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The exhibition ‘Ugly Feelings’ reveals lesser spoken-about abject emotions

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Source: Stir World

To see the works of artists from Francisco Goya to Francis Bacon throughout art history is to harness a grotesque aesthetic to unveil the darkest recesses of the human soul. Grotesque art, as a genre, serves as a unique channel for exploring and embracing hidden emotions. It thrives on distortion, exaggeration, and the uncanny, rendering visceral and often unsettling imagery. In doing so, grotesque art confronts the viewer with the uncomfortable, mirroring the ugly feelings within the human psyche. By engaging with the grotesque, both creators and audiences can navigate the labyrinthine terrain of their emotions, ultimately leading to a deeper understanding of the complexity and richness of the human condition. In this symbiotic relationship between ugly feelings and grotesque art, the repulsive becomes beautiful in its honesty, providing a cathartic and enlightening experience for all involved.

The art exhibition Ugly Feelings, a collaboration with Village Unhu at Collega, Copenhagen, and curated by Lotte Løvholm (Collega) and Georgina Maxim (Village Unhu), epitomises the same collaborative sensitivity to emotions. The display, featuring works by Epheas Maposa and Nanna Starck, challenges societal norms of beauty and decorum, allowing a raw examination of the human experience. Over the years, Collega, as a centre, has presented exhibitions developed through collaboration with international artists and curators. The practice of co-curation is underlined as an effort to oversee the collective process of exhibition-making. Here, the acts of loaning and caring are seen as an extension of nourishment for the art-loving community. When the exhibition is community-led, it speaks to the larger cause of peripheral ideas of inclusivity. Maxim, in an interview with STIR, expounds, “Collaboration is the key feature of this exhibition, the coming together of a force, a movement, or indeed a collection of ideas and moments. What one aims for in such a movement is the ripple effect, starting surely from the centre and gaining much force to reach the ends of the bordering lines—picking things up and dropping other things as it continues in this movement.”

Read more: https://www.stirworld.com/see-features-the-exhibition-ugly-feelings-reveals-lesser-spoken-about-abject-emotions

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Transcript: How to develop your taste in art, with critic Ariella Budick

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Source: Financial Times

The US art critic Ariella Budick is one of my favourite explainers at the Financial Times. I often look up her art reviews after I’ve seen a show at a museum in New York, as I’m trying to form my own opinion on it. Ariella’s reviews do a few things. They place the artist in context. They consider whether the exhibit did them justice. They cover a huge variety of shows across time periods and the world, and they often make me laugh a lot. Recently, she wrote a scathing review of a video art exhibition at the Museum of Modern Art by the artist Joan Jonas, and in it she wrote that the show was like walking a puppy. You’re curious about every leaf, but in the end you just, quote, spend an eternity nosing the same unpromising patch of sidewalk. Ariella is with me to talk about the craft of being an art critic and how we can be more adventurous and trust our judgment when it comes to art. Ariella, hi. Welcome to the show.

Read more: https://www.ft.com/content/84d96d7d-2b33-4474-ac4c-0003ae36c2b1

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Urban Aboriginal art takes centre stage at the 2024 Sydney Biennale

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Source: Financial Times

Search for the origins of contemporary Indigenous art in Australia and the answer is surprisingly specific: the Northern Territory town of Papunya, c1971, with a depiction of the Honey Ant Dreaming ancestral tale in a large-scale mural. This was the birth of “dot painting”, the reproduction on paper or canvas of traditional styles of sand and body ceremonial art, and it brought global fame to artists such as Clifford Possum Tjapaltjarri and Kaapa Tjampitjinpa.

In the minds of many outside Australia, Aboriginal art, both old and new, is linked to remote areas of the country. Yet contemporary Indigenous art has always had an urban side, most notably in Queensland art schools in the 1980s, where students included Tracey Moffatt, who became the first Indigenous artist to represent Australia in a solo show at the Venice Biennale, and the brilliant Gordon Bennett, who skewered colonial history by appropriating large chunks of western art.

Read more: https://www.ft.com/content/d819b351-4e98-4ee8-978e-3916bcf2baf8#comments-anchor

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Study for portrait Winston Churchill disliked goes on show at his old home

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Source: The Guardian

An intimate study of Winston Churchill that has been in private hands for seven decades has gone on show in the room at Blenheim Palace in which Britain’s most famous prime minister was born, before being auctioned in June.

It was the work of Graham Sutherland, one of the most highly regarded artists of his time. Sutherland was commissioned to paint Churchill by the Houses of Parliament to mark the wartime leader’s 80th birthday in November 1954.

Read More: https://www.theguardian.com/uk-news/2024/apr/16/study-winston-churchill-portrait-disliked-auction-graham-sutherland

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