Tuesday, 17 July 2018

Hyper Realities

Hyper Realities, Benjamin Von Wong,  at the National Museum of Contemporary Art (EMST), Athens.

A series of photographs by visual artist and photographer Benjamin Von Wong that focus on our excessive consumerism and our total lack of respect for the natural world, which, if continued at this rate, will eventually destroy our planet. The three topics presented in this exhibition are related to the environmental impact of the fashion industry, the disposal of electronic waste and the excessive use of plastic in our everyday lives. The captions that accompany the photographs give a very clear message about our folly and its disastrous consequences.

The exhibition includes a series of videos that show the research, design process and special effects used to create the photographs.

50% of the plastic we use, we use just once before throwing away. (450years.com)

By the year 2050, there will be more plastic than fish in the sea. (450years.com)

The average American will use 10,000 plastic bottles over the course of their life. (450years.com)

It takes 450 years for a single plastic bottle to degrade. Avoid plastics when you can. (450years.com)

70 million trees are cut down every year to produce clothing fibre. (clothingtheloop.org)

By 2030, 2.8 billion tons of CO will be released every year by the fashion industry. (clothingtheloop.org)

It takes 2700 L of water to produce just one cotton t-shirt. (clothingtheloop. org)

The clothing we wear has a hidden cost. We need to think about closing the loop. (clothingtheloop.org)

Every day 142,000 computers are thrown away in the US. (rethinkandrecycle,com)

There can be up to 800x more gold in the circuits we throw than found raw in the ground. (rethinkandrecycle.com)

Only 15% of electronic waste is recycled every single year. (rethinkandrecycle.com)

E-waste is the fastest growing municipal waste stream in the world. (rethinkandrecycle.com)

Sunday, 15 July 2018


Another imaginative display at Antonello, the theme being the harvest this time.

The large window on the left

and the smaller window on the right.

Detail on the floor of the large window

I do like these hens.

View of the shop as we enter

The large shelf on the right which always features orchids

and some lavender for this display.

Detail on the floor

The back wall

Wednesday, 11 July 2018

A few gems from the Albertina

A few gems from the Albertina, Vienna.

Natan Altman, Portrait of the Poet Anna Akhmatova, 1914

Natan Altman, Petrocommune, 1921

I had never come across Altman's work before and am extremely pleased to have discovered him. Only seven years separate the two works above, yet stylistically and in their worldview and ideology they are worlds apart. It is almost as if they were not by the same hand, as if they dated from different centuries: in one, the elegant, bourgeois 19th century, and in the other, the century that swept away  three centuries of tsarist rule. Taking the place of the elegant fin-de-si├Ęcle realism is the Suprematist construction, permeated by propaganda for the state of the future.

Whereas he presents himself as a classical portraitist adopting the techniques of  Cubo-Futurism with his Portrait of the Poet Anna Akhmatova, he demonstrates themes and an artistic language consistent with the new era in his work from the early 1920s. In Petrocommune there is a concentration of images and ideas connected with a single concept: the formation of a new state. The use of the elements of the circle and the rectangle is his tribute to Suprematism, proclaimed by Malevich in the 1910s.

Natan Altman, Portrait of a Young Jew (Self-Portrait), 1916

 In the search of forms of new expression, experiments with new materials, and the discovery of new artistic media during those revolutionary times, did not affect the artists' interest in such traditional genres as the portrait. What had changed was the use of unusual materials and their completely novel combination. In this sculpture Altman teamed plaster and copper with wood.

Beatrice Sandomirskaya, Composite Portrait, 1929

Sandomirskaya created a sculpture in the spirit of Cubism, with the head reduced to a few geometric shapes juxtaposing  contrasting surface textures of sheet metal and wood.

Wladimir Lebedew, Cubism: Washerwoman, 1922

Kasimir Malewitsch, Portrait of the Artist's Wife, 1933

Monday, 9 July 2018

Warwickshire Open Studios - 2

Warwickshire Open Studios - 2.

Another small selection of some of the art that has been on display in the last three weeks.

Hilary LaForce:

Tea bowl, (pearl crystal with kintsugi repair)

looking in

Don Mason:

Athina Bastien:

Sally Lark:

Avril Leigh:

Vicki Behm: