A standout at the 2010 Whitney Biennial and the Metropolitan Museum of Art’s current After the Gold Rush: Contemporary Photographs From The Collection exhibition, Curtis Mann continues to make waves with his bold transformation of found images by collaborating with photographers documenting the civil strife in Yemen for the New York Times Magazine. For the cover story “Yemen on the Brink of Hell” in the July 24, 2011 issue of the magazine, Mann manipulated images by Reuters and Associated Press photographers using bleach and varnish to heighten the drama and transport the subjects into an abstract realm.
The work follows a similar path to the process that Mann applies to his fine art work, which has been shown extensively in solo and group exhibitions in the US and Europe since 2005 and is currently featured in his recent prints Checkpoint and The Altruist, published by Artspace.
See more images from the New York Times Magazine, check out the Artspace prints, and watch a video showing how the artist makes his work after the jump.
Blue Streak by Kara Maria
A Proust Questionnaire is a questionnaire about one’s personality. Its name and modern popularity as a form of interview is owed to the responses given by the French writer Marcel Proust. Inspired by the popularity and quirkiness of Vanity Fair’s Proust Questionnaire, the editors of Artspace composed one to reveal another side of their favorite artists. Shortened versions can be found on several of the Artspace artist pages, and from time to time we’ll run the complete interviews on A+. Our eleventh artist is Kara Maria.
A battle of the best! Two of the best modernist painters—that is. New York’s Helly Nahmad Gallery has done what most museums could have only considered doing but would currently find financially difficult to mount: a comparative exhibition of the paintings of Chaim Soutine and Francis Bacon. Although Bacon is the better known of the two artists today, Soutine’s acknowledged influence on him and a whole generation of figurative and expressionistic painters in England in the 1950s—including Lucien Freud, Leon Kossoff, and Frank Auerbach—as well as Willem de Kooning and others in the States, is well documented. Even though Bacon later tried to distance himself from Soutine, as Damien Hirst recently stated, “Without Soutine, there is no Bacon.”
Richard Serra’s drawing retrospective at the Metropolitan Museum of Art in New York offers a dynamic overview of his 40 years of experimentation with process, materials, scale and perception of space on paper and in monumental installations of black, oil-sticked canvases stapled directly to the gallery walls. One of the special features of the comprehensive show is a selection of 28 of Serra’s sketchbooks, which are on view in the final gallery. Artspace editor Paul Laster queried the artist about the drawing notebooks at the Met.