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Visions of Brazil: Reimagining Modernity from Tarsila to Sonia Ocula Report Visions of Brazil: Reimagining Modernity from Tarsila to Sonia 18 May 2019 : Fawz Kabra for Ocula

Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...

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Reiko Tomii Ocula Conversation Reiko Tomii

In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...

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Yun Hyong-keun in Venice: The Artist Behind the Paintings Ocula Report Yun Hyong-keun in Venice: The Artist Behind the Paintings 4 May 2019 : Sherry Paik for Ocula

'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...

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Related Press

A passionate visual idiom: Carmen Herrera at the Whitney Museum of American Art, New York

David Carrier Artcritical First published on 21 October 2016
Exhibition view of Carmen Herrera: Lines of Sight  at Whitney Museum of American Art, New York. Photograph by Ronald Amstutz.

This exhibition is focused on a relatively short segment of Carmen Herrera’s long career (she is now 101), namely 1948 to 1978. It presents her painting in Paris during the years immediately after World War Two, and then her development when she moved to New York. In the first gallery you find Siete (1949), a relatively small painting with hard-edged yellow, red and black forms. The Parisian works in this room show her experimenting with hard-edge abstraction, moving quickly, restlessly seeking resolution, not always with entire success. Untitled (1947-48), for example, is a fussy-looking construction of many relatively small circles and geometric forms, an all-over composition which feels cramped; and Untitled (1948) a decorative display of intersecting rectangles lacking a clear resolution.

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