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DTSTART;VALUE=DATE:20220908
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SUMMARY:Anthony Akinbola - Natural Beauty
DESCRIPTION:Sean Kelly is delighted to announce Natural Beauty\, a solo-exhibition of new work by Nigerian- American\, Brooklyn-based artist Anthony Akinbola. This presentation\, occupying the front and lower galleries\, includes the artist’s signature Camouflage paintings\, single and multi-panel works that utilize the ubiquitous du-rag as their primary material. Universally available and possessed of significant cultural context\, the du-rag represents for Akinbola a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. The opening reception will take place on Wednesday\, September 7\, from 6-8 pm. The artist will be present. \nBorn in Columbia\, Missouri\, Anthony Akinbola\, is a first-generation American raised by Nigerian parents in the United States and Nigeria. His layered\, richly colored compositions celebrate and signify the distinct cultures that shape his identity. In the front gallery\, an array of Camouflage paintings explore the du-rag as both a material for art-making and as commentary on larger issues of identity\, respectability\, and commodification of African American culture. The subtle variations in color throughout the works were often subject to supply chain availability. Individual canvasses range from subtle variations on a single\, subtle tone\, to richly contrasting fields of color\, evoking artists as varied as Morris Louis and Ad Reinhardt. \nIn the lower gallery\, Akinbola will install a single\, multi-panel work positioned in dialogue with a taxidermized goat\, an action that both pays homage to Robert Rauschenberg’s revolutionary Combine\, Monogram\, 1955-59—which featured a stuffed Angora goat\, engulfed in a rubber tire\, standing on a painting—and functions for the artist as a conceptual self-portrait. In Nigeria\, goats hold a significant place in the culture and are commonly used for their hides\, meat and in religious festivals for ritual sacrifice. There is a ubiquitous fetish associated with goats and their totemic significance. Throughout his work Akinbola unpacks the rituals and histories connecting Africa and America\, addressing the power of fetishization around cultural objects. \nAnthony Akinbola was selected for the Anderson Ranch Art Center Residency in 2017 and created a monumental wall collage for The Queens Museum in 2018. In 2019\, Akinbola was awarded the Van Lier Fellowship and named the eighth Museum of Arts and Design Artist Fellow\, which resulted in a solo exhibition at the museum. Akinbola will be featured in forthcoming group exhibitions at the Kalamazoo Institute of Arts in September 2022 and the Baltimore Museum of Art in March 2023. His work has been featured in exhibitions at The Queens Museum\, NY; the Bronx River Art Center\, NY; The Zuckerman Museum of Art\, GA; and The Verbeke Foundation\, Belgium\, amongst others. Following his exhibition at the Museum of Art and Design\, NY in 2020\, Akinbola mounted a significant solo exhibition in early 2021 at the Kohler Arts Center\, WI. Akinbola received a BA in communications and media from SUNY Purchase College. His work is included in the Pizzuti Collection\, Columbus\, OH\, the Beth Rudin DeWoody Collection\, and The Everson Museum of Art\, Syracuse\, NY amongst others. \nFor additional information please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.comFor all other inquiries\, please email Lauren Kelly at Lauren@skny.com \n  Save  
URL:https://artinamericaguide.com/event/anthony-akinbola-natural-beauty/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20250627
DTEND;VALUE=DATE:20250802
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SUMMARY:Faktura / Tektonika
DESCRIPTION:The exhibition Faktura / Tektonika presents a selection of works that highlight two foundational components of early 20th-century Constructivism: faktura\, the material properties of an object\, and tektonika\, an object’s spatial presence. In the lineage of the Constructivist movement\, the exhibition foregrounds artists who emphasize material and form as active forces in artistic production. Through a range of practices that include the use of industrial media\, alternative photographic processes\, and an exploration of the self-reflexive properties of a chosen material\, the works on view investigate the ways in which surface\, structure\, and perception intersect. Bringing together artists from within and beyond the gallery’s program\, Faktura / Tektonika draws connections between emerging and established artists across multiple generations in the enduring spirit of this revolutionary movement in the history of art. There will be an opening reception on Thursday\, June 26\, from 5:30-7:30pm. \nEmbodying Faktura / Tektonika is the work of pioneering Cuban artist Dolores “Loló” Soldevilla (1901–1971) whose geometric constructions emphasize modularity\, spatial relationships\, and a Constructivist approach to building form through her use of material and exploration of dimensionality. Works on paper by Marco Castillo (b. 1971) are a result of his observations of quotidian materials and bring geometric elements from the historical context of Modernist\, Soviet\, and Cuban design into the present moment. Similarly\, circular forms from throughout art history are graphically employed in the paintings of Jose Dávila (b. 1975). Dávila’s stone and concrete sculptures echo architectural structure and stability\, highlighting the Constructivist emphasis of industrial materials. \nAlso engaging with industrial materials are Ernesto Burgos (b. 1979)\, Harminder Judge (b. 1982)\, Sam Moyer (b. 1983)\, and Hugo McCloud (b. 1980). The works of Ernesto Burgos exist at the intersection of painting and sculpture with substrates composed of cardboard\, fiberglass\, and resin finished with oil and charcoal; these pieces assert themselves into space through their corporeal presence. Harminder Judge layers pigment into wet plaster\, sanding\, polishing\, and oiling his panels to luminous\, sensuous effect. Sam Moyer\, in contrast\, paints plaster-coated canvas to serve as the ground for pieces of salvaged stone embedded into her paintings\, which\, along with her freestanding sculptures\, highlight texture\, composition\, and assemblage. Hugo McCloud’s “stamped” paintings reference industrial construction and material labor with repetitive patterns that have been impressed on malleable tar paper. \nWhile photography is often associated with capturing reality\, Faktura / Tektonika foregrounds artists who challenge this assumption by using alternative photographic processes to construct their images rather than simply capture them. James Casebere (b. 1953) builds intricate architectural models\, which he then lights and photographs\, to create images that reimagine both the context and content of the structures that influence them. Julian Charrière’s (b. 1987) heliographs of California oil fields are created with the raw materials of their depicted sites by incorporating naturally occurring tar into a light-sensitive emulsion on highly polished stainless-steel plates. Wu Chi-Tsung (b. 1981) engages with the Constructivist affinity for photomontage and collage in his Cyano-collage series\, in which the artist layers torn pieces of exposed cyanotype paper on aluminum panels\, blurring the lines between figuration\, abstraction and representation. In a rarely exhibited early work by Anthony McCall (b. 1943)\, the artist carefully burnt documentation photographs of his groundbreaking performance Landscape for Fire\, 1972\, an act that collapses the dichotomy of ephemerality and permanence by utilizing the enduring effects of a temporal element. \nA number of the artists exhibited articulate the intersection of faktura and tektonika by engaging with spatial presence through the material substance of their work. Among them are Brian Rochefort (b. 1985)\, whose sculptures aggregate ceramic and glass across multiple firings. Donna Huanca’s (b. 1980)\, stainless steel freestanding sculptures evoke pierced biomorphic forms\, becoming an extension and reflection of the body and space. Likewise\, the surfaces of Nir Hod’s (b. 1970) paintings\, on which layers of chrome and oil paint are built up and worn away\, transmogrify the relationship between viewer\, space\, and the art object itself. Anthony Olubunmi Akinbola’s (b. 1991) sewn durag “paintings” merge the literal and metaphorical fabric of cultural symbolism with formal construction. \nCanvases by Janaina Tschäpe (b. 1973)\, Lindsay Adams (b. 1990)\, Nour Malas (b. 1995)\, and Ilana Savdie (b. 1986) emphasize the material qualities of paint. Tschäpe and Adams’ bold use of color and gesture creates abstracted landscapes rooted in emotional experience that blur the lines between imagination and reality. Malas’ works feature oil and pastel emerging from the ground of the canvas with a powerful and pulsating palette\, reflecting an ever-fluid and turbulent psychic presence. Savdie’s vibrant compositions suggest the language of collage with layers of stain-like washes of color\, contrasting visible brushwork with smooth applications of paint\, and incorporating highly textural beeswax to create dreamlike works with mutable figuration and meaning. \nTogether\, the artists and works presented in Faktura / Tektonika underscore the dynamic relationship between materiality\, form\, and space\, and challenge conventional perceptions of how art is made and experienced. Through their innovative use of materials\, each artist contributes to a broader dialogue about how both physical and conceptual construction shapes our understanding of the world around us. \nThis exhibition has been curated by Robert Spring. \n\n\n\n\n\n\n\n\nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email info@skny.com \n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/faktura-tektonika/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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