| Levaggio di Venezia © Rafael Ferran 2016|
You can find my art now at WikiArt.org
Wednesday, March 1, 2017
Saturday, February 18, 2017
Opening Reception: Thursday, May 18 at 6 PM - 9 PM
National Academy Museum & School
!083 Fifth Avenue / 5 East 89th Street
New York, New York 10128
Tuesday – Sunday 11 AM – 6 PM
The National Academy Museum & School is transformed by the vision of the National Academicians, faculty, alumni, and students.
Creative Mischief will debut over 100 works representing a broad spectrum of artistic disciplines: abstract and figurative painting, site-specific installation, sculpture, photography, prints, video, animation, and performance. Subjects range from enduring concepts of beauty, transformation, and truth to temporal issues of social injustice, and the political turmoil of today.
One of the submissions to the 6th Annual Creative Mischief Exhibition will be my latest painting, Woman in Profile. A gouache over heavy gesso on wood, it measures a variable 12 x 41/4 inches, https://www.facebook.com/events/213643752468823/
Tuesday, January 17, 2017
The interest of the print, however, is the large tree in the center that sprouts leafless limbs and branches into and across the sky. It was in late March and I was waiting for the bus to go back to the city. when I saw it. I snapped a picture from my phone camera which I used as a reference for this print.
I painted the branches and limbs, the sky and the clouds in a manner to suggests all these elements dancing to the rhythm of the air surrounding them. The trees in the distance were painted with the local colors of greens, reds and browns while I used the building to reflect the glaring light of the bright daytime. This print is my expression of a harmonious relationship between nature and civilization I discovered on that day.
Monday, October 24, 2016
The Museum of Art and Design is presenting the beautiful porcelain sculptures of Chris Antemann. I've never heard of this artist before until now when, as a security guard employed by a national security firm, I was assigned to MAD for one day and posted at the gallery that displays her collaborative exhibition with the renowned MEISSEN Porcelain factory.
These strikingly seductive and beautifully erotic pieces are a tour de force. One end of the gallery hangs the ornate Lemon Chandelier embellished with scantily clad figurines and lemons.
In the center of the gallery there is the elaborate installation entitled Love Temple inspired by an 18th century model of the same name by Johann Joachim Kændler.
Antemann has redesigned the original version to its basic form and added her figures and decorations to fashion a five- foot- tall feasting rotunda for her Forbidden Fruit Dinner Party.
Per the exhibition wall texts, her concept owes much to the French Rococo painter Antoine Watteau, 18th century French banquet fads, and the Biblical story of The Garden of Eden.
Friday, September 23, 2016
Here are my two submissions to the 5x5 Exhibition at the Tampa Museum of Art. It’s Small Art for a BIG Cause on Friday, Oct. 21 organized by the Arts Council of Hillsborough County. All art work has to measure 5x5 inches for continuity and visual effect during display.
Proceeds from donated artwork fund individual artist grants and workshops from the Arts Council of Hillsborough County.
Monday, September 5, 2016
I have six pieces in this exhibition. Through the
sponsorship of The Queens CorrespondAnce School, artists
mail their artwork and collaborate with another artist via
USPS. All participating artists will have their original
submission sent to another participating artist, and also alter
another artist’s original submission. All final collaborations
will be exhibited at Academic, a gallery in Long Island City,
The opening reception was Friday, September 2 and it
runs through September 24th, 2016.
Sunday, January 10, 2016
Alberto Burri: The Trauma of Painting
Alberto Burri, an Italian artist recognized for having transformed the traditional easel painting into the Objet d'art (art object), was the subject of a large retrospective at the Guggenheim Museum entitled Alberto Burri: The Trauma of Painting which ended in January 2016. As a painter and sculptor, his experimentations laid the foundations for Process Art and the progressive Italian art form “Arte Povera”. The Sacchi (sacks) paintings, made from stitched and patched sections of torn burlap bags and often combined with pieces of abandoned clothing and paint bits, would cement Burri’s reputation worldwide during the second half of the Twentieth Century.
Born in Citta di Castello, Italy on March 12, 1915, Burri was the son of a wine merchant and an elementary school teacher. He earned his medical degree at the University of Perugia. On October 12, 1940, Italy entered World War II and Burri was sent to Libya as a medic in the Italian army. He would use his surgical knowledge to treat the wounded soldiers mostly amputees and those requiring skin grafts because of serious burns. May 8, 1943, his unit was captured in Tunisia at the Battle of El Alamein and sent to a prison camp at Gainesville, Texas for the remainder of the war.
|Alberto Burri, Sacchi|
He learned to paint there through a local YMCA with donated materials and his first paintings, inspired by an Umbrian nostalgia, were views of the desert from camp. Italian prisoners had an easier life in contrast to German, and Japanese prisoners. For one thing, officers were exempt from manual labor and they were allowed to mix with the local Italian American community and engage in recreational activities such as building religious altars, playing soccer, and tend vegetable gardens. Italian detainee artists assigned repaint local church. After the war, Burri’s POW experience had a transformative effect as the young Italian doctor resigned from medicine on his return to Italy and pursue art. He endured the remonstrations from family and friends with a tranquil determination upon his arrival to the age-old city of Città di Castello, in Umbria.
Italy was wrecked after the war as its resources were nearly depleted. The Fascist years created a limited intellectual openness that left the nation worn and harsh. Eventually however a modern Renaissance spread as the country was gaining self-assurance in its future with the artists in the forefront. Art was used to reexamine Italian history and future prospects. Painters, poets, and intellectuals formed new groups and cultural associations publishing journals, encouraging new ideas, and promoting a new philosophy for the arts.
During the 1950’s a cultural exchange began between Italy and the USA. American artists such as de Kooning, Rauschenberg, Rothko, Twombly visited and lived in Rome. The city was a meeting place for critics, most notably James Johnson Sweeney who became the second director of Guggenheim Museum and a champion for Burri by acquiring three art works for the museum’s collection. Johnson and Burri would share a lifelong friendship that entailed Burri sending Sweeney every year at Christmas a signed miniature of a work exactly proportioned to fit in the palm of a hand. Through this good fortune, Alberto Burri along with Lucio Fontana emerged as the pioneers of post-war Italian art.
Dada and Surrealism were early influences on Burri’s work. The paintings by Arp and Miro that incorporated burlap as a ground prompted Burri’s own use of torn red stained burlap. Burri expressed a new aesthetic integrating stitching, burning, wood, metal, plastic, tar, cellotex (insulation material used in homes), and burlap that transformed the paintings from a mere pictures into objects. His repertoire of work included the Sacchi (sacks), Catrami (tars), Muffe (molds), Gobbi (hunchbacks made by metal protrusions placed behind the canvas), Bianchi (whites), Legni (woods), Ferri (irons), Combustioni Plastiche (plastic combustions), Cretti, and Cellotex works. Burri would often mix and match the different materials and systems. The clean fissures of his Crettis were never accidental but guided by a scientific approach: he was a knowledgeable chemist. Using torches he created burrows in soft gooey tar or burned holes through clear plastic and laid over a stained patched surface. Scholarly opinion viewed them as symbolic of the gore and broken skin that he encountered during the war.
|Alberto Burri, Catrame 2, 1949|