Amy Stober

Interviews by Brainard Carey

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Understanding the Elegant Math Behind Modern Machine Learning 1:14:43

14 gün önce1:14:43

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1:14:43

Artificial intelligence is evolving at an unprecedented pace—what does that mean for the future of technology, venture capital, business, and even our understanding of ourselves? Award-winning journalist and writer Anil Ananthaswamy joins us for our latest episode to discuss his latest book Why Machines Learn: The Elegant Math Behind Modern AI . Anil helps us explore the journey and many breakthroughs that have propelled machine learning from simple perceptrons to the sophisticated algorithms shaping today’s AI revolution, powering GPT and other models. The discussion aims to demystify some of the underlying mathematical concepts that power modern machine learning, to help everyone grasp this technology impacting our lives–even if your last math class was in high school. Anil walks us through the power of scaling laws, the shift from training to inference optimization, and the debate among AI’s pioneers about the road to AGI—should we be concerned, or are we still missing key pieces of the puzzle? The conversation also delves into AI’s philosophical implications—could understanding how machines learn help us better understand ourselves? And what challenges remain before AI systems can truly operate with agency? If you enjoy this episode, please subscribe and leave us a review on your favorite podcast platform. Sign up for our newsletter at techsurgepodcast.com for exclusive insights and updates on upcoming TechSurge Live Summits. Links: Read Why Machines Learn, Anil’s latest book on the math behind AI https://www.amazon.com/Why-Machines-Learn-Elegant-Behind/dp/0593185749 Learn more about Anil Ananthaswamy’s work and writing https://anilananthaswamy.com/ Watch Anil Ananthaswamy’s TED Talk on AI and intelligence https://www.ted.com/speakers/anil_ananthaswamy Discover the MIT Knight Science Journalism Fellowship that shaped Anil’s AI research https://ksj.mit.edu/ Understand the Perceptron, the foundation of neural networks https://en.wikipedia.org/wiki/Perceptron Read about the Perceptron Convergence Theorem and its significance https://www.nature.com/articles/323533a0…

23 gün önce 19:33

MP3•Bölüm sayfası

Amy Stober (b. 1994, New Jersey) lives and works in New York.

Recent solo exhibitions include PAGE (NYC), New York (2024); A.D. NYC, New York (2022); and Springsteen Gallery, Baltimore (2021). Recent group exhibitions include Hesse Flatow, New York (2024); ensemble, New York (2024); Brunette Coleman, London (2023); Mickey, Chicago (2023); Chapter NY, New York (2022); T293, Rome (2022); Mickey, Chicago (2022); and Chris Andrews, Montreal (2022).

Amy Stober, Good Luck Charm, 2024 Cast polyurethane and metallic pigments, 8.5 x 8.5 x 17 inches 21.6 x 21.6 x 43.2 cm. Courtesy of the artist and PAGE (NYC).

Amy Stober, I <3 NY, 2024, Cast polyurethane, acrylic and metallic pigments, 4.5 x 6.5 x 4 inches, 11.4 x 16.5 x 10.2 cm. Courtesy of the artist and PAGE (NYC).

Amy Stober, Girl, 2024, Cast polyurethane and acrylic, 24 x 13 x 5 inches 61 x 33 x 12.7 cm. Courtesy of the artist and PAGE (NYC).

252 bölüm

#Fine Arts #Arts #Brainard Carey

Interviews by Brainard Carey

Amy Stober

Interviews by Brainard Carey

published 23 gün önce

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MP3•Bölüm sayfası

Amy Stober (b. 1994, New Jersey) lives and works in New York.

252 bölüm

#Fine Arts #Arts #Brainard Carey

همه قسمت ها

Interviews by Brainard Carey

1
Elias Mung’ora 22:24

1 day önce22:24

22:24

At first glance, Mung’ora’s work offers glimpses into everyday life in Nairobi, capturing moments ranging from bustling cityscapes to intimate portraits.Yet, upon deeper reflection, Mung’ora’s canvases reveal a profound commentary on the fragmentation of urban landscapes, where physical and socialboundaries delineate diverse experiences from street to street. Through meticulously layered compositions, Mung’ora intertwines historical referenceswith modern-day scenes, highlighting the enduring imprints of past lives while emphasizing the disparities inherent in Nairobi’s evolving environments. Mung’ora is a member of Brush Tu, a Nairobi-based artists’ collective, and has exhibited widely including: A Tapestry of Contemporary Africa, MoCaL.I., New York (2024); Common Ground, NCAI, Nairobi (2023); African Identities, AKKA Project, Venice (2022); Walking the Edge, Afriart Gallery,Kampala (2022); 1-54 Contemporary Art Fair, New York (2022); Fragments, Antoine Dupin, Rennes (2022); A Gathering of Small Fires, MontagueContemporary, New York (2021); Sacrifice Pasture, One Off Gallery, Nairobi (2021); Kikulacho, British Institute in East Africa, Nairobi (2018);Remains, Waste & Metonymy II, British Institute in East Africa, Nairobi (2017); Stranger Times, Circle Art Gallery, Nariobi (2017), among others. He was the winner of the 2016 Manjano Art Prize in Nairobi, a finalist in the 2018 edition of the Barclays L’Atelier competition, and a finalist in the 2020EPI competition.His works form part of many notable collections, including the I&M Bank Collection, MFA Boston (promised), New Orleans Museum of Art (promised),Rodney Miller Collection, Nicolas Jay Collection, Rift Collection, Sir John Rose Collection, among others. His work been featured in the Artnet, Art inAfrica, the New York Times, and the Nation, among others. Installation, ‘Song of Lawino,’ a solo exhibition by Kenyan artist Elias Mung’ora held at Indiana State University’s Yang Gallery Installation, ‘Song of Lawino,’ a solo exhibition by Kenyan artist Elias Mung’ora held at Indiana State University’s Yang Gallery Unplanned Move 2 2024 Mixed Media on Canvas 71 x 71 in Self Portrait 2024 Signed and Dated on Front Mixed Media on Canvas 71 x 71 in…

Interviews by Brainard Carey

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Graham Marks 26:20

3 gün önce26:20

26:20

Graham Marks produces exuberant, coil-built ceramics adorned with vibrant glazes, which combine functionalism with visual delight. Of late, Marks has embraced loose, sinuous forms from which coils of clay spill in dynamic and improvisatory compositions. His candelabras and flower vases contain a wild energy all their own, full of brash, linear abandon. In their merging of pattern and embellishment, they recall the intricate crafts of eighteenth-century France, bringing rococo flourishes to the timeless theme of utilitarian vessels. Marks taught ceramics at Kansas State University, Rochester Institute of Technology, and the Cranbrook Academy of Art, where he was Head of Ceramics from 1986 to 1992. His work has been exhibited internationally and collected privately; it is held by numerous public institutions including the Philadelphia Museum of Art, Yale University Art Gallery, Detroit Institute of Art, the Everson Museum, the Museum of Art and Design, the Cranbrook Museum of Art, the Stedelijk Museum, the Hermitage Museum, and the National Gallery of Australia. From 1992 to 1995, he studied acupuncture with J.R. Worsley, establishing a private practice which ran successfully for two and a half decades. In 2020, Marks returned to ceramics. He splits his time between Brooklyn and Alfred, NY. Graham Marks, Collection of Candelabras , 2023–24. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm Graham Marks, Pair of Candelabras, 2024. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm Graham Marks, Collection of Malinalco Candelabras, 2023. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm…

Interviews by Brainard Carey

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Adam Erlbaum 20:48

8 gün önce20:48

20:48

Adam Erlbaum received a BA in Mathematics from The Colorado College in 2002. He has attended the Pennsylvania Academy of the Fine Arts, the University of the Arts, and the MFA program at the Vermont College of the Fine Arts. Erlbaum has exhibited in Philadelphia, Aspen, South Carolina, and St. Louis. He paints at The Mill Studios in Philadelphia. Adam Erlbaum “Yellow Alleys,” 2024 Oil on canvas. 24 × 30 × 2 1/2 in. Adam Erlbaum “Blue Break Vertical,” 2024 Oil on canvas. 30 × 24 × 2 1/2 in. Adam Erlbaum “Yellow Over Blue,” 2024 Oil on canvas. 30 × 24 × 2 1/2 in.…

Interviews by Brainard Carey

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Emil Lukas 28:17

15 gün önce28:17

28:17

Emil Lukas Infinite Edge 6 February – 15 March 2025 New York, NY – 9 January 2025: Sperone Westwater is pleased to present new work by Emil Lukas. His fifth solo exhibition at the gallery is comprised of paintings and works on paper utilizing materials which have characterized his practice: thread, acrylic, ink and larvae. Lukas’ circular thread paintings, Fuse and In Wave (each 60 inches in diameter) combine an actively painted reflector behind an accumulation of thread. The artist’s new series of lattice paintings, including Glass in Moving Water, explores what happens when we process two complementary paintings at the same time. The artist creates an underpainting on the canvas, then layers a second composition on a raised pattern of dots. The combined acrylic-on-canvas works engage the viewers’ position and distance in the surrounding architecture of the gallery. Born in Pittsburgh, Pennsylvania, in 1964, Emil Lukas has exhibited throughout the United States and abroad. Solo museum shows include “Emil Lukas: Connection to the Curious,” The Aldrich Contemporary Art Museum, Ridgefield, CT (2005); “Emil Lukas,” The Weatherspoon Museum, Greensboro, NC (2005); “Things with Wings,” The Mattress Factory, Pittsburgh, PA (2005); “Moderate Climate and the Bitter Bison,” Hunterdon Museum, Hunterdon, NJ (2008); “Emil Lukas,” Morris Gallery at the Pennsylvania Academy of Fine Arts, Philadelphia (2016); “Emil Lukas: Entre dos líneas tenues,” Museo de Arte Contemporáneo Atchugarry, Uruguay (2023) and “Emil Lukas: Four Modes,” Lafayette College Art Galleries, Easton, PA (2023). Emil Lukas, In Wave, 2024, thread over wood, plaster, aluminum frame with paint and nails, 60 x 60 x 6 inches (152,4 x 152,4 x 15,2 cm) Emil Lukas, 4.24 Light Years, 2024, ink on glass and paper with graphite and charcoal in painted frame, 15 x 12 x 2 inches (38,1 x 30,5 x 5,1 cm) Emil Lukas, Dendrite, 2025, acrylic on canvas over wood panel, 55 x 79 x 3 inches (139,7 x 200,7 x 7,6 cm)…

Interviews by Brainard Carey

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Stephanie H. Shih 20:13

16 gün önce20:13

20:13

Stephanie H. Shih in the studio, Brooklyn, NY, 2025. Photo: Robert Bredvad Stephanie H. Shih (b. 1986, Philadelphia, PA) renders outdated consumer goods as trompe l’oeil sculptures that reveal the tensions within American domestic life. Turning everyday items—a Thighmaster, a self-help book, many pantries’ worth of condiments—into intricately painted ceramic objects transforms each into a permanent artifact. Seen together, the works play with notions of timelessness and obsolescence, nostalgia and disillusionment. Shih has exhibited work at James Cohan, New York, NY; Jeffrey Deitch, Los Angeles, CA; Berggruen Gallery, San Francisco, CA; Alexander Berggruen , New York, NY; Cantor Arts Center, Stanford, CA; Berkeley Art Museum and Pacific Film Archive, Berkeley, CA; Santa Barbara Museum of Art, Santa Barbara, CA; Bradbury Art Museum, Jonesboro, AR; and the American Museum of Ceramic Arts, Pomona, CA. The artist has also been the recipient of numerous awards and residencies including the NYSCA/NYFA Artist Fellowship, New York, NY; residency at The Corporation of Yaddo, Saratoga Springs, NY as well as many others. Community work is central to Shih’s practice, and since 2017, she has used her art and platform to raise over half a million dollars in direct aid for victims of state violence. Want to help? Click here . She is currently based in Brooklyn, New York. Works from Stephanie H. Shih’s solo show Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, New York. All works: 2023-2024, ceramic. Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Robert Bredvad Stephanie H. Shih Filet-O-Fish, 2023 ceramic 5 1/2 x 5 x 5 1/2 in. (14 x 12.7 x 14 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Robert Bredvad. Included in Stephanie H. Shih: Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, NY. Stephanie H. Shih Zen and the Art of Motorcycle Maintenance, 2024 ceramic 7 x 4 1/2 x 1 1/2 in. (17.8 x 11.4 x 3.8 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Robert Bredvad. Included in Stephanie H. Shih: Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, NY.…

Interviews by Brainard Carey

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David Humphrey 20:17

22 gün önce20:17

20:17

David Humphrey has maintained a forty-year commitment to making formally inventive, psycho-socially engaged paintings. Over this time he has continued to transform images from the public realm into imaginative hybrids of the social and eccentrically individual, the historic and vividly contemporary. His work celebrates the peculiar nesting within the familiar. Mixing various representational schema with improvisational abstraction, he tells stories of vexed intimacy, political/ socio reality, and imaginative projections crashing into the real. David Humphrey (b. 1955) has been the subject of 44 solo exhibitions including McKee Gallery, NY; Sikkema Jenkins, NY; Fredric Snitzer Gallery, Miami; and Contemporary Art Center, Cincinnati. His work is in the collections of several museums and public collections including Walker Art Center, Minneapolis; Carnegie Museum of Art, Pittsburgh; The Metropolitan Museum of Art, NY; Museum of Fine Arts, Boston as well as the Saatchi Gallery, London. He is currently teaching in the MFA program of Columbia. He was awarded the Rome Prize in 2008. Humphrey has had five solo exhibitions at Fredericks & Freiser . David Humphrey, Colored Drinks, 2024 Acrylic on canvas 72 x 60 inches David Humphrey, Plant Thoughts, 2024 Acrylic on canvas 60 x 72 inches David Humphrey, Wolf, 2024 Acrylic on canvas 54 x 44 inches…

Interviews by Brainard Carey

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Amy Stober 19:33

23 gün önce19:33

19:33

Amy Stober (b. 1994, New Jersey) lives and works in New York. Recent solo exhibitions include PAGE (NYC), New York (2024); A.D. NYC, New York (2022); and Springsteen Gallery, Baltimore (2021). Recent group exhibitions include Hesse Flatow, New York (2024); ensemble, New York (2024); Brunette Coleman, London (2023); Mickey, Chicago (2023); Chapter NY, New York (2022); T293, Rome (2022); Mickey, Chicago (2022); and Chris Andrews, Montreal (2022). Amy Stober, Good Luck Charm, 2024 Cast polyurethane and metallic pigments, 8.5 x 8.5 x 17 inches 21.6 x 21.6 x 43.2 cm. Courtesy of the artist and PAGE (NYC). Amy Stober, I <3 NY, 2024, Cast polyurethane, acrylic and metallic pigments, 4.5 x 6.5 x 4 inches, 11.4 x 16.5 x 10.2 cm. Courtesy of the artist and PAGE (NYC). Amy Stober, Girl, 2024, Cast polyurethane and acrylic, 24 x 13 x 5 inches 61 x 33 x 12.7 cm. Courtesy of the artist and PAGE (NYC).…

Interviews by Brainard Carey

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Irina Lotarevich 20:25

24 gün önce20:25

20:25

Irina Lotarevich’s (*1991, lives and works in Vienna, Austria) sculptural practice is shaped by the intersection of her own subjective experience with larger systems. The minimal yet complex and specific forms of her sculptures reference architecture, bureaucracy, labor, language, and parts of her body, as well as the production and circulation conditions of the material itself. Lotarevich was born in Rybinsk, Russia in 1991 and immigrated to New York City as a child. She studied at Cornell University, Hunter College, and the Academy of Fine Arts Vienna. She currently teaches metalworking at the University of Applied Arts Vienna. Solo and duo exhibitions include: Settings , Silke Lindner, New York City (2025); Modular Woman , SOPHIE TAPPEINER, Vienna (2023), Refinery , SOPHIE TAPPEINER, Vienna (2020); Galvanic Couple , FUTURA Centre for Contemporary Art, Prague, Pensive State a two-person show with Anna Schachinger, SOPHIE TAPPEINER, Vienna (2019); Schemas , Kevin Space, Vienna (2017). Recently, her work has been included in group shows held at N/A, organised by Ginny on Frederick, Seoul; Scherben, hosted by Good Weather, Chicago (2024), Belvedere 21, Vienna; Silke Lindner, New York City; Centre d’art contemporain / Passages, Troyes (2023), HALLE FÜR KUNST, Graz; Salzburger Kunstverein, Salzburg; Kunstverein Bielefeld, Bielefeld; MUMOK, Vienna (2022), Museum of Applied Arts, Vienna (2021), among others. Lotarevich’s work is in the permanent collections of mumok (Museum Moderner Kunst Stiftung Ludwig), Vienna, the Museum der Moderne, Salzburg, and the Vienna Museum. Compressed Structure, 2025 Brass, patinated steel 8 x 65 1/2 x 2 1/2 in | 20.5 x 166.5 x 6.5 cm Housing (Lottery), 2025 Galvanized steel, cast brass, cast aluminum, found chains 64 x 37 1/2 x 6 1/2 in | 163 x 95.5 x 16.5 cm Stuffed Cell, 2025 Patinated steel 2 3/4 x 10 11/16 x 7 1/8 in | 7 x 27.5 x 18 cm…

Interviews by Brainard Carey

1
Tess Bilhartz 17:53

30 gün önce17:53

17:53

Tess Bilhartz grew up in Dallas, Texas and currently lives and works in New York City where she teaches art at Borough of Manhattan Community College – CUNY. Recent solo exhibitions include ‘What on Earth’ at Below Grand (2020) and ‘Follow Me Down’ at Rubber Factory (2022), which was reviewed in the Brooklyn Rail and BOMB magazine. Her work has also been exhibited at Embajada, San Juan, PR, Primary, Miami, FL, and Island, New York, NY. Residencies include the Skowhegan School of Painting and Sculpture (2017), and the Sharpe Walentas Space Program (2013). Tess Bilhartz, Green, 2024 Oil on canvas 30 x 52 in 76.2 x 132.1 cm Tess Bilhartz, Pink Flash, 2024 Oil on canvas 30 x 52 in 76.2 x 132.1 cm Tess Bilhartz, Spin, 2024 Oil on canvas 30 x 52 in 76.2 x 132.1 cm…

Interviews by Brainard Carey

1
Taher Asad-Bakhtiari 22:20

4 weeks önce22:20

22:20

Taher Asad Bakhtiari (Iranian, b. 1982) Tribal Weave Project offers a contemporary distillation of the kilim flatweaves and densely-knotted gabbeh rugs that have long defined Iran’s cultural traditions. Asad-Bakhtiari’s tapestries are often built around large-scale triangular patterning and crossed by striated bars and lines—minimalist forms which interrupt the logic of warp and weft with jagged diagonals and vivid abstractions. They recall shimmering landforms, lines of motion, and the iconography of nomadic handicrafts, while also nodding to the simple geometries of mid-century avant-garde design and craft movement like those at Black Mountain College. Woven from hand-spun and naturally-dyed wool with the occasional inclusion of contemporary materials, these lace-like works seek to spur new creative wrinkles within a craft tradition dating back centuries. While Asad-Bakhtiari’s textiles honor his namesake heritage in the nomadic Bakhtiari Lur tribe and are realized in concert with today’s artisan weavers, he is especially noted for his innovations in fiber techniques and weaving methods. Many of his tapestries seem to breathe of their own accord, composed of airy weaves with almost translucent sections of exposed warps. Rippling and glimmering as light and air pass through their open network of threads, they uncover patterns within the fundamental crossbeams of the weaving process, making use of the empty space between the overlay of threads. Combining exposed warps, lace weaves, flatweaves, and dense pile carpet techniques, Asad-Bakhtiari composes tapestries that are at once formally straightforward, yet elegantly layered, graphic, and evocative. Asad-Bakhtiari is a self-taught artist whose practice revolves around three-dimensional objects, textiles, and experiences. His work is known for raising questions around utility within the trajectories of traditional artisan handcrafts. In addition to his Tribal Weaves , his resin-glazed series of Reclaimed Barrels transforms the ubiquitous aluminum oil barrel found around Tehran’s construction sites into functional works of art. Asad-Bakhtiari studied in Canada and Switzerland and resides between Tehran, Dubai, and New York. TAHER ASAD-BAKHTIARI, Tribal Weave, 2024, Gabbeh woven wool with exposed warp 118″ L x 98.5” W TAHER ASAD-BAKHTIARI, Tribal Weave, 2024, Gabbeh woven wool with exposed warp 94.5″ L x 66.25 “ W TAHER ASAD-BAKHTIARI, Tribal Weave, 2024, Gabbeh woven wool with exposed warp 86.5″ L x 59” W…

Interviews by Brainard Carey

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Marcelle Reinecke 18:55

5 weeks önce18:55

18:55

Marcelle Reinecke in the studio, 2024 Marcelle Reinecke (b. 1989, New Orleans, LA) received an MFA from The Pennsylvania Academy of the Fine Arts (PAFA), Philadelphia, PA and a BFA from Marywood University, Scranton, PA. Reinecke also completed studies at the Studio Arts College International, Florence, Italy and was a Resident Artist at the Royal Drawing School, Dumfries House Trust, Cumnock, Scotland, U.K. Recent exhibitions include Monya Rowe Gallery, NY; Steven Harvey Fine Art Projects, NY; Margot Samel, NY; and Ruffed Grouse Gallery, Narrowsburg, NY. Reinecke lives and works in Philadelphia, PA, and is represented by Monya Rowe Gallery, NY. MARCELLE REINECKE, Offset Hook, 2024 acrylic and flashe on panel, 30 by 24 inches Courtesy of Monya Rowe Gallery, NY MARCELLE REINECKE, Meet In The Kitchen, 2024 acrylic and flashe on panel, 36 by 48 inches Courtesy of Monya Rowe Gallery, NY MARCELLE REINECKE, In The Pines, 2024 acrylic and flashe on panel 24 by 30 inches Courtesy of Monya Rowe Gallery, NY…

Interviews by Brainard Carey

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Leo Frontini 18:08

6 weeks önce18:08

18:08

Leo Frontini , Photo by Scott MacDonough Leo Frontini (b. 2000, Cleveland, OH) has found painting to be an escape from reality while also bringing him closer to the world, relationships, and himself. His practice combines his complicated exploration of the subconscious mind and emotional tumult with an exhaustive knowledge of human anatomy, oil painting techniques, and draftsmanship that is unique in its range of influence. Exploring his work is like embarking on a journey that engages both the senses and intellect. His paintings are often accompanied by evocative poetry, an instrumental part of his practice in exploring the hidden allegories of his work. Frontinis’ compositions hold the viewer in captivation and contemplation—a kindling of transcendence. Leo Frontini received a BFA from Otis College of Art and Design (2023), studying great masters of the past in between frequent Life Drawing sessions. Frontini was raised in a creative household. In the solitariness of quarantine, Frontini began an intensive study of painting the figure. His visual intermingling of the past, present, and unknown provide a balance of harmony and tension. Launching his career upon graduation, Frontini had a solo exhibition with albertz benda Los Angeles in 2024, followed by a project exhibition with 1969 Gallery in New York. He will continue this trajectory with his first comprehensive solo exhibition at albertz benda New York in 2025. Leo Frontini, Source of Anguish, 2024, Oil on canvas 36 x 48 inches 91.5 x 122 cm Leo Frontini, Soliloquy of a sleepless night, 2025, Oil on canvas 72 x 60 inches 183 x 152.5 cm Leo Frontini, Cadence of Disruption, 2024, Oil on canvas 36 x 48 inches 91.4 x 121.9 cm…

Interviews by Brainard Carey

1
Antonia Caicedo Holguin 23:15

6 weeks önce23:15

23:15

Antonia Caicedo Holguín photographed by Imogen Forte. Antonia Caicedo Holguín (b. 1997 in Colombia) is deeply influenced by her hometown of Cali, Colombia, from the people who inhabit the city to the vibrant salsa music and dance culture of the region. By exploring everyday life, memory, and imagination, Caicedo Holguín chronicles her life, friends, and family. “A key component of my practice is the playfulness of writing narratives. The characters I build hold the charm, depth, and presence of literary protagonists.” Drawing inspiration from contemporary painters like Paula Rego and Lynette Yiadom-Boakye, as well as old masters like Degas and Manet, her work often depicts fleeting moments of intimacy and moments of solitude. Often the subjects of Caicedo Holguín’s paintings seem to be in a state of introspection, or lost in reverie. She works with a variety of materials, including oil paint and unconventional materials like coffee grounds, coffee dyes, natural Latin American pigments, and found objects. Caicedo Holguín received her Master of Arts in 2023 from the prestigious Slade School of Fine Art, at University College London in London, England. She has exhibited internationally, and has received the following awards and grants: The Olive Award, in recognition of art process experimentation, The Slade School of Fine Art, UCL, 2023, The Sarabande Foundation, Emerging Artist Fund, 2023, The Chelsea Arts Club Trust MA Materials and Research Award, 2022, and The Elizabeth Greenshields Foundation Grant, 2021. She was a featured guest on the 250th episode of The Art Newspaper's podcast, The Week in Art, hosted by Ben Luke in 2023. She was featured in The Art Newspaper, in an article titled “Art stars of tomorrow? Four of my favourite artists from the Slade School degree show in London” by Dr. Chibundu Onuzo in 2023, and again in 2024 in the article “I commissioned an artist for the first time: here's what it taught me about what it really means to be a ‘collector’.” The artist lives and works in London, England. Antonia Caicedo Holguín, My Friend Hannah Uzor - Portrait in the Studio 2024 Oil and oil pastels on canvas 47 x 43 in (119.38 x 109.22 cm) Antonia Caicedo Holguín, Her Heart Sets the Beat, 2024 Acrylic, oil, and pastels on canvas 67.25 x 66.50 in (170.82 x 168.91 cm) Antonia Caicedo Holguín, Sunkissed 2024, Acrylic and oil on canvas, 47 x 43 in (119.38 x 109.22 cm)…

Interviews by Brainard Carey

1
Ana González 22:33

6 weeks önce22:33

22:33

Ana Gonzalez, Photo byJuan Moore Ana González’s artistic practice celebrates the landscapes of her native Colombia and her partnerships with the indigenous communities dedicated to their preservation. Her work serves as a vibrant tribute to the sensory richness and cultural significance of these environments whilst highlighting their crucial role in historic ecosystems. Her oeuvre bridges multiple disciplines, including painting, photography, and sculpture. In her work González references to the 18th-century naturalist Alexander von Humboldt and his exploration of the interconnectedness of all living systems. Her Devastations series features textiles onto which the artist prints photographs of Colombia’s vulnerable environments which she then partially unravels by hand. The works preserve these spaces as sites of power, abundance, and renewal while referencing the slow disappearance of ancient ecologies. González has worked closely with Colombian Indigenous communities, leading social and humanitarian initiatives with the Sierra Nevada de Santa Marta communities, the Nukak people of Guaviare, and Misak women in Cauca. In collaboration with Cartier and the Amazon Conservation Team, González founded a health and social project in the Colombian Amazon. In November 2024 they completed a healthcare center in Murui Muina, Umancia, an indigenous settlement positioned at the intersection of three key regions: Putumayo, Caquetá, and Amazonas. Ana González is a graduate in architecture from Universidad de Los Andes in Bogotá, Colombia. She pursued advanced studies in Art and Gender at Trinity College in Dublin, Ireland, and completed a master’s in arts and media, focusing on Photography, Printing, and Publishing, at both the École Nationale Supérieure des Beaux-Arts and the École Supérieure de Commerce de Paris in France. Her work is part of significant private and public collections, including the Patricia Phelps de Cisneros Collection, the Havremagasinet Länskonsthall Museum in Sweden, the National Museum of Colombia, the Bogotá Museum of Modern Art (MAMBO), the Santa Barbara Museum of Art, CA, the JP Morgan Chase Art Collection, NY, the Bancolombia Art Collection and the Museo de la Universidad de Antioquia, Medellín, Colombia. She currently lives and works in Bogotá. Ana González, PALMAS DE CERA (WAX PALM TREES), 2024 sublimation printing on roughened tarp 58 1/4 x 58 11/16 inches. © Ana González Courtesy Sean Kelly, New York/Los Angeles. Ana González, RÍO VAUPÉS (RIVER IN THE AMAZON FOREST), 2024, sublimation printing on roughened tarp, 21 5/8 x 27 9/16 inches. © Ana González Courtesy Sean Kelly, New York/Los Angeles. Ana González, KYBA (DREAM), 2024, diptych graphite and acrylic on canvas. canvas: 63 x 47 1/4 inches (160 x 120 cm) each. © Ana González Courtesy Sean Kelly, New York/Los Angeles.…

Interviews by Brainard Carey

1
Benjamin Bertocci 25:26

8 weeks önce25:26

25:26

Benjamin Bertocci has been living and working in N.Y.C. since 2005. He was raised in Stockbridge, Massachusetts, attended Bard College at Simon’s Rock, UMASS Amherst, and Southern Illinois University, Edwardsville. He now works out of his studio in Long Island City Queens, and lives with his small family in nearby Astoria. Philosopher VII; Abomination Parent Transfixed Between Planes, Frozen, Destroyed (Fiscally Appreciative Parasitoid) 14”x11” Oil on Panel. The Last Beasts in the Sky Still Need to Play, Oil on Panel, 16”x20”. Promession III, oil on plastic entombed canvas 12” x 12” 2022.…

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