver these unusual images of someone who is so well-known and so recognizable… It’s an amazing opportunity.”
Essencedescribes the collaboration as, “a series of original photographic collages for the cover and 12-page portfolio entitled, ‘Of Earth & Sky.’ The magazine also referred to Rihanna as, “the blazing sun we needed on many a dark day last year.”
Last year, the singer launched her skincare line, Fenty Skin, with a campaign featuring
Lil Nas X,
Reviews - January 14, 2021
In 2016, on the occasion of an exhibition of the photographs of Louis Draper at Steven Kasher Gallery, Hyperallergic critic John Yau asked, “Does the Museum of Modern Art Even Know about This Great Photographer?” Apparently, they didn’t. Although Draper, who had died in 2002, was a prominent Black photographer and one-time president of the Kamoinge Workshop, there was little evidence that New York’s august Museum of Modern Art (MoMA) had paid much attention. MoMA’s communications director tersely informed Yau that the museum did, indeed, own photographs by Draper and other members of the Kamoinge Workshop. But they had been consigned to what was unceremoniously called the “study collection” work deemed “not appropriate for acquisition to the Collection.”