Hussein Madi

Untitled

1995

He has participated in over sixty group Art Shows and biennales since 1968 including Rochester Memorial museum 1974, Low Art Centre, Syracuse 1975, Soursouk Museum, Beirut, 1984-2008...

Hussein Madi, painter, sculptor and engraver, born in 1938 in Chebaa in South Lebanon, is one of the Middle East’s most famous artists. Between 1958 and 1...

Mobile reliefs with moving patterns operated by motors that alter space-colour ratios, initially in black and white and later colour. Very slowly, the parts changed, were separated a...

Since the 1940s, the Egyptian painter Hamed Abdalla is not only a visionary pioneer of modern art for the global south and Arab countries; he is also one of the first of his generation to envision painting as political art and activism. The current display focuses on a specific time of defeat and disillusion for a whole generation of Arab artists and intellectuals, in the aftermath of the “Six Days War” led by Israel and their allies (a war title which a lot of Arab activists consider propagandist, preferring to call it “The Defeat of 1967” or simply the “June 1967 War”). This persistent ideological wound became the symbol of failed dreams for the “Arab Nation” or Arab states alliances – including the short but emblematic Egyptian-Syrian achievement of the United Arab Republic. Another major failure, to which Abdalla will respond through the paintings on display here, is the Egyptian President Anwar Sadat program of “opening up” (Infitah) the Egyptian economy and give way to political compromise with the US and Israel – Abdalla assimilating this period to a vast state of Coma for all Arab people and territories. In a collective statement by a group of Egyptian artists exiled in Paris (including Abdalla), published in the Egyptian local journal Al-Dustur, on 5 December 1977, one can read: “This disaster is far greater than the defeat of June 1967. Rather, it approaches the scale of the disaster that took place in 1948 (…) To destroy the Arab people’s noble three decades-long struggle against imperialism and Zionism (…) Sadat is exploiting the stifling economic crisis that Egypt is currently facing (…) We must resist this betrayal of our nation or be crushed under the wheels of global imperialism for generations to come.” The works presented here reflect Abdalla’s transformation of the Hurrufiyyah aesthetics, to achieve his own way of “Arab Letterism”. It claims for a deeply experimental, non-decorative, politically committed and non-commercial use of the Arabic letter...

Born to an Italian family in 1915 in La Plata, a province of Buenos Aires, Luis Tomasello's first work experience was with his father, a bricklayer, carpenter, and painter. As a teenager, he began his artistic studies by taking evening drawing classes before joining the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón in Buenos Aires from 1932 to 1938. Two years later, he enrolled at the Escuela Superior de Bellas Artes Ernesto de la Cárcova, where he studied until 1944. In the mid-1940s, young artists in Buenos Aires were challenging representational traditions in art; Tomasello met painters Emilio...

B. Yaghi is a Lebanese contemporary artist born in 1984. Having lived in several countries, B. Yaghi soaked up the rich cultures of Beirut, London, Miami and Dubai, and was immersed ...

"Swim is a hand-painted acrylic painting on high-quality 300g paper by artist Ryan Rivadeneyra. The hand-drawn render is reminiscent and inspired by the word art that Ed Ruscha produ...

Peña’s works range from painting to multimedia installations that question the ever-changing psychological landscape of America; asking the viewer to re-examine their perceptions of ...

Artwork size: 67 x 51 cm. Frame size: 112 x 97 cm. Free shipment worldwide. Archive number SF 89-153 in the Sam Francis Foundation. Stamped with the Sam Francis Estate logo and stamped signature on verso. Sam Francis’s paintings are a journey into a dream, a voyage into the landscapes of the soul where colours are lights on fire. Alongside names such as Jackson Pollock, Willem de Kooning and Franz Kline, Sam Francis is an artist who has succeeded in demonstrating a total mastery of abstract expressionism’s impassioned and spontaneous genre. The explosions of colour – red, blue, green and yellow – the streaks, strokes and bold lines of his pictures are the physical synthesis of the deepest crevices of the soul. His colours create rhythmical motifs that, characteristically enough, can be called the “musicality” of his paintings. The work of Sam Francis provides a visible meeting place for the conscious and the unconscious. His pictures are the cross-fertilisation of what has already been experienced with what exists still only as desire, a struggle between melancholy and merrymaking. Influenced by C.G. Jung, the father of psychoanalysis, Sam Francis spent a large portion of his life exploring the premise that dreams, instincts and intuition provide, the keys which unlock the mysteries and meaning of our inner lives. He was also fascinated by the four ancient elements – earth, water, air and fire – which developed into a leitmotif in his work. Sam Francis was born in San Mateo in California, USA in 1923. After starting to paint at the age of around twenty, he soon found himself increasingly consumed by the power of art. He spent much of the 1950s in Paris, from where he not only made frequent excursions to a number of European cities, but also embarked on many journeys to South America and Asia. He continued to move from place to place, primarily in the USA and Japan, right up until his death in 1994. Sam Francis’s first...

The discipline of creating a drawing each day is a process, like a written diary, to clear the mind, to declutter thoughts, and to observe patterns. It is a method that allows the mind a freedom to wander and drift. A visual journal becomes a safe space for personal reflection–a self-awareness fueled by the opportunity for contemplation and immersion. The painted surface for the drawings was created by dividing five large paintings into 40 separate pieces. I chose five paintings from my Perspective Series (1993-94), which relied on day-to-day imagery that narrated a story about shifting time and how time anchors our day. The brush strokes of Perspectives are fluid, with muted colors – moving from deep blacks to taupe whites. Dividing these pieces was a means for me to rethink ideas and recurring images in my older work. The very thin gold leaf applied to each piece has a wonderful amber tone. This gold leaf is from Myanmar, where it is used as decoration for Buddha or for the dome of a temple or monastery. In the drawings, the gold element relates to the sense of infinity – like the sky in an enclosed courtyard. An architectural element is a critical component in my studio work that I wanted to carry over into these pieces. I envisioned a courtyard–a safe space that opens up to the sky. Unfolding circles define the beginnings of an open interior space. The process felt open-ended. It was an opportunity to get lost in thought and to give me an opportunity to reflect, muse and declutter my thinking. Then repeat. 40 days...

Original drawing on paper Handsigned Unique piece Mint condition PINKHAS (Born in 1975) SOLOS EXHIBITIONS 2022 Gallery 55 TLV Tel Aviv Israël 2021 ...

A late 20th century watercolour, gouache and acrylic on paper by British artist Derek Carruthers. Signed to the bottom right and dated 1985 and titled, 'Godot' to the reverse. A ch...