Art movement – The Idyllists Tue, 04 Oct 2022 18:49:14 +0000 en-US hourly 1 Art movement – The Idyllists 32 32 Dai Gallery’s group exhibition of artists from the pioneers of the Egyptian art movement is not to be missed – Exhibitions – Al-Ahram Weekly Tue, 04 Oct 2022 18:24:30 +0000

Cairo Opera Complex

Gezira Exhibition Center, Zamalek

Salah Taher Gallery

Tel 02 2739 0132/0144

The photography exhibition “The Journey” presents 30 experimental photographs and video art by Ayman Lotfi (October 8-14).

Music Library Gallery (Ziad Bakir)

Exhibition of oil paintings by Alaa El-Dokhaly (October 8-14).


24 Hassan Assem Street, off Brazil, Zamalek, tel. 0100 1115433

14 Alahrar St, off Albatal Ahmed Abdel-Aziz, Mohandesin, Tel 02 33658028/ 01122116007

The collective exhibition “Everlasting Talents” presents the works of 100 artists among the pioneers of the Egyptian artistic movement

(from September 4 to mid-October).

Gezira Arts Center

1 Al-Sheikh Al-Marsafi Street, Zamalek, tel. 02 2737 3298

Ahmed Sabri Hall

Al-Hussein Fawzi Hall

Kamal Khalifa Hall

Ragheb Ayad Hall

Retrospective exhibition of the late artist mohamed eltahan (1946-2021) (October 5-19).

Goethe Institute

5 El-Bustan Street, Downtown, Tel 02 2575 9877/ 219/ 01288711134

Takhshena Gallery

The “Sisyphus” exhibition is held on the occasion of the awarding of the Goethe medal to a visual artist Mohammad Abla. Sisyphus is a sculpture by Abla inspired by ancient Greek mythology. It was created for a public traffic area in the town of Walsrode in northern Germany, where it still stands today. The artist considers this sculpture as a symbol of his life and personality in many ways. It’s also a very real metaphor for his artistic career – finding new creative ways to convey his ideas every day, no matter how steep the path (22 September – October 28).

Italian-Egyptian Restoration and Antiquities Center (CIERA)

31 Al Suyuffeya St, Al Helmeya, Cairo, visitors are welcomed by appointment so contact the manager Mr Salah Ramadan 0100 8716067

Architectural complex of the Dervish Mevlevi “Samaa Khana, Restorations and Restorers” permanent exhibition of the activities of work/training sites for the restoration and recovery of monuments. Visitors are welcomed during the opening hours determined by the Ministry of Antiquities.

Ismailia building entrances


“Endangered Species” the 10e D-CAF festival presents an augmented reality exhibition by Sara Kopel from Denmark. Visitors to the exhibition should download the free ARTIVIVE application on their smartphone via this Link, making sure to enable its connection to the phone’s camera. When the application is open, you must hold the phone in front of the work to bring it to life (October 9-30, 00:00-23:59).

Passage Kodak


“MEDRX: Selected Viorama Artwork”, Viorama is a virtual reality (VR) lab exhibition for artists to explore through activity lectures the potential of VR audio-visual tools in relation to their artistic practices, reflect on the concepts of VR and new storytelling formats, and prototyping and implementing virtual reality-based projects to showcase in an immersive exhibition (October 9-17, 5-10 p.m., weekends: 2-10 p.m.).

The exhibition of artificial intelligence paintings “Words to Text: Democratizing Art with AI” aims to demonstrate a small sample of this power to an unfamiliar audience and explain it in an accessible way. Created by Egyptian artist Omar Kamel, this innovative interactive screen shows the basics of how this technology allows anyone to ask an AI system to draw something using only text, and how the machine understands that request and processes it to produce artwork. amazing art; something that would have seemed inconceivable just a few years ago (October 9-17, 5-10 p.m., weekends: 2-10 p.m.).

Mashrabia Contemporary Art Gallery

15 Mahmoud Bassiouny St, Qasr Al-Nile, City Center, First Floor, Tel 02 25750353 / 0100 1704554

Features of the collective show “Black is Black” Hany Rached, Ramy Dozy, Ali Abdel Mohsen, Amr Ali, Amr El Negma, Maria Grazia Tata, Sabah Naim, Hazem El-Mestikawy, and much more. Is black a color rather than the absence of colors? This exhibition brings together the work of artists who question the universe of emotions provoked by the choice, use and presence of “black” (closed October 13).


Villa 20 Nazih Khalifa, El Korba, Heliopolis, all week including Friday 12pm-8pm

A group exhibition of gold and diamond paintings and jewelry inspired by the artist’s zodiac paintings Maye Hesmat (closed October 16).


30 Hassan Assem near Brazil St, Zamalek, Tel 02 2736 7544

Room I

Latest collection of paintings by Georges Bahgori

(5-20 October).

Room II

“White Turbans” exhibition of paintings by Mahmoud Maraay

(5-20 October).

East Picasso

Villa No. 39 Al Narges 35e settlement, 90’s St, opposite Lake View Compound, New Cairo, Tel 0122 0000035

Exhibition “Extended Visions” of paintings by 24 female artists from the Faculty of Fine Arts including among others Safia El Kabani, Fayrouz Samir, Maria Moheb, Mona Refaat (October 8-29).

Tahrir Cultural Center (TCC)

AUC Tahrir Campus, Downtown, 24 Falaki Street, Downtown Cairo, Tel. 012 88721446

Falaki Gallery

“SamBoozies: An Aesthetics of “Junk” is an exhibition and a discussion.

Longtime AUC Professor and Famous Author Samia Mehrez started his SamBoozies project with a simple idea: as a way to recycle old, empty bottles; but they soon evolved into more complex beings that for years used all sorts of hoarded “trash,” from textiles and plastics to yarn, buttons, and lace, among other things. They have become creatures that embody personal, national and global stories and imaginaries. Their history is intertwined with the history of the AUC Tahrir campus and Mehrez’s personal history within it. An artist talk will take place on Tuesday, October 11 at 7 p.m. at the TCC’s Falaki Theater

(October 10 – November 15).


20 Hassan Sabry Street, (entrance from Ibn Zinki Street), Zamalek, tel. 0100 2792223

The show “Different Melodies II” aims to support and encourage young artists. The diverse selection of artwork ranges from landscapes, realistic paintings to sculptures and digital art, with each artist representing their own unique style, influences and aesthetic. Participating artists: Alaa Abdel Rahman, Aya Kahil, Bassam Nafadi, Mariam Suleiman, Sandra Ashraf and many more (October 2-22).

Rooftop house Victoria


“Flash Studio” photographic exhibition of Mostafa Abdel Aty.
This is the premise of Abdel-Aty’s new installation, Flash Studio, which will premiere as part of this year’s edition of D-CAF.

Flash Studio is a studio specializing in animal photography and was born from Abdel-Aty’s belief that pets are an integral part of the family and deserve to have their lives immortalized. The exhibit will feature images of anthropomorphic animals. Visitors can also bring their own pets to have their picture taken and meet the titular dog behind the exhibit (October 9-30, 5-10 p.m., weekends:


Yassine Art Gallery

159, 26e July St, behind Diwan Bookstore, Zamalek

Exhibition of sculptures by the artist Isaac Daniel (11-25 October).

Zamalek Art Gallery

11 Brazil St, Zamalek, Tel 02 2735 1240

“Wisdom of Shadows… Innocence of Light”, an exhibition of paintings by Mohammad Shaker (closed October 10).


F8, Strip Mall-Sodic, Waslet Dahshour Road, Beverly Hills, Sheikh Zayed, 6e of October, Tel 02 38863961/0111 2304440

“Compagnie” exhibition of paintings by Marina Elyahky

(closed October 10).


Alexandrina Library

Chatby, Alexandria 21526, Tel (03) 4839999

Archaeological Museum

A permanent exhibition on the results of the Archaeological Mission of the University of Turin to Nelson Island.

*A version of this article appeared in the October 6, 2022 edition of Al-Ahram Weekly.

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30 L.A. artists to rock Hong Kong in upcoming show at Adrian Cheng’s Art Mall Fri, 30 Sep 2022 22:08:37 +0000

Hong Kong has long been linked, both culturally and financially, to London and New York. An upcoming sales exhibition at K11 Musea, a hybrid shopping mall and cultural platform founded by Hong Kong billionaire Adrian Cheng’s K11 Group, hopes to strengthen ties between Hong Kong and Los Angeles, home to one of the biggest Chinese-speaking communities in North America.

The sales exhibition, “Hot Concrete: LA to HK,” will feature over 55 works by a large and diverse contingent of 30 LA-based artists, ranging from younger names like Aryo Toh Djojo, Austyn Weiner, Greg Ito, Jaime Muñoz, and Zoé Blue M, to established personalities from previous generations, such as Peter Shire. It will run from October 21 to November 13.

“I’ve always had a great love for LA and anything LA, I consider it my second home. I think there are a lot of similarities and it’s connected by the Pacific Ocean,” said Kevin Poon, who grew up between Hong Kong and Los Angeles and co-presents the exhibition with K11 Musea. (Ouyang Art Consulting is co-organizer of the exhibition.)

Peter Shire, Point Naso. Courtesy of the artist and “Hot Concrete”.

“The two are a melting pot of different cultures,” Poon said. “Los Angeles and Hong Kong have begun to address the many centers of the city as concerns about density, affordability, sustainability and community become increasingly prescient.”

Organized by the Los Angeles-based gallery Sow and Tailor, the exhibition is inspired by the four main principles of ikebanathe Japanese art of flower arranging – a new approach to movement, balance and harmony.

Greg Ito, The Last Serenade.  Courtesy of the artist and

Greg Ito, The last serenade. Courtesy of the artist and “Hot Concrete”.

The show’s opening coincides with the easing of Hong Kong’s longstanding pandemic travel restrictions. The city ended the long hotel in quarantine for inbound travelers earlier this month, and restrictions are expected to be eased further next month as international events probably resume.

“I think people always want to come to Hong Kong, especially artists,” Poon said, “because Hong Kong has such a big place in the art scene.”

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Want to stay one step ahead of the art world? Subscribe to our newsletter to receive breaking news, revealing interviews and incisive reviews that move the conversation forward. ]]> A panel about the back-to-the-land movement at Parrish Art • James Lane Post • Hamptons Culture & Lifestyle Magazine Mon, 26 Sep 2022 17:49:53 +0000

Indigenous artists Jeremy Dennis (Shinnecock) and Koyoltzintli Miranda-Rivadeneira (Ecuadorian, Chi’xi) will discuss the Land Back movement during a panel discussion with Shinnecock council administrator and attorney Kelly Dennis, and the artist Nour Batyne on Friday, September 30 at 6 p.m. , in person at the Parrish Art Museum at Water Mill.

The work of Miranda-Rivadeneira and Jeremy Dennis is featured on the Shinnecock Monuments as part of the exhibition ‘Another Justice: US is Them–Hank Willis Thomas | For Freedoms,” on view through Nov. 6 at the museum and offsite at Monuments on Montauk Highway.

Jeremy Dennis and Miranda-Rivadeneira are among 12 contemporary artists from “For Freedoms” – the artist coalition founded by conceptual artist Hank Willis Thomas, Eric Gottesman, Michelle Woo and Wyatt Gallery – represented in the exhibition. “Another Justice: US is Them” includes nearly 30 works and series – many created specifically for the exhibition – in mixed media, sculpture, site-specific installations, murals and photography.

Jeremy Dennis is a contemporary fine art photographer and tribal member of the Shinnecock Indian Nation. In his work, he explores Indigenous identity, culture and assimilation. Miranda-Rivadeneria is an interdisciplinary artist, factory worker, and educator living in New York City. She grew up on the coast of Ecuador and in the Andes, geographies that permeate her work.

Kelly Dennis is a licensed attorney specializing in federal American Indian law and Secretary of the Shinnecock Indian Nation Board of Directors. Nour Batyne is a creative producer, facilitator and artist whose work sits at the intersection of immersive storytelling, future thinking and social innovation.

Advance ticket purchase with pre-event registration is recommended. Visit

An Intervention in Pakistan’s 75th Independence Day by Osman Yousefzada Sat, 24 Sep 2022 09:34:18 +0000

Intervention! “This is how they (the works of art) are described by the Victoria & Albert Museum, as they take up space in existing gallery spaces. Therefore, striking up a conversation with the objects around them “, explains Osman Yousefzada, an interdisciplinary British-Pakistani artist. , based in Birmingham. Yousefzada debuts with three “interventions” that are strongly at the heart of this 18e century colonial foundation which has featured very few British Asian artists so far. This important commission of the British Council entitled What is seen and what is not seen, questions and explores themes of displacement, movement and migration through the lens of a British diaspora artist. Decoding the title of the exhibition, the artist shares: “The idea behind the title was to open a conversation in an institutional setting, about the processes of collecting and how people are allowed to occupy a particular space. .It denotes stories and themes of belonging, identity, class and the role of the artist in a larger context.” Firmly rooted in the history of his ancestral land, Yousefzada tries to organize this exhibition in honor of the 75e anniversary.

The artist-in-residence studio at the Indus Valley School of Art and Architecture, Karachi Image: Courtesy of Osman Yousefzada

The very first encounter with this series of spatial interventions takes place in the foyer of the Duomo gallery, dominated by a figure of Jesus. Visitors are greeted by three hand-woven tapestries in distinct colors. The banner depicts eerily mysterious yet powerful moving talismanic figures embellished with intricate thread work and metallic beads. Powerful imagery directly references the Falnama. This “book of omens” is a beautifully illustrated tool used by fortune tellers in the 16e and 17e centuries. They are portals and talismans of migration. “Tapestries are an extension of my printmaking practice,” shares the artist, who is also a well-known fashion designer. “Defections of ghouls and omens – rather than paintings of idyllic Mughal miniature landscapes – open doors to different stories and ways of thinking,” Yousefzada adds.

Intervention 1, 2022, Acrylic, collage and embroidery on canvas tapestries, Osman Yousefzada |  What is seen and what is not seen |  Osman Youssefzada |  STIRworld
Procedure 1 – What is seen and what is not seen2022, acrylic, collage and embroidery on canvas tapestries, Osman Yousefzada Image: Courtesy of Osman Yousefzada and the Victoria and Albert Museum

Reflecting on South Asian cultural roots, the artist revisits a personal anecdote. While he “took these figures to Pakistan”, some locals pointed out that they resembled the terracotta figures of Mohenjo-daro. Linking the same to the idea of ​​displacement, he says, “they conjure up images of the Indus Valley Civilization – Priest King and Dancing Girl. The two divisive figures who were split in 1947 – Priest King going to Pakistan and Dancing Girl to India”.

Intervention 2 - What is seen and what is not, 2022, Wrapped objects Ceramic, Glass, Fabric & Wood, Osman Yousefzada |  What is seen and what is not seen |  Osman Youssefzada |  STIRworld
Operation 2 – What is seen and what is not seen2022, ceramic, glass, fabric and wood wrapped objects, Osman Yousefzada Image: Courtesy of Osman Yousefzada and the Victoria and Albert Museum

Starting from this idea of ​​displacement, visitors are then transported to the visual representation of Yousefzada’s migration. A simple wooden scaffold held together with rope houses of various shapes potlis or wrapped objects molded in cloth, clay, and glass. titled as Response 2, this series of wrapped objects takes the familiar forms of everyday objects such as jars, boxes and containers. The installation invites viewers to contemplate the very idea of ​​precious possessions of a simple migrant, who may have fallen victim to a drastic socio-political or economic scenario.

Intervention 2 - What is seen and what is not, 2022, Packaged Objects Ceramic, Glass, Fabric & Wood, Osman
Operation 2 – What is seen and what is not seen2022, ceramic, glass, fabric and wood wrapped objects, Osman Yousefzada Image: Courtesy of Osman Yousefzada and the Victoria and Albert Museum

Revisiting a personal anecdote with nostalgia, the visual artist shares: “My mother packed everything in a bag and a knot. Casting these mass-produced or hand-embroidered objects transmutes them from household objects into sculptures. Additionally, having a layer of migration and movement, they also spark conversations about female agency within a male-dominated power system. The nodes and the layers become the signature and the locks of the identity. These familiar objects give voice to many unknown or hidden stories of these migrant women!

Intervention 3 - What is seen and what is not, 2022, Peerhi stool structure, wood and cotton, Osman Yousefzada |  What is seen and what is not seen |  Osman Youssefzada |  STIRworld
Osman Yousefzada, structure, wood and cotton Image: Courtesy of Osman Yousefzada and the Victoria and Albert Museum

The last “Intervention” is staged in the John Madejeski garden, which is transformed into a common space for introspection and contemplation. The garden installation includes a series of charpais or day beds and Morah or low stools made in Karachi, Pakistan this year. The dramatic suspension of this hand-woven furniture reflects a strong element of South Asian colonial history. Osman shares, “He (charpe) was a democratic item, and now you see flood victims in Pakistan wearing them on their heads. These mutable objects are essential to how we occupy space. I remember growing up visiting Pakistan as a child, I always had to offer the chef of the charpe, the densest part, to an elder. These objects move around us in our environments and have their own stories and provide a sense of community.

Performance & Intervention 3 - What is seen and what is not, 2022, Wood and textile string, Osman Yousefzada |  What is seen and what is not seen |  Osman Youssefzada |  STIRworld
Performance & Response 3 – What is seen and what is not seen2022, wood and textile string, Osman Yousefzada Image: Courtesy of Osman Yousefzada and the Victoria and Albert Museum

An interesting addition to the classic charpe was the parallel attachment of the salvaged ornate doors. This consciously portrayed visual vocabulary decodes a pretty strong message. “I took doors from the colonial era, the British Raj of the 1930s, and changed their axis. What once functioned as gates forbidding people to discriminate against their class, race and privilege, has now become a platform for people to sit on,” he adds.

The exhibition presents Yousefzada’s unique and very personal perspective on migration, displacement and movement. The body of work speaks of a community coming together, acknowledging tangled pasts but looking forward to a hopeful future. The artist’s narrative comes full circle as he reflects on colonial stories at the heart of an English settlement built at a time when present-day Pakistan was still a colony under the British Raj. Yousefzada ends by saying, “I think you have to be inside the institutions to change the narratives. This is where the story is collected! You just need to change the type of story and narrative that is included.

What is seen and what is not, Osman Yousefzada Image: Courtesy of the Royal College of Art

From potter to painter, Joe Pelka is an artist who always explores Thu, 22 Sep 2022 21:40:03 +0000

HUNTERTOWN, Ind. (WPTA21) – “I’ve been painting for about 10 years, but never had time to study painting and develop a style,” says Joe Pelka. That’s because he’s been working clay professionally for over four decades. “I feel very lucky to be making a living doing something I love,” he told ABC21 last year. “I hear about people retiring and I don’t like it. I want to work forever.

And after a trip around the sun, that didn’t change – but his medium did. Pelka was immersed in creating abstract art. His studio and gallery in Huntertown, Pelka Ceramics, are also decorated with his pots and paintings. “I love that I’m 60 now,” he said, as we caught up with him earlier this week, “and I finally have time to paint now, seriously.”

RELATED: Joe Pelka Ceramics, A Life on the Potter’s Wheel

“I have this wonderful creative burst in the latter part of my life with painting,” he added. But Pelka says he didn’t approach his abstract work haphazardly. He studied the craft and developed his own style – one he says compliments the Asian/Native American influence of his California childhood.

What is unique about his process are the canvases and tools he uses. Pelka builds most of its tools and reuses old plastic containers for its paints. You’ll see a lot of brushes on his tables, but they aren’t used often. “The way I choose to paint – I use brushes, but not as much as scrapers,” he described, “and sanders and putty knives and that sort of thing. I apply very thick paint and tools for texture that I could have used in clay.

It can take several days to complete a piece, but Pelka works with 4-5 at a time. Each requires several coats of paint and works with its tools. “It brings continuity to a lot of the work,” he explained as he finished a painting with varnish. “There are similarities, I get really comfortable with the color palette. I just change the texture and the movement.

And in terms of spontaneity, painting offers much more than his other profession. With experience, Pelka can do a lot to change his ceramics, but those options diminish the further he goes through the process, especially after firing. “The beauty behind, where the clay doesn’t give you that opportunity,” he told us, “in the middle of a painting, I can shift gears when I see something wonderful happening. I can shift gears and go in that direction.

“I had paintings that were almost 100% finished and drastically changed them,” he continued. “Not necessarily the whole canvas, but a lot of the painting has been changed.”

Impressively, his enthusiasm for the canvas is beginning to translate into sales. It is after all what puts food on the table. “I think people want to know that I’m serious about painting, and it’s not just a side hobby that I do,” Pelka said. “I think they are starting to understand the size of the paintings I do, and the number I do, and the balance with the pottery, especially in my outdoor exhibitions – I personally think they are fabulous together. ”

“I’m really thrilled that other people are enjoying it enough to buy my work,” he concluded. “It was a wonderful surprise.

You can see or buy Joe Pelka’s art in his studio Pelka ceramics here: 14529 Lima Rd, Fort Wayne, IN 46818. You may also have the rare opportunity to see him demonstrate pottery and painting during the 2022 Falling for Art, Artist Tour October 15 (10 a.m. – 5 p.m.) and October 16 (12 p.m. – 5 p.m.)

Kathrein Privatbank’s name change refers to Austrian art history Wed, 21 Sep 2022 05:57:10 +0000

Kathrein Privatbank is a private bank in Austria, aiming to help its clients manage their finances better and ultimately “live their story better”. To do this, it offers a highly personalized experience through its range of products and services.

The company approached New York-based creative agency &Walsh to work on a new brand image that would position it as the country’s most accessible private bank and help it stand out from larger competitors.

&Walsh drew inspiration from the bank’s Austrian heritage for its visual identity, particularly the Vienna Secession art movement – ​​which took place in the country at the turn of the 20th century. Its members rejected “traditional” artistic styles and encouraged a move towards more unified disciplines of painting, architecture and sculpture. Founding figures included artist Gustav Klimt, architect Joseph Maria Olbrich and designer Koloman Moser.

The influence of the art movement can be seen in a series of graphic ornaments and patterns, which are complemented by a simple color palette of white and purple, allowing the designs themselves to shine. The “K” in the wordmark is an expressive, dancing letterform that matches the aesthetic, referencing the monogram of Austrian artist Friedrich König, who was a key figure in the Viennese Secession.

&Walsh’s identity reflects society’s collective revaluation of money – with many people now seeking specific values ​​and narratives, rather than just pure financial gain. Potential clients may be attracted to the fact that Kathrein Privatbank invests in “sustainable solutions, artificial intelligence and the arts”, and as such, these three areas are reflected in the marble sculptures designed by &Walsh.

“In the identity, we focused on showcasing Kathrein’s Austrian roots in combination with their deep commitment to personalization to separate them from their bigger international competitors,” says studio founder Jessica Walsh.

Vale philanthropist Brian Sherman | ArtsHub Australia Mon, 19 Sep 2022 04:28:03 +0000

Philanthropist, animal activist, art collector, husband, father… and an incredible entrepreneurial spirit, Brian Sherman AM (1943-2022) died last week after a long battle with Parkinson’s disease. He was 79 years old.

On his 9/11 website, his wife, a cultural philanthropist Gene Sherman wrote: “We say goodbye to our beloved Brian with fragmented hearts and souls awash in grief.

“As a husband, he was without equal. Steadfast in his support of my endeavors, fiercely protective, wise in his counsel, graceful, dignified and elegant even during the long decade when Parkinson’s disease tore his body relentlessly apart.

Sherman was diagnosed with Parkinson’s in 2010. It was a private trip in those early years, but, like everything he and Gene did, the experience would go back to benefit others.

In March of this year, Walking in honey: my journey with Parkinson’s disease was published via Bookletohpia and the Sherman Center for Culture & Ideas (SCCI). Co-authored with AM Jonson, this is another Sherman legacy, providing readers with patient-centered insight into “more experimental approaches to treating Parkinson’s disease.” Candid and creative, she advocates the use of the arts, including music, art and movement, for therapy.

Remember Brian

As the Sherman family sat on Shiva last week, tributes poured in online, repeatedly remembering Sherman for his “gentle and generous soul”.

In an official statement from the Australian Museum, Director and CEO Kim McKay AO, said: “From the first time I met Brian, I knew I was with a man of integrity and substance.”

“His belief in the vision of the Australian Museum shone brightly, from the twinkle in his eyes when he spoke about the Museum to the care and passion in his heart for this extraordinary institution… He was driven by the belief that it is our ethical responsibility. do better, seek solutions and bring about positive change in the world. Brian left an incredible mark on me, on everyone he worked with and on the Australian Museum itself.

In an official statement, Professor Tim Flannery added: “Brian Sherman’s leadership and ethics have brought a fresh perspective to the operations of the Australian Museum.”

Brian was a hero, a star and an inspiration.

Dr. Gene Sherman AM

These thoughts were taken up by another institution which benefited from Sherman’s generosity. Steven Alderton, Director and CEO of the National Art School wrote: “Brian was a beacon. Highlight great causes to support animals, medical research, the Jewish community, sports, science and the arts.

“With Gene, their work through the Sherman Gallery, the Sherman Contemporary Art Foundation, and the Sherman Center for Culture and Ideas has provided true leadership in the arts with significant impact for artists, industry, and community.

“Brian had a very rare quality to care for others, invest in results and make a difference,” Alderton continued. “His legacy will live on for a long time, especially through the family. He is not anymore walk through honeybut he will continue to walk alongside all who knew him as a truly inspirational person.

On the occasion of the publication of walk through honey a few months ago, Jeffrey Masson noted: “There’s a kindness in his eyes – it’s true, it’s always been there, but now it’s even more visible.

Western Sydney Creative director Dolla S. Merrillees worked alongside Brian and Gene for many years as Associate Director of the Sherman Contemporary Art Foundation and later as London correspondent for the Sherman Center for Culture and Ideas. She told ArtsHub: “Brian’s generosity and friendship extended to everyone who came into his orbit.

“I always look forward to seeing that sparkle in his eyes and deeply enjoyed his laconic, wry sense of humor. From his animal activism to his and Gene’s generous philanthropic support for the arts and medical science as well as other causes, he has impacted not only my life but many others. But it is his kindness, his wisdom and his determination to make a difference in the lives of others that I remember and will miss the most,” Merrillees said.

“Even in the face of seemingly insurmountable challenges, Brian continued to be an advocate of hope,” said Australian Museum Director and Chief Executive Kim McKay.

Family was everything to Brian Sherman, here for the 2022 Australian Museum Research Institute (AMRI) Lifetime Achievement Award, Australian Museum. Photo Tim Levy. Picture provided.

Who was Brian Sherman?

Brian and Gene Sherman arrived in Australia in 1976, having left South Africa with little. But Brian’s entrepreneurial spirit soon saw the creation of Equitilink in 1981, founded with Gene’s cousin, Laurence Freedman.

It would become one of the largest independent fund management groups in Australia, which the Australian Financial Review described as “the first fund management company aimed specifically at offering retail investors the kind of sophisticated products sold to institutions”.

When Equitilink was sold to Aberdeen Asset Management in 2000 for $153 million, it had $5.5 billion under management, 55% of which was in the United States.

Reflecting this week, Freedman said FRG: ‘We always had this need to compete with who we were, whether against each other or competitors.’

Sherman remained Chairman and Co-Chief Executive of the EquitiLink Group from 1981 to 2000, as well as Director/Chairman of ASX-listed Aberdeen Leaders Limited, a number of US and Canadian listed investment companies.

Sherman was part of a consortium that bought Ten from Westpac in 1992 for $230 million, and “in five years he was worth $650 million”. (AFR). Sherman served as director from 1994 to 2007.

But it wasn’t all about the money. Sherman was co-CEO of Voicelesswith his daughter Ondine Sherman, founded the organization in 2004 to advocate for animal protection.

Flannery said: “Brian’s involvement in animal rights was ahead of his time and he brought a contemporary view of how the Australian Museum dealt with animal specimens.”

In an official statement this week, Gene said of the plea: ‘…his unwavering devotion to the planet’s non-human species – not just the pets loved by so many of us – but a devotion from deep within of him towards the billions of neglected and forgotten living beings who, caged and cultivated for our gastronomic pleasure, remain out of sight.

Sherman was a board member of the Sydney Organizing Committee for the 2000 Olympics and chairman of its finance committee. He was Chairman of the Australian Museum Trust from 2001 to 2009; was co-founder and chief executive of animal charity Voiceless, director of the Australia-Israel Council and Jewish Affairs, and chairman of the Rambam Israel Fellowship Program.

Brian Sherman was awarded the Order of Australia in 2004. He also received Ernst & Young’s Entrepreneur of the Year Award, an Honorary Doctorate of Letters from the University of Technology Sydney (2010) and B’nai B’rith Gold Medal. for his exceptional humanism.

In December 2020, on behalf of the NSW Government and the Australian Museum, Brian was awarded Governor Emeritus and, in 2022, the recipient of the Lifetime Achievement Award from the Australian Museum Research Institute (AMRI) in recognition of his contribution significant to the welfare of animals, to the advancement of science and scientific research, to his service as a philanthropist.

Unsurprisingly, Sherman was co-author of Brian’s Life: Entrepreneur, Philanthropist, Animal Advocate (2018), with AM Jonson (published 2018).

Sherman’s Legacy in the Arts

Many have experienced the generosity of Gene and Brian, who always opened their house after a vernissage or an event, allowing artists and collectors to share a meal together without hierarchy or air.

Brian was director of Sherman Galleries (1986-2007), the Sherman Contemporary Art Foundation (SCAF, 2008-2017) and the Sherman Center for Culture and Ideas (SCCI), an organization created with Gene in 2018 to facilitate discussion and generate ideas in fashion and architecture.

In a 2017 interview, Gene said ArtsHub that the Foundation has always been envisaged as a 10-year project. “I told Brian I wanted to start a family funded foundation and I figured out the cost. It was like $1 million a year to do what I wanted to do. Brian said yes but that I had to cap it – give it a deadline – so I promised to close it or turn it after 10 years.Today I have come to the end of my family contract with SCAF and I am honoring it.

Brian shared Gene’s passion for art; have been bringing together passionate collectors for more than three decades. They first began to pare down this collection in 2015, which had over 900 works of art, with a major donation to the Art Gallery of NSW (AGNSW) – works by 20 of Asia’s most important contemporary artists .

Read: Shermans shows AGNSW how to go east

Other works were donated to collecting institutions including the National Gallery of Australia, the University of Melbourne and later the University of Sydney’s Chau Chak Wing Museum. They have also donated artwork to MoMA in New York and the Tate Modern in London.

They continue to send about ten works to auction each year, anxious and anxious not to flood the market. In May this year (2022) they auctioned another 100 works of art with Bonhams Australia.

Also last year, they donated their entire collection of moving images and virtual reality works ahead of the opening of Sydney Modern, building on their deep relationship with AGNSW. It comes after pledging $1.5 million to the fundraising campaign supporting the construction of Sydney Modern (one of the first to support the construction) – with a project gallery in the new building named Sherman Family Gallery.

At the time Director of the Art Gallery of NSW Dr. Michael Brand said: ‘Gene and Brian Sherman have played a central role in the development of the arts in Sydney, and I salute their philanthropic spirit.’

In 2020, they donated $1 million to the Australian Museum for its redevelopment, Project Discover, with the name Brian Sherman Crystal Hall.

A decade earlier (2010), they had donated $1 million to UNSW’s College of Fine Arts (CoFA) for its renovation, a decision that unfortunately ended in copyright controversy. denomination.

ArtsHub sends its condolences to the Sherman family, Gene, his children, Oscar-winning film producer Emile, fellow author and wildlife activist Ondine, their wives and six grandchildren, and the staff of the Sherman Foundation.

]]> NOMA opens ‘Called to the Camera: Black American Studio Photographers’ | Events Sat, 17 Sep 2022 14:00:00 +0000

There are iconic photographs in “Called to the Camera: Black American Studio Photographers,” now open at the New Orleans Museum of Art. Viewers will recognize Ernest C. Withers’ iconic photo from the 1968 Memphis sanitation workers’ strike, with men carrying signs reading “I AM A MAN.” Withers said he printed the panels in his studio.

The the show includes more photos important moments of the civil rights movement as well as portraits of figures such as Frederick Douglass, Langston Hughes and Al Green. There are also photos of artists like Gordon Parks and Endia Beal. But the show focuses on black studio photographers and their portraits. This studio work had an impact on the field of photography, including fine art photography.

“This exhibition is about the work of these photographers in their daily lives and how that work has shaped photography as a whole,” says curator Brian Piper.

The exhibition covers 150 years of photography and includes more than 250 objects. The earliest photos are formal daguerreotypes and tintypes of studio portraits from the 1850s. There were no negatives for the daguerreotypes, so there is a good chance that a portrait of Frederick Douglass was processed by the famous abolitionist – who was one of the most photographed subjects in the 19th century, says Piper.

Many of the studio photographers in the exhibit were working before segregation ended, and these photos stand out as images that black photographers created of black people in a white supremacist society, Piper says. One area of ​​the exhibit is devoted to the studio of influential Washington, DC photographer Addison Scurlock, who established himself as a photographer in 1900. His images are lush portraits using soft focus and delicate retouching.

There are several photos of talented New Orleans photographer Arthur P. Bedou, who got his start around the same time as Scurlock and became one of Booker T. Washington’s trusted photographers. NOMA displays an incredibly crisp 1922 portrait of black nuns in stark white vestments in “Sisters of the Holy Family, Classroom Portrait.” Although Bedou is known for his meticulously posed portraits, he also took pictures at Xavier University football games. A trio of these sepia-toned shots taken in the 1930s show a knack for capturing live action.

‘Picture Man: Portraits by Polo Silk’ opens at NOMA on July 16.

There are also photos of Florestine Perrault Collins, the only black female photographer to have her own studio in New Orleans in the early 1920s. She worked from home, as her husband did not like the idea that she work elsewhere. She allegedly lied about her race in order to apprentice with white photographers.

Morgan and Marvin Smith were identical twins from Kentucky who moved to New York during the Great Depression and later opened a studio next to the Apollo Theater. NOMA has several of their luminary portraits, including Langston Hughes and jazz vibraphonist Milt Jackson. NOMA is also exhibiting Smith’s photos of artist Romare Bearden working in his studio with models. It provides insight into the rise of celebrity photography. The Smiths then closed their studio and moved into television.

There are a few photos from the past few decades, including Polaroids of Sthaddeus Terrell, aka Polo Silk, who has taken portraits at New Orleans clubs and events. There’s Eric Waters’ portrait of Grand Chief Darryl Montana in a lavender-feathered Mardi Gras Indian costume, holding a staff made by artist John Scott. A sharp closing image is Alanna Airitam’s “How to Make a Country”, a self-portrait that evokes the history of portraiture and the presentation of identity.

“Called to the Camera: Black American Studio Photographers” is open through January 8, 2023. Visit for information.

Local Gallery Owner Wins People Choice Award in Flat Rock’s ‘Art in Bloom’ Art Exhibit – The Tryon Daily Bulletin Thu, 15 Sep 2022 14:24:32 +0000

Local Gallery Owner Wins People’s Choice Award in Flat Rock’s ‘Art in Bloom’ Art Exhibit

Posted at 10:24 a.m. on Thursday, September 15, 2022

Saluda Moon Glass workshop & Gallery owner and fused glass artist Susan Cannon opened her new gallery in June this year. In August, she presented one of her pieces at the annual “Art in Bloom” exhibition, organized by the Gallery at Flat Rock. His work was one of 20 selected from 153 entries.

The gallery’s annual “Art in Bloom” exhibition took place over Labor Day weekend and was visited by nearly 600 patrons. The exhibit paired the 20 selected artworks in various media with interpretive floral arrangements by floral designers.

Ms. Cannon’s entry, “Luminosity,” was paired with a floral design by Emiko Suzuki. Together, their work won the Audience Award for the best pairing of art and floral design.

I was honored to be paired with Emiko, who is an amazing Ikebana teacher and artist. She captured the essence of my glass piece, its simplicity, color and movement. It was an inspiring opportunity for me to show the public what can be expressed in kiln-formed glass,” Cannon said.

Flat Rock Gallery owner Suzanne Camarata presents this unique show every year and this year the event registration fee raised $2,960 for Aminga is a non-profit organization that runs a youth sports development program aimed at offering young people the opportunity to channel their physical energy and mental motivation, and to practice mindfulness in a creative and healthy environment.

The Saluda Moon Glass Studio & Gallery offers fused glass classes as well as a studio space for children and adults. Its offerings include serving pieces, jewelry, candle holders, birdhouses, garden art, and wall art for the home and office.

Cannon said, “Saluda has been such a welcoming environment and I am thrilled to bring my fused glass art to the community and to western North Carolina. Our location next to the historic Saluda Depot on Main Street is so accessible and the response from the community has been overwhelming. There has been great interest in learning the art and craft of kiln formed glass. I’ve had 75 students come to various workshops so far, with many coming from afar and returning for additional private studio time.

For more information or to inquire about classes, contact Saluda Moon Glass Studio & Gallery at 828-749-0033 or visit his Facebook page.


Submitted by Judy Thompson

‘Alexis Smith: The American Way’: La Jolla Museum of Contemporary Art Exhibit Features ‘Transformation’ Tue, 13 Sep 2022 22:00:57 +0000

Focusing on what Kathryn Kanjo, director and general manager of the San Diego Museum of Contemporary Art, calls “the power of transformation,” the institution unveiled a new exhibition of multimedia collages drawn from film, literature and of pop culture.

“Alexis Smith: The American Way” opens Thursday, September 15 at MCASD’s flagship location at 700 Prospect St. in La Jolla. It will run until Sunday, February 5.

The exhibition, the first retrospective of Smith’s work in 30 years, features 50 of his pieces from 1978 to 2016.

Smith’s use of wit and humor “examines the narratives that are embedded in our culture and asks us to think critically about how they inform our sense of self and our society,” Anthony said. Graham, Associate Curator of MCASD.

‘The American Way’ piece, mounted at the entrance to the exhibition, features an “energetic, poetic and enigmatic combination” of passages from a novel combined with images of newspaper clippings and advertisements that resonate differently each time. someone look at her,” Graham said.

Smith, born in 1949 in Los Angeles, began her career in the 1970s at the height of conceptual and pop art.

“There’s a lingering theme to Alexis’ self-inventive work,” Kanjo said.

“She really took those ideas and made them her own,” Graham said, noting that her work incorporates creations like the opera “Madama Butterfly” or a poem by Walt Whitman and tells them “from her own angle.”

Smith, who also created two of the UC San Diego works Stuart-Collectionis dedicated to collage, “a medium that takes humble objects and transforms them into something spectacular,” Graham said.

MCASD Associate Curator Anthony Graham says “The American Way” exhibit contains 50 of Alexis Smith’s plays that were heavily influenced by film, literature and pop culture.

(Elisabeth Frausto)

Many of Smith’s pieces are murals painted on the walls of MCASD by an outside firm, with his original collages superimposed.

Some of the plays display concise quotes from American playwrights and other notable figures who “challenge established hierarchies [and] standards of what was considered tasteful or tasteless,” Graham said.

The collection’s signature piece, “Men Rarely Make Passes at Girls Who Wear Glasses,” which features a mural of Marilyn Monroe with collages in the lenses of her glasses, is a “stellar example of caring Smith’s playful but subversive about the roles of women in our culture,” Graham said.

Many of Smith’s collages include images seen as sexist while repositioning them and revealing the influence of the feminist movement on her work, Graham added.

Unwilling to cement herself as a feminist artist, Smith went on to create works that showcase a “sense of adventure, of the will to invent…thinking about the role the West plays in the American imagination,” Graham said.

One of those pieces, “Red Carpet,” is a large installation featuring a 35-foot-long carpet and a Mark Twain quote that Graham says juxtaposes the desert sky and Hollywood’s use of red carpets.

The Smith exhibit is the museum’s second to be shown since it reopened after a comprehensive four-year renovation.

The first was “Niki de Saint Phalle in the 1960s,” a retrospective of the work of the Franco-American artist who spent his final years in La Jolla before his death in 2002.

Hosting the Smith exhibit now follows MCASD’s goal “to celebrate significant female artists who may have had less recognition than they deserve,” Kanjo said.

The exposure also brings new scholarship to Smith, which Kanjo says is “much needed.”

The San Diego Museum of Contemporary Art is open 10 a.m. to 4 p.m. Thursday through Sunday. Tickets are $25, with various discounts available. For more information, visit