LOS ANGELES — Ithaca at Luna Anaïs Gallery, the first solo show by Amanda Maciel Antunes, is based on The Odyssey, the epic poem of wayfaring and the search for home. Talismanic and homespun, the work deals in myth-making, the ancient stories told and retold.
And in the same way that a story shifts with each retelling, many of the mixed media pieces reveal palimpsestuous layers: forms eclipsed and reworked but bearing traces of what came before. In several works using found faux leather, the slit fabric curls from the canvas like a torn sail, or sliced hide, to disclose a soft underside of pink. Another series, Songs of a Poet, exposes sediments of poetic text, an arrangement of erasures, and overlays on handmade paper. Many of the pieces’ titles — “I’m Ready to Talk,” “Speaking in Tongues,” “I Have to Tell You This” — suggest the importance of narrative in bridging the distance between here and there, past and present, the voyage and the destination.
The centerpiece of the show is a horned figure, packed with cotton, crouched on a crude raft made of palm tree branches and twine. The creature wears a robe embellished with Antunes’s poetry, each line stitched at the summit of Mount Wilson, which she would ceremonially climb each day during quarantine from her home in Sierra Madre.
With these scavenged materials — the branches and bits of gnarled cotton — Antunes, who is originally from Brazil, constructs a motherland. Such found materials are, after all, the wanderer’s tools: the scraps of place we find to create for ourselves a home, however temporary. Her repeated use of safety pins and thread — we always see the seams of things, how the objects have been painstakingly fastened together — only accentuates the fragility of home in a world in flux.
Amanda Maciel Antunes: Ithaca continues at Luna Anaïs Gallery (1989 Blake Avenue, Elysian Valley, Los Angeles) through October 28.
Lewis’s tattered canvases and pasted over drawings mirror a world in need of constant upkeep and repair.
Seeing the Toronto Biennial of Art through my daughter’s eyes helped me push past some of its challenges by experiencing it on a primordial level.
Who says tragedy has to be tragic? Co-presented with National Black Theatre, this fresh, Pulitzer-winning take on a classic centers Black joy and liberation.
With its titular blend of Western culture and Asian ethnicity, Tyrus Wong’s “Chinese Jesus” painting embodies Asian American identity.
Prehistoric Planet is visually ambitious, but the docuseries often fails to contextualize those visuals for the curious viewer.
For the triennial’s eighth edition, work by more than 70 artists is featured in 12 exhibitions and a polyphonic program, installed at various locations throughout the German city.
Imelda Marcos and her husband were accused of plundering billions of dollars from the country.
Probably not, but it sure looks like one.
This exhibition explores the work and short-but-impactful life of the groundbreaking ceramic artist. Now on view at the New Orleans Museum of Art.
I won’t bother you with talk about how obscenely decadent and out of touch the Frieze art fair is. And yet…
Curators Tahnee Ahtone, La Tanya S. Autry, Frederica Simmons, Dan Cameron, and Jeremy Dennis offered the public a window into their curatorial processes through the work they produced during their fellowships.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Jeremy Dennis presents an exhibition to offer insight into his curatorial process.