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April 23, 2012
Lately I have been on a kick of learning about artists that really push the edge and the boundry. In doing so I am finding there are so many that I really love. I do hope that you are enjoying learning all about all of these tremendous talents, along with me!
Enrico David’s embroideries create a camp theatricality; his figures emerge as staged constructions, paralleling outward appearance with inner fantasy. In Agent, David’s crouching figure is set in monotone against
blended grey ground, creating the inside-out suggestion of photographic negative. Within the red trimmed contours, an image of a warrior appears, reminiscent of Japanese woodcuts. Heavily stitched with thick wool,
Agent’s burly soft texture both highlights and undermines the perception of strength and masculinity, portraying a dandy of heroic proportions.
Enrico David’s large-scale canvases explore personal identity within the public domain. Dealing with issues of queer politics, David appropriates elements from modernist design and contemporary culture to develop an
intimate platform of fantasy and revelation. Created in embroidery on tie-dyed fabric, presents a quirky sexuality based equally in high fashion, subculture, and home craft. Dressed in a Pucci-esque cat suit, David’s svelte poseurs
are both exhibitionist and stealth-like. His sleek figure is transformed by its woolen texture, drawing peculiar and humorous reference to S&M,bondage, and role-play with its seductively cuddly material.
April 20, 2012
I was introduced to Thomas Schutte’s work by a gallery owner who is in love with his work! I must admit, it is very much a strong, confident statement and I totally got it and loved it! i hope you enjoy this post!
“Fundamentally, my works are almost always in the nature of a proposal,” Thomas Schütte contends, while conceding that, nonetheless, mostly “they exist in the form of models.”Schütte’s notion of models is, consequently,
encompassing and complex: at its core lies the proposition, the hypothesis, the speculation. And, given that it is imbued with both a metaphorical and a literal dimension, it has assumed an extraordinarily diverse and multifarious
range of formulations in an œvre that now spans more than twenty years.
Décor and scenographic and architectural models formed the vocabulary of Schütte’s first works. Vehicles for thought rather than action, they limned a
history of the reconstruction and reconstitution of the built environment in the postwar years, and, on occasion, proposed alternatives. Miniaturized worlds that are predicated on a kind of displaced placelessness,
they inscribe a restless nomadism that rigorously eschews the settled and established. In his memorials, which followed soon after, the cast of characters ranges from the historically (in)famous to the forgotten and the fictional,
from Hitler to the lone Gallic sailor Alain Colas, to the artist himself or his surrogates. As well as a number of large-scale works realized in public sites, he has made a series of speculative tableaux, often constructed from makeshift
structures and mundane materials.2 They have the appearance of rapid responses, temporary, even tentative, as if only in such terms can he avert rhetoric and grandiosity, and only through a kind of self-mocking inclusion of his
own image into this pantheon can he confront the perennial issues of glory, fame, and immortality. Ars longa, vita brevis: once a palliative to ambitious but underrecognized artists, in today’s era of instant celebrity this precept
seems a pointless grail, or a poisoned chalice.
The post-Cold War era has been indelibly marked by the toppling of a virtual army of statues dedicated to political and military luminaries formerly deemed invincible and unassailable.
It has also witnessed a host of fractious, unseemly, and inconclusive battles surrounding the creation of memorials to the victims of carnage and genocide. As a science, a Wissenschaft, the discipline of history was invented
by Hegel and the great nineteenth-century German historiographers.
April 19, 2012
I was in a friend’s apratment in Los Angeles last week and saw a piece of sculpture that was super interesting and an artist I was not familiar with, which leads me to today’s post!
Have a wonderful day!
Inside an expansive East L.A. studio, a collection of creatures is undergoing a transformation. One is a giant unbaked loaf of white plaster, sanded into smooth curves; another has taken on a yellowish-brown coating, a sealant; a third is covered by thick sheets of red wax. All are headless and rotund yet seem — with their crouched, perched, lolling torsos — to be quite playful. Soon, they will be trucked to a foundry to be cast in bronze.
“I don’t tend to work from obvious narrative or rhetoric,” says Shelton, 58. “I’d say my work is somewhere between abstract and recognizable. The main thing is to convey a sense of something animated.”
Shelton is a graduate of UCLA(1979), and throughout his career the artist has continued to allude to the body in a non-overt way, willingly opposing his post-modern academic background
that was often saturated in an anti-figurative attitude.
he works primarily, though not exclusively, with the human figure. He works at it from the outside and from within, showing us what is recognizably our anatomy. But Shelton is no literalist.
His vision takes the literal anatomy and makes it his own…
Shelton’s work taps into most deeply, confronting us with dream–or nightmare–visions of what it means to be a physical being in the world. That he asks us, eye and mind, at the same time,
to join in the play of paradoxical relationships between weight and lightness, inner and outer, space and volume adds to the rich texture of associations he engages. The word “avoirdupois”
comes pleasurably to mind. We experience a kind of gravity, in both the physical and the metaphorical sense, a heaviness of actual weight combined with a lightness of being. The work asks us to
take measure of our own weight and height as we stand in its vicinity; and it manages to be somehow alarmingly monumental and almost painfully intimate at the same time. It intrudes itself upon
our physical as well as on our psychic space and leaves us, yes, more fully aware of what it is to be a human being.
April 13, 2012
Yesterday, I introduced you to Ilya Bolotowsky and in that post I mentioned how he was a part of an art group called “The Ten” the famed, MARK ROTHKO was also a member of that group. I have always been in love with his work and then I realized I have never written a blog about him! So better late than never! I hope you enjoy reading this blog as much as I did writing it!
Mark Rothko was born into the name Marcus Rothkowitz in September of 1903. Rothko was a abstract expressionist Russian-American painter, although he liked to label himself as an “abstract painter”.
In 1923, Rothko found work in New York’s garment district and lived on the Upper West Side. While visiting a friend at the Art Students League of New York, he saw students sketching a model. According to Rothko, this was the beginning of his life as an artist. Later on, Rothko enrolled in the Grand Central School of Art. In school is where Rothko was surrounded by fellow artists that had a grant influence on his work. Here is where he began to see art as a tool “of emotional and religious expression.”
There is so much information regarding the amazing life that Rothko led. From the beautiful art that he created, to the teaching that he had done, Rothko was an interesting man. All leading up to his suicide in 1970 at the age of 66. Rothko’s work will forever be as interesting as he was.
April 12, 2012
I love reading about art and artists, there are so many great talents out there! One of these talents is ILYA BOLOTOWSKY! Not only do I love scrolling through his art online, seeing the bright colors and sharp lines, but I loved learning about his history. I hope you do too!
Ilya Bolotowsky was born in St. Petersburg in 1907. Not too long after, Bolotowsky immigrated to the United States in 1923, where he lived in New York City. While living in NYC, Bolotowsky attended the National Academy of Design. It was there where he made friends with fellow artists and became the group known as “The Ten Whitney Dissenters” or “The Ten” this group included famed artists such as, Louis Schanker, Adolph Gottlieb, Mark Rothko, and Joseph Solman. In this group, they rebeled against structure of the Academy and help independent exhibitions of their own.
Later on, Bolotowsky found his niche in art, where he began focusing on using horizontal and vertical geometric pattern and a palette restricted to primary colors and neutrals.
In the 1960s, he began making three-dimensional forms, usually vertical and straight-sided. Bolotowsky went on to teach humanities and fine arts at the Southampton, New York campus of Long Island University.