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George Grosz

1. The Funeral (Dedicated to Oskar Panizza), c. 1918.

2. The Lovesick Man, c. 1916.

3. Berlin Night Club (Ausschweifung), c. 1922.

4. Ecce Homo (Behold the Man), 1921.

5. Pandemonium (India ink on paper), 1914.

6. Schönheit, dich will ich preisen (Beauty, Thee I Praise), 1920.

7. Passanten (Passers-by), 1921.

8. Kraft und Anmut (Strength and Grace), 1922.

9. Unidentified (Offset color lithograph), from a series of 84 Plates, c. 1922.

10. Portrait of the poet Max Herrmann-Neisse, 1927.


Sabine Pigalle: Timequakes, a Reinterpretation of Ancient Paintings

The Timequakes series expresses the chaos witnessed by the artist during the Japanese earthquake of March 2011. Transposing material destruction into a temporal pileup, Sabine Pigalle mingles painted court portraits from the late 15th, 16th and early 17th century with contemporary photographic portraits.
Brought into collision by the lights of the modern city, they expose the layering of different eras, like a collage.
The artist recycles and mixes her own photographs, originally shot and compiled as a source of future works, (paintings, portraits, and Tokyo lights). These hybrid portraits create a bridge between painting and photography, figuration and abstraction, past and modern art.

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仁王(吽) Guardian Deities




念佛宗(念仏宗無量寿寺) 総本山 兵庫県加東市

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Roby Dwi Antono-


Jon MacNair opens windows into cryptic worlds with his monochromatic pen-and-ink drawings. His work has a decidedly vintage, if not medieval, feel. The artist renders elaborate depictions of self-created myths and legends, but rather than being grandiose, the tone of his work is self-aware and humorous. Demons and shamans mug for the viewer while performing rituals and spells. Some of his drawings show gratuitous, cartoon violence akin to that of heavy metal album art and skateboard graphics. MacNair has a solo show opening at Portland’s Antler Gallery this Thursday, August 28, titled “Age of Enigmas.” In addition to his own work, the exhibition will feature MacNair’s collaborations with five other artists he admires: Jennifer Parks, Trudy Creen, Mark Burt, Ian Anderson, and Michael Hsiung. 

See more on Hi-Fructose.


Floriane de Lassée

How Much Can You Carry?

On roads of East Africa, Indoneisa, Boliva and beyond — blinded by the sun, we drive again and again. By moto, by bus, by 4x4. The landscapes varies, roads also, but always we see these walkers along the roadside who seem to carry all their life on the head.

Such as ants with impeccable balance, men and women carry wooden mountains, tins of water, and food, the harvests of the fields.

The back bent sometimes, but always the straight neck and the fixed look, they are going to sell to the market, or are returning with reserves necessary for the home.

For this report — and because I had for a long time as subject of consumption in the western countries — I imagined a series quite playful, reflecting the true life of people.

"How Much Can You Carry?" is above all a tribute to the bearers of life; those whose life is heavy and where smiles and laughter become the key to a livable existence.

This series can be read on two levels: The first refers to these modern caryatids; the second, more secret, talks about various weights we all carry, whether physical or psychological (the weight of tradition, education, family, etc.).

1. Anga, Indonesia

2. Red Basanti, India

3. Célia, Bolivia

4. Putrie, Indonesia

5. Alexis, Rwanda

6. Aru, Ethiopia

7. Casim

8. Sumika

9. Sary and Nifah

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The Age of Discovery ~ Rafael Silveira