AJ Fosik Art Pixie John Baldessari Un article de Wikipédia, l'encyclopédie libre. John Baldessari John Baldesari à Venise (2009) John Baldessari, né le 17 juin 1931 à National City (Californie) est un artiste conceptuel américain, représentant du courant post-moderniste qui recourt notamment à la photographie. Biographie[modifier | modifier le code] De 1959 à 1968, John Baldessari réalise deux sortes d'œuvres : des peintures narratives, des toiles sur lesquelles des lettres sont peintes, et des Fichues Allégories, des photographies légendées en référence à l'histoire de l'art. De 1969 à 1977, il réalise des films et des vidéos expérimentales. À partir de 1980, il se consacre à la réalisation de tableaux constitués de photographies, d'images cinématographiques qu'il collectionne, recadre, colorise. Depuis 2000, il ajoute des peintures à ses photo-collages. Si l'image existe, il n'est pas nécessaire de la reproduire. Il souhaite créer un choc par l'assemblage de ces images. Techniques[modifier | modifier le code]
Interactive Paintings on the Streets of Malaysia A great new street artist is making a splash in Malaysia this month. Painter Ernest Zacharevic created four new works where his painted figures of mischievous children are seen interacting with their physical surroundings: an old bicycle, a motorcycle, or even windows on the side of a building. His most popular piece of two small children on a large bicycle has become a major destination in the city with dozens of people stopping to take creative photos.
John Baldessari | Critique | Double Bill | Paris 3e. Galerie Marian Goodman Une catégorie est l'instrument du jugement déterminant qui, selon Kant, est le propre de la science, de l'objectivité. La catégorie permet de «subsumer» le particulier sous l'universel, c'est-à-dire de ranger le particulier dans un genre. L'universel impose alors sa loi au particulier. Mais John Baldessari, artiste américain de la côte ouest, né en 1931, n'est pas du genre à se laisser ranger sagement dans un genre. Ce serait oublier que John Baldessari déconstruit la notion d'auteur et que ce qu'il assemble ici même, deux à deux, entre image imprimée (impression jet d'encre vernis) et image peinte à la main (huile, acrylique, parfois pastel gras sur toile), ce sont des parties d'œuvres empruntées à d'autres artistes, qu'on les appelle génies ou non. Dans la galerie, neuf pièces bicéphales, composées à chaque fois de deux parties d'œuvres juxtaposées, portent ainsi d'autres noms que le sien.
Carrie Schneider: Work: Burning House Carrie Schneider Work / Projects / Exhibitions / Text / Biography / Contact Reading Women : Portraits : Books : Video / Burning House / Moon Drawings / Recession / Dazzle Camouflage / Figure–Ground / Las Bebidas / Brother / Asleep / Portrait of the Artist Burning House / 2012 – 2013 / HD film / Sound by Cecilia López / 12:00 (5 minute excerpt above) Burning House / 2010 – 2011 / c-prints / 40 x 50 inches each Burning House (October, afternoon), Burning House (September, night), Burning House (January, night), Burning House (August, raining, early), Burning House (March, sunset), Burning House (April, midday), Burning House (August, sunrise), Burning House (November, afternoon), Burning House (September, nightfall), Burning House (October, twilight, Venus), Burning House (December, midday), Burning House (July, sunset), Burning House (August, raining, midmorning), Burning House (February, sunrise), Burning House (August, daybreak)
John Baldessari Catalogue Raisonné La construction de Brasilia par Marcel Gautherot Le photographe français Marcel Gautherot a réalisé ces images noir et blanc de la construction de la ville nouvelle de Brasilia conçue par Oscar Niemeyer pour remplacer Rio de Janeiro comme capitale du Brésil dans les années 50. de: Jean-Louis Cohen, Michel Frizot, Samuel, Jr. Titan éditions: Scheidegger und Spiess AG, Verlag artnet.com Magazine Features - wonderful cynicism: john baldessari This show is cynical in the good sense. There is a good sense. Or anyway there was, and now is an excellent time to revive it. Our present sense of cynicism rests on the wisdom that extreme candor is toxic when self-serving. This show samples a series of paintings, first exhibited at last year's Venice Biennale, that resume a motif of Baldessari's earliest mature work, from over 30 years ago: banal photography blown up on canvas with gnomic captions lettered by a professional sign painter. Here are some "Goya Series" captions and their respective photographic subjects: "This Is Bad," an empty bowl; "And There Is No Remedy," a beat-up scrub brush; "These Too," a pair of high-heeled shoes; "Right," a snarl of string; "Less Than Perfect," an overripe peach; "There Isn't Time," a floral arrangement; "And," a paper clip; "So Much and More," a pencil; and "It Couldn't Be Helped," a goofily smiling mouth floated Cheshire fashion. The effect is strong and clear, bracing the eye and mind.
Chuck Close's Unbelievable Fingerpainting Portrait While you may already know Chuck Close as that incredibly talented American artist who creates those huge photorealistic paintings, you may never have seen this mind-blowing piece. Called Fanny/Fingerpainting, it's a beautiful portrait of Close's wife’s late grandmother Fanny created with fingerprints! Created in 1985, the oil on canvas work represents one of the largest and most masterly executions of a technique the artist developed himself which involves the direct application of pigment to a surface with the artist's fingertips. By adjusting the amount of pigment and the pressure of his finger on the canvas, Close could create unbelievable contours of the face. It currently hangs at Smithsonian's National Gallery of Art. Photos via [The Pace Gallery], [The Art Observer]
Lean With It: People Photographed Leaning at Impossible Angles with Trees Chicago photographer Paul Octavious has just released a number of new photos as part of his Lean With It series, where he captures people bending (I suspect falling) in parallel with precariously angled trees. It’s almost more amazing that he’s able to find these trees in the first place, let alone timing such great shots. See much more on his website.
No Man's Land: A Meditation on Mortality and Self-Delusion from French Illustrator Blexbolex by Maria Popova “And still, that insinuating, ever-growing silence.” French comic artist and illustrator Blexbolex may be best-known for his contemplative meditations on people and time, aimed at children yet agelessly delightful and thought-provoking, but he is also a masterful explorer of complex grown-up themes. No Man’s Land (public library), from London indie publisher No Brow, is a poignant satire of the mind’s well-documented gift for fooling itself and seducing us into our own hand-spun illusory realities. And still, that insinuating, ever-growing silence. Hell. At once an exquisitely crafted artifact and a beautiful, unsettling story, No Man’s Land is the kind of treasure chest in which you find new gems with each reading, uncover new slivers of existential truth, peel away new layers of the human condition. Thanks, Claudia Brain Pickings has a free weekly newsletter and people say it’s cool. Share on Tumblr
Monsters and Madonnas: Looking at William Mortensen An essay by Cary Loren This is the third guest post by Cary Loren of the The Book Beat. See his previous posts Monsters Are Inoffensive and Adelaide Hanscom's Rubaiyat. October 2014 update: Coming soon from Feral House: American Grotesque: The Life and Art of William Mortensen Now available from Feral House: Expanded reprint of The Command to Look William Mortensen, self-portrait (as a kind of "Mad Hatter magician") William Mortensen (1897 - 1965) was one of the most well known and respected photographers in America in the thirties. William Mortensen, Machiavelli. Camera Work (1903 - 1917) was an influential photography periodical founded by Alfred Stieglitz. William Mortensen, L'Amour "SEX is of course the subject interest, which is here given additional morbid pungency by the sadistic implications of the theme." -- Mortensen William Mortensen, Human Relations - 1932 "Hatred is frequently the emotion that lies behind grotesque art... slipcase of William Mortensen's Monsters & Madonnas