Carter Mull is an American artist working in Los Angeles. Mull took his BFA in Painting from Rhode Island School of Design in 2000 and MFA from California Institute of the Arts in 2006. Fluency across mediums, collaboration, and material production engender the work of Carter Mull.
Donald Clarence Judd was an American artist associated with minimalism. In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy.
John Armleder is a Swiss performance artist, painter, sculptor, critic, and curator. His work is based on his involvement with Fluxus in the 1960s and 1970s, when he created performance art pieces, installations and collective art activities that were strongly influenced by John Cage.
Mario Schifano was an Italian painter and collagist of the Postmodern tradition. He also achieved some renown as a film-maker and rock musician.
He is considered to be one of the most significant and pre-eminent artists of Italian postmodernism. His work was exhibited in the famous 1962 “New Realists” show at the Sidney Janis Gallery with other young Pop art and Nouveau réalisme innovators, including Andy Warhol and Roy Lichtenstein. He became part of the core group of artists comprising the “Scuola di Piazza del Popolo” alongside Franco Angeli and Tano Festa. Reputed as a prolific and exuberant artist, he nonetheless struggled with a lifelong drug habit that earned him the label maledetto, or “cursed”.
Loie Hollowell is an American painter. She was born in 1983 and raised in Northern California. She currently lives and works in New York City.
Hollowell creates abstract biomorphic paintings that suggest spirituality and sexuality. Hollowell’s work is inspired by tantric painting traditions, and she has been compared to the artist Georgia O’Keeffe.
Hollowell’s paintings have been described as “abstract body landscapes” by Martha Schwendener of the New York Times. Known for paintings and drawings that explore the bodily landscape, Loie Hollowell’s practice exists in the liminal space between abstraction and figuration, otherworldly and corporeal.
Originating in autobiography, her work explores themes of sexuality, pregnancy and birth. Hollowell’s geometric compositions use symbolic shapes such as the mandorla, ogee and lingam to build her distinctive visual lexicon. In referencing her own personal experiences, Hollowell’s paintings are at once personal and universal in their fierce vulnerability. Her use of symmetry – often anchoring her compositions in a central, singular axis – relates her paintings to her own body as well as the natural world.
For Hollowell, the scale of her work is particularly significant as she creates each work in direct correlation with the size of the body part depicted, be it her head, breasts, groin, or entire body. Furthering her exploration of physicality, Hollowell adheres sculpted forms onto her canvases to confound expectations of painting. Hollowell’s protruding forms are blended seamlessly, forcing the viewer to move around the canvas to determine whether it is an illusory flat surface or three-dimensional. This adds a playful, performative aspect to her work that speaks to Hollowell’s masterful manipulation of space, surface, light and shadow.
With strong colors, varied textures, and geometric symmetry, Hollowell’s practice is situated in lineage with the work of American artists like Agnes Pelton, Georgia O’Keeffe and Judy Chicago. She is also greatly influenced by the work of the California Light and Space Movement as well as Neo-Tantric painters like Ghulam Rasool Santosh and Biren De.
Alexander Calder was an American sculptor known both for his innovative mobiles (kinetic sculptures powered by motors or air currents) that embrace chance in their aesthetic, and static “stabiles” monumental public sculptures. He didn’t limit his art to sculptures; he also created paintings, jewellery, theatre sets and costumes.
Calder preferred not to analyse his work, saying, “Theories may be all very well for the artist himself, but they shouldn’t be broadcast to other people.”
Born into a family of artists, Calder’s work first gained attention in Paris in the 1920s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974).
Calder’s work is in many permanent collections, including the Whitney Museum of American Art, the Guggenheim Museum, the Museum of Modern Art, the National Gallery of Art in Washington, D.C., and the Centre Georges Pompidou in Paris. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1996).
Although primarily known for his sculpture, Calder also created paintings and prints, miniatures (such as his famous Cirque Calder), theater set design, jewelry design, tapestries and rugs, and political posters. He was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War.
An important Calder work is the monumental “Floating Clouds” (1952–1953) of the Aula Magna (Central University of Venezuela) of the University City of Caracas in Venezuela. This work is a Unesco World Heritage Site. Calder’s clouds were specially designed to combine art and technology, making the auditorium one of the top 5 university auditoriums in the world by sound quality.