The Addo Brothers: A Legacy in Sawdust

Sustainable — the buzz word impacting many industries — is a description you could give the artwork of four brothers hailing from Ghana. Born in Accra, Ghana, Alfred, Frank, James, and Ivan Addo inherited their passion for art from their father, James Addo Sr., a masterful wood sculptor. From an early age, the brothers were immersed in their father’s craft, often surrounded by sawdust — the byproduct of his artistry.

For the Addo brothers, sawdust became more than just a byproduct; it was a source of endless fascination. They spent countless hours playing with it, shaping it into figures, and experimenting with its texture. These childhood experiences ignited a lifelong passion for this often-overlooked material.

Alfred, the eldest, initially pursued a career in medicine but couldn’t resist the call of creativity. With his scientific background, he began exploring innovative uses for sawdust, developing eco-friendly adhesives from recycled materials. Then finding his way to art fairs and shows with his story and innovative three-dimensional reliefs, Alfred began to strategize about a gallery business, not only for himself, but for his three brothers too: Addo Contemporary Gallery.

Inspired by Alfred’s breakthroughs, the brothers each delved deeper into sawdust as an artistic medium, crafting their unique styles.

Alfred’s work is characterized by intricate three- dimensional reliefs with metallic finishes, while lvan’s bold and colorful creations add acrylics to the sawdust, bringing vibrant energy to the medium. Frank, on the other hand, is inspired by nature, farm fields, and tracks on the land, creating textured geometric imagery. And James uses sawdust to create embellishments and dimension on his work. Each brother making unique use of what would otherwise be scraped on the lumberyard floor. Very colorful, very textured, and dimensional.

Alfred notes: “You can see how we’ve transformed humble sawdust into something that’s a treasure. I call it a trash to treasure story. It’s something we want to use to encourage other people, whatever they’re doing, to be eco-friendly and to be conscious of the environment.”

Together, the brothers have transformed sawdust into a versatile canvas, elevating it from its humble origins to an extraordinary medium for artistic expression. Their work is a testament to the boundless potential of creativity and the power of reimagining unconventional materials. The Addo brothers continue to inspire the art world proving that even the simplest elements can be transformed into masterpieces.

For more information, visit https://addocontemporary.com/

And check out their Instagram for the latest news: https://www.instagram.com/addocontemporaryart

Brothers. Artists. Working together for decades.

An unlikely story and yet, when it’s Einar and Jamex de la Torre it’s absolutely expected. Growing up in Mexico and today living on both sides of the border in San Diego and Baja California, they have inherited their own unique vision of the Latinx experience and American culture. Their work is visually complex and infused with humorous elements exploring art, history, and material culture. Working with glass, resin, lenticular prints and found objects, the brothers create work inspired by Mexican folk art, popular culture, religious imagery, consumer culture, and mythology.

Agora Gallery was founded in 1984, on Greene Street in Soho, by Miki Stiles, an artist who sought to create a hub for emerging artists working in similar mediums and methodologies to come together to present their work. Agora Gallery’s name comes from the Greek word “ἀγορά,” meaning “open marketplace,” a place where people gather not only to buy and sell goods, but also to meet like-minded individuals and exchange news and ideas – a place where everyone is welcome. With those ideals in mind, Agora Gallery showcases a spectacular array of talented artists from both across the globe, and from the local New York area, inviting collectors to view their work both in-person in the gallery, as well as on its online gallery.

Art Business News recently had the opportunity to meet with Agora’s Director, Sabrina Gilbertson, and get her perspective on the gallery, its business, and their upcoming exhibition at Red Dot Miami during Miami Art Week.

ABN:  Introduce yourself — who are you, what is the vision of the gallery, and how do you work with artists?

SG: I am the Director of Agora Gallery, which under the Agora Group, houses AGI Fine Art, an artist agency focused on promotion for artists. I have worked in the New York City art world for nearly two decades, and my experience includes curating exhibitions, coordinating art fairs, and overseeing professional growth for emerging and mid-career artists from around the world.

AGI Fine Art connects artists to exhibition opportunities and industry expertise. Its methodology looks back to roots under the Agora Group, which combines over 40 years of experience in the New York art market. Our shared vision is to provide tailored career guidance, enhance visibility and help navigate the evolving art landscape throughout each stage of artistic development.

ABN:. What is your background and how does it fit with the history of the Agora Group?

SG: Not unlike many of us working in the art world, including Agora’s founder, the late Miki Stiles, I am an artist. I was classically trained at Boston University and moved to New York following my studies. While I didn’t know at the time precisely where that move would lead, I was always certain that I needed to be surrounded by art. I started working at Agora in 2008, as part of the team led by former director, Angela Di Bello

ABN: What is your work philosophy and how does that impact the gallery?

SG: Throughout my career, I’ve had the opportunity to work with an inspiring compass of art professionals and talented individuals. As an artist myself, I understand the sensitivity that both challenges and propels creativity, as well as the balance of storytelling. In my professional career, this background has not only allowed me to connect more deeply with my artists, but has also been integral to my approach when it comes to curation, commercial marketability and artist promotion in the gallery.

Community is also an important value for me, and aligns with the mission Miki envisioned for Agora — a creative hub where artists could come together to present their work, share ideas and shine opportunities for new talent in a highly competitive market. This foundation continues to guide our programs today.

ABN: What is the best advice you’ve received?

SG: Slow down. In such a fast-paced environment, it’s easy to get swept up in the constant movement; however, I think some of our greatest successes are in those quiet moments when we can step back with clear eyes, and be open to a fresh perspective.

ABN: Tell us about participating in Red Dot Miami 2024 — why is it important and what it means to the gallery and your artists?

SG: For us, Red Dot offers an important entry point to the Miami market and global art fair audience. Having exhibited at Red Dot for a number of years, we know we can count on a professional fair team, high foot traffic, engaging attendees and heightened visibility.

Miami Art Week casts a unique net that has the ability to pair diverse pockets of artists with equally dynamic collectors. There’s something for everyone, which can’t always be said for art events of similar scale, and Red Dot is no exception. The energy is electric and the exposure simply invaluable.

ABN: When you are not working, where can we find you?

SG: With my family! As a mother of two, most of my time and energy is absorbed by the constant dance between work and parenting. I try to carve out space for creativity whenever I can. I’ve learned that remaining open to making or absorbing art in any form, even when it feels impossible, is not only necessary, but makes me a better human, and sets a great example for my kids.

Tamara de Lempicka—the first retrospective exhibition in the U.S. dedicated to the artist’s full oeuvre—reveals a new perspective on her life and design practice. It’s easy to see how her paintings, combining a classical figural style with the modern energy of international avant-garde, have cemented Lempicka as one of Art Deco’s defining painters, with an enduring influence on today’s pop culture landscape. Come to San Francisco to see this landmark exhibition!

About Tamara de Lempicka

Born Tamara Rosa Hurwitz (1894-1980) to a Polish family of Jewish descent, she grew up in Saint Petersburg. There she met her first husband, Tadeusz Łempicki, from whom she took the feminine declension Lempicka and altered it to the more noble “de Lempicka.” Following the October Revolution in 1917, they fled to Paris. There she signed her early works under the masculinized name “Łempitzky.” Many believed her to be a man and for a time that suited her goal of being recognized as an important artist. Lempicka created a public image as flawless as the glossy surfaces of her paintings and became the toast of the town. de Lempicka’s style was singular: “Among a hundred paintings, you could always recognize mine,” she said.

Lempicka and Tadeusz Łempicki divorced in 1929, and in 1934 she married Baron Raoul Kuffner de Dioszegh. They left Europe for the United States just before the start of World War II. The artist, now Baroness Kuffner, became a favorite of Hollywood celebrities—yet her work fell out of favor until the 1970s, when the ever-resilient de Lempicka was rediscovered as a leading figure of Art Deco. Today, she stands out as one of the most receptive, gifted, and technically accomplished painters of her generation.

About the exhibition

Tamara de Lempicka unfolds chronologically in four major chapters that mark the stages in the artist’s life through her changing identity: Tamara Rosa Hurwitz, Monsieur Łempitzky, Tamara de Lempicka, and Baroness Kuffner. The different sections of the exhibition present the evolution of her artistic style and give the viewer an amazing opportunity to realize the most prevalent themes of her work.

Tamara Rosa Hurwitz

Shortly after marrying Tadeusz Łempicki at the age of 22, they left for Paris. Here, Lempicka enrolled at free academies in the artistic community of Montparnasse, where she took classes from André Lhote, a French painter

whose tempered interpretation of Cubism and emphasis on figurative drawing were highly influential to her developing style. Her first works were still lifes and portraits of her friends, as she honed her skills and developed an appreciation for sensual figurative forms.

Monsieur Łempitsky

In the early 1920s, when Lempicka first exhibited at the Parisian salons, she signed her works using the masculine version of her surname Łempitzky, purposefully blurring her gender identity. The salons were open to both men and women, but the juries, critics, and buyers who could ensure an artist’s success were predominantly men. During her first solo exhibition in 1925, she presented a gallery of modern aristocracy in her distinctive portraiture style.

Tamara de Lempicka

By 1930, Lempicka had cemented her cool, high-gloss pictorial style. Her female portraits, in particular, reflected the optimism of an era when women began enjoying greater social and economic access and prominence.

Baroness Kuffner

In 1939, under the impending threat of Nazi invasion, Lempicka and her second husband, Baron Raoul Kuffner, left Europe for the U.S. Living in Los

Angeles and New York, and ultimately joining her daughter, Kizette, in Houston, she strove for an artistic comeback as Baroness Kuffner. The American press nicknamed her the “baroness with a brush.” Lempicka shifted from glamorous portraits to religious paintings and humble still lifes inspired by the Old Masters. Mixed reviews of her series of solo exhibitions lead her to withdraw from pursuing her painting career.

Be sure to see…

Within the galleries of the exhibition, you’ll find special collections significant to Tamara de Lempicka’s story, including:

Kizette de Lempicka, A Model Daughter

Marie-Christine “Kizette” de Lempicka was born in Saint Petersburg in 1916, a few months after Tamara married Tadeusz. Lizette served as a model for her mother and garnered Lempicka’s first critical notice. They had a strained relationship given Lempicka’s desire for an independent lifestyle. Lizette remained in her mother’s life and was responsible for caring not only for her mother but also for her mother’s legacy.

Ira Perrot: Poet, Muse, Lover

Married to men and open about her bisexuality, Lempicka enjoyed a greater degree of freedom in the period between the World Wars. The poet Ira Perrot is the subject of many of Lempicka’s paintings, drawings, and poems during this time.

Nudes: Tradition and Transgression

Traditionally a male painter’s domain created for the pleasure of other men, female nudes were a genre where Lempicka could garner recognition from critics and clientele alike. Lempicka’s nudes exude sexuality in their authentic depiction of women’s bodies in realistic settings.

About the exhibition

Where: Legion of Honor (100 34th Ave., San Francisco, CA 94121)

When: Now through Feb. 9, 2025

Hours: 9:30 am-5:15 pm, Tuesday through Sunday; Closed on Mondays

Tickets: $20 for adults, $17 for seniors (65+), $11 for students (w/ valid ID), Free for youth (17 and under) and Legion of Honor members

Tamara de Lempicka is the first scholarly museum retrospective of the artist’s work in the U.S., exploring Lempicka’s artistic influences and revealing the process behind works that have become synonymous with Art Deco.

After its presentation at the de Young, the exhibition will travel to Houston and be on display at the Museum of Fine Arts, Houston, March 9 through May 26, 2025.

PRO TIP: Skip the line and book your tickets online https://www.famsf.org/visit/de-young-tickets-hours

Emerging neo-expressionist, post-pop, and multimedia artist Matt Smiley says he’s always been captivated by neo-expressionism’s raw power and profound emotion.

The movement, centered on individual perspective and emotional experience, has left an indelible mark on the art world and inspired countless artists—including Smiley—to delve deeper into the human condition and the vivid tapestry of our inner lives.

“In my artistic journey, I’ve found a kindred spirit in neo-expressionism,” Smiley says. “My works are characterized by automatic writings—subconscious thoughts filtering onto the canvas, symbolizing the intensity of emotions. Imaginative characters emerge, representing different facets of the human condition, echoing the expressionist ethos of channeling raw emotion and personal narrative into every brushstroke.

Smiley says he draws inspiration from Kusama’s cosmic dreams and repetition, Schnabel’s bold and textured surfaces, Picasso’s boundless creativity, Jasper John’s perceptions and layers, Basquiat’s raw energy, and Warhol’s pop-culture flair.

The artist’s ascent into the art world began with his first solo exhibition in 2017, Dreams Fizzle into Space. The show featured a 32-piece Warholian hand-painted Soup Can collection, establishing Smiley as an artist with bold conceptual prowess.

Among his notable works is the mural Blocs of Love, an Instagram sensation when it first hit downtown Los Angeles. Building on the success of that project, Smiley unveiled Dear Diary in Hollywood in 2018, captivating audiences with his seamless blend of narrative and visual art.

“I want viewers to feel the grit of life, taste the Hollywood glow, and lose themselves in the different facets of my imagination,” Smiley says. “Neo-expressionism, with its fearless embrace of the subjective, reminds us of the beauty and power of human connection. It’s a reminder that art, at its best, reflects the human soul.”

Smiley’s art has been exhibited alongside esteemed artists such as Ed Ruscha, James Turrell, and Shepard Fairey (Obey), solidifying his place in the contemporary art world. His dynamic and evocative pieces continue to draw attention and admiration from art enthusiasts and collectors alike.

“When someone stands before my work, I want their heart to skip a beat,” Smiley says. “Maybe they’ll see their struggles—their dreams—reflected in the pieces. We’re all connected, after all. Relationships and communication are the warp and weft of existence. In my art, I explore those threads—the frayed edges, the knots, the fragile beauty of vulnerability.”

Parallel to his artistic pursuits, Smiley has directed impactful documentaries, including Highway of Tears in 2014, shedding light on the missing women along Highway 16 in northern British Columbia. The film, narrated by Nathan Fillion, premiered at the TIFF Human Rights Watch Film Festival and earned widespread acclaim.

In 2019, Smiley directed For Love, a documentary on Indigenous child welfare in Canada, narrated by Shania Twain. The film is available on Netflix in Canada and Amazon in the U.S. and U.K.

Through his work with charitable organizations like Human Rights Watch, UNICEF, and Boo2Bullying, Smiley strives to extend the reach of art’s transformative power, using it as a force for positive change. He believes art can connect people on a deeper level, helping to foster empathy and understanding. “I’m hopeful for the positive impact art can make in our world,” Smiley says.

Crushed glass, mirrors, jewels and pearls, dried flowers, seashells, lotería cards—these are just some of the myriad objects that multimedia artist Amalia Mesa-Bains incorporates into her immersive installations. This fall, the San Antonio Museum of Art (SAMA) will host Mesa-Bain’s first retrospective, Archaeology of Memory, to celebrate her many valuable contributions to contemporary art over her 45-year career.

The influential Chicana artist and cultural critic is well-known for pioneering the genre of altar-installation. Using everyday objects instilled with meaning, Mesa-Bains creates room-size altares (home altars), ofrendas (offerings to the dead), descansos (roadside resting places), and capillas (home yard shrines) that honor Chicano culture and help bring Chicana art to the forefront of contemporary American art.

In addition to showing 40 works created from 1991 to 2024 across a variety of media, this exhibition will premiere a new large-scale sculpture that explores Cihuatlampa, a celestial space that represents the afterlife of women who died in childbirth.

As part of a full slate of thematic programming in conjunction with the exhibition, SAMA will also host a movie screening; art studios for kids and teens; and the unveiling of an ofrenda designed by Mesa-Bains in honor of Emma Tenayuca, a San Antonian labor and civil rights activist.

For more information, click here.

Event details

When: Sept. 20, 2024 through Jan. 12, 2025

Where: San Antonio Museum of Art, Cowden Gallery

Tickets: $22 for adults, $17 for seniors and military members, and $12 for students; kids age 12 or younger are free

Albuquerque takes its hot-ballooning seriously—and for good reason! Is there anything more thrilling than ascending to the skies in a brightly colored balloon fueled by fire? Perhaps that’s why the beloved Albuquerque International Balloon Fiesta is celebrating its 52nd year—and boy, do they have a celebration in store.

This year’s theme is Embrace the Sky, and more than 500 hot-air balloon pilots will be invited to fly. There’s a whopping 9 days of programming that includes mass ascensions, drone shows, remote control balloon exhibitions, skydiving, chainsaw carving exhibitions, a fireworks show, and a whole day dedicated to the kids on Friday, October 11th. Be sure to peruse this year’s full schedule of events

EVENT DETAILS

When: Saturday, October 5 through Sunday, October 13
Where: Balloon Fiesta Park (see map)
Admission: General admission tickets are $15 per person, per session (morning or evening sessions available); kids 12 and under are free.

Parking: $20 per vehicle, per session.

For information about additional ticketing packages, event transportation services, and what to know before you go, check out the event’s official page.

Pro tip: Download the Official Balloon Fiesta Mobile App for easy access to maps, important updates, and more.

A fascination with paper in all its aspects: its texture, color, and history all speak to Chicano artist Patricio Tlacaelel Trujillo y Fuentes and give him a voice to share their whispers with the viewer.

With rice paper, construction paper, shopping bags, and magazine clippings, Patricio Tlacaelel Trujillo y Fuentes creates beautiful and thought-provoking works that are reminiscent of the traditional papel picado that adorn the fiestas of Meso-America.

Art Business News recently asked Tlacaelel to offer insight into his creativity, style, and career.

ABN: Introduce yourself. Who are you and what’s your artistic vision?

Tlacaelel: My name is Patricio Tlacaelel Trujillo y Fuentes but my birth name is actually Patrick Trujillo. Through the years, my name has morphed into what I call myself today, Tlacaelel, which evolved out of my desire to remain close to my cultural heritage: the Chicano culture.  My artistic outlook is based on many years of learning my roots and growing up in the southwestern United States. My history as a Chicano artist is inextricably woven into my cut-paper art.

ABN: What’s your background?

Tlacaelel: I was born and grew up in Pueblo, Colorado, a small town on the banks of the Arkansas River. As a child, I would listen to my father play and sing many of the traditional Mexican songs that would give me a sense of pride. The music my father made served as an introduction to all things aesthetic: music, art, dance, and poetry. I began to cut paper, creating patterns and shapes, which would eventually turn into what I refer to as contemporary papel picado, based on the Mexican tradition of cutting tissue paper to depict images of skeletons, flowers, children on bicycles, and other playful images. The papel picado of Mexico can be found strung above the heads of party-goers at festive celebrations.

ABN: What is your work philosophy and how does that impact your art?

Tlacaelel: I believe that each of us, as we live our daily lives, can write a book about our experiences, our joys, our accomplishments, and our goals in life. For me and my cut-paper art, each piece I make is another page in my life. As the artworks accumulate, they begin to form the tale of my life, another page in the book of my autobiography. The autobiography will continue to evolve until the day I put down the razor blade or scissors for the last time. I’ve been cutting paper since I was five years old, and at 66, I continue to cut paper, exhibiting and promoting my work. Cutting paper gives my life meaning, a purpose, and a sense of leaving a record of my life. Cutting paper is a way of using my frenetic energy to deal with the daily challenges and horrors of life, as well as the joys and accomplishments as I go through life’s rigors. I like the word frenetic because I see my work as frenetic: fast, energetic, and uncontrolled—much like the fauvists of the 20th century.

ABN: What artist(s) inspire you?

Tlacaelel: My work is often inspired by other artists’ works, across disciplines; like modern dance artist Paul Sanasardo, from whom I took dance classes in New York City; concert pianist Douglas Riva, who specializes in the compositions of Spanish composer Enrique Granados; and famed photographer Oscar Lozoya, who’s known for his black and white photography depicting images of Day of the Dead. The beautiful poetry of Garcia Lorca and Rainer Maria Rilke; the way they weave words together inspired me to weave shapes and patterns together in a way that is more sophisticated and detailed than my childhood years. These and other artists have deeply inspired me and influenced my artistic outlook on life, and how I work when making a work of art.

ABN: What’s the best advice you’ve received?

Tlacaelel: I was talking with famed choreographer and modern dance artist May O’Donnell, feeling discouraged about life and process, and she said, “You have to be like a bulldog. Latch on and hold on tight.” This is something I’ll always hold dear to my heart, as I have used those words to give me impetus and resolve in my work. Paul Sanasardo once said to me, “Don’t go looking for a party, be the party.” He also said to me, “Be a strong artist. Work hard and write your own meal ticket.”

ABN: You recently exhibited at Art Santa Fe 2024. Tell us about that experience. Was it your first art fair exhibition?

Tlacaelel: Having been working hard in the studio at a frenzied pace, it dawned on me that I had not been getting the work out—showing or exhibiting it. Surfing through social media, I came across a post by Redwood Art Collective calling for artists for Art Santa Fe 2024. I submitted my work and was accepted. It was the first time I took part in that exhibition and getting works ready for installation was a major undertaking. But it was an exciting opportunity to move in another direction and it has propelled me to newer heights in sales and promotions. I was able to meet other artists, make new connections and affiliations. I plan to take part again next year. As a result of my participation in Art Santa Fe, my works are now hanging in homes and offices in Los Angeles, New York City, and Colorado.

ABN: When you’re not working, where can we find you?

Tlacaelel: I’m always working, whether it be on new artworks or giving workshops and talks about my work. This month I was invited, along with artist Anita Rodriguez, to give a presentation on cut-paper—the process and the history of papel picado, past and present—for the Millicent Rogers Museum in Taos, New Mexico. I’ve also been asked to co-curate an exhibition on Chicano art by a well-known museum—more on that coming up.

When not working on those projects, I work in my studio in Albuquerque. I have plans to perform the poem “Yo Soy Joaquin” by Rodolfo ‘Corky’ Gonzales, which tells the history of the Chicano culture from Aztec times to today. I don’t limit myself by medium.