#maetake
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thepasteldyke · 1 year ago
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smooch smooch (i've drawn some sorta wintery mars red stuff the last two years so i thought i should this year too but i didn't know what, so i ended up with cheebs.)
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sienna-cast2002 · 4 months ago
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短冊 (tanzaku), 2022-2023 - Yasue Maetake
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Oil paint on found tree branches, copper, brass, steel, zinc pewter, steel chain, alloys of silver and copper, polyester resin coated origami, seashells, and epoxy resin
27 × 8 × 9 in | 68.6 × 20.3 × 22.9 cm
again i like the hanging and use of pewter but i seriously need to think of a concept bruh
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theories-of · 4 years ago
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Yasue Maetake
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mu-th-ur · 4 years ago
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The Location of Serenity — Group exhibition curated by Gryphon Rue at D R O N E, New York w/ Elsa Rensaa, Viktor Timofeev, Yasue Maetake, Eddie Natal May 07 — July 10, 2021 🔗in stories @drone1hudson @gryphon_rue @viktortimofeev @yasuemaetake #dronegallery #drone #dronenewyork #gryphonrue #elsarensaa #viktortimofeev #yasuemaetake #eddienatal #painting #mural #sculpture #installation #art #contemporaryart #ofluxo #ofluxoplatform @ofluxoplatform (em New York, New York) https://www.instagram.com/p/CPYcMIuFZdE/?utm_medium=tumblr
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abysscontemporary · 3 years ago
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The Dais Of Our Knives
Years ago At Sotheby’s
I ran into a journalist I knew from the art scene.
They told me they’d been away For six months Traveling.
We continued chatting.
As if they’d never been away.
In March 2020, I stopped by Team Gallery to see its Petra Cortright and Will Sheldon solo exhibitions. The adventure was extraordinary.
Cortright is typically known for her paintings, which initially look handmade but then reveal themselves to have been composed electronically and fabricated on a substrate. The synergy between the two is often pleasantly confounding, and the dichotomy between the tactility and the hands-off technique is perplexingly rewarding.
At Team, Cortright fabricated each layer of a digital composition that she had printed on a one-fold tabloid.  The layers were suspended from a procession of dowels, installed just below the ceiling. In doing so, she physicalized the display of layers that one might see on the computer screen of a 2D designer if such a designer were to isolate each layer on, respectively, a sequence of dedicated pages.
(Think of how Damian Ortega’s mobile of the principal components of an automobile was presented at the 2003 Venice Biennale.  Here, however, Cortright presents large-scale facsimiles of every single component of her two-dimensional work.)
Some layers were pure abstractions, and other depicted landscapes.  The irregularity of the shapes brought them into such sharp relief that they were rendered into still life objects.  Again, in an inventive way, Cortright found a way to bewilder and delight a gallery audience.
Will Sheldon’s paintings depicted scenes of either fantasies or highly embellished realities. The artist’s gift for conflating the two prompted me to alternately take in the entire exhibition all at once and lean forward to investigate and marvel at each work’s details.
It would be simple to categorize Sheldon’s paintings as being purely Gothic because so much about them is about observations of the present and visualizations of life in the future.  In the same way that one might recount about how during the course of a day they’d had a certain dream, promenaded through several neighborhoods within a town or a city, and contemplated a spectacular and speculative environment, Sheldon brings such narrative-like non-narratives to each of his canvases.  Some of the spider webs, if looked upon closely, are sparkling.  The scenes of the city (that arise behind the threshold of the dark forest that the viewer seems to be immersed within) exist in states of innocence – the kinds that one is unlikely to be cynical about.
As a painter, Sheldon has a remarkable touch.  His craft skills can be admired, and what they deliver are sublime, modern-day, transgressive, pictorial enchantments.
Also in March 2020, I visited Foxy Production to see its solo exhibition of paintings by Srijon Chowdhury.  Uncannily, many of this artist’s works feature an extraordinary surprise - a supernatural glow that emanates from the canvas as if it were both natural and fantastic (i.e., a specimen of fantasy).  Chowdhury’s works appear to be simply about flowers, figures in nature, and intimate family scenes.  However, through his subjects, his works are pulsating vessels – vehicles for vital forces.  In this, he shares one of two things in common with Mark Rothko; the other is that Chowdhury is based in Portland, Oregon, the city where Rothko lived after emigrating from Russia.
Chowdhury’s grand tableau, “Pale Rider,” is a commanding work that was presented on the feature wall of the gallery.  Measuring 7 feet high by 16 feet across, this painting has the power of a major work of medieval stained glass.  “Pale Rider” depicts a nude equestrienne, riding a galloping horse through a free-form landscape of colorful flowers behind the plane of a fence of green ironwork, formed by words and geometric, abstract shapes.  Here, the lady’s the one with the long mane.  As a guiding force upon this equine creation-in-motion, she is riding in a streamlined, recumbent manner and holding a scythe in her left hand, beyond the plane of the horse.  “Pale Rider” is other-worldly.  The artist’s attention to detail makes it worthwhile to look at the painting up-close. Threads flow through and around the fence, and the lushness of the greenery in the background conjures up the most exalted of spring and summer days.
In August 2020, I returned to Foxy Production to see “Sex and love with a psychologist,” its solo exhibition of paintings by Sojourner Truth Parsons.  It was like a blast from the early 1980’s, as seen through a lens of present-day thinking.  Modern and graphic – as in what it is that a graphic artist produces – Parsons’ paintings depict portraits in high relief of studio interiors, and stylized cityscapes.  They evoke the downtown Manhattan scene that had been brought to life by “The SoHo Weekly News” and the pre-Conde Nast “Details” Magazine.  They don’t directly reference the decade, but the feeling is there. What makes them so engaging is how Parsons appears to have assumed that what was once transgressive in that half-decade is now conceptually and practically settled culture.  The result is a very present symphony of beautiful technique and lively but simple colors:  powder pink, black, and sky or powder blue.
Parsons’ approach to depicting studies and finished works, as installed on the walls of art studios, is fascinating.  The representations of strips of artist’s tape and the works they support upon the walls where they’re displayed are endearing.  The shapes are subtly but distinctively choreographed, and the process of decoding what these forms are about is very rewarding.  The presence of the unseen individuals who live, work, and/or play in these environments is palpable.  A viewer is never alone while engaging with Parsons’ work.  Parsons’ works are rich in spirit and modernistically atmospheric.
In November 2020, I visited Hesse Flatow to see “Sincerely,” Aglaé Bassens’ solo exhibition of paintings.  As a follow-up to her 2018 solo exhibition, “You Can See Better From Here,” at Crush Curatorial, it was a pleasure to see this artist move upwards and laterally, as her vision and technique has ascended, and her range of exploration of subject matter and technique has expanded in unexpected and intriguing dimensions.
What Bassens captures are moments:  a burning cigarette butt, on a black surface in an ostensibly nocturnal interior; a car passenger’s view of an iced-over windshield and a dashboard on a winter day; a chaise longue and a matching chair (designed for poolside lounging), stretched out on grassy meadow, bordered by a forest, on an overcast summer afternoon.  Each of her works is clearly a representation, and each is unmistakenly a painting.
Without knowing the title of the burning cigarette painting, one could marvel at its details for at least an hour.  The wrinkled cigarette paper, the slightly crushed filter, the white-hot butt end, and the casually rising smoke are spectacles in themselves.  The black surface upon which the cigarette rests is implicitly a table – a plinth upon which this common object is, for an instance, ennobled; it could never be anything as profane as a floor.
To see the car interior painting and the chaises longues tableau is to sense the seasons the subjects inhabit and to witness how with an economy of expression and the power of suggestion Bassens’ paint strokes bring these scenes to life and invigorate a viewer’s awareness of her actions and the works’ properties.
The body of work exhibited here hangs upon an invisible thread.  Bassens’ paintings are portraits of the intangible.  To encounter her interpretation of a collapsed, wind-blown beach umbrella and her partial view of a pair of blue garden chairs, outside on a rainy night is to experience the creation and manipulation of her subjects by humankind and the forces of nature that bring them to entropy.  To witness Bassens’ mastery of her medium is to recognize the difference that paintings make as meaningful presences themselves.
In February 2021, I made a special trip to Marinaro Gallery to see “A Shift In the House,” a solo exhibition of paintings and works on paper by Lindsay Burke.  In 2017, Burke’s dynamic paintings were stand-outs at Hunter College’s second-year, MFA group exhibition, and the provocative, semi-figurative, semi-abstract paintings she’d produced for her 2018 debut at Marinaro were subversively seductive and sophisticated.  Burke’s most recent exhibition marked a turning point for the artist and, for art audiences, it represented a major highlight of the season.
Burke’s paintings revolved around the sleight of mind, eye, and hand in the conception, production, and reception of visual and physical creations.  Homes, details of fixtures and studio implements, and landscapes are depicted amidst levels of abstractions that alternately draw the viewer towards the recognition of overall patterns and minute and discrete details.
Close examinations reveal brush strokes that resemble the kind that are made as test markings – what an artist daubs on an errant surface before making a commitment onto an actual work-in-progress.  However, the marks that Burke makes are decisive.  They are closely rendered, and they are what altogether becomes each overall work, a marvel that is astonishingly self-referential.  They can remind a viewer of many things, but they are unique and exceptional unto themselves.
To compare Burke’s paintings to those of the modern pointillists would be reasonable but off-target.  More aptly, one might compare the paintings from “A Shift In the House” to those of Jasper Johns; taken individually and altogether, they can enchant and impress in their entirety, and from up-close, they can truly engage the eye and the mind.
In February 2021, I visited Microscope Gallery and saw “Transmutations,” a remarkable exhibition of works of sculpture by Yasue Maetake.  In its expansive location in Bushwick, Microscope succeeded in creating a grand tour of phenomena of great intrigue – highly unified works, composed of materials that existed on the surface of the mind (i.e., the recognizable) and those that existed in the deepest and most faraway galaxies of the imagination – the poetic and the unknowable.
They conjured up memories of photographs of expressionistic figurative works, produced in the mid- to late-1950’s – manifestations – as the writer of a Museum of Modern Art catalogue noted – of post-war anguish.  Maetake’s works, though, are elegant and poised.  Individually and collectively, they are almost baroque.  More certainly, they are dynamic.
Upon learning that portions of many of the works are composed of camel’s bones, I thought of Nancy Graves’ large representations of camels in motion, and the contemporary character of Maetake’s oeuvre clicked, establishing itself into place with the great shift that occurred in art in 1970 and propelled wave after wave of innovative concepts and practices in each intervening decade.  This body of work resides in the classical – owing to its profoundly pre-visualized and masterfully realized orderly character – and within the exuberantly enchanted space of the kinds of sculpture that could be made only today.
The harmony and the dissonance of each of Maetake’s works exist like movements in a symphony.  Their constituent elements are too fine to be called “components,” and they often draw in the viewer without ever really calling attention to themselves.  Her works are unique and exceptional, and they appear to be exotic, yet relatable and familiar.  To encounter Maetake’s work in this half-kunst-kabinett and half-lair was an extraordinary and memorable experience.
In March 2021, I visited Kravets/Wehby Gallery to see Allison Zuckerman’s solo exhibition, “Gone Wild.” Consisting of wall-mounted tableaux and free-standing works of sculpture, a high-spirited galaxy of new and captivating creations was on view in the same space where Zuckerman had made her sensational debut only four years beforehand.  In this new chapter of her ever-advancing journey, Zuckerman has pivoted from a variety of points and moved towards a greater sense of attention towards form and material.
The subject matter is still certainly there.  Her super-metamorphosed, female figures of the fine arts reign on each planet of a painting, and they appear to be syntactically oriented further out on the ends of the branches of the greater dimensions where she’s been venturing.  One of the most interesting exploratory movements observed here was the way Zuckerman intertwined “actual” painting with “virtual” painting in creating impressions that exceed each individually, and, in doing so, she enters the realm of orchestrating spectacle.  Stated in a more oblique way, Zuckerman is sparking the imagination, as directors do in cinema and expanded, live theater.
Alfred Hitchcock and Jean-Pierre Melville, for example, were adept at integrating visual sleights of hand into their films.  Although they deliberately showed the seams of montages in certain key scenes in their movies, they inexplicably created impressions that were undeniably effective even though they were more plausible than they should have been.  In Hitchcock’s “Marnie,” the scene in which Marnie appears to be in danger while riding atop her frightened, runaway horse, the tension is oddly palpable; the mechanics of the editing of the images are unexpectedly visible, but Hitchcock succeeds in generating the suspense that’s necessary for heightening the viewer’s engagement in the story and carrying the viewer forward through the journey of the balance of the film.  In Melville’s “Le Samouraï,” a nightclub owner is confronted in his office by hitman Jef Costello and is then seen pulling out his handgun first; however, in the successive montage, it is Costello who gets off the fatal shot that kills his intended target.  The sequence is startling, and it jars the logic of the viewer; nevertheless, the viewer comes to not only accept the results but embrace them, as Melville chose to confound the viewer by not making the sights and sounds of the showdown conspicuous or obvious.  The shock of Costello’s success and the miracle of his survival sharply impress the audience despite the visual and auditory discrepancies to which they have been presented with great suddenness.
In Cyril Teste’s stage adaptation of John Cassavetes’s film, “Opening Night,” presented at the French Institute / Alliance Française’s Florence Gould Hall in 2019, live acting is happening at the same time on the stage as video projections, many of which are sourced by the livestreaming video camera that is operated by a cameraperson who can be plainly seen by the audience but not acknowledged at all by the play’s characters.  The left wing of the theater-within-the-theater of the play-within-the play is only partially visible to the audience, but the scenes there are entirely seen and heard through the technology that’s at-hand. Likewise, scenes taking place entirely behind the stage set are interpretively presented for the audience; the action and dialogue there are heard, as they may be customarily received in certain film scenes, such as those that are spasmodically illuminated by flashlights in pitch black conditions (e.g., “Le Beau Serge,” “The Blair Witch Project”).  Alternately, scenes are also taking place at the center of the stage; they depict the actors playing characters in the play-within-the play and themselves, living out the challenges of their own lives as real people. The shifts from one mode to the next allow for the audience to interpret what’s happening and where.  Despite it all, the performances of the actors – notably Isabelle Adjani, as Myrtle Gordon, and Frédéric Pierrot, as Maurice – brilliantly carry the audience through the play’s emotional roller coaster ride with both traditional, live stagecraft (e.g., classical vocal delivery, effective physical presence) and the enhancements that Teste’s filmic interventions convey.
In reconciling the many techniques that Zuckerman brings to a viewer, the evidence of the means and materials in the production of her works may be readily gathered and assessed, but, inexplicably, they deliver a variety of unexpected and often wondrous sensations.  Each work delivers at one point or another in the viewing process a big payoff or a fireworks-show sequence of bursts of discoveries and unforeseen emotional responses.
This goes beyond the kind of examination that one might have while viewing the paintings of Giorgio Morandi or Diego Velázquez or the photographs of August Sander, as up-close and far-off perspectives of their works concern materials that are uniform throughout.  The experience of regarding what was presented at “Gone Wild” was about transcending the employment of both paints and digital substrates and arriving at the harmonies that have been enchantingly realized by the artist’s generation of a succession of spectacles in at a time and place where one may be anticipating something reasonable.
In late July 2021, I went to the Metropolitan Museum of Art to see “Alice Neel:  People Come First.”  After viewing all of the works in the show, I circled back to its “beginning,” and, from the center of each gallery space, I saw patterns of the abstract backgrounds of Neel’s portrait works, more or less lining the room.  It was something that one can only sense spatially within an actual exhibition space.
I’ve often spoken about how a painting exhibition is more than a collection of images, rendered on canvas, framed or unframed.  It’s the deployment of the works within a physical space that an exhibitor is presenting to an audience – and, by “presenting,” I mean gifting, treating, and delivering something special.
I’d been away from the Met for two years.
In seeing this Neel retrospective, it was as if I’d never been away at all.
Team Gallery “Petra Cortwrigth:  borderline auroroa borealist” 5 March - 2 May 2020 “Will Sheldon:  Trouble After Dark” 5 March - 6 June 2021
Foxy Production “Srijon Chowdhury” 5 March - 31 May 2020 “Sojourner Truth Parsons:  Sex and Love With a Psychologist” 9 July - 22 August 2020
Hesse Flatow “Aglaé Bassens:  Sincerely,” 22 October - 21 November 2020
Marinaro Gallery “Lindsay Burke:  A Shift In the House” 28 January - 28 February 2021
Microscope Gallery “Yasue Maetake:  Transmutations” 29 January - 19 March 2021
Kravets | Wehby Gallery “Allison Zuckerman:  Gone Wild” 27 February - 2 April 2021
The Metropolitan Museum of Art “Alice Neel:  People Come First” 22 March - 1 August 2021
Barry N. Neuman
New York August 2021
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k00253327 · 5 years ago
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some artists i researched for the one material project
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(Maud Cotter, domobaal) (Maud Cotter, without stilting) (Gabriela Salazar) (Juliana Cerqueira Leite, VVV) (Yasue Maetake, mh PROJECT)
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moniameluzzi · 3 years ago
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Yasue Maetake -  A Series of Three-Legged Idol, 2013-17
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Yasue Maetake -  Symbolic Atmosphere IV, 2019
3) Redo/Undo: The Cannibalized Object - research
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youngkneecool · 3 years ago
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TOKYO ART BOOK FAIR 2021 We’ll be in ONLINE VENUE. Please find us and see you in virtual. There is the Great artists bring Great publication and their Original items with LOVE♡
Hanage Miyuki Akiyama Akira Ikezoe Takuya Ikezaki Addison Bale and Yasue Maetake etc..
Booth at TURNIP ZONE  https://online.tokyoartbookfair.com/exhibitors/9604
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shemuelphillip-peters · 3 years ago
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Ms. Maetake’s Backyard 
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thepasteldyke · 2 years ago
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enjoyed tonight's stream a lot, played fire emblem for the first time since fates, and for the art portion I drew Takeuchi about to make Maeda-san go to bed lol
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theories-of · 3 years ago
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Yasue Maetake 
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rachaelburkeme2 · 6 years ago
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Yasue Maetake
Yasue Maetake was originally trained in glass engraving, absorbing the importance of physical and optical manipulation, which would have a strong influence on her work. Prior to moving to New York, Maetake attended vocational schools in Japan and the Czech Republic, and apprenticed with a private glass foundry in southern Germany. Today, Maetake’s practice spans sculpture, fiber, collage, and video. She engages in an active sculptural dispute between whether to humanly embrace or to rebelliously challenge materials and form, while creating images that suggest life-like hybrids of form that remind us of manmade construction juxtaposed alongside raw elements of nature. 
Yasue Maetake’s abstract sculptures include large-scale, sci-fi-inflected forms made of industrial steel, resin, and wood; handmade-paper constructions that extend like wind-flexed sails, defying gravity; and diminutive, zoological objects. The work also conjures associations ranging from industrial waste to natural growth, representing the artistic production as life-cycle itseltf. She attemps a strategies of speculative and imaginary engineering in the visual arts as a means of decentering anthropocentrism, 
OEUVRE UNLIMITED: Yasue Maetake
https://vimeo.com/295735317
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ljaesch · 7 years ago
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Voice Actor Fujio Tokita Passes Away
Voice Actor Fujio Tokita Passes Away
Voice actor Fujio Tokita passed away on July 18, 2018 due to a brain hemorrhage. He was 81 years old at the time of his passing.
Tokita was born in Nagano prefecture in 1937, and in 1959 he formed a theatrical troupe with stage director Masakane Yonekura. He also appeared in dramas such as Bus Dōri Ura and Kyosen Maetake Gebageba 90-pun!. He also acted in films such as Narayama Bujikō, Yume, and…
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heshboob · 3 years ago
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Interning with artist Yasue Maetake
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youngkneecool · 3 years ago
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Artists: Akira Ikezoe, Addison Bale, Hiroshi Tachibana, Jessica Kaire, Miyuki Akiyama, Nobutaka Aozaki, Satoru Eguchi, Satomi Matsuzaki, Takuya Ikezaki, Yasue Maetake
This event is The real Flea Market. You can also find art works by participating artists. Hope you visit us and have fun finding something you love♡
8/14 and 8/15  Saturday and Sunday. noon-6pm
See you there.
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eventhorizon0207 · 8 years ago
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