Dedicada desde 1977 a las artes visuales –y con estudios previos como profesora nacional de inglés- Noemí Schneck se formó en los talleres de Tana Sachs, Cristina Dartiguelongue y Luis Negrotti, donde experimentó con distintos materiales como los metales, fibras, papel, telas endurecidas, fibras plásticas y diversos materiales industriales aplicados a la pintura, la escultura y las instalaciones pero fundamentalmente al arte textil. Continue reading
Francis Cape’s straightforward-appearing art communicates a world view that is complex and sophisticated. As the son of a British diplomat, Cape was born in Portugal and grew up in major cities all over the world. This, and his apprenticeship to a wood carver in York, England from 1974-79 are early markers that led to his life with artist/wife Liza Phillips. Their innovative yet traditional art practices enliven the light-filled rooms of their renovated home and studios in Narrowsburg, New York, a low-income Republican area of Sullivan County that was recently devastated by a derecho, a kind of horizontal tornado. Cape told me that thirty trees were down on his land, and I could see he was already in the process of turning some fallen trees into firewood and hauling others away. In Narrowsburg, Cape serves as a volunteer ambulance driver and head of the Democratic Party and considers this his “social practice.” Continue reading
The human body. The human being. Expectation and convention might suggest, I suppose, that I talk about the aesthetic gaze as it is sculpturally focused on the human body. But I’ll slide sideways a bit, so that while the human body, the human being, is indeed the focus of work I want to talk about, there is nary a representation nor visual reference to the aforesaid anyway in sight. This is about the foreign invaders, those intrusions (intended or not) into and upon the body that, for the most part, fall into two distinct groups: viruses and bacteria and pathogens on the one (by-and-large unwelcome) side, and the oral medications we so increasingly consume to deal with myriad physiological and psychological maladies on the other. Viruses and bacteria and other pathogens are generally of the natural world, while medications are obviously no such things. The oppositions of the natural and the synthetic come into play here, but intentionally so, and I proffer by way of examples the work of two artists, Luke Jerram and Colleen Wolstenholme – one British and the other Canadian. Continue reading
In 1909, at a time when automobiles were just starting to gain traction as a technology in society, an Italian poet named F. T. Marinetti penned “The Futurist Manifesto,” which recounts the excitement of a car accident as allegory to inspire a generation of artists to embrace the aesthetics of technology. And in turn, these artists inspired designers, architects, critics, engineers, and even politicians with their language of speed, danger, and mythological struggle. Thirty years later, the European continent was entering its second catastrophic war. Futurism didn’t survive these real-world dangers (and many of the Futurists themselves did not survive it, either). But the aesthetics of speed were already tied in to the shape and feel of our technology. Continue reading
Artista Visual, oriunda de Puerto Tirol, Chaco, Fabiana Larrea formó su carrera estudiando el Profesorado de de Grabado y Dibujo en el I.S.P.E.A.B.A. Alfredo Pértile de Resistencia. Como gestora de proyectos, coordinó Encuentros Nacionales y Sudamericanos de Grabado en Resistencia y en la sede del Museo Provincial de Bellas Artes René Brusau, fue co-fundadora de Grabar, asociación para la difusión del grabado con el apoyo de Fundación Antorchas y coordinó el Proyecto de Intercambio Lingüístico Cultural Argentina-Francia (P.I.L.C.A.F.). Sus intervenciones textiles se expusieron en espacios tales como la Casa de las Culturas de la provincia del Chaco, Facultad de Arte, Diseño y Ciencias de la Cultura dependiente de la Universidad Nacional del Nordeste en Resistencia, en el Teatro Oficial Juan de Vera de la ciudad de Corrientes, Fundación Federico Klemm en Buenos Aires y el Museo Provincial de Bellas Artes Juan Ramón Vidal de la ciudad de Corrientes.
Un trabajo elegante, delicado, donde la trama atrapa mucho más que las fibras que la componen. Continue reading
I spent most of last week preparing for First Friday’s open studio at Grounds for Sculpture by working on three altered metal mixing bowls and cleaning up the Tech MEB Workshop to get it ready to display the work for the public to see. The night of the event there was a good turnout of people and our conversations ranged from talking about materials and process to concepts and backstories. What I ended up focusing on the most was the process and where the idea for this project originated from. Continue reading
It is a bittersweet feeling knowing that the residency is coming to an end. It has been 4 weeks of learning, hard work, forming relationships and exploration. It was a pleasure to share a studio with fellow artist-in-residence Natani Notah, and learn about her practice and community. I am leaving with a new friendship and profound respect for her as an artist. Continue reading