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Cindy Sherman - Nobody's Here But Me (1994)

Cindy Sherman - Nobody's Here But Me (1994)
Related:  STORYTELLING IN ART 20

L'atelier A : François Génot Atelier A 28 Septembre 2016 Réalisé à l’occasion d’une résidence dans une friche urbaine, à Nancy, le dessin au fusain de François Génot a pour titre le nom de la parcelle dont il représente un fragment : CR502P. Fragment paradoxalement riche, pour cet espace dit pauvre, et qui nous interroge sur la propension qu’a notre civilisation à stériliser. L’expérience d’un lieu est au cœur de la pratique de François Génot et tous ses dessins, au fusain, sont comme la mémoire graphique d’un espace transitoire. Parlant d’un espace voué à disparaître, ils cherchent à capter cet esprit de transition. Pour comprendre ces espaces, François Génot les habite et extrait du lieu même, comme pour CR502P, les branches écorcées qui deviendront fusains ; comme accomplissant un cycle complet, une ultime liaison entre le site et l’œuvre. Ses dessins sont conçus de manière vivace, comme ces plantes, ces motifs récurrents qui naissent même dans la nature la plus opprimée et nous renvoient à nos origines d'homme.

What is Conceptual Photography? (part 1) The other Modernism, House of World Culture - culturebase.net Explore culturebase.net artist profiles with the following lists, by ... artist names A B C D E F G H I J K L M N O P R S T U V W X Y Z crossroads Aborigines, Africa, Afro-Americans, age, Aids, ambivalence, animals, animistic religions, anti-Semitism, ... genre/subgenre Action art / Fluxus, Architecture / Feng shui, Architecture / general, Architecture / Interior design, ... instrument Accordion, Ardin, Balaphone, bamboofon, Bandoneon, Banjo, Baqlama, Bass, Bat drums, Bendir, ... region Africa, Central, Africa, Eastern, Africa, Northern, Africa, Southern, Africa, Western, America, Caribbean, ... country/territory Afghanistan, Albania, Algeria, Angola, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, ... project LifeLines No 3: Rubén Rada, 1989 - Global Histories, 2nd Festival of World Cultures, About Beauty, ...

Gillian Wearing and Claude Cahun: Behind the mask, another mask - HOME “Under this mask, another mask. I will never finish removing all these faces.”Claude Cahun, 1930 This exhibition brings together for the first time the work of French artist Claude Cahun and British contemporary artist Gillian Wearing. Although they were born almost seventy years apart and came from different backgrounds, remarkable parallels can be drawn between the two artists. Both of them share a fascination with the self-portrait and use the self-image, through the medium of photography, to explore themes around identity and gender, which is often played out through masquerade and performance. #WearingCahun Free for Members Become a Member today to enjoy free and unlimited entry to all ticketed exhibitions with no need to book. Part of I am me, a season of displays and events exploring art, gender and identity at the National Portrait Gallery in 2017

Cindy Sherman Sherman’s history portraits (1988–90) investigate modes of representation in art history and the relationship between painter and model. These classically composed portraits borrow from a number of art-historical periods—Renaissance, baroque, rococo, Neoclassical—and make allusions to paintings by Raphael, Caravaggio, Fragonard, and Ingres (who, like all the Old Masters, were men). This free-association sampling creates a sense of familiarity, but not of any one specific era or style. The subjects (for the first time for Sherman, many are men) include aristocrats, Madonnas with child, clergymen, women of leisure, and milkmaids, who pose with props, costumes, and obvious prostheses. Theatrical and artificial—full of large noses, bulging bellies, squirting breasts, warts, and unibrows—the history portraits are poised between humorous parody and grotesque caricature. A handful of Sherman’s portraits were inspired by actual paintings.

Mexico's street art tells stories of grief, anger and resistance | Sam Jones | Global development Nine years ago, as its streets filled with flames, anger and water cannon, the walls of Oaxaca began to speak. Stencilled commentaries – here a defiant fist clutching a pencil, there a hooded figure lobbing a Molotov cocktail or, more subversively, a book – appeared on buildings in the southern Mexican city as popular fury exploded over the state governor’s heavy-handed response to a pay-and-conditions strike by local teachers. Their creators were Rosario Martínez and Roberto Vega, two young graphic designers who felt the time had come to move past T-shirt slogans and flyers. With Facebook walls yet to achieve their full revolutionary potential, the pair opted to use the real thing instead. “Stencils are harder to remove,” Martínez says. Although Martínez and Vega’s Lapiztola collective – a pun on the Spanish words for pencil and pistol – was born on the streets of their home town, its work has spread far beyond Oaxaca and the upheavals of 2006. Others are more playful.

Gillian Wearing and Claude Cahun: Behind the Mask review – jail, gender and Jersey | Art and design Claude Cahun, with kiss-curls, Clara Bow lips, love hearts on her cheeks and stockings, is posing with dumbbells. The words “I AM IN TRAINING DON’T KISS ME” are written on her white leotard. Pasted-on black nipples complete the ensemble. It is 1927 and the French artist stares back at us with a steady, insolent gaze. If that gaze asks for anything at all, it’s complicity. In 2012, Gillian Wearing realised her own version of Cahun’s photograph, adopting the same pose, but without the writing or the stuck-on nipples. As with other portraits in which Wearing emulates famous photographers, there is an almost frightening verisimilitude. She has also re-enacted family photographs, shooting herself as a small child, as a teenager, as her parents and grandparents. Since her rediscovery in the 1980s, Cahun has been subject of many exhibitions. Malherbe adopted the name Marcel Moore. It is attractive to regard Cahun as an artist more of our time.

index Cindy Sherman Untitled Film Still #3 Courtesy Metro Pictures, New York © Cindy Sherman photographie noir et blanc édition de 10 20,3 x 25,4 cm Née en 1954 dans le New Jersey, Cindy Sherman a étudié la peinture au State University College de Buffalo, dans l'État de New York. En 1975, dans les cinq images de Untitled A-E (où, comme dans la vingtaine de séries réalisées depuis, la mise en scène n'est destinée qu'à la photographie), transformée par le maquillage et les costumes, Sherman incarne différents personnages, notamment une petite fille et un clown. Untitled #366 de la série Bus Riders, 1976-2000 Courtesy l'artiste et Metro Pictures, New York © Cindy Sherman photographie noir et blanc édition de 20 18,9 x 12,7 cm La présente exposition propose, par séries successives, un parcours chronologique d'une œuvre n'ayant, en France, fait l'objet d'aucune exposition d'importance depuis celle de 1997 au Capc de Bordeaux. Untitled #96 Collection Olbricht © Cindy Sherman Untitled #225 Untitled #305

American Stories: Paintings of Everyday Life, 1765–1915—Artist Kara Walker Discusses The Power of Music October 12, 2009–January 24, 2010 Artist Kara Walker offers her interpretation of the painting The Power of Music by William Sidney Mount, on view in the exhibition American Stories: Paintings of Everyday Life, 1765–1915. Transcript Carrie Rebora Barratt: This is Carrie Rebora Barratt, curator—with my colleague Barbara Weinberg—of the exhibition American Stories: Paintings of Everyday Life, 1765–1915 at The Metropolitan Museum of Art in New York. The exhibition includes more than one hundred iconic works by many of America's most acclaimed artists, who tell stories about their times by depicting ordinary people engaged in life's tasks and pleasures. Their paintings range in date from the Revolutionary era to the eve of World War I. In William Sidney Mount's 1847 painting The Power of Music, an African-American man listens in as a group of white men enjoys a fiddler's tune. We asked the artist Kara Walker to share her own interpretation of the painting. It's so restrained.

Facing the future: Gillian Wearing digitally ages herself in new artwork | Art and design Not everyone will want to know what they might look like when they are 70, but the artist Gillian Wearing is more than happy to contemplate it, dozens of times. The National Portrait Gallery on Wednesday unveiled a huge wall of images called Rock ’n’ Roll 70 Wallpaper showing a digitally aged Wearing in about 30 different situations and clothes. They include Wearing as a 70-year-old biker girl in a white vest with breast enhancements and tattoos, and a more down-to-earth Wearing in a dowdy yellow sweater posing happily with her real-life partner, Michael Landy, who is also digitally aged. There is also a triptych comprising an image of Wearing as she is today, one of her digitally aged, and a blank space to be filled in with a photograph when the artist really is 70. Sarah Howgate, the gallery’s contemporary curator, said Wearing worked closely with forensic scientists for the project. “It is exploring issues which affect us all ... ageing, memento mori, the transience of life,” she said.

Oeuvre(s) dans la collection du FRAC Limousin

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