Archive

Genesis Belanger Candelabra, 2021 lacquered, polished, patinated bronze 10 1/4 x 7 1/4 inches   ARTIST BIO Genesis Belanger stages psychologically charged mise-en-scènes composed of idiosyncratic versions of everyday objects. Working in a multitude of handcrafts — welder, ceramicist, and seamstress — Belanger conjures installations of unresolved tension on the edge of a temporal collapse. Her vocabulary is lifted from the 1950s, specifically from the dawn of American advertising, and she infuses her tableaux with a sense of lobotomized capitalist productivity, choosing liminal spaces, such hotel lobbies or office waiting rooms, as subject-matter. In Belanger's practice, the body is absent, inviting the viewer to enter as purposeful actor. In her immersive scenes, objects become surrogate for the female body: pursed lips emerge from matching stoneware lamps, fingers sprout from a bouquet, and a hot dog wiggles itself into a wedge heel. Belanger's three-dimensional work, although situated within the legacy of Claes Oldenburg and Robert Gober, is principally concerned with the manifestation of capitalist myths on a gendered psyche.   Submit Inquiry Below hbspt.forms.create({ region: "na1", portalId: "22383903", formId: "391f530e-59f4-4ad0-81cb-e54bea6411d6" }); ...

Louise Nevelson Sky Gate II, 1982 cast paper relief diptych, ed. 53/90 38 x 24 inches (framed, each)   ARTIST BIO Louise Nevelson, a leading sculptor of the twentieth century, pioneered site-specific and installation art with her monochromatic wood sculptures made of box-like structures and nested objects. Nevelson emigrated with her family from czarist Russia to the United States in 1905, settling in Rockland, Maine. By 1920, she had moved to New York City, where she studied drama and later enrolled at the Art Students League. Throughout the early 1930s, Nevelson traveled across Europe and briefly attended Hans Hofmann’s school in Munich, returning to New York in 1932 where she studied once again with Hofmann. She received her first one-person exhibition at the Nierendorf Gallery, New York, in 1941—the first of several with the gallery throughout a decade punctuated by travels to Europe, explorations in printmaking, and work at the Sculpture Center in New York. By the late 1940s and early 1950s, Nevelson had traveled to Guatemala and Mexico to view Pre-Colombian art and began to produce a series of wood landscape sculptures. In 1977, Nevelson was commissioned to create a sculpture titled "Sky Gate" for the North Tower of the World Trade Center in New York. She was inspired by a New York skyline view during a flight from New York to Washington. She intended to capture the "windows of New York" among its skyline. The sculpture was destroyed during the September 11 attacks. In "Sky Gate II", Nevelson used a cast paper technique where paper...

Subscribe to our Newsletter