The Cardboard Sculptures of Artist Warren King Are an Homage to His Chinese Heritage

Detail of “Xuanzang.” Photo by Jón Prospero. All images © Warren King, shared with permission

Artist Warren King (previously) finds much of his inspiration by wandering through Chinatown in New York City, where he encounters “street musicians, chess players in Columbus Park, vegetable sellers, knockoff handbag vendors on Canal Street, lion dancers during Chinese New Year celebrations,” he tells Colossal. “I’ve been fascinated during my weekly grocery shopping trips by the vibrant, diverse community there, which is so different from the relatively homogenous suburbs where I grew up.”

These passersby become the initial inspiration for the artist’s figurative cardboard sculptures, which consider his Chinese heritage, his parent’s immigration, and what it means to hold a diasporic identity. Ribbed with subtle corrugation and coated in dark neutral tones, the works vary in scale, although many are life-sized and large enough to occupy public benches and galleries. Each piece is an homage both to those he observes and to the richness of the Chinese community.

 

Detail of “The Wu Dan Answers the Call.” Photo by Satoshi Kobayashi

In addition to his ongoing Chinatown series, King’s recent works also include a few pieces of more personal relevance, including “Xuanzang.” The stoic character is based on the 7th Century monk by the same name who trekked 10,000 miles into India to recover Buddhist texts and inspired the classic novel, Journey to the West. “I used to be an avid backpacker and made a few life-defining treks myself,” the artist shares. “And I’m a book nerd too, so Xuanzang is naturally kind of an idol for me.”

The elaborately armored piece titled “The Wu Dan Answers the Call” similarly contextualizes King’s background within a broader history. “I wanted to tell the story of my feisty grandmother, who as a young woman tried to enlist in the bloody fight against the Japanese. But the piece is a mashup of a character from Chinese opera and Donatello’s famous sculpture of David, which reflects the two lenses through which I view the story,” he says.

King is currently working on an installation centered on the idea of preserving narratives and family legacies. That work is slated for February 2023 at Pearl River Mart in Soho, and you can follow its progress on Instagram.

 

“Xuanzang.” Photo by Jón Prospero

Detail of “Xuanzang.” Photo by Jón Prospero

“Lion Dancer” (2020). Photo by Jón Prospero

“The Wu Dan Answers the Call.” Photo by Satoshi Kobayashi

“Chess Players” (2020). Photo by Jón Prospero

from Colossal https://ift.tt/vG0ryl2
via IFTTT

Vibrant Botanicals Spring from Cheerful Pups in Hiroki Takeda’s Playful Watercolors

All images © Hiroki Takeda, shared with permission

Sprouting flowers and botanical sprigs, the subjects of Hiroki Takeda’s watercolor works exude the boundless joy and energy we tend to associate with canine companionship. The vividly rendered pieces are part of the Japanese artist’s whimsical body of work that defines the contours of cats, birds, and inanimate objects with delicate plants and other natural elements. Prints and originals of Takeda’s blooming creatures are available from TRiCERA Art, and you can stay up to date with his latest pieces on Instagram.

 

from Colossal https://ift.tt/7KaTtq5
via IFTTT

A New Collection of Works by Collin van der Sluijs Channels a Dreamlike Collision of Emotion

All images © Collin van der Sluijs, courtesy of Vertical Gallery, shared with permission

In one of his most ambitious bodies of work to date, artist Collin van der Sluijs (previously) references two forces being incidentally forced together. “These strange times have caused a collision between me as a person and my work,” he shares, “I want to be free and not a puppet on strings directed by anybody.”

This sentiment pervades the Dutch artist’s latest collection opening this week at both Vertical Gallery and Vertical Project Space in Chicago. Aptly titled Collision, the solo show is broad in medium and subject matter, containing 15 canvas paintings, 12 on panel, and more than 50 works on paper. Similar to his earlier pieces, this collection harnesses van der Sluijs’s signature dreamlike style, whether through depictions of nature’s most ethereal qualities or frenzied mishmashes of brushstrokes and smaller, more realistic elements. The works include emotionally chaotic portraits, serene renderings of singular birds, and dense landscapes in which life and death converge.

Collision runs from July 9 to 30. While in Chicago, van der Sluijs will also create a few murals, which you can follow on Instagram.

 

from Colossal https://ift.tt/ArPgh7H
via IFTTT

Brilliant Phenomena and Galactic Skies Light Up the 2022 Astronomy Photographer of the Year Shortlist

An Icelandic Saga by Carl Gallagher

Whether in the form of nebulae or starry galactic expanses, natural light continues to dominate Royal Museums Greenwich’s Astronomy Photographer of the Year competition (previously). The 14th annual contest garnered more than 3,000 submissions from 67 countries, and a shortlist of finalists contains stunning shots of a September harvest moon illuminating Glastonbury Tor, the brilliant streaks trailing Comet Leonard, and the vibrant Aurora Borealis casting an ominous glow above a battered ship in Westfjords.

Winning photos will be announced on September 15 with an exhibition opening at the National Maritime Museum on September 17. Until then, peruse the full collection on the Royal Museum Greenwich site.

 

Oregon coast by Marcin Zając

Comet C/2021 A1 (Leonard) by Lionel Majzik

Equinox Moon and Glastonbury Tor by Hannah Rochford

Solar Wind Power by Esa Pekka Isomursu

Clouds of Hydrogen Gas by Simon Tang

Rosette Nebula Core Region (NGC2244) by Alpha Zhang

Badwater Milky Way by Abhijit Patil

from Colossal https://ift.tt/dTZojVI
via IFTTT

Invisible Forces Vibrate and Quiver within Elaborately Constructed Fields of Magnets

Elaborately configured grids and systems capitalize on the immense power of neodymium magnets to visualize the invisible. A new collaborative video from Magnet Tricks and Magnetic Games demonstrates how shifting a single element can set an entire design in motion, prompting each component to shake and vibrate in response. A visually mesmerizing example of basic physics, the project is also a study of sound and its manipulable patterns, so make sure you turn your volume up. (via The Kids Should See This)

 

from Colossal https://ift.tt/z0Aj4sg
via IFTTT

‘Modern Women/Modern Vision’ Celebrates the 20th Century’s Most Influential Photographers

Sandy Skoglund (American, b. 1946), “Revenge of the Goldfish” (1981), Cibachrome print. Bank of America Collection. Image © 1981 Sandy Skoglund

One of the more accessible mediums, photography has long been an entry point for those relegated to the periphery of the art world, and a group exhibition on view now at the Denver Art Museum celebrates those who helped develop and define the genre as it grew throughout the 20th Century. Modern Women/Modern Vision features more than 100 shots by some of the era’s most influential photographers—the list includes Berenice Abbott, Dorothea Lange, Diane Arbus, Eva Besnyö, and Imogen Cunningham—showcasing their distinct aesthetics, politics, and styles.

An indication of the medium’s technical evolution as well as the shifting cultural milieu, the exhibition opens with the modernist sensibilities and painterly impulses popular around the turn of the century, evident in works like Abbot’s textured, black-and-white “Court of the First Model Tenement.” The show ventures into the moving, documentary images funded by the Works Progress Administration throughout the Great Depression—some of Lange’s most poignant shots are included—and then touches on the feminist practices of photographers like Flor Garduño, who captured the life of Indigenous populations throughout Mexico. Reflecting the rise find digital, the collection’s closing section incorporates a broader range of techniques and more directly addresses issues of race, class, and gender that continue to dominate conversations today.

Modern Women/Modern Vision is on view through August 28. (via Blind Magazine)

 

Berenice Abbott (American, 1898-1991), “Court of the First Model Tenement, New York City, from Changing New York” (March 16, 1936), gelatin silver print. Bank of America Collection

Esther Bubley (American, 1921-1998), “Greyhound Shop” (1942). Gelatin silver print. Bank of America Collection

Hellen van Meene (Dutch, b. 1972), Untitled (2000), color Chromogenic print. Bank of America Collection. Image © Hellen van Meene, courtesy of the artist and Yancey Richardson Gallery, New York

Helen Levitt (American, 1913–2009), New York, about 1940, gelatin silver print. Bank of America Collection. Image © Film Documents LLC, courtesy of Galerie Thomas Zander, Cologne

Flor Garduño (Mexican, b. 1957), Taita Marcos, Cotacachi, Ecuador (1988), gelatin silver print. Bank of America Collection. Image © Flor Garduño Photography

Karȋna Juárez (Mexican, b. 1987), “Insomnia” (from the series Acciones para recordar), Oaxaca, Mexico (2012), inkjet print. Bank of America Collection. Image © 2021 Karȋna Juárez

Dorothea Lange (American, 1895-1965), “Child and Her Mother,” Wapato, Yakima Valley, Washington (1939), gelatin silver print. Bank of America Collection

from Colossal https://ift.tt/8TwFLKA
via IFTTT

Graceful Women in Shades of Blue by Hanna Lee Joshi Express a Desire for Autonomy

“All That Has Come Before” (2022). All images © Hanna Lee Joshi, shared with permission

With long, elegant fingers and brawny limbs, the women that define Hanna Lee Joshi’s gouache and colored pencil works move through the unknown and indiscernible with strength. The Vancouver-based artist renders anonymous figures in motion, whether dancing together or gracefully gliding through water, on their search for greater autonomy and fulfillment unobscured by political, cultural, and social impositions. In comparison to her earlier series, Joshi’s most recent pieces rely more heavily on shades of blue and use more subtle gradients to contour a leg or elbow.

A reference to self-portraiture and a subversion of traditions surrounding nude figures, each of the works is  “a means of reflection, a way for me to distill down the tangible and intangible experiences of my life,” she says. “In a way, they are an extension of myself, portraits of emotions, explorations of unanswerable questions, a way for me to grasp at the immensity of life.”

Joshi has a solo show slated for December at Thinkspace Projects, and “Delicate Veil of Being” is available as a limited-edition print in her shop. Explore more of her introspective works on Instagram.

 

“Wild and Free” (2022)

“Every Last Drop I”

“Belonging”

“Every Last Drop II”

“Every Last Drop III”

“Delicate Veil of Being”

from Colossal https://ift.tt/A5SbnCy
via IFTTT