Golden Venture Paper Sculptures Tell a Story for Today

Statue of Liberty, 1994, Papier-mâché, cardboard and colored markers, MOCA Collection

Fold: Golden Venture Paper Sculptures at the Museum of Chinese in America tells the story of some of the passengers on board the Golden Venture when it ran aground near Rockaway Beach Queens at 2:00am on June 6, 1993.  I remember the confusion in the initial TV, radio and newspaper reports – how many passengers (often referred to as “aliens” or “illegal aliens”), where they came from (“Asia”, “China”) what happened, why they were on the boat, how many died…   

Perhaps the best place to start your tour is in the smaller gallery across from the main exhibition space in which you’ll find the below sculpture and an eye-opening video edited by David Tan & Ya Yun Teng, that provides context for the exhibit and also ties it into today’s debates around immigration.  Made in 2017, the video features lawyers and residents of York, Pennsylvania, talking about not only their efforts to obtain justice for the Golden Venture passengers who were detained in the York County prison, but also about the actions taken over the last 20-odd years to restrict immigration to the U.S.   

Statue of Liberty atop the U.S. Capitol dome within Chinese city walls, 1994

In many ways, the story of the Golden Venture begins in 1989/90, when President George H. W. Bush, angry about the 1989 massacre at Tiananmen Square, issued directives and an Executive Order, which had the net effect of allowing Chinese nationals – even those here illegally – to stay in the US while their applications for permanent residency wended their way through the system. However, that opened the floodgates for smugglers (a/k/a snakeheads). 

Freestanding eagle looking straight ahead, 1994, Folded paper, papier-mâché, glue and colored marker, MOCA Collection

When the Golden Venture crashed, there were 286 migrants on board, mostly from Fujian Province, who had embarked on a 6-month ocean voyage that took them to Thailand, then to Kenya, then around  the Cape of Good Hope, and on to the U.S. Each passenger (and/or their families) had paid the equivalent of US$5,000 to smugglers, and agreed to work off the balance (US$30,000) mainly by laboring in restaurants and sweatshops. 

The Golden Venture  posed a problem for the U.S.: ten passengers died when they jumped off the ship in the Rockaways and tried to swim to shore.   There was a lot of media attention, and it gave the impression that the authorities did not have things under control.  The World Trade Center had been bombed a few months earlier. Anti-immigrant sentiment was starting to grow, and in the previous two years, a number of ships with passengers smuggled in from China had been apprehended in US waters.

Previously, foreigners in the US illegally were not imprisoned – they were required to report to US Immigration periodically, but were effectively at liberty until their cases were adjudicated.  In order to deter other smugglers, the Clinton administration took a hard line, detaining the Golden Venture passengers in various prisons across the country.  Speedy deportation hearings were held; about half the passengers were returned to China, and another 50 were sent to other countries.  A group of men were held in the York County Prison in Pennsylvania, where most of them stayed for 3 years and 8 months. The exhibit is about their experiences, as well as about the art they created.

Golden Venture bird cage, ca. 1994, Rolled paper, papier-mâché, cardboard, glue and colored marker, MOCA Collection

A grass roots group, People of the Golden Vision comprised of residents of York County and pro bono lawyers formed to help the detainees obtain better conditions and asylum; they organized letter writing campaigns, held vigils and fundraisers for over three years, keeping the plight of the detainees before the public.

In 1996, a small group of exceptionally artistically talented detainees were released and given a special visa for “aliens of extraordinary ability.”  In 1996, President Clinton paroled the remaining detainees. Today, 15 former detainees are in the US and still have no clear path to permanent legal residence, even though they work, pay taxes, and even own businesses. 

Large vessel with lid, ca. 1994, folded paper, papier-mâché, glue and colored marker, Courtesy of Jeff and Cindy Lobach

The exhibit features some 40 objects made collectively from papier-mâché (which the detainees fashioned from toilet paper, glue and water)  and from folded and rolled paper (mostly magazines and legal pads).  Over the course of their detention, the detainees made these works as gifts to the people who helped them, or to be sold at fundraisers to pay for their defense.

Many of the sculptures in the exhibit are quite elaborate, and certain images dominate:  eagles, peacocks, boats and bird cages.  Many, such as the pagodas, are also very large.

detail, Pagoda Tower with Eagles and Pineapple, 1994, Rolled, cut and folded paper, papier-mâché, cardboard, blue and colored marker, courtesy of Jeff and Cindy Lobach

While the sculptures are amazing, be sure to watch the videos in this room: one of the male detainees singing Amazing Grace in Chinese and thanking their supporters; another featuring the paper sculptures made by the detainees, who we don’t see (many didn’t want to appear on screen), but we hear them talking about their quest for freedom, the boredom of prison, learning to fold paper, and their yearning for a better life.

Lantern, 1994, Folded paper, thread, plastic beads, glue, colored marker

 

I also encourage you to visit MOCA’s core exhibit With a Single Step: Stories in the Making of America, which details the history of Chinese immigrants in America, beginning in 1784 when the Empress of China left New York City for Canton, to trade tradition Appalachian ginseng, furs, and Mexican silver for Chinese  luxury goods such as porcelains, teas and silks.

Soup Plate, custom-made in China for NYS Governor Dewitt Clinton, ca. 1805, courtesy of the NY Historical Society)

Through photos, paintings and political cartoons, you’ll learn about the Chinese Americans who contributed to the American economy and culture: the anonymous workers who built ships and constructed the railroads; the entertainers who worked on the “Chop Suey Circuit” (Anna May Wong being the most famous); and current icons such as YoYo Ma and Vera Wang.  Renowned Chinese American architect Maya Lin designed the Museum.  There are also, sadly, artifacts detailing the devastating effects of the Chinese Exclusionary Laws, and also the ways in which Chinese Americans were caricatured and discriminated against.

The Museum provides a relevant and much needed lens on the history of immigration in the U.S., reminding us how easy it is for government and citizens to demonize “the other,” and how harsh measures to restrict immigration damage not only the targeted groups, but all of us.

Fold: Golden Venture Paper Sculptures will be at the Museum of Chinese in America (MOCA) until March 25th, 2018.  But get there much sooner. 

MOCA is located at 215 Centre Street. 

Bruno Miguel: Seduction and Reason

Bruno Miguel (1981) trained as a painter in his native Brazil – however, that might not be your first thought walking through his show at Sapar Contemporary.  Not content with the two-dimensional plane, Miguel uses everything except canvas as a platform for his colors.  Rather than painting horizontally, he unpacks the elements of a painting, then stacks them vertically – almost as if he were painting in three dimensions.  Through his mixing of traditional, luxury, quotidian, festive and personal elements, the artist creates an opportunity for new narratives.

Fé (Faith) from series Sala de Jantar (Dining Room), Bruno Miguel, 2014, Oil and colorjet paint on set of 54 porcelain and earthenware plates purchased in antique and solid round plates of enamel paint

As you enter the gallery, your eye will be caught by Fé (Faith) from the series Sala de Jantar (Dining Room) (2013), which takes up the better part of the wall.  As you approach this cross-shaped sculpture, you’ll see that it is made from antique porcelain and earthenware plates.  Look closer, and you’ll see that they’ve all been manipulated by the artist in some way –

detail, Fé (Faith) from series Sala de Jantar (Dining Room), Bruno Miguel, 2014, Oil and colorjet paint on set of 54 porcelain and earthenware plates purchased in antique and solid round plates of enamel paint

sometimes he painted over them, or he painted designs on them, or he put down several layers of paint, covered them with masking tape, and then cut into the tape or reshaped it.

detail, Cafezinho? (Coffee?) (mother), Bruno Miguel, 2014, Polyester resin and pigment on 31 plastic cups that belonged to the artist’s mother

If you look to the left, however, you’ll find two works that take you into the artists’ personal life while simultaneously reflecting on the history of immigration in Brazil.  In the front window is  Cafezinho? (Coffee?) (2014), a collection of 31 small coffee mugs, used by his mother to serve coffee to her guests, especially when she had Tupperware parties.  By filling these cups with brightly colored – indeed Carnival colored – resins, the artist seems to be linking his mother’s identity as an immigrant with his identity as a first-generation Brazilian (his mother was from Mozambique and father from Portugal). 

Todas as cores (All the colors) (father), Bruno Miguel, 2014, Polyester resin and pigment on 3 shot glasses that belonged to the artist’s father

Nearby you’ll find Todas as cores (All Colors) (2014), three  shot glasses which belonged to his father, who was an alcoholic.  By filling them with bright resins, the artist is rewriting his history, without judgement, and linking it to his artistic practice.

49 from the series Essas Pessoas na Sala de Jantar (These People in the Dining Room), Bruno Miguel, 2012-2014, Spray paint, cold porcelain, polyurethane foam, wire, acrylic resin and paper-mâché on porcelain bought at an antique auction

In the rear of the gallery, on the floor, you’ll find Essas Pessoas na Sala de Jantar (Those People In the Dining Room) (2012–2015), a riot of whimsical sculptures of tropical trees and fantastical islands/creatures that might bring to mind  Antoine de Saint-Exupéry’s The Little Prince; when you look closer, you’ll notice that these islands/creatures seem to be simultaneously swallowing and spouting antique porcelain cups and saucers.   For the artist, porcelain reminds him of dinner conversations, and he uses it as a way of inviting dialogue with the viewer.  With these works, Miguel plays these traditional, serious tea sets (which he purchased at auction) against the bright, playful Carnival materials that engulf them, inviting the viewer to consider how history is absorbed and presented.

New Neoconcrete, #8 from the series Totems, Bruno Miguel, 2015, Oil paint and spray on sign with wood

On the lower level you’ll find work in a completely different style: four neo-concrete totems, that were made from actual New York City parking signs (who hasn’t wanted to paint over them?)  This one, New Neoconcrete #8 is dedicated to the Brazilian Neo-Concrete artist Hélio Oiticica.

This is only a small selection of the work you’ll find in Bruno Miguel: Seduction and Reason, which is on only until November 5th.  So get over to  Sapar Contemporary Gallery, 9 North Moore Street in Tribeca soon!

The Visual Arts and World War 1

World War 1 and the Visual Arts, the excellent show at the Metropolitan Museum of Art, commemorates the centenary of the U.S.‘s entry into that conflict.  Consisting of pen & ink drawings, photographs, posters and  lithographs, primarily by European artists – French, British and Russian, the exhibit also contains work by German artists, which I haven’t seen in the other shows on this subject. The 136 objects, drawn mainly from the Met’s collection, highlight how artists were conflicted by the war: some eagerly used their talents to create pro-war propaganda, while others sought to convey the horrors of the conflict through their art.  Several served as war correspondents, medics and even soldiers; some who started out in favor of war came to reverse their positions.

5-1/2% War Loan, Russian, Color Lithograph, the Metropolitan Museum of Art, New York

In the hall leading up to the exhibit there are 10 posters from France, Belgium and Russia, whose bright colors and bold graphics exhort viewers to support the war – in this case, urging them to buy Russian war bonds.

Banking at 4,000 Feet, Christopher Richard Wynne Nevinson, 1917, Lithograph, Purchase, Reba and Dave Williams Gift, 1998

Christopher Richard Wynne (CRW) Nevinson (1889-1946) was appointed an official war artist  by the British government in 1917, after having volunteered briefly in France and then with the Royal Army Medical Corps.  This lithograph is based on an airplane trip he took over the English countryside.  Notice how the artist inserted his own hand, gripping the side of the plane – I’m sure it was a “white knuckle” experience! Nevinson’s work is prominently featured in this show, with ten pieces.

Recruits, John Copley, 1915 Lithograph, Johanna and Leslie Garfield

John Copley (1875-1950) was a prolific British printmaker. This image of recruits lining up to enroll – and standing very straight – illustrates how the war affected all strata of British society.  The wall label informs us that “By fall 1914, so many lives had been lost that the criteria for enlisting was changed:  the minimum height for male volunteers shifted from 5’8” in August 1914 to 5’5” in October and 5’3” by November.” 

In the Somme, Village in Ruins, Pierre Bonnard, 1916, colored chalks and watercolor, private collection

When I saw the above work, I was surprised to discover it was created by  the French artist Pierre Bonnard (1867-1947), as his name always brings to mind interiors.  It turns out that there is only one known war painting by him:  A Village in Ruins near Ham.  This chalk and watercolor was made in preparation for that 1917 work.

The Exodus, Théophile-Alexandre Steinlen, 1915, Lithograph, The Metropolitan Museum of Art, New York

Sadly, The Exodus -1915 by Theophile-Alexandre Steinlen (1859-1923) has an all too familiar feel. Even though it depicts people fleeing Belgium after a German invasion, this image echoes (or should I say, presages) ones on the front pages of today’s newspapers.  Much of Steinlen’s art during the war focused the plight of refugees.

Doomed City, Natalia Goncharova, 1914, Lithograph, Bequest of William S. Lieberman, 2005, © 2017 Artists Rights Society (ARS), New York

Natalia Goncharova (1881-1962) was a Russian avant-garde artist and writer.  She also designed sets for Serge Diaghilev’s Ballets Russes in Paris, where she was living with her future husband Mikhail Larionov, when war broke out.  They returned to Russia for Larionov to do his military service, then went back to Paris in 1917.

Mothers, Käthe Kollowitz, 1919, Lithograph, Harris Brisbane Dick Fund, 1928

I have long admired German artist Käthe Kolowitz (1867-1945) whose work centers on the lives of the working class and women.  The above lithograph is from her series Krieg (War). She appears as the central figure in this work, embracing her two sons; the younger one Peter was killed in combat when he was 18. 

from The War, Otto Dix, 1923-24, Etching, aquatint and drypoint, The Richard Harris Collection

Initially welcoming the start of World War 1, Otto Dix (1891-1969) served as a machine-gun operator in France and Belgium, where he was seriously wounded.  His war experiences turned him into a pacifist, known for his imagery of a corrupt, brutal and decaying post-war German society.  Der Krieg (The War) is a series of 51 prints, based on Dix’ memories of battles, as well as contemporaneous photographs, and is modeled on Goya’s Los Desastres de la Guerra (The disasters of war).

In the section The Intersection of Of Arts and Arms, you’ll find a set of helmets that were designed by Met curator Bashford Dean.  Thirty-three Met staff members served in the armed forces in World War 1 – in the Great Hall is a commemorative plaque for the two who lost their lives.

The Human U.S Shield, Arthur S. Mole and John D. Thomas, 1918, Gelatin silver print, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987

You’ll also find a work by American photographers Arthur S. Mole (1889-1983) and John D. Thomas (died 1947), who were commissioned by the US military to create photographs to lift war-time moral.  Using thousands of soldiers, they made a series of “living photographs” of icons of American history, including  the Statue of Liberty, Woodrow Wilson, and the Liberty Bell.  The U.S. Human Shield, above, was staged at Camp Custer in Michigan, using 30,000 men, and shot from an 80 ft. high viewing tower. 

Study for “The Coming of the Americans,” John Singer Sargent, 1921-22, Watercolor, gouache and graphite on off-white laid paper, Gift of Mrs. Francis Ormond, 1950

John Singer Sargent (1856-1925) is best known as a society painter of the Gilded Age (especially for Madame X), but he also documented the horrors of the first world war (the monumental Gassed of 1918 is probably his best-known work of that era).  This study is for a painting, The Coming of the Americans, commissioned by Harvard University to commemorate alumni who died in the war. There are four other works by him in this show.

This is just a small sampling of the works you’ll find in this thought-provoking exhibit.

World War 1 and the Visual Arts   is on through January 7th at the Met, 1000 Fifth Avenue (83rd Street). Put it on your “to see” list!

Art Takes on the Prison System

This Land is Our Land aka Justice, Tasha Dougé, 2016, Synthetic hair, chicken wire, cotton, thread, 3’ x 5’, NFS. Photo courtesy of Bronx Art Space.

State Property, an exhibit spread across 3 locations in the Bronx, will force you to rethink everything you thought you knew about life behind bars.  While its focus is on prison labor, the show also confronts the issues of mass incarceration and solitary confinement. Many of the artists have work in all three venues, and I encourage you to visit them all.

I started at the Bronx Art Space, whose small but thought-provoking exhibit will make you ask, every time you see a “Made in the U.S.A” label, where exactly the item was made. 

At the entrance you’ll find Tasha Dougé’s This Land is Our Land, aka Justice (photo at the top of this post), a rendering of the American flag in synthetic hair, chicken wire, cotton and thread.  In the accompanying text, Dougé speaks of the contributions made to the American economy over the centuries by people of African descent (especially through the labor of enslaved Africans).  She further points out how today, many people of color are in private prisons and deportation centers, where they  provide cheap labor for US firms.  Even though the incarcerated are learning a trade, they can’t use their skills when they leave jail, because companies don’t want to hire people with felony convictions.  It’s no surprise that we have high rates of recidivism.

installation by Incarcerated Nation

Along one wall is an installation by Incarcerated Nation, featuring a chart listing several American corporations, including Mc Donald’s, Victoria’s Secrets and Starbucks, whose products have been made using  prison labor (sometimes through a subcontractor).  The exhibit informs us that many ex-prisoners are unable to get jobs at the companies whose wares they made when they were in jail, because of their felony convictions.  Also in this installation, you’ll find the outline of a solitary cell on the floor, and a virtual reality headset that lets you experience solitary confinement.

Pushed to Prison, Natalie Collette Wood, 2017, acrylic, spray paint and enamel on canvas

Natalie Collette Wood’s piece, Pushed to Prison, is a visceral commentary on how our schools fail to give kids the tools they need to succeed in life – one of the biggest problems affecting prison populations is the rate of illiteracy.  Besides the visual punch, the fact that the artist is an art teacher in public schools adds to its potency. 

There’s more to see in this exhibit, including Emma Lee’s outta sight, outta mind composition note book, which invites viewers to write their responses to various prompts such as “When is a debt paid to society?”  “Should prisoners have rights?” and “Justice for all.”

Bronx Art Space  is also having screenings and discussions – you can find more information here.  Their exhibit continues until October 21st.  Bronx Art Space is located at 305 East 140th Street in the Bronx.

Swing Space is a raw storefront space on the corner of Grand Concourse and 162nd Street.  The focus of this exhibit is solitary confinement and how it affects both prisoners and their families. 

Jumpsuit (Swing Space)

The most vivid invocation of this theme is the orange prison jumpsuit.  There are three,  one inscribed with the name of Kalief Browder, who spent three years in Riker’s Island – mostly in solitary confinement – without being convicted of a crime.  Accused of  stealing a back pack when he was 16, Browder was sent to jail when his family couldn’t make his $3,000 bail.  After his release, Browder experienced mental health issues, and in 2015, he committed suicide at age 22.

Melt, Five Mualimm-ak, 2009, charcoal

You’ll find three charcoal portraits by Five Mualimm-ak, who served 12 years in prison on a weapons charge, 5 of them in solitary confinement.  He has subsequently become an activist against solitary and mass incarceration.  When you look at the portraits, be sure to read the stories next to them. This one is a portrait of Melt, an immigrant from Fujian Province, China.  Because he had a tattoo, the authorities deemed him a gang member (even though the tattoo said  Love & Peace in Chinese characters), and he was confined to solitary.   

Paradox of Violence #5, Jennie West, oil on canvas

At first glance, you might think Jenny West’s oil painting is one of flowers, but it actually is a rendering of bullet holes.  For West, there’s an intense force that comes from violence, and she tries to capture that transformative energy in her art.

The show also includes two videos.  In the back, off the main area is Duran Jackson’s video Haze a looping a 41-second clip of surveillance footage found on YouTube, showing a corrections officer and an inmate fighting inside a prison. There’s also a video by Solitary Watch, of photos created in response to requests by prisoners in solitary confinement; the images range from seascapes, to animals, to religious images to current views of their old neighborhoods.

The exhibit at Swing Space, 900 Grand Concourse (at 162nd Street), is up until November 20th.

The Andrew Freedman Home  hosts the largest of the three shows, and it has more of a fine art focus.   

Fred Sanford (Redd Foxx)/Freddy Gray urn, Roberto Lugo, ceramic, China paint, lustre

Robert Lugo calls himself a ghetto potter. He was a self-taught artist until his mid-twenties, when he received his BFA from the Kansas City Art Institute; in 2014, he finished the MFA program at Pennsylvania State University. 

He’s created this fabulous ceramic urn, juxtaposing an image of Freddie Gray (who died at the age of 25 in police custody in Baltimore in 2015), with that of Fred Sanford (the TV character played by the late comedian Redd Foxx).

The Completely from Scratch Steer to Sirloin Cookbook, Nava Atlas, 2012, archival inkjet printed on rag paper

Nava Atlas looks at the industrial prison complex through the prism of food.  She has mashed up a 1931 USDA guide to slaughtering steer with a 1969 Better Homes and Gardens meat cookbook, noting that prisoners are making up more of the labor in slaughter houses, and wondering if they are forced to do this kind of work, or if they can refuse. She’s not the only one who wants to know.

Cell Game, Pamela Talese, 2014 mixed media

For Pamela Talese, “a board game seems an appropriate expression for the US System of Corrections”, and so she’s created Cell Game.  In the accompanying statement, she notes that the US has the highest rate of incarceration in the world, and that state and local governments are incurring huge debts to build prisons or to have them run by private entities, with no concurrent benefits to society.   Around the board are squares with facts about prison life and the prison industry.  Like typical board games, Cell Game has cards that tell you how you can move; Cell Game‘s are orange and have instructions like “CCA takes over your prison: reduces food intake by 20%: BACK 2 SPACES” or “The NACCP takes up your case & gives you hope:  AHEAD 4 SPACES.”

Reflections of our (inner) Societies, Alice Mizrachi, 2017, assemblage

I would have liked to know more about this assemblage by Alice Mizrachi, as it is quite different from her usual murals…

There’s much more to see:  The exhibit continues at the Andrew Freedman Home,  which is at 1125 Grand Concourse (165th Street) the Bronx,  until November 20th. 

If you can, see all three exhibits – if not, be sure to see at least one. 

Brazilian Luciana Brito Opens a Gallery in NYC

Last month I attended the opening of Luciana Brito-NY Project  in Tribeca.  Hailing from São Paulo, Brazil, where she’s had her eponymous gallery since 1997, Brito will be collaborating with Espasso Annex, a gallery for vintage Brazilian furniture, where she’ll mount three exhibits over the next twelve months.  It’s great to have a leading Brazilian gallerist bringing her country’s artists to the Big Apple.  Welcome Luciana!

The current show is dedicated to the works of artists associated with the Brazilian Ruptura movement.  Founded in the 1950‘s by Geraldo de Barros, Waldemar Cordeiro, Luiz Sacilotto, Lothar Charoux, Kazmer Féjer, Leopoldo Haar and Anatol Wladyslaw, they sought to move art away from figurative representation to art based on “space-time, movement and material.”  These artists were part of a larger movement of concrete art, that, like constructivism, was born from post WW1 art upheavals.  I was not familiar with Grupo Ruptura, so it was great to learn about them.   I was struck by the clean lines, bursts of pure color, and industrial materials in much of the work. Below are some of the highlights:

Idéia Visivel, Waldemar Cordeiro, 1951, enamel on Kelmite

Waldemar Cordeiro (1924-73) was born in Rome to an Italian mother and a Brazilian father.  After studying art in Italy, he emigrated to São Paulo, initially working as a journalist, art critic and newspaper caricaturist. In 1952 he co-founded Grupo Ruptura, the São Paulo branch of the Brazilian concrete art movement.  In the picture above, painted a year earlier, he’s already articulating many of the ideas he would later publish in the group’s Manifesto.  In the 1960’s he became one of the first Brazilian visual artists to use computers in his work.

Arranjo de Trés Formas Semelhantes Dentro de Um Circulo, Geraldo de Barros, 1963, enamel on Kelmite

A central figure in the Brazilian Concrete art movement, noted especially for his photography (scratched negatives, multiple exposures, montages) and painting, Geraldo de Barros (1923-98), was also a furniture designer (in 1954 he established a furniture factory, Unilabor.)             I especially liked the rhythmic feel of the above painting, and the use of enamel gives the colors some punch.

Concreto 101, Judith Lauand, 1958, china ink on paper

Judith Lauand (born 1922) was the only female artist invited to join Grupo Ruptura.  A painter and printmaker, who trained as a fine artist,  she’s known for her modernist geometric free-floating abstractions.

Untitled, Luiz Sacilotto, 1955/1980, oil on fiberboard

Luiz Sacilotto’s (1924-2003) work spans painting, printmaking, sculpture, design and architecture.  He studied drawing at the Brazilian Association of Fine Arts, painted landscapes, still lifes and portraits, then moved on to Expressionism, which he left for geometric abstraction.  His work, with its squares, parallel lines, diagonals,  and symmetry was a major precursor of op-art in Brazil.

Untitled, Anatol Wladyslaw, 1960, gouache on paper

Anatol Wladyslaw (1913-2004) started his professional life as an electrical engineer, but in 1944, he began studying painting and drawing.  His early works were geometric in style, then he moved to informal abstraction and figuration.   I like the energy of this gouache.

This is a small sampling of the works you’ll find in this show, which will be on until November 6th. Don’t wait until then to see it.

Luciana Brito-NY Project is located at 186 Franklin Street.

Celebrating 20 Years of African Art in NYC

Axis Gallery is celebrating its 20th anniversary this year.  Founded by South Africans Lisa Brittan and Gary van Wyk, PhD., the gallery specializes in art from Africa, and by artists of African descent, whose works often have a social or political bent.  To celebrate the gallery’s milestone, they are mounting two thematic exhibitions, the first of which, Liquid State, is currently on view.

As its title implies, Liquid State, which features the work of six artists, is about change, transformation and slipping away…  Here are a few works that caught my eye:

Rally Welcoming SWAPO Leader, Sam Nujoma, after thirty years exile, Gideon Mendel, 2017, from the Damage series, Windhoek, Namibia, September 24, 1989. Giclée print from water and mold damaged negative on Epson enhanced matte paper

Photographer Gideon Mendel began his career documenting the struggle against apartheid in South Africa.  He created this image from a negative of photos he had taken in the 1980s.  That negative was subsequently stored in a box of transparencies and negatives in a friend’s garage, where they got wet and moldy.  He became fascinated by the effects of water on negatives and prints, seeing them as an invitation “to reflect on the idealism behind revolution and the outcomes that the march of history produces”.  The above print (which takes up one wall) of a welcome rally for SWAPO leader Sam Nujoma, is one of many works Mendel has created using images of past political struggles that have been damaged by water or fire.  

In that vein you’ll find another work from his Dzhangal series, as well as the “Water Chapters” from his Drowning World series, a looped video exploring responses by individuals, families and communities to floods in various locations, including the Philippines, Nigeria, India and the US.  Mendel’s work may make you reflect on the duality of water – at once a life and creative force, but one also capable of violent destruction.

flowernuit, Al Miller, 2017, oil paint on aluminum and resin

Al (Algernon) Miller is a Harlem-based artist and  Afrofuturist whose eclectic influences include jazz, Egyptian mythology, African beading and quilting,  landscape design, and technology.  This work, flowernuit is one of several at the gallery from his  Angle angle series, made with oil paint on aluminum and resin, that have a delicate but powerful feeling.

Katangais money copper, varying patination, variable dimensions

Sammy Baloji has created an installation based around his birthplace of Katanga, a resource-rich region of the Democratic Republic of the Congo, where mining has been the major industry and export earner for the country since the early 20th century.  On one wall, you’ll find a grainy large scale print of a black and white photo of the Singers of the Copper Cross, a boys choir in Elizabethville.  They are wearing large Katanga crosses – which resemble the St. Andrew’s cross – that were used as currency in pre-colonial times.  In a vitrine on the opposite side you’ll find 80 of these pieces (photo above).  There’s also a video, Tales of the Copper Cross Garden: Episode 1 that was commissioned for Dokumenta 14, featuring historic photos of the Choir and documenting how copper wire is made from ingots; in the background the soundtrack of a choral mass plays throughout.  This installation calls into question the relationship between currency, Christianity, colonialism and commerce.

There’s much more to see, so make your way over to Axis Gallery before this exhibit closes on October 21st.

The second anniversary exhibit will run from October 27th to November 18th.

Axis Gallery is located at 625 West 27th Street. 

Congratulations Lisa and Gary on your gallery’s first 20 years – here’s to the next 20!

Romantic Sublime New York City

When you’re next by Washington Square, stop in at Deutsches Haus at NYU to see the exhibit of photographs by German artist Paul Gisbrecht on the second floor.  Entitled Romantic Sublime, these urban images reference the romantic landscapes of the 19th century German painter Caspar David Friedrich; taken from the rooftops of homes and offices, the central figures face away from the viewer, as if they are hypnotized by their view of the city beyond.  But Friedrich is not the only influence at work here – Gisbrecht’s photos were inspired in part by an incident in his childhood (he grew up in Kyrgyzstan), when he climbed on a platform and was so hypnotized by the landscape that he fainted and broke his arm.

This series was shot in New York City between the fall of 2012 and the spring of 2013. Gisbrecht said it was quite an adventure to find and secure the use of the rooftops, especially since he needed to take the photos at an in-between time of day, when the light is muted, imparting a sense of calm.

Mother and Children in Bushwick, 2012, Paul Gisbrecht. Photo courtesy of Paul Gisbrecht.

For this photo, taken in Bushwick, Brooklyn, a resident of the building was supposed to come with him, but cancelled at the last minute.  Undeterred, Gisbrecht started talking about his project with some kids playing there – they then got their mother, who agreed to do the shoot. I love the clouds in this image.

Paul Gisbrecht received his MFA in Fine Arts from Pratt Institute. He currently lives in Brooklyn, working in photography, video, sculpture and installation.

The Romantic Sublime, curated by Yinzi Yi, will be on display at Deutsches Haus at NYU through October 28.