This is a pretty awesome and entertaining video guys 🙂
400 Years Later, Pieter Brueghel the Younger Painting Will Debut at Frieze Masters | In the Air: Art News & Gossip | ARTINFO.com
Hey guys! Long time no see! I went on an extended vacay and I was away from my computer for far too long. I hope you all forgive me. I thought I woudl come back with some awesome news about the potential, recent rediscovery of a Peiter Brueghel the Younger painting.
Johnny Van Haeften, London Based dealer of 17th century works, discovered the lost painting “The Census at Bethlehem” in Africa. He traced its journey from Antwerp in 1611 to the Delamere faimly in Africa in 1940, the last source of its known where a bouts.
It will debut this week at Frieze Masters in London.
I saw this over on the Meta Picture while I was not working on my writing assignment, and it may have made my day. For all of you art history students and scholars, this is totally for you! And even not, well it is still pretty funny and has some actual good advice I wish I had known in school!
I love installation art, and I really with I could see Pinaree Sanpitak’s conceptual tribute to the Thailand peoples who suffered during that tragic 2011 Monsoon. Snapitak’s art may take after Eva Hesse in style, but her completed hammocks are distinguished from her predecessor by its religious (Theravada Buddhism common in Thialand) over tones and Thai aesthetics. She also has a singular dipping/drapping curve shape to her art, that embodies all of the warmth, grace and security of a mother’s breast while recalling the motions of the rising, consuming waters of a typhoon. If you have the opportunity to see this powerful exhibit you really would be remiss to not go.
In her installation Hanging by a Thread, Pinaree Sanpitak, a Thai conceptual artist, honors a national tragedy (the 2011 Monsoon floods). The work uses a flowers-patterned fabric, a textile very common in Thailand, which Pinaree stated “ . . . proved soothing, and brought back a sense of nostalgia . . . the ordinary. The local.”
On the fourth floor of the Ahmanson Building, 18 hammocks hang in a dark gallery. They look like rare exotic vegetation crafted from the printed cotton textile, the paa-lai. It’s easy to imagine them as forms of the monsoon: terrifying, consuming waters transforming the Chao Phraya River that snakes through Bangkok like some mythic creature. But of course, Pinaree’s art allows all manner of imagery to be contained, and is sometimes so simple as to reveal and mystify all at once.
The hammocks yield to the curvature of the breast, a constant…
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