The work is part of A Vision in Red, a collection offered at Phillips, London’s 20th Century & Contemporary Art Evening & Day Sales. The auctions will take place on February 13 and 14.
While the material itself consists of forgettable or disposable objects from everyday life, El Anatsui transforms these into remarkable forms embedded with narratives and histories in manifold ways.
In Intimate Immensity at PAFA, touch, materiality, the sensual, and the subversive are part of a feminist lineage.
After Safariland, if you need to convince yourself that the art world isn’t entirely in money’s thrall, you’d want to be anywhere but here.
A new exhibit showcases contemporary takes on the millennia-old art of textile-making, from El Anatsui’s shimmering bottle-cap tapestries to Nevet Yitzhak’s renditions of Afghan war rugs.
These assemblages showcase art’s power and, poignantly its limitations, to effect material transformations.
MARRAKESH — In the vaults adjacent to the city’s Koutoubia Mosque, a video by the Copenhagen-based artists’ group Superflex tells the story of migrants and refugees eager to reach Europe.
MARRAKESH — Set outside the institutional white cube, in restored ancient sites and the ruins of a 16th-century palace, the sixth edition of the Marrakech Biennale, Not New Now, arrives like a breath of fresh air.
COLUMBUS, Ohio — Spanning several media, much of the work in Us Is Them makes social commentary from the perspective of underrepresented populations. Notably, the show features some of the biggest names in contemporary African-American art, bringing the focus on the fraught nature of black existence in the US.
KINDERHOOK, NY — “The School,” Jack Shainman’s splendid gallery in Kinderhook, NY, is about to blow its own roof off.
It hangs in the air like paper, like drapery, like a metal curtain, transparent yet solid, monumental and unreal. The space around it, the gallery walls, and you yourself become secondary to this vast and majestic thing. It is red and gold and black and shines as the light ripples across its surface. Woven like a tapestry and tiled like a mosaic, it appears almost medieval, but you know it is contemporary and African. Whatever it is, you cannot seem to look away.
Despite being the exhibition catalogue of an exhibition that originated at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Environment and Object: Recent African Art is seen by its’ editors as an independent document.