Robert Mangold. Robert Mangold was born in North Tonawanda, New York in 1937.
With classical restraint, Mangold translates the most basic of formal elements—shape, line, and color—into paintings, prints, and drawings whose simplicity of form expresses complex ideas. He renders the surface of each canvas with subtle color modulations and sinewy, hand-drawn graphite lines. While his focus on formal considerations may seem paramount, he also delights in thwarting those considerations—setting up problems for the viewer. CURA. De l'art et/est du soin - hopital.fr - Fédération Hospitalière de France. We Find Wildness. MIREILLE GROS at her studio, Baseljune 2014 images © wfw I have read somewhere that a studio space is an intimate space, which puts the critic in an awkward position that he is no longer objective.
It’s even more the case with MIREILLE GROS. MIREILLE is a Swiss artist based in Basel and she is probably one of the most engaging person in the city. After a course of studies in Basel and New York, MIREILLE GROS (born in 1954) traveled the world drawing inspiration from the language, the local culture and the nature in each place she went, especially in China and West Africa. From these trips she has not only adapted her artistic practice by allowing more place in her work for the concept of spontaneity, random and chance but she has also brought back several processes and materials.
Her studio reflects her intuitive and experimental process (although the space is very well organized) and her passion for language with a series of sentences or words written on the walls. Occuper l’espace (Toulouse 3) Le Printemps de Septembre (jusqu’au 14 Octobre).
Ailleurs dans la ville, l’endroit le plus extraordinaire est l’usine EDF à Bazacle, ancien gué, ancien moulin (et alors première société par actions du monde en 1369), usine électrique dotée d’une passe à poissons dont on peut observer la remontée contre le courant par une fenêtre. A cet endroit, la Garonne a des airs d’Arno, la lumière d’automne caresse les pierres du vieil hôpital, d’énormes troncs d’arbre blanchis sont perchés en équilibre sur la digue.
D’un d’eux part un câble en acier qui pénètre dans le bâtiment de la centrale. Debord(er) la carte - "Une carte du monde ne faisant pas mention du royaume d’Utopie ne mérite même pas un coup d’œil, car elle laisse à l’écart le seul pays où l’humanité finit toujours par aborder.
" Oscar Wilde, L’Âme humaine et le socialisme, 1891. Fondateur de l’Internationale Situationniste (I.S.), mouvement d’avant-garde fondé en 1957 et dissous en 1972, Guy Debord aimait les cartes et les plans. Hermès Fondation. Archéologie du futur / archéologie du quotidien - Art contemporain, street-art, publicité, archéologie du futur, archéologie du quotidien, exploration urbaine, cabinet de curiosités, La sculpture mutante de Jean-Luc Moulène - Sortir. “Nowhere I actually want to be”: Drawings by Kat Masback. Roma Publications. Certificates of authenticity are a critical aspect of art works today.
They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples of artists certificates from the past fifty years, this book reveals how roles have shifted and developed, as well as how the materials and content of art have changed. Art contemporain actualités. Le corridor : actualité en art contemporain. Plateforme de décryptage, d'analyse et de conseil. Revue d'art contemporain. JEUNES CRITIQUES D'ART. Magazine Arts & Scènes contemporaines : IL N'Y AURA PAS DE MIRACLE ICI. Lunettes Rouges. Le blog de Mirion Malle. Le Secret Des Cailloux Qui Brillent. Une histoire sans mots de Xu Bing, retour à l'écriture pictographique.
Xu Bing est un des plus grands graphistes chinois contemporains.
Ses oeuvres sont exposées au Metropolitan Museum of Art de New York comme au British Museum de Londres. En 2006, le Southern Graphics Council lui a décerné son prix pour l’ensemble de son œuvre. Une Histoire sans mots est une véritable histoire sans mots. Notations: Contemporary Drawing as Idea and Process. Figure 1.
Jennifer Bartlett, Chicken Tracks, 1973 Enamel over silkscreen on steel plates, 38 x 38 inches (96.5 x 96.5 cm) © 2012 Jennifer Bartlett by Matthew Bailey Since the early 1970s, Jennifer Bartlett has used rigorous systematic procedures such as mathematical and chance operations to determine a priori the nature of her work. Together with the serialized use of the grid that characterizes her art, these strategies are a means of de-skilling, or eliminating traditional forms of manual virtuosity from her practice, in order to keep in check the arbitrary nature of artistic subjectivity. Bartlett departed from Conceptual processes, however, in her ongoing engagement with the language of representation and with the finished work of art as an object of aesthetic appeal.
Bartlett presumably called the finished objects Chicken Tracks because of the way the resulting abstract compositions resemble the randomly patterned steps of pecking chickens. Notes 1. An Addictive Experiment in Annotating Footage from a London Street. In 1974, French writer Georges Perec spent three days on a bench in Saint-Sulpice Square in Paris, writing about 60 pages on the minutiae that usually goes overlooked, from the people walking by to the details of the architecture.
His “An Attempt at Exhausting a Place in Paris” is part of the inspiration behind Kyle McDonald’s new online interactive Exhausting a Crowd. Twelve hours of footage from two days at London’s busy Piccadilly Circus is open to annotation, where anyone online can comment on the happenings and people in an accumulating experiment in surveillance and how human intelligence can be enhanced through automation. A New Francesca Woodman Book Demands a Closer Look. It has now been 35 years since the death of Francesca Woodman, but interest in her and in the photographs she left behind—a radical, extraordinary, but abbreviated body of work that at first glance was all about the body—has never waned.
In fact, every year or so, another strong wave hits, in the form of a new book, a new exhibit, a film, or another prominent admirer, as subsequent generations and audiences discover anew her mostly black-and-white, alluringly obscured images. Small and intimate and startling, they draw you close. In 2010 came The Woodmans, a documentary whose true subject was the artist’s parents, also artists (Betty is a ceramicist; George is a painter who turned to photography after his daughter’s death); it was a portrait of a family devoted to and organized entirely around the largely solitary process of making creative work.
In 2012, the Guggenheim mounted the first major American survey of Woodman’s work. Plateforme de décryptage, d'analyse et de conseil.