Curator extraordinaire, Amani Olu (b. 1980) is an independent curator, writer, private dealer, and the co-founder and executive director of Humble Arts Foundation, a New York based non-profit organization committed to supporting and promoting new art photography. He is the producer, co-curator, and designer of the yearly, innovative publication, The Collector’s Guide to New Art Photography, published by Humble Arts Foundation. In 2009 he curated After Color at Bose Pacia in Chelsea, New York, which travels during 2010 and 2011 to galleries at Savannah College of Art & Design (SCAD).
He is the organizer of the annual exhibition, Young Curators, New Ideas, which is in its third year and has featured presentations by Jose Ruiz, Lumi Tan and Cleopatra’s. His projects have been reviewed in Art News, AM New York, The New Yorker and Time Out NY, as well as several online publications such as Art in America, Blackbook, Bomblog, Cool Hunting and Flavorwire. Olu is also a regular contributor to Whitewall Magazine where he recently interviewed William Eggleston and K8 Hardy. Amani lives in New York, is a proud member of New Art Dealers Alliance (NADA), cooks regularly for his girlfriend, and is often described as “dapper.” To learn more about Armani Olu, please visit here.
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Amani handpicked six terrific prints out of hundreds from our inventory for you to enjoy. View his impressive selection below.
Spit bite aquatint
Laurence Scholder’s work fuels creativity and inspiration. His discovery of clusters, color, pattern and repetition in the natural world results in a visual epiphany. His most recent works incorporate playful, rich palette in order to explore patterns and layers. The repetition of circular imagery evoke microscopic forms and astronomical vastness at the same time.
Nicola Tyson’s a master of minimalism. She imbues simple markings with emotional intensity and charge, proving time and time again that less can be more. Her work is studied and dense, quiet and deeply engaging.
Giclee archival print
Kate Shaw’s intensely alluring and complex prints have a dreamlike quality to them. She uses color and subtle pattern variations in an innovative way to create other-worldly abstractions.
Man, Dog (Blue), Canoe/Shark Fins (One Yellow), Capsized Boat, 2001
Internationally renowned and critically acclaimed artist, John Baldessari, explores the nature of representation through text and form. His electric-color accents are a nod Pop Art. In a sense, he is a scavenger and collector of visual data. He uses the canvas to edit that data and present it to the world in an evocative way. His prints are in integral part of his oeuvre where he experiments to push the boundaries of art even further and is always looking to critique art in any way he can. His prints and drawings are artworks in and of themselves and also help create the basis for larger series of paintings. This ironic print is vibrant and pops off the wall and the subject matter is easy to relate to.
If I saw the art around me that I liked, then I wouldn’t do art. -John Baldessari
Michael Ray Charles
(Forever Free) The Fall of a Proper Nigga… Not Guilty?
Austin-based artist Michael Ray Charles is one of America’s most astute artistic interpreters of racial stereotypes as they have been manifested in U.S. history. His ironic confrontations of racism, such as his reversal of “white power” challenge viewers to reexamine their socio-political views. He is a pop-culturalist whose extensive body of work was influenced by this background in advertising. He unique approach employs a certain visual prowess to communicate messages about race and identity. His prints reflect the current time we are living and raised awareness about race politics influence on popular culture. This print is an important example of the intersection between art and media.
Arbitrary World, 2007
Suzanne Caporael’s work focuses on the temporal beauty of nature by examining the relationships between elements, primarily the meeting of water land. Caporael investigates the physical world and transforms the intellectual and methodical data she has collected into sublime and resonate images. Through these complex and varied natural phenomenons, Caporael brings her own particular scientific approach; the implied grid system and multicolored amorphous forms suggest data gleaned from such varying sources as text, scientific data, and documentary photographs. As Grace Glueck stated in The New York Times, “…you might say that if natural laws were to express themselves through paint, something akin to her work could result.”
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