The mesh is transparent – 90% thin air, yet it has a much greater physical presence than any conventional solid form. Begbie’s skill, perception, understanding and imagination are succinctly and economically contained within the confines of the simple shell that constitutes his sculpture. Look again closely and you see that there is not even a skin, only a graphic delineation of one. In relation to the space it occupies, the catalytic effect a Begbie sculpture has, in any setting, given that it has no palpable substance or surface, is phenomenal. “Each work is an entity which has a far greater physical presence than any solid object could possibly have because it has the power to suggest that it doesn’t exist.” The introduction of strategic lighting as an integral part of a particular composition has the most remarkable result where the combination of two and three dimensions, with the use of projected shadows, produces an optical fusion of image and object. The preoccupation with the human form as his subject stems from an early age, the fascination for reproducing figurative bodies in steel mesh has developed extensively. David Begbie achieves fine sculpting detail of musculature and an aesthetic completeness of human form...
In his early years, pre-Colombian and Spanish colonial art and the political murals of Mexican artist Diego Rivera inspired Botero’s work. Also influential were the works of his artistic idols at the time, Francisco de Goya and Diego Velázquez. Botero had began studying painting in Madrid in the 1950’s, where he made his living copying paintings hanging in the Prado and selling the copies to tourists.
It was during the 1950’s that Botero experimented with proportion and size, and began developing his trademark style of exaggerated figures after he moved to New York City in 1960. His work also contains a political and satirical element.
In 1973, Botero succeeded in reaching an international audience with his art, subsequently moving to Paris, where he began creating sculptures, still focusing on bloated subjects. By the 1990s, he was successfully staging outdoor exhibitions of huge bronze figures.
Botero’s work continued to be more political, but in an interview in 2010, Botero stated that he was ready for other subjects: "After all this, I always return to...
This journey resulted in what was to become one of his greatest artistic achievements of his early career: Jimi Hendrix playing the American Anthem at Woodstock in August of 1969.
Back in New York, Gorgoni came into contact with Leo Castelli, a leading art dealer at the time, who introduced him to many of the artists he represented in the city. After getting acquainted with leading artists such as Warhol, Rauschenberg, Johns, Lichtenstein and Oldenburg, Gorgoni started frequenting a pub called Max’s Kansas City, a popular hangout for young artists and intellectuals. Here, Gorgoni first met with other important artists such as Morris, Flavin and Serra, many of which he documented with his camera over the years.
Besides gaining international critical acclaim for his photographic portraits, Gorgoni also made name for himself as a highly successful photojournalist. His...
Hassan has since taken part in solo exhibitions in the United States and Japan, alongside his many exhibitions in Italy. Having captured the artist’s attention at a young age, the art of the spray can continues to be the primary instrument in Omar Hassan’s art practice. He has recently developed a new technique for personal expression in the form of his boxing-inspired Breaking Through series. The performance element of the series will have it’s first unveiling at ContiniArtUK’s “Breaking Through” exhibition, Omar Hassan’s first UK solo exhibition.
Among his major exhibitions, Omar Hassan also boasts a long list of “street art” public commissions. These include; One Wall at the Palazzo della Regione in Milan, the Museo Mille Miglia in Brescia, the Accademia delle Belle Arti Aldo Galli in Como and Colour Cube in London’s Brick Lane.
Omar Hassan is featured alongside artists including Banksy, Blek Le Rat, D*Face and Ben Eine in the definitive Street Art London edition by Frank Steam 156 Malt published in 2013.
Robert Indiana was born Robert Clark in New Castle, Indiana on September 13, 1928. Adopted as an infant, he spent his childhood moving frequently throughout his namesake state. His artistic talent was evident at an early age, and its recognition by a first grade teacher encouraged his decision to become an artist. In 1942 Indiana moved to Indianapolis in order to attend Arsenal Technical High School, known for its strong arts curriculum. After graduating he spent three years in the U.S. Air Force and then studied at the Art Institute of Chicago, the Skowhegan School of Sculpture and Painting in Maine, and the Edinburgh College of Art in Scotland. After 1956, Robert Indiana joined a community of artists that would come to include Ellsworth Kelly, Agnes Martin, James Rosenquist and Jack Youngerman.
Indiana quickly gained repute as one of the most creative artists of his generation, and was featured in influential New York shows such as New Forms – New Media at the Martha Jackson Gallery (1960), Art of Assemblage at the Museum of Modern Art (1961), and The New Realists at the Sidney Janis Gallery (1962). In 1961, the Museum of Modern Art acquired The American Dream, I (1961), the first in a series of...
He returned to Paris in 1974 and two years later he held another major solo exhibition at the Gallery La Hune, including some sculptural work. The success of the show persuaded him that he was first and foremost a sculptor. Having previously worked with terracotta and bronze, a trip to Carrara, Italy, in 1979 turned him to using marble as his primary medium and in 1983 he set up a studio in Pietrasanta. In 2006, he created the new bronze doors and a statue of John the Baptist for the basilica of Santa Maria degli Angeli in Rome.
Among his major exhibitions, are The Valley of the Temples, Agrigento (2011), the Trajan Markets, Rome (2004), the Tuillerie Gardens, Paris (2004), Boboli Gardens, Florence (1999), La Défense, Paris (1997), Yorkshire Sculpture Park, Wakefield, UK (1992) and Venice Biennale, Venice (1986).
Meant to have an impact on its audience, DOC employs sarcasm to tackle and provoke society’s value system. Aiming to avoid the conventional, stereotypical standards of “good taste” in art, his ideas are more in line with contemporary commerce and marketing methods than traditional artisan methods.
The esteemed New Yorker art critic Benjamin Genocchio characterized DOC’s work as “not malicious, even if his works cut to the bone. He is more like our social conscience, delivering up uncomfortable and unpleasant truths wrapped in the most beautiful and seductive of packages.”
Born in 1975 in Salinas, California, DOC graduated from the nationally acclaimed Parson’s School of Design with a Bachelor’s in Fine Arts. Since his first solo show in Los Angeles (2011), he has been featured in numerous shows and art fairs as well as galleries worldwide, and his work has propelled with unusual fervour amid collectors and the public respectively.
DOC lives and works in Los Angeles.
Il suo lavoro, iniziato già negli anni dell’Accademia, si caratterizza per rigore concettuale e formale: al centro del suo messaggio artistico, MOG pone l’essenza femminile, intesa come vita e come fulcro della continuità della nostra specie. Questo concetto viene raffigurato attraverso un raffinato e discreto uso delle forme della vagina che diventano tratto caratteristico del suo intero lavoro.
Questo è affrontato utilizzando materiali diversi, dal marmo al ferro ed al bronzo, fino alle resine, agli acquerelli ed ai tessuti.
Il suo approccio lucido e senza equivoci al tema della femminilità, la sua manualità energica e appassionata sono tra le motivazioni che inducono la giuria del premio Lorenzo il Magnifico ad assegnarle l’edizione del 2004.
Nello stesso anno, invitata a esporre nello Spazio Vita di Milano per il ciclo “Giovani Artisti e Non Profit” a cura di Marina Mojana, MOG realizza una scultura di grande effetto, una sorta di passaggio, di autentica porta che conduce a un’installazione di steli di ferro su cui monta piccoli raffinati acquerelli. In questo lavoro, dal titolo Blessures, la vagina è ferita, mutilata e deturpata da cuciture in filo nero, che si incarnano nell’opera disegnando il profilo dell’Africa e accennando in modo forte e poetico al dramma...