Geraldine Swayne. YAGO HORTAL. Sofi Quirno. Loïc Guyon. Rudelle ("Rudelle Fay Hall") - Artist Page - Agora Gallery. Winston Chmielinski. Old fangs : adrien merigeau. Katie Bell | Work. Steve Bishop ● Selected work. Kill Pixie (Mark Whalen) Reggie Pedro, Gallery :: paintings. Sofia Arnold: Images. Images - about - links © 2014 Sofia Arnold. David Salle. Born in 1952, Norman, Oklahoma, Lives and works in Sagaponack, New York 2013David Salle / Francis Picabia, Galerie Thaddaeus Ropac, Paris 2012Tapestries/ Battles/ Allegories, Lever House Art Collection, New York Ariel and Other Spirits, Galerie MET, New York 2011David Salle Recent Paintings, Gallery, London David Salle Recent Paintings, Mary Boone Gallery, New York David Salle, Maureen Paley, London 2009Héritage du Pop Art, Beaux Arts, Hanover 2008David Salle, Paintings and Drawings, Studio d'Arte Raffaelli - Palazzo Wolkenstein, Trento David Salle, Galleri Faurschou, Copenhagen 2007David Salle, Galleria Cardi, Milan David Salle : 1,2,3,4, Baldwin Gallery, Aspen, CO Bearding The Lion In His Den, Deitch Projects, 76 Grand Street, New York, NY David Salle, New Works, Galerie Thaddaeus Ropac, Salzburg 2005Mary Boone Gallery, NYC, NY 2004David Salle: Split Worlds. 2003Mary Boone Gallery, NYC, NY. 2001Gagosian Gallery, NYC, NY. 2000Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico.
Main : Jamie Reid. Víctor Humareda, pintar la belleza. "El arte es un arduo camino de penurias y soledad". Víctor Humareda, el autor de esta frase, es un pintor peruano nacido en 1920 y muerto en 1986, un artista genial. Cuál es el límite entre la genialidad y la locura? Víctor Humareda vivía en un mundo paralelo en el que sólo cabían él y sus fantasmas, en el que convivía con aquellos que compartían su locura por la belleza: Beethoven, Bach, Velázquez, Goya, Rembrandt, Picasso, Renoir ...
Amaba el teatro, la ópera, la literatura, pero ante todo la belleza. A ella sirvió toda su vida, a ella quería apresar en el lienzo a través del color. Oficiaba ante un lienzo en blanco su ceremonia en honor a la belleza, y para hacerlo le sobraban los testigos. Humareda extrae la belleza de la soledad, la desolación, la pobreza, la marginalidad. Procesión de Nuestra Señora del Carmen y Frailes, son los títulos de los cuadros que os muestro sobre estas líneas.
Vive en el Hotel Lima, en la habitación 283, donde duerme y trabaja. Y este Quijote? Main : Sachin Teng. Distrito 4. Guy Van Bossche. Gorkem Dikel Painting : Gorkem Dikel' s Stuff. Escritos sobre arte: 1934-1969. El dilema del artista. Los biógrafos contrastan la torpeza de sus juicios con sus logros en el terreno de lo creativo y, si bien se murmura sobre su ingenuidad y su picardía, estos mismos calificativos se interpretan como signos de Simplicidad e Inspiración, inseparables compañeros del arte. Y si por un lado se dice que el artista se expresa torpemente, o no está lo suficientemente informado, por el otro se dice que es un privilegiado puesto que la naturaleza ha decidido alejar de él las distracciones mundanas para que pueda así concentrarse en su singular cometido. Este mito, como todos los mitos, tiene muchos fundamentos razonables. Primero, da testimonio de la creencia popular en las leyes de la compensación: que mientras un sentido gana hay otro que padece.
Homero era ciego y Beethoven sordo. No nos engañemos a nosotros mismos con visiones de una época dorada libre de esta cacofonía. La mayoría de las sociedades del pasado exigían del artista que reflejara los conceptos de verdad y moralidad de la época. Martin Kippenberger. Tate Modern| Past Exhibitions | Martin Kippenberger. This is the first major UK exhibition to explore the extraordinary art of Martin Kippenberger (1953–1997). The German artist produced a rich and diverse body of work from the mid 1970s until his untimely death at the age of 44 and is now regarded as one of the most influential artists of his time.
Kippenberger once proclaimed that he was the ultimate embodiment of the art of the 1980s and it is certainly true that his work was preoccupied with a number of artistic concerns prevalent at the time. He was a master appropriator who consistently absorbed, challenged and transformed the world around him. His work draws on popular culture, art, architecture, music, politics, history and his own life – where no subject remained sacred. Also reflective of the era was Kippenberger’s awareness of the importance of self-publicity. He was constantly reinventing himself and his art, and tirelessly controlled his image through press and marketing. Creative Pool Art + + + Kunst und Kalter Krieg. SIGMAR POLKE, OBJEKT KATOFFELHAUS. 1967. Kat.28 ULTICH BAEHR, DEUTSCHER TORSO IV, 1969/70 WOLF VOSTELL, AUSCHWITZ-SCHEINWERFER 568, 1958 BOMB ISLAND, 1991, Öl auf Leinwand, 200 x 300 c GÜNTHER FÖRG, VILLA WITTGENSTEIN, 1986/98 BLINKY PALERMO, OHNE TITEL, 1967-1969 (links) DIETER ROTH, LITERATURWURST "MARTIN WALSER HALBZEIT", 1968 (rechts) ANSELM KIEFER, VARUS. 1976 ULTICH BAEHR, DEUTSCHER TORSO IV, 1969/70 ANSELM KIEFER, WEGE. ca 1980 GEORG BASELITZ UND EUGEN SCHÖNBECK, PANDÄMONIUN I MANIFEST - 2.
VERSION, 1961, (Vitrine) ANSELM KIEFER, WEGE. ca 1980 CONCRETE CABIN II, 1992, Öl auf Leinwand, 200 x 275 cm PETER BRÜNING, LEGENDEN NR.16, 1964 KONRAD LUEG, OHNE TITEL, 1966 SIGMAR POLKE, OHNE TITEL, 1967/77 CONCRETE CABIN II, 1992, Öl auf Leinwand, 200 x 275 cm ALBERT ÖEHLEN, FÜHRERHAUPTQUARTIER,1982 ROSEMARIE TROCKEL, OHNE TITEL, 1987 VIA LEWANDOSKY; GEFRORENE GLIEDER BRECHEN LEICHT; 1988 AUTOPERFORATIONSARTISTEN, TROMPETE, o.J. Part 1 Part 2 Part 3. English. JACK BALAS AND WES HEMPEL: ART, DESIRE, AND A HAIL MARY PASS. Collaboration is an art in itself. Whether in a relationship, a business, or a creative endeavor, what’s needed are a mutual sense of respect, obvious love, and the inevitable taking of risks. Jack Balas and Wes Hempel personify the best of what collaboration is all about, as long-time partners in life and as visual artists. Though their styles are distinctly their own, each has some part of the other invested in their work – call it mutual admiration, homage, tribute – their success is as much due to their personal kinship as to their unique gifts as artists.
They combine craft and technical skill with insight and rich visual ideas to create images that illumine their subjects on every level. And what exactly are their subjects? Jaunty, ironic, and often irreverent, Balas’s men comport themselves with abandon and absolute confidence – but are never afraid to feel vulnerable or fragile at times.
Both Balas and Hempel provide us with the evidence for desire's last hope. Ross Bleckner by Aimee Rankin. Ross Bleckner, Poverty Bouquet, 1986, oil on linen, 48×40”. All photographs courtesy of Mary Boone Gallery and Michael Werner Gallery. Ross Bleckner’s paintings provoke passage into haunted chambers emptied of all but light and dark in which float, perhaps, a hummingbird, a chandelier, a trophy…. While others stand like sentries, shades whose shadows obscure our vision and revoke passage into this nether world we cannot yet imagine. Ross Bleckner, on the other hand, loves to laugh and can almost never conceal the humor beneath his gaze. Aimee Rankin We’re constituting fragments of lost speech around Ross Bleckner’s paintings.
Ross Bleckner Repression and adventure. AR We’re going to pick up in the middle and see if it doesn’t get lost in the baffles of the machine this time. RB Imprisonment. AR You’ve done two very different types of work. RB Essentially, I want a world to exist that I can get into. The imagery is more phenomenological in the stripes. AR No, no.
RB Which issues? Helmut Dorner at Barbel Graesslin. Artist: Helmut Dorner Venue: Barbel Graesslin, Frankfurt Exhibition Title: frisco fresco Date: October 25 – November 22, 2008 Full gallery of images and link available after the jump. Images: Link: Helmut Dorner at Barbel Graesslin Tags: Barbel Graesslin, Europe, Frankfurt, Germany, Helmut Dorner. Helmut Dorner y la poética de lo informe. El pintor Helmut Dorner dispone de tres estudios distintos, y trabaja en uno u otro dependiendo del día que hace, de si la luz es más cruda o más tamizada, y en cada uno de los tres estudios produce una serie diferente. En el primer estudio pinta unos pequeños óleos muy empastados, trabajados con la pintura a medio secar, cuando tiene la consistencia del chicle (la sensación que provocan estos cuadros es la de una pintura masticada).
En el segundo estudio, Dorner crea piezas de formato mayor, pintadas con laca sobre metacrilato. Su superficie, viscosa y fría, no responde precisamente a lo que suele considerarse deleitable en pintura. A veces, el metacrilato aparece barnizado y lijado, produciendo un efecto de transparencia lechosa. Tanto en los óleos ultraempastados como en las lacas, la superficie pictórica se convierte en un relieve de intensa tactilidad.
Helmut Dorner, un pintor aparte. La obra extraña e inclasificable -hasta el punto de que algunos dudan en denominarla “pintura”- de Helmut Dorner (Gengenbach/Baden, 1952) se reveló en la escena alemana a mediados de los ochenta, cuando hacían crisis las retóricas neoexpresionistas, y la nueva generación centroeuropea reclamaba para el arte prácticas de enfriamiento y conceptualización, reivindicando proposiciones de las anteriores poéticas minimal, antiforma y de arte pobre. La obra de Dorner oscilaba entre lo escultórico y lo pictórico, y en el fondo lo ha seguido haciendo hasta hoy, al reafirmar el artista sus cuadros como auténticos “objetos pictóricos”.
Estamos ante unas obras en que la pintura trata únicamente sobre el fenómeno pictórico en sí, el cual se produce aquí obedeciendo mucho más a las causas indefinidas del azar que al principio de necesidad. Ello resulta lógico, dado el axioma filosófico de que “cuanto más particular es una realidad, tanto más azarosa es”. Ingleby Gallery | Artists | Ian Davenport. The making of a Davenport painting is a very physical process: part painting, part performance.
He begins by pouring household gloss paint onto mdf or aluminium panels that are then flipped or tipped to move paint across and off the surface. Put into words it sounds like a simple sequence and the resulting paintings with their seductive shine certainly have an immediate appeal. But they are also more complex than such a basic explanation suggests. Central to their success is the point at which they nearly go wrong: the tension of a fine line where colours kiss. They a have presence, the power to transform the room they inhabit, giving a different perspective to the space that surrounds them. In 2006, Davenport unveiled ‘Poured Lines’, a 50m long, 2.9m high permanent installation in an underpass near Tate Modern. Ian Davenport participated in the group exhibition Gravity’s Rainbow at Ingleby Gallery in Spring 2011. Magazine / archive / Ida Ekblad | MOUSSE CONTEMPORARY ART MAGAZINE. Gigiotto Del Vecchio: One of your latest projects is called In Exile From the Mineral Kingdom.
I’ve always liked the evocative nature of this title, all the political implications that could be read into it. Could you tell me a bit more about the project and its title? Ida Ekblad: In Exile From the Mineral Kingdom is the title of a video I shot at a government-run metal scrapyard in Oslo where I sometimes climb the fences to collect iron for sculptures. The yard also happens to be located right next to the Oslofjord, so I go for a swim and then glean the colossal mountains of shiny, scrappy, rusty, multicolored pieces of metal. Industrial products that once fulfilled various purposes for society, now defunct: crusty, twisted skeletons of cars, bikes, train tracks, beams, ironing boards... A marvelous, gargantuan pile that reveals our forlorn condition and the absurdity of our world. Ida Ekblad, The Gold Bug Drift, Rockaway Beach, 2009Courtesy: the artist and Gaudel De Stampa, Paris. Ida Ekblad: Poem Percussion | Bergen Kunsthall - English : KUNSTHALLEN : Future exhibitions:
Revistas.ucm.es/bba/11315598/articulos/ARIS0000110321A.PDF. Maya Bloch's 'hello stranger' at Thierry Goldberg Projects, NYC. In her most recent body of work, "hello stranger," Israeli artist Maya Bloch continues to set herself free from the tyranny of the literal world and creates this new one, in liquid silver, where she introduces a cast of characters that peer through the paint that, mask-like, encases them. A painter's painter, Bloch's spare use of color and bleeding pigmentation makes one sense that certain elements were created while on a horizontal surface, with their colors running into each other in inky pools of black and umber. The figures are simultaneously dead and alive, and their collective gaze vibrates somewhere between suspicion and brutal honesty. Maya Bloch lives and works in Tel Aviv. Maya Bloch, hello stranger, THIERRY GOLDBERG PROJECTS, 5 Rivington Street, New York, NY 10002, through April 3, 2011. Maya Bloch, Untitled, 2010. oil and acrylic on canvas, 59x47 inches.
ANTONIO BLAZQUEZ. Patricia Azcarate. Paula Fraile. Rebecca Cairns Photography. Maya Bloch. Pek. Miloš Koptak. Benoît guillaume. Mark petersen art. Gustavo Diaz Dibujos. Kelly reemtsen. Viktor Timofeev 2010. Alfonso Brezmes - Fotografía - Collage - Animaciones - Publicaciones - Textos - Exposiciones.