STPI's Emi Eu reflects on S.E.A. Focus, an STPI project platforming artists and galleries from Southeast Asia, in the wake of Art Stage's decline in 2019 and ahead of the launch of Singapore's new art fair, Art SG, in October 2020.
With India Art Fair set to open amid nationwide protests, Kanika Anand introduces shows in New Delhi, Mumbai, and Kolkata that express shifting socio-political identities, modes of resistance, and explorations of place-making.
Images from abroad , Lada Nakonechna's solo exhibition at Galerie EIGEN + ART in Berlin, considers the barriers that exist between depictions of conflict and their viewers.
Ena Swansea attended film school at the University of South Florida in Tampa, and continually introduces elements normally associated with digital art and film to otherwise traditional painting techniques. Swansea's work has been exhibited throughout the United States and internationally at MoMA PS1; Saatchi Gallery, London; Sammlung Falckenberg; and the Musée d'Art Moderne Grand-Duc Jean (MUDAM), Luxembourg. Her work is included in numerous public collections, including the Museum of Modern Art, New York; Maramotti Collection, Reggio Emilia, Cornell University's Herbert F. Johnson Museum of Art, Ithaca; Colby College Museum, Waterville, Maine, Boca Raton Museum of Art, Boca Raton; Staatliche Kunstsammlungen Dresden, Dresden; Deichtorhallen Sammlung Falckenberg, Hamburg; and the Olbricht Collection, Berlin.
Text courtesy Ben Brown Fine Arts.
An older woman in the art scene once told me, 'How we experience art is as important as the art itself.' After witnessing high ceilings and transformative décor in one of the most traditional areas of New York City, I had quite an experience indeed.
'The Salon: Art & Design,' the toniest of the November fairs (and certainly the one with the most aristocratic title), reminds you how the categories of art and design tend to blur in the rarefied world of ultra-high-end décor.
'I'm in the middle of painting the Goyesque,' the artist Ena Swansea texted from the Roman amphitheater in Arles just a couple weeks ago. When we finally spoke hours later, there was such a background din that it wasn't much of a call. 'I'm in with all the matadors,' Swansea explained. Perhaps I should backtrack here.
On the occasion of her two recent one-person exhibits, a survey show at MUDAMLuxembourg (Musée d'Art Moderne Grand–Duc Jean), curated by Marie-Claude Beaud (on view till February 2, 2009), and new paintings at Arndt & Partner Zurich (on view till November 22, 2008,) Rail Consulting Editor Irving Sandler welcomed the painter Ena Swansea to...
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