Renowned American artist Mateo Blanco is known for taking the ordinary and making it extraordinary! Now, visitors to the Museum of Art – DeLand have the chance to see one of his well-known pieces in person. Blanco’s “Hopi Girl” is on display from March 15 through July 14, 2024, as part of the museum’s exhibition, “The Figure: Selections from the Permanent Collection.” The piece features a young Hopi girl created entirely out of recycled rope Blanco found while sitting on a Florida beach.
The Jewish Museum in Vienna has disinvited the father-son artist duo, Elias and Gideon Mendel, from participating in the planned exhibition titled “I Am My Family: The Generations after the Holocaust” due to their criticism of the Israeli government. Despite the artists’ subsequent publication of an open letter on Instagram questioning the integrity of the museum’s leadership in determining the exhibition’s participants, the museum’s management has yet to issue a public statement on the matter. In an effort to address this regrettable turn of events, Elias Mendel, a London-born multidisciplinary Jewish artist, provided an exclusive interview to offer clarity on the situation.
Paola Zamudio of npz studio+ wanted to elevate the arts to new heights in celebration of the iconic Bell Works to honor the building’s rich history of innovation, so as the Lead Designer and Creative Director of Bell Works, she brought on friend and New York-based artist, Sebastien Courty for an unforgettable project. Amazed by the building’s grandeur and stylistic architecture, they were soon commissioned thereafter by Ralph Zucker, in honor of Jozef and Jonathan Straus, to create The Fabric of Bell, a subcollection from the in-house art collection of Totem, A Wall’s Jewelry. Inspired and commemorating the historic original Bell Labs, which was previously a research facility and awarded eight Nobel prizes during its tenure, the project was an innate expression and tribute to Eero Saarinen, the architect of the lavish Bell Works building.
Taste Contemporary is thrilled to present “Going Beyond,” a captivating two-person exhibition that showcases the extraordinary works of textile artist Michael Brennand-Wood and ceramic artist Anne Marie Laureys. These two artists, who have been closely associated with the gallery since its inception, are known for their ability to transcend the conventional and redefine the possibilities of their chosen materials. Held at Cromwell Place in London, this remarkable exhibition opened to the public on May 30th and will continue until June 4th, 2023.
Tom Glynn is a rare breed: an artist who can move effortlessly between artforms, materials, scales and registers, equally adept at making miniature paintings and monumental sculptures. And yet all of his work is unmistakably English in mood. His images are populated by the country’s Neolithic monuments and pastoral landscapes, and informed by the many artists who inhabited those places before him. Glynn is driven by the same Romantic spirit that motivated Palmer and Turner, Nash and Piper, Wallis, Lanyon and Hockney, but his art is never anything but his own. It is, after all, underpinned by an urge that has coursed through his veins since he first stepped foot in a sandpit.
How much do your paintings cost? “My paintings range in size, theme and medium and whilst I make very large and small paintings, the price can vary considerably. A small painting may take me one to two weeks to complete, while a very large painting will evolve over one to two months and involve more materials. Typically, I have sold A5 to A4 paintings from $5,000 to $8,000 (dependent upon the dealer or gallery commission) and very large ones from $10,000 to $15,000. My paintings will also be valued against my expertise, experience and reputation and of course every piece I make is unique and continues to increase in value. With regards to my sculptures and assemblages, prices are on application.”
Tom Glynn is a rare breed: an artist who can move effortlessly between artforms, materials, scales and registers, equally adept at making miniature paintings and monumental sculptures. And yet all of his work is unmistakably English in mood. His images are populated by the country’s Neolithic monuments and pastoral landscapes, and informed by the many artists who inhabited those places before him. Glynn is driven by the same Romantic spirit that motivated Palmer and Turner, Nash and Piper, Wallis, Lanyon and Hockney, but his art is never anything but his own. It is, after all, underpinned by an urge that has coursed through his veins since he first stepped foot in a sandpit. – Dr. James Fox | British Art Historian & Broadcaster
What makes your art unique? “My paintings, sculptures and assemblages are potentially unique as I explore the narrative of everyday events and issues, historical journeys, the paradox of objects and the abstract qualities of both landscape and the built environment. Direct responses to landscape are significant recurring themes. I work with a multitude of found objects, materials and techniques within the scope of painting and sculpture, in order to harness the mystery and visual excitement created by juxtaposition, visual memory and spatial configurations – the surrealist and dada placement of objects and images. Themes and visual ideas often explore incongruity, archaeological qualities, visual ambiguity, pictorial and real space, political irony, symbol and humour, resulting in a wide range of outcomes made from expressively applied paint, collage, assemblage, wood and objets trouvés that yield a profusion of colour, texture, form and spatial complexities.”
Tom Glynn is a rare breed: an artist who can move effortlessly between artforms, materials, scales and registers, equally adept at making miniature paintings and monumental sculptures. And yet all of his work is unmistakably English in mood. His images are populated by the country’s Neolithic monuments and pastoral landscapes, and informed by the many artists who inhabited those places before him. Glynn is driven by the same Romantic spirit that motivated Palmer and Turner, Nash and Piper, Wallis, Lanyon and Hockney, but his art is never anything but his own. It is, after all, underpinned by an urge that has coursed through his veins since he first stepped foot in a sandpit.
