Zina Al-Shukri makes expressive marks in her multi-person portraits reminiscent of Alice Neel. ...Al-Shukri marries moving and still imagery on the same picture plane to create portraits of Kevin Killin and Dodie Bellamy, contemporary San Francisco-based writers. The audio layer incorporated into this diptych of the couple discussing their relationship, references the tradition of storytelling.
Zina Al-Shukri was born in 1978 in Baghdad, Iraq. She currently lives in Oakland and works in San Francisco, California. Al-Shukri is an artist and teacher whose exhibition history includes Patricia Sweetow Gallery, San Francisco, Jack Hanley Gallery, San Francisco, and Pulliam Deffenbach Gallery, Portland, Oregon. She received a BA from the University of Arkansas at Little Rock in 2006 and an MFA from the California College of the Arts in 2009. Her process takes into consideration the notions of transition, conflicts/hybridity between culture/religion, individuality and shared experience, psychology and social determination, mysticism and technology. Al-Shukri’s portrait practice is seen as giving attention or a psychological ‘checking in’ to create a space of dialogue, illustrating the relationship between the individual subjects and their experience of social conditions.
Chuck and George
Table Scrappin’ Vol. 1 brings the black and white images of Chuck and George to life. Since 1990, Chuck (Brian Keith Jones) and George (Brian Keith Scott) have been working together under this pseudonym. Here their compositional narratives on paper are displayed in an interactive space reminiscent of their graphic drawings and prints.
The fictional Chuck and George, inspired by longtime art collaborators “Gilbert & George”, sit at a table and show a cross section of life in a slightly off domestic setting. The couple play a game, watch television, eat, talk, listen to and ignore one another; all the while asking the big questions.
Brian K. Jones (Chuck) and Brian K. Scott (George) both earned a B.F.A. from The University of North Texas in Painting and Printmaking, respectively. Most recently they received the 2013 Dallas Observer Mastermind Award. The Brians live in Dallas, Texas.
Weaving together her fascination with doll culture, the cult of collecting, and the subculture of missing persons, Heidi Schwegler tackles challenging subject matter in her project entitled Passing Resemblance.
Fascinated by women who collect, care for and display life size and very life-like dolls, Schwegler describes these dolls as “stuck in time, between the vulnerable moment of birth and the ever present fear of death – or worse: abduction.” In the studio, Schwegler’s own likeness captured in silicone becomes the head attached to a doll body. She casts the hands of a young girl and attached them to the doll’s arms.
Schwegler then took the doll outfitted in a blue flowered dress to Sear’s to have pictures made. Indeed, family portrait photograph takes a twisted turn in the studio fun house of Heidi Schwegler.
Dustin Farnsworth is currently pursuing two bodies of work that explore the post-industrial societies effect on the generations that have struggled through its collapse and the coming generation inheriting the weight of their forefathers foibles. These pieces navigate the darkness of mental spaces through the use of constructed architecture and hand carved wooden figures or busts. ...
Dustin Farnsworth’s aim is to create original figures and architecture of the highest craftsmanship that evoke reference to industrial detritus while embodying the high drama and composition of a cinematic still, creating empathy between each figure environment and its viewer.
The design of The Myth of Life and Truth of Love and its kinetic nature encourages viewers to take part in a theater where the payoff is darkly evocative. The curtains, a literal connection to the theatre, provide the audience with a point of entrance. By engaging with the work the viewer is drawn into the spotlight as well, caught between the comedy and tragedy while becoming the enforcer of it. Through caricatured features, joints, and seemingly useless and awkward hands, the marionettes are disconnected from the viewer yet exude a raw and guttural emotion. The tragedy they are found in is simultaneously repelling yet impossible to turn from.
Each work in the exhibition focuses on the horse and related subjects, which have long attracted the attention of Mexican folk artists. Since introduced by the Spanish, the horse has held special prominence in Mexican culture. Many of the heroes and saints of Mexico, including Zapata, a rebel leader in the Mexican Revolution, and Santiago, the Apostle St. James, are portrayed on horseback. Today, with their long history as ranchers and cowboys, Mexicans are recognized for being among the best equestrians in the world.
“El Caballo” demonstrates the diversity and vitality of modern Mexican folk art. Its artisans produce some of the world’s most exciting examples of popular art, interweaving a collective tradition with individual expressions of creativity.
Using whatever materials are at hand, these artists fashion an array of utilitarian, ceremonial, and decorative objects. While most of these creations are regional, even local, in concept and design, they share distinctly Mexican features that give them a sense of national identity.
Moore paints on pieces of rusted, dented metal in ways that do not obscure their original texture and color. He seeks objects that are unique in their configurations of stains, rust and damage and allows those characteristics to guide each painting. He is interested in what man-made debris reveals about the nature of “the outside.”
“Figurative Forms: Work from the UALR Permanent Collection” opens tomorrow, Aug. 16, in Gallery II at the Fine Arts Center, and runs through Sept. 25. It includes work in metal sculpture, printmaking, painting, photography, drawing, and ceramics by Pierre-Felix Fix-Masseau, Demetre Chiparus, Henry Moore, Patrick McFarlin, Sally Williams, Stephen Cefalo, Thomas Amettiss, Leslie Garrett, Caleb Smith, Trevor Bennett, Brittany Wilder, Chris Cotton, Emily Wood and Logan Hunter.
One of two shows opening tomorrow at the University of Arkansas at Little Rock's Fine Arts Center is "Transformation 8: Contemporary Works in Small Metals," from the Society of Contemporary Craft in Pittsburgh, Penn.
The show, the SCC's biennial touring show, features sculptural objects and wearable art as well, such as rings, bracelets, pins and necklaces. It will be up until Oct. 2.
is now WILL BEGIN operating on winter hours AFTER LABOR DAY, so it's when it will be open weekends, 10 a.m. to 1 p.m. Saturday and 2 p.m. to 5 p.m. Sunday.
Brad Cushman explains that the "Transformation 8" refers to the series of Transformation exhibits. From media on the show:
“Transformation 8: Contemporary Works in Small Metals” is the 2011 edition of the Elizabeth R. Raphael Founder’s Prize series, which recognizes excellence in the field of contemporary craft. It features the work of internationally recognized and emerging artists, and highlights outstanding examples of contemporary works in small metals and jewelry. As with the previous shows, this exhibition continues the theme of “Transformation,” an appropriate focus for an exhibition honoring Elizabeth Raphael, a woman who believed passionately in the transformative power of art to change lives.
The $5,000 Raphael Prize was awarded to Meghan Patrice Riley for her necklace “Interstitial.” The jurors also awarded a $1,000 second prize to Mari Ishikawa, a Japanese-born artist currently working in Germany, for her “Parallel World,” a deeply expressive brooch in silver and Japanese kozo paper. Honorable mentions were awarded to the seminal metals artist Bob Ebendorf and emerging artist Daniel DiCaprio.
Winning the Juror's Gold Award was Judi Coffey for her complex abstraction "Eye of the Tiger," a rhythmic work with scraps of complementary color forming a circle in a square.
I am a big fan of Margaret Harrell's illustrative work. I say illustrative because she creates images with the tidiest of lines and hatchmarks and precision. Her "Recycling" is of a Chinese woman in a red coat peddling a cart laden with cardboard and plastic ties. Behind her is a wall with large Chinese letters, a flat area of blue that plays off the red in the woman's coat. Harrell won the President's Award of $600.
Some people will say I am not the best person to review a show of watercolors, since I'm not a big fan of the bleed. I am a control freak. I guess Jean Gill is too, because another work we liked was L.S. Eldridge's "Break Time at Brick Street," in which a woman sits outside a quaint storefront using her cellphone and smoking a cigarette. The window of the storefront reflects the street scene. This deft painting won the MSW Silver Award.
Sheila Parson-Talley's won the Conway League of Artists Spring Show and Competition last spring for her painting in this show, "St. Mark's Square," and it is great picture made with translucent dabs in a nicely finessed palette and lots of white space. Here she's nabbed the Sponsors Purchase Award.
Also see Jason Sacran's "Back Road," a nighttime scene lit by a street light just off the picture plane, Val Wright's "Spring Fling," and ... well, I'm going to name all the work in the show if I keep it up.
Johnny Reep, the retired Little Rock Fire Department captain who was the driving force behind the Arkansas Fallen Firefighters’ Memorial on the grounds of the State Capitol, is also a collector of firefighting memorabilia. His collection of photographs and other items is on exhibit at the Historic Arkansas Museum.
The photo above is captures one of the largest fires in Little Rock history, HAM says.
The Clinton Presidential Center opens a new exhibit Saturday, Aug. 10: “And Freedom for All: the March on Washington for Jobs and Freedom,” photographs by Stanley Tretick of the 1963 march at which the Rev. Martin Luther King Jr. delivered his "I Have a Dream" speech." Tretick, known for his photographs of the Kennedy White House (including the one of John John under the president's desk), was hired by Look magazine to make behind-the-scenes photos of the march. They were published for the first time this year by the Smithsonian.
The exhibition runs through Nov. 17; you can see it for free Aug. 17, President Clinton's birthday, which the library celebrates by charging no admission.
Work by realist painter Eric Forstmann of Connecticutt, who created a painting just for the Thea Foundation, will be shown at Thea starting Aug. 5. To get a preview of the artist through the eyes of his daughter, watch her Vimeo video here.
Among Forstmann's body of work is a series of paintings of shirts hung on a wall. In honor of Thea Leopoulos, the late daughter of Paul and Linda Leopoulos for whom the foundation is named, he included in one of his paintings a pink shirt with a tiny Thea Foundation logo on the collar. The first print of the work, "Six @ 3 p.m.," went to President Clinton at the Foundation's fundraiser in Washington, D.C., in April.
Prints will be available at Thea during the Forstmann show, which will run through Aug. 30; all proceeds will go to the foundation, which works to promote the arts as a path to better learning in schools. The exhibition will include several works by Forstmann.
Phillip Rex Huddleston, who organizes the Garland Art House, 1114 Garland St., is planning a night of art, literature and music tonight from 7:30 p.m. to midnight. There will be art by Stephen Cefalo, Logan Hunter, Caleb Knodell and Jason Andrew Smith, reading by Michael Inscoe and music by Whale Fire and others.
Cefalo was on the cover of last week's Arkansas Times as the Readers' Choice for Best Artist; read more about him here. Knodell apprenticed with one of Cefalo's favorite artists, Odd Nerdrum.
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