Terry Adkins - Conceptual Art

"Terry Adkins, who passed away unexpectedly in 2014, left behind a multidisciplinary body of work that is hard to grasp in his absence. ‘My quest has been to find a way to make music as physical as sculpture might be,’ he said of his practice, ‘and sculpture as ethereal as music is’, which speaks to his work’s evanescence and its strong sense of ‘live-ness’. To fully appreciate Adkins, the artist should be present and, in death, he is not. Curated by the artist’s longtime friend and collaborator, Charles Gaines, ‘The Smooth, the Cut and the Assembled’ is an attempt to sample from Adkins’s sculptural side, and to develop a new life for the work now that he has entered the ‘spirit world’ which animated his approach to art.A native of Washington, D.C., Adkins studied and worked in printmaking, free jazz, found-object sculpture, installation and live-score performances – the latter often called ‘recitals’ – each of which obliquely meditated on prominent figures from African American history, including abolitionist John Brown, botanist George Washington Carver, Arctic explorer Matthew Henson and blues singer Bessie Smith. The recitals involved a rotating group of collaborators that Adkins dubbed the Lone Wolf Recital Corps, which New York’s Museum of Modern Art honoured this past autumn with an exhibition. At Lévy Gorvy, this crucial aspect of Adkins’s work is relegated to a small monitor with headphones showing a portion of Firmament, a 2005 performance at the Bronx River Art Center during the exhibition ‘Black Beethoven: Recital in Nine Dominions’.Entering Lévy Gorvy’s two-floor gallery, one is immediately confronted with music-oriented sculptures: Native Son (Circus) (2006/15), a circular mound of cymbals, slightly elevated from the floor, with hidden servomechanisms that very infrequently strike the cymbals from below, and Horus (1986), a found kick-drum head with a ghostly trace of its mallet dividing the white space, resembling a pressed flower. Synapse (1992) evokes another large drum head from a distance but, upon closer inspection, it’s clearly a found industrial object. In one corner, Bessie Smith Head, Frosted (2007) – an elongated egg made of blown white glass, its crown topped with two semi-spheres reminiscent of Princess Leia’s hair buns and one on its lower left side – stands as if in whimsical pirouette.Upstairs, Gaines included more complicated and puzzling pieces. Prophet (2010) is a mixed-media assemblage consisting of a bunched-up parachute with attached rope and nautilus shells sitting atop a glass cabinet full of dried starfish. The piece may reference Jimi Hendrix, an early musical hero of Adkins’s; the guitarist had served as a paratrooper in the 101st Airborne Division of the US Army. Two large spheres with smaller black balls covering their surfaces sit on the floor – untitled works from ‘Sanctuary’ (2003) – resembling giant blackberries that recalled, for me, the folk adage ‘the blacker the berry, the sweeter the juice’ – most recently employed by Kendrick Lamar.Conceptually, the most challenging piece is Darkwater Record (2003–08): a stack of five Nakamichi tape decks with a porcelain bust of Mao Zedong on top. The tape decks play cassettes of W.E.B. Du Bois’s 1960 speech ‘Socialism and the American Negro’, but you wouldn’t know that without the catalogue. There are no speakers or headphones; the only evidence the speech is playing is the visual dance of the bouncing VU meters. The work possibly comments on Gil Scott-Heron’s proto-rap ‘Brother’ (1970), a critical look at 1960s black radicals that includes the couplet ‘Never can a man build a working structure for black capitalism / Always does the man read Mao or Fanon,’ but it is the work’s irreducible enigma that remains so alluring. This is generally true of Adkins’s art; it is topical but gnomic. We’ll have to wait for a larger retrospective, fitted with more monitors and speakers, for a fuller picture of his oeuvre; Lévy Gorvy’s show, while striking, is a bit too quiet."
(‘Terry Adkins: The Smooth, The Cut, and The Assembled’ runs at Lévy Gorvy, New York until 17 February..frieze.com )

Olga Blinder

Olga Blinder (1921, Asunción, Paraguay – 19 July 2008) was a Paraguayan painter, engraver and sculptor.Blinder was born in Asunción into a Jewish family.She lived through the Chaco War, World War II, the 1947 Paraguayan Civil War and Paraguay's coup d'états in 1954 and 1989.Blinder was also a licensed professor who has taught arts and creative education for over 30 years. She has also published numerous books and articles on education and art.She began displaying her work in Paraguay in 1950 and began exhibiting abroad in 1953. In 1954 she helped co-found the Grupo Arte Nuevo in Asunción.She is the former director of the Escolinha de Arte of Paraguay in the Brazilian Cultural Mission and of the Instituto de Arte (ISA) of the National University of Asunción. She was also an advisor to the Ministry of Education for the development of textbooks.She has been recognized by the League of Women's Rights, decorated by the Brazilian government, and received the Integración Latinoamericana award from the Ministry of Culture and Education of Argentina.Wikipedia


Maurizio Rosini

STUDIO20171216" watercolor cm.10x14,7
 - made as a copy of the "Jeanne Hebuterne with big hat"
by Amedeo Modigliani
(original oil cm.55x38)

 "STUDIO20180304" watercolor
cm.25,0x35,0 350g/m2
- made as a copy of the
"Red Nude" by Amedeo Modigliani

wooden tablet cm. 24,8x44,5x0,3.

charcoal, sienna pencil in A4 sheet

charcoal,sanguine, sienna pencil in A4 sheet

STRANGE LOOP" B2 pancil on A3 sheet
- by a work of Escher

European Abstract Art - Romul Nutiu

Romul Nutiu (July 28, 1932 – April 5, 2012)was one of the most constant artists dedicated to Abstraction from the Romanian art scene. Even though he had not left the country to work abroad along his life, his international career has tremendously risen since 2008, when he started a fruitful collaboration with Dr. Joana Grevers, art dealer and historian based in Munich, Germany.His career evolved from the early sixties, when he was a young artist, eager to experience new ways of relating to painting and continued fluently until his death in 2012. Even though there are variations of style and appraisal, his painting had always been vivid, colourful and tenacious.'The artistic biography of Romul Nuțiu lays under the sign of a happy exception', said art historian Ruxandra Demetrescu. 'In the 7th decade of the last century he was one of the first Romanian artists that had professed the Abstract Expressionism and/or European Informal. He remained faithful to abstraction in general and then he converted painting into object. The innovative character corresponds naturally in his case with that of an avantgardist (even in the literal sense of the word). 'In the 70s, in Timisoara, a few artists acknowledge and try to change the moral hazard of political strategies. For Nuțiu, the personal input is abstract. The relationship history/present, the studio poetics, the new approach of the artistic medium, image as material are syntagms for what painting and object painting represent. In order to understand the concept in regard to the 70s slang, one must admit the decisive personal approach of painting.The relation to Abstract Expressionism and Art Informel is best described by the artist: 'In 1957, when I graduated, my belief was strictly connected to the idea that the perception of things is rather important for the creation act, but being limited, one has to appeal to the subconscious through experiment, challenge and transcendence. My informal was born from hard work and devotion. At that moment, I knew few things about contemporary art, and what I learned in school was just some academic knowledge that was only partially useful. Later on, when I started to travel, I came in contact with the European informal. In the big museums I found out that my way was somehow synchronized, having a polarity to what I was seeing. Abstract expressionism and the European informal made me understand that I have to keep my own authenticity and sensitivity.Wikipedia

Robert Arneson - Funk Art

Robert Arneson   (September 4, 1930 – November 2, 1992)  was an American sculptor and ceramicist who is considered as the father of Funk Art, the anti-establishment movement that incorporated a mélange of found objects, autobiographical subjects, and humor. He was born on September 4, 1930 in Benicia, CA and studied at California College of the Arts after working as a cartoonist for a local newspaper. In 1962, he was appointed professor of ceramics at UC Davis where he worked for nearly three decades, establishing the ceramic sculpture program and thereby helping bring the previously maligned medium into the realm of fine art. He is perhaps best remembered for his Eggheads series, the bizarre sculptures of faces he installed around the UC Davis campus. He died on November 2, 1992 in Benicia, CA from liver cancer, and his works can be found in major institutions around the world including including the Chicago Art Institute, the Hirshhorn Museum and Sculpture Garden in Washington, D.C., the Metropolitan Museum of Art in New York, and the Smithsonian American Art Museum in Washington, D.C. (artnet.com)