World-famous photographers join forces to protect the environment

Hannah Le Leu – Against All Odds. One hundred photographers have contributed wildlife photos to the Vital Impacts initiative. The images will be sold to raise funds and awareness for grassroots conservation organizations. This photo, by Hannah Le Leu, shows a green sea turtle hatchling surfacing for air near Heron Island, Australia, beneath a sky filled with predatory birds.Hannah Le Leu

The final moments before the death of the last male northern white rhino, a 66-year-old elephant swimming in the ocean, and renowned primatologist Jane Goodall searching for chimpanzees in Tanzania in the early 1960s; these are all moments captured in a collection of powerful photographs that have been donated to raise funds for conservation projects. Works by 100 photographers from around the world will be sold until the end of the year by Vital Impacts, a non-profit that provides financial support to community-orientated conservation organizations and amplifies the work of photographers who are raising awareness of their efforts. Contributing is a who’s who of nature photography, including Paul Nicklen, Ami Vitale, Jimmy Chin, Chris Burkard, Nick Brandt, Beth Moon, Stephen Wilkes and Goodall herself.

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Geometry in a State of Collapse

Stephen Westfall, “Samba da Lua” (2021), oil and alkyd on canvas, 45 x 38 inches

In an interview that I did with Stephen Westfall more than 15 years ago (The Brooklyn Rail, 2006), he made an observation that I think has grown in importance, particularly in this politically and socially turbulent climate. Speaking about the grid, he stated his interest in a destabilized structure: “like the whole [grid] could tremble and be knocked over […] which I guess you don’t really associate with planar abstraction.” 

We can think of the grid as either a secure structure within which an artist seeks freedom of expression or one that is ultimately unstable. Within those parameters it is easy to point to artists who use the grid as a source of security and to the smaller, more adventuresome group who are too restless to settle into a signature form, even as it impacts their viability in the marketplace. Westfall belongs to the latter group. He is an antsy geometric abstract artist, which in some quarters might be thought of as an oxymoron.

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Carved Organic Patterns Highlight the Natural Wood Grain of Carbonized Mahogany

“Artifact II” (2020), carbonized mahogany and metal, 52.25 x 11.875 x 2 inches. Image courtesy of TERN Gallery.

In Splinters and Shards, artist John Beadle enriches the beauty of wood’s natural grain with a series of gouged dots, line carvings, and smooth, supple curves. His small, circular sculptures and vertical towers accentuate the texture and subtle gradients of carbonized mahogany through etched patterns that reveal the pristine reddish hue peeking through the charred surface. Always highlighting the potential of the raw material, Beadle, whose background is in painting and printmaking, evokes these mediums through layering dimension and motif in a single work and drawing on the subtraction inherent in carving into a blank woodblock.

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A Hazy Stream Drifts Across a Spring Landscape in an Enchanting Series of Long-Exposure Photos

Image © Jennifer Esseiva

Back in spring, Swiss photographer Jennifer Esseiva visited the remote forests of Vallorbe, Switzerland, as the trees and rugged, wooded terrain emerged from their winter stupor. There she captured the lush mosses and foliage that cloaked the area in a thick blanket of greenery and the recently thawed stream flowing through its midst. Now compiled in an enchanting series aptly titled Fairyland, the ethereal, long-exposure photos depict the trickling body of water as a hazy fog that clings to the landscape.

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Ornate Rugs by Artist Faig Ahmed Ooze Onto the Floor in Drippy Fabric Puddles

Image courtesy of Sapar Contemporary

Azerbaijani artist Faig Ahmed (previously) has amassed a staggering archive of sculptural carpets that blur the boundaries of digital distortion and traditional craft techniques. Often monumental in scale, his fringed rugs are woven with classic, ornate patterns on top before they billow into a pool of glitches and skewed motifs.

Ahmed weaves conceptual and historical relevances into his most recent trio, which is on view as part of his solo show PIR at New York’s Sapar Contemporary through January 6, 2022. Each piece draws its name from a spiritual leader who profoundly impacted Azerbaijani culture, including Shams Tabrizi, Yahya al-Shirvani al-Bakuvi, and Nizami Ganjavi.

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Ephemeral Compositions Use Sand and Stone to Create Hypnotic Works on Land

Image © Jon Foreman

The wildly prolific Wales-based artist Jon Foreman has spent much of 2021 on a new batch of mesmerizing land pieces. Expanding on the swirling, organic shapes he’s known for, many of his recent works take on minimal, geometric formations in diagonal stripes or colorful, concentric circles. Foreman created a 2022 calendar featuring some of the compositions shown here—ordering instructions are on his Instagram—and you can find prints of his ephemeral pieces in his shop.

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After Deciding That ‘Technology Does Not Corrupt Artists,’ Pace Gallery Will Launch Its New NFT Platform Next Week

DRIFT, Block Universe (2021). © DRIFT. Courtesy of Pace Gallery.

Pace has been perhaps the most fervent embracer of crypto-art of all the blue-chip galleries. In July, it announced plans to launch a new platform for NFTs, and planted a flag in the nascent space by hosting digital projects on its website. (It accepted cryptocurrency for all sales.)

But an ethical question caught up with the gallery’s president and CEO, Marc Glimcher, who decided to delay the rollout. “Is this continuing to turn our artists into the creators of financial instruments?” he said. 

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Ask the Experts: Do I Have to Go to Art School to Become a Successful Artist?

Students at the School of Visual Arts, an art school in New York. Photo Sarah Trigg.

Education isn’t cheap. The increasing professionalization of the art world means getting a degree is an increasingly desirable path for many young artists, but the levels of debt that come with the pursuit of knowledge makes this option only viable for some. The question is: Can you become a successful artist without a degree from Yale or the Royal College of Art? 

There are very good examples of successful contemporary artists who have side-stepped the academic route. Carsten Höller and Yoko Ono did not attend art school, Jeremy Deller studied art history rather than fine art, and Tosh Basco—aka boychild—started out in the underground club scene before working with their partner Wu Tsang and friend Korakrit Arunaanondchai.

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Keeping Vigil with no Loss to Poetry

Julie Mehretu, Epigraph, Damascus, 2016. Courtesy the artist, carlier | gebauer and Niels Borch Jensen.

The images and thoughts informing Mehretu’s recent work are from either far right anti-immigration rallies or detention centers for migrants at US borders. The issue of legal and illegal migration or the need to move in order to find a home or life elsewhere, is core to the work and the way Mehretu has been thinking through this time. Especially its complexities in relation to our global condition – with climate catastrophe getting worse and worse, a pandemic, and the ongoing struggle against the history of colonialism and neo-colonialism, among other crises.

Mehretu’s current exhibition at carlier gebauer gallery in Berlin is titled Metoikos (in between paintings), the Greek word meaning the strange in-between place or the strange in-between thing. It was used to refer to people from elsewhere who occupied an intermediate position between visiting foreigners and citizens in Greece. They were a recognized part of the community, but subject to restrictions on marriage, property ownership, voting, and more.

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