Author name: Carol Heft

carol heft “connections”: artist matthew dibble, usa

Carol Heft’s critique of Matthew Dibbles’s painting Pearl Beach.  This was Matthew’s first solo exhibition in New York.  “Useful Pressures,” at First Street Gallery, is a gateway to a sumptuous world of painterly abstraction; a conduit to a place where the language of painting and drawing come together with seamless integration.  The dancing lines and

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herve beuze, le vauclin: artist profile

HAF was granted the opportunity to conduct an exclusive interview that features Hervé’s outstanding Armature installation at Fondation Clement, which runs through November 3. This arrangement presents a series of intricately crafted figures standing 4 meters (13 feet) high that serve as magnificent symbols of history, resilience, freedom, and so much more. As an accomplished

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katie fuller, usa: race and revolution

[vimeo]https://vimeo.com/176033779[/vimeo] When pressure builds to the point of implosion, a shift of consciousness is known to occur.   Movement in our global consciousness has surfaced, and artists are confronting important issues. Whether it be Ocean Contemporary’s, Bitteres Wasser  (“Bitter Waters”) in Berlin or Korean artist, Kim Taeyoun’s, “plastic island,” both of which address the alarming state of

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susanne schmidt-nielsen, denmark: about an overcoat

[youtube]https://www.youtube.com/embed/JO0VvGCnt5k[/youtube] Artist Susanne Schmidt-Nielsen, Denmark, shares with us one of her recent site-specific installation projects, About an Overcoat, which was shown last month at PAKHUSET Nykoebing Sjaelland, Denmark. I have watched her work evolve on HAF for the past 2 years. There is a thematic parallel between this particular work of Susanne’s and her previous installation

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in the chapel of jimmy ray

[vimeo]https://vimeo.com/152855076[/vimeo] Anado McLauchlin is a North American artist living in living in the small village of La Cienguita in central Mexico.  Over seven years ago, Anado began construction of the Chapel of Jimmy Ray Gallery Complex to his existing 2.5 acre compound.   The Gallery features not only Mr. McLauchlin’s assemblages, but also his jewelry, furnishings

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