Gallery specializing in Modern and Contemporary Art with an emphasis on emerging and mid-career arti
NEW TO INVENTORY: “Spider Web” by Vija Celmins.
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Vija Celmins, a Latvian-American visual artist, is renowned for her hyper-realistic depictions of natural landscapes and phenomena, including the ocean, spider webs, starry skies, and rocks. In her earlier career, she also created pop sculptures and monochromatic figurative paintings.
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Images: © Vija Celmins; “Spider Web,” 2009; Screen print on rag paper (Edition of 117); 17.5 x 19 inches, sheet.
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Installation views from “Zachari Logan | All of My Little Landscapes”—on view through November 2, 2024.
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Zachari Logan, known for his meticulous draftsmanship and poetic visual language, invites viewers into a realm where the boundaries between the human body and the natural world are delicately blurred. The exhibition is a continuation of Logan’s deep engagement with themes of transformation, memory, and the environment. His works act as portals, guiding us through landscapes that are at once familiar and fantastical, intimate and expansive.
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No cats were eaten during the making of this image.
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NEW TO INVENTORY: “Pastel Cats” by Tim Walker.
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Tim Walker (b. 1970) is a British photographer who assisted Richard Avedon in New York early in his career. Walker is now well known and celebrated for his imaginative and lavish photographs. His work is represented in public collections such as the Victoria & Albert Museum and the National Portrait Gallery, both in London.
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Images: © Tim Walker; “Pastel Cats,” 2000/2009; Chromogenic print (Edition of 10); 30.25 x 50 inches.
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RECENT ACQUISITION: Doron Langberg, “Brice and Robert.”
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A significant, young figurative painter, Doron Langberg’s work relies on a sense of intimacy. Depicting himself, his family, friends, and lovers, the artist celebrates the physicality of touch in his depictions of q***r sensuality and sexuality.
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Images: © Doron Langberg; “Brice and Robert,” 2020; Five-color lithographic print on Somerset Velvet White (Edition of 75); 29.9 x 23.6 inches.
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TODAY, 4-6 PM: Exhibition Walk-Through with Zachari Logan.
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Join the artist this afternoon for an in-depth exploration of his solo show “All of My Little Landscapes.”
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The exhibition features a series of new and recent works, including the “Transformations” series, which portrays lush, verdant environments where figures seem to dissolve and merge with foliage. In other pieces such as “Hive No. 5, Dandelion” and “Pomegranate, Veneto,” Logan’s masterful use of detail draws viewers into an intricate web of flora and fauna, where a microcosm becomes a universe unto itself.
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“Spectre No. 1, Dead Flowers” references the Pre-Raphaelite painting “Ophelia” by John Everett Millais; while Logan’s detailed drawing on an old pair of men’s white briefs titled “Secret Garden Series No. 4, Briefs,” is a nod to the (homo)erotic story of Jeremiah and the loincloth from the Bible; and the n**e self portrait “The Feeding 5” contemplates St. Francis of Assisi and his preaching to birds in trees.
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Ultimately, the body as landscape, and the projection of the landscape onto the human form, is what brings together these disparate works in an array of media.
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Image: © Zachari Logan; “Transformations, (The Dream), No. 2,” 2024; Acrylic on wood panel; 7 x 5 inches.
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OPENING RECEPTION TOMORROW, 09.06.2024, 6-8 PM: “Zachari Logan | All of My Little Landscapes.”
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Logan’s detailed drawing on an old pair of men’s white briefs titled “Secret Garden Series No. 4, Briefs,” is a nod to the (homo)erotic story of Jeremiah and the loincloth from the Bible.
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“Central to my work is the notion of the human body as land; a single, inseparable aspect of a much larger whole. Often depicting the geography of ‘the ditch’, these works situate the body (specifically the self) in a nexus of ‘q***r re-wildings’. Ditches, cultivated largely by the enforcement their marginality, exist on the sides of roads near farmers’ fields, or in urban settings in spots left to grow wild or unkempt, becoming stand-ins for q***r space.” —Zachari Logan
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Image: © Zachari Logan; “Secret Garden Series No. 2, Briefs,” 2024; Ink on fabric; 12 x 15 inches.
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OPENING FRIDAY: "Doris Mitsch | Locked Down Looking Up" - https://mailchi.mp/clampart.com/opening-friday-doris-mitsch-locked-down-looking-up
OPENING FRIDAY, 09.06.2024: “Doris Mitsch | Locked Down Looking Up.”
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“Locked Down Looking Up” started as a series of images made over time from a fixed point—outside the artist’s front door—during the San Francisco Bay Area’s lockdown to slow the spread of Covid-19. Multiple shots were combined to show the flight trails of birds, insects, and bats. While most everything in Doris Mitsch’s life had come to a standstill, up in the air there was still a lot going on. Later, when she started to be able to move around a little more, she began to explore other locations.
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According to Mitsch: “We humans have invented whole digital worlds, but sometimes we still need to be reminded that there’s more in this heaven and Earth than is dreamt of in our philosophy. And that there are endless ways to look at familiar sights, like a bird in flight, with fresh eyes; to expand our shared experience in a way that connects us with the rest of the living world; to feel both kinship with our fellow creatures and respect and even reverence for their otherness.”
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Image: © Doris Mitsch; “Lockdown Gulls Sunset,” 2022; Archival pigment print.
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OPENING FRIDAY: “Zachari Logan | All of My Little Landscapes” - https://mailchi.mp/clampart.com/opening-friday-zachari-logan-all-of-my-little-landscapes
HAPPENING NOW: Feature Shoot Emerging Photography Awards!
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CLOSING TODAY AT 6 PM: “Sharp Cuts: Q***r Collage.”
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Featuring Aaron Krach, Anthony Goicolea, Antonio Pulgarín, Boris Torres, Charles Wilkin, Florencia Alvarado, Guanyu Xu, John Cassidy Smith, John O’Reilly, Jonah Samson, Justine Kurland, Kelli Connell/Natalie Krick, Ken Graves, Lovie Olivia, and Michael Young.
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David Wojnarowicz’s assertion, “I make collages of various things from the world and then I find out what I’m about from the collage,” encapsulates the thesis of the show. Here, each artwork is not merely a visual assemblage but an introspective and critical dialogue with its constituent fragments. The act of collaging becomes a practice of self-exploration and socio-political critique, where the juxtaposition of images, texts, and objects engenders a space for subversion and reclamation.
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Images: © John O’Reilly (Aaron Krach; “20CM_025,” 2022; Collage; 10.75 x 7.5 inches.
Image 2: © Installation view at CLAMP.
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.cassidy.smith ***rcollage
LAST CHANCE to see “Sharp Cuts: Q***r Collage”—closing tomorrow, 08.29.2024, at 6 PM.
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Aaron Krach’s series titled “Twentieth Century Men” is constructed from two books: a catalogue from MoMa called /Sculpture of the 20th Century/ (1952) and a book of male erotic photographs, /The Look of Men/, (1980) by Victor Arimondi.
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Krach says: “I loved both books for their still-potent visual pleasure. Yet I felt guilty for enjoying them. Modernism did not equal progress, at least not for most people. And the history of gay men—and the world—forever changed during the 1980s.”
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An 88-page book, produced in an edition of 100, is available for purchase at CLAMP for $45 + shipping.
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Image 1: © Aaron Krach; “20CM_025,” 2022; Collage; 10.75 x 7.5 inches.
Image 2: © Installation view at CLAMP.
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Happy birthday, Mel Roberts! Mel would have been 101 today.
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Mel Roberts was born in Toledo, Ohio in 1923. He started creating his own imagery as a teenager by shooting 16mm movies of his friends. He was drafted in 1943 and served as a cameraman documenting World War II in the South Pacific. After the war, Roberts moved to California. Like many, he wanted to work in Hollywood. He studied cinema and graduated from the University of Southern California with a degree in filmmaking. One of Roberts’ earliest projects after graduation was working on the blacklisted film, “Salt of the Earth,” as music editor.
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Throughout the mid- to late 1950s Mel Roberts was working for a variety of Hollywood studios as a director, cinematographer, and film editor. Roberts bought his first still camera during this time, and began shooting his friends and lovers.
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From the late 1950s through the late 1970s, Roberts’s photographs of young men were published in a variety of American and European magazines, including /Young Physique/.
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Image: © Mel Roberts (1923-2007); “Joey Richards, Yosemite, Bridal Veil Falls,” 1969/printed later; Cibachrome print; 20 x 16 inches (50.8 x 40.6 cm), sheet.
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Are you headed out of town for the weekend?
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Congratulations to Adam Ekberg on press from the /Virginia Quarterly Review/ (see link in bio).
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Paul Reyes writes: “Adam Ekberg has described his body of work as an “alchemy of sorts.” The subjects of his large-scale photographs include, among other things, a catapulted lawn chair, shaving cream zipping through a ring of fire, and milk performing all kinds of acrobatics. Everyday stuff conscripted for hyperactive still lifes, household items clowning around and pulling off stunts. A storybook could be spun out of any of these situations.”
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Images: © Adam Ekberg; “Lawn Chair Propelled,” 2017; Archival pigment print.
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NEW TO INVENTORY: “Untitled (Tree with Pinwheel)” by Russell Lynes (1910-1991).
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This is a rare Magic Realist painting from 1947 by Russell Lynes, the younger brother of famed photographer George Platt Lynes. Russell was an art historian as well as a managing editor of Harper’s Magazine.
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Image: © Russell Lynes; “Untitled (Tree with Pinwheel),” 1947; Oil on canvas; 23 x 17 inches.
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NEW TO INVENTORY—“Glen Thompson” by George Dureau.
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Known as a painter who first turned to photography in order to create studies for his canvases, George Dureau is now best remembered for his arresting, intimate portraits with the camera. A cult figure who was well-known in his hometown of New Orleans, he is often credited for influencing Robert Mapplethorpe, who collected his work.
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Image: © George Dureau (1930-2014); “Glen Thompson”; Gelatin silver print; 20 x 16 inches, sheet.
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NOW ON DISPLAY: “PL Bay” by Lovie Olivia is included in “Sharp Cuts: Q***r Collage” through 8/29 at CLAMP.
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The artist writes: “Beauty, body, archeology, history, and intersectionality are recurring themes of my ongoing multidisciplinary practice. My paintings, prints, and installations reflect my interests in complex identities, cultural anthropology, and social exchange through unusual methodologies. I employ a personally modified process of fresco (including digital fresco) that experiments with abstraction and incorporates my visual language as ways of exploring themes of race, gender, power, sexuality and the different value systems attached to them.”
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Olivia continues:
“[My] multi-dimensional works embody stratums of data and scores through a seductive q***r-ing of materials and assemblage. This marriage of archaic and modern materiality are used to honor the zeal of painting, celebrate the decorative and domestic, and utilize the art of excavation while carefully exploring human histories, specifically the histories of q***r women of color.”
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Image: © Lovie Olivia; “PL Bay” 2023; Medical file folders, squid ink, graphite, glitter, acetate, vellum (Unique); 14 x 11 inches.
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NEW TO INVENTORY: “Untitled” by Pol Anglada.
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Pol Anglada discovered his passion for drawing through his father’s old comics, immersing himself in the styles of Milo Manra, Tanino Liberatore, and Enki Bilal. In his teens, he discovered the work of Tom of Finland and various other ho******ic illustrators. He moved to Paris to pursue a career in fashion while continuing illustration in his spare time. Anglada’s artworks appear across a variety of media. He has collaborated on capsule collections and prints with fashion brands such as Moncler, JW Anderson, Phipps, and Ami, and has worked with musicians such as Bad Gyal and John Carroll Kirby. He has created artwork for magazines such as Gayletter, Butt, Têtu, Kink, and more.
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Images: © Pol Anglada; “Untitled,” 2023; Pencil and watercolor on paper; 15.5 x 11.5 inches
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RECENT ACQUISITION: Josh Smith, “Untitled.”
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Josh Smith was originally trained as a printmaker. He has since become known for expressive figurative and abstract paintings and rough-hewn monochromes.
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Images: © Josh Smith; “Untitled,” 2018; Xerox print (Edition of 50 + 10 APs); 11 x 8.5 inches.
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“’Sharp Cuts: Q***r Collage’ is the best group show of photography to be found this summer in New York. . .”
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Loring Knoblauch wrote an extensive review of “Sharp Cuts: Q***r Collage” for Collector Daily. Read the full review at the link in our story/bio.
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From Knoblauch’s review: “[‘Sharp Cuts: Q***r Collage’] asks us to stop and think, in particular about the ways photocollage can function when seen through a q***r lens. And when we step back and reconsider questions like who is doing the seeing, what their vantage point might be, what source materials they have chosen to work with, and who the resulting artworks are for, the resulting ideas broaden our possible understandings of photocollage with richness and intelligence.”
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Image 1: © Kelli Connell/Natalie Krick; “Suits,” 2022; Archival pigment print (Edition of 6); 30 x 24 inches.
Image 2: © Kelli Connell/Natalie Krick; “Blackout,” 2021; Archival pigment print (Edition of 6); 30 x 24 inches.
Image 3: Installation image at CLAMP.
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***rcollage .cassidy.smith
“Sayville Train Tracks” and other works by Meryl Meisler’s are included in “Fire Island: The Art of Liberation” at the Long Island Museum in Stony Brook through 12.15.2024.
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Only eight miles away from Long Island’s south shore, but a world apart from Long Island’s suburbia—this barrier island seashore offers residents and visitors the freedom to express themselves, both personally and artistically. It has offered a warm-weather respite to Long Islanders and New Yorkers for more than a century, with ferry service beginning in the mid-19th century, soon after the first hotels were built. The Hamlets of Cherry Grove and Fire Island Pines have provided LGBTQ+ New Yorkers the freedom to express themselves since the mid-20th century, and these communities have been celebrated worldwide as a place of acceptance, drawing artists seeking inspiration.
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Featuring works by Paul Cadmus, Meryl Meisler, Tom Bianchi, John Laub, Joanne Mulberg, TM Davy, Doron Langberg, Louis Fratino, and more.
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Long Island Museum, 1200 Route 25A, Stony Brook, NY 11790. Thursday - Sunday, 12 - 5 PM.
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Image: © Meryl Meisler; “Sayville Train Tracks,” Sayville, NY, 1978; Gelatin silver print.
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NOW AVAILABLE: The second edition of Luke Smalley’s monograph /Excercise at Home/, published by Twin Palms. Available for $60 + shipping.
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In /Exercise at Home/, now reissued after being out of print since 2007, Smalley returns to his native Pennsylvania to consider the small-town interiors and landscapes that are the settings for his portraits of young athletes. Color photographs, inspired by a more innocent era, combine whimsy with the inexplicable.
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Smalley hires a local seamstress to construct a colossal medicine ball; he binds two boys together with a “harness” and leaves them in an empty room for a psychological game of tug-of-war, while somewhere nearby two others lead donkeys around the floor of a basketball court in a high school gym. Scale, time and content are altered to create the world Smalley inhabits. The lush colors of this new vision belie the viewer’s sense of dislocation.
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Contact the gallery to get your copy.
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Image: Book cover [© Luke Smalley (1955-2009); “Sasha,” 2007; Archival pigment print.]
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“Hands” by Florencia Alvarado in “Sharp Cuts: Q***r Collage”—on view through 8/29 at CLAMP.
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“Hands” is a large body of work that uses cut-outs, sculpture, photography, and digital collage. The process begins with photographing different hands—from flesh to plaster—and delicately manipulating the collection like a puzzle in front of the lens.
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In Alvarado’s work the improvisation, spontaneity, and stream of consciousness all play an important roles. The hands represent the power of vulnerability and the urge to connect through touch and human relationships.
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Florencia Alvarado (Maracaibo, Venezuela) is a visual artist, photographer, and designer based in New York. She is one of the Founders and Co-Editors of /WMN Zine/, a Lesbian-printed publication twice awarded with the Queens Funding for the Arts Grant.
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Images: © Florencia Alvarado; All from the series “Hands,” 2018; Archival pigment print (Edition of 5); 14 x 11 inches.
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Interview with Brian Paul Clamp by Gustavo Forcada in Volume No. 8 of BOYS! BOYS! BOYS! Magazine. (See link in bio.)
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The article features artworks by Mel Roberts, James Bidgood, Jan Rattia, Luke Smalley, Amos Badertscher, Daniel Handal, and Mark Beard.
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To one question Brian responds: “It really is an important part of my job to be able to predict what artwork will be well-received and collected by the public at large. That being said, I am often wrong! It is more important to follow my instincts and show work that excites and stimulates me, and has something important to contribute, hoping that people trust or are at least curious about my judgment, and will come to see and discuss what I choose to put on display.”
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Images: © Mark Beard; “Untitled (Man with Bouquet of Lilies),” 1996; Polaroid transfer on Rives BFK paper; 22 x 15 inches, sheet; 10 x 8 inches, image.
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.pascal
“You Ain’t My Daddy” by Antonio Pulgarín is included in “Sharp Cuts: Q***r Collage”—on view through 8/29 at CLAMP.
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The artist writes: “My project, ‘Lost Throughout the Pages (Whispers of The Caballeros),’ is a natural progression of familiar themes that explore masculinity and the politics of q***r desire through appropriation and collage. This body of work reimagines two decades of q***r archival imagery through the lens of my q***r Latinx/é identity. Through in-camera collages that fragment and replace sections of the original archival images with textile patterns and colors inspired by my Colombian heritage, I aim to challenge and interrupt the historically white q***r canon that these original archival images are centered on.
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He continues: “These collages speak to a time when q***r artists of color used coding in their work to speak on their lived experiences and thoughtfully challenge the white canon, transforming each image to build a counter-archive. Elements of the original images are removed and replaced with silhouettes or textile patterns, reclaiming and reinserting my q***r Latinx/é identity into the narrative. Presented on surfaces like bamboo plywood and acrylic glass, these collages ground themselves in personal and cultural nostalgia, echoing the way photography shaped my upbringing.”
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Image: © Antonio Pulgarín; “You Ain’t My Daddy” 2023; Archival pigment print; 30 x 20 inches.
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NEW TO INVENTORY: “Larry” by Sally Mann.
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This is an early portrait of the artist’s husband, Larry. The two met in 1969 and were married in 1970. The couple live together in their home which they built on Sally’s family’s farm in Lexington, Virginia.
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Image: © Sally Mann; “Larry,” 1997/2000; Gelatin silver print; 8 x 5 inches.
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NEW TO INVENTORY: “My Dog, Royce 1” by Takashi Homma.
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This photograph was the cover image of the Japanese artist’s 2008 monograph with Aperture.
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Image: © Takashi Homma; “My Dog, Royce 1,” 2005; Chromogenic print (Edition of 30); 11.625 x 9.5 inches, image.
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247 West 29th Street
New York, NY
10001
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An animation illustrating the creation of imagery for “Doris Mitsch | Locked Down Looking Up.” — “Locked Down Looking Up” started as a series of images made over time from a fixed point—outside the artist’s front door—during the San Francisco Bay Area’s lockdown to slow the spread of Covid-19. Multiple shots were combined to show the flight trails of birds, insects, and bats. While most everything in Doris Mitsch’s life had come to a standstill, up in the air there was still a lot going on. Later, when she started to be able to move around a little more, she began to explore other locations. — Image: © Doris Mitsch; “Lockdown Gulls Sunset,” 2022; Archival pigment print. — @dorismitsch #lockeddownlookingup #birds #birdsinart #flightpatterns #contemporarylandscape #gullsinflight #sunset #brianclamp
OPENING RECEPTION TONIGHT from 6 - 8 PM. — Brian Paul Clamp of CLAMP and Ghislain Pascal of the Little Black Gallery are pleased to present “Uncensored,” an exhibition of photographs by AdeY. — The images in the exhibit are playful and experimental with bodies often shown in choreographed poses or formations. The viewer is given the right to interpret the images as they wish, which is an important part of AdeY’s intent. — @__adey__ @ghislain.pascal @boysfineart @thelittleblackgallery #AdeY #uncensored #contemporaryphotography #brianclamp #malefigurative
An exhibition walkthrough of “Anthony Peyton Young | As Above, So Below”—an exhibition of paintings curated by Joseph Wolin, on view through September 9th. — Joseph Wolin writes: “Transferring AI-generated compositions to black canvas by painting them with bleach, Young turns his underlying process into a metaphor. Is it too much of a stretch to imagine that the very creation of the image by means of the removal of color from the fabric by a whitening agent might echo the corrosive effects of a societal privileging of whiteness on the formation of Black identity? That the bleach-on-black-canvas underpainting reverses traditional artistic technique—working by subtraction instead of addition, rendering the image in light on dark instead of the opposite—serves to underscore the topsy-turvy nature of Young’s images.” — @anthonypeytonyoung @jrwolin #anthonypeytonyoung #josephwolin #contemporarypainting #bleachpainting #asabovesobelow #brianpaulclamp #exhibitionwalkthrough
An exhibition walkthrough of “Daniel Handal | Engaños”—on view through September 9th. — Through the use of trompe l’oeil and visual tricks, Handal aims to challenge traditional notions of beauty by presenting flowers in unexpected and unconventional contexts. By placing these delicate, natural subjects in corrugated cardboard boxes, he creates a sense of contrast, transforming an inexpensive and common material into something beautiful. The rough, industrial material of the boxes serves as a foil for the delicate beauty of the flowers, challenging the viewer to consider the relationship between the natural world and the man-made. — @daniel_handal #danielhandal #engaños #trompeloeil #flowers #contemporaryphotography #brianclamp #trickoftheeye #exhibitionwalkthrough
A very happy 80th Birthday to Karen Gunderson this week! A powerful artist and a wonderful human being. . . — Karen Gunderson’s black paintings of water sparkle and shift as you move around them—just like the surface of water in sunlight. — © Karen Gunderson; “A Little Bit Further,” 2008; Oil on board; 12 x 12 inches. — @karengundersonpaintings #karengunderson #blackpaintings #blackpaint #movingart #womenartists #femaleartist #movingwater #waterpaintings #brianclamp #sparkleandshift #alittlebitfurther #hapticart
NOW ON VIEW: “Sandersonia (Cream + White)” from “Daniel Handal | Engaños”—through September 9th. — Handal’s project touches on the theme of our relationship with truth and how technology affects the way we see and interact with the world. By presenting these photographs as two-dimensional works that appear to be three-dimensional, Handal explores the ways in which photography can both create illusions and distort our perception. — © Daniel Handal; “Sandersonia (Cream + White,” 2023; Pigment print on gesso-coated aluminum, painted museum box (Edition of 3 + 2 APs); 20 x 16 x 1.5 inches. — @daniel_handal #danielhandal #engaños #trompeloeil #flowers #contemporaryphotography #brianclamp #sandersonia #stilllife #floralstilllife
NOW ON VIEW: “Peach Ranunculus, White Veronica & Freesia (Boho White)” from “Daniel Handal | Engaños”—through September 9. — Through the use of trompe l’oeil and visual tricks, Handal aims to challenge traditional notions of beauty by presenting flowers in unexpected and unconventional contexts. By placing these delicate, natural subjects in corrugated cardboard boxes, he creates a sense of contrast, transforming an inexpensive and common material into something beautiful. The rough, industrial material of the boxes serves as a foil for the delicate beauty of the flowers, challenging the viewer to consider the relationship between the natural world and the man-made. — © Daniel Handal; “Peach Ranunculus, White Veronica & Freesia (Boho White),” 2023; Pigment print on gesso-coated aluminum, painted museum box (Edition of 3 + 2 APs); 18 x 16 x 1.5 inches. — @daniel_handal #danielhandal #engaños #trompeloeil #flowers #contemporaryphotography #brianclamp #ranunculus #freesia #stilllife #floralstilllife
“Her in Holbein Gold” is a new unique cyanotype made by Brian Buckley that shimmers when light hits the print’s surface. — Image: Brian Buckley; “Her in Holbein Gold,” 2023; Unique cyanotype with pigment suspension; 10 x 9 inches. — @buckleyphotoworks #brianbuckley #uniquecyanotype #alternativeprocess #abstractphotography #brianclamp #holbeingold #goldartwork #cyanotype #squid
An installation walkthrough of the exhibition “Edge of All Things”—on view at CLAMP through March 4, 2023 featuring work by Zachari Logan, Eric Rhein, and Adam Liam Rose. — @zachari_logan @ericrheinart @adamliamrose #edgeofallthings #zacharilogan #ericrhein #adamliamrose #brianclamp #groupshow #exhibitionwalkthrough
NEW TO INVENTORY: A fantastic 24 x 24-inch painting by Karen Gunderson now on display in the gallery. — Karen Gunderson’s black paintings of water sparkle and shift as you move around them—just like the surface of water in sunlight. — © Karen Gunderson; “Quiet River,” 2021; Oil on linen; 24 x 24 inches. — @karengundersonpaintings #karengunderson #blackpaintings #blackpaint #movingart #womenartists #femaleartist #movingwater #waterpaintings #haptic #quietriver #brianclamp #sparkleandshift
Karen Gunderson’s black paintings of water sparkle and shift as you move around them—just like the surface of water in sunlight. — © Karen Gunderson; “Sands Below #1,” 2008; Oil on board; 12 x 12 inches. — @karengundersonpaintings #karengunderson #blackpaintings #blackpaint #movingart #womenartists #femaleartist #movingwater #waterpaintings #haptic #sandsbelow #brianclamp #sparkleandshift
Trailer from the film “Obi Mbu (The Primordial House): An Igbo Creation Myth”—co-directed by Mikael Owunna and Marques Redd. — The film is part of the gallery's current exhibition “Cosmologies.” — Video: “Obi Mbu (The Primordial House): An Igbo Creation Myth” (Co-Directed by Mikael Owunna and Marques Redd), 2021; HD Video with sound on USB Flash drive; Accompanied by a certificate of authenticity, installation instructions, and custom box (Edition of 5 + 2 APs); 30 minutes, 47 seconds. — This dance film is centered in the Primordial House, located in the Sirius star system, from which creation emerges. Eke-Nnechukwu, the Igbo high god, and Chukwu, her masculine counterpart, exist in perfect unity in and as the Blackness of space. — @mikaelowunna @primordial_human #cosmologies #Dogon #Igbo #ObiMbu #primordialhouse #EkeNnechukwu #Chukwu #artfilm #brianclamp #dancefilm #creationmyth #film
Formerly Elisa Tucci Contemporary Art, Now El
Mosholu Avenue
Elizabeth A. Sackler Center for Feminist Art
Eastern Pkwy
