On Kawara: Silence review – bringing cosmic time to a human scale. One day is enough, Mrs Dalloway teaches us; one day contains everything.
That was especially true for On Kawara, the Japanese-born American artist who turned each day into a monument. Day after day, for half a century, Kawara took his paintbrushes and, with the greatest economy possible, depicted nothing but the date on which he painted. May 11, 1969. The stuff of life. The stuff of life. Khanacademy. Obsessive Compulsive Magazine on Behance. A study in Obsessive Compulsive Disorder on Behance.
More Is More And More: The Compulsive Video Collages Of Rachel Rose. Rachel Rose, still from Everything and More, 2015, HD video.
Revolutionary War paintings, Philip Johnson’s Glass House, cryogenics labs, crushed berries, polar bears—all of these images and more have figured in Rachel Rose’s antic videos. It’s a vast spectrum. One difference between the 28-year-old New York–based artist and most of her peers is that Rose is having her U.S. solo debut not at a trendy Lower East Side gallery but at the Whitney Museum. More Is More And More: The Compulsive Video Collages Of Rachel Rose. Outside the box: living with OCD. For 12 years after she moved home, Bron, mother of photographer Léonie Hampton, couldn't bring herself to unpack her boxes, so the family lived in one half of the house and the boxes in the other.
No one could sit in the sitting room or eat in the dining room because there were brown cardboard crates and plastic bin bags stacked up to the ceiling, filled with possessions from her first marriage. The way Bron explains it, the decision to leave the boxes undisturbed was the logical consequence of moving into a house that had no cupboards. Because there were no cupboards, there was nowhere to unpack things to, so leaving them in the boxes was the tidiest solution, particularly when the boxes became dusty, by which point the prospect of unpacking them began to disturb her. "It alarmed me, the way that when you open a box you are creating chaos," she says. "I would open it up and I would feel weary. Leonardo da Vinci: Anatomy of an artist. Leonardo’s interest in human anatomy can be traced back to the late 1480s, when he was court artist to Ludovico Maria Sforza, the ruler of Milan.
“On the 2nd day of April 1489”, as Leonardo dated the first page in a new notebook now known as the Anatomical Manuscript B, the self-styled “disciple of experience” began a projected “Book entitled On the Human Figure”. Its 44 folios contain several exquisite drawings of a human skull. In time, though, Leonardo’s scattershot attention shifted elsewhere, and he stopped work on his treatise. “In the early 1490s, he felt frustrated,” says Clayton. Trenton Doyle Hancock Studio Musuem in Harlem. Share Trenton Doyle Hancock, Goober's Intrusion (2006) Collection Jim and Paula Ohaus / Courtesy the artist and James Cohan Gallery Trenton Doyle Hancock, Fun Hole Funnel (2010) Courtesy the artist and James Cohan Gallery, New York Trenton Doyle Hancock, The Essence of Vegan Purity (2006) Collection Julie Kinzelman and Christopher Tribble / Houston Courtesy the artist and James Cohan Gallery, New York Trenton Doyle Hancock, Cult of Color (2004) Photo: Collection Rosa and Aaron H.
Esman, M.D., New York / Courtesy the artist and James Cohan Gallery Trenton Doyle Hancock Studio Floor, Encounter with Prostitute #1 (2002) Photo: Courtesy the artist and James Cohan Gallery Trenton Doyle Hancock, Cave Scape #3 (2010)Courtesy the artist, James Cohan Gallery and Hales Gallery Trenton Doyle Hancock, The Bear Den (2012) Collection Noel Kirnon / Courtesy the artist and James Cohan Gallery / Photo: Marc Bernier Detail of Bye and Bye (2002) Photo: Ben Davis. Trenton Doyle Hancock Studio Musuem in Harlem. This is a warning. A man is falling.
He's a black silhouette in empty space, and has spread out arms and legs like a skydiver, as if a vigorous pose might save him. The closeness of the poorly surfaced road and diagonal kerb tell you he has been photographed at the very end of his fall by someone at a window or on a rooftop high above: he's about to smash into the ground. Still, he can't quite believe that his actions, his posture, his personality make no difference. Andy Warhol's painting Suicide (Silver Jumping Man) offers one very obvious reason why a man famous in his lifetime for portraying the famous, scorned by so many critics as the starstruck nemesis of serious art in America and dead now for two decades, is one of the most urgent artists of our time.
He saw everything about our world when it was just a seed. Twenty years have passed since Andy Warhol died during what was expected to be a routine gallbladder operation. Wang Shu: the architect challenging China's obsession with scale. In architecture, or at least construction, China currently has a mesmerising effect.
It is the land where developments seem so large, so numerous, so ruthless, so inexorable and indifferent to European scruples of taste, scale or propriety that the latter begin to look like futile luxuries. This is the future, seems to be the message, and, like it or not, you had better get used to it. The architect Wang Shu would like to offer an alternative view. He does not dispute the power and prevalence of huge new building projects in China, but that they are the only or inevitable architectural products his country has to offer. Instagram and Art Theory. Share Richard Prince, Portrait of NightCoreGirl (2014) Photo: Screenshot from richardprince4's Instagram Richard Prince is making art by recycling Instagram screenshots.
Dealers are hawking art via Instagram. The Met has even retained an Instagram guru “to play catch-up to figure out how best to exploit this online pictorial medium. " A four-year-old app is dominating the art conversation as no purely art-related topic is. Sol LeWitt and Instruction-based Art. Conceptual Art. In the 1960s artists in the U.S., Europe, and Latin America began experimenting with art that emphasized ideas instead of a physical product.
In 1967 artist Sol LeWitt gave this new art a name in his essay “Paragraphs on Conceptual Art.” Conceptual Art. As We Approach the End…Where to Begin? Thoughts on a Strange and Experimental Season. Taking an ax to a sculptural object on the first day of Destroy Everything.
All photos by Kaitlyn Stubbs Where do you start when describing this past season of MoMA’s In the Making program, offering free art and technology courses to an ever-evolving community of NYC high school students each spring and summer? Ruin lust: our love affair with decaying buildings. Early in May 1941, the novelist and essayist Rose Macaulay was staying at the Hampshire village of Liss, attending to family arrangements following the death of her sister Margaret. On the 13th she returned to London – since the start of the war she had lived in a flat at Luxborough House, Marylebone, and worked as a voluntary ambulance driver – and discovered that her home and all her possessions had been destroyed in the bombing a few nights before. In a letter to a friend and literary collaborator, Daniel George, she wrote: "I came up last night … to find Lux House no more – bombed and burned out of existence, and nothing saved.
I am bookless, homeless, sans everything but my eyes to weep with … It would have been less trouble to have been bombed myself. " Ruin Lust: our obsession with decay – in pictures. Shock horror: why art's so obsessed with the grotesque. Warts, growths and misplaced body parts abound in the bizarre sculptures of Jonathan Payne. A tongue with teeth, a mass of flesh sprouting fingers, an eyeball in its own little flesh sac … Don’t tell me you’re not a bit shocked or repelled or amazed.
Horror never really gets old. Hello, Kitty: Japan's obsession with cats hits New York. Before there was Grumpy Cat, there was bakeneko. A supernatural cat monster from Japanese folklore, the bakeneko was capable of shapeshifting, speaking human words, manipulating the dead and casting curses – but is most often depicted dancing with a napkin on its head. Sometimes a good spirit, sometimes a bad one, the bakeneko is just one example of Japan’s longstanding cultural obsession with cats, an obsession tapped into by New York’s Japan Society Gallery exhibition, Life of Cats: Selections from the Hiraki Ukiyo-e Collection.
Comprising 90 cat-centric ukiyo-e woodblock prints as well as manga, porcelain figures and books, the exhibition will run until 7 June. Miwako Tezuka, gallery director at the Japan Society and curator of the exhibition, studied 6,000 prints from Hiraki Ukiyo-e Foundation’s extensive archives as well as private American collections to put the show together. The idea came from a current vogue in Japan for cat-themed exhibitions. Almost human: why is art so obsessed with lifesize dolls? Coppélia is one of the sillier corners of the ballet repertoire. Franz, a handsome young villager, spies his perfect woman and instantly falls in love, and his fiancee Swanilda flips out. When the "other woman" turns out to be a life-sized doll, everyone has a good laugh about it and lives happily ever after.
Let's not forget Kim Cattrall's finest moment in Mannequin, as the shop dummy brought to life to the sound of Starship's Nothing's Gonna Stop Us Now. Magnificent Obsessions, Barbican, review: 'delightful' The show is at its most compelling when it prompts us to notice correspondences between artist and collection like this. Sometimes the links are obvious. Take Damien Hirst, who loves human skulls and natural curiosities – including a 19th-century pangolin covered with impressively burnished, seashell-like scales; and a mutant, “seven-legged, two-bodied” lamb stuffed by the whimsical English taxidermist Walter Potter. Mortality and preserved animals: classic Hirst territory. Nearby, bell jars cover 24 stuffed tropical birds: in this context, their iridescent feathers recall Hirst’s own multi-coloured paintings involving butterfly wings.
Paulina and Fran by Rachel B Glaser review – the art of self-obsession. Paulina and Fran are two American art students who form a brief friendship that seems to define their early life. Damien Hirst's stuffed animals among artists' obsessions on show at Barbican. Anyone even a little embarrassed by their private collection of ceramic frogs can take heart from an exhibition opening on Thursday – there are more novelty cookie jars, vibrantly coloured tea towels and animal-based cream jugs than may ever have been gathered in a major British art gallery. The Barbican is staging an exhibition dedicated to the personal collections of postwar and contemporary artists including Damien Hirst, Peter Blake, Howard Hodgkin and Andy Warhol.
And the gallery means personal collections. Me me meme: artists’ selfies paint the full spectrum of self-obsession.