Nearly Two Dozen Exuberant Works by Ukrainian Folk Artist Maria Prymachenko Go On View in the U.K. For the First Time

“Flowers with birds” (1987). All images © Maria Prymachenko, courtesy of Saatchi Gallery, shared with permission

“Maria was very wise, kind, determined, and open to the world,” says the granddaughter of Ukrainian self-taught artist Maria Prymachenko (1908-1997). “She incorporated her worldview and philosophy into the paintings she created.” Prymachenko’s vibrant and fantastical artworks (previously) combined her inner thoughts with observations of the world around her, depicting symmetrical floral arrangements, wildlife, and everyday scenes. Her focus on the beauty of daily existence takes center stage at Saatchi Gallery in London next month, marking the first time these pieces, which have been carefully preserved by the artist’s family for half a century, have been exhibited in the U.K.

Saatchi partnered with the Prymachenko Family Foundation and the Ukrainian Embassy to organize this special selection of 23 works, many of which were originally intended for a children’s book and often focus on portrayals of the artist or women spinning fiber on a wheel, herding horses, or sitting outside with baby in a buggy. Many are double-sided, like “Beast of Polissia,” which includes a handwritten narrative on the reverse.

Dozens of Prymachenko’s paintings were once held in the Ivankiv Historical and Local History Museum just outside of Kyiv. When Russian forces attacked the village last year, totally destroying the museum, local residents were able to rescue her works from the ensuing fire. The Prymachenko Family Foundation is currently creating a new museum complex on the site of the artist’s house in Bolotnya, the village where she spent her entire life, which will include a residency for contemporary artists. Foundation partner and co-curator Natalia Gnatiuk says, “It will be a place of strength, capable of welcoming guests from around the world after Ukraine’s victory.”

Maria Prymachenko at Saatchi Gallery opens July 13 and runs through August 31.

 

“Beast of Polissia”

Reverse of above: “On October 15, 1935, I started painting near the Lavra. In January, I had a surgery. I learned from the newspaper that I received a First Degree Diploma and a thousand karbovanets. The doctors congratulated me and made three more surgeries. In seven months I had a device made for 703 karbovanets. I learned how to use it, and now I wear it. A new device will be made for 1908 karbovanets. I continue to paint. M.P. Beast of Polissia”

“I herded horses instead of my father. M.P.” (1982)

“Roses to grain growers” (1987)

“I was spinning on the spinning wheel. M.P.” (1982)

Untitled

Untitled

“Flowers in pots” (1982)

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A New Book Celebrates the Exquisite Patterns and Glowing Colors of Glass Maestro Lino Tagliapietra

All images © Lino Tagliapietra, courtesy of Phaidon, shared with permission

Recognized for his elegant, detailed sculptures that coax light and color from the interior of glass, Lino Tagliapietra is one of the most sought-after artists in the medium. Renowned for his technical skill and experimental approach, vibrant patterns float in abstract vessels, suggestive of graceful, viscous motion. Lino Tagliapietra: Sculptor in Glass, a new book published by Phaidon, chronicles the story of the artist, from apprentice to maestro to one of the foremost glassblowers in the world, surveying his extensive career with hundreds of photographs of his captivating, luminous compositions.

Hailing originally from Murano, an island in Venice famous for glassblowing traditions that can be traced back to the 13th century, Tagliapietra was distinguished as a Muranese maestro when he was only 21 years old. A highly sought-after accolade assigned to those who lead the piazza, or the workshop, maestros bear the secrets of the precise chemical compositions and are responsible for the final shaping of pieces.

During his seven-decade career, Tagliapietra developed a signature style, incorporating long, elegant necks and vibrant murrine, or glass canes that are cut into cross-sections to reveal patterns. In 1979, a young Dale Chihuly invited him to visit the Pilchuck School in Seattle to introduce Venetian techniques, which profoundly impacted international practices. While he retired in 2021, Tagliapietra continues to split his time between Venice and Seattle, and you can find his work in numerous galleries and museum collections around the world.

Find your copy of the artist’s monograph on Bookshop, and explore more of his work on his website.

 

   

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Honeycomb Swells Across Ava Roths Embroidered Works Made in Collaboration with Bees

Detail of “Blue and Gold, Ithra,” encaustic, Japanese paper, gold leaf, embroidery floss, glass beads, natural honeycomb, local Ontario maple frame, 17.5 x 17.5 inches. All images © Ava Roth, shared with permission

Artist Ava Roth (previously) continues her lavish honeycomb-laden works made through ongoing interspecies collaboration. Working with bee colonies for the last several years, the Toronto-based artist creates delicate encaustic pieces that emphasize natural processes and the allure of organic aesthetics. Set inside wooden frames augmented by rounded forms evocative of embroidery hoops, the mixed-media compositions begin with Roth’s carefully stitched motifs and beaded embellishments. Once she’s finished her portion, she inserts the works into the hives of her six-legged collaborators to build their waxy forms.

Many of Roth’s most recent pieces involve “bridge combs,” which are segments of the prismatic cells that flow beyond the areas the artist designates. As shown in “Beaded Circles, Indigo,” these constructions add more dimension and visual intrigue to the compositions as they swell and surge above the base. The completed works convey a “tension between control and wildness” that Roth sees as a metaphorical blueprint for the future. She explains:

Emphasizing this tension feels critical because the project is fundamentally about exploring the boundaries of humans’ relationship to the natural environment…I hope these pieces are a visual representation of what that balance could look like, as we set some moderate limits on control and simultaneously allow ourselves to fall in love with a greater degree of wildness.

Roth is represented by Wall Space Gallery in Ottawa and has a few new works available, which you can find on her site and Instagram.

 

“Beaded Circles, Indigo,” encaustic, Japanese paper, embroidery floss, glass beads, natural honeycomb, local Ontario maple frame, 17.5 x 17.5 inches

Detail of “Beaded Circles, Indigo,” encaustic, Japanese paper, embroidery floss, glass beads, natural honeycomb, local Ontario maple frame, 17.5 x 17.5 inches

“Gold Honeycomb Ring with Flowers,” encaustic, Japanese paper, gold leaf, embroidery floss, natural honeycomb, local Ontario maple frame, 17.5 x 17.5 inches

Detail of “Gold Honeycomb Ring with Flowers,” encaustic, Japanese paper, gold leaf, embroidery floss, natural honeycomb, local Ontario maple frame, 17.5 x 17.5 inches

“Beaded Circles, Taupe,” encaustic, Japanese paper, gold leaf, embroidery floss, glass beads, natural honeycomb, local Ontario maple frame, 17.5 x 17.5 inches

Detail of “Beaded Circles, Taupe,” encaustic, Japanese paper, gold leaf, embroidery floss, glass beads, natural honeycomb, local Ontario maple frame, 17.5 x 17.5 inches

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Down Home Celebrates Joy and Togetherness at a Summer Camp for Adults with Intellectual and Developmental Disabilities

A few miles east of Austin, Texas, just outside of the small city of Elgin, a trailblazing initiative has provided an educational experience for adults with intellectual disabilities since 1989. Founded by parents of a daughter with Down’s Syndrome who noticed a lack of resources available to adults with disabilities, Down Home Ranch provides vocational opportunities and a summertime sleep-away camp. Over time, it has become a place of refuge that encourages personal expression and a home away from home for many of its attendees.

Austin-based director and cinematographer Riley Engemoen and photographer Liz Moskowitz captured magical moments and intimate insights into camp residents’ activities, relationships, and emotions in a short documentary, “Down Home.” Through poignant narration and stunning imagery, the filmmakers evoke a distinctly American nostalgia and celebrate how a safe space and togetherness “gives adults with developmental disabilities the opportunity to escape societal barriers and have a good ol’ time dancing, loving, and feeling free.”

See more from Riley Engemoen on Vimeo and his website, and you can see more work by Liz Moskowitz on her website and Instagram.

 

All images © Riley Engemoen and Liz Moskowitz

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Claudia Bueno Transforms the Hermitage Museum Into an Electrifying Interactive Heart

Claudia Bueno, “Metaphors of the Heart” (2023). All photos by Lindsay Collette unless otherwise specified

Claudia Bueno’s new exhibition spills from the façade of the Hermitage Museum & Gardens in Norfolk, Virginia. “Metaphors of the Heart,” a massive sculpture of wire mesh and colorful light, appears to effortlessly take over the mansion in a whirlwind of arteries, tentacles, twisting vines, and blooms. It is the dynamic showpiece of Claudia Bueno: Echoes of the Heart, which guests first encounter as they walk up the driveway of the 1908 estate.

Bueno’s first museum exhibition explores the heart-brain connection to promote togetherness and a sense of belonging. The artist’s commitment to healing and inner growth is reflected in her mystical, immersive environments and in her collaboration with world music healer and musician Poranguí, who helped to create original soundscapes for each space.

 

Claudia Bueno, “The Mother Heart” (2023)

Visitors continue their journey into Bueno’s “heart” by entering “Snake Tunnel,” a covered ramp of glowing sculptural scales that Bueno likens to an artery, where they metaphorically shed and prepare for the transition into the museum’s interior. As viewers step inside, “The Mother Heart” appears with its suspended, undulating arms that colorfully alight in choreography to one of Poranguí’s sonic, ancestral tracks.

Upstairs, guests are invited to participate in an intimate, sacred experience as they explore “The Heart Temple,” a collection of eight handmade altars inspired by interviews with 50 volunteers ranging from ages five to 80. Each altar contains a dreamlike, storybook diorama sparked by these discussions and devoted to themes of opening, closing, longing, belonging, innocence, challenges, seasons, and the somatic.

 

Claudia Bueno, “Pulsating Heart Portal” (detail) (2023). Photo by Adolfo Bueno

In a second gallery, “Pulsating Heart Portal” builds on the artist’s Meow Wolf Omega Mart series with a new portal created for the Hermitage. The piece features 10 layers of intricate line drawings on glass that appear to contract and expand in concert with exhilarating sound and light. Rooted by the heart at its center, the design recalls symbols found throughout the exhibition including blooms, snakes, and arteries.

In the final space, guests are invited to pause for reflection and connect with their own hearts. A letter-writing station invites them to freely compose and add their offering to a “collective heart” on the gallery walls. The result of this unexpected journey is a much-needed pause from the noise of the outside world and a return to our most essential, emotional selves.

Claudia Bueno: Echoes of the Heart runs through October 8 at the Hermitage Museum & Gardens in Norfolk, Virginia, and is free to the public.

Exhibition collaborators include Natalie Connell, Ben Timby, Mads Christensen, Adolfo Bueno, Patricia Bueno, Brittany Mattrella, Celia Lopez, Porangui, Beau Turner, Cristina Fletcher, Jon Brashears, and Tabatha Anger.

For more information, visit thehermitagemuseum.org.

Find more of Bueno’s work on her website and Instagram.

 

Claudia Bueno, “Metaphors of the Heart” (2023)

Claudia Bueno, “The Mother Heart” (2023)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Claudia Bueno Transforms the Hermitage Museum Into an Electrifying, Interactive Heart appeared first on Colossal.

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Overly Grand Manners: Volker Hermes Exaggerates Historical Portraits with Ostentatious Absurdity

“Hidden Pickenoy II” (2023). All images © Volker Hermes, shared with permission

Throughout 17th and 18th centuries, Europe’s upper classes entered an era of unprecedented prosperity due to exploding commerce and trade. The wealthy sought to express their status, and portraiture, which had previously been exclusive to royalty, became the perfect indicator of social rank. In England, these paintings became known as Grand Manner works, and the Dutch school counted well-known names like Rembrandt van Rijn, Johannes Vermeer, and Frans Hals among its cohort, still captivating us today at sellout exhibitions. For German artist Volker Hermes, this era of art history provides an endless source of inspiration.

Digital photocollages (previously) playfully reimagine the original sitters in Hermes’ ongoing Hidden Portraits series. Originally depicted by the likes of Dutch painter Nicolaes Pickenoy or French baroque artist Georges de La Tour, the subjects in Hermes’ iterations are overwhelmed by their own garments to the point of absurdity. Brocade masks cover one Elizabethan subject’s eyes, luxuriant robes extend all the way up to foreheads, and lace ruffs engulf the wearers’ faces.

Hermes is drawn to specific characteristics in the original paintings, such as ribbons, which “bring historical images into motion,” he tells Colossal. “At the moment, I’m dealing a lot with Rococo, which is currently getting a lot of attention, after being considered kitsch for a long time.” Depictions of masculinity throughout history have also emerged as a new theme. “I would like to draw attention once again to antiquated forms of masculinity, which actually seemed to be outdated, but are currently becoming—unfortunately—attractive again for many men,” he says.

Through July 8, you can visit Hermes’ solo exhibition Ruff Hood at James Freeman Gallery in London. He will also have work in the group exhibition Rococo Madness! at the National Museum in Wroclaw, Poland, from July 14 through January 14, 2024. Find more on the artist’s website and Instagram.

 

“Hidden English School” (2023)

“Hidden Catena” (2021)

“Hidden Anonymous (Pourbus IV)” (2021)

“Hidden de la Tour VIII” (2022)

“Hidden Nattier VI” (2023)

“Hidden Anglo-Dutch School” (2023)

“Hidden Pickenoy II” (2023)

“Hidden Singleton Copley VII” (2023)

“Hidden Siriès Cerroti” (2022)

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Page Through a 19th-Century Embossed U.S. Atlas Designed with Touchable Cartography for Blind Students

Maine, Atlas of the United States, Printed for the Use of the Blind (1837). All images via David Rumsey Map Associates

About a decade after French educator Louis Braille invented the eponymous system for blind and sight-impaired readers, the New England Institution for Education of the Blind released its own embossed designs allowing those with low or no vision access to important information. Under the leadership of Samuel Gridley Howe, the school, which is now the Perkins School for the Blind, acquired a printing press in 1835 and began to create a variety of learning materials with raised writing for its students. One of those books was an atlas of the United States, which held touchable cartography within its pages.

Paired with descriptions written in standard Latin script—this proved much more difficult to read than braille and never gained the popularity of its counterpart—the maps contain typical information like longitude and latitude, along with the area’s population, climate, and commerce. Solid lines denote rivers, a singular raised shoreline buttressed by parallel lines represents oceans, and clustered triangles are mountains. Printed in 1837 in an edition of 50, this version of the atlas contains just 24 states. Only four copies are known to remain.

Flip through digital scans of the book at David Rumsey Map Associates. (via Kottke)

 

New Hampshire

Rhode Island

Ohio

Illinois

Pennsylvania

New Jersey

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