ALAIN BONEFOIT

Born in Montmartre in 1937, Bonnefoit is one of the most highly acclaimed painters of nudes working today. Bonnefoit entered L'Ecole des Arts Appliqué and L'Ecole des Beaux-Arts in 1953, before enrolling at the L'Ecole des Beaux Arts in Brussels to study Engraving and Sculpture. In 1962 he returned to Paris to study with the renowned sculptor Antoniucci Volti. It was while under Volti's influence that Bonnefoit began to dedicate himself to drawing and painting the female nude.

Bonnefoit is a master of the art of Sumi-e: an East-Asian form of ink and wash painting. The practice of Sumi-e, notoriously difficult to master and remarkable for its sinuous and fluid use of line, has given Bonnefoit a unique understanding of the expression of the female nude. This skill and understanding is visible throughout all of Bonnefoit's work.

Bonnefoit's distinctive style, with its characteristically sensuous and elegant depictions of the female form, embraces the use of oils, watercolours, crayon, ink and pencil. For this exhibition he has produced a body of works on paper, card, canvas and linen which together are truly representative of Bonnefoit's varied and unique oeuvre.

ADRIAN GHENIE

See more at http://cromoforalapalomaonlinegallery.blogspot.com.es/2013/12/adrian-ghenie-it-could-be-anywhere-oil.htm

Michael Reedy

"Jason recently tagged me in a new challenge – “share one or more photographs of one or more of your personal studios from the past or present, and tell the story of that space. Then nominate five others to do the same.”

Sadly, I have not been one to document the various spaces I have worked in, maybe because they have never seemed that photogenic. However, I did stumble across the image below a short while back – and while it clearly features the 24 yr. old me (also not that photogenic – I swear, I AM smiling on the inside, ha!) – it seemed to fit the spirit of the challenge!

This is an image of me in my studio at Northern Illinois University. It was one of four spaces I worked out of in the eight years I was there (3 as a Graduate Students – and another 5 as a Visiting Assistant Professor). I remember being quite lost at the time – and looking back, I can confirm I was even more lost than I realized then. It was my second semester in grad school and I never knew what to make. What is fascinating about this picture is that I was still listening to cassette tapes (and it was 1998 – so there was no excuse for this fact), and I was still painting in acrylics. I no longer hang work on the walls of my studio like this. I normally box everything once they are done. However, I might have to reconsider that practice moving forward…"

Rebecca Hastings

The Australian artist uses herself and her children as the focal subjects in her oil paintings – yet noticeably absent from these portraits is the sentimentality one would expect an artist-mother to insert into her depictions of family life. Instead, Hastings subverts these idealized expectations to reveal the more complex realities of child rearing that is rarely touched upon in glossy advertisements or family portraits