Glasstress 2011 artist, Michael Petry is an internationally exhibited multi-media artist, and co-director of the Museum of Installation, London. He was born in El Paso, Texas, and has lived in London since 1981. He received a BA at Rice University (Houston), an MA at London Guildhall University, and is finishing his Dr Arts at Middlesex University. He lectures part time at the Royal College of Art and the Royal Academy Schools and was Guest Curator at the KunstAkademi, Oslo, and Research Fellow at the University of Wolverhampton. Petry is represented by the Sundaram Tagor Gallery, New York, the Devin Borden Hiram Butler Gallery, Houston and the Westbrook Gallery, London.
Petry is the Director of the MOCA, London Museum of Contemporary Art, and the curator of the Royal Academy Schools Gallery. In addition to temporary exhibitions and installations at several museums and galleries, such as the Devin Borden Hiram Butler Gallery, Houston, Petry’s works are included in public collections throughout the world including the Museum of Arts and Design, New York; Museum of Fine Arts, Houston, the Toledo Museum of Art, the British Museum, London; The National Collection, UK, the Kunst und Ausstellungshalle der Bundesrepublick Deutschland, Bonn, the Bellerive Museum, Zurich, The New Art Gallery Walsall, UK, Rogaland Kunstmuseum, Stavanger, Norway, The Gallery of Art, Legnica, Poland and the Leopold Hoesch Museum, Duren, Germany
Introducing “Prometheus – Landscape II.” This is Glasstress 2011 artist, Jan Fabre’s latest stage production, scheduled to premiere at the Alexander Kasser Theater at Montclair State University January 20th-30th, 2011.
The central image of the show is of Prometheus, bound and suspended high above the stage throughout the full 90-minute production. Symbolizing the artist bound by society’s contradictions: freedom of expression versus obedience to order, Prometheus, the bringer of fire to man, is also a symbol of creation and destruction. The story was concieved, co-written, and directed, and set directed by Fabre.
Jan Fabre (born 1958, Antwerp, Belgium) is a Belgian multidisciplinary artist, playwright, stage director, choreographer and designer. His decoration of the ceiling of the Royal Palace in Brussels Heaven of Delight (made out of one million six hundred thousand jewel-scarab wing cases) is widely praised. In 2004 he erected Totem, a giant bug stuck on a 70 foot steel needle, on the Ladeuzeplein in Leuven.
This makes us smile. 🙂
Earlier this week in Murano, we had an incredible visit from prominent Lebanese painter, Nabil Nahas. Nabil grew up in Cairo and Beirut, moved to the United States to study and earned his MFA from Yale University. Encounters with contemporary painters at Yale influenced Nahas to move to New York where he has exhibited regularly and received critical acclaim for his work. Nahas uses geometric motifs and decorative patterns inspired by the rich history of Islamic art. At the same time, Nahas is thoroughly educated in the tradition of Western abstract painting. These two poles combine quite provocatively in his work, seamlessly fusing into brightly-colored paintings suggestive of the richness of nature. In his most recent work, Nahas surprisingly introduces recognizable forms of cedar, pine and olive trees native to Lebanon, his most direct reference yet to his native land. His retrospective, Nabil Nahas: Perpetual Energy opened this summer is the inaugural exhibition at the Beirut Exhibition Center, an exhibition created by eminent American art critic Vincent Katz and sponsored by Solidčre.
Nabil’s recent visit to Berengo Studios to create his works for Glasstress 2011 was also the artist’s first time creating works in glass. We are lucky to have his debut exploration in a new medium and proud that he, along with Marya Kazoun, will represent Middle East excellence at the exhibition.
1300 Degrees of Separation
Earlier this month, Paul Cocksedge, and Louise Campbell stopped by for a visit to Berengo Studios to discuss their upcoming exhibits for Glasstress 2011.
About Paul Cocksedge
Reflecting on abstract painting and its place in contemporary society, Paul Campbell explores abstraction’s most poetic, frankly beautiful aspects, while opening up the nearly century-old practice to up-to-date, aleatory experiments with wry techniques and an intensely felt rhetoric of painterly process. Eschewing the politics of “touch” which were the cornerstone of Modernist abstraction, Paul Campbell marks his carefully prepared oil and wax canvases with such every day objects as ten cent string, tennis balls, and remote-control cars, letting the careening traces of paint build up a rich and controlled chaos. “I use just about anything I can to paint with,” Campbell has said about his direct, rhythmic, yet extremely fine-tuned method. “It is a way of getting away from my hand to liberate the painting, a combination of a methodological and intuitive painterly approach.”
About Louise Campbell
Louise Campbell was born in Copenhagen in 1970. Being the daughter of a Danish father and an English mother, she grew up and was educated in both countries. After graduating from the London College of Furniture in 1992, she returned to Denmark and continued her studies in Industrial Design at Denmarks Design School, graduating from here in 1995. She set up her own studio in 1996, from where she has worked independently since. Focus is on furniture and lighting design, but the studio is increasingly involved in product design and interior design projects as well. The client list is long and varied, including companies such as Louis Poulsen, Zanotta, HAY, Royal Copenhagen, Holmegaard, Stelton, Muuto, Interstop and The Danish Ministry of Culture. Louise Campbell’s work is playful and experimental, and is increasingly gaining a reputation for gently twisting not only every day objects and situations, but also materials and manufacturing processes in new directions.
Plum’s Mark Ellwood attends Design Miami 2010 and poses the age-old question: Is furniture really art? Artists & designers weigh in with their opinions.
Julia Morton: Now On
Is there still a line that divides the world of design from the world of fine art?
From mid century masters to cutting edge innovations, the Miami Design Fair, located next to Miami’s Art Basel. presented leading furniture and design masters who have clearly crossed the line into art.
Decide for yourself with images from the Design Miami Vernissage!
Luckily, today at Design Miami, the prolific Michael Joo was able to stop by our booth for a visit. As a Glasstress 2011 artist, this was one of the first times he and Venice Projects director, Adriano Berengo got to exchange ideas for Michael’s Glasstress exhibition! MAGICAL! You’ve gotta love when Adriano gets excited and animated… it’s infectious. Plus Susan Scherman leaves with a signed final sketch!
Click on the pics below to enlarge.