![]() ![]() Adnan's intimate colorscape are a warm invitation to experience the universal joy of perception.īorn 1977, Portland, ME, USA. The image echoes the opening lines of Adnan's book-length poem The Arab Apocalyse–"A yellow sun A green sun a yellow sun A red sun a blue sun"–describing how the sun is actually all colors mixed together, perceived differently throughout the day. Untitled (2016) contains two suns–one yellow orange and one its red reflection on a gray ground. In Untitled (2016), three shades of green triangles convey the mountain hills in summer as they rest on a horizon line, with the colors coming together like interlocking puzzle pieces. It acted as a reference point when she lived nearby and continued to appear in her thoughts when she moved back to Lebanon. One of Adnan's favorite subjects to paint is Mount Tamalpais, the highest peak in the San Francisco Bay Area. In 2014, when she was eighty-nine, her paintings were shown to acclaim in the Whitney Biennial.ĭans le mystère de la nature, 2018 is available for $2,918 on Artspace ![]() Adnan works with her canvas laid flat on a table and uses a palette knife to apply thick paint, usually sticking to four hues and finishing a work in a single sitting. She settled in Northern California in 1955 to teach aesthetics and began to paint shortly thereafter, at the urging of an artist friend. Her ethnic background is Turkish and Greek raised in Lebanon, she attended French schools and studied philosophy. Courtesy of Sfeir-Semler GalleryĮtel Adnan is an Arab American author and artist whose perceptual vision translates fluidly from the written word to cheerful, small scale landscapes. Oil on canvas, 15 x 18 1/8 inches (38 x 46 cm). Ultimately, Bas's works have grown to use the exterior worlds to communicate the interiority of his subjects.īorn 1925, Beirut, Lebanon. Strange Company (2013) features two figures-one in color, the other stonelike-in a flattened, Fauvist landscape that is beautiful, yet more ominous, than a "real" landscape. In A Satanist on a Tuesday (or, The Key Master) (2012), the reclining pose of a man dressed in black echoes a fallen tree in the foreground as is characteristic of Bas's works, the projecting bay window is out of line with the rest of the house, casting a spooky pall over the scene. The paint in the outer margins becomes looser with smears and drips to form rocks, cliffs, trees, and sky. In Bas's A Devil's Bridge (2011-12), birch logs and a rickety bridge frame an ambiguous interchange between a clearly defined, pale boy and a shadowy, blurred figure. Huysmans in small-scale, sexually fraught narratives in his later works, the landscape assumes a larger, more spiritual role and themes have become more universal.ĭont Tell it on the Mountain, 2013 is available on Artspace for $450 Bas, who is openly gay, is known for featuring young male waifs and dandies drawn from literary works by Oscar Wilde and J.K. Growing up in Miami, Bas was exposed to local folklore about UFO, werewolf, and Bigfoot sightings in the Florida wetlands, which inspired his interest in the occult. Hernan Bas's mixed-media works combine silkscreen, block printing, and paint to make landscape a realm for the supernatural and sinister. Acrylic, block print, andscreen print on linen, 72 x 120 inches (182.9 x 304.8 cm). A Landscape to Swallow You Whole, 2011. ![]() Van Scoy), we take a look at eight contemporary artists pushing the medium forward.īorn 1978, Miami, FL, USA. Excerpted from the book (and written by Robert R. Maybe the genre is more vital now than it every has been-or that's what is seems like between the covers of Landscape Painting Now, a new book edited by Todd Bradway, written by Barry Schwabsky, and published by D.A.P. Deeply entrenched in a long and storied history, contemporary landscape artists also contend with the future-a future saddled with global warming and environmental catastrophe, as well as our increasingly virtual spaces. But landscape painting's seemingly tired reputation makes it a fertile genre for innovation. "Landscape painting" may call to mind the work of Sunday painters, distant relatives, and stale hotels-nothing the least bit contemporary. ![]()
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