Exhibition review by NYC-based art editorial project, Two Coats of Paint.
Cassie Packard writes about Schema: World as Diagram for The Brooklyn Rail.
Art historian and professor Mónica Amour discusses the life and work of Venezuelan master Gego in her recent publication Gego. Weaving the Space In Between.
Artforum's Cassie Packard reviews the solo exhibition Elsa Gramcko: The Invisible Plot of Things at James Cohan in New York, presented in partnership with Sicardi | Ayers | Bacino.
PaperCity profiles interior designer Elizabeth Young's house and art collection, featuring Gabriel de la Mora's RIGHT-LEFT.
The NYT Critic's Pick: In “Measuring Infinity,” the kinetic constructions of the Venezuelan sculptor Gertrud Goldschmidt climb, twist, dangle — and dazzle.
From her inviting, well-ordered studio overlooking upper Manhattan and illuminated by northern light, the painter Fanny Sanín slides open the drawer of a large flat file brimming with decades of work. She locates the folder containing a series of studies for a painting, Acrylic No. 1, 2015, protectively interleaved with glassine paper. Together we unwrap and examine these intriguing visual experiments, each revealing a thinking phase in the process of incrementally solving the grand puzzle of composing a work of art. Since the mid-1970s Sanín has prepared for every painting on canvas through multiple exploratory studies—in pencil, ink, acrylic and collage—to analyze possible variations in composition, color and atmosphere. Their intimate scale, often no bigger than 12 inches in either direction, are improvisationally realized with the intention of cultivating surprise, then clarity in the resolution that she wants to achieve. The studies are then translated into untitled acrylics (acrylic paintings on canvas) or compositions (acrylic paintings on paper). Giving specific titles to the paintings would limit their open-ended nature, a quality that the artist believes is essential to the integration of the elements of painting, and the viewer’s freedom to experience it. [Click Download PDF for Full Article]
Bogotá-based artist María Fernanda Cardoso spoke to Diners about Ripples and Droplets, her third piece of public art, revealed at the end of March and located in Sydney, with which she has once again shaken up the Australian art scene. [This article is in Spanish.]
Colombian-born Australian artist Maria Fernanda Cardoso works with vegetal elements. One of her public art installations draws upon 19th-century traditions of scientific observation, whilst also engaging with the conatus and agency of the bottle tree. This paper proposes that Cardoso’s ‘magical’ planting of bottle trees creates a circle of discourse regarding pre-human earth life, whilst gesturing towards speculations on post-human earth life. If we could hear the voices of the bottle trees, would they be a mournful weeping for lost habitats, or instead could they be an incantation for unknown futures? This research draws upon the dual cultures of both the artist and the bottle tree, to present a new way of listening to the earth.
How a group of mostly amateur photographers helped develop Brazil’s modernist aesthetic.
Take a trip to MoMA and experience the abstract beauty of these 60 amateur photographs from postwar Brazil, never before seen in the U.S.
Artforum International covers León Ferrari and his current solo exhibition at the Museo Nacional Centro de Arte Reina Sofía.
PaperCity covers the solo exhibitions for Elias Crespin and Marco Maggi at Sicardi | Ayers | Bacino, "Houston's most significant international gallery."
The Maggi and Crespin shows at Sicardi | Ayers Bacino are one of a handful that are soon to be closing in the next two weeks. And they're among three that I'd highly recommend viewing before their…
The weekend hobby of a group of photographers in 1950s Brazil connects to the way we frame our world today.
Arteinformado announces Marco Maggi's upcoming solo exhibition at Sicardi | Ayers | Bacino featuring nine new works produced over the last year amidst the pandemic.
Glasstire announces Marco Maggi's upcoming solo exhibition at Sicardi | Ayers | Bacino featuring nine new works produced over the last year amidst the pandemic.
A new building at the Museum of Fine Arts, Houston showcases work by Latin American and Latino artists, many of whom are rarely shown in the United States. On the eve of the opening of the new building, here are six artists and works selected by Ms. Ramírez that may come as a discovery to visitors.
Leading contemporary conceptual artist Miguel Angel Ríos and his video Crudo, 2008, on view at The University of Texas at Austin.
Kelly Klaasmeyer covers Sicardi Gallery's exhibition of Martha Boto and Gregorio Vardanega. The exhibition is Boto's first ever in the United States and Vardanaga's second.
Ten works are added to the permanent collection, including a large, kinetic, mirrored sculpture by the Argentine artist Martha Boto recently featured in Dan Cameron’s Pacific Standard Time exhibition Kinesthesia at the Palm Springs Art Museum (from Sicardi Gallery Houston).
Celina Chatruc interviews Liliana Porter about her parents' influence on her approach to optimism, humor, and imagination.
Celina Chatruc interviews Liliana Porter about her new collaborative video First-Hand Theatre for the New Times.
An academic publication by Lara Stephens focusing on deep dramaturgy and the making of the Cardoso Flea Circus and On the Origins of Art projects as subjects of these analyses.
Liliana Porter discusses with Celina Chatruc the opportunity for reflection during crises.
Daily Telegraph, Sydney's Elizabeth Fortescue, Arts Editor, writes Weaving a tiny web of intrigue covering the artist's work with Maratus spiders
Colombian-born painter Fanny Sanín (born 1938) has dedicated a long, prolific career to the exploration of geometric abstraction; her oeuvre is characterized by large-scale canvases depicting hard-edge geometric compositions in vibrant color configurations. Over the past five decades, Sanín has exhibited widely, mainly in Latin America and the United States (where she has lived since the 1970s, in New York), positioning herself as one of Latin America’s most extraordinary colorists.
This publication is a long-overdue comprehensive monograph on this pioneering painter. Featuring contributions from prominent academics and curators such as Beverly Adams, Jay Oles and Edward J. Sullivan, the book contextualizes Sanín’s work within international geometric abstraction and offers a glimpse into the artist’s rigorous working process. It surveys her entire career, from her energetic abstractions of the 1960s through the evolution and continual refinement of her ongoing commitment to concrete abstraction.
La artista marplatense exhibió en la galería Ruth Benzacar un conjunto de nuevas piezas que conversaban con obras anteriores y confirman su talento y estima en la escena artística actual.
What was once a backyard swimming pool is now a murky pond with a budding ecosystem. In a corner of the overgrown garden rests a stone roughly hand-engraved with ‘‘TIME IS’’. The wild cacophony of nature continues inside with native flowers, a pair of preserved emu legs, butterfly wings, piles of rocks, animal skin, feathers and gum nuts scattered across benches, tables and side desks.
A French and a Swiss curator – Paul Ardenne, art historian and author of an authoritative work on the art of the Anthropocene epoch, and Barbara Polla, writer and initiator of an Environment and Health Program of the University of Geneva – have been organizing yearly video reviews since 2011 for showcasing the most progressive works of video art. This year, exceptionally, the event is held in Hungary, within the framework of Art Capital. In terms of thematics, the works share in common references to the relationship between the natural and built environments, to the global effects of human interventions, as well as to the memory of Paradise Lost and the idea of creating a new Eden.
We are urged to imagine a sustainable, beautiful, inviting world: to reconstruct Eden and a post-human way of being in the world.
Bienvenue au Paradis !
Dans le cadre de l'exposition TALKING ABOUT A REVOLUTION, conçue par Paul Ardenne, Visconti22 et VIDEO FOREVER ont le plaisir de vous inviter à la projection VIDEO FOREVER 36 *RÉSISTANCES À LA MARGE*
Sydney-based artist Maria Fernanda Cardoso will create a major new series of sculptures from a rare significant find of approximately 4,000 cubic-metres of ‘yellow Sydney’ sandstone, harvested and commissioned by TWT Property Group. TWT specialise in establishing quality residential communities with a commitment to art and architecture; they’re also the masterminds behind the TWT Creative Precinct – home to over 70 artists, making it the fastest growing creative precinct in the nation.
The New York Times Art Review of Joaquín Torres-García: The Arcadian Modern at the Museum of Modern Art, the artist’s first major United States retrospective in more than four decades.
Thomas Glassford's public art commission, Xipe Totec, for the 100th anniversary of the National University of Mexico.
