A group of voices accompanies me in the exhibition. They are singing words I cannot comprehend, yet the warm tunes are familiar: folk songs, love songs, songs of longing. There are letters, too. They speak of the quotidian details of a soldier's life: the hardness of the war, sending money to the family, and longing for familiar landscapes, food,...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Sarah Sze, Exhibition view at the 96th Street station. Photo: George Etheredge for The New York Times.
When a city has been waiting for a badly needed new subway line since 1929, public art is probably far down the list of expectations, well behind accommodations like a) working trains, b) lights and c) some means of entrance and egress.
But when commuters descend into the new Second Avenue subway’s four stations, at 96th, 86th, 72nd and 63rd Streets, now set for New Year’s Day — or perhaps a little later if things don’t go as planned — they will find one of the most ambitious contemporary art projects in tile work that the Metropolitan Transportation Authority has ever undertaken. The agency’s art department, M.T.A. Arts & Design, founded and first funded in 1985, is rarely — in a salmagundi system 112 years old — presented with a brand-new, blank canvas.
Vik Muniz is best known for his works made from everyday materials such as string, garbage, chocolate syrup and dirt. He engages in the referential potential of these surprising mediums by assembling works that incorporate their subject matter into their materials. In doing so, Muniz adds new dimensions to established notions of representation.
Muniz began his career in sculpture with playful works such as Clown Skull (1987), from his 'Relics' series, which depicts the realistic-looking skull of a clown, bulbous bone nose included. Eventually, however, he found photographic documentation of his sculptural work to be more compelling than the artworks themselves and gradually came to focus on photography as the exclusive final medium for all his pieces. His 1989 series 'The Best of LIFE' was inspired by photographs from the coffee table publication The Best of LIFE, a book he had owned but lost while moving house. Muniz drew the legendary images in the book memory—among them The Man on the Moon and Kiss at Times Square (both 1989)—then photographed the drawings and presented the photos as final works. In another series, titled 'Pictures of Clouds' (2001), the artist photographed a skywriter's clouds as they gradually disintegrated and disappeared.
Unlike fading clouds formations which are in danger of disappearing from memory, masterpieces such as Leonardo da Vinci's Mona Lisa and photographs of Marilyn Monroe and Marlon Brando are deeply embedded in popular consciousness. However, Muniz's depictions of these images rework the iconography in non-traditional mediums that match the content of the image itself. For example, his 2004 portrait of Marilyn Monroe, titled Marilyn Monroe (Pictures of Diamonds), is made of diamonds—a reference to her famous song 'Diamonds are a Girl's Best Friend'. In his 'Pictures of Dust' series (2001), Muniz replicates the works of various famous mid-century American artists—such as Donald Judd's Untitled (1965) and Richard Serra's Prop (1968)—in dust collected from the Whitney Museum of American Art in New York. Discussing the piece in his Joseph M Cohen Family Collection biography, Muniz said: 'Dust is pieces of hair and skin. I think people scratch their heads a lot in museums; that gets mixed with the residue from the artworks themselves. That's the ultimate bond between the museum visitor and the artwork'.
In the past decade, Muniz has extended his visual repertoire from contemporary culture to more personal encounters. In his series 'Pictures of Garbage' (2008), he photographed garbage pickers he met at an open-air dumpsite just outside Rio de Janeiro called Jardim Gramacho. However, he retains his interest in iconography by staging the pickers as the subjects of classical portraits, such as the French revolutionary leader Jean-Paul Marat from Jacques-Louis David's Death of Marat. Details of the images were accented with the garbage the models had scavenged. In the accompanying documentary film Waste Land (2010), directed by Lucy Walker, Muniz states that he aimed to 'change the lives of people with the same materials they deal with every day'. Indeed, due the critical acclaim and success of the documentary, the artist and the filmmakers have donated more than $300,000 to the pickers' community in Jardim Gramacho.
Muniz splits his time between Brooklyn and Rio de Janeiro.
Not Vital is in the habit of stressing that he isn't an architect. 'I never went to architecture school,' he told me the last time we met in Bataan, where he'd just completed a chapel that resembled an Aztec temple but contained a deconstructed rendering of The Last Supper and a statue of a local harvest deity. 'That's why I'm so free to do this.'
There was a point where Lucia Koch was disturbed by the fact that most approaches to her works took them only as expressions of atmospheric changes on spaces and the alterations that light, modulated by filters, produced on human perception.
With just about three months to go, the 13th Havana Biennial is taking shape.Opening April 12 and running through May 12, Cuba's most important art event is expected to once again bring the international art world to Havana.Postponed due to damage from Hurricane Irma in 2017, the 13th edition expands the Biennial's reach in Havana and around the...
Hélio Oiticica (1937 – 1980) is a now integral part of the New York art scene, in large measure thanks to his 2017 retrospective at the Whitney, To Organize Delirium, which provided New Yorkers with an opportunity to experience him in full.
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