Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .
After structural issues forced The Armory Show into last-minute relocation pirouettes last year, the fair returns between 5 and 8 March 2020 with a flourishing programme, complemented by stand-out shows across New York City.
For her second solo exhibition at Thomas Dane Gallery in London, Ella Kruglyanskaya's compositions signal the many possibilities of paint.
David Ostrowski produces large abstract canvases in manic moments of artistic instinct. He believes that the medium of painting has a relentless life cycle, and by bringing painting into conversation with contemporary artistic practice, he challenges the powerful role that technology plays in current artistic trends. Ostrowski studied painting at the Kunstakademie in Düsseldorf under Albert Oehlen, who siginificantly influenced the young artist and prompted him to explore Abstract art in depth. A serious fire at Ostrowski’s studio in 2005 gave the artist a new perspective on how to approach his work, by revealing the power that chance plays in producing art. This ideology persists in his practice and allows him to explore the boundaries of painting in its production and perception. To achieve artworks that are formed as a result of chance, many of Ostrowski’s techniques involve speed of application, incorporating spray paint and fast-drying lacquers. The process builds up multiple layers on the canvas as the artist repeatedly paints over certain parts of each composition. Speed, immediacy and impulse are integral to the editing process as they drive him to make quick decisions. Paint is not the only mediun that Ostrowski incorporates into his large artworks: found objects from his studio such as newspaper, scraps of wood and bits of dirt are glued to the canvas, creating a sense of depth, texture and a sculptural element to the composition. The accumulation of layers exemplifies how each canvas is constantly subject to consideration and revision. The installation and presentation of artworks is an equally important factor in the production process for Ostrowski. He rejects conventional gallery-hangs – exhibiting works on the wall at eye level. Instead, Ostrowski hangs his canvases from the ceiling in the middle of the gallery space, sometimes hanging works back-to-back.
Text courtesy Sprüth Magers.
'What’s amazing is that in this climate, all these fairs—the Armory Show, ADAA, Independent—are the best they have been in years,' said Sandy Rower, Alexander Calder’s grandson and the head of the artist’s foundation. 'The dealers are just trying harder.' He was just off the lobby at Spring Studios, where Independent, as iconoclastic as its name...
Despite being good friends since college, and sharing a studio for a time, Cologne-based artists David Ostrowski and Michail Pirgelis rarely exhibit together. 'We each take on extremely different contextual issues in our work,' Ostrowski explains, 'and our working methods couldn’t be more different.' A joint exhibition in...
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