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Monoch-romantic: “My approach to photography is quite minimal”

By in Photography

Monoch-romantic: “My approach to photography is quite minimal”

My approach to photography is quite minimal, as I am a firm believer in the saying “less is more”. I don’t like clutter in my everyday life and this translates into my photography, whether it’s the composition, lighting or tonality. 

I work mostly in black and white and am a total “monochromantic”. Color is beautiful, and I would not be able to envision a colorless life, but the surreal nature of black and white, the stripping away of colorful distractions, leaves you with the essentials – and that, for me, is magical.

Although I do enjoy photographing landscapes and street, my principal pull has always been towards buildings, their interiors and structures. Depending on the story I want to convey, I sometimes include a silhouetted person in the scene – to demonstrate scale or illustrate how we interact with the structure. 

Now we all agree that it’s not the camera or the equipment that makes for a good picture, although a good camera and quality lenses definitely do help in creating quality images. I started with a Canon EOS 600D, a second-hand Tokina 12-24mm lens and an entry-level tripod. Speaking of tripods, I am married to mine but at the same time, I find it important to free yourself from it, enabling greater freedom in exploring different angles. What I usually do is get the tripod shots done and then wander around the building, camera in hand.

To get the detail in the shadows and avoid harsh contrasts between light and shadow, I usually take a couple of exposures and slightly increase my ISO. My post-production is all about layering and blending the different exposures, extracting the maximum from each exposure. The process begins in color, as good colors are essential for excellent black-and-white results. I am always watching out for detailed shadows, strong blacks, bright crisp whites and no clipping at either end of the spectrum.

Over time, I have been fortunate enough to upgrade my equipment, adapt to new tech and improve my post-production workflow, but one thing has never changed and that’s the desire to get the perfect picture – I think it’s what gets us photographers out of bed on those very early mornings.

Minimalistic Photography
Mario Tarantino

Drawing inspiration from surrealist painters, Mario Tarantino is committed to creating images with a monochromatic aesthetic. His work has been recognized with multiple awards. 

Take a look at the best cameras for black and white photography to really focus on mono imagery. Or try one of the best film cameras with some black-and 35mm film!

In Calida Rawles’ New Paintings, the Next Generation Transcends Darkness

By in Art World News

In Calida Rawles’ New Paintings, the Next Generation Transcends Darkness

“With Wings of Infinity” (2023), acrylic on canvas, 72 x 60 inches. All images courtesy of the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London, shared with permission

Tufts of a pink skirt, a soaked evening gown clinging to a knee, and a few fingers and toes gently breach the water’s surface in Calida Rawles’ A Certain Oblivion. On view this month at Lehmann Maupin, the new body of work is transcendent and monumental, with canvases scaling nine feet of rippling blues and blacks. The paintings return to the artist’s interest in water memory theory and the idea that the life-giving liquid preserves moments of time.

In A Certain Oblivion, Rawles renders two of her daughters who gracefully float together and apart, their heads just above the surface. Placing the next generation in such vulnerable, precarious positions alludes to the resilience and determination needed to rise above “the riptides of contemporary American life,” a statement says. Despite facing the threat of being consumed by the current, the figures remain calm and graceful, carrying on and resting at the surface.

While exploring similar themes to earlier series, A Certain Oblivion is darker. Palettes of navy, gray, and black obscure the figures, who are already distorted by the undulating nature of water. These deep, saturated tones reflect the current political and cultural moment that seems to consistently plunge the world into darkness and despair. For Rawles, though, the paintings are hopeful. She explains:

There is always darkness before the light. I thought of that often when making the work and hope this may inspire others during these very trying times. Much of the work in this show is dark, for sure, but I do have a few pieces that are in the light. A cool blue water. I thought of those pieces as my day and the dark ones as part of my night waters. Our light cycle was definitely on the top of my mind when thinking of this show. I want to believe this is a moment in a larger path.

There’s an uncertainty and illegibility that the artist gravitates toward as she reminds us that predicting outcomes isn’t always possible. She even likens the process of painting in acrylics to that of floating, two physical acts that both require a release of control. “All of the dark colors look alike when they are wet,” she says. “You have to trust yourself and (your) ability. The experience was really fun, to put it simply. I was excited to wait for the outcome when it dried.”

A Certain Oblivion is on view from November 9 to December 16 in New York.

 

a painting with a side view of a woman and young girl floating on their backs in dark water

“Untethered, Twice Bold” (2023), acrylic on canvas, 84 x 72 inches

a young girl in a pink poofy dress and woman in a black dress float on their backs at the top of the canvas

“Beyond the Certain Oblivion” (2023), acrylic on canvas, 108 x 84 x 3 inches

a woman in a black gown floats at the top of water

“Above Yesterday, Beyond Tomorrow” (2023), acrylic on canvas, 96 x 78 x 3 inches

a circular painting with figurative forms repeated along the outside

“Like Other Gods With Ancient Rage” (2023), acrylic on canvas, 84 x 84 x 3 inches

a dark canvas with the faint rendering of a woman swimming

“And So It Be” (2023), acrylic on canvas, 60 x 72 x 3 inches

the artist seated on a white chair in front of an in progress painting

Calida Rawles in her studio (2023). Photo by Marten Elder

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article In Calida Rawles’ New Paintings, the Next Generation Transcends Darkness appeared first on Colossal.

F5: Mischa Couvrette’s Pandemic Project, Love of the Ocean + More

By in Design

F5: Mischa Couvrette’s Pandemic Project, Love of the Ocean + More

“I started hollis+morris in a quiet two-car garage, with just myself tinkering away. Since then, we’ve grown to a team of 25 in a 10,000-square-foot manufacturing and showroom facility,” said founder, Mischa Couvrette, who has always had a knack for building things. But before the brand, he grew his appreciation for design while spending time with a group of budding architects, as he worked towards his bachelor’s degree in environmental sciences at Dalhousie University.

Whole-heartedly grabbing hold of this passion, Mischa began crafting furniture on the East Coast before making his way to Toronto. (The interim time period involved a yearlong sailing trip to Guatemala on a boat he overhauled with a friend!) His design style stays true to honest materials, a reflection of the hollis+morris brand and Mischa’s own ambitions.

Mischa Couvrette

hollis+morris was founded in Canada – where its designs are inspired, materials are sourced, and pieces are manufactured. Solid wood furniture and lighting with distinct designs and a dedication to function integrate the strengths of each material, resulting in thoughtfully designed pieces. Versatile and made to last, the brand’s furnishings work well in residential, commercial, and hospitality spaces.

We’re happy to have Mischa Couvrette joining us today for Friday Five!

black cafe racer motorcycle

Photo: Mischa Couvrette

1. My Motorcycle

I bought a vintage 1986 BMW R80 one month before the pandemic. The donor bike was in a sad state, and rebuilding it became my Covid labor of love. It was a beautiful pastime through those challenging months of not being able to live life normally. As an extrovert who loves interacting with others, the pandemic was a serious adjustment, but designing and working on the motorcycle was a wonderful way to pass the time. I still see myself as a free-wheeling human, wandering around the globe. My business, family, and general adult responsibilities have grounded me more than I would like to admit to myself sometimes, but this bike signifies freedom and the flexibility of the open road, even if I don’t get to use it as much as I’d like. It remains a small reminder that my youthful endeavors are still present.

large bright university buildings overlooking the ocean

Photo courtesy Dalhousie University

2. The Atlantic Ocean

As far back as I can remember, I’ve been captivated by the ocean. As a kid, I was obsessed with everything water – surfing, sailing, swimming, you name it. Anytime there was a big storm, I would drive a friend’s car out to Cranberry Cove, put on Radiohead, and watch 40 ft. waves crash into weathered rocks. I went to university in Nova Scotia because of a photo I saw while applying to universities – I could see the ocean in the backdrop of the school, and I knew this was the place.

My obsession ultimately led to me buying a sailing boat, the Arteche, with friends and sailing from Nova Scotia to Guatemala. We set sail in late October and experienced the full spectrum of the North Atlantic – from gales to calm seas. It was the most exciting and terrifying experience of my life. My first ever night sail was crossing the Gulf of Maine in late October. The crossing took five nights, and I’d never been so happy to touch ground in Cape Cod. While terrifying at sea, I remain in awe and humbled by the power and beauty of these storms.

moody interior of workshop

Photo: Mischa Couvrette

3. A Quiet, After-Hours Shop

The [hollis+morris] shop is typically a frenzy of excitement, which I love! But one of my favorite things is staying late, or coming in early or on a weekend, and having the space to myself. With so much going on during the day, it’s difficult to find the calm and clarity I look for while designing. I am still the sole designer, by choice. It is the reason I started the business, and a title I hold onto dearly while I navigate its growth. Coming in after everyone has gone and seeing the results of a day’s work is a very rewarding and grounding experience, and also the best time to tinker with prototypes, reflect on why I started hollis+morris, and get back to basics. An empty shop is the best place for me to come up with new ideas that can be worked through on my morning run.

4. The Amazon

During university at Dalhousie, I studied Marine Biology and Environmental Science – which I know is not the typical route to starting a design and manufacturing company. Between my second and third years, I had grown tired of writing sad papers about the deforestation of the Amazon jungle and decided to take the year off and experience it for myself. I spent 100 days in the Ecuadorian Amazon, compiling biodiversity lists and working on conservation efforts. It was a scary place, the most remote place I’d ever been, it was hours flying to the nearest town. The jungle is a different kind of place – my experience was exhilarating, but not for the faint of heart. That journey heavily impacted my decision to source local and renewable, and to stay away from exotic woods for hollis+morris. I cherish my experiences there and hope to return some day.

two light-skinned, brown-haired children

Photo: Mischa Couvrette

5. My Kids

My babies! I have a two and a five year old. My daughter is a force and reminds me so much of myself. Nothing can stand in her way. My son is a gentle soul with a wonderful sense of humor. I’m currently teaching my daughter how to ride a bike, while my son scoots along beside. Parenting is fun, challenging, emotional, calming, and downright difficult. But my kids are my biggest adventure to date. It’s crazy how much the cliché is true – they grow up so quickly, and I am constantly surprised at how fast things change. Without getting too emotional (and I can be), these little babies are my whole world now, and I love every minute of it, especially the really hard stuff.

Work by Mischa Couvrette + hollis+morris:

dining table and bench with six hanging pendant lights

CONSpendants

modern floor lamp and chandelier

Ellipse Chandelier + Chandelier 7 Floor Light

wall-mounted black bedside lamp

CONSsconces

two black sconces flanking a round mirror

CONSsconces Horizon Mirror

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

‘We can feel instability’: Italian dealers weigh up the market at Artissima in Turin

By in Art World News

‘We can feel instability’: Italian dealers weigh up the market at Artissima in Turin

Following last month’s Frieze London and Paris+ par Art Basel, another key European fair is testing the market in tumultuous times. Artissima in Turin, Italy’s leading contemporary art fair, yesterday opened its landmark 30th edition (until 5 November), with 181 galleries participating, 79 of which are Italian.

Geopolitical events—namely the unfolding tragedy of the Israel-Hamas war and the ongoing war in Ukraine—are a concern on the fair floor. “All is going well for us and it will be a good year but we can feel instability in the art field. The next six months will be difficult,” says a spokesperson for Thomas Brambilla gallery in Bergamo. The gallery has participated in the past ten editions of the fair, and by the end of the fair’s VIP preview (2 november), it had sold works by Maggi Hambling and a sculpture by Bryan Hunt, along with a John Giorno painting to a private collector based in Italy priced at €35,000. Brazilian and German collectors were also in attendance, according to the gallery spokesperson.

The tumultuous backdrop is affecting the market in a number of ways. “The cooling of sales at auction is also positive as it means the [buying] field is cleared and it brings the positive aspect of reducing the amount of buyers who only collect [as speculators],” says Vincenzo della Corte of Vin Vin gallery, which runs spaces in Naples and Vienna. The gallery is selling works by the Nigerian-born London based artist Jamiu Agboke priced between €5,000 and €30,000 (a large-scale work was sold to a “very important international collection” for €20,000).

Other dealers are sensing jitters. Fabrizio Padovani added: “Something is already visible in terms of collectors. Frieze London and Paris Internationale were not as fizzy as last year. It is an uncertain general economic moment especially in terms of [rising] interest rates.” The European Central Bank’s key interest rate is 4% (the rate was paused in October after ten consecutive hikes).

Paola Biasutti of Biasutti & Biasutti gallery of Turin says that she has seen mainly Italian collectors. “People feel this situation but it’s too early to judge the economic consequences; many collectors don’t seem worried about it,” she said. The gallery, which has devoted its stand to Arte Povera artists, sold Alighiero Boetti’s Manifesto (1967) to an Italian collector. A pair of works by Gianni Piacentino are priced at €22,000 and €30,000.

The London-based dealer Thomas Dane has a unique perspective on the Italian market, having opened a gallery in Naples in 2018. ‘Taking part in an Italian fair makes much more sense for us now we have a gallery in Italy and Artissima is the best of the Italian fairs,” he says. He had sold a number of works by the London-based artist Jake Grewal by the end of day one.

Sales were indeed fairly brisk with a photograph by Helena Almeida at Galeria Francisco Fino (Experiência do lugar II, 2004), among the highest priced works. It was bought for €100,000 by a private European collection. Lower price point sales were numerous: Mazzoleni gallery sold two collages by Marinella Senatore (Opera!, 2023) priced between €15,000 and €18,000. The gallery also sold Senatore’s We Rise by Lifting Others (2023), made of LED bulbs, for around €60,000.

Galleries from 33 countries are taking part in this year’s Artissima with 39 showing for the first time, including Cristina Guerra (Lisbon) and Raster (Warsaw). So is the fair now a major player on the international scene or rather a key regional event? 60% of participating galleries are not Italian, says the director Luigi Fassi, stressing the international flavour of the event.

“It’s a trend that has continued for years. The fair is very attractive to a generation of galleries from international markets…. But it is an Italian fair and we’re proud of that—the entire Italian scene shows up from museum directors to collectors and journalists. You can say the fair serves as a bridge between the Italian scene and the international scene,” he added.

Fassi pointed out that the organisation of Artissima is overseen by Artissima srl, a company affiliated with Fondazione Torino Musei. “We do not belong to an international or commercial group. Our Artissima brand is fully owned by the Città di Torino, Regione Piemonte and Città Metropolitana di Torino. This is also why we can keep [stand] prices reasonable.”

This chimes with the general theme of Relations of Care which comes from a 2022 text by the academic Renzo Taddei. “This is a human scale art fair. It’s not about blue chips, it’s about seeking values and discoveries,” he added.

And what is Fassi’s view on current events globally? “What I see is a sense of relief [at Artissima]—spending a few days in a human environment, spending quality time together and seeing excellent shows in town. Maybe there is some hope that things might get better if we can talk to each other [sharing] our ideas.”

Stewart Indian School exhibit to open at the Lilley Museum of Art | University of Nevada, Reno

By in Native

Stewart Indian School exhibit to open at the Lilley Museum of Art | University of Nevada, Reno

In honor of Native American Heritage Month, the University of Nevada, Reno’s John and Geraldine Lilley Museum of Art in the School of the Arts is presenting a traveling art exhibit called “We Remember Your Sacrifices; You are Not Forgotten: The Story and Art of the Stewart Indian School” from Nov. 9-30, 2023, with programming taking place throughout the week from Nov. 13-17, 2023.

The opening reception will take place on Thursday, Nov. 9, from 6 – 7:30 p.m., with remarks and light refreshments at the Lilley Museum on campus.

The exhibit tells the story of the Stewart Indian School, a federal government boarding school located south of Carson City, where Native American children of the Washoe Tribe of Nevada and California, Western Shoshone, Northern Paiute and Southern Paiute were removed from their families and land to learn English and job skills. Eventually, Native children from over 200 tribal nations attended the school between 1890 and 1980.

Many Stewart School students studied art and expressed their creativity learning stone masonry found in the beautiful buildings on campus. The students were taught by Hopi stonemasons from Arizona, and their artistry is demonstrated in the buildings still existing on the 110-acre campus. In addition to stone masonry, students painted murals in some of the buildings and left behind much of their artwork in the form of paintings, wood carvings, baskets and beaded work.

The vision of the Stewart Indian School Cultural Center & Museum is to honor the children at Stewart, tell their stories through museum exhibits and first-person accounts on touch screens and help the living alumni, their families and tribal communities to heal. This exhibit invites visitors to come to Carson City and learn from stories shared by Stewart alumni of how the school evolved from the early boarding school days with the cruel assimilation policy into a high school that Native students wanted to attend.

The artwork continues today in the contemporary work by Great Basin Native Artists Collective, curated by Melissa Melero-Moose (Fallon Paiute/Modoc) and displayed at the museum’s Great Basin Native Artist Gallery.

In addition to the exhibition, there will be a film screening of a documentary called “Home of the Braves,” a film by JoAnne Peden, followed by a roundtable conversation with the Stewart Indian School on Friday, Nov. 17, from 11 a.m. to 1 p.m.

Assistant Director of The Multicultural Center Markie Wilder was instrumental in making this exhibit at The Lilley possible.

“This exhibit provides a platform for raising awareness about the historical injustices that Indigenous communities endured through the boarding school system,” Wilder said. “It’s an opportunity to engage the entire campus community in a meaningful conversation about the impact of these policies on Indigenous people. By sharing the stories, art and experiences of those affected, it humanizes this history and fosters empathy and understanding among students, faculty and visitors.”

The exhibition and programming at the University are made possible through a partnership with the Great Basin Native Artists Collective, the Nevada Indian Commission, the Stewart Indian School Cultural Center & Museum, The Multicultural Center and the Office of Indigenous Relations at the University of Nevada, Reno.

The Lilley is located at 1664 N Virginia Street, Reno, and is open Tuesday through Saturday, from noon to 4 p.m. The Stewart Indian School Cultural Center & Museum (SISCCM) is located at 1 Jacobsen Way, Carson City, Nevada, and is open Monday-Friday, from 10 a.m. to 5 p.m., and closed on state and federal holidays.

For more information about SISCC&M, email Bobbi Rahder, museum director, or call 775-687-7606, or see the Stewart Indian School website.

For more information about the Great Basin Native Artists Collective, visit Great Basin Native Artists.

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