Nov 18, 2013
Detroit-based artist Hernan Bas
(b. 1978, Miami, Florida) explores the codes of dandyism and its subculture as a means to define sexual attraction. His paintings are tinged with nihilist romanticism, born of literary intrigue and a passion for historical painting. Intricate, frail, and sensuously delightful, Bas's paintings personify epic romance embracing both the decadence and nastiness of pleasure. His works have been exhibited in numerous solo and group exhibitions, among them the 2012 retrospective at the Kunstverein Hannover, Germany; the 2007 retrospective at the Rubell Family Collection, Miami, which presented a decade of the artist’s work and traveled to the Brooklyn Museum of Art in February 2008; and his inclusion in the Nordic Pavilion at the 53rd Venice Biennale, curated by Elmgreen & Dragset. The artist has been included in recent group exhibitions including Contemporary Magic: A Tarot Deck Art Project at the Andy Warhol Museum, and The Cry at the Museo de Arte Contemporaneo de Castilla y Leon (MUSAC). In March 2012, Bas had his second solo exhibition at Lehmann Maupin. The artist lives and works in Detroit, Michigan.
Nov 15, 2013
is an artist who uses a variety of media and approaches, but works principally in sculpture. Recent exhibits include The New Forests of Thoreau’s America at the College of Visual Arts in St. Paul, and Still There at the Gallery at Fox Tax in Minneapolis. He has shown throughout the United States, including exhibits at the Phillip Slein Gallery in St. Louis, and Koplin Del Rio Gallery in Los Angeles, and Circa Gallery in Minneapolis who has represented his work for the past seven years.' (via Local Artist Interviews
Nov 14, 2013
(American, born in Norwalk, Connecticut, 1930 — ) is an American artist. Internationally recognized as one of today’s most important sculptors using ceramics, Betty Woodman's career began in the 1950s as a production potter with the aim of creating objects to enhance everyday life. Since then, the vase has become Woodman’s subject, product, and muse. In deconstructing and reconstructing its form, she has created an exuberant and complex body of sculpture. Its signature is its reflection of a wide range of influences and traditions and an inventive use of color. As she has written, "The centrality of the vase in my work certainly implies a global perspective on art history and production. The container is a symbol — it holds and pours all fluids, stores food and contains everything from flowers to our final remains." Many of these traditions Woodman has experienced first-hand as she has traveled extensively, finding inspiration in cultures around the world. As recently described by American Ceramics magazine "The dramatic and luminous effect of glazes attracted Woodman to ceramics, leading her to study at the School for American Craftsmen at Alfred University. She further developed her passion for clay when she moved to Italy, falling in love with Mediterranean art, a consequential influence for her work. Having a background in ceramics, it is easy to peg Betty Woodman as a craftsperson. However, upon taking a closer look, Woodman is hardly just that. She is an artist whose work hovers above the line of art and craft, drawing its power from both.