{"id":8755,"date":"2024-07-02T01:24:20","date_gmt":"2024-07-02T01:24:20","guid":{"rendered":"https:\/\/artoday.net\/?p=8755"},"modified":"2024-07-02T01:24:20","modified_gmt":"2024-07-02T01:24:20","slug":"june-2024-art-were-obsessed-with","status":"publish","type":"post","link":"https:\/\/artoday.net\/?p=8755","title":{"rendered":"June 2024 Art We&#8217;re Obsessed With"},"content":{"rendered":"<p><\/p>\n<div>\n<p>Art<\/p>\n<p>Art<\/p>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-vqmnzn-0 eUqDTh cpWqgk\">\n<p>Art We\u2019re Obsessed With is a monthly series highlighting the art that Artsy staffers can\u2019t stop thinking about, and why. From lesser-known artists our editors stumbled across at local shows to artwork that\u2019s going viral on our platform, these are the pieces of art we\u2019re obsessed with this month.<\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-vqmnzn-0 eUqDTh cpWqgk\">\n<h2>Abdul Salam, <em>Remember, on that day, We will roll up the universe like a scroll. (21:104)<\/em>2024<\/h2>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-cw39ct-0 cLbofV\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:4987 \/ 3960;max-width:100%\" class=\"Box-sc-15se88d-0 ifvuNv\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-z4og7f-1 fmimeD kGAsnc\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 Skeleton__SkeletonBox-sc-1vwqe5c-0 kTXqHg\"><span class=\"LazyImage__InnerLazyImage-sc-1fxlbs3-0 bXymUy\" style=\"opacity:0\"\/><img decoding=\"async\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FbrhZcONiiYF9oP_mTyK7Xw%2Fmain.jpg&amp;width=910\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FbrhZcONiiYF9oP_mTyK7Xw%2Fmain.jpg&amp;width=910 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FbrhZcONiiYF9oP_mTyK7Xw%2Fmain.jpg&amp;width=1820 2x\" alt=\"\" class=\"Image__BaseImage-sq2zgu-0 hNtpIp\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-vqmnzn-0 eUqDTh cpWqgk\">\n<p>One of the largest paintings currently on Artsy, this ink painting on canvas by emerging South African artist Abdus Salaam is awe-inspiring in its sheer scale. The painting\u2019s radiant, symmetrical forms bring a sense of tranquility and wonder to me, reminding me of the blossoming light I \u201csee\u201d with my eyes closed during meditation. The massive work was created over a six-week period, partially coinciding with the month-long fast of Ramadan, during which the artist completed a residency at the Nirox Foundation, a nonprofit space located in the lush countryside outside of Johannesburg. <\/p>\n<p>\u2014Jordan Huelskamp, \u200b\u200bHead of Curatorial<\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-vqmnzn-0 eUqDTh cpWqgk\">\n<h2>Ivana Basic, <em>I too have thousands of glittering cilia, and my abdomen, newborn, born for the ground, is reborn | Position 1 (#3)<\/em>2018\u201321<\/h2>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-cw39ct-0 cLbofV\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:894 \/ 1280;max-width:100%\" class=\"Box-sc-15se88d-0 ifvuNv\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-z4og7f-1 fmimeD kGAsnc\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 Skeleton__SkeletonBox-sc-1vwqe5c-0 kTXqHg\"><span class=\"LazyImage__InnerLazyImage-sc-1fxlbs3-0 bXymUy\" style=\"opacity:0\"\/><img decoding=\"async\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FphqdwT3dqzds6bdWnIyoYw%2Fnormalized.jpg&amp;width=910\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FphqdwT3dqzds6bdWnIyoYw%2Fnormalized.jpg&amp;width=910 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FphqdwT3dqzds6bdWnIyoYw%2Fnormalized.jpg&amp;width=1820 2x\" alt=\"\" class=\"Image__BaseImage-sq2zgu-0 hNtpIp\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-vqmnzn-0 eUqDTh cpWqgk\">\n<p>For her first institutional exhibition, \u201cSamsara,\u201d at Berlin\u2019s Schinkel Pavillon, Serbian artist Ivana Ba\u0161i\u0107 explores trauma and its effects on the body, influenced by a turbulent childhood during the breakup of Yugoslavia. The centerpiece of the exhibition is a block of alabaster that is slowly pulverized by a soft, clanking pneumatic drill in a breath-like rhythm. I was completely mesmerized by the pale, fragile sculptures in this show: silvery metal, wax, and textured rock folded into bulbous, bizarre shapes. From a similar series, <em>I also have thousands of shimmering cilia&#8230; <\/em>(2018\u201321), shown in the group show \u201cSIGNALS\u201d at Someday Gallery, adds long glass drops that extend out of a mouth-like bronze opening. The result is organic, gentle, and raw. <\/p>\n<p>\u2014Josie Thaddeus-Johns, editor<\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-cw39ct-0 cLbofV\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:6000 \/ 3376;max-width:100%\" class=\"Box-sc-15se88d-0 ifvuNv\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-z4og7f-1 fmimeD kGAsnc\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 Skeleton__SkeletonBox-sc-1vwqe5c-0 kTXqHg\"><span class=\"LazyImage__InnerLazyImage-sc-1fxlbs3-0 bXymUy\" style=\"opacity:0\"\/><img decoding=\"async\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F_rBbOdNBA7bCQOlrcjzZtQ%2Fnormalized.jpg&amp;width=910\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F_rBbOdNBA7bCQOlrcjzZtQ%2Fnormalized.jpg&amp;width=910 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F_rBbOdNBA7bCQOlrcjzZtQ%2Fnormalized.jpg&amp;width=1820 2x\" alt=\"\" class=\"Image__BaseImage-sq2zgu-0 hNtpIp\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-vqmnzn-0 eUqDTh cpWqgk\">\n<p>My creative routine usually starts with collecting some art, a surefire cure for writer\u2019s block. One recent work that broke through my brain fog and sparked my creative routine was Ugandan artist Sanaa Gateja\u2019s hypnotic 2020 polyptych. <em>path. <\/em>The 64-year-old artist, whose work is on display in the Uganda Pavilion at the 60th Venice Biennale, creates multimedia textiles using paper beads, often strung with raffia, banana fiber, tree bark and various recycled man-made materials. <\/p>\n<p>Aptly dubbed the \u201cBead King,\u201d Gateja uses his signature medium to craft elaborate swirling patterns. <em>path<\/em>From one tapestry to another, I am drawn to the fluid forms that resemble vaguely outlined figures or groups of people. Gateja\u2019s fusion beadwork inspires me to bring together different materials and memories to tell a story.<\/p>\n<p>\u2014Maxwell Raab, Staff Writer<\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-vqmnzn-0 eUqDTh cpWqgk\">\n<h2>Sophie Jen Bretz, <em>Time is the vastness of the ocean, Time is everything, and in its womb &#8211; the fullness of the sun<\/em>2024<\/h2>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-cw39ct-0 cLbofV\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:5227 \/ 3927;max-width:100%\" class=\"Box-sc-15se88d-0 ifvuNv\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-z4og7f-1 fmimeD kGAsnc\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 Skeleton__SkeletonBox-sc-1vwqe5c-0 kTXqHg\"><span class=\"LazyImage__InnerLazyImage-sc-1fxlbs3-0 bXymUy\" style=\"opacity:0\"\/><img decoding=\"async\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FvOfMrWmahhNeSqgSuB0xOg%2Fmain.jpg&amp;width=910\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FvOfMrWmahhNeSqgSuB0xOg%2Fmain.jpg&amp;width=910 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FvOfMrWmahhNeSqgSuB0xOg%2Fmain.jpg&amp;width=1820 2x\" alt=\"\" class=\"Image__BaseImage-sq2zgu-0 hNtpIp\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-vqmnzn-0 eUqDTh cpWqgk\">\n<p>Every year around this time, I make myself a summer mood board, which is basically just a bunch of phrases and pictures in my Notes app (sample entries: \u201cice cream for dinner,\u201d \u201cNew York ferry\u201d). <em>Time is the vastness of the ocean, Time is everything, and in its womb &#8211; the fullness of the sun<\/em> (2024) adds a new dimension to my annual collection. I love the contrast between the soft pastel gradations and the sharp lines; the stylish Poul Henningsen lamp in the foreground and the sunset behind it; the stark indifference and vividness of the Bretez figures. On closer inspection, the book on the table is open to a passage by Rainer Maria Rilke, in which he compares summer to a period of creative fertility &#8211; rewarding those who patiently endure the &#8220;spring storms.&#8221; The scene evokes the kind of leisure I seek in this season. Now, who will teach me how to play poker?<\/p>\n<p>\u2014 Olivia Horn, deputy managing editor<\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-vqmnzn-0 eUqDTh cpWqgk\">\n<h2>Claude Lalanne, <em>Pair of Alligator Armchairs<\/em>2015<\/h2>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-cw39ct-0 cLbofV\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:1179 \/ 1766;max-width:100%\" class=\"Box-sc-15se88d-0 ifvuNv\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-z4og7f-1 fmimeD kGAsnc\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 Skeleton__SkeletonBox-sc-1vwqe5c-0 kTXqHg\"><span class=\"LazyImage__InnerLazyImage-sc-1fxlbs3-0 bXymUy\" style=\"opacity:0\"\/><img decoding=\"async\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FOrZLIanWdRs7pIPtm-o0Cw%2Fmain.jpg&amp;width=910\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FOrZLIanWdRs7pIPtm-o0Cw%2Fmain.jpg&amp;width=910 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FOrZLIanWdRs7pIPtm-o0Cw%2Fmain.jpg&amp;width=1820 2x\" alt=\"\" class=\"Image__BaseImage-sq2zgu-0 hNtpIp\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-vqmnzn-0 eUqDTh cpWqgk\">\n<p>I was wandering around Art Basel last week, visiting Design Miami, the exhibition center, which gave me a break from the bustle around me. Along with the extremely comfortable-looking sofas, a pair of \u201ccrocodile chairs\u201d designed by the late French designer Claude Lalanne at the Galerie Mitterrand booth immediately caught the eye. The bronze-colored pieces are one of a series of noteworthy works in the surrealist designer\u2019s oeuvre, and their origins can be traced back to 1972, when Lalanne was given the remains of a recently deceased crocodile. The chairs\u2019 intricate construction and bizarre decoration made me stop and admire them. My question: Do they provide adequate back support? <\/p>\n<p>\u2014Arun Kakar, Art Market Editor<\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-cw39ct-0 cLbofV\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:3750 \/ 5000;max-width:100%\" class=\"Box-sc-15se88d-0 ifvuNv\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-z4og7f-1 fmimeD kGAsnc\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 Skeleton__SkeletonBox-sc-1vwqe5c-0 kTXqHg\"><span class=\"LazyImage__InnerLazyImage-sc-1fxlbs3-0 bXymUy\" style=\"opacity:0\"\/><img decoding=\"async\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F82-jgQ93q3-oWOS2H6d6zQ%2Fmain.jpg&amp;width=910\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F82-jgQ93q3-oWOS2H6d6zQ%2Fmain.jpg&amp;width=910 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F82-jgQ93q3-oWOS2H6d6zQ%2Fmain.jpg&amp;width=1820 2x\" alt=\"\" class=\"Image__BaseImage-sq2zgu-0 hNtpIp\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-vqmnzn-0 eUqDTh cpWqgk ArticleSectionText__ArticleHTMLLastChild-sc-9ecauf-1 ccqNGR\">\n<p>I learned about Frida Orupabo\u2019s work when she was featured in Art Vanguard in 2020. Since then, I have followed her career closely. I am always surprised and delighted by her sharp works, including this one, which reminds me of Alex Katz\u2019s double-sided paper cut sculptures (see <em>Double there<\/em>), often depicting his wife and muse, Ida. Olupabo is both an artist and a sociologist who examines and questions the ways in which women are represented in art history and visual culture. Like specimen butterflies, her figures are pinned (or in this case, bolted) together for the viewer\u2019s inspection, and she reminds us that the viewer is complicit.<\/p>\n<p>\u2014Isabelle Sakelaris, Senior Manager, Growth and Lifecycle Marketing<\/p>\n<\/div>\n<\/div>\n<p><a href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-art-obsessed-june\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Art Art Art We\u2019re Obsessed With is a monthly series highlighting the art that Artsy staffers can\u2019t stop thinking about, and why. From lesser-known artists our editors stumbled across at local shows to artwork that\u2019s going viral on our platform, these are the pieces of art we\u2019re obsessed with this month. Abdul Salam, Remember, on<\/p>\n","protected":false},"author":1,"featured_media":8756,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[44],"tags":[],"class_list":{"0":"post-8755","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art-news"},"brizy_media":[],"_links":{"self":[{"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts\/8755","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8755"}],"version-history":[{"count":0,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts\/8755\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/media\/8756"}],"wp:attachment":[{"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8755"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8755"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8755"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}