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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

Seung Yul Oh’s Wooden Painted Reliefs

John Hurrell EyeContact First published on 13 July 2018

Exhibition view: Seung Yul Oh, Horizontal Loop, Starkwhite (26 June-28 July 2018). Courtesy Starkwhite.

In this presentation of six painted wall sculptures, the emphasis on an outer, painted frame—with no material centre—links them to Seung Yul Oh's minimalist paintings of a few years ago where white canvases had colourfully painted 'frames' with oddly butted or mitred corners. These eccentric new square or horizontally rectangular works seem to allude to the shallow spatial preoccupations of Donald Judd, the horizontal stripe paintings of Kenneth Noland or Gene Davis, and the wooden pull-up bars fastened to the walls of any popular gymnasium.

The proportions of the sides are a key factor for these works' visual impact, as are the choice of colour, the closeness of the horizontal paired lengths, the alignment of the rods, the difference in their diameters, the role of shadows and the distance between the vertical sides.

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