Mel chin. Latest 3D, Collaborative, Ecology, Installations, Mapping, Multiples, Participatory/Interactive, Public, Scientific Preoccupations, Work Unmoored Work AMONG OTHERS, Collaborative, Ecology, Insertions, OTHER, Participatory/Interactive, Performative, Scientific Preoccupations, Site-Specific Works, THEMES, Viral Methodology, Work Operation Paydirt/Fundred Dollar Bill Project 3D, AMONG OTHERS, Collaborative, Insertions, Installations, OTHER, Participatory/Interactive, Performative, Sculpture, Site-Specific Works, Work Safehouse 3D, AMONG OTHERS, Collaborative, Insertions, Installations, OTHER, Participatory/Interactive, Public, Site-Specific Works, Work Recolecciones 3D, AMONG OTHERS, Collaborative, Insertions, Participatory/Interactive, Performative, Politics, Sculpture, THEMES, Work 3D, AMONG OTHERS, Collaborative, Homage, Installations, OTHER, Public, Site-Specific Works, THEMES, Work The Seven Wonders ULSAN ECO Park Signal Support Revival Field The Conditions for Memory.
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. ‘Certainly no Pampers babies,’ says Dumas. In Black Drawings from 1991-1992, 111 drawings have been grouped as a block into a single work. Tracey Emin, “My Bed,” 1998. Francis Alÿs, "When Faith Moves Mountains" (2002). 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. Walker has confected: Connect with Creative Time. 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.
Connecting all of her work is an examination of power. The characters in her environments display power struggles of all kinds: physical, emotional, personal, racial, sexual, and historical. 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. 1 Kara Walker, from Sollins, Susan, Exec Producer. Richard Mosse: The Impossible Image. Rachel Whiteread Gedenkstatte Judenplatz in Vienna. 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. Holocaust Memorial by British sculptor Rachel Whiteread was finally revealed - a brutally stark inverted library set in concrete, a lifeless form with no sympathetic lines, and doors with no handles or hinges. "It's harrowing," remarked Hilde Fein, 70, who had taken a pew on a window sill outside a beer cellar on the baroque square. Acknowledgment Sanctions imposed by the European Union in response were only lifted last month, leaving Austria humiliated.
Roots. Yael Bartana And Europe will be stunned. Yael Bartana - And Europe Will Be Stunned. Turbulent by Shirin Neshat. Ai Weiwei: Sunflower Seeds. 1 of 4 About the exhibition Sunflower Seeds is made up of millions of small works, each apparently identical, but actually unique. However realistic they may seem, these life-sized sunflower seed husks are in fact intricately hand-crafted in porcelain. Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands. Poured into the interior of the Turbine Hall’s vast industrial space, the 100 million seeds form a seemingly infinite landscape. Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China’s most prized exports.
Update: Friday 22 October 2010 The landscape of sunflower seeds can be looked upon from the Turbine Hall bridge, or viewed at close range in the east end of the Turbine Hall on Level 1. Antony Gormley's One and Other: 100 Days.