#painting2017

[alessandrofogo]

Living statue killing itself

122 x 155 cm, oil on linen, 2023 The Armory show New York, Lyles & King gallery, duo booth w/ Paola Angelini

[titovazommer]

[shankargallery]

#contemporaryart #painting2017 #painting #art #style #artdetails #artcloseup #pov #artsection (at Shankar Gallery) https://www.instagram.com/p/Bs9BLT0gTei/?utm_source=ig_tumblr_share&igshid=ns63k20vmsrv

[djrt]

Blue 3a

[robertgregoryphillips]

Painting by Robert Gregory Phillips USA artist, born 1955. #art2017 #painting2017 #red #art #artshow #artnerd #artista #artlovers #artistic #artworks #artsy #artgallery #artlife #artists #abex #painting #contemporaryart #contemporarypainting #abstractart #abstractpainting #interiordesigners #artblog #nycinteriors #texasinteriors (at United States)

[tacodenouter]

[eurekakinginc]

"[D] How to deal with attributes that can vary arbitrarily for each sample?"- Detail: I've originally posted this question on StackExchange, but I could not get any answer. Now I'm not actually interested in a direct answer, but in discussing this problem. I'm working in a project where I have this problem and I'm trying to figure the best approach out.Let's say we are trying to classify cars into five different categories. For this, we have a lot of samples described by color, brand, model, year of manufacture and so on. For instance, imagine something like this:carsidcolorbrandmodel...year of manufacture..................319BlackFerrariDino 246 GT...1967320GrayFerrari250 GTE...1960321RedFordMustang...1969322BlackJaguarE-Type...1961..................Also, in this context, we have more attributes which we know that, somehow, should be relevant while classifing these cars. These attributes are in another database (or table) and they describe historical changes (the relevant ones) applied to the car. For simplicity, let's assume that each modification is associated with a code (but we also have another attributes related that may be relevant, like date of modification and estimated cost, for example).cars_changesidcar_idchange_codedescriptionmodification_dateestimated_cost..................17319CLR-93AANew painting2009-11-1880018319ENG-77TSChange engine2011-06-043,00019319GAS-19BVAdd gas as fuel2016-02-231,73917319CLR-93AANew painting2017-09-181,10020321CLR-92BDNew painting2012-03-1793021321GAS-19BVAdd gas fuel2016-05-111,385..................As you can see, observe that:- a car does not necessarily had changes;- there is not a maximum amount of changes that a car may have made;- a change (with same code) can occur many times in the same car;- consider that the possibility of different changes in this context are of high dimension categories (let's say about 2 thousands!)Also, consider that there is a classifier based on the first table and our goal is to improve this task (of classifying) somehow using the information from the second database. Considering that the most important information for this task are present on the second table, how we can use this information in a appropriate way for this problem?. Caption by jardeson. Posted By: www.eurekaking.com

[alessandrofogo]

Smoking statue

60 x 80 cm, oil on linen, 2023 The Armory show New York, Lyles & King gallery duo booth w/ Paola Angelini

[alessandrofogo]

The wrong offer

65 x 50 cm, oil on linen, 2023 The Armory show New York, Lyles & King gallery duo booth w/ Paola Angelini

[alessandrofogo]

Hang a crocodile outside for the unbelievers solo show at Cassina Projects, Milan, IT 21/02 - 15/04/2023

ENG:

The title evokes a Catholic custom dating back to the 15th century, that of hanging a stuffed crocodile inside spaces devoted to the Marian cult. Held high up, chained and hanging upside down from the ceiling, crocodiles were said to be rendered harmless in this way, depleted of the evil they were symbolically associated with in medieval bestiaries as much as in biblical iconography.

Sourcing the myths around the Marian cult and the multifarious forms of female idols through history, Fogo has woven together his own narratives where ancient archetypes and contemporary references dovetail as he flirts with mystical symbology and suspended narratives. Emblematic of the artist’s lexicon, the large-scale canvas which features a siren and a stuffed crocodile. Their coexistence despite the unrelated, rather at odds, natures, emphasizes the symbolic charge while offsetting preconceived notions and discouraging any moral judgement.

For the occasion, an architectural intervention has been conceived of to fraction the gallery space carving a more intimate, chapel-like area reminiscent of a crypt. Against a deep sage green, the elusive figures and motifs camouflaging within the artist’s enigmatic canvasses inhabit this dimly-lit chamber where temporal dimensions overlap.

Mining the ambiguous yet familiar territory of the plausible, Fogo conjures up somewhat hermetic compositions porous to invisible and dream-like worlds. Visionary and allegorical, his paintings unravel a non-linear notion of time and space and evoke an enduring, almost voyeuristic nostalgia which is further dramatized by the skilful detailing of the scenes.

Fogo’s works retain a metaphysical, at times almost tactile quality. Crepuscular tones and the intense use of shadows and unnatural light foreground the subliminal over the rational. Arching from cerulean, livid blues to metallic greens and deep reds, his palette of contrasting tints softly fades into pastel-like, muffled nuances. Historical references, everyday objects and collective symbols dot the compositions, their non- hierarchical display touching on the disorienting coexistence of universal scope and individual dimension in the iffy present. ITA: Il titolo della mostra evoca una particolare usanza cattolica risalente al XV secolo, quella di appendere un coccodrillo impagliato all'interno di spazi dedicati al culto Mariano. Sospesi per aria, incatenati al soffitto ed appesi a testa in giù, questi coccodrilli venivano in tal modo resi innocui, privati del male a cui erano simbolicamente associati nei bestiari medievali così come nell'iconografia biblica. Muovendo dai miti legati al culto Mariano e dalle molteplici rappresentazioni degli idoli femminili nel corso della storia, Fogo intesse una sua sceneggiatura intrisa di simbologia mistica e narrazioni sospese in cui archetipi antichi e riferimenti contemporanei si intrecciano. Emblematico di questo linguaggio, è il dipinto di grandi dimensioni che raffigura una sirena ed un coccodrillo impagliato. La loro coesistenza sul piano pittorico, nonostante le rispettive nature risultino distanti ed evidentemente opposte, ne enfatizza la carica simbolica vanificando preconcetti e scoraggiando qualsiasi giudizio morale. Per l'occasione, è stato concepito un intervento architettonico inedito che frammenta lo spazio della galleria ricreando un'atmosfera più intima in un’area che ricorda le sembianze sacrali di una cappella o di una cripta. Immerse in uno sfondo di profondo verde salvia, le figure enigmatiche ed i motivi sfuggenti che si mimetizzano sulle tele sembrano abitare questa camera in penombra in una dimensione temporale indefinita, dove le chiavi di lettura ed i riferimenti si sovrappongono. Esplorando il territorio ambiguo ma familiare del verosimile, Fogo dà vita a composizioni ermetiche che si aprono a mondi invisibili ed onirici. Visionari ed allegorici, i suoi dipinti rivelano una concezione non lineare di spazio-tempo ed evocano una nostalgia persistente, quasi voyeuristica, drammatizzata ulteriormente dai preziosi dettagli delle scene. Le opere di Fogo conservano una qualità metafisica che alle volte si restituisce in maniera quasi tattile. I toni crepuscolari e l'uso intenso ed innaturale di luci ed ombre pongono in primo piano il subliminale rispetto al razionale. Passando da blu lividi e cerulei fino a verdi metallici e rossi profondi, la sua palette di tinte contrastanti sfuma dolcemente in morbide tonalità pastello. Riferimenti storici, oggetti di uso quotidiano e simboli collettivi costellano le sue composizioni disegnando un universo privo di gerarchie culturali che ci rimanda alla disorientante coesistenza tra una dimensione di portata universale ed una più intima ed individuale nell’incerto presente.

[alessandrofogo]

Sleep with one eye open, 95 x 75 cm, oil on linen, 2023 Art SG fair Singapore with Vacancy Gallery

[alessandrofogo]

Tritone e satiressa, 122 x 155 cm, oil on linen, 2023 scattato da me

[alessandrofogo]

MYTHOS solo show at Palazzo Buonaccorsi Museum, Macerata

[alessandrofogo]

HIEROPHANY solo show at Vacancy Gallery, Shanghai Installation views

[alessandrofogo]

Sunset of culture and sunrise of belief, 160 x 210 cm, oil on linen, 2023

[alessandrofogo]

Precarious balance of a new idol, 95 x 75 cm, oil on linen, 2023