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Chunky Shapes and Lines Morph Into Adam G.’s Minimal Zoological Illustrations
All images © TRÜF Creative, shared with permission
Using his signature messy-modernist style and a palette of red and black, Adam G. (previously) of the Santa Monica-based studio TRÜF Creative pieces together a minimal menagerie. Tiny dots top the ends of a cat’s whiskers, chunky stripes form the belly of a bee, and a toucan perches on a single leg made from an incredibly thin line.
Part of the series Animalia, the creatures shown here were created as a challenge to “loosen up my branding design and tighten my art compositions,” Adam G. says. “I’m always searching to find the balance and blurred line between design and fine art. Since design can be so mechanical, I love taking the defined and often stiff geometry and rules that I use in my visual identity work and then seeing how I can add some fun and whimsy to it all.”
Animalia follows a similar collection of creatures found on land and sea, and prints are available in the messymod shop. Adam G. recently worked on a variety of commissions, including a pair of illustrations for DAR Chocolate and editorial projects for The Infamous and Road & Track. Find more of his lively illustrations on Instagram and Behance.
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Washington Man Receives Monumental Sentence in Indian Arts and Crafts Act Case
JUNEAU, Alaska – A Washington state man was sentenced Monday for selling Philippine produced products as authentic Alaska Native produced artwork, violating the Indian Arts and Crafts Act.
According to court documents, Cristobal “Cris” Magno Rodrigo, 59, was sentenced to two years in federal prison. He is also required to make a $60,000 donation to the Tlingit and Haida Central Counsel Vocational Program, write a letter of apology to be published in the Ketchikan Daily Newspaper and serve three years’ supervised release. According to the Indian Art and Crafts Board, this is the longest sentence a defendant has received for any Indian Arts and Crafts violation in the U.S. – 18 months longer than any other sentence.
From April 2016 to December 2021, while residing in Washington state, Rodrigo and his family owned and operated Alaska Stone Arts LLC. and Rail Creek LLC. in Ketchikan, Alaska. Alaska Stone Arts LLC. primarily sold stone carvings, and Rail Creek LLC. primarily sold wooden totem poles. The carvings and totem poles were sourced from Rodrigo Creative Crafts, a company owned by his wife and located in the Philippines.
The Philippine business was created for the sole purpose of producing carvings featuring Alaska Native designs and motifs using Philippine labor. The carvings were shipped to the U.S. and then to the family’s stores in Ketchikan where they were later sold as authentic Alaska Native art.
Rodrigo also hired Alaska Natives at both Ketchikan stores to represent and sell Philippine produced artwork as their own authentic Alaska Native artwork. The workers told customers they were all related family working in the store and the art was all produced from locally sourced materials and made by Alaska Natives.
Prior to the conspiracy, Rodrigo worked in Alaska at different stores and shops producing stone carvings that were sold in the tourist trade for over 20 years. He taught the styles of Alaska Native stone art and wood totem poles to the Philippine based company.
In 2019 and for part of 2021, the family and their Alaska-based company employees sold over $1 million worth of Philippine made carvings presented as Alaska Native artwork.
Co-conspirators in this case include Glenda Tiglao Rodrigo, 46, and Christian Ryan Tiglao Rodrigo, 24. Their cases are ongoing.
“The actions the defendant took to purposefully deceive customers and forge artwork is a cultural affront to Alaska Native artisans who pride themselves on producing these historical works of art, and negatively affects those who make a living practicing the craft,” said U.S. Attorney S. Lane Tucker for the District of Alaska. “Mr. Rodrigo’s monumental sentence is a testament to the federal government’s dedication to prosecuting Indian Arts and Crafts Act violations, and the U.S. Attorney’s office will continue to work with law enforcement partners to protect Alaska Native cultural heritage and unwitting customers, and hold perpetrators accountable who carry out this type of fraud.”
“The Indian Arts and Crafts Board administers and enforces the Indian Arts and Crafts Act, a truth-in-marketing law,” said Indian Arts and Crafts Board Director Meridith Stanton. “The Act is intended to rid the Alaska Native and Indian arts and crafts marketplace of fakes and counterfeits, in order to protect the economic livelihoods and cultural heritage of Alaska Native and Indian artists and craftspeople and their Tribes and villages, as well as the buying public. Authentic Alaska Native art and craftwork is an important tool for passing down cultural traditions, traditional knowledge, and artistic skills from one generation to the next. Fakes and counterfeits, such as those marketed for huge sums of money by the Rodrigos, tear at the very fabric of Alaska Native culture, Native livelihoods, and Native communities. Mr. Rodrigo’s sentencing should send a strong message to those who prey upon authentic Alaska Native artists and vulnerable consumers that this destructive conduct will not be tolerated, and Act violators will be held accountable.”
“The Rodrigos sold imported products as Alaska Native made in their Ketchikan, Alaska store,” said Edward Grace, Assistant Director of the U.S. Fish and Wildlife Service Office of Law Enforcement. “This deceptive business practice cheated customers and undermined the economic livelihood of Alaska Native artists. The U.S. Fish and Wildlife Service has a dedicated team of special agents that work on violations of the Indian Arts and Crafts Act. This sentence was the result of the strong collaboration between our special agents, the Indian Arts and Crafts Board, and the U.S. Attorney’s Office.”
The Department of Interior – U.S. Fish and Wildlife Service and Office of Law Enforcement, with assistance from the Indian Arts and Crafts Board, U.S. Customs and Boarder Protections, and U.S. Department of Agriculture, investigated the case.
Assistant U.S. Attorney Jack Schmidt prosecuted the case.
If you suspect potential Indian Arts and Crafts Act violations are being committed, a complaint may be submitted through the Indian Arts and Crafts Board’s online complaint form, www.doi.gov/iacb/should-i-report-potential-violation, by emailing iacb@ios.doi.gov, or by calling 888-278-3253.
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Chela Mitchell Shares the Power of Art at Eponymous Union Market Gallery
D.C. native and art advisor Chela Mitchell opens up about the purpose and ethos behind her new gallery space.
Inside Chela Mitchell Gallery, the walls are white and empty, a blank slate before the next exhibition. There’s a calm energy to the space, an echo in the openness — and it’s thrilling.
“Power is quiet,” Chela Mitchell, gallery owner and art advisor, tells me.
Mitchell is getting the space ready to feature the work of Siena Smith, a Rhode Island School of Design professor and artist who draws, weaves and collages, always with an ode to her Black ancestry. The gallery in its Union Market space has only been open for a month, but already its ethos seems set in stone.
Their first show featured photographer Nate Langston Palmer, a D.C. native. His exhibition “Song of Sons” shows Black men living joyfully — some doing art together, one kissing his baby, a couple embracing at an outdoor party, and so much movement, dancing and existing in public spaces fading due to gentrification.
“I’m not a mainstream person,” Mitchell says. “How I run my business is very spiritual. I can walk into a room and feel something when I see art, and I can’t even describe the feeling to you. I just know.”
Featuring Palmer’s work seemed like a given.
“This body of work from him is a gift to D.C.,” she says.
Like Palmer, Mitchell was raised in D.C., in Fairfax Village (or Hillcrest Heights to some) in Ward 7. She left to attend Rutgers University in 2003 and spent time in New York in the fashion world where she expressed her art through style. But it was those quiet moments alone in art galleries where she felt the whispers of what should come next.
“I love looking at art alone,” she says. “I like to take my time, to see if I can understand the artist’s intention before I read about it. I don’t have to be right; I’m happy to be wrong. A person’s perception of art is just as important as the artist’s intention.”
She started collecting art and books about art, doing deep dives into the world of artists and galleries. She decided she would own an art gallery by age 40. She’s 38 now.
“It takes a lot to bring something like this to fruition from a thought,” she says. “I moved so fast. I cry all the time. It took me weeks before I could come here and not cry.”
She reiterates that it took her 34 years to know what she wanted to do with her life.
“Once I knew what I really wanted to do, I’ve been coasting — which is what alignment is,” she says. “I’m in alignment for what my purpose in life is.”
It’s an art gallery, yes, but Mitchell has plans to make it a community space too. She plans to give artistic access to people from her community in Southeast D.C. She’s settling into her position of power, redefining what it means to be in charge.
“I know I can call all the shots,” she says. “But those things don’t feed my ego. They do make me feel like I’m balancing the power structures, tearing them down a bit. My artists always tell me I’m so calm.”
She’s been in industries where power was yelling, fighting, screaming. She doesn’t want to waste her emotions in that way when she could be channeling them for good, for problem solving.
“I feel like I’m an alchemist,” she says. “I’m taking a lot of energy that’s hard and masculine, tough and toxic, and I’m morphing it into something soft and nourishing.”
As a spiritual person, Mitchell relies on manifesting, astrology and ancestry for guidance. These are all modern buzzwords, and yet, it doesn’t feel kitschy when she talks about it. She’s welcoming to anything that helps her understand herself and her purpose.
“The best way I can describe ancestral guidance is an intuition or advice that didn’t come from me,” she says.
It’s the feeling she gets when she sees art she wants to feature. It’s the alignment in her choices coming to fruition. It’s the quiet power she’s brought to her space.
Even coming back to D.C. was complete intuition.
“I follow feelings without delay,” she says. “I came back to D.C. because of a dream I had. I can’t think too deeply about how it works. A lot of it makes no sense; you have to be okay with that. You have to trust.”
She’s already manifesting what’s next: a gallery in LA, a furniture line she curates. But for now, her focus is on Chela Mitchell Gallery, bringing attention and opportunities to artists with messages that transcend what meets the eye.
“The work might be aesthetically beautiful to a lot of people, but it’s meant to make people feel something — to create conversations and spark change,” Mitchell says. “Art is unique that way, you can have your own moment with it and have a conversation with yourself and create change within yourself.”
The gallery facilitates that change — in the powerful silence, in the open, in the self.
See Siena Smith’s work at Chela Mitchell Gallery starting September 16.
Chela Mitchell Gallery: 300 Morse St. NE, DC; chelamitchellgallery.com // @chelamitchellgallery
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6 Questions with Art Advisor Gladys Lin About the State of the Asian Art Market
This article is part of the Artnet Intelligence Report Mid-Year Review 2023. Marking five years of our biannual Intelligence Reports, this inaugural half-year edition paints a data-driven picture of today’s art world, from the latest market results to the artists and artworks leading the conversation. Read the full report here.
In three words, how would you characterize the state of play in the Asian art market at this point in 2023?
“Night’s still young.” People say this when the party is far from over. This is how the art market in Asia feels now. Some are playing at the very high end, speculating on things. There’s still a lot of potential. But the truth is, there are a lot of uncertainties in Asia now, from the economy to geopolitical conflicts.
This feels even more widespread when I talk to dealers in New York. There is this image of the Asian market in the West. Dealers think, “Oh, your clients are based in Asia, so they must be big spenders.” The reality is that Asian clients, at least the ones I work with, are becoming more cautious. Some have been collecting for a while. They do their homework, especially those who have come to realize that some art in the ultra-contemporary category does not have a very long life span. They do not just rely on auction catalogues. They are very rational and sophisticated.
What do the top-line auction numbers not tell us about what’s going on in the market in Asia?
The top-line auction numbers reveal about 5 percent of our market—95 percent of the artists are missing. Yayoi Kusama, Yoshitomo Nara, and artists of similar caliber seem to be the only ones you see. What about the art fairs and galleries? Don’t you think it’s incredible and at the same time ridiculous? Art should be adventurous, but do you see anything meaningful or inspiring from the top-line auction numbers? No.
Visitors to Art Basel Hong Kong 2023 mill around Yayoi Kusama’s Pumpkin sculpture. Photo by Sebastian Ng/SOPA Images/LightRocket via Getty Images.
What region are you paying more attention to this year than last?
New York. It’s still truly the cultural melting pot. The gallery program in New York is very different from the rest of the world, and galleries are confident in their exhibition programs. Asian artists are also getting more exposure in New York. Maybe there’s an Oscars effect [the film Everything Everywhere All at Once and its ensemble Asian cast won seven Academy Awards this year]. In Asia, I’m looking at what’s going on in Hong Kong. Despite the recent changes and the news, Hong Kong is still the best place to see international art, compared with Seoul or Japan. I’m also interested in Hong Kong-based artists.
What has been the most surprising development so far this year in the Asian art market?
How quickly China reopened after the prolonged COVID lockdowns. It is very important because of the sheer size of the market and its influence.
What are your clients looking for right now?
My clients are looking for artists who work with unique concepts and materials. They want to find something rare and fresh—not necessarily young artists but also mid-career artists who are in their 40s or 50s. They are interested in artists who still have regular shows and continue to produce new works.
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Eva Jospin’s Vegetal Growths and Enchanting Architectural Ruins Transform the Gothic Palais des Papes
“Nymphées (Grande chapelle)” (2022) . All images © OTresson, shared with permission
Within the gothic chapels of Avignon’s Palais des Papes, Eva Jospin carves parallel narratives tinged with enchanting ecologies. The Parisian artist, who’s known for her large-scale sculptures and installations made of corrugated cardboard, positions her architectural works inside the cavernous papal residence, juxtaposing her cut columns and archways with the historic surroundings.
Titled Palazzo, Jospin’s exhibition features several works created within the last few years, many of which contrast the human-made with the natural through scenes veiled with mystery. Vines descend in dense clusters in “Cénotaphe,” a monumental memorial with fantastical details, while the luminous “Nymphées” evokes crumbling geological formations and jagged, rocky openings combined with elements of an ancient Roman fountain. The theatrical “Côté cour côté jardin” structurally mimics a stage or city square with walls of vegetation, as it questions the relationship between inside and out and considers what remains hidden.
In each piece, Jospin draws on art history and antiquities, exploring interactions between differing spaces. Her use of a humble, recyclable material to depict grand scenes in states of ruin emphasizes fallibility and the inevitability of change, as she explores shifts in relevance and power over time.
Palazzo is on view through January 7, 2024.
“Cénotaphe (Grande chapelle)” (2020)
“Côté cour côté jardin (Grande chapelle)” (2021)
“Forêt Corinthienne, (Chambre antique du camérier)” (2023)
Detail of “Nymphées (Grande chapelle)” (2022)
“Petite folie (Chapelle St Martial)” (2023)
“Galleria (Chambre de Parement)” (2021)
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 Eva Jospin’s Vegetal Growths and Enchanting Architectural Ruins Transform the Gothic Palais des Papes appeared first on Colossal.
Weekend picks: Packwood flea market, Yakima art studio tours and menudo in Granger
Explore readers, we made it!
It’s Labor Day weekend, the unofficial end of summer, and we survived multiple 100-degree days and wildfire smoke.
Labor Day is a federally recognized holiday, observed the first Monday every September. It celebrates American workers.
Many people travel during the holiday weekend or stick close to home for one last blast of summer fun.
Whether you’re sticking to the Yakima Valley or getting out of town, be safe and enjoy your weekend. If you are sticking around, though, here are some things you can do:
Beer Grows Community
Once a month, Single Hill Brewing Company, 102 N. Naches Ave., hosts Beer Grows Community. The brewery partners with a local organization for a presentation and 50% of all draft beer sales for that day are donated to the presenting organization.
This Thursday, Aug. 31, Single Hill and The Seasons Performance Hall partner up for the August edition of Beer Grows Community.
Staff from The Seasons Performance Hall will be available in the taproom from 5-7 p.m. to share information about the organization.
Packwood Flea Market
Twice a year, the town of Packwood opens its streets and free spaces to vendors and visitors looking for a great deal.
The Labor Day weekend flea market will take place Friday through Monday. Hundreds of vendors set up shop with antiques, clothing, household items, novelties, décor and more.
Just about an hour and a half drive from Yakima, you’ll travel about 70 miles westbound on U.S. Highway 12.
Art studio tours
More than 30 local artists are participating in this year’s Labor Day Weekend Artist’s Studio Tour from 10 a.m.-4 p.m. Saturday and Sunday and from 10 a.m.-noon on Monday.
Six studios will host artists and guests to celebrate art, meet artists, tour studios, watch the creative process, purchase art and join a mini art class.
Participating studio locations include Artebella Gallery, 2103 W. Yakima Ave.; Rachel Dorn, 203 S. Eighth Ave.; John Barany, 2302 Laban Ave.; Yakima Maker Space, 16 S. First St.; Studio 909 Gallery, 909 S. 30th Ave.; and Yakima Valley Artists Association at St. Timothy’s Episcopal Church, 4105 Richey Road.
Tickets cost $10 per person and allow each person into each studio all three days.
Tickets can be purchased at Better Now Coffee, 4001 Summitview Ave., Suite 22A; Shopkeeper, 3105 Summitview Ave.; John Gasperetti’s Floral and Design, 5633 Summitview Ave.; Stems, 399 E. Yakima Ave.; The Larson Gallery, 1606 W. Nob Hill Blvd.; Yakima Valley Tourism Visitor Information Center, 101 N. Fair Ave.; and Oak Hollow Custom Framing and Gallery, 601 N. First St.
Tickets can be purchased by email or phone by contacting Pamela Searcy at 206-915-4663 or pamelasearcy@iinet.com.
Visit www.artebellagallery.com/studiotour for more information about participating artists.
Granger Menudo Festival
Granger will host its 18th annual Menudo Festival on Sunday from 10 a.m.-6 p.m. at Hisey (Dino) Park, 505 Main St., Granger.
The menudo festival consists of a menudo contest and is open to anyone interested in participating. The registration fee is $20; contact Israel by calling 509-305-6040.
Menudo judging will begin at 12:30 p.m. and winners will be announced at 2 p.m. Judging will be a blind taste test.
The daylong event will also include a car show, volleyball tournament and vendors.
The volleyball tournament starts at 8:30 a.m. and costs $175 to participate. Interested teams should contact Angel Golob at 509-840-4898 or amgolog@gmail.com. Players must be 18 years or older and two players on the court must be women at all times. The top three teams will receive T-shirts and plaques.
First Friday
It’s First Friday, and several downtown businesses, organizations and other downtown spaces are offering specials to highlight art, culture, dining and shopping in downtown Yakima.
Visit downtownyakima.com for more on the following businesses:
• Sewn, 25 N. Front St., Suite 2.
• Stems, 399 E. Yakima Ave.
• Three Sisters Metaphysical Arts, 106 S. Second St.
• Healing Rowan Creations, studio located upstairs from Mama Corie’s Kitchen, 114 Staff Sgt. Pendleton Way.
• Whimsical Details, 30 N. Second St.
• Arcadian Healing Arts, 6 S. Second St.
• The Alignment Co., 12 S. Second St.
• Ron’s Coin & Collectables, 6 N. Third St.
• AntoLin Cellars, 14 N. Front St.
• Schab’s Bier Den, 22 N. Second St., Suite 100.
• Soul Seeker, 108 S. Third St.
• Coffee Cravings, 118 W. Yakima Ave.
• Kana Winery, 10 S. Second St.
• Purrr, 306 E. Yakima Ave.
• The Little Soapmaker, 302 W. Yakima Ave.
• Cowiche Canyon Kitchen and Ice House Bar, 202 E. Yakima Ave.
• Leading Force Energy and Design, 17 N. Third St.
• Sub Shop of Yakima, 20 N. Second St.
• Sports Center of Yakima, 214 E. Yakima Ave.
• Station 1889, 27 N. Front St., Suite 101
• Sweet Sisters Ice Cream Shop, 120 E. Yakima Ave.
• Avenida Cantina, 121 E. Yakima Ave.
• North Town Coffeehouse, 32 N. Front St.
• Single Hill Brewing, 102 N. Naches Ave.
New sidewalk art installation at place of Equal Rights Meat Market
In the late 1870s, barely a few years into existence, the St. James Hotel in Red Wing employed as one of its bellhops one Joseph Parker, who grew up enslaved on a Kentucky plantation. More than 150 years later, Parker’s great-grandson, Seitu Ken Jones, has left his mark on the riverside Minnesota town – literally – as a tribute to another figure of local African-American history.
Jones, a St. Paul-based artist who seeks to create work that “links history to the present,” was a resident at Red Wing’s Anderson Center in May 2022, retracing not only his roots but those of other Black families in the area. This July, he translated his research into the design and installation of an etched-concrete display in front of the downtown Salvation Army Family Store.
Featuring engraved sidewalk squares and an informational plaque, the new work of public art is entitled “Stand in the Shadows,” and it highlights the life and legacy of Jeremiah Patterson.
Born into slavery in North Carolina, Patterson became a student of Julia B. Nelson, the famed Red Wing activist, when she began teaching newly freed slaves in Tennessee. Recently inducted to the Red Wing Women’s Hall of Fame, Nelson also fought for women’s rights and anti-alcoholism through a Christian nonprofit. But one of her most prominent hometown endeavors was actually spearheaded alongside Patterson, who moved to the area in the 1880s and became a close friend.
Together, in 1897, Patterson and Nelson opened The Equal Rights Meat Market, where the Salvation Army store stands today. Its doors opened just over 30 years after the Thirteenth Amendment to the U.S. Constitution abolished slavery, marking a partnership ahead of its time.
Seitu Ken Jones’ sidewalk etching honors Patterson’s journey: “I was born as chattel,” it reads, “but on this corner I was an owner and bought cattle for The Equal Rights Meat Market.” Next to the words is an engraved silhouette, while Patterson’s picture can be seen on the accompanying plaque.
“The Plum Street location of the Salvation Army Store (is) an ideal site for the shadow of Jeremiah Patterson,” Jones said in his initial project proposal. “This site receives more direct sunlight and (allows) people to stand in the shadow of someone who contributed to the history of Red Wing.”
Funded in part by the Blandin Foundation and the City of Red Wing’s Human Rights Commission, Jones’ artwork also benefited from advisors including Beth Breeden, the Goodhue County Historical Society and Frederick L. Johnson, a local historian who authored the book “Uncertain Lives: African Americans and their First 150 Years in the Red Wing, Minnesota Area.” Their collective research notes that Patterson’s impact did not end at the Meat Market, which stayed open for several years.
The freedman went on to have a fruitful interracial marriage with local Verna Gaylord, producing nine children, including a son, Chester, who became the first Black graduate of Red Wing High School; and two others who enlisted in World War I. Now buried, along with his longtime friend and teacher Nelson, at Red Wing’s Oakwood Cemetery, Patterson wasn’t alone in forging a career and family for himself in the area, even as other African Americans around the U.S. endured segregation and violence.
“In the Reconstruction Era following the Civil War, there were a lot of different Black people working at the St. James,” says Stephanie Rogers, executive director of the Anderson Center. “A large percentage of the service staff was African American. There was a Black-owned barbershop inside. It wasn’t just one or two people. It was a community.”
The Jeremiah Patterson display, Rogers explains, is a notable step toward “combating the erasure of Black stories in history.” Now come the next steps. Rogers hopes that Seitu Ken Jones’ work will inspire further research and conversation about Patterson’s story. But there are also plans to expand the public art into a full series of memorials, including a marker outside of the St. James.
In the meantime, Jones considers it a privilege to have used his own hands to share the history.
“Stories nourish us,” he recently told Public Art Saint Paul. “Stories feed us, both metaphorically and literally. Stories about food, stories about how our family got to the point where it is now, and all of those stories propel me and place this expectation on me to pass on these stories so that they’re not forgotten.”
Matt Roussel Blends Woodblock Printing and Painting Into Beguiling Portraits
“L’Oisleuse.” All images © Matt Roussel, shared with permission
An avid printmaker with a love for experimentation, French artist Matt Roussel constantly craves new challenges. In his series of painted woodblocks (previously), he starts with a traditional printing block and carves away the negative space, but rather than applying ink and transferring the image to paper, he transforms an element of the process into the artwork itself.
As Roussel carves each piece, the gouges reveal a tantalizing texture. In his new works, the faces of his subjects remain smooth and rely entirely on painting to bring them to life, while the grooves are reserved for enormous flowers, ornate garments, and dreamy surroundings. “I wanted to put myself to the test of painting,” he tells Colossal. “I’m quickly bored when I make same things.”
The inspiration for his subjects starts with a series of prompts that he plugs into an AI tool, generating arrangements and patterns. “For me, it’s a work base that allows me to do by hand what I see…This is a new tool which helps me, like the computer, when I started to make 3D (work) in the ’90s,” he says. Each piece takes between three to six days to complete, depending on the size.
Roussel regularly makes prints, too, and several are usually available in his shop. This fall, he will be in a number art fairs, including Affordable Art Fair Singapore. Find more of his work on Instagram.
“Blanche 2”
“Le Poisson”
“Fleurs”
“Le Manteau du Prince”
“Blanche”
“Le Bourgeon”
“Loup”
“Scarabe”
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 Matt Roussel Blends Woodblock Printing and Painting Into Beguiling Portraits appeared first on Colossal.
