#john-charles-ricciuti

#john-charles-ricciuti

"It's an amalgamation of the Chicago neighborhood aesthetic with a Bulls fan, quite literally. It's kind of on the nose, but that's how I juxtapose the elements of my work, with the structure of a home and then a figure who is around or in the home."

Braulio gives the crowd an incredible insight into a decade's worth of poster designs for Good Room, revealing how he finds inspiration in the most mundane things just by paying attention to what has 'already been designed' and remixing it into something new.

While Howard's case is full of nuance, Ogilvie initially only sees him as an overweight patient who might be better served by the medical facilities at the zoo. It's a breathtakingly callous statement, especially when made within earshot of the patient, yet to many larger-bodied people, it's a very real concern.

"We are thrilled to bring this immersive experience to New Jersey. Whether you're an art-lover, history enthusiast, or someone encountering this masterpiece for the first time, this exhibition allows you to experience Michelangelo's genius in an intimate and unforgettable way."

Pratt Shows is an annual series of public exhibitions and presentations by the Institute's graduating class, representing years of research, exploration, and creative inquiry.

Bronze, when shaped by the right hand, holds time in suspension—an argument against decay, against disappearance, against the quiet erasure of the human story.

The first things that struck me about Jason Gubbiotti's paintings at RecRoom were the small dimensions of the work, the relationship of their modest size to the artist's elaborately precise, often lattice-like geometric compositions, and their brilliant beguiling color. The work is also audaciously, unapologetically beautiful, and deeply pleasurable to look at.

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

Dealers like artists with established sales records because it lowers their already considerable financial exposure. Renting a gallery space in Tribeca costs anywhere between $8,000-30,000 a month on top of staff, marketing, and daily operations. With that kind of overhead, very few business owners can afford to take on the financial risk of untested artists.

He's an artist that was a major presence in Los Angeles art for almost 50 years, one of the best sculptors to emerge in this town. But he hides in plain sight. Not enough people know about what makes him the artist that he is. When we look closer at Bob's work, he was an artist that was a part of the discussion here in Los Angeles for a very long time.

The show features the work of 14 contemporary artists who use the rug as a medium to engage with cultural concerns related to religion, technology, social justice, housing, and the environment. The diverse roster of artists from the United States, Europe, the Middle East, and Asia work across a variety of media, including yarn, cardboard, repurposed carpets, and hair combs, to transform this functional object into a site of experimentation - manipulated, reinterpreted, and made new.

Mornings are best for concentrated work. In the winter, I turn on the heat at 8am and get started around 10am. Summer, I start around 9am. I have two areas in the studio for projects. The large, heavy wood sculptures are carved in the front section of the studio, closest to the roll-up wide door. Smaller sculptures are placed on a hydraulic workbench. Before I start, I focus, connect with the Source, and ask for guidance.

"The four large-scale canvases that constitute the core of ' Misfits' maintain the fundamental elements of the artist's visual lexicon while radically reconfiguring compositional structure and spatial organization. These works advance a design freedom that is simultaneously forceful and controlled, achieving a balance between expressive intensity and formal restraint. As such, the series marks a decisive moment in Nuñez artistic evolution and possibly an initial step toward a more profound and transformative reorientation of his practice."

Disembodied heads, eyes, and hands meet spindly trees, dragonflies, and vibrant blossoms in the folk-art inspired works of Michael McGrath. Based in Rhinebeck, New York, McGrath melds a variety of media-most pieces contain a mixture of graphite, ink, and oil and acrylic paints-into dynamic compositions suffuse with mystery. Recurring symbols and objects lend themself to a distinctive visual language that captures both the wondrous and puzzling.

One recent weekday morning, the British painter Peter Doig arrived at a bonded warehouse-a cavernous brick building-about a mile south of the River Thames, but not subject to the import taxes of the United Kingdom. He buzzed through security and entered a windowless white room, where he settled in for a long day. Awaiting him were a series of etching prints that had been brought over from the United States to be signed by Doig before being put up for sale.

First in a Chinatown mall beneath the Manhattan Bridge and then in a nondescript third-floor room nearby, Francis Irv exhibited a heady, multigenerational mix of artists from the United States and Europe, variously established, obscure, and on the rise. Megan Marrin showed alluring paintings of 1960s celebrities (replicas of photo souvenirs shaped like clothes hangars) last fall. Win McCarthy placed bricks, plastic takeout containers, and bedding on the floor in a charged, melancholic 2024 exhibition.

I work outside, carving and shaping the stone. Outside my house, I have a table, an extension cord, and tools. It's very cold and I have to wear all my winter clothes. When it's too cold, I do the filing and finishing work inside after I shape it outside. I listen to all kinds of music. I listen to Eminem all the time; his albums are all my favorites. For drawings, I work at Kinngait Studios or at home on my kitchen table.