Yossi Milo Gallery

Meghann Riepenhoff ( ) will give an artist talk in conversation with acclaimed author and speaker Jon Mooallem at 🌊✨

Together, the two will discuss their shared interest in environments impacted by human intervention in the Pacific Northwest and beyond. They will also cover Riepenhoff’s recent projects in the Marshall Islands and other areas of the world most impacted by climate change. They seek to address the question: How do we locate paths forward to protect our planet when so much of our environment is subject to change?

Mooallem is the author of “Wild Ones,” a book examining the relationship between humans and endangered species through stories of conservation. The event, “Everything’s A Little Bit Wild,” will take place tomorrow, Saturday, July 27 from 4-5 PM in the Seattle Art Fair’s Christie’s Theater.

Works by Riepenhoff are also on view through the duration of the fair in a pair of special project installations. A monumental sixteen-print array from her Waters of the Americas series is on view, giving viewers a look into Riepenhoff’s running series in which the artist creates work in collaboration with sites in ecological distress.

An overview in the VIP Lounge showcases standout works from the artist’s distinctive series Littoral Drift, Ecotone, and Ice. Taken together, these works show the evolution of Riepenhoff’s practice over the past decade.

Learn more about Meghann Riepenhoff’s projects and artist talk at the Seattle Art Fair at the link in our bio 🌐✨

Pictured:
1. Meghann Riepenhoff, Waters of the Americas: US Geological Survey #410401112134801, Record Low Water Level, 4192’, Antelope Island Causeway A (Great Salt Lake, UT, 8.27.18), 2018, Sixteen Dynamic Cyanotypes, Dimensions, each element: approximately 19” x 24” (48.5 x 61 cm), Overall, installed: approximately 76” x 96” (193 x 245 cm)
2. Portrait of Meghann Riepenhoff

OPENING TOMORROW | SURFACE TROUBLE: Act Two

Yossi Milo is pleased to invite the public for a reception of SURFACE TROUBLE: Act Two, the second installment of a two-part group exhibition of artists from the Yale Painting and Printmaking MFA Class of 2024 ( ). Act Two will open with a reception tomorrow, Thursday, July 25th, from 6-8 PM.

Featuring artists from the MFA program’s graduating class, SURFACE TROUBLE showcases a diverse set of approaches to the problem of painting as a contemporary medium, with a range of treatments and “troubles,” each as singular as the individual artists themselves.

SURFACE TROUBLE: Act Two features works by Adam Amram ( ), Earthen Clay ( ), Haleigh Collins ( ), Justin Emmanuel Dumas ( ), Ricardo Galvan( ), Michael Gabriel Cuadrado Gonzalez ( ), Irisol Gonzalez-Vega ( ), Madeleine Gray ( .studio ), Mei Kazama ( ), Lauren Klotzman ( ), Mike Picos ( ), Louise Mandumbwa ( ), Laura Camila Medina (), Nadir Souirgi ( ), Katharen Wiese ( .wiese ), V Yeh ( .w.yeh ).

SURFACE TROUBLE: Act Two opens with a reception from 6-8 PM tomorrow evening, Thursday, July 25, and will be on view through Friday, August 16, 2024. See you tomorrow night!

We’re excited to share that SURFACE TROUBLE, a group exhibition showcasing works by the Yale Painting and Printmaking MFA Class of 2024, has been named a “Must-See” in ‘s artguide!

The artists on view in SURFACE TROUBLE approach the politics of everyday life and art historical precedent via research, abstraction, spirituality, technological critique, process, and figuration. Ultimately, the exhibition puts forth a set of challenging approaches to painting in the here and now.

SURFACE TROUBLE takes place in two Acts. Act One features works by Adam Amram ( ), Earthen Clay ( ), Haleigh Collins ( ), Justin Emmanuel Dumas ( ), Michael Gabriel Cuadrado Gonzalez ( ), Irisol Gonzalez-Vega ( ), Madeleine Gray ( .studio ), Eloise Hess ( ), Lauren Klotzman ( ), Louise Mandumbwa ( ), Laura Camila Medina ( ), and Nadir Souirgi ( ).

Act One is on view through Friday, July 19th. Act Two will open on Thursday, July 25th. Stay tuned for more in the coming weeks, and head to our website to learn more!

Linus Borgo in Lampoon Magazine 🧜🏻‍♂️✨

is interviewed by Ana Tess for ‘s digital edition in “Linus Borgo’s mermaids: transness, disability, and bodily differences,” out now on their site. Together, they discuss Borgo’s upbringing, influences, favorite artists today, and how the artist’s practice reconciles with his identity and self-image through portraiture.

On his use of his own image, Borgo shares, “Doing millions of self-portraits is a therapeutic way of accepting my body image. Sometimes, it feels in flux. I am inventing a body image painting myself on canvas because otherwise, it feels amorphous in my mind.” Borgo’s self-portraits take an imaginative approach, recasting him as figures of myths, both personal and historical. Through this transformation, the artist is able to retell, and to reclaim, elements from his personal narrative.

Often allegorical, these imaginary beings reflect aspects of his identity, acting as metaphors for transness, disability, and other bodily differences. As Tess describes, “His work continually evolves, mirroring the inevitable changes in the human body. Each self-portrait captures a moment, reflecting subtle shifts like weight fluctuations or the gentle passage of years.” In this way, Borgo’s captures his journey in paintings that cross from reality to fantasy and back again.

Head to the link in our bio to read the full article. More works by Linus Borgo can be found on our site🌐✨

Wishing a Happy Birthday this week to Paolo Serra 🎉

Serra’s use of historic painting techniques realizes distinctly contemporary visions of transcendence and simplicity. Showing a deep reverence for the works of Old Master paintings from the Middle Ages and the Renaissance, the artist creates meditative, minimalist works that continue traditions from centuries past 🎨

Join us in wishing Paolo Serra un buon cumpleano 🥂💫

OPENING TONIGHT | SURFACE TROUBLE: Act One 🌀

Yossi Milo is pleased to welcome the public to the opening reception of SURFACE TROUBLE: Act One, the first installment of a two-part group exhibition of artists from the Yale Painting and Printmaking MFA Class of 2024 ( ). The exhibition will open with a reception tonight, Thursday, June 27th, from 6-8 PM 🎉

Featuring artists from the MFA program’s graduating class, SURFACE TROUBLE showcases a diverse set of approaches to the problem of painting as a contemporary medium, with a range of treatments and “troubles,” each as singular as the individual artists themselves.

SURFACE TROUBLE: Act One features works by Adam Amram ( ), Earthen Clay ( ), Haleigh Collins ( ), Justin Emmanuel Dumas ( ), Michael Gabriel Cuadrado Gonzalez ( ), Irisol Gonzalez-Vega ( ), Madeleine Gray ( .studio ), Eloise Hess ( ), Lauren Klotzman ( ), Louise Mandumbwa ( ), Laura Camila Medina ( ), and Nadir Souirgi ( ).

SURFACE TROUBLE: Act One opens with a reception from 6-8 PM this evening, and will be on view through Friday, July 19, 2024. See you tonight 🌅

Kohei Yoshiyuki in Night Fever 📸🌃

Photographs by Kohei Yoshiyuki (1946-2022) are included in the new publication “Night Fever,” edited by Shanay Jhaveri, head of visual arts at the Barbican Centre, London. This compendium of photography and writing investigates nighttime as a place of reflection, peering into its often-overlooked thematic qualities, offering varying perspectives on nighttime as a rarefied and emotionally charged space. “Night Fever” eludes discussion of technical matters of low-light shooting, instead focusing on bodies of work that indicate how night changed in relation to day as societal and economic norms shifted in the latter half of the 20th century.

Yoshiyuki’s 1970s series “The Park” is comprised entirely of images shot at night in Tokyo’s public parks. Individuals and couples would congregate in these public settings, engaging in s*x acts under the cover of night alongside strangers and onlookers. These intense, high-contrast images were created by Yoshiyuki using a 35mm camera, employing infrared film to surreptitiously document this amorous goings-on. “The Park” captured the social unease of later-20th-century Japan, and the raw, snapshot-like quality translated this discomfort back to viewers.

The covert nature of the figures’ activities, and of Yoshiyuki’s work, were only possible under the cover of night- a time when the social order often comes undone. As one of 20 groundbreaking nocturnal photo portfolios, contextualized with essays by more than 40 scholars, “Night Fever” positions Yoshiyuki’s carnal documentary images as one of many insightful perspectives on the night. Jhaveri writes, “It’s a book about corporeal life being and moving through the night in various physical states – exhausted or not.”

“Night Fever” is available everywhere now, published by Koenig Books, Germany; originated by The Shoestring Publisher, Sweden. More of Yoshiyuki’s work, and information on the artist’s previous exhibitions, can be found on our website 🌐✨

COMING SOON | CAMERON WELCH: MOSAICS ✨

We’re excited to share that ’s debut monograph, “Mosaics,” co-published by .books and Yossi Milo, will be released this fall! The release of “Mosaics” will coincide with Welch’s second solo exhibition with the gallery. This forthcoming volume provides a comprehensive look at Welch’s mosaic works to date, showcasing highlights from his body of work and recent exhibitions. The book includes an introductory essay by Alexis Belis, scholar and Assistant Curator of Greek and Roman Art at the Metropolitan Museum of Art, and an interview with Welch by painter and gallerist Joel Mesler.

Welch’s multidisciplinary practice found fertile ground for exploration in 2017 when the artist shifted to mosaic as a primary focus of his work. Mosaic as a medium lends itself to a variegated combination of materials, and Welch’s use of tile, stone, found objects, glass, and more mirrors his intertextual invocation of art histories, myth, and observations of contemporary life throughout this immense body of work. The artist refers to this simultaneity of narrative as “contexts in collision,” a pileup of timelines that allow for “infiltrations” of elements into new circumstances.

Through an ever-shifting, information-age combination of surrealism and reference, Welch sheds light on unsung histories and locates them in the intricate compositions of his mosaics. By bridging antiquity and the modern day through this ancient medium, Welch finds paths forward that unite a seemingly fractured history of art.

Many thanks to David Chickey for the incredible vision and stunning design of this book 📖⭐️ “Mosaics” is available for pre-order on Radius Books’ website 🌐✨ Stay tuned for more news with Cameron Welch in the fall!

Product images courtesy of Radius Books.

UPCOMING EXHIBITION | SURFACE TROUBLE 🌀

Yossi Milo is pleased to present SURFACE TROUBLE, a two-part group exhibition of artists from the Yale Painting and Printmaking MFA Class of 2024 ( ). The first part opens with a reception next week, on Thursday, June 27th from 6-8 PM 🎇 and will be on view through Friday, July 19th, 2024. The second will open with a reception on Thursday, July 25th from 6-8 PM, and will be on view through Friday, August 16th, 2024.

Featuring artists from the MFA program’s graduating class, SURFACE TROUBLE showcases a diverse set of approaches to the problem of painting as a contemporary medium, with a range of treatments and “troubles,” each as singular as the individual artists themselves.

The exhibition takes Cyborg Feminist Donna Haraway’s use of the term “trouble” in Staying with the Trouble as a jumping-off point. In the text, Haraway states, “Our task is to make trouble, to stir up potent response to devastating events, as well as to settle troubled waters and rebuild quiet places.” Amid times of trouble, the artists of SURFACE TROUBLE trouble their own forms. What is the role of image and surface at this time? What functions as the release of a societal pressure valve, and is it trouble itself?

Featuring works by: Adam Amram ( ), Earthen Clay ( ), Haleigh Collins ( ), Justin Emmanuel Dumas ( ), Ricardo Galvan ( ), Michael Gabriel Cuadrado Gonzalez ( ), Irisol Gonzalez-Vega ( ), Madeleine Gray ( .studio ), Eloise Hess ( ), Mei Kazama ( ), Lauren Klotzman ( ), Louise Mandumbwa ( ), Laura Camila Medina ( ), Mike Picos ( ), Nadir Souirgi ( ), Katharen Wiese ( .wiese ), V Yeh ( .w.yeh )

SURFACE TROUBLE opens with an artist’s reception next Thursday, June 27, from 6-8 PM. Head to our website to learn more 🌐✨

Meghann Riepenhoff acquired by the National Gallery of Art in Washington, D.C.❄️🌊

We are delighted to announce that ‘s “Ice #323 (27-39 °F, Confluence of Shel Chelb Ephemeral Stream and Puget Sound, WA 02.24.22)” has joined the permanent collection of the National Gallery of Art ( ).

Riepenhoff creates her work in direct contact with bodies of water across the globe, immersing sheets of paper coated in cyanotype emulsion into the elements. Each mark on her cyanotypes’ surfaces is formed by the movements of the waters as they flow, fall, freeze, and thaw in a collaborative process facilitated by the artist.

For her series “Ice,” Riepenhoff ventures into wintry conditions to depict water’s natural propensity to freeze and thaw, creating traces of delicate frozen crystals and flowing rivulets of melting runoff.

“Ice #323” was created in the waters of the Puget Sound in Washington State, in a particular location where an ephemeral stream forms in times of high precipitation and flows into the brackish waters of the Sound. The two sources’ disparate chemistry results in different freezing points, creating ice crystals that form and melt at differing rates as the water impacts the paper’s surface.

Riepenhoff’s work is a record of its environment’s state at a particular time, reflecting the ephemerality of weather conditions and the ever-changing nature of the Earth’s climate at large. Every work implicitly asks viewers to consider their unseen impact on the shifting natural world around them, made visible through Riepenhoff’s photographic explorations.

Head to our website at the link in our bio for more on Meghann Riepenhoff’s practice, and to see more of her work 🌊🌐✨

FINAL DAY | Ibrahim Said: From Thebes to Cairo 🏺✨

Today is the final day to view ‘s dynamic exhibition, “From Thebes to Cairo,” the artist’s debut solo show in New York and first with the gallery. “From Thebes to Cairo” advances innovations on traditions of Egyptian and Islamic art, finding paths into uncharted territory in the realm of ceramic craft. The exhibition has been named a “Must-See” by , and one of ‘s “10 Art Shows to See in NYC This June” by Senior Editor Hakim Bishara. On the occasion of the exhibition, Said explores his inspirations and motivations in an interview for .tr ‘s “Artistic Portraits” series with contributor Ayse Sarioglu. All of these items can be found at the link in our bio 🌐✨

Throughout “From Thebes to Cairo,” Said shows off gravity-defying structures, using his expertise in ceramic engineering to create suspended vessels that float above their bases. Drawing on sacred design principles of Islamic art, each sculpture is carved with intricate geometric patterns that give viewers a glimpse into each interior. The interplay of interior and exterior is central to Said’s work — it is the inner world, where, according to Muslim belief, true beauty and a path to the sublime are found. Borrowing from the black glazes of ancient Egypt’s Naqada period (3000-4000 BCE), and the intricately carved shapes of jug filters from the Fatimid Dynasty (10th-12th centuries), Said synthesizes a new language of ceramic forms derived directly from those of centuries past. Through Said, these ancient influences come together in the modern day from millennia apart.

“From Thebes to Cairo” is on view through 6 PM today, June 15 🌅✨

Ibrahim Said in Hyperallergic 🏺💫

We’re delighted to share that “From Thebes to Cairo,” ‘s debut solo exhibition in New York, is featured in ‘s “10 Art Shows to See in NYC This June.” Hyperallergic’s Senior Editor Hakim Bishara notes Said as an “artist blessed with the God-given gift of creativity,” who draws on millennia of art history to create his ceramic works, innovating on the ancient traditions of Islamic and Egyptian design.

Throughout “From Thebes to Cairo,” the artist draws on the forms of ancient artifacts and places of worship to create his sculptural works. Together, these works recreate shapes from mosques and ancient temples as installations that transform the gallery space into a spectacle of design. Bishara describes “From Thebes to Cairo” as “a futuristic twist on millennia-old traditions, challenging the laws of gravity and the conventions of pottery alike in a celebration of [Said’s] Egyptian-Arab heritage.”

Bishara makes special mention of Said’s immense “The 99 Names of God,” an immersive installation of 100 individual inverted bowls that line the front wall of the gallery, and one of the artist’s most ambitious undertakings to date. Each bowl is carved with intricate geometric designs and bears one of the traditional 99 names of God that appear in the Quran.

These names are written in calligraphic Arabic script, and include referents such as Al-Ghafoor, meaning “The All-Forgiving,” and Al-Muqsit, meaning “The Equitable.” The very first bowl is inscribed with Allah, the single, proper name for God in Islam. Installed as hanging fixtures, these works are ringed with ornate patterns and reflected shimmering light, mimicking the complex tiling and ornamentation covering the walls of Islam’s holiest places of worship. Calligraphic writings often adorn the interiors of mosques, commonly encircling the ceiling as a relief or covering the walls in these sacred names. Here, Said distills this tradition into one hundred glimmering spheres, each bearing a single exalted word.

Head to the link in our bio for the full article 🌐✨ “From Thebes to Cairo” is on view through next Saturday, June 15!

Yossi Milo is pleased to announce our representation of prominent Cameroonian-Nigerian photographer Samuel Fosso. A solo exhibition of Fosso’s work will be held at Yossi Milo in 2025. In advance of this presentation, works by Fosso will be exhibited at the upcoming edition of the Armory show ✨

Known for his self-portraits in which he inhabits a vibrant array of personas, Samuel Fosso examines African identities and histories through costume and impersonation, emphasizing self-representation as a locus of empowerment. Fosso was born in Cameroon to Nigerian parents, and was raised in Afikpo, Nigeria, before fleeing unrest in the region in 1972 following the Nigerian Civil War. Settling in Bangui, the capital of the Central African Republic, the artist opened his own photo portrait studio at just thirteen years old after spending a year as an apprentice.

Since the earliest days of his work in the 1970s, Fosso has explored archetypal figures from Africa and beyond, embodying characters in varied series in which the artist constructs and deconstructs personae both imagined and historical. In this way, Fosso celebrates and questions notions of African identity and takes an active stance in the dynamics of viewership on a global stage.

The playful manner in which Fosso constructs his costumes and sets belies a deeper examination of the histories of colonial rule across Africa, and of the construction of cultural identity, as well as notions of masculinity and gender at large. In his series African Spirits, the artist recreates in black-and-white the visages of historic activist figures such as Rev. Dr. Martin Luther King, Angela Davis, and Malcolm X, going as far as mirroring poses from their most iconic images. In his Tati series, Fosso dons his costumes with ironic flair, sending up kings, middle-class women, and pirates alike in vibrant, full-color photographs. Through satire, the artist addresses vital questions around the commodification of Africa, employing the visual language of Africa’s distinct history of studio photography to great effect.

More on Fosso, including more images from his most iconic series, can be found on our website at the link in our bio!

Shikeith is among a group of six photographers and experts chosen by for “The 25 Photos That Defined the Modern Age,” a roundtable discussion focused on recognizing the 25 most significant photographs taken since 1955. The conversation is moderated by Features Editor M.H. Miller, who joins photographers , Stan Douglas, An-My Lê, and Susan Meiselas, alongside MoMA curator Roxana Marcoci, and T’s own photo and video director, Nadia Vellam. Together, the group, which spans both the realms of fine art and journalism, unspools the ways that photography entangles art and reportage 📸💭

The images range from historical moments such as NASA and William Anders’ “Earthrise” of the 1968 moon landing, to Cindy Sherman’s 1978 “Film Still” self-portrait works, Carrie Mae Weems’ 1995-1996 project “From Here I Saw What Happened and I Cried,” and Nan Goldin’s 1979-2004 series “The Ballad of Sexual Dependency.” Together, these images chart a path through the Civil Rights movement to the present day, often encompassing both art and documentary at once.

Among Shikeith’s picks is a 1956 photograph by Gordon Parks, “Department Store, Mobile, Alabama.” Parks’ work documenting daily life under segregation in the Jim Crow South was highly influential, and often ran in Life Magazine in the mid-20th century. On what drew him to this image, Shikeith notes, “I tried to pick photographs that had an influence on me, and that I thought my mother would recognize, to indicate their influence on people who might operate outside of art history conversations. It [can be used as] a tool for educating even the youngest of minds about what marginalized communities went through.”

Concluding the discussion is Carlijn Jacobs’ photograph of Beyonce for the cover of her album, “Renaissance.” Shikeith expounds, “I think it’s very important that she released this album and highlighted Black q***r contributions to music in the culture because, very frequently, those same contributions are erased or attributed to someone else. Especially in pop culture.”

The group’s thoughts on these images are illuminating and necessary. A link to the full article can be found in our bio 🌐✨

Linus Borgo on PLATFORM 🧜🏻‍♂️🌐

Works by are included in ‘s Pride Curation, a special showcase of works selected by founders Abi Benitez and Tom Jackson. Among the works included is Borgo’s “Like an Angel Passing Through My Room,” a still life loaded with significance.

In “Like An Angel Passing Through My Room,” Borgo references the ABBA song of the same name, in which the singer recalls fond memories of times gone by as a spectral presence that passes through space. Here, Borgo links the memory recalled by the singer to the cutting of the fish pictured in the painting — a parallel to the artist’s own recollections of surgical operations.

A consistent motif in Borgo’s work is the positioning of the fish as a predecessor to modern humans, alluding to evolution as a path for transformation and a mirror of enlightenment and liberation. Through an art historical lens, “Like An Angel Passing Through My Room” recalls still life paintings found in the ruins of Pompeii- the imagery within the work itself being a predecessor to paintings of the modern day 🧜🏻‍♂️🧬🐟

This work, in addition to more by Borgo and a fantastic selection of artists, can be viewed in PLATFORM’s Pride Curation through the link in our bio 🌐✨

Pictured:
Linus Borgo, Like An Angel Passing Through My Room, 2024, Oil on Canvas, 16 1/4” x 20 1/16” (41.5 x 51 cm)

Fotomuseum Antwerp acquires work by Alison Rossiter

We are delighted to share that ‘s “Gevaert Gevaluxe Velours, exact expiration date unknown, ca. 1930s, processed 2020 ( #2)” has joined the permanent collection of . FOMU has exhibited countless trailblazing photographers, with a vested interest in the history of the medium.

Rossiter’s photogram assemblages derive from a vast historical library of expired photo paper samples, with the artist’s work stemming from an especially unusual sample. Gevaluxe Velours, hailed as the pinnacle of 20th-century silver gelatin paper production, was crafted by Gevaert Photo-Producten in Antwerp between the 1930s and 1950s. Renowned as “the most beautiful paper ever made,” it possessed a tonal matte surface that produced deep black shadows unparalleled by any other paper. Its fibrous dust texture creates a black velvet appearance, while its sandpaper-like surface enhanced its distinct tactile quality. When lit from specific angles, images reproduced on the paper seemed to emit an inner glow.

The artist’s connection to this rare paper extends beyond her artistic exploration. Rossiter was gifted a roll of this highly rare paper by Belgian photographer Pierre Cordier (1933-2024), who himself received it from photographer Joseph Cayet (1907-1987). Utilizing this gift, Rossiter processed this unique paper to uncover latent imagery that had formed over nearly ninety years.

This newly acquired work by Rossiter will be included in “Outdated Paper? Photographic Papers from the Gevaert Archive,” a group exhibition about the history of Gevaluxe papers at FOMU, opening to the public on May 31, and on view through August 18, 2024. This exhibition gives a unique glimpse into the Gevaert archive, with a particular focus on papers made prior to 1964. Rossiter’s work will be part of a section that sheds light on the Gevaluxe Velours papers in particular, introducing these distinct materials and histories to a new generation of photography enthusiasts.

More information on FOMU’s acquisition, and on “Outdated Paper?” can be found on our website.

Natia Lemay at Fountainhead Residency Open House Tonight 🌅

Join resident artists Natia Lemay ( ), Claudia Joscowicz, and Nadia Hernandez at Fountainhead Residency’s Open House tonight, Thursday, May 23 from 7:00 – 8:30. This opportunity allows the public to learn more about the artists’ narratives and inspirations, and to experience their work firsthand.

Natia Lemay’s interdisciplinary, autoethnographic practice draws from her own memories to create works that explore the intersections of her experiences, and the transformative potentials of her materials. Through personal narrative, Lemay interrogates the connections between mind, body, and space, deepening a broader understanding of her cultural context. In the artist’s practice, the notion of “home” is ever-shifting as a site of both safety and trauma, and one that is singular and intergenerational. In her paintings, Lemay excavates all-black domestic settings for luminous figures based on herself and her family, forming works that metamorphize and shift within their surroundings. Oftentimes, this interplay of memory and material occurs within circular canvases, a symbol that invokes the demarcation of home and furthers the tension between interior and exterior ⚫💫

Fountainhead is the oldest live/work residency in Miami, hosting 33 national and international artists annually. Established in 2008 by collectors Kathryn and Dan Mikesell, Fountainhead fosters intimate connections between people and artists to influence societal interactions and address contemporary challenges. Fountainhead empowers artists through meaningful connections, offering opportunities for growth and mentorship to nurture thriving careers. Over its 15-year history, Fountainhead has established itself as a leader in the arts and culture scene, pioneering innovative engagement programs and fostering vital relationships with prominent art institutions in South Florida and beyond ✨

The event will take place at 690 NE 56th St, Miami, FL tonight, Thursday, May 23 with a Members’ Open House from 6:00 – 7:00 PM, and a Public Open House from 7:00 – 8:30 PM. Please find more information at the link in our bio 🌐✨

Ibrahim Said is a Recipient of the 2024 Maxwell/Hanrahan Awards in Craft 🏆⭐️

We’re thrilled to share that Egyptian ceramicist is among the 2024 cohort of awardees of the Maxwell/Hanrahan Awards in Craft.

The Maxwell/Hanrahan Awards in Craft, administered in partnership with United States Artists, annually honors artisans whose work serves as transformative channels for dialogue, storytelling, and contemplation. These awards provide crucial resources for artists to expand their work forward, highlighting the evolving role of craft in our cultural landscape. This year’s recipients showcase diverse approaches that cultivate new perspectives while honoring cultural lineages and embracing ecological, personal, and social influences.

Ibrahim Said’s debut solo exhibition, “From Thebes to Cairo,” on view until Saturday, June 15, showcases his ceramic vessels that take on aerial configurations, suspending voluminous bodies in the air above delicate, yet sturdy bases. Innovative and singular in design, these vessels are firmly rooted in ancient Egyptian craftsmanship. Said’s work emerges from a lifelong immersion in pottery, starting at six years old when he frequented his father’s studio and nurtured in Al Fustat, Cairo’s pottery epicenter. Drawing inspiration from ancient Egyptian ceramic traditions, particularly the Naqada period’s jugs and the Fatimid Dynastic Era’s filters, Said reinterprets these forms by transposing the filters to exterior carvings, thus redefining the vessel’s utility. This transformation invites viewers to contemplate inward, echoing the Muslim belief that true beauty is found within.

Said elevates his architectural interest by transforming the gallery’s exhibition space into a showcase of Islamic design. Inspired by the columns of The Karnak Temple Complex in Luxor, Egypt, his new sculptural works celebrate the sacred history embodied by these structures. Alongside these pillars, an immersive installation titled “99 Names of God” features 100 inverted bowls lining the gallery’s front wall.

Learn more about the artist’s practice and the Maxwell/Hanrahan Foundation at the link in our bio 🌐✨