Marrakesh’s women bikers in Hassan Hajjaj’s Kesh Angels
Taymour Grahne Gallery is proud to present ’Kesh Angels, a solo exhibition of work by the Moroccan-born, UK-based artist, Hassan Hajjaj.
Hajjaj’s work plays with and upends stereotypes, the power of branding, and the familiarity of everyday objects, applying a ‘street-wise’ approach to his layering of influences, items, and cultural signifiers to imbue the work with an electrifying tension. His confident, upbeat portraits of young women wearing veils and djellabah while posing on motorcycles subvert preconceived notions of Arab women; his subjects are traditionally clad but defiantly modern, bearing bright smiles and the markers of youth, independence, celebration and fun.
More works by Hajjaj: LACMA: My Rock Stars Experimental, Volume 1, 2012
Edo Pop & Other Examples of Ukiyo-e’s Influence
The new exhibit at the Japan Society, Edo Pop, playfully juxtaposes classic Japanese prints from such masters such as Hokusai and Hiroshige with contemporary works inspired by these artists and their works. With over 160 prints borrowed from the Minneapolis Institute of Art’s prized collection of Ukiyo-e prints, the exhibit highlights the influence the images have had on pop artists such as Japanese born (but based in Brooklyn) Lady Aiko, above. The point of the exhibit is undoubtably to show the influence of these images. However, the artists at the Japan Society’s exhibit are by no means the only great artists who were influenced by this seminal form.
Ukiyo-e, for the novice, is a genre of Japanese woodblock prints (or woodcuts) and paintings that were produced between the 17th and the 20th centuries, featuring scenes of landscapes, tales from history, the theatre, and the pleasure quarters. The term “ukiyo” literally comes from the the phrase “floating world,” referring to a conception of an impermanent, luxurious, fleeting, and beautiful world populated with entertainments (kabuki, courtesans, geisha). The world of Ukiyo-e is meant to depict life in its most blissful, devoid of the everyday. This video is an introduction to the form made by the Minneapolis Institute of Art.
These prints were a source of inspiration for Vincent van Gogh (1853-1890), who greatly admired the boldness and clarity of Ukiyo-e. Van Gogh even produced copies of works by Ukiyo-e masters, such as his Japonaiserie: Bridge in the Rain (1887, Van Gogh Museum, Amsterdam). Other works which include motifs borrowed from Ukiyo-e woodcuts include his Flowering Plum Tree (1887, Van Gogh Museum, Amsterdam) and The Courtesan (1887, Van Gogh Museum, Amsterdam). The latter is based on a print by Keisai Eisen (1790–1848) taken from the cover of the magazine Paris Illustrated. In addition, Van Gogh’s Portrait of Pere Tanguy (1887, Musee Rodin, Paris) contains images of six different Ukiyo-e works as part of the background.
Hiroshige (left) & van Gogh (right)
Toulouse-Lautrec (1864-1901) was also a fan of Ukiyo-e a, particularly the flat areas of over-the-top color and exaggerated facial expressions. His iconic poster art is a direct French corollary to these Japanese pleasure prints, and the influence continues in the work Pierre Bonnard and Edouard Vuillard.
Henri de Toulouse-Lautrec’s “Divan Japonais”
The influences continue. Here are some other artists where the Ukiyo-e effect clearly left its mark: Mary Cassatt; Paul Gauguin; Edgar Degas; Claude Monet; Auguste Renoir; Camille Pissarro; Felix Vallotton; Aubrey Beardsley; Alphonse Mucha; Gustave Klimt; Frank Lloyd Wright; Edward W.Godwin; and Charles Rennie Mackintosh.
Thanks to HokusaiOnline.co.uk, for reminding us of the art facts we studied while in Japan and helping us to compile the information in this article!
The protected facade of the vegan restaurant Rayen at Lope de Vega street in Madrid has been illuminated for 4 days and nights by more than 250ml of yellow tape, painted decor items, pineapples and… a lamp. A visual game between perspective and colored volumes that gained the looks.
Oooh, cool idea. I like, very much.
The Art of Andrew Archer
Per the artist’s website:
"I’m greatly inspired by surrealism, juxtapositions and sublime narratives but more specifically wood block prints, edo period art, cartoons, ideograms, characterization, travel and Asia. Through my work I’ve been lucky enough to work within a range of super cool mediums including editorials, advertising, web, moving picture, storyboards and more and continue to do so. I have also had the opportunity to work with a whole load of lovely people who continue to inspire and support me to do what I do."
Find the artist on Twitter: @andrewtarcher
D*Face at StolenSpace
"The work on show reflects upon times of chaos, disorder and loss, as informed by shifting circumstances in the social climate. Exploring topical and long standing dystopian sentiments, New World Disorder confronts the effects of love and loss from a physical, mental and cultural standpoint, drawing up on the artist’s direct experiences.
Elements of the show are inspired by The Tillman Story, the 2010 documentary film about the 2004 death of U.S. Army Ranger Pat Tillman in the war in Afghanistan, the cover-up of the true circumstances of his death, and his family’s struggle to unearth the truth.
In the gallery space adapted WW2helmets, some with original bullet holes, reference our conspicuous consumption, where we desire more, but get less. Other work includes enlarged baseball bats, skateboards created from graffiti-covered school desks, and cabinets of curiosities displaying relics from a place in time where there is no distinguishable line between religion and consumerism.”
A series of collaborations between Florida based artists Tony Rodrigues and Mark George for the show “Mistaken & Deluded” which is currently on display until June 16th at ABV Gallery in Atlanta, Georgia.
This collaborative exhibition explores the American experience through its recent history, relics and shiny things. George and Rodrigues bring vivid colors, drama, tension, humor and trashy seduction to their series “Mistaken and Deluded.” The works on plexiglass echo themes of a plastic society and the sleek, shiny objects that inhabit it. The result is as much an elegy as a celebration for a golden age that exists only in the selective memories and artifacts of a bankrupt, artificial culture.