コンテンツ種別写真動画複数枚｢#PR｣つき投稿 関連投稿国 指定なしカナダ アメリカ合衆国 関連都道府県 指定なし 並び替え投稿日順 ライク数順 コメント数順 エンゲージメント率順Happy Lunar New Year- we wish you all a great start to your Year of the Snake 🐍🧧🎆 We’re excited to highlight Alina Perez’s (@alina.perezz) stone lithograph, “Self Portrait after Tiresias.” An impression of the work is on view now in “Family Romance,” the artist’s first solo exhibition with Yossi Milo ✨ This edition is the first of its kind from Perez, who worked with Petrichor Press (@petrichorpress) to create it. The image was created by drawing directly onto the 800-pound stone, which was turned vertically to mirror the posture and process Perez uses in the studio. Swipe to see some behind-the-scenes images of the drawing and editioning process here 🪨✏️ “Self Portrait after Tiresias” foregrounds Perez’s notions of queer mutability, and the artist recasts herself as the titular prophet of ancient Greek myth. Claiming the snakes from Tiresias’ original tale as familiars of her own, the artist draws them close in a pose that mirrors Leonardo da Vinci’s famed portrait “Lady with an Ermine” (1489-1491). According to myth, Tiresias lived a long and eventful life, which included seven years during which he was transformed from a man into a woman. Whilst hiking on Mount Cyllene, Tiresias struck a pair of copulating snakes with a stick, angering the goddess Hera, who transformed Tiresias into a woman as punishment. After seven years, Tiresias encountered mating snakes once again, and, this time left them in peace. As his reward, Hera returned him to his original state as a man. Perez recognizes in Tiresias a metaphor for internal change as a response to the world, as well as the ways bodies and environments are contingent on one another. The snakes that surround Perez recall endemic and invasive species of her home region of South Florida. As Tiresias is changed by his encounter with serpents and gods, so individuals are by their formative experiences. Head to the link in our bio for more information on “Self Portrait after Tiresias.” “Family Romance” is on view through March 8 💭✨2025/01/31に公開- 指定なし2.16%82314Ibrahim Said acquired by the Renwick Gallery of the Smithsonian American Art Museum 🏺💫 We're delighted to share that Ibrahim Said's (@ibrahimsaidceramic) "Reflection" (2021) has been acquired by the Renwick Gallery of the Smithsonian American Art Museum (@renwickgallery), Washington, D.C. 🏛️ "Reflection" expands on the design principles and ceramic art histories evident in Said's "Floating Vase" works. In “Reflection,” Said's distinctive combination of hand-carved ornamentation and gravity-defying form is doubled in a vase that appears to levitate above another its own image. The pair is connected by pillars that emerge from the bodies and spouts of each vessel, pierced with decorative carvings inspired by jug filters characteristic of ceramics from Egypt's Fatimid Dynastic era (circa 900 CE). This feature would originally have only been visible to an individual drinking from such a vessel, and, in his work, Said turns it outward for viewers to see. In these carvings, Said incorporates the complex geometric patterns derived from Islamic art and architecture, which draw on their own long and overlapping history of ornamentation. The forms of the vessels themselves reference ceramics from ancient Egypt’s Naqada Period (circa 4000 – 3000 BCE), especially in the fine, burnished black glazes that covers their outsides. Said synthesizes these diverse cultural influences into a distinctly contemporary body of work, and anchors his practice in historical threads that originate millennia apart. "Reflection" was previously exhibited in Said's debut exhibition with Yossi Milo, From Thebes to Cairo. To see more of Said's work and learn more about the acquisition by the Renwick Gallery, head to our website at the link in our bio 💫🌐 Pictured: 1, 2. Ibrahim Said, Reflection, 2021, White Earthenware, 28 3/4" x 10" x 8 1/2" (73 x 25 x 22 cm) 3. [Installation View] Ibrahim Said: "From Thebes to Cairo," Yossi Milo, New York, 2024j2025/01/30に公開- 指定なし0.0%-1Samuel Fosso at SFMOMA 🥇📸 Samuel Fosso’s (@sam.fosso) “L_002853 (Muhammad Ali),” from his distinctive series African Spirits, is on view in “Get in the Game: Sports, Art, Culture,” a massive group exhibition at the San Francisco Museum of Modern Art (@sfmoma) on view through February 18, 2025 🥊✨ “Get in the Game” brings together more than 150 artworks and objects, covering 15,000 square feet of the Museum in a celebration of sport and its intersections with identity and popular culture. The show spans art, design, and interactive installation, and includes depictions of athletes and games, artworks created by athletes, designed objects, and historical ephemera. Samuel Fosso’s “African Spirits” series recreates iconic images of prominent figures from global movements of Black liberation through self-portraiture. Fosso’s image of himself as Muhammad Ali recalls the iconic April 1968 cover of Esquire shot by Carl Fischer, which depicted the famous boxer as Saint Sebastian following his protest of conscription for the Vietnam War. Recasting himself as political leaders, artists, and celebrities, the artist pays homage to these figures and reifies images in a powerful query into representation and self-determination. More on Samuel Fosso’s work can be found at the link in our bio 🌐💫 Pictured: Samuel Fosso, From the series ‘African Spirits’ L_002853 (Muhammad Ali), 20082025/01/25に公開- 指定なし0.0%-0We’re delighted to share that Shikeith is among the Joan Mitchell Center’s 2025 Artists-in-Residence 💙 Each year, the Joan Mitchell Foundation (@joanmitchellfdn) invites a robust group of artists to the Joan Mitchell Center in New Orleans, Louisiana. @shikeith is included in this year’s lineup of 35 artists, selected by a group of national and New Orleans-based jurors including carole frances lung, MaPò Kinnord, María Elena Ortiz, Pat Phillips and Kristina Kay Robinson. In 2019, Shikeith received one of the Joan Mitchell Foundation’s prestigious Painters and Sculptors Grants. 2025 marks the tenth anniversary of the Center and the centenary of Joan Mitchell’s birth, making it a particularly significant year for the program. Additional public programming in commemoration, including a retrospective exhibition of works by past residents, will be announced in the coming months. More about Shikeith’s work and the Joan Mitchell Center’s 2025 residency can be found on our website at the link in our bio 🌐✨2025/01/23に公開- 指定なし0.34%1302Matthew Brandt at the Brunnier Art Museum 💡🩶 Matthew Brandt’s (@phatbrandt) “AgXSB2041 (San Bernardino Forest)” (2023) is included in the group exhibition “Journeys: Landscape as Self Expression,” which opens this week at the Brunnier Art Museum of Iowa State University, Ames, IA (@university.museums) and is on view through July 27, 2025 🏛️✨ “AgXSB2041 (San Bernardino Forest)” recently joined the Brunnier’s permanent collection. “Journeys” explores a variety of landscape works from across a variety of time periods and media and focuses on the ways artists manifest aspects of identity and feeling in depictions of their surrounding worlds. The works on view articulate the importance of landscape as a genre that transcends geography and language and span forest scenes, seascapes, cityscapes, and even images of space 🔭💫 “AgXSB2041 (San Bernardino Forest)” is from Matthew Brandt’s “Silver” series, which combines aluminum-mounted silver gelatin prints with applications of liquid silver. This poetic gesture weighs silver’s role in photoreactive chemicals and photography history alongside its status as a precious metal, while transforming images of the landscape into moonlit mineral pools 🌖 More information on Brandt’s “Silver” series, and the exhibition “Journeys” at the Brunnier Art Museum, can be found on our website at the link in our bio 🌐✨ Pictured: 1. Matthew Brandt, AgXSB2041 (San Bernardino Forest), 2023, Silver on Silver Gelatin Print Mounted on Aluminum, 20” x 41” x 1 3/4” (51 x 104 x 4.5 cm) 2. Matthew Brandt, AgXSB2012, 2024, Silver on Silver Gelatin Print Mounted on Aluminum, 20” x 12” x 1 3/4” (51 x 30.5 x 4.5 cm)2025/01/22に公開- 指定なし0.01%-4OPENING TOMORROW | Alina Perez: Family Romance 💐💭 Yossi Milo is pleased to welcome the public for an artist’s reception celebrating “Family Romance,” @alina.perezz ‘s debut solo exhibition with the gallery, tomorrow, Thursday, January 16, from 6-8 PM. The physical world takes newly charged forms in Perez’s practice, and the artist engages deeply with the surroundings and traumatic encounters of her youth in Miami, Florida. Across “Family Romance”, the artist, her relatives, and loved ones take on new shapes and meanings alongside elements of Floridian urban life and nature. The poetics of the state’s ecology are rife with their own environmental tensions, being at once rich and fragile, precious and endangered, invasive and endemic; Perez positions these as parallel to those of human psychology. The fragility of a landscape like the Everglades is much like that of a young mind; possessive of a conjoined depth and vulnerability. “Family Romance” opens tomorrow with an artist’s reception from 6-8 PM 🌅✨ We’ll see you there! Pictured: Alina Perez, Fluorescence, 2025. Charcoal and Pastel on Paper, 50” x 38” (127 x 96.5 cm)2025/01/16に公開- 指定なし0.61%2344Ezra Stoller at Yale School of Architecture 📸🏙️ Photographs by Ezra Stoller are included in “The Tuskegee Chapel: Paul Rudolph X Fry & Welch,” an exhibition at Yale School of Architecture (@yalearchitecture) that explores the story behind the landmarked Tuskegee Chapel (1960-1969), and the efforts of the architectural partnership that went into this understudied work of midcentury architecture. The Tuskegee Chapel stands on the grounds of Tuskegee University, AL. In 1958, famed architect Paul Rudolph, known for his use of reinforced concrete, was commissioned to create a new master plan for Tuskegee University’s campus. Rudolph’s design for the Chapel, commissioned in 1960, is considered to be one of the most important Modern buildings constructed in Alabama. The Chapel’s facade and interior were rendered in brick to match the surrounding buildings, translated into masonry by Louis Fry, Sr., and Col. John Welch from Rudolph’s concrete forms. The exhibition includes Stoller’s iconic images of the Chapel from Architectural Record’s 1969 cover story on the building, alongside architectural models, rarely-seen construction drawings, concept sketches, new interviews with a member of the original design team, and much more. The show coincides with “Materialized Space: The Architecture of Paul Rudolph,” a retrospective considering Paul Rudolph’s architectural legacy at the Metropolitan Museum of Art, New York. “The Tuskegee Chapel: Paul Rudolph X Fry & Welch” at Yale School of Architecture is open through July 5, 2025. Find out more details at the link in our bio 🌐✨ Pictured: 1-2. Ezra Stoller, Chapel, Tuskegee Institute, Paul Rudolph, Tuskegee, AL, 1969, Gelatin Silver Print, 16” x 20” (41 x 51 cm). All courtesy Yossi Milo and @estophoto💫 3. Cover of “Architectural Record,” November 1969. Courtesy of Architectural Record.2025/01/15に公開- 指定なし0.01%-2OPENING NEXT WEEK | Alina Perez: Family Romance 💭✨ Yossi Milo is pleased to announce “Family Romance,” @alina.perezz’s debut exhibition with the gallery. “Family Romance” opens on Thursday, January 16, with an artist’s reception from 6-8 PM 🌅 Alina Perez’s drawings operate on a psychic plane, using an internal emotional logic to create scenes that are altogether new. Using imagination as a plan of action, Perez alters her own closely held recollections to compose surreal tableaux. The artist’s path forward is far from linear, diverting into scenes of tenderness, violence, and eroticism in a search for resolution. Perez’s drawings act as portals; glimpses of alternate and parallel realities in which the artist gives form to emotional sensation and recognizes the true power of fantasy. In “Family Romance,” Perez escalates this practice toward pivotal personal experiences. The artist’s revisitations of critical memories change their dynamics alongside their content, and across the exhibition, hierarchies of familial and romantic relationships expand, shift, and collapse at will. Rejecting binaries and essentialist readings, the artist instead finds possibility within. “Family Romance” opens on January 16, and coincides with the inclusion of Perez’s work in “Flow States – LA TRIENAL 2024,” the second triennial survey of contemporary Latinx art held at El Museo del Barrio (@elmuseo) 🏙️ We’ll see you at the reception- head to the link in our bio to learn more 🌐 🗲 Pictured: Alina Perez, Precious Moments, 2024, Charcoal and Pastel on Paper, 70” x 72” (178 x 183 cm)2025/01/09に公開- 指定なし2.19%83612Happy New Year from Yossi Milo 🎉⭐️ We hope you had a joyful holiday season and rang in 2025 in style. The gallery reopens today (Thursday, January 2) with our regular hours and Anoushka Mirchandani’s solo exhibition “A House Called Tomorrow” is on view through Saturday, January 11 🌄 On the occasion of “A House Called Tomorrow,” @anoushka is interviewed by Divya Gangwani (@divs_gangwani) for The Offing (@theoffingmag). Together, the two discuss themes that run throughout the exhibition, delving into self-image, intimacy, and how geography and proximity shape identity. Mirchandani shares, “In this exhibition, I wanted to investigate my grappling with privacy, personal boundaries, autonomy, and resilience alongside my desire for connection, intimacy, sisterhood, and touch. The paintings in a way are a visual, cinematic retelling of different moments imbued with personal significance as I sift through the complexities of navigating disparate cultural frameworks and environments.” Head to the link in our bio for the full interview 🌐 and we would love to see you in Chelsea while “A House Called Tomorrow” is on view 🗺️✨2025/01/03に公開- 指定なし0.58%2185Natia Lemay is acquired by the Art Gallery of Ontario We are delighted to announce that work by @natialemayart, “His Dad was my First Love”, has joined the collection of the @agotoronto in Toronto, Ontario, Canada. Natia Lemay’s artistic practice engages with personal and cultural histories, exploring the complexities of identity, trauma, and healing. Drawing from both memory and imagination, Lemay reclaims and reinterprets the spaces and objects from her upbringing, creating emotionally charged, autoethnographic environments. Her distinctive use of sculpted black paint serves as a metaphor for the hidden nature of trauma and the dual experiences of hypervisibility and erasure faced by Afro-Indigenous individuals. Working intuitively, without preconceived sketches or photographs, Lemay constructs each work through gestural brushstrokes, scraping, and carving, allowing the materiality of the paint itself to shape the emotional resonance of the piece. The all-black compositions, often framed by a protective circular shape, evoke the tension between interior sensations and exterior relationships, while light is used to excavate figures and forms within these intimate domestic spaces. Through her experimental and improvisational process, Lemay creates artworks that look toward healing, channeling a deeply personal exploration of the past to envision paths forward. Pictured: Natia Lemay, His Dad was my First Love, 2024, Oil on canvas, 59.8” x 71.” (152 x 182 cm)❤️💫2024/12/21に公開- 指定なし0.72%2707Cameron Welch at Untitled Art Miami Beach ⚔️🕰️🏺 #cameronwelch ‘s new mosaic “Achilles” is included in our presentation at this year’s edition of @untitledartfairs. Untitled concludes today at 5 PM 🌆🍹 “Achilles” centers its titular hero amidst mythical cacophony, his sword raised in a heroic stance. Surrounding and menacing him are several ancient and underworldly figments, set amongst motifs from antiquity and references to modern art history. While some figures emerge from clouds, graceful and nymph-like, others glower and smirk, wearing striped shirts in a nod to one of Picasso’s famous looks. These expressive visual dualities mirror the many conceptual ones Welch intentionally creates and troubles in his practice. Through these colliding contexts, Welch exposes tensions in how, and whose, narratives are considered and told today. In many of his mosaics, digitally printed images of artifacts appear behind glass, abutting fragmented pieces of modern tile, reverse-painted elements, and shards of luxurious stones. These juxtapositions of material parallel the intertextual nature of his use of an ancient medium in the modern day, and the combinations of narrative inherent in his cacophonous and dense visual language 📜 We’re here at Booth A51 at Untitled Art until 5 PM 🌊 come find us on the beach one more time 🌟 Pictured: Cameron Welch, Achilles, 2024, Marble, Glass, Ceramic, Stone, Spray Enamel, Oil, and Acrylic on Panel, 72 5/8” x 60 5/8” (184.5 x 154 cm)2024/12/09に公開- 指定なしhttps://www.instagram.com/explore/tags/cameronwelch#cameronwelch0.33%1281Asif Hoque at Untitled Art Miami Beach🌟🔷 “Golden Boy: Toyota Crocodile Under the Sun,” a new painting by @asifhoque, is included in our presentation at this year’s edition of @untitledartfairs. This work continues the artist’s narrative explorations of the heroic exploits of the Golden Boy. In Hoque’s work, this character symbolizes light, nobility, and protection, and draws power from the cultural significance of gold in Bengali heritage. The title calls back to Hoque’s first car, a Toyota Corolla, which he would drive to the beach to watch the sunrise. Here, the Golden Boy is accompanied by light-bringing cherubs who strengthen him with the sun’s energy, alongside a new addition to Hoque’s fantastical realm: a crocodile, which references the artist’s South Florida roots. These bringers of light fuse personal narrative with art historical and cultural lore, telling a tale of transcendence and triumph 🐊 Come see this work and more at our booth at Untitled ✨ We’re on the beach at Booth A51 through tomorrow, Sunday, December 8 🏖️ Pictured: Asif Hoque, Golden Boy: Toyota Crocodile Under the Sun, 2024, Oil on Linen, 60” x 50” (152.5 x 127 cm)2024/12/08に公開- 指定なし0.01%-4Shikeith at Untitled Art Miami Beach 🕯️💙 “Blue Shadow,” a new bronze and glass sculpture by @shikeith, is included in our presentation at this year’s edition of @untitledartfairs. This work continues a series that merges figurative and abstract elements, engaging wide-ranging art historical influences and drawing on throughlines that run deeply through the artist’s practice. The subject depicted in “Blue Shadow” holds a candle with a haint blue flame, which calls back to the lit candle as a symbol in Shikeith’s work. In representing the spectral, the introspective, and conveying a sense of longing, this continues the artist’s longstanding investigation of hauntology: the philosophical notion that elements from the past continue to exist in the present. Paradoxically present and absent at once, an idea, person, or movement viewed through a hauntological lens exists in a state of non-being, outside of time. Untitled Art Miami Beach continues through Sunday, December 8, 2024 ✨ We’re here on the beach at Booth A51 🏝️ Pictured: Shikeith, Blue Shadow, 2024, Bronze and Glass, 30” x 11 3/4” x 7 3/8” (76 x 30 x 19 cm)2024/12/06に公開- 指定なし0.42%1612Yossi Milo at Untitled Art Miami Beach 2024 🌴✨ We’re pleased to welcome the public to the 2024 edition of @untitledartfairs, open through December 8 💥 Featuring international artists from our roster and inspired by Untitled Art’s thematic focus, our booth at this year’s edition of the fair will showcase artworks across diverse media that navigate the intricate terrain of cultural narratives and histories. These practices serve as conduits, linking individual perspectives to broader thematic frameworks that encompass religion, racial dynamics, gender, sexuality, relationship with nature, and the vast expanse of art history. Our booth includes works by Linus Borgo (@linusborgo), Samuel Fosso (@sam.fosso), Alexa Guariglia (@neglexa), Hassan Hajjaj (@hassanhajjaj_larache), Asif Hoque (@asifhoque), Natia Lemay (@natialemayart), Kathrin Linkersdorff (@kathrinlinkersdorff), Phoebe Little (@phoebezlittle), Anoushka Mirchandani (@anoushka), Alina Perez (@alina.perezz), Meghann Riepenhoff (@meghannriepenhoff), Ibrahim Said (@ibrahimsaidceramic), Shikeith (@shikeith), and Cameron Welch (#cameronwelch). Come and visit us at Booth A51 🏖️☀️2024/12/05に公開- 指定なしhttps://www.instagram.com/explore/tags/cameronwelch#cameronwelch0.61%2279New Work by Phoebe Little 🕯️✨ @phoebezlittle’s new painting “Powdered Milk” continues the artist’s examinations of how material gestures and marketing trends indicate deeper truths of the self and the present moment. “Powdered Milk” sets an exactingly rendered tabletop tableau among folds of jacquard fabric, backed by an arrangement of bright flowers in a titular canister of dehydrated milk. The composition hinges on two central “characters,” separated by a bottle topped with a candle’s flame: a check-patterned egg to the left, and a drawing of a surreal, mythical being to the right 🥚 📝 Little’s checkered egg calls into question preceding centuries of grids in art and design history, ranging from the development of perspective and Cartesian space to the recurrent tides of design fads. In art history, gridded compositions were fundamental to the development of linear perspective, which eventually became a hegemonic style and a symbol of conceptual “truth.” Little often uses grids to represent assumed objectivity in an atmosphere of increasing instability, mapping grids over organic forms or warping them through transparent substances to illustrate the malleable nature of perceived reality. At the same time, patterns like these can act as indicators of deeper thought systems; through their roles in design trends and memes, they reveal thoughts held by the public as manifested through the flow of capital. At the work’s lower right corner is a drawing of a character quoted from the work of Catalan-Mexican painter Remedios Varo (1908-1963). This character, a minor detail in its original setting, lodged itself in Little’s mind and became a symbol she returns to frequently. This well-intentioned little figure stands on oversized feet and is cloaked in long hair, acting as a humorous self-identification for the artist, and another way Little locates herself in the grand scheme. “Powdered Milk” is included in our presentation at Untitled Art Miami Beach. @untitledartfairs continues through Sunday, December 8, 2024 🏖️ We’ll be at Booth A51 🌟2024/12/05に公開- 指定なし0.01%-3Linus Borgo at Untitled Art Miami Beach 💭✨ “Voicemail Blues,” a moving new autobiographical painting by @linusborgo, is included in our presentation at this year’s edition of @untitledartfairs . This work continues Borgo’s examinations of personal narrative with direct and frank honesty. “Voicemail Blues” calls on Borgo’s memories, forming a composite from many periods that overlap and blend together. The scene depicts two patients waiting to use the public telephone in the psychiatric ward of a hospital, a locale familiar to the artist. Borgo shows the unmoving nature of time in places like these, showing a clock with broken hands that hangs high above the two subjects who wait below. Often set among familiar, unchanged furniture and populated with the same people each day, those who find themselves in this position may feel outside of time altogether 🕰️ The title, “Voicemail Blues,” makes direct reference to the short nature of one’s contact with the outside world: these figures’ calls have gone straight to voicemail, and their conversations will wait for another day. Untitled Art Miami Beach opens with a VIP Preview tomorrow, Tuesday, December 3, and continues through Sunday, December 8, 2024 🏖️ We’ll be at booth A51 ⭐ Pictured: Linus Borgo, Voicemail Blues, 2024, Oil on Linen, 54” x 46” (137 x 117 cm)2024/12/03に公開- 指定なし0.83%30417On View | Anoushka Mirchandani: A House Called Tomorrow 🗺️💭 @anoushka 's solo exhibition "A House Called Tomorrow" brings together far-flung locales, chronicling connections formed across the world as part of a journey as internal as it is external. Across these varied spaces, the artist examines the ever-shifting nature of identity and self-image, pronouncing this in her work through a visual interplay of solid shapes and open, gestural linework. Mirchandani brings the interpersonal nature of this examination to the fore through an expansion in the roles of her subjects, which are drawn from herself and loved ones in her community. Joining one another on the canvas for the first time in years, figures in the artist's new works expand social notions of love, intimacy, and care in the company of one another. Abstracted bodies blend into natural land masses and architectural space, embodying a cyclical process of discovery and remembrance. More installation views and works from the exhibition can be viewed on our website- head to the link in our bio 🌐 "A House Called Tomorrow" is on view through January 11, 2025! Yossi Milo will be closed tomorrow, Thursday, November 28 for Thanksgiving, and will be open with our regular hours again on Friday and Saturday 🍂🍽️ We wish you a good holiday tomorrow- have a fantastic day filled with your favorite traditions and time with people you love 💓 Pictured: 1-3: Installation Views, Anoushka Mirchandani, A House Called Tomorrow. 4: Keep Me Warm, 2024, Oil and Oil Pastel on Canvas, 71 1/4" x 59 1/4" (181 x 150.5 cm)2024/11/28に公開- 指定なし0.45%1721Yossi Milo at Untitled Art Miami Beach 2024 🌴✨ We’re pleased to announce our participation in the 2024 edition of @untitledartfairs , taking place on the sands of Miami Beach from December 4-8, with a VIP Preview opening the fair on Tuesday, December 3, 2024 💐 Featuring international artists from our roster and inspired by Untitled Art’s thematic focus, our booth at this year’s edition of the fair will showcase artworks across diverse media that navigate the intricate terrain of cultural narratives and histories. These practices serve as conduits, linking individual perspectives to broader thematic frameworks that encompass religion, racial dynamics, gender, sexuality, relationship with nature, and the vast expanse of art history. Our booth will feature works by Linus Borgo (@linusborgo), Samuel Fosso (@sam.fosso), Alexa Guariglia (@neglexa), Hassan Hajjaj (@hassanhajjaj_larache), Asif Hoque (@asifhoque), Natia Lemay (@natialemayart), Kathrin Linkersdorff (@kathrinlinkersdorff), Phoebe Little (@phoebezlittle), Anoushka Mirchandani (@anoushka), Alina Perez (@alina.perezz), Meghann Riepenhoff (@meghannriepenhoff), Ibrahim Said (@ibrahimsaidceramic), Shikeith (@shikeith), and Cameron Welch (#cameronwelch). We’ll see you in Miami at Booth A51 🏖️☀️ Pictured: 1. Alexa Guariglia, Upstream, 2024, Gouache, Watercolor, and Ink on Paper, Framed: 63 3/16” x 46 1/2” (160.5 x 118 cm) 2. Alexa Guariglia, Pick of The Day, 2024, Gouache, Watercolor, and Ink on Paper, Framed: 15 1/8” x 18 1/16” (38.5 x 46 cm)2024/11/24に公開- 指定なしhttps://www.instagram.com/explore/tags/cameronwelch#cameronwelch0.26%984The Manufacturer's Trust Company Building at 70 🏙️✨ Today, we look back at the Manufacturer's Trust Company Building at 510 Fifth Avenue through the eyes of Ezra Stoller. Completed 70 years ago in 1954, this bank's visionary structure was designed by Skidmore, Owings & Merrill as a welcoming showpiece for the Company's customers. The building's innovative structure ushered in a new trend in bank design and created a prestige building on Fifth Avenue. Stoller photographed the Manufacturer's Trust in 1954 in sunny and rainy conditions. Though it would have been easy enough to avoid the wet weather, there was a clear parallel between the building's transparent walls and the reflective shine of the wet pavement. Another photographer might have waited for drier conditions — Stoller found a way to showcase this unique building in a truly unique manner 📸🌧️ Despite zoning laws of the time permitting a greater height, this cutting-edge plan stops at just four stories, and its singular, focused design has stood the test of time. The building's exterior was designated landmark status in 1997, and its interior in 2011. In 2012, Skidmore, Owings, & Merrill adapted the building for a new life as a retail flagship, and many of its original features have been preserved as an exemplar of adaptive reuse. Harry Bertoia created a set of now-iconic sculptures for the interior of the building, including the massive, textural, "floating" wall screen titled "Golden Arbor." This five-ton monumental sculpture still stands in the building today as part of the lobby's design. The original entrance to the Manufacturer's Trust Building wasn't along the Fifth Avenue facade, but on the side of the structure, on 43rd Street. The uninterrupted glass curtain wall allowed for an unimpeded view into the building's lobby, along the north-south escalator, and all the way back to the vault door. The vault's visibility created a statement for the bank, which utilized its visual transparency as a self-explanatory signal of its status and purpose 🏦🔒 Even more images by Ezra Stoller can be found on our website 🌐 Head to the link in our bio! All images courtesy of Yossi Milo and @estophoto ✨2024/11/17に公開- 指定なし0.48%1824OPENING TOMORROW | Anoushka Mirchandani: A House Called Tomorrow 🌅💫 Yossi Milo is pleased to welcome the public for an artist’s reception celebrating “A House Called Tomorrow,” @anoushka ‘s debut solo exhibition with the gallery, tomorrow, Thursday, November 14, from 6-8 PM ✨ On the occasion of the show, Mirchandani will give an artist talk in conversation with independent curator Dexter Wimberly (@dexterwimberly) on Wednesday, November 20, 2024 at 6:30 PM, and will discuss the inspirations and themes of alienation, belonging, and memory in her latest work. In A House Called Tomorrow, scenes from the artist’s life in California and India appear alongside public parks in New York City; other works in the exhibition venture abroad to villages in Italy and the dense tropical forests of Brazil. Through these hyperlocal landscapes of personal importance, Mirchandani summons a psychic space that traverses land and time. In Mirchandani’s paintings, abstracted bodies blend and merge into natural land masses and architectural space, embodying a cyclical process of discovery and remembrance. In the artist’s raw jungle works, she takes on positions of sensuality and strength in self-portraits that confront the viewer head-on, one-on-one in the wilderness. In doing so, she reclaims power from the trope of the “wild,” embracing herself through forays into the unknown 🗺️ “A House Called Tomorrow” opens tomorrow with an Artist’s Reception from 6-8 PM. We hope to see you there ⭐️✨ Pictured: Anoushka Mirchandani, The Crossing, 2024, Oil and Oil Pastel on Canvas, Framed: 89 1/4” x 68 1/4” (226.5 x 173 cm)2024/11/14に公開- 指定なし0.97%36611<前へ1...23456>次へ×インフルエンサーコンテンツCSVダウンロードフォロワー総数、フォロワー増減数、エンゲージメント数、エンゲージメント率ダウンロード※ データには投稿ID, キャプション, LIKE数, コメント数の他、投稿日, 投稿URL, Reel再生数, Reel動画尺, スクリーンネーム, 名前, 自己紹介, フォロワー数, ユーザーURLが含まれます。 コンテンツをCSVでダウンロード
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