dArt International Magazine – Page 19 – Fall 2024 edition of the making of art, its exhibition, and what we say about it

February 22, 2022March 14, 2022

Lie-yi Shen: Art into Life

by Thalia Vrachopoulos

Lie-yi Shen, Moisture, 2009, green granite, 300 x 140 x 60 cm — Lie-yi Shen, *Moisture*, 2009, green granite, 300 x 140 x 60 cm

Lie-yi Shen works on his sculptural series for long periods of time, conceptualizing and finessing them while developing artworks in continuity. Many of his projects, as seen in Seesaw, (2012-21), Water Series (2001-21), Sky Series, (2012-19), Nest Series, (2004-21), can be discussed in terms of the Minimalist spirit in that they are repeated but gradually varied geometric artworks that use industrial materials. But Shen’s sculpture is different in the sense that he sometimes makes use of organic objects within them, starting a new work by adding various surprising components to his original piece. Because of this continued relationship and growth over time, in his work we can conclude that Shen has arrived at the mature stage of his career.

February 19, 2022March 14, 2022

The Frances Lehman Loeb Art Center’s Permanent Collection

by D. Dominick Lombardi

Balthus, La semaine des quatre jeudis (The Week of Four Thursdays) (1949), oil on canvas, 38 1/2 x 33 1/4 inches — Balthus, *La semaine des quatre jeudis (The Week of Four Thursdays)* (1949), oil on canvas, 38 1/2 x 33 1/4 inches

My original intent was to review one of the four new exhibitions at The Frances Lehman Loeb Art Center, but as museum’s often go, I am more drawn to the offerings of their permanent collection. This is not to say the four ancillary curated exhibitions are not wonderful, they are. I just need to focus my comments as there is so much here to see, and no matter when you might visit this museum, you will have a very fulfilling experience, especially if you engage one of the extremely knowledgeable guards who enjoy sharing compelling facts about the art.

February 19, 2022March 14, 2022

Rachid Koraïchi : Le Chant de l’Ardent Désir

by Siba Kumar Das

Rachid Koraïchi, Jardin d'Afrique, 2021, woven tapestry, 129.92 x 90.94 in. Courtesy of Aicon Art — Rachid Koraïchi, Jardin d’Afrique, 2021, woven tapestry, 129.92 x 90.94 in. Courtesy of Aicon Art

Open till March 12, 2022, this is Aicon Art’s third solo show celebrating the art of Rachid Koraïchi—humanist, polymath, creator of art carrying universal significance. While originating in a culture permeated by Quranic scholarship and Sufi mysticism, his art crosses artistic frontiers going beyond Islamic calligraphy and inscription. In inventing a unique artistic language, Koraïchi draws upon many languages and cultures, including those of the Berber and Tuareg peoples. Within his fold, too, are invented Chinese ideograms plus magical squares and talismanic glyphs and other auspicious signs. Also most impressive is the range of his materials, the employment of which has often inspired the artist to create a symbiotic partnership with designers and artisans around the globe.

February 12, 2022March 14, 2022

Nathaniel Mary Quinn and Not Far From Home: Still Far Away

by Mary Hrbacek

Nathaniel Mary Quinn, All the Lost Awards, All That Was Lost, 2021, oil paint, pain stick, oil pastel, soft pastel, gouache, black charcoal on linen canvas stretched over wood panel, 30 x 30 inches, 76.2 x 76.2 cm © Nathaniel Mary Quinn. Photo: Rob McKeever, courtesy Gagosian — **Nathaniel Mary Quinn**, *All the Lost Awards, All That Was Lost*, 2021, oil paint, pain stick, oil pastel, soft pastel, gouache, black charcoal on linen canvas stretched over wood panel, 30 x 30 inches, 76.2 x 76.2 cm © Nathaniel Mary Quinn. Photo: Rob McKeever, courtesy Gagosian

Nathaniel Mary Quinn, “Not Far From Home; Still Far Away,” at Gagosian, presented an exploration of Quinn’s relationships in fourteen intense portraits, created in a range of media that includes oil paint, gouache, charcoal, oil stick and pastel. Distortion is the keynote of Quinn’s inner-based perception, expressed in a vision that transforms the artist, his friends and his female subject, apparently his mother. He disregards visually perceivable features, boldly executing truncated, layered, re-imagined, and spliced images that exude a sense of deep emotional anguish. Quinn’s impeccable inventive paintings compare with the visceral images Francis Bacon created in his portraits, and Picasso’s Synthetic Cubist women.

February 12, 2022March 14, 2022

Forest Bathing – A Group Exhibition about Nature

by Jen Dragon

Forest Bathing installation view John Lyon Paul (left) Anne Leith (right)

Woodstock, NY – Forest Bathing is a concept that originated in Japan in the 1980’s as an antidote to an increasingly technological and alienating world. The idea is to mindfully walk in the woodlands and reconnect with the sounds, smells, colors and textures of nature. The recent Covid pandemic and its restrictions on indoor gatherings have forced a return to the outdoors creating a renewed appreciation for the forest habitat and its seasonal cycles. Inspired by the woodlands of upstate New York, this exhibition features artwork by Ashley Garrett, Anne Leith, Iain Machell, John Lyon Paul, Christy Rupp and Martin Weinstein.