Archive for July, 2012

FROHAWK TWO FEATHERS: Artist Conversation

Tuesday, July 17th, 2012

The Museum of Contemporary Art Denver is hosting an Artist Conversation with Frohawk Two Feathers.

Wednesday July 18th, 2012

Museum of Contemporary Art Denver
1485 Delgany Street
Denver, CO

For more information, visit MCA Denver’s website.

FROHAWK TWO FEATHERS: New American Paintings

Saturday, July 14th, 2012

LA-based art historian, editor, and writer Ellen C. Caldwell reviews Frohawk Two Feathers’ exhibition at the Museum of Contemporary Art Denver for New American Paintings.

On June 21st, MCA hosted Frohawk Two Feathers’ (NAP #73) first solo museum show opening. Co-curated by Nora Burnett Abrams and Tricia Robson, Frohawk’s We Buy Gold, We Buy Everything, We Sell Souls, features 20+ paintings on both paper and stretched leather.  The leather sculptures include drums and stretched panels on wood.  And at times, the feaux-aged paper also appears sculptural with its deep divots and contours. – Ellen C. Caldwell, Los Angeles Contributor

With recent gallery shows in Los Angeles, Washington D.C., New York, and South Africa, Frohawk Two Feathers has continued to reveal and recount contiguous installments in his ever-evolving Frenglish saga.  Reimagining history, he plays with historical facts and fictions in retelling an invented past where France and England once united in the 1800s.  Often an oppositional combination of humor, violence, and solemnity, his work easily draws audiences in. Complex and layered, his work, at times, is hard to follow chronologically and logically (if one’s mind works in a strictly linear fashion).  This confusion can arise because his stories and saga installments time-travel and geographically-travel between exhibitions and cities, taking tumultuous turns throughout intricately recrafted and recast historical battles.

Click HERE to see full article

CHARLENE LIU: Huffington Post

Wednesday, July 11th, 2012

Peter Frank reviews Charlene Liu for the Huffington Post.

Charlene works with handmade paper, frequently lacing it with pigmented pulp. She fashions her deliciously textured material into interwoven arabesques, quavering grids, and, often enough, stylized flowers and other referential motifs. The motifs are as referential to decorative tropes – not least those of Liu’s native Taiwan – as they are to actual flora. Liu’s approach, in fact, collapses several art-historical phenomena, from Art Nouveau to the handmade-paper and handmade-book movements of the 1970s. Rather than seeming coy and dated, however, these buoyant, cleverly composed and sweetly hued confabulations generate a refreshing busyness, a summery kind of energy.
– Peter Frank

Click HERE to see article