Contributed by Anna Gregor / The anxiety of being unable to distinguish artifice from nature has haunted art since the Ancient Greeks.
When artist Laurie Victor Kay began her project Apothecary fourteen years ago, I’m sure she assumed its subject matter would eventually yield into a different series, but things are hardly ever so straightforward.
Arte al Día is a medium specialized in Latin American art with a trajectory of more than forty years.
In art school classrooms nationwide, teachers show their students grainy reproductions of Rene Magritte’s “The Treachery of Images,” in which the bumptious surrealist limned a photorealistic pipe over the inscription “This is not a pipe.” The concomitant ideological package—that images, especially painted ones, can never be faithful to their referents—has become so much a requisite part of our vernacular that it seems obvious.
Christie's Evening Sales last night (Nov. 19) proved to be another litmus test for the selective buyer, who seems interested only in top-quality lots, particularly those making their first appearance on the rostrum.
Dubai-based designer Roham Shamekh is set to debut his latest collection Pharrell’s Echoes at this year’s edition of Design Miami, running from December 4 through 8.
As demonstrated by the major exhibition inaugurated last October at the Bourse de Commerce in Paris, not only was this movement very well known, but also the influence that the works of its protagonists (Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Emilio Prini and Gilberto Zorio) was and is influential for the younger generations[1].