Monumental HBO-commissioned Game of Thrones textile art to be auctioned

A unique, once in a lifetime, monumental needlework embroidery depicting a defining scene from HBO’s fantasy epic Game of Thrones is to go under the hammer at Sworders Fine Art Auctioneers in Stansted Mountfitchet, England, on February 12, 2019. The unique souvenir, commissioned by HBO’s UK representatives to promote the hit show in 2016, took more than 30,000 artisan hours to make. The larger-than-life needlework, known as the “Hardhome Embroidery,” was produced by members of the Embroiderers' Guild, the UK’s leading educational charity promoting embroidery, as a backdrop to the DVD and Blu-ray launch of the fifth season of Game of Thrones. HBO’s eighth and final season of the smash series begins in April. The scene chosen by HBO for this amazing piece of textile art was the battle between

Kunsthall Trondheim presents Francine (was a machine) by Marte Aas

“I want to tell a story”—that’s how Marte Aas’ new film starts. The story that she is relating to is the one about René Descartes’ mechanical daughter, a fable about a man of rationality and science creating a human-looking machine in the place of his dead daughter Francine. During a travel through a storm at sea, the seamen discovered the doll in Descartes’ cabin and horrified threw it into the ocean. Francine was a machine, an automaton, an early cousin to today’s Sophias, soon becoming normal parts of everyday life-like the fridge, maybe already quite intelligent and greeting us with a stiff smile, if we care to notice it? In Aas’ works the everyday is animated with a gaze that presents us with something that is familiar but undefined—in a way that is reminiscent of of the naive gaze of a stranger encountering a new place, or that confused

Green Art Gallery opens an exhibition of works by Egyptian artist Samir Rafi

Green Art Gallery is presenting an exhibition on the Egyptian artist Samir Rafi (b.1926, Cairo, d.2004, Paris). Rafi, who at the age of 13 found himself a student of the Egyptian watercolorist Shafiq Rizk, would later go on to study with masters such as Mohamed Nagi & Ragheb Ayad. At the age of 17, his career officially began in an exhibition organised by the artist and educator Hussein Youssef Amin. Unknowingly, Samir Rafi had joined the ranks of Fouad Kamel, Ramses Younan, and Kamel El Telmessany in the Surrealist group Art et Liberté, which would go on to influence generations of Egyptian artists. The spirit of those times, and the international current of Surrealism defined his perspective as an artist and left an indelible mark on his life’s work. By 1948 – the same year Rafi earned his Bachelors in Cairo – he had solidified his place as a member of the

The Shelley & Donald Rubin Foundation opens the first in a two-year series of exhibitions

The Shelley & Donald Rubin Foundation presents Revolution from Without…, the first in a two-year series of exhibitions under the larger title Revolutionary Cycles, at the Foundation’s exhibition space, The 8th Floor, in New York City. The six installments will be organized around a single theme, including labor, gender, the media, surveillance, and family. Through each exhibition, Revolutionary Cycles will focus on different modes of resistance, emphasizing how revolutionary gestures are manifest in the contexts of art and life. The inaugural exhibition Revolution from Without… features five artists and two collectives—Tania Bruguera, Tony Cokes, Chto Delat, Raqs Media Collective, Kameelah Janan Rasheed, Dread Scott, and Mark Wallinger—whose practices engage structures of power that determine who is entitled to, and excluded from,

Exhibition at NewArtCentre explores the sculptural potential of trees

NewArtCentre is working with The Kenneth Armitage Foundation on an exhibition of sculpture and works on paper by Kenneth Armitage which explores the sculptural potential of trees, specifically the ancient oaks he found in Richmond Park. The focal point of the show is the monumental bronze ‘Richmond Oak’ (1985) which is sited in the sculpture park at Roche Court. ‘Richmond Oak’ was originally commissioned by the Government Art Collection to stand in the garden of the British Embassy in Brasilia, one of several important large-scale works Armitage made during a long, illustrious career. Richmond Park was one of the notable primeval sites in Britain which fascinated Armitage, and John McEwen describes it as one of the “holy English places” that Armitage returned to often as a ritual: “what a sanctuary it was for him from life’s helter-skelter”. (The Richmond Oaks, ‘Redefining: Jessi

Thomas Dane Gallery in Naples celebrates its first anniversary with exhibition of works by Caragh Thuring

On the first anniversary of Thomas Dane Gallery in Naples and the fourth exhibition in the space, the gaallery opened a solo presentation of new works by Caragh Thuring (b. 1972, Brussels). Utilising various fabrics as canvas, including sailcloth, Neapolitan tartan and woven images of her own previous works, Thuring constructs fragments of submarines, coins, plants, figures, textiles and volcanoes into compositions that explore the spatial depth and vocabulary of painting. The exhibition is accompanied by an artist's book focused purely on Thuring's depictions of volcanoes created over the last fifteen years. In these new works Thuring has returned frequently to the motif of tartan, both as a woven fabric and as depicted in paint. The tartan geometry acts as a two-dimensional plane and referential grid on which the syntactical elements of the painting are

Exhibition at LE BAL celebrates the 40th anniversary of the Iranian revolution

On the occasion of the 40th anniversary of the Iranian revolution, LE BAL is presenting the original collection of photographic and political books by Iranian artist Hannah Darabi. Gathering works published between 1979 and 1983, years corresponding to the short period when freedom of speech prevailed at the end of the Shah’s regime and the beginning of the Islamic government, Hannah Darabi takes us to the heart of an intense artistic and cultural period specifically for documentary photography in Iranian history. This period, fundamental to understand the country’s history during the 21st century, is decrypted by Chowra Makaremi, tenured researcher and a member of the National Center for Scientific Research (CNRS) in Paris. To suggest another reading of this collection, Hannah Darabi engages in a dialogue between her books and her personal artistic work composed by contemporary photographs of her home town, Tehran, and ex

The Studio Museum’s ‘Black Refractions’ begins its tour in San Francisco

The Museum of the African Diaspora in San Francisco is the inaugural venue for Black Refractions: Highlights from The Studio Museum in Harlem, a major traveling exhibition created by the American Federation of Arts (AFA) in collaboration with The Studio Museum in Harlem. Black Refractions surveys close to a century of creative achievements by artists of African descent and is the first traveling exhibition in twenty-five years to reveal the breadth and expansive growth of the Studio Museum’s permanent collection. MoAD’s showing of the exhibition includes sixty-four works by over fifty artists across all media dating from the 1920s to the present. “The Studio Museum in Harlem is a sanctuary, foundation, and steward for artists of African descent around the world,” said Emily Kuhlmann, Director of Exhibitions and Curatorial Affairs at MoAD. “The work that we do at MoAD is inspired and upheld by the legacy of th

Louis Stern Fine Arts exhibits intimate interior compositions by Helen Lundeberg

Louis Stern Fine Arts is presenting “Helen Lundeberg: Interiors.” In this presentation of Lundeberg’s intimate interior compositions, the artist’s subtle lens renders familiar scenery and objects strange and mysterious. This exhibition, which spans multiple decades of Lundeberg’s career, reflects the notoriously reclusive artist’s powerful command of illusory perspective and fascination with interchangeable positive and negative space. Beginning with her Post-Surrealist work in the 1930s and continuing throughout her career, Lundeberg utilized ambiguous interior spaces to stage a series of images, carefully organized to evoke guided contemplation within the viewer. The unusual arrangement of ordinary objects, set within spaces just outside the realm of decipherable form, provokes a response of