No. 2 / Spring 2022
No. 2 / Spring 2022 Published by Samuel E Vázquez
Offerta
Publisher, founder,
Offerta
Cover Image:
creative, curatorial, and
www.offertamag.com
Hugo McCloud
design director:
Instagram: @_offerta
Samuel E Vázquez www.samuelevazquez.net
pineapple express, 2020 single use plastic mounted on panel, 70 x 60 inches
This publication is
(177.8 x 152.4 cm)
made possible with the
© Hugo McCloud
Founder and
generous support of:
curatorial director:
Nicole Biggerstaff Vázquez
Ayanna Tibbs
Frank E. Ross
Instagram: @_ayanna_0724
Courtesy: Sean Kelly, New York
Disclaimer: All images, shown in this publication, have been submitted by the artists and/or
Graphic design: Editorial consultant:
The work of sv
Atsu F. Kpotufe
theworkofsv@gmail.com
www.youaretheride.com
Instagram: @theworkofsv
artists representatives. Offerta does not claim copyright ownership, of images, nor bears any responsibilities from copyrights disputes or damages.
Offerta — No. 2 / Spring 2022
Introduction
7
Marco Querin
8
Joanne Greenbaum
20
Hugo McCloud
34
Vida Sacic
50
Bernardo Navarro Tomás
64
Jonathan McGlothin
76
The Founders
92
Photo by Samuel E Vázquez
Offerta — No. 2 / Spring 2022
Introduction
The second issue of Offerta is truly a gift. We are given the opportunity to witness perspectives spanning across boarders. You, the viewer of this publication, will be able to see works created by artists in Mexico and from Croatia, Italy, Cuba, and the United States of America. And our favorite part about this experience—is the sense of luminosity and vibrancy within the works. It’s an enchanting and colorful ride this time around! Enjoy! Samuel E Vázquez & Ayanna Tibbs Co-founders, Offerta
7
MARCO QUERIN, secondi di carne, 2007. Wool, 47 x 39 in
Offerta — No. 2 / Spring 2022
Marco Querin Marco Querin was born in 1978 and lived in
Querin’s life has been one of constant change
his city of birth, Milan, until the age of nineteen,
and adaptation, both unsettling and exciting
when he moved with his family to Chicago for
conditions by which one can still grow and
a long and important period of his life. It was in
thrive, but that can make it difficult to anticipate
Chicago that he began his artistic endeavors,
outcome and overall direction. Consequently he
first experimenting with the use of various
is intrigued by all that can be controlled.
natural materials such as poppy seeds, cinna-
His fiber-based work has, in itself, character-
mon powder, saffron, and vanilla tea, eventually
istics derived by this reality such as fragility,
evolving to the exclusive use of wool, cotton
tension, elasticity and equilibrium, and only
and copper wire. It is the use of these basic
through a precision-based controlled execution,
materials on canvas that have become his “rec-
his work comes to life and tells a story that has
ognized artistic signature.” Threads, which were
a clear beginning and an end in sight.
initially used only as a decorative element in his works, have finally become his primary artistic
www.marcoquerin.net
medium, now entirely covering his canvasses.
IG: @marcoquerinstudio 9
MARCO QUERIN ipotesi terrestri, 2007 Cotton, wool, raw Mexican wool on canvas 39 x 31 in
10
Offerta — No. 2 / Spring 2022
MARCO QUERIN J.M. SZYMANSKI Collaboration
11
MARCO QUERIN darkness bathing in light, 2020 Wool on canvas, 12 x 12 in
12
Offerta — No. 2 / Spring 2022
MARCO QUERIN neurologically, the subject is nuts, 2019 Wool, cotton, synthetic fiber on canvas 48 x 48 in
13
Offerta — No. 2 / Spring 2022
MARCO QUERIN mother superior, superior mother, 2018 Nylon, wood, nails on wall Dimensions variable
14
MARCO QUERIN Francesca, 2007 Wool, raw Mexican wool on canvas 31 x 23 in
15
MARCO QUERIN (L) observing multiculturalism - he finally decided to open up to me and loads of anger just poured out, 2019 Wool on canvas, 72 x 48 in (R) observing multiculturalism - the fundamental motive behind your presence here seems to be accumulating more power, 2019. Wool, nylon on canvas, 72 x 48 in
Offerta — No. 2 / Spring 2022
MARCO QUERIN spacing out on my own two feet, 2020 Sheep shearing, wool, cotton, plastic on stretched sweater 12 x 12 in
17
Offerta — No. 2 / Spring 2022
MARCO QUERIN knowingly oscillating between what’s best and worst, 2020 Wool on canvas, 48 x 96 in
18
MARCO QUERIN blood money, 2007 Raw Mexican wool, copper wire on canvas 31 x 39 in
19
JOANNE GREENBAUM, Untitled, 2021. Acrylic, flashe, oil, and marker on canvas, 60 x 48 in
Offerta — No. 2 / Spring 2022
Joanne Greenbaum Joanne Greenbaum lives and works in
and numerous group shows in the US and
New York City. Over the past twenty plus years
abroad. Greenbaum has also been exhibited
she has participated in numerous shows in the
at The Chinati Foundation, Marfa, Texas, PS1
U.S. and Europe. Greenbaum has exhibited
MoMA, New York, Hammer Museum, Los An-
her work at Otis in Los Angeles and the school
geles, Museum of Contemporary Art, Chicago,
of the museum of fine arts Boston and The
Kunsthalle, Basel, Whitechapel Gallery, London.
Nerman Museum of Contemporary Art, Richard
A career-spanning survey of her work was
Telles Gallery, Van Horn Gallery, Dusseldorf,
mounted by Haus Konstruktiv, Zurich and trav-
greengrassi London, Texas Gallery, and Rachel
eled to Museum Abteiberg, Monchengladbach,
Uffner Gallery in New York and Nicolas Krupp
Germany. She earned a BA from Bard College,
in Switzerland. She is having an upcoming
Annandale-on-Hudson, NY.
exhibition at Nino Mier gallery in September 2022. Other recent shows include 56 Henry
joannegreenbaum.com 21
JOANNE GREENBAUM Untitled, 2019 Oil, acrylic, and marker on canvas 60 x 50 in
Offerta — No. 2 / Spring 2022
JOANNE GREENBAUM: Things We Said Today Ben Maltz Gallery, Otis College of Art + Design, Los Angeles, CA May 19 - August 12, 2018
23
JOANNE GREENBAUM Untitled, 2019 Oil, acrylic, and marker on canvas 60 x 50 in
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Offerta — No. 2 / Spring 2022
JOANNE GREENBAUM Untitled, 2021 Oil, flashe, and acrylic on canvas 70 x 60 in
25
JOANNE GREENBAUM Untitled, 2019 Oil, acrylic, and marker on canvas 40 x 30 in
26
Offerta — No. 2 / Spring 2022
JOANNE GREENBAUM Untitled, 2021 Oil, flashe, acrylic, and marker on canvas 70 x 60 in
27
Offerta — No. 2 / Spring 2022
JOANNE GREENBAUM: Things We Said Today Ben Maltz Gallery, Otis College of Art + Design, Los Angeles, CA May 19 - August 12, 2018
28
JOANNE GREENBAUM Untitled, 2019 Oil, acrylic, neo-color, and marker on canvas 80 x 75 in 29
JOANNE GREENBAUM Untitled, 2020 Oil, acrylic, and marker on canvas 72 x 96 in
30
Offerta — No. 2 / Spring 2022
JOANNE GREENBAUM: Things We Said Today Ben Maltz Gallery, Otis College of Art + Design, Los Angeles, CA May 19 - August 12, 2018
31
JOANNE GREENBAUM Untitled, 2021 Acrylic, flashe, oil, and marker on canvas 72 x 48 in 32
Offerta — No. 2 / Spring 2022
JOANNE GREENBAUM Untitled, 2021 Oil, flashe, and crayon on canvas 75 x 65 in 33
HUGO McCLOUD, Stylist/Creative Director: Rebekka Fellah, Photographer: Enrique Leyva. © Hugo McCloud, Courtesy: Sean Kelly, New York
Offerta — No. 2 / Spring 2022
Hugo McCloud Born in Palo Alto California in 1980,
Hugo McCloud’s newest body of work touch-
Hugo McCloud is one of the most prolific
es on notions of class particularly through
young artists working today. Self-taught with
his use of plastic bags. His investigation into
a background in industrial design, McCloud’s
plastic began approximately five years ago after
practice is unrestricted by classical, academic
traveling to India and seeing multi-color polypro-
tenets. Drawing inspiration from the rawness
pylene plastic sacks everywhere. Observing the
and decay of the urban landscape, McCloud
downcycle of these bags from their creation,
creates rich, large-scale abstract paintings and
to the companies that purchased them for the
sculptural objects by fusing unconventional
distribution of products, to the trash pickers in
industrial materials — tar, bitumen, aluminum
Dharavi slums, McCloud saw how this ubiq-
sheeting and oxidized steel plates — with tradi-
uitous material passed through the hands of
tional pigment and woodblock printing tech-
individuals at every level of society.
niques. His approach is instinctive and physical, often working on the floor, sanding, hammering
Sourcing his imagery from photographs of
and torching his materials until a total metamor-
individuals working in developing countries
phosis takes place.
these representational works address issues 35
HUGO McCLOUD Installation view of Hugo McCloud: Veiled at Sean Kelly, New York January 22 – February 27, 2021 Photography: Jason Wyche, New York / Courtesy: Sean Kelly, New York
concerning the economics of labor, geopolitics
in the collections of the National Museum of
and the environmental impact of plastic. Mc-
African American History and Culture in Wash-
Cloud continues his practice of incorporating in-
ington, D.C., the North Carolina Museum of Art,
dustrial materials using plastic as a tool to unite
the Detroit Institute of the Arts, The Margulies
people and better understand our similarities
Collection at the Warehouse, the Nasher Mu-
and differences as a human race; to connect
seum of Art at Duke University, the Brooklyn
our environment; and to contribute to reversing
Museum, the Mott Warsh Collection, and The
the negative impact of our carbon footprint.
Joyner/Giuffrida Collection. McCloud’s work is currently on view at the Cleveland Museum of
McCloud has been the subject of solo exhibi-
Art in Cleveland, Ohio.
tions at The Aldrich Contemporary Art Museum in Ridgefield, Connecticut, The Arts Club,
Hugo McCloud lives and works in Brooklyn,
London and Fondazione 107, in Turin, Italy. He
New York and Tulum, Mexico.
has also been featured in group exhibitions at the Studio Museum in Harlem, New York, and
www.skny.com
The Drawing Center, New York. His work is
IG: @hugomccloudstudio
Offerta — No. 2 / Spring 2022
HUGO McCLOUD patiently waited on 126th, 2016 aluminum foil, aluminum coating, and oil paint on tar paper 97 7/8 x 79 inches (248.6 x 200.7 cm) © Hugo McCloud. Photo: Jason Wyche, New York Courtesy: Sean Kelly, New York 37
HUGO McCLOUD till death do us part, 2021 single use plastic mounted on panel 70 x 60 inches (177.8 x 152.4 cm) © Hugo McCloud Courtesy: Sean Kelly, New York
Offerta — No. 2 / Spring 2022
HUGO McCLOUD extended, 2020 plastic merchandise bags on wood panel 72 x 60 inches (182.9 x 152.4 cm) © Hugo McCloud Courtesy: Sean Kelly, New York 39
HUGO McCLOUD take a seat, 2020 single use plastic mounted on panel 70 x 60 inches (177.8 x 152.4 cm) © Hugo McCloud Courtesy: Sean Kelly, New York
Offerta — No. 2 / Spring 2022
HUGO McCLOUD stacked against the odds, 2021 single use plastic mounted on panel 70 x 60 inches (177.8 x 152.4 cm) © Hugo McCloud Courtesy: Sean Kelly, New York 41
HUGO McCLOUD Installation view of Hugo McCloud: Burdened at Sean Kelly, New York January 22 – February 27, 2021 Photography: Jason Wyche, New York Courtesy: Sean Kelly, New York
42
Offerta — No. 2 / Spring 2022
HUGO McCLOUD Installation view of Hugo McCloud: Burdened at Sean Kelly, New York January 22 – February 27, 2021 Photography: Jason Wyche, New York Courtesy: Sean Kelly, New York
43
HUGO McCLOUD distant walker, 2020 single use plastic on panel 66 x 48 inches (167.6 x 121.9 cm) © Hugo McCloud Photo: Chris Manning Courtesy: Sean Kelly, New York
Offerta — No. 2 / Spring 2022
HUGO McCLOUD pineapple express, 2020 single use plastic mounted on panel 70 x 60 inches (177.8 x 152.4 cm) © Hugo McCloud Courtesy: Sean Kelly, New York 45
HUGO McCLOUD together, 2020 single use plastic mounted on panel 55 x 84 inches (139.7 x 213.4 cm) © Hugo McCloud Courtesy: Sean Kelly, New York
46
Offerta — No. 2 / Spring 2022
HUGO McCLOUD with all your might, 2020 single use plastic mounted on panel 55 x 84 inches (139.7 x 213.4 cm) © Hugo McCloud Courtesy: Sean Kelly, New York
47
Offerta — No. 2 / Spring 2022
HUGO McCLOUD Installation view of Hugo McCloud: Metal Paintings at Sean Kelly BK March 9 – 11, 17 – 18, 2018 Photography: JSP Art Photography Courtesy: Sean Kelly, New York 48
HUGO McCLOUD greener the grass, 2018 patina, oil stick, solder on solid bronze sheet, mounted on aluminum frame 92 1/2 x 78 1/8 inches (234.9 x 198.4 cm) © Hugo McCloud Courtesy: Sean Kelly, New York 49
VIDA SACIC, #49, Electric Biology Series. Letterpress prints, 12 x 18 in. Edition of 5 each, 2014 - present
Offerta — No. 2 / Spring 2022
Vida Sacic Vida Sacic (Croatian and American, b.1980) is
Columbia College (Chicago) and The Center for
a Chicago-based artist, designer and educator.
Book Arts (NYC). Sacic has been recognized as
Her work in print media explores the relation-
an Artist-in-Residence at Tiporenesansa in Slo-
ship between printing and language. She prints
venia, The Penland School of Art and Craft, The
and creates large-scale installations; assem-
Hamilton Wood Type & Printing Museum and
blages of prints on paper, textiles and fiber us-
The Center for Book and Paper Arts in Chicago
ing movable type, letters that can be touched,
among others. She is currently researching the
and a printing press. As Jonathan Goodman
industrial and typographic history of Yugoslavia
noted in The Brooklyn Rail, “she composes
and working on an exhibition of printing by and
highly advanced abstract composition(s), whose
for immigrant communities in development by
unusual beauty takes place because of Sacic’s
the Newberry Library, supported by the Terra
innate sense of balance and strong accumula-
Foundation.
tions of form.” Her works have been exhibited in solo and group exhibitions nationally and
www.vidasacic.net
internationally, including Hot Bed Press (UK),
IG: @vidasacic
DeVos Art Museum (MI), Art Mora Gallery (NJ), 51
VIDA SACIC #47, Electric Biology Series Letterpress prints, 12 x 18 in Edition of 5 each, 2014 - present
Offerta — No. 2 / Spring 2022
VIDA SACIC Blanket Letterpress print
53
Offerta — No. 2 / Spring 2022
VIDA SACIC Rober F. DeCaprio Gallery
VIDA SACIC #42, Electric Biology Series Letterpress prints, 12 x 18 in Edition of 5 each, 2014 - present
54
Offerta — No. 2 / Spring 2022
VIDA SACIC Strawberry Murmur Letterpress print
VIDA SACIC A Body In Motion Letterpress print
57
Offerta — No. 2 / Spring 2022
VIDA SACIC DeVos Museum
VIDA SACIC #00, Electric Biology Series Letterpress prints, 12 x 18 in Edition of 5 each, 2014 - present
58
VIDA SACIC We They Letterpress print 60
Offerta — No. 2 / Spring 2022
VIDA SACIC #20, Electric Biology Series Letterpress prints, 12 x 18 in Edition of 5 each, 2014 - present 61
Offerta — No. 2 / Spring 2022
VIDA SACIC Catich Gallery
VIDA SACIC #45, Electric Biology Series Letterpress prints, 12 x 18 in Edition of 5 each, 2014 - present
63
BERNARDO NAVARRO TOMÁS, Ethereal Composition #1, 2021. Woodcut and Silkscreen on Arches Paper, 27.5 x 22.5 in
Offerta — No. 2 / Spring 2022
Bernardo Navarro Tomás
Bernardo Navarro Tomás (Havana, Cuba 1977)
focused on his life experience. In a deviation
is a visual artist who expresses himself through
from the social issue, his current works have
different materials and means. He currently
experimented with abstraction and collage
lives and paints in Brooklyn, New York. In his
when wanting to capture the energy of his
early paintings, which earned him recognition in
current surrounding urban environment.
several museums and institutions of the city of New York, Navarro Tomás created works that
bernardonavarrotomas.com
65
Offerta — No. 2 / Spring 2022
BERNARDO NAVARRO TOMÁS Coney Island, 2020 Mixed media on canvas 60 x 72 in
66
67
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Offerta — No. 2 / Spring 2022
BERNARDO NAVARRO TOMÁS Amusement Site Series II, 2021 Mixed media on canvas 48 x 60 in
69
BERNARDO NAVARRO TOMÁS Untitled #1, 2021 Woodcut and Silkscreen on Arches Paper 27.5 x 22.5 in 70
Offerta — No. 2 / Spring 2022
BERNARDO NAVARRO TOMÁS Untitled #2, 2021 Woodcut and Silkscreen on Arches Paper 27.5 x 22.5 in 71
72
Offerta — No. 2 / Spring 2022
BERNARDO NAVARRO TOMÁS Ethereal Composition #2, 2021 Woodcut and Silkscreen on Arches Paper 22.5 x 27.5 in
73
Offerta — No. 2 / Spring 2022
BERNARDO NAVARRO TOMÁS Amusement Site Series III, 2021 Mixed media on canvas 48 x 60 in
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JONATHAN McGLOTHIN, C154, 2019. Collage on paper, 14 x 10 in
Offerta — No. 2 / Spring 2022
Jonathan McGlothin
Jonathan McGlothin is an art director and designer based in Chicago. IG: @_accidentals
77
JONATHAN McGLOTHIN C174, 2020 Collage on paper, 14 x 10 in
78
Offerta — No. 2 / Spring 2022
JONATHAN McGLOTHIN C149, 2019 Collage on paper, 14 x 10 in
79
Offerta — No. 2 / Spring 2022
JONATHAN McGLOTHIN C121, 2019 C122, 2019 C189, 2020 Collage on paper, 14 x 10 in
81
JONATHAN McGLOTHIN C203, 2020 C213, 2020 Collage on paper, 14 x 10 in
82
Offerta — No. 2 / Spring 2022
JONATHAN McGLOTHIN C142, 2019 C155, 2019 Collage on paper, 14 x 10 in
83
JONATHAN McGLOTHIN C140, 2019 Collage on paper, 14 x 10 in
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Offerta — No. 2 / Spring 2022
JONATHAN McGLOTHIN C184, 2020 Collage on paper, 14 x 10 in
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Offerta — No. 2 / Spring 2022
JONATHAN McGLOTHIN C101, 2019 C086, 2019 C204, 2020 Collage on paper, 14 x 10 in
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Offerta — No. 2 / Spring 2022
JONATHAN McGLOTHIN C229, 2020 C111, 2019 C198, 2020 Collage on paper, 14 x 10 in 89
JONATHAN McGLOTHIN C158, 2019 Collage on paper, 14 x 10 in
90
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JONATHAN McGLOTHIN C143, 2019 Collage on paper, 14 x 10 in
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Offerta — No. 2 / Spring 2022
The Founders
Samuel E Vázquez (b. 1970, San Juan, Puerto Rico)
Ayanna Tibbs (b. 1990, Indianapolis, Indiana) is a
is a contemporary visual artist working primarily in
contemporary artist who aims to merge complex
found materials and mixed media. He has exhibited
ideas with simple yet striking imagery. Her most
alongside Helen Frankenthaler, Joan Mitchell, Sam
recent body of work has been a study on how light
Gilliam, Sabina Klein, Sam Francis, Keith Haring,
interacts with structure.
Torrick “Toxic” Ablack, and Futura 2000 among others. His work is rooted in the New York City subway
ayannatibbs1design@gmail.com
painting era of the 1970s and 80s and informed
Instagram: @_ayanna_0724
by the work of Ed Clark, Mimmo Rotella, Jacques Villeglé, Jackson Pollock, and Jean-Michel Basquiat. Vázquez holds degrees from New York City College of Technology—CUNY and Indiana University’s Herron School of Art and Design. His work is in numerous public and private collections. www.samuelevazquez.net 92