Marina Abramovic. An artist’s life Manifesto Le immagini presenti in questo profilo sono state prelevate dal web e pertanto potrebbero essere coperte da copyright. Tutti i diritti su testi, immagini, foto, audio e video appartengono ai rispettivi proprietari anche se non citati. La riproduzione di tali opere in questo profilo non ha fini di lucro. Questo profilo non rappresenta testata giornalistica in quanto non viene aggiornato con periodicità. This opera is licensed under a Creative Commons Attribuzione - Non commerciale - Non opere derivate 3.0 Unported License.
Rachel Whiteread's Holocaust memorial | World news The soft white parachute silk covering Austria's first memorial to its 65,000 Jews killed in the Holocaust rippled gently in the wind. "This monument shouldn't be beautiful," Nazi-hunter Simon Wiesenthal warned a crowd of around 400 gathered in Judenplatz - Jews' Square - for its unveiling. "It must hurt," he insisted, his faint voice shaking with age and emotion. As the ropes were pulled back, the silk slid with a swish over the bunker-like form and the chief rabbi's recitation of the Kaddish filled the small square. "It's harrowing," remarked Hilde Fein, 70, who had taken a pew on a window sill outside a beer cellar on the baroque square. The Austrian president, Thomas Klestil, called Ms Whiteread's "nameless library" - a hermetically-sealed room of books to symbolise the large numbers of victims and the untold stories of their lives - an attempt to "describe the indescribable". Acknowledgment The 1994 Turner prize winner received the commission to create the monument in January 1996.
Georg Baselitz Finger Painting - Eagle, 1972 What is an eagle to a painter, you might profitably ask? Given that Baselitz refuses to accept narrative or political interpretations of his work – after all, this is why he began to invert his motifs about 40 years ago, in order to let the narrative content spill out and drain away – we should not hurry to call this eagle an emblem of the doomed Reich, a symbol of Roman power, an image of Zeus preying upon the hapless Ganymede or any of those other multifarious interpretative possibilities. The very fact that it is upside down increases its sense of helplessness. What cannot be denied is the ferocity of the painter's attack. The turmoil is on the very surface of the canvas. Even though Baselitz warns us again and again not to read storytelling of any description into his images, it is impossible not to do so. About the artist: Georg Baselitz (b1938)
Tracey Emin, “My Bed,” 1998 Lawrence Weiner | Images | Regen Projects 1 2 3 2012 Faber-Castell pencil and inkjet on pasted, folded archival paper Suite of three drawings 43 1/4 x 35 inches (109.9 x 88.9 cm) each framed Installation view: AROUND & AROUND HIGH & LOW Regen Projects II, Los Angeles May 19 - June 23, 2012 AROUND & AROUND HIGH & LOW 2012 Language the materials referred to Dimensions variable PLACED ON THE TIP OF A WAVE 2009 Language the materials referred to Dimensions variable Installation view LAWRENCE WEINER: PLACED ON THE TIP OF A WAVE Regen Projects II, Los Angeles July 11 - August 15, 2009 Installation view LAWRENCE WEINER: FOREVER & A DAY CAC Malaga, Spain July 25 – October 26, 2008 Installation view LAWRENCE WEINER: AS FAR AS THE EYE CAN SEE The Museum of Contemporary Art, Los Angeles The Geffen Contemporary at MOCA April 13 - July 14, 2008 LAWRENCE WEINER JUST ONE TIME, 2002 Language the materials referred to Dimensions variable Collection of The Museum of Contemporary Art, Los Angeles
Kara Walker's "A Subtlety" On View Through July 6 - Creative Time Creative Time is thrilled to announce that it will present the first large-scale public project by the internationally renowned Kara Walker, one of the most important artists of our era. Sited in the sprawling industrial relics of Brooklyn’s legendary Domino Sugar Factory, Walker’s physically and conceptually expansive work will respond to both the building and its history, exploring a radical range of subject matter and marking a major departure from her practice to date. The exhibition opens on May 10, 2014, and promises to be an eye-opening experience for both those who are familiar with Walker’s work and those who are new to it. As is her custom, the artist has given this one a title that is at once poetic and descriptive: At the behest of Creative Time Kara E. Connect with Creative Time
Mark Rothko | Classic Paintings 6 Mark Rothko, Untitled,1953, National Gallery of Art, Gift of The Mark Rothko Foundation, Inc., 1986.43.135 Through his pursuit of a deeply original pictorial language, Rothko maintained a commitment to profound content. Although he rarely specified a precise interpretation for these works, he believed in their potential for metaphysical or symbolic meaning. In a lecture at the Pratt Institute, Rothko told the audience that "small pictures since the Renaissance are like novels; large pictures are like dramas in which one participates in a direct way." terms of use | home | Copyright © 2014 National Gallery of Art, Washington, DC
Kara Walker | Main | Introduction To Themes browse “Most pieces have to do with exchanges of power, attempts to steal power away from others.” —Kara Walker 1 Kara Walker’s work is layered with images that reference history, literature, culture, and the darker aspects of human behavior. Making sense of these images requires careful looking and an understanding of the references the artist makes. Each topic is described in a brief paragraph with related quotations by the artist, critics, curators and writers; examples of pieces in the exhibition that relate strongly to that theme; and same discussion questions. Use this section as a way to link Walker’s work to your curriculum, a book club discussion, or for a deeper look at the exhibition. For a more in-depth look at the subjects in Walker's work, please download the Gallery Guide (PDF), and Yasmil Raymond's "Maladies of Power: A Kara Walker Lexicon" (PDF) from the exhibition catalog Kara Walker: My Complement, My Oppressor, My Enemy, My Love available in the Walker Book Shop.
Piet Mondriaan, Victory Boogie Woogie, 1942-1944 | Rijksdienst voor het Cultureel Erfgoed Het ruitvormige schilderij Victory Boogie Woogie is het laatste doek waaraan Piet Mondriaan heeft gewerkt. De felle kleuren en dansende lijnen geven het schilderij een dynamisch karakter. De titel is niet door Mondriaan bedacht, maar verwijst naar zijn uitspraken waarin hij dit doek een tweede Boogie Woogie noemde en het als een victorie hierop beschouwde. Pieter Christiaan ('Piet') Mondriaan (Amersfoort 1872- New York 1944), 'Victory Boogie Woogie', 1942-1944, olieverf, papier en plakband op doek, hoogte: 127,0 cm, breedte: 127,0 cm, AB17098, aangekocht in 1998 door de Stichting Nationaal Fonds Kunstbezit, in bruikleen aan het Gemeentemuseum in Den Haag. De jazzvorm Boogie Woogie was tijdens Mondriaans verblijf in New York zeer populair en bestaat uit korte melodielijnen die worden begeleid door herhalende ritmische patronen. In 1998 werd de Victory Boogie Woogie voor 40 miljoen euro aangekocht door de Stichting Nationaal Fonds Kunstbezit van een particuliere eigenaar uit New York.
Museum De Pont: more information :: Marlene Dumas : more information The work of Marlene Dumas is often about the tension between looking and being looked at – and, in fact, about the problem of interpretation. She makes frequent use of existing depictions, from pornographic pictures and police photographs to art reproductions, which she collects for her own personal archive of visual material. This material reflects the social codes that determine how we look at things: Dumas enjoys undermining these codes and revealing their inconsistencies. Her uneasiness with the ideal of reducing the artwork to its essence can be explained from this point of view. To her, there is no single essence, no single truth. There are plenty of seeming truths, and these are repeatedly brought up by Dumas – in The First People from 1990, for instance, which consists of four man-sized portraits of babies. In Black Drawings from 1991-1992, 111 drawings have been grouped as a block into a single work.