The Chelsea Perspective - ARTisSpectrum

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F anciful 30 ARTisSpectrum ¡ MERENGUE! visualrhythms/ ritmosvisuales This exhibition is organized by Centro Cultural Eduardo León Jimenes (Santiago, Dominican Republic) and presented and coordinated in New York by El Museo del Barrio September 29, 2006–January 21, 2007 Lead support provided by Jacinto Domínguez, Perico ripiao, n.d. (detail) Oil on canvas. 36” x 30”. Collection Juan R. Jorge García and Family Rosalba Rueda Also on view through January 21, 2007: This Skin I’m In: Contemporary Dominican Art from El Museo del Barrio’s Permanent Collection. 1230 Fifth Avenue at 104th Street New York, NY 10029 212 831 7272 www.elmuseo.org and imaginative, the paintings of Rosalba Rueda capture the viewer’s -at tention with pure charm. Drawing on mythical tales and modern astronomy for inspiration, Rueda creates a timeless vision of two classical characters. Her painting “Venus Meets Mercury” was inspired by an astronomical event on June 27, 2005. It is a painting - par tially informed by the fantastic imagination of painters like Marc Chagall, who is similarly unencumbered by realism. Rueda’s renderings of Mercury and Venus are stylized; both figures thoroughly embody their roles of god/ goddess. Yet a touch of whimsy elevates the Venus Meets Mercury 18” x 24” Oil on Canvas work beyond the norm through Rueda’s unexpectedly thick and paint- suspended there for as long as he likes. erly style and her dramatic use of color contrasts. Rosalba Rueda is originally from Colombia. Though she has Her paintings are rendered with sophistication and skill, but painted for most of her life, Rueda began to dedicate herself exclu- also possess child-like innocence and humor. This winning combina - sively to painting ten years ago. She has taken part in several group tion is what sets Rueda’s body of work apart. Her creative perspective exhibitions in Chicago, where she currently lives and works. is strong and her imagination is a lucid tool. The viewer of Rosalba Rueda’s work is granted access to this world of fancy and can remain http://www.art-mine.com/ArtistPage/Rosalba_Rueda.aspx
Iva Milanova German artist Iva Milanova displayed her talent as a child in Bulgaria. Her parents are artists, and her grandmother was a weaver. This early experience is reflected in her art. She learned how to weave, dye and mix colors, which brings to her painting a rich textured quality. Her use of color recreates the intensity of skeins of yarn, wet and freshly dyed. Her father created art with metal and plastics, and her mother designed contemporary jewelry. This immersion in art made it as natural for her to paint as it is for a child to play. She produced her first aquarelle at age 10. Her talent was noticed by fashion companies who hired her for textile design, at a young age. This recognition gained Mila - nova admission to the Bulgarian School of Art in Sofia, where she enrolled as a special student, still in high school. Later as an adult, she studied in Germany. The depth of her art stems from the tradition of icons that must be more than a skillful rendering of a subject, but rather a sacred window into spiritual realities. Madonnas possess a hypnotic quality that uses an artist’s skill as a tool to transcend ‘Her use of color recreates the intensity of skeins of yarn, wet and freshly dyed.’ the material world. Milanova’s portraits possess this quality. The “Woman With Turquoise Flower” has intense eyes directed towards another world, away from the viewer. These eyes are skewed, with the same lack of attention to anatomical detail as African ancestor figures. The nose is schematized and pale, - a chord of dramatic contrast to the bright red notes of color too high on her cheeks, and the garish off-centered red lips below. Surrounding this am - biguous face is a large, dark hat whose carnelian brim acts as a halo. The turquoise flower juts improbably into the face and hat, floating with no logical support – an iconostasis, a veil, between the viewer and subject. Is this woman a saint, clown or whore? The impasto gold brush strokes describe a garment with an upside-down dark cross at the improbably narrow neck beneath the flower - suggesting a liturgical vestment . Completing this quasisacred space are the pale yellow brushstrokes in the background, a mystical aura. This compelling portrait is reminiscent of Ger - man expressionism, with multivalent levels of meaning. Her painting “Jealousy” inserts strong black and white painted drawing into rich colors. A menacing bull, evocative of Picasso, emerges from repetitive spirals and lines emoting brute animal strength and passion. Milanova’s textile background enables her to handle complex shapes with clarity and force. Her academic studies in ancient archeology and Byzantine art combine in her work to create compelling imageries, that unfold and draw the viewer into the work, to probe further Milanovas’s www.iva-milanova.de Woman with a Turquoise Flower 35” x 31” Oil on Canvas Jealousy 31” x 35” Oil on Canvas 31 ARTisSpectrum
Page 1 and 2: Vol. 16, October 2006 ARTisSpectrum
Page 3 and 4: ARTisS p e c t r u m P U B L I S H
Page 5 and 6: Masha Kohan The paintings of Masha
Page 7 and 8: park) that nevertheless possesses a
Page 9 and 10: Toshiko Nishikawa Toshiko Nishikawa
Page 11 and 12: Fusing sympathetic sand magic and t
Page 13 and 14: St. Tropez from Balcony 41” x 34
Page 15 and 16: Edith Suchodrew Mystic Grotto 35”
Page 17 and 18: Once an industrial section of cold
Page 19 and 20: CHELSEA CONTRASTS BIG SPACE, SMALL
Page 21 and 22: Doolittle, who once played the viol
Page 23 and 24: M i c h e l e Ke l l n e r The Amer
Page 25 and 26: Among other Chelsea Hotel inhabitan
Page 27 and 28: Here I find my balance, as it were
Page 29: Spirit Guide #11 29” x 61” Oil
Page 33 and 34: BRM 15950 ArtSpectrum_Ad1_MECH 7/26
Page 35 and 36: The painting of Berenice Michelow,
Page 37 and 38: Nature’s Art 24” x 20” Giclee
Page 39 and 40: Barbanakova The human condition and
Page 41 and 42: Christian Brandner The paintings of
Page 43 and 44: The black and white, large format p
Page 45 and 46: G i a n n i s S t r a t i s Deep in
Page 47 and 48: The expressionist paintings of Helg
Page 49 and 50: Mauricio Toulumsis Soul and Spirit
Page 51 and 52: Stephen Looney When I look at a bla
Page 53 and 54: Atousa Foroohary In the face of fra
Page 55 and 56: ARTisSpectrum Name A ARTisSpectrum

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