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10 Abstract Artists We Love

Abstraction emerged more than half a century ago as a genre that had a major impact on the art world. The beauty of it comes from the lack of explanation or interpretation and has more to do with the emotional response of the viewer. Exploring the plurality and the resilience of the genre, simultaneously exquisite and solid, with the singular creative language of their work, here are ten Abstract artists we love.

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Maaike Schoorel

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Although Schoorel’s paintings are infamously developed from photographs, how she interprets these are very intuitive, as are the decisions about what information to include or omit. Each brush mark and gesture is designed to expose concrete resolution; some appear as impalpable shadows or stains, while others have a slightly holographic effect. Schoorel drafts her body of work with an expert understanding of color, and uses minute shifts in tone to magnify her painting’s ambience and evoke a psychological reaction. “The colours come to you as the music comes to you” Schoorel explains. Her paintings are often initially felt before they are seen, they provoke a subconscious recognition before they are understood visually.

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Mariana Oushiro

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Oushiro draws inspiration from elements of the natural world, and she draws upon her impressions of the dispositions of agricultural landscapes in Brazil, the sensation of lightness in water, sacred geometries, architecture, and science. With heritage originating in Japan and Brazil, enlightens her creative frameworks, and has shaped the development of her artistic language as an extension of abstraction. Her circles, curves, and lines are the foundational core of compositions through which she seeks freedom in contact. These visual elements are not static forms but rather kinetic elements that float and surge through spatial encounters, conveying states of mind and perception that are at once highly specific and entirely ineffable.

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Kenneth Noland

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Noland was a primary force in the development of postwar abstract and color field painting. Although in the 1950s he was thought of as an abstract expressionist by the time it was early 1960s, he was remembered as a minimalist painter. After studying under artists like Ilya Bolotowsky and Josef Albers and working alongside fellow abstractionists like Helen Frankenthaler and Morris Louis, Noland developed a signature style based on simplified abstract forms, including targets, chevrons, and stripes. His paintings are characterized by strikingly minimalist compositions of shape and color. In this regard, Noland’s art has influenced a wide range of contemporary abstractionists who continue to experiment with highly simplified forms and pure saturated color.

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Joe Bradley

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Soon after settling in New York, Bradley’s creative process shifted from landscapes to abstraction. His style was later on crystalized in a series of ‘Modular’ paintings comprised of monochromatic rectangles assembled in humanlike shapes. Despite the seemingly reductive and nonfigurative aspects of his work, Bradley’s forms and symbols consistently produce a sense of familiarity. His black silhouettes of dancing figures, abstract oil compositions featuring overlapping colors and shapes, and more recent ‘Cave’ paintings, continue to evince his inherently expressionistic and simple aesthetic. Evolving in a range of styles, Bradley has also begun recently to experiment with figurative forms in sculpture.

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Imi Knoebel

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Knoebel’s art is considered to be resolutely abstract, continuing Malevich’s notion of “pure perception” through the exploration of form, colour and material. Following the footsteps of artists such as Kazimir Malevich or Piet Mondrian, he continuously aims to uncover the basic material elements of art, which he locates in the simple interactions between humans and the essential conditions of our world. Often producing work in groups or series, his minimal compositions rely on a curtailed, and strict vocabulary of forms combined with a subtle and commanding use of colour, exposing the physical possibilities inherent in the most basic of materials, such as plywood, aluminium and fibreboard.

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Alicia Adamerovich

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Alicia Adamerovich aims to question the relationship between strength and fragility, industry and nature, static and breathing. She abstracts feelings in order to produce forms at the cross section of organic and illusory. Elements of science fiction and alienation encroach upon Adamerovich’s practice, ultimately mediated by her desires for connection and provocation. Having spent her adolescence mired in feelings of isolation and brushes with the natural world, she’s taken to exploring her own crafted environments. She plumbs her own psychological depths, weaving internal fabrics into rich biomorphic vistas.

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Hans Hartung

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Hans Hartung expressed his emotions through painting to produce abstract works of rare power and influence. Hartung’s apparent spontaneity of his distinctively bold and almost calligraphic gestural abstraction and rationalism equally informed his style, which arose out of an early interest in the relationship between aesthetics and mathematics. This year, Hartung has been honored with a spectacular retrospective at Perrotin, New York featuring his works since the 1970s on all three of their gallery floors. This presentation of works includes several paintings that were on view at the Met and archival materials from the period, allowing us a chance to travel back in time and renew our understanding of Hartung, an artist with bold work that continues to speak to our contemporary moment.

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Stanley Whitney

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Whitney’s colorful abstract paintings masterfully portray the linear structure of the grid, imbuing it with new and unexpected cadences of color, rhythm, and space. Deriving inspiration from sources as diverse as Piet Mondrian, Giorgio Morandi, and American quilt-making, Whitney composes with blocks and bars that articulate a chromatic call-and-response in each canvas. Whitney was more interested in honing an abstract visual language, his early works incorporating patches of color surrounded by areas of empty space. At this stage in his career he was also focused on the power of gesture and immersed in the daily practice of drawing.

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Channatip Chanvipava

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Abstraction and amplification are essential processes for the artist Channatip Chanvipava’s typically large-scale works that present snapshots of emotional or psychological states derived from past experiences. With an aim to create an immersive experience with his pieces, working to communicate the ambience of the emotions defining his subject. Chanvipava’s practice has become a means of meditation and self reflection, using the process of painting to fill the gaps in between his memories, and to revisit and learn from past episodes in his life. He uses symbolic colours and expressive forms to transpire moments of reflection, contemplation and liberation.

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Oscar Murillo

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The Columbian-born, London-based artist is considered to be a pioneer of visceral contemporary abstraction. In recent years, Murillo has become globally acknowledged for the large-scale, visceral abstract paintings he makes by combining a multitude of surface elements, including canvas, plastic and pulped paper with a range of mediums including everything from oil paint to dirt from his studio floor. In addition to painting, his creative exploration includes performances, videos, installations, public artworks, and social, cultural, and aesthetic mash-ups that involve multiple media forms. Oscar Murillo is easily one of the most widely collected young artists in the world today. Since his inaugural exhibition at David Zwirner New York in 2014, some of the most influential collectors in the world have acquired his work.

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10 African American Artists Inspiring Progress

Njideka Akunyili Crosby

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Drawing on art historical, political and personal references, Njideka Akunyili Crosby creates densely layered figurative compositions that conjure the complexity of contemporary experience. Akunyili Crosby was born in Nigeria, where she lived until the age of sixteen. In 1999 she moved to the United States, where she has remained since that time. Her cultural distinctiveness combines strong attachments to the country of her birth and to her adopted home, a hybrid identity that is reflected in herwork. 




Vibrantly patterned photo-collage areas are created from images derived from Nigerian pop culture and politics, including pictures of pop stars, models and celebrities, as well as lawyers in white wigs and military dictators. While the artist’s formative years in Nigeria are a constant source of inspiration, Akunyili Crosby’s grounding in Western art history adds further layers of reference. Religious art, the academic tradition of portraiture and, in particular, still life painting become vehicles for delivering new possible meanings. These are images necessarily complicated in order to counter generalisations about African or diasporic experience. Talking about her work, Akunyili Crosby notes, ‘In much the same way that inhabitants of formerly colonised countries select and invent from cultural features transmitted to them by the dominant or metropolitan colonisers, I extrapolate from my training in Western painting to invent a new visual language that represents my experience – which at times feels paradoxically fractured and whole – as a cosmopolitan Nigerian.’ 

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Rashid Johnson

 

Born in Chicago in 1977, Rashid Johnson is among an influential cadre of contemporary American artists whose work employs a wide range of media to explore themes of art history, individual and shared cultural identities, personal narratives, literature, philosophy, materiality, and critical history. After studying in the photography department of the Art Institute of Chicago, Johnson’s practice quickly expanded to embrace a wide range of media –including sculpture, painting, drawing, filmmaking, and installation – yielding a complex multidisciplinary practice that incorporates diverse materials rich with symbolism and personal history.

 

Johnson’s work is known for its narrative embedding of a pointed range of everyday materials and objects, often associated with his childhood and frequently referencing collective aspects of African American intellectual history and cultural identity. To date, Johnson has incorporated items as diverse as CB radios, shea butter, literature, record covers, gilded rocks, black soap and tropical plants. Many of Johnson’s works convey rhythms of the occult and mystic: evoking his desire to transform and expand each included object’s field of association in the process of reception.

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Kerry James Marshall

 

Kerry James Marshall is a contemporary painter whose work explores the complex effects of the Civil Rights movement on the everyday life on African Americans. Through narrative scenes that draw both from history and the artist’s own life, Marshall delves into obscure moments and objects important to contemporary and past black culture. His work is likewise concerned with the tradition of Western painting, and the notion of mastery, authorship, and the erasure of black bodies throughout art history. Hence,Marshall often exaggerates the colour of the people in his work making them as black as the pigment will allow, drawing more attention to the surrounding colour and content of his paintings.

 

Through its formal acuity, Kerry James Marshall’s work reveals and questions the social constructs of beauty, taste, and power. As the artist has written, ‘I gave up on the idea of making Art a long time ago, because I wanted to know how to make paintings; but once I came to know that, reconsidering the question of what Art is returned as a critical issue.’ Engaged in an ongoing dialogue with six centuries of representational painting, Marshall has deftly reinterpreted and updated its tropes, compositions, and styles, even pulling talismans from the canvases of his forbearers and recontextualizing them within a modern setting. At the center of his prodigious oeuvre, which also includes drawings and sculpture, is the critical recognition of the conditions of invisibility so long ascribed to black bodies in the Western pictorial tradition, and the creation of what he calls a ‘counter-archive’ that reinscribes these figures within its narrative arc.

 

 

David Hammons

 

David Hammons once commented that “outrageously magical things happen when you mess around with a symbol”. For the past 50 years, Hammons has created a vocabulary of symbols from everyday life and messed around with them in the form of prints, drawings, performances, video, found-object sculptures, and paintings. Many of the results have indeed been outrageous, and most all of them have had a distinct kind of magic, derived from the transformation of everyday objects into allegories of the experience of the outsider in the contemporary world, whether an artist, a stranger, a madman, or, most persistently, a person of colour.

After relocating to New York in 1974, Hammons started his lifelong practice of making sculptures from the highly charged detritus of urban African American life, including hair gathered from barbershop floors, chicken bones, bottle caps, and empty liquor bottles. Many of his artworks are iconic examples of American Conceptual art. At the same time, they are sharply critical commentaries on the clichés of growing up African American in the US, from the nearly impossible aspiration of becoming a sports hero, to the danger of wearing everyday outfits that are somehow perceived as menacing.

From landmark actions like his Bliz-aard Ball Sale (1983), in which Hammons sold snowballs of different sizes on a New York City sidewalk, to his most recent paintings whose surfaces are obscured by tarpaulins, burlap, or old furniture, his work has contributed to an ongoing discussion about the role of the artist and the value of art. Reluctant to participate in exhibitions of his own work, Hammons has fiercely guarded his status as a cultural outsider, while simultaneously continuing to produce work that reinforces his reputation as one of the most relevant and influential living American artists.

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Glenn Ligon

 

Born and raised in the Bronx, Glenn Ligon grew up taking art classes at the Metropolitan Museum of Art while learning about identity politics through the racism and discrimination toward homosexuality that he encountered in New York. He combines this formal art education and complex personal history to create emotionally charged works that convey challenging messages. In his 1993 Whitney Biennial contribution, Notes on the Margin of the Black Book (1991–93),for example, Ligon paired images and text to satirically comment on literary and visual representations of the black male body. Whether constructed from neon lights, coal dust, glitter, paint, or photographs, Ligon’s work fluctuates between humour and startling honesty, reminding viewers that intolerance remains ubiquitous.

 

Known for his text-based paintings, prints, and sculptures. Ligon often explores ideas of sexuality, violence, and racial identity within American history through the intertextuality between literature and visual arts, sourcing material from both historical and invented texts. The artist’s signature hand-stenciled paintings and neon art sculptures, often portray a series of phrases that, when exhibited in the museum or gallery context, prompts the viewer to read them in a new way, such as in Double America (2012). He frequently appropriates text from well-known writers such as Zora Neale Hurston, Ralph Ellison, Gertrude Stein, and Walt Whitman to tell visual stories of ambiguous and unsettling nature. “My job is not to produce answers,” he once explained. “My job is to produce good questions.”

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Stanley Whitney

 

“I start at the top and work down,” explains Stanley Whitney. “That gets into call-and-response. One colour calls forth another. Colour dictates the structure, not the other way round.” Whitney’s vibrant abstract paintings unlock the linear structure of the grid, imbuing it with new and unexpected cadences of colour, rhythm, and space. The cumulative effect of Whitney’s multicoloured palette is not only one of masterly pictorial balance and a sense of continuum with other works in this ongoing series, but also that of fizzing, formal sensations caused by internal conflicts and resolutions within each painting. Taking his cues from early Minimalism, Colour Field painters, jazz music and historical artists Whitney is as much an exponent of the process-based, spatially-gridded square in art as Josef Albers, Sol LeWitt, Agnes Martin and Carl Andre. 

 

 

Deriving inspiration from sources as diverse as Piet Mondrian, Giorgio Morandi, and American quilt-making, Whitney composes with blocks and bars that articulate a chromatic call-and-response in each canvas. He has spent many years experimenting with the seemingly limitless potential of a single compositional method, loosely dividing square canvases into multiple registers. The thinly applied oil paint retains his active brushwork and allows for a degree of transparency and tension at the overlapping borders between each rectilinear parcel of vivid colour. In varying canvas sizes, he explores the shifting effects of his free hand geometries at both intimate and grand scales as he deftly lays down successive blocks of paint, heeding the call of each colour. Experimental jazz —CharlieParker, Miles Davis, Ornette Coleman— is Whitney’s soundtrack, its defining improvisational method yielding ever new energies to his process of painting.

 

 

Mark Bradford

 

Working in a wide-ranging conceptual practice, Mark Bradford  is best known for his multimedia abstract paintings whose laborious surfaces hint at the artist’s excavation of emotional and political terrain. “For me, it’s always a detail—a detail that points to a larger thing,” he observed of his process. “I start to imagine what it points to, and that’s when my imagination really goes.” Born in 1961 in Los Angeles, CA, Bradford studied at the California Institute of the Arts, graduating with an MFA in 1997. His work often displays the atrocities and struggles of race and poverty, as seen in his site-specific installation Help Us (2008). In the work, the artist displayed pieces of wood salvaged from the aftermath of Hurricane Katrina on top of Los Angeles building, spelling out “HELP US,” recalling the desperation of hurricane survivors on New Orleans rooftops. In 2017, Bradford represented the United States pavilion at the Venice Biennale with his work Tomorrow is Another Day. He currently lives and works in Los Angeles,CA. Today, the artist’s works are held in the collections Hirshhorn Museum and Sculpture Garden in Washington, D.C., The Museum of Modern Art in New York, the Tate Gallery in London, and the Walker Art Center in Minneapolis, among others.

 

 

Kara Walker

 

In her exploration of race, stereotypes, gender, and identity throughout American history, Kara Walker is best known for her large-scale tableaux of collaged silhouettes amidst black-and-white pastoral landscapes. Often filled with brutal and harrowing imagery, Walker provocatively illustrates the country’s origins of slavery in the antebellum South. “I didn’t want a completely passive viewer. Art means too much to me. To be able to articulate something visually is really an important thing,” the artist explained. “I wanted to make work where the viewer wouldn’t walk away; he would giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful.” 

 

Her subjects, often scenes of slavery, conflict or violence, are rendered in a style recalling traditional African illustration and folklore of the pre-Civil War United States; the works preserve and draw critical attention to these earlier cultural epochs. Working in collage, Walker cuts out and affixes black or white paper directly to gallery walls, and utilizes light projectors to cast viewers’ own shadows into her silhouetted narratives, creating a deeply engaging experience. Despite the oftentimes sombre nature of her subjects, Walker relies on humour and viewer interaction.

 

 

Arthur Jafa 

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The African American video artist and cinematographer Arthur Jafa is an enigmatic figure, who oozes coolness and style. His articulate, calm, and welcoming demeanor invites listeners into his thought process, a process shaped by a lifelong affinity for in depth research on black culture. His work assembles fragments of culture found in newspapers, magazines, videos he has filmed himself and many he has found online. He seeks to let the material speak for itself, and let the viewer determine their own thoughts and feelings and hopefully come to new resolutions. Though it is not Jaffa’s intention to preach or directly educate, he is a facilitator. He provides the visual platform for viewers to rethink the personal bias and prejudices that come up when they are faced with the work. In that, is the lasting transformation of cultural opinion. He is passionate about black representation in visual art and his work can be seen as a missing link in how black culture is represented and how it is received. Jafa’s work underlines just how crucial it has been to civil rights to turn the camera back upon the white gaze in order to make the world see, reflect, and believe, not just mindlessly consume.

  

Jafa was born in 1960 in Mississippi, his childhood classrooms being among the first integrated. He has an immediate awareness of the invasion of other people’s projections and implied perceptions on him and his blackness. He shares that, very early on, he was determined to break free of the “monolithic blackness” imposed on African Americans. That, though the black population of Mississippi were integrated, they were a collective “other”, and treated as such. Jafa’s professional career blossomed through working with cinematography in films, such as “Eyes Wide Shut” by Stanley Kubrick. He is also famous for directing music videos and art centric documentaries for Jay-Z, Solange Knowles, Beyoncé, and Spike Lee. However, to focus solely on this aspect of his career, is to feed into the concept of monolithic blackness he tries to confront.

 

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Adam Pendleton

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Spanning painting, performance, video and writing, Adam Pendleton’s (b. 1984) practice is profoundly eclectic and critical. The artist engages with problematics inherent to mechanisms of representation, delving into language, abstraction and the notion of “blackness”. Working predominantly in black and white, Pendleton unpicks and deconstructs dominant historical, political, socio-cultural and aesthetic discourses, putting forward alternative narratives. Within his own concept of “Black Dada”, the artist investigates the past in order to “imagine alternate presents”. Relying on appropriation, Pendleton creates works merge references ranging from Dadaism to the Black Arts Movement.

 

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10 Artists Defining Portraiture in the Context of Contemporary Art

The history of portraiture as an artistic medium can be traced back to centuries. From Greco-Roman sculptures of gods and heroes to decadent paintings of 18th century French aristocrats, the history of portraiture is rooted in the desire of glorifying the rich and powerful.

From the Renaissance through the mid-19th century, traditional conventions of portraiture remained unchanged, later on however, artists began to challenge portrait conventions as the interest in illusionism began to dissolve. They also moved away from traditional portrait subjects now focusing on everyday people.

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Partly due to the advent of photography, portraiture went from being about communicating power and status to be about conveying emotions. Now, photographers could capture the exact likeness of a person, so artists were free to experiment with colour and perspective. Throughout the 20th century, portraiture was a method used for exploring new techniques in painting, photography, and printmaking. Artists like Pablo Picasso began deconstructing faces and bodies, experimenting with his subjects to convey their inner sentiments rather than their actual physique. Another example is Alex Katz, who utilises many different techniques of printmaking to achieve the rich colour palette of the print. As a career portraitist, Katz experiments with media rather than subject matter.

Today, the genre continues to evolve along with the world of contemporary art. In this month’s list of artists to watch, we shine a light on ten contemporary artists pushing the boundaries of this beautiful genre to suggest aspects of the sitter’s personality or psychology, and furthermore, of society as a whole.

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John Currin
Born 1962 in Colorado, Lives and works in New York.

John Currin’s distorted portraits range from the satirical to the grotesque, riffing on art history and pornography alike. The artist combines elements of staged Renaissance compositions with contemporary aesthetic influences such as pinup posters, X-rated images, and B movies. His enigmatic caricatures simultaneously embrace beauty, abjection, and cultural traditions high and low. Currin studied at Carnegie Mellon before receiving his MFA from Yale. He has exhibited in New York, Los Angeles, London, Paris, Hong Kong, Brussels, and Tokyo, among other cities. Currin’s work has sold for up to eight figures at auction and belongs in the collections of the Art Institute of Chicago, the Centre Pompidou, the Hirshhorn Museum and Sculpture Garden, the Museum of Modern Art, the Tate, the Whitney Museum of American Art, and the Museum of Contemporary Art, Los Angeles.

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Nicolas Party
Born 1980 in Lausanne. Lives and works in New York and Brussels.

‍Party is a figurative painter who has achieved critical admiration for his familiar yet unsettling landscapes, portraits, and still lifes that simultaneously celebrate and challenge conventions of representational painting. Rendered in richly saturated hues and soft pastels, Nicholas Party’s Portrait from 2015 brilliantly re-energizes the traditional genre of portraiture and encapsulates the audaciously coloured, quasi-Surrealist characters that have come to define Party’s captivating brand of portraiture. Oscillating between convincing illusionism and comical artifice, Party at once conveys his figures as impossibly flat – as if painted on the surface of a mask – whilst simultaneously achieving uncanny volume and shade, suggesting a smoothly three-dimensional presence.

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Jiang Cheng
Born in 1985 Zhejiang, China. Lives and works in Beijing.

The works of Beijing-based painter Jiang Cheng reflect an abiding commitment to exploring the procedural and psychological codes of portraiture. Trained at both the China Academy of Art and the University of Arts (UdK) Berlin, the artist’s practice is rooted in a trans-historical dialectic between plural cultural and aesthetic dictates. Executed in a single session without recourse to self-correction, Jiang’s hallucinatory, fluid and process-based paintings of faces–often cropped to detach from codes of legible race and gender–assertively repudiate a dyadic apprehension of seemingly partitioned coordinates: the aleatoric and pensively controlled, apparent and abstracted, singular and multiple, masculine and feminine–all the while synthesising a unique assembly of Eastern and Western genealogies of outline and gesture.

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Anna Weyant
Born 1995 in New York. Lives and works in New York.

A sense of unease and dark humor ripples through the oil paintings of Anna Weyant, depicted through the expressions of her female subjects as well as the unconventional items—such as suggestively positioned hot dogs, decapitated roses, and a platter of piranhas—found in her still lifes. Frequently working in a muted palette of yellows and greens, Weyant’s paintings recall the meticulous brushwork and compositions of 17th-century Dutch masters like Gerrit van Honthorst, but with an irreverent twist like that of contemporary painters John Currin and Jesse Mockrin. Her tragicomic works have earned critical acclaim for their seductive balance of light and dark, and she was featured on the cover of a 2020 issue of New American Paintings.

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Rafal Topolewski
Born 1983 in Peland. Lives and works in Lisbon.

Banality, triviality, drawing and architecture form the core interests in Rafal’s painting practice. The paintings are made intuitively (however hermetically defined) and then become subject to a period of consideration and combination, inside and outside frame of work. Within the overall body of work, a variety of approaches to abstraction and figuration are employed to both coherent and dissonant effect.

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Danielle McKinney
Born 1981 in Montgomery, Alabama. Lives and works in Jersey City, NJ.

Danielle Mckinney’s paintings portray projections of the self depicted in dramatic, iconographic tableaus. These imagined figures stand in as the artist’s self-reflections, depicted in spare yet richly evocative scenes. There is a timeless quality to Mckinney’s images, which echo compositions across the canon of portraiture without making direct quotations, instead suggesting art history’s lingering influence on the psyche. In the same breath, the paintings draw equal inspiration from social media, incorporating and refracting contemporary photography as it frames narratives of the unconscious. Indeed, the influence of photography can be found in Mckinney’s tight croppings, her attunement to light and dark values, and her singular compositions. Nevertheless, the paintings convey a world of approximations that speaks to a universal experience, as her own alter-ego becomes a stand-in for the viewer. Mckinney’s work shows an image-maker channeling distinct visions of herself through her hand, arriving at scenes of extraordinary expression.

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Lynette Yiadom-Boakye
Born 1977 in London. Lives and works in London.

Lynette Yiadom-Boakye’s oil paintings focus on fictional figures that exist outside of specific times and places. Her paintings are rooted in traditional formal considerations such as line, colour, and scale, and can be self-reflexive about the medium itself, but the subjects and the way in which the paint is handled is decidedly contemporary. Her predominantly black cast of characters often attracts attention. In an interview with Hans Ulrich Obrist in Kaleidoscope, she explained “People are tempted to politicise the fact that I paint black figures, and the complexity of this is an essential part of the work. But my starting point is always the language of painting itself and how that relates to the subject matter.”

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Jesse Mockrin
Born 1981 in Silver Springs, USA. Lives and works in Los Angeles, USA.

Jesse Mockrin’s vivid portraits transform Old Masters subjects into unsettling, contemporary compositions. The Los Angeles–based painter crops scenes lifted from Caravaggios or Vermeers, for example, then zooms in on body parts or lets her canvases comprise mostly empty space. Sometimes, Mockrin divides compositions across multiple canvases while eliminating crucial pieces of the full image, as seen in works such as Abduction (2018) or Blinded, ridiculed, pitied (2020). She received her MFA from the University of California, San Diego, and has exhibited at galleries in New York, Los Angeles, Seoul, and San Diego. Mockrin’s work belongs in multiple collections including the Los Angeles County Museum of Art, the Rubell Collection, and the Dallas Museum of Art.

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Ellie Prat
Born 1991 in London. Lives and works in London.

Ellie Pratt’s works draw upon the psychological tension of women fulfilling a directed role in fashion photography. In Pratt’s work the objectification of women is heightened by exposing the dynamics of the male gaze as perpetuated through the published image.

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Njideka Akunyili Crosby
Born 1983 in Enugu, Nigeria. Lives and works in Los Angeles.

Drawing on art historical, political and personal references, Njideka Akunyili Crosby creates densely layered figurative compositions that, precise in style, nonetheless conjure the complexity of contemporary experience. Akunyili Crosby was born in Nigeria, where she lived until the age of sixteen. In 1999 she moved to the United States, where she has remained since that time. Her cultural identity combines strong attachments to the country of her birth and to her adopted home, a hybrid identity that is reflected in her work.

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Alex Foxton
Born in 1980 in England. Lives and works in Paris.

Alex Foxton’s painting takes traditional images of masculinity, deconstructs their archetypes and reveals their complexity and ambiguity. He explores the personal history and humanity of the heroes or mythical figures that inhabit our western culture, painting a new narrative in the hollow of the history known to all. The figures depicted are stretched, torn between a calm face and an expressive body, tortuous or ecstatic, underlining the tension of each character. Alex tries to get rid of the objective and dominant gaze that shapes these virile male figures to reveal an embodied vision and to let a desire for these bodies come to life. Using glitter and a sugary palette of mauve, lemon yellow, and azure, Foxton broadens hips and shoulders and minimises waists and jawlines to create androgynous male figures. Foxton’s sensual portraits recall Modern masters Picasso and Matisse in their acrobatic forms and flat colours, while his knowledge of the male form is informed by his experience as a luxury menswear.

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10 Artists Trending This April

As we enter the month of April, the art world continues to evolve and showcase the talents of artists from around the world. From multimedia installations to paintings and sculptures, artists represent a diverse range of styles, themes, and techniques, and are pushing the boundaries of traditional art forms. Whether you are an avid collector or simply an art enthusiast, these artists are definitely worth keeping an eye on as they continue to shape the future of contemporary art. Here are some of our favorite artists on view throughout April.

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Chloe West

Born 1993 in Cheyenne, WY. Lives and works in St. Louis, MO.

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At her latest solo exhibition “Somebody’s Sins”, Chloe West explores the themes of mortality, mourning, and the relationship between the animate and inanimate, with a specific focus on the female form as the source of fertility. The artist challenges the traditional narrative of the rugged American man by positioning the female form as central to the tension between life and death. The large portraits presented in the exhibition reflect the doubt and distance between life and death. West’s exploration of the female form demonstrates the potential for life and animation, as well as what remains after the death of organic material.

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Through her use of portraiture and composition, Chloe West invites viewers to reflect on the themes of mortality, mourning, and the relationship between the animate and inanimate, with a particular focus on the female form. The large portraits presented in the exhibition reflect doubt and the chasm between life and death, while also highlighting the role of the artist as creator, particularly with respect to exploring womanhood. The paintings challenge the traditional narrative of the rugged American man by recasting woman as central to the tension between life and death, and demonstrating the potential for life and animation through the female form. “Somebody’s Sins” is a thought-provoking exhibition that encourages viewers to contemplate the fragility of life and the potential for renewal.

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Craig Kauffman

Born 1932 in Los Angeles, CA. Died 2010 in Angeles City, Philippines.

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Craig Kauffman was a renowned artist known for his vacuum-formed plastic works that showcased curving surfaces in vibrant hues. He emerged as a significant figure in the Los Angeles art scene of the 1950s and 1960s and experimented with form, color, material, and space for almost six decades. Though his plastic work earned him the characterization of a sculptor, Kauffman considered himself first and foremost as a painter. His fascination with plastic as a unique substrate for luminous and sensual color inspired him to create acrylic sheets with primary and flesh-toned compositions. His works incorporated biomorphic abstract shapes in low relief and translucent, candy-colored hues that extended further away from the wall. By the late 1960s, Kauffman had progressed to create bulbous forms called Bubbles, overlaid in pearlescent lacquers that generated atmospheric light and reflection effects.

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Kauffman was primarily a painter, despite being known for his work in sculpture using plastic. He viewed plastic as a unique and transparent material that could showcase luminous and sensual colors in various forms. His experimentation with plastic began with acrylic sheets that were spray-painted in primary and flesh-toned compositions inspired by lingerie catalogs from Fredericks of Hollywood. He then moved on to incorporating biomorphic abstract shapes in low relief and translucent, candy-colored hues. Eventually, he developed his signature bulbous forms called “Bubbles,” which were overlaid in pearlescent lacquers to generate atmospheric light and reflection effects. His “Loops” series involved drape-formed sheets of painted plastic that cast colorful shadows on adjacent walls, creating double hues through projected light. His latest exhibition on view through out April at Sprueth Magers, London showcases his constructed painting series from the 70s.

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Marguerite Humeau

Born 1986 in Cholet, France. Lives and works in London, UK.

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Marguerite Humeau’s artistic practice traverses vast temporal and spatial realms, from ancient history to hypothetical futures, in her quest to unravel the enigmas of human existence. Her work involves imbuing vitality into vanished entities, be it extinct life forms or forgotten ideas, and envisioning alternative scenarios to fill gaps in our understanding. Through this process, she seeks to forge new myths that resonate with the contemporary era. One of Humeau’s primary methods involves breathing life into vanished entities, such as extinct life forms or forgotten ideas, to explore the limits of our knowledge and imagination.

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Humeau’s work often explores the relationship between humans and the natural world, and the ways in which our species has shaped and been shaped by the environment. She has a deep fascination with prehistoric creatures, and has created sculptures and audiovisual installations that re-imagine the appearance, sounds, and movements of animals such as mammoths, saber-toothed tigers, and ancient marine reptiles. Notably, Humeau’s latest exhibition is currently on display at White Cube London.

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Kenneth Noland

Born 1924, Asheville, North Carolina. Died 2010, Port Clyde, Maine.

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Kenneth Noland was a prominent figure in the Washington Color School, a group of artists that helped define post-war abstraction in the United States. His experimental use of color, form, and materials challenged traditional painting techniques and gave rise to radical works that redefined the medium. Noland’s interest in color was sparked during his time at Black Mountain College in North Carolina, where he was exposed to the ideas of influential figures such as John Cage and Josef Albers. Throughout his career, he continued to explore the expressive potential of color, often using geometric shapes to create abstract compositions that are full of energy and movement.

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Currently, Kenneth Noland’s work is on view at Pace New York in an exhibition that offers visitors the opportunity to experience his innovative approach to abstraction firsthand. The exhibition showcases a range of Noland’s works, including his signature color field paintings and geometric abstractions. Through these works, viewers can explore the ways in which Noland’s practice continues to inspire and influence contemporary artists, and how his experiments with color and form have helped shape the course of abstract painting in the United States.

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Stanley Whitney

Born 1946 in Philadelphia, PA. Lives and works in New York, NY.

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Stanley Whitney is an artist who has been exploring color and composition in his paintings for several decades. His paintings typically feature monochrome blocks of oil color arranged in a compositional structure of horizontal bands. Whitney selects each color in relation to those already applied, creating a process-based approach that reveals the trace of the artist’s hand through variations in brushwork.

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Whitney’s artistic journey towards abstraction began in the mid-1970s and was consolidated while living in Rome during the 1990s. Inspired by the ancient Roman murals and the transformative effect of light on the façades of historic buildings, Whitney developed a new understanding of color and geometry. He was also influenced by artists such as Piet Mondrian, Giorgio Morandi, and Mark Rothko, as well as American quiltmakers. Whitney’s latest exhibition, currently on view at Gagosian London, showcases a series of large-scale canvases that continue his exploration of color and form. The works on display are inspired by Whitney’s memories of spending time with family and friends in Italy, and they feature vibrant colors that evoke the Italian landscape and culture. Whitney’s ability to create works that are both visually stunning and emotionally resonant is showcased in this latest exhibition.

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Christina Quarles

Born 1985 in Chicago, IL. Lives and works in Los Angeles, CA.

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Christina Quarles’ work deals with issues of identity, gender, race, and sexuality. Her colorful and complex paintings often depict fragmented and distorted bodies, layered with abstract shapes and patterns. Quarles’s painterly formal language reflects the experience of living in a racially and sexually marginalized body, conveying the tension and struggle between external constraints and internal desires. Her work addresses the complexities of identity formation in a society that imposes rigid categories and expectations on individuals. By combining figuration and abstraction, Quarles creates visually dynamic and thought-provoking works that invite the viewer to question and reevaluate their own perceptions of the self and others.

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Christina Quarles is exhibiting for the first time in Germany at the Hamburger Bahnhof, marking her first institutional debut in Germany. Her installation includes large gauze panels that divide the exhibition space and create a theatrical atmosphere, while her painterly language expresses the experience of living in a racialized and queer body. The colors and pictorial layers in her paintings reflect the struggles of her characters as they grapple with societal constraints on their identities.

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Klára Hosnedlová

Born 1990 in Uherské Hradiště, Czech Republic. Lives and works in Berlin.

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Klara Hosnedlova’s art is a multi-disciplinary practice that incorporates elements of craft, fashion, design, architecture, sculpture, and performance. Her work often features monumental performative sculptures suspended like clouds, which create immersive environments that are almost cinematic in quality. Hosnedlova’s art is a celebration of fragmented images of a post-industrial world that is on the brink of exhaustion.

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Hosnedlova draws inspiration from the modern and brutalist architecture of Central-Eastern Europe and folkloric Bohemian textile traditions. Her art is a mental spectacle that immerses the audience in a remastered investigation of the patterns of belonging. Her work invites the viewer to experience an almost haptic pastness of an unbearable nostalgia that resonates with an ancestral force towards a future post-affect body yet to be reconceived. Hosnedlova’s art is a unique blend of tradition and modernity, combining elements of the past with futuristic concepts to create a powerful and evocative statement. The artist’s first institutional solo exhibition is currently on view at  Kestner Gesellschaft. The exhibition transforms the space into labyrinthine inner worlds by modelling rooms with voyeuristic surfaces in elaborate detail work-covered mirrors of the humanoid self.

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Franz West

Born 1947 in Vienna. Died 2012 in Vienna.

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Franz West was an Austrian artist who became widely recognized for his unique and playful approach to sculpture. His works often featured unconventional materials such as papier-mâché, plaster, and wire, which he used to create abstract and whimsical forms. One of his most well-known works is his series of “Adaptives,” which are sculptures meant to be handled and interacted with by viewers. These pieces are designed to be held, worn, or leaned on, encouraging viewers to become an active part of the artwork. West’s art challenges traditional notions of sculpture as static, untouchable objects and instead invites a more participatory experience.

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West’s work also explored the relationship between art and everyday life, often incorporating found objects and mundane materials into his pieces. His installations, which were often large-scale and immersive, transformed public spaces into playful and interactive environments. In addition to sculpture, West also worked in painting, collage, and performance art, and his interdisciplinary approach to artmaking continues to influence artists today. Franz West’s art reflects his commitment to creating joyful and inclusive experiences that challenge conventional ideas about art and its place in society.

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Olivia Jia

Born 1994 in Chicago, IL. Lives and works in Philadelphia, PL.

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Olivia Jia is a Chinese-American artist whose work explores themes of identity, cultural heritage, and memory. Jia’s paintings often feature highly detailed, intricate patterns and motifs that are inspired by traditional Chinese art and textiles. She combines these elements with contemporary materials and techniques, creating a unique visual language that speaks to both her heritage and her contemporary perspective. Jia’s work is both deeply personal and highly accessible, inviting viewers to connect with her experiences and ideas.

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In addition to painting, Jia also works in sculpture, installation, and video art. Her interdisciplinary approach allows her to explore her ideas from a variety of angles, and she often incorporates found objects and other materials into her work. Jia’s art is informed by her experiences as a Chinese-American woman, and she aims to create work that speaks to the complexity and richness of her identity. Through her art, Jia encourages viewers to embrace their own histories and identities and to celebrate the diversity of human experience.

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Mark Bradford

Born 1961 in Los Angeles, CA. Lives and works in Los Angeles, CA.

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Mark Bradford is a renowned contemporary artist who is widely recognized for his inventive mixed-media paintings and installations that investigate themes of race, gender, identity, and urbanism. He was born in 1961 in Los Angeles and grew up in a working-class family in the South Central district. Bradford’s works often incorporate found materials, such as billboard paper, posters, and fragments of urban debris, which he combines with collage, painting, and drawing techniques. His layered compositions reflect the complex cultural and social histories of the cities in which he works, and are known for their vibrant colors, abstract patterns, and intricate textures. Bradford has received numerous accolades for his contributions to contemporary art, including the MacArthur Foundation “genius” grant, the United States Artist Fellowship, and the National Medal of Arts.

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Mark Bradford’s art is characterized by his innovative use of materials and his exploration of social and political issues. His mixed-media paintings and installations are composed of layers of found materials, such as billboards, posters, and maps, which he transforms into complex and abstract compositions. Bradford’s works often reflect the cultural and social histories of the cities in which he works, addressing themes such as race, gender, identity, and urbanism. His pieces are known for their vibrant colors, intricate textures, and dynamic compositions, which create a sense of movement and depth. Through his art, Bradford challenges viewers to confront uncomfortable truths about contemporary society while celebrating the resilience and creativity of marginalized communities. Notably, his latest exhibition is on view at Hauser and Wirth, New York throughout April.

TEN MID-CENTURY MODERN DESIGN PIECES ON OUR WISHLIST

“Midcentury modern” itself is a difficult term to define. It broadly describes architecture, furniture, and graphic design from the middle of the 20th century, which has roots in the Industrial Revolution at the end of the 19th century and also in the post-World War I period.

Author Cara Greenberg coined the phrase “midcentury modern” as the title for her 1984 book, Midcentury Modern: Furniture of the 1950s. The book was an immediate hit, and once “midcentury modern” entered the lexicon, the phrase was quickly adopted by both the design world and the auction market.

Most of the designs of the midcentury had gone out of fashion by the late 60s, but in the early- to mid-eighties, interest in the period began to return. By the mid-90s, a niche market of collectors had already driven up prices of the original midcentury designs, snapping up one-of-a-kind pieces that have documented history and provenance. In 2005, Sotheby’s auctioned a Carlo Mollino table that sold for $3.9 million, marking a turning point for midcentury modern furniture’s auction market.

Some mid-century furniture designs, like the iconic Eames Lounge Chair, never went out of production, but many others had fallen out by the mid 90s. On this month’s wish-list, we shine a light on ten exceptionally rare mid-century modern design pieces which have stood the test of time.

Joaquim Tenreiro Redonda Dinning Table
Born in Portugal to a family of furniture makers and carpenters, Joaquim Tenreiro moved to Brazil in 1928 where he became a pioneering figure in the development of Brazilian modernist design. His “Mesa Redonda” Table reflects Tenreiro’s virtuosity with wood. Executed in the 1960s in jacaranda, a species of Brazilian rosewood, the table is sensuously curved with no hard corners. The results are long, uninterrupted lines and smooth surfaces that establish a feeling of lightness, a quality which Tenreiro believed “has nothing to do with weight itself, but with graciousness, and the functionality of spaces.” The table’s white reverse-painted glass top complements the rich wood grain. Within the same decade of making this piece, Tenreiro shifted his focus to fine arts and by 1967 closed his furniture studio. The “Mesa Redonda” Table is therefore a superlative example from the height of the designer’s career, exemplifying the finest traits of the Brazilian modernist movement.

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Charlotte Perriand Tunisie Bookcase
Charlotte Perriand was a rare female voice among the avant-garde designers whose designs shaped modern living in the early 20th century. As a student, she rejected the popular Beaux-Arts style and found inspiration instead in machine-age technology. She joined the studio of Le Corbusier at 24, where she experimented with steel, aluminum, and glass, developing a series of tubular steel chairs that remain a modern icon. In 1940, she traveled to Japan to advise the government on how to export products to the West, and spent WWII exiled in Vietnam, where she discovered local woodwork and weaving techniques and embraced natural materials. “The most important thing to realise is that what drives the modern movement is a spirit of enquiry; it’s a process of analysis and not a style,” she said near the end of her life. “We worked with ideals.”

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Jorge Zalszupin JZ Tea Trolley  
The Polish born Jorge Zalszupin moved to Brazil after World War II, where he found an opportunity to develop his extremely sensual, modern architecture. A desire to rebuild a new post-war world and a wave of development in Brazil proved an ideal time for this creative atmosphere to flourish. Graceful lines, strong use of local woods and a combination of impeccable woodworking and classical detailing mark Zalszupin’s furniture. He became part of a select team of talented furniture designers, who worked closely with Oscar Niemeyer on the conception and production of furniture for the new federal capital. The pieces he designed during this time utilized the luxury of leather and combined it with classical Brazilian rosewood.

‍Zalszupin’s furniture designs are characterised by both geometric lines and organic shapes combined with well-defined proportions, graceful lines and classical detailing. The quality of his furniture has transcended time and his pieces have become timeless. Zalszupin’s production established a dialogue very close to the artisanal traditions of working with wood, ensuring quality in the aesthetics and manufacturing of his work.

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Gino Sarfatti Table Lamp 548
Italian engineer Gino Sarfatti started the Arteluce Company in 1939 and would go on to design over 700 lighting products—floor lamps, chandeliers, spotlights, and other light fittings—between the mid-1930s and early 1970s. His work at Arteluce effectively shaped the modern architectural movement in Italy and supported many of the mid-century designers including Franco Albini, Gianfranco Frattini, Sergio Asti, and Ico Parisi. Through his exploration and experimentation with new materials like Plexiglas, diverse production methodologies and techniques as well as light sources, such as halogen bulbs, Sarfatti was a true innovator of Italian lighting and design.

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Pierre Paulin Tapis Siege Sofa
Mushrooms, oysters, tongues, and tulips are some of the iconic shapes French designer Pierre Paulin was best known for creating. Having trained under Parisian designer Marcel Gascion, Paulin was influenced by the Scandinavian aesthetic as well as American pre-fabricated designs by Charles and Ray Eames and Florence Knoll. Inspired to develop his own brand of accessible luxury, Paulin began designing and manufacturing seats made of molded wood lined with foam padding and fashioned with a stretch elastic jersey fabric for Thonet-France. Paulin’s forward-looking, innovative designs for chairs, divans, and sofas in an array of bright and vivid colours, can be found in contemporary art and design collections around the world, from the Museum of Modern Art, New York to the Victoria and Albert Museum, London and the National Centre for Art and Culture Georges Pompidou in Paris.

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Angelo Mangiarotti Monumental Chandelier
Angelo Mangiarotti was born in Milan in 1921. He studied at the Architectural school and at the Polytechnical school of Milan. In 1953, he went to the United States, more precisely in Chicago where he taught at the Illinois Institute of Technology. He met Ludwig Mies van der Rohe, Frank Llyod Wright, Walter Gropius and Konrad Wachsmann. When he came back from the United Sates, he founded an architectural firm with Bruno Morassutti. In 1989, he founded the Mangiarotti & Associates company in Tokyo. From 1986 to 1992, he held the post of artistic director for Colle Cristalleria. Plastic research was really important to Mangiarotti. Thanks to his personality, his work and his creations, Mangiarotti is an iconic Italian designer.

‍Martin Eisler Credenza
Born in Vienna in 1913, the son of the famous art historian Max Eisler, one of the founding members of the Austrian Werkbund, Martin Eisler studied in Vienna under the noted architects Oskar Strnad and Clemens Holzmeister. In 1938 he moved to Buenos Aires, where he immediately set about holding his first exhibition of designs and furniture at the Mueller Gallery, which became the National Office of Fine Arts in 1940, in the Palais de Glace. In 1945 he founded the business Interieur with Arnold Hackel, which sold furniture and objects designed by the duo, launching his career as a designer. His work also took him to Brazil, where in 1955 he went into partnership with Carlo Hauner from the company Moveis Artesanais, and became Art Director of the company Forma in São Paulo. Eisler’s experience in Brazil aroused his interest in exotic woods and varnishing and lacquering techniques on wood, glass and bronze. Eisler’s two businesses subsequently began to work synergistically, producing furniture that was highly successful both in Argentina and in Brazil, which culminated in him signing a contract with Knoll International between the late ’50s and early ’60s. This led to his growth and establishment at a time when the contract furniture market was at the height of its expansion, with the founding of the new capital city Brasilia and the Oscar Niemeyer projects, to which he contributed with great success.

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Mario Bellini Bambole Chaise Longue
Shifting seamlessly between architecture and design, Milan-based Mario Bellini’s oeuvre spans both small objects and major buildings, united by their relationship to human scale. From the 1960s through the ’80s, Bellini developed a series of colored plastic typewriters and calculators that prompted numerous imitators. Their streamlined designs were at once minimal, sensible, and warm. Since the 1990s, Bellini has focused more on architectural projects, such as the redesign of the Department of Islamic Art in the Louvre’s courtyard. Designed to resemble a veil, the undulating canopy of diaphanous triangular panels echoes the geometry of the collection housed below, while also referring to human garb. “I have always mixed an anthropomorphic side into my objects. That could explain why I’m always searching for a human expression, an easily understandable structure of meanings,” he has said.

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Oscar Niemeyer Marquesa Bench
Oscar Niemeyer was an architect considered to be one of the key figures in the development of modern architecture. Niemeyer was best known for his design of civic buildings for Brasília, a planned city that became Brazil’s capital in 1960, as well as his collaboration with other architects on the headquarters of the United Nations in New York. His exploration of the aesthetic possibilities of reinforced concrete was highly influential in the late 20th and early 21st centuries. Both lauded and criticized for being a “sculptor of monuments”, Niemeyer was hailed as a great artist and one of the greatest architects of his generation by his supporters. In 1956, Niemeyer was invited by Brazil’s new president, Juscelino Kubitschek, to design the civic buildings for Brazil’s new capital, which was to be built in the centre of the country, far from any existing cities. His designs for the National Congress of Brazil, the Cathedral of Brasília, the Palácio da Alvorada, the Palácio do Planalto, and the Supreme Federal Court, all designed by 1960, were experimental and linked by common design elements. This work led to his appointment as inaugural head of architecture at the University of Brasília, as well as honorary membership of the American Institute of Architects. was awarded the prestigious Pritzker Architecture Prize in 1988. Niemeyer continued working at the end of the 20th and early 21st century, notably designing the Niterói Contemporary Art Museum (1996) and the Oscar Niemeyer Museum (2002). Over a career of 78 years he designed approximately 600 projects.

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Afra and Tobia Scarpa Soriana Sofa
Chic, distinctive, and cool, the work of husband-and-wife-team Tobia and Afra Scarpa has found a new generation of sophisticated admirers in the 21st century. Their designs exhibit a decidedly modernist aesthetic, prioritising pared-back elegance and comfort. At the same time, the Scarpas are admired for the ease with which their designs complement both classical and cutting-edge interiors.

Born in Venice in 1935, Tobia Scarpa is the son of famed architect-designer Carlo Scarpa. Alongside his wife Afra, he began working with Venini glassworks in Murano in the 1950s. In 1960, the couple established their design office in Montebelluna. Together, they embraced a variety of materials and expanding technologies across a wide range of designs, from glass, furniture, and lighting to interiors and architecture. In 1969, both Tobia and Afra Scarpa graduated from the Venice Institute of Architecture, with the former winning a Compasso d’Oro prize the following year for the Soriana Armchair for Cassina. Other notable projects include the iconic 1960 Bastiano collection for Gavina, consisting of a sofa, lounge chair, and tables—later reissued by Knoll; the 1966 Coronado Armchair series for B&B Italia, a collection of polyurethane-padded furniture created using the then-new, cold-molded foaming process; and the 1973 Papillion Lamp for Flos, one of the first lighting designs to use halogen technology.

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