Art Critic Joan Altabe said of Creaturo’s contemporary paintings, “They bear the progressive look of 20th century art. Though not an action painting or surrealist, his art can make one think of these.”
Frankie has a unique style, which shows through in both his contemporary painting and realistic people from the late 1930’s to the 1950’s. As for his contemporary works, they’re full of colors and movements. He plays with the use of light, shadows and figures and has developed a new and personal style of organization of color.
When film publicist Sasha Berman sends something over, we pay close attention to her indie films, which have artistic characteristics different from U.S. films — a certain rawness. They are culturally based, provative, and the subtitles give the film an even more intriguing perspective, as we found it so with her most recent premiere, AFTERIMAGE. Los Angeles Times film critic Robert Abele had this to say:
Andrzej Wajda’s “Afterimage” feels vividly connected to the Polish auteur’s beginnings, yet also acts as the kind of haunting close that sums up a life.
“The Life Burger sculptures combine two opposing functions: they offer a sharp criticism of the society we live in and yet simultaneously they are luxury objects in their own right.”
Exhibited for the first time, The Life Burger will open May 4th at FAB-Gallery. It will include the Veyron Berger, The Skull Burger, The Buddha Burger and the solid silver Trump Burger, which features President Trump riding a bison, (itself a sacred American Indian symbol) and is a multi-faceted reading of the Trump phenomenon and celebrity culture in America today.
The May and June programming lineup includes four Oracle Film Screenings , a new series that pairs feature-length films with short videos, art pieces and documentaries. Curated by independent curator and writer Bradford Nordeen, highlights of the series include Drew Goddard’s The Cabin in the Woods, Olivier Assayas’ Demonlover and Claire Denis’ Beau Travail. Tickets to the Oracle Film Screenings also include same-night access to the museum.
Playing with shapes and colors, Bonno chuckles when he explains that he loves the “f…k it factor.” Basically, that means going mad in his own world and giving himself permission to be loose. That freeing spirit is found in all of Bonno’s work. “I don’t leave a painting until I believe in it” he says, “until it impresses me.”
When I asked Bonno what advice he would give for aspiring artists, without flinching he stated, “Get out of your own way!” He feels that everyone has their own, private and personal relationship with art and it shouldn’t be marred by the critical voices in our head.
