Nearly one hundred years after Tamara de Lempicka (1894-1980) first exhibited her work in San Francisco, a sweeping survey of the storied and glamorous artist opens again in the city. This October, at the de Young—part of the Fine Arts Museums of San Francisco—the show marks the artist’s first U.S. retrospective and illuminates new details about her life.
de Lempicka’s bold, stylized figures have become synonymous with the 1920s, an era characterized by opulence, sophistication, and youthful optimism. More
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Elaborate paper sculptures continue to emerge from Patrick Cabral’s Manila studio, including a roiling cockfight that took more than a year to complete. Stretching six feet wide, the monumental work highlights Cabral’s exquisitely cut motifs, which add texture and depth to the otherwise smooth medium. Layers of lace-like patterns, stripes, and other frills adorn the birds shown pre-fight with wings splayed and claws bared.
Cabral (previously) often invokes Filipino culture in his practice. More
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“I find myself looking at the world as a surveyor—telling stories through objects,” says Norwood Viviano, whose kiln-cast glass sculptures map iconic city skylines through each location’s recognizable industries. Houston oil, Pittsburgh steel, and Portland timber are represented alongside odes to Detroit “Motor City” and Toledo, “The Glass City.”
Through conversations with historians, urban planners, demographers, climate scientists, and statisticians, Viviano studies layers of data and lore to build an understanding of each city. More
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After a traumatic childhood moment in which she nearly drowned, Pacita Abad (1946-2004) developed a profound fear of water. The massively prolific Filipina-American artist decided to overcome her trepidation in the 1980s and signed up for diving lessons at the British Sub-Aquatic Club in Thailand. There, she learned to safely plunge into the depths of the sea, completing more than 80 dives across the Phillippines in her lifetime.
On view at Tina Kim Gallery in New York is a vivid series of trapunto paintings—a quilting technique that involves adding stuffing for puffed layers—inspired by Abad’s love for swimming. More
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Cologne-based designers Martin Schneider and Dominik Schmitz of the Open Press Project are back with a new design that scales up miniature printmaking. Currently funding on Kickstarter, The Postcard Printing Press is the largest miniature model the duo have created so far, although it still fits on the palm of a hand and can be neatly tucked into a backpack for easy transport.
As its name suggests, the 3D-printed, tabletop device is designed for paper about 4 x 9 inches wide and is capable of all types of intaglio printing, from etching and engraving to linocuts and woodcuts. More
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Over the centuries, humanity’s relationship with wilderness has becoming increasingly fraught, as we continue to diminish natural green spaces in favor of roads, buildings, and manicured lawns. For Vashon Island-based artist Ariana Heinzman, our connection—or disconnection—to nature plays a central role in her vibrant ceramics practice.
For her current solo exhibition, Habitat for a Fake Plant at J. Rinehart Gallery, Heinzman (previously) conceived of a collection of quirky stoneware houseplants that sit on stools, irregularly shaped large-scale paintings, and decapitated-looking cuttings installed on the wall. More
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A bronze, elf-like figure sits at the edge of the River Enz in Germany, waiting to greet passersby with delightful arcs of color. The mysterious form, installed as part of Ornamenta 2024, was conceived by Veronika Sedlmair and Brynjar Sigurðarson over three years. The Iceland and Germany-based creative duo, a.k.a. Studio Brynjar & Veronika, has been working together for more than a decade, designing and executing pieces inspired by the theatrical and narrative aspects of nature. More
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In the U.K., thousands of police remain on standby as a series of riots instigated by far-right supporters have escalated during the past week. The unrest that erupted last Tuesday was spurred by a senseless act: the murders of three children in a dance class in Southport, on the west coast of England, also left eight other children and two adults critically injured. Violence broke out in Southport, then spread quickly to other cities, culminating in assaults on police and racially-motivated attacks on hotels housing asylum seekers. More
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In Tomohiro Inaba’s intimate metal sculptures, majestic animals and gentle humans are the stuff of dreams and fairytales. As if scribbled energetically in 3D, delicate lines of iron transition the solid forms of deer, foxes, or sheep into thin air—what Inaba calls the “gradient to blank.” Yet this emptiness takes on a life of its own, spinning a sense of mystery and inviting the viewer to question what forces might be causing it or where the boundary lies between presence and absence. More
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“The eagerness to vilify ‘the other side’—usually on social media—complicates the less reactionary work that defines our mission.” — Jerry Brewer, The Washington Post, 11 June 2024
Did you know?
It seems reasonable to assume that the words vilify and villain come from the same source; after all, to vilify someone is—in some ways—to make them out to be a villain. Such is not the case, however. Although the origin stories of both vilify and villain involve Latin, their roots are quite different. Vilify came to English (via Middle English and Late Latin) from the Latin adjective vilis, meaning “cheap” or “vile.” Someone who has been vilified, accordingly, has had their reputation tarnished or cheapened in such a way that they’re viewed as morally reprehensible. Villain on the other hand, comes from the Medieval Latin word villanus, meaning “villager,” and ultimately from the Latin noun villa, meaning “house.” The Middle English descendent of villanus developed the meaning of “a person of uncouth mind and manners” due to the vilifying influence of the aristocracy of the time, and the connotations worsened from there until villain came to refer to (among other things), a deliberate scoundrel.