"Watercolor does not have to be an all-day event in fact you can finish a painting in 30 minutes or less. During workshops and extended teaching sessions my goal is to provide some practical information on tone, color, pattern, light, and more, so you can further develop your skills. For the beginning painters this will help in your ability to develop your artist eye”.
Visit the Website: www.dwightrose.com
This videographer hijacks mundane objects with the help of the moving picture. Answering to an urge to inject a bit of craziness and magic in our everyday lives, he poetically transforms our environment. Such The Strange Elevator, where one might all of a sudden come across a zebra or a chicken, The aquarium car or Kissing Lamps where the local residents greet the passers-by with kisses.
Stéphane Masson is also the creator of the SuperBox ( Using Holographic solutions ) , Supercube or the Vidéo Gun.
His projects are very successful and we can find them again in many festivals either in France or abroad ( Fête des lumières de Lyon, Singapour Art Muséum, Staro Riga , Lausanne lumières, Lanternes de Zigong, Llum Barcelone, Durham, Dubaï, ... )
Visit the Website: http://stephanemasson.fr
Montxo Oiarbide, is the creative mind behind the company that bears his name and founded in the 90's. His nonconformity with established, mixed with a serene elegance of his know-how, makes the distinction. This is why Montxo Oiarbide S.L. creates trend and is positioned internationally in the top of the distribution companies of pictorial art and limited editions, for the most exclusive studies of architecture, interior design and luxury decorations store
Visit the Website: www.montxooiarbidecuadros.com
Alex Da Corte was born in Camden, New Jersey, in 1980. He received a Bachelor of Fine Arts from the University of the Arts, Philadelphia, and a Master of Fine Arts from the Yale University School of Art.
His first survey exhibition Free Roses was held at MASS MoCA, North Adams in 2016. Other recent solo exhibitions include Slow Graffiti, Secession Building, Vienna, Austria; A Man Full Of Trouble at Maccarone Gallery, New York; 50 Wigs at the Herning Museum of Contemporary Art, Herning, Denmark; A Season in He’ll at Art + Practice, Hammer Museum, Los Angeles (2016); Die Hexe at Luxembourg & Dayan Gallery, New York; Devil Town at Gio Marconi, Milan; Le Miroir Vivant at The Museum Boijmans van Beuningen, Rotterdam, Netherlands (2015); Easternsports at the Institute of Contemporary Art, Philadelphia (2014, together with Jayson Musson).
Da Corte’s work was also included in the group exhibition Dreamlands: Immersive Cinema and Art, 1905–2016 at the Whitney Museum of American Art, New York. Past group exhibitions include the Louisiana Museum of Modern Art, Humlebæk, Denmark; the 13th Biennale de Lyon, Lyon, France among many others. In 2012, Da Corte was awarded a Pew Fellowship in the Arts from the Pew Center for Arts & Heritage.
Visit the Website: http://alexdacorte.com
Nari Ward was born in 1963 in St. Andrews, Jamaica and he currently lives and works in New York. Ward's dramatic sculptural installations are composed of systematically collected material from his urban neighborhood. By revealing the numerous emotions inherent within found everyday objects, Ward's works examine issues surrounding race, poverty, and consumer culture.
Ward was included in the 2006 Whitney Biennial in New York and Documenta XI in Kassel (2003), and his works have been exhibited at the New Museum of Contemporary Art in New York, the Walker Art Center in Minneapolis, and the Museum of Contemporary Art in Detroit. Recent solo exhibitions include Episodes at the Isabella Stewart Gardner Museum in Boston, The Refinery X: A small twist of fate at the Palazzo delle Papesse-Centro Arte Contemporanea in Siena, Italy, and Rites of Way at the Walker Art Center in Minneapolis. Ward received commissions from the United Nations and the World Health Organization, and Awards from the American Academy of Arts and Letters, the National Endowment for the Arts, New York Foundation for the Arts, John Simon Guggenheim Foundation, and the Pollock Krasner Foundation.
Visit the Website: www.nariwardstudio.com
LaToya Ruby Frazier (b. 1982, Braddock, Pennsylvania) received her BFA in applied media arts from Edinboro University of Pennsylvania (2004) and her MFA in art photography from Syracuse University (2007). She also studied under the Whitney Museum of American Art Independent Study Program (2010–2011) and was the Guna S. Mundheim Fellow for visual arts at the American Academy in Berlin (2013–2014).
Frazier works in photography, video and performance to build visual archives that address industrialism, rustbelt revitalization, environmental justice, healthcare inequity, family and communal history. In 2015 her first book The Notion of Family (Aperture 2014) received the International Center for Photography Infinity Award.
Frazier is currently an Associate Professor of Photography at the School of the Art Institute of Chicago. She has previously held academic and curatorial positions at Yale University School of Art, Rutgers University, and Syracuse University. Frazier lectures prolifically at academic and cultural institutions such as International Center of Photography, NY; Columbia University School of the Arts, NY; Parsons, New School, NY; Pratt Institute, NY; Cooper Union, NY; Tisch School of Arts, New York University; School of Visual Arts, NY; Freie Universitat Berlin, Dahlem Humanities Center and Hamburger Bahnhof; and Tate Modern, London among others.
Frazier’s work is exhibited widely in the U.S. and internationally, with notable solo exhibitions at Brooklyn Museum; Seattle Art Museum; Institute of Contemporary Art, Boston; and Contemporary Arts Museum Houston. Her work has also been featured in the following group shows: The Generational Triennial: Younger Than Jesus (2009), New Museum, NY; Greater New York (2010), MoMA PS1, NY; Commercial Break, Garage Projects (2011), 54th Venice Biennale; Gertrude’s/LOT (2011), Andy Warhol Museum, Pittsburgh; Empire State (2013), Palazzo delle Esposizinoi, Rome; and The Way Of The Shovel: Art as Archaeology (2013), Museum of Contemporary Art, Chicago among many others.
Her work has been exhibited in the following biennials: the Whitney Museum of American Art Biennial (2012), NY; Recycling Memory: Recapturing the Lost City (2014), 11th Nicaraguan Visual Arts Biennial, Managua; Mom, am, I barbarian? (2013),13th Istanbul Biennial; and Busan Biennale (2014), South Korea.
Frazier is the recipient of many honors and awards including an Honorary Doctorate of Fine Arts from Pratt Institute (2017); fellowships from the John D. and Catherine T. MacArthur Foundation’s MacArthur Fellows Program (2015), TED Fellows (2015), and the John Simon Guggenheim Memorial Foundation (2014); the Gwendolyn Knight & Jacob Lawrence Prize from the Seattle Art Museum (2013), the Theo Westenberger Award of the Creative Capital Foundation (2012), the Louis Comfort Tiffany Foundation Award (2011), and Art Matters (2010). In 2015, the Allegheny County Council (Pennsylvania, USA) awarded Frazier a Proclamation thanking her for “examining race, class, gender and citizenship in our society and inspiring a vision for the future that offers inclusion, equity and justice to all.”
Her work can be found in public and private art collections such as Museum of Modern Art; Brooklyn Museum; Seattle Art Museum; Carnegie Museum, Pittsburgh; Centre National Des Arts Plastiques, France; JP Morgan Chase Collection, Library of Congress, Washington, DC; Museum of Contemporary Art, Chicago; Museum of Contemporary Photography, Columbia College, Chicago; Nasher Museum at Duke University, Durham, N.C.; Spelman College Museum of Fine Art, Atlanta; Whitney Museum of American Art, New York; Zabludowicz Collection, London, and Pomeranz Collection, Vienna among others.
Curriculum vitae available upon request. Download the above bio as a PDF.
Visit the Website: www.latoyarubyfrazier.com
On March 7, 2014 Lauren Bon was issued a Water Right Permit from the California State Water Resources Control Board. This is a linchpin permit for the realization of Bending the River Back Into the City, made possible by securing over sixty interconnected permits from over twenty federal, state, and city agencies. The Water Right Permit enables Metabolic Studio to draw out a fixed percentage of water from the LA River from a specific location for cleaning and distribution to named state and city parks, and, in so doing, activates and transforms a water right into a water responsibility.
Visit the Website: www.metabolicstudio.org
I make work that explores the colonization of the mind and body through media and cultural production, engaging their relationship to capital accumulation. I am interested in how this process decentres ties to essentialisms and how this can be both a potential and a loss.
Born to a Nigerian father and an English mother in Alabama, U.S.A., and brought up in a suburb of London in the U.K., Danielle’s work draws from this multi-national background in her interdisciplinary practice.
Her work explores the colonialism of mind and body—the interpellation of thoughts, feelings and social relations by power structures working through news, advertising, political speech, and digital media. She focuses on the processes of construction of race, gender, age and class that are generated through target-marketing practices, commodifying subjectivities. She is interested in subverting such processes, to both understand and shift them toward a non-essentialized space of being, blurring fiction and reality.
Danielle studied Fine Art at Central St Martins in London and received her MFA from California Institute of the Arts. She has been a Whitney Independent Study Program Fellow in New York City and a participant at the Skowhegan School of Painting and Sculpture in Maine.
Solo exhibitions include Hexafluorosilicic and PTL (Part Time Lover) at Commonwealth and Council, Los Angeles; and Confessions on a Dance Floor, The Bindery Projects, Minnesota. Group shows include Made in L.A. 2014, The Hammer Museum; Demolition Woman, Guggenheim Gallery at Chapman University, Orange County; and Auto Italia South East, London.
She has received grants from the Foundation for Contemporary Arts, Rema Hort Foundation, and most recently a Visual Art Award from Creative Capital, 2015.
Dean is currently working on a multi-channel video that takes Nike’s True Red, the Vampire Sneaker, as the protagonist of a vampire film shot in Alief, South West Houston. She is currently an artist in residence on The Core program at The Museum of Fine Arts, Houston.
Visit the Website: http://danielledean.info
Edwin's Gallery - one of the most active and the longest-running private art galleries in Indonesia.
Edwin's Gallery was founded and established in 1984 by Edwin Rahardjo. On 2009 the gallery celebrates its 25th anniversary. Up to October 2009, there have been 150 exhibitions hosted by the gallery, covering the media of paintings, prints, sculptures, objects, new media arts, as well as tapestries of more than 200 artists of various generations. Among the significant modernists exhibited were S. Sudjojono, Mochtar Apin, Affandi, Srihadi Soedarsono, Djoko Pekik, Sunaryo, Donald Friend, Rudolf Bonet, and Le Mayeur, just to mention a few.
However, since the early 1990s, the gallery's focus has been to promote young, contemporary and emerging artists. Hence, artists like Heri Dono, Nyoman Masriadi, Sigit Santoso, Entang Wiharso, and even the younger ones such as Ayu Arista Murti, Ay Tjoe Christine, Bunga J, have shared their histories with the gallery.
As early as 1989, the gallery had pioneered the production of exhibitions that are seriously curated, involving distinguished independent curators and art critics, namely Sanento Yuliman, Jim Supangkat, and Suwarno Wisetrotomo even though that was not yet a common practise in Indonesian art scene then. Younger curators and art critics such as Farah Wardhani, Agung Hujatnikajennong, Enin Supriyanto, Aminudin TH Siregar and Rifky Effendy have also regularly worked on the various gallery projects. Strong curatorial tradition is important for the production of quality exhibitions. By doing so, Edwin wishes that he would be able to continually give essential contribution to the Indonesian contemporary art discourse.
Visit the Website: www.edwinsgallery.com
The photographer Letizia Battaglia is a living legend. For the past four decades, she has chronicled the crimes of the Mafia with fearless commitment, refusing to bow in the face of death threats, personal losses and her own advancing years.
Born in Palermo in 1935, Battaglia did not pick up a camera until she was 34 years old. By then, she was in Milan, a mother of three, and struggling to make a living as a journalist. Discovering that supplying images with her copy boosted her wages, she applied herself to the craft. Although her signature images of murder scenes earn her regular comparison with the American photographer Weegee, it is telling that she names Diane Arbus – who revealed our own shadow selves in her freakish subjects – as her greatest inspiration.
In 1974, Battaglia was called back to her home town by L’Ora, an anti-Mafia newspaper. For the best part of the next two decades, she would document Italy’s anni di piombo (years of lead), when the Mafia, spearheaded by the ruthless Corleonesi family, embarked on a killing spree that encompassed policemen, politicians and Giovanni Falcone and Paolo Borsellino, two anti-Mafia judges who were among Battaglia’s closest friends.
The result is a chronicle of corpses that have seared themselves on to the collective Italian imagination. The anti-Mafia judge Cesare Terranova slumped in his car surrounded by a sea of crushed glass; the Palermo prostitute gunned down in her sitting-room; Battaglia’s shot of Giulio Andreotti, the country’s most ambiguous statesman, meeting the Mafioso Nino Salvo, which was used as prosecution evidence in the ultimately unsuccessful trial against the former prime minister.
In the past decade, as documentary photography clears itself a widening space in the art world, Battaglia has been feted by institutions such as Palazzo Grassi, François Pinault’s museum of contemporary art in Venice, and the Istanbul Biennial. Only someone steeped in that country’s bittersweet stew of classicism and corruption would have had the acuity to open this show with a 30-strong sequence of 30cm x 19cm prints that include Battaglia’s deathly mise-en-scènes but also embrace portraits and images of Sicilian life. Deprived of titles and dates, with several no more than details from larger images, they form a gripping yet lyrical exposé of the seductive, infuriating conundrum that is Italy itself.
In the handsome couple posing self-consciously under vintage photographs of one or the other’s ancestors, we see the bourgeois yearning for bella figura at all costs. There is the whisper of Petrarch but also Pasolini in the ragazza sprawled in long grass in front of a crumbling temple. A just-bereaved mother reeling back with misery into a hemisphere of policemen is a bitter, contemporary twist on the Pietà.
Yet there is nothing mannered about Battaglia’s work. In the main galleries – where the prints are bigger and labelled – we see how, time and again, she and her Leica succeed in freeze-framing death with a grainy realism that is rightly raw and unromantic yet never less than dignified. At the moment of their passing – Terranova’s neck sagging against his blood-soaked collar, the prostitute folded gracefully over the arm of her chair – the intense humanity of Battaglia’s subjects demands that we rise up in fury at the injustice of their fate.
That empathy is what lifts her reportage into art. Alone on a sofa, the face of a woman whose son has just died is captured as it folds into what will clearly be an eternity of grief. An exhausted young mother, stoicism in every sinew of her drawn yet handsome features, hugs a baby with a bandaged hand while two naked toddlers scamper at her feet. Leonardo’s “Virgin of the Rocks” might spring to mind but the caption tells a very different story: this is a woman who was too tired to get up as her baby cried in the night and woke to find its finger bitten off by a rat.
It would be easy to judge but Battaglia doesn’t. Having deliberately made her home in the poorest district of the Sicilian capital, she knows the daily battles her neighbours face. Indeed, she has no illusions about her city’s chiaroscuro heart. A crucible of magnificence and decay – both human and artistic – Palermo’s violent present tense maps the bloody glories of its Spanish Baroque past. It is somewhere that it is always the best and worst of times.
Among the many Italian masters who might claim her as their heir, it is Caravaggio who makes the strongest case. Like Battaglia, the 17th-century painter was a magician of light and shade. He too sought out the dead and impoverished as models. (Battaglia’s corpses, encircled so often by operatic crowds of mourners, paparazzi and policeman, recall Caravaggio’s painting of the Virgin on her deathbed surrounded by a chorus of stricken followers. And her image of two filthy, naked feet, captured as their owner kneels on stone steps, picks up one of his favourite motifs.)
But most of all, what yokes this pair together is that they meet suffering with honesty, compassion and pride in their respective arts. Caravaggio, of course, believed that death would bring redemption. Curiously, the photographs of Battaglia, who is an atheist, leave one similarly hopeful.
By Ronlangart Gallery
Ronlangart (Metis-nl) was the first gallery of contemporary art to invite Letizia Battaglia in 2002 to make a show in the gallery. The gallery made more shows and showed het work at several Art Fairs in Europe. RonLangArt, founded in 2014, represents established and emerging Dutch and International artists. The gallery reflects the diversity of contemporary art practice, from new developments in painting, to drawing, sculpture, photography, video and installation.
Visit the Website: http://www.ronlangart.com