Flesh & Blood (1980)
Avalon (1982)
Friday, 27 July 2012
Gabriel Dawe
The Density of Light, April 2012, Lot 10 Gallery, Brussels, Belgium
Plexus no. 15, 2012
Site specific installation at LSU Museum of Art
gütermann thread, painted wood and hooks, 28' x 4' x 16'
Plexus no. 14, 2012
Site specific installation at Galerie Lot 10
gütermann thread, painted wood and hooks, 8' x 8' x 11'
Plexus no. 5, 2011
Site specific installation at pump projects 2011 Texas Bienial
gütermann thread, wood and nails, 12' x 12' x 12'
Plexus no.11, 2011
Site specific installation at East Wing X,
gütermann thread, painted wood and hooks, dimensions variable
Gabriel Dawe's work is currently on view as part of the biennial exhibition at the Courtauld Institute examining ways in which materials have been used in contemporary art.
East Wing X, The Courtauld, Somerset House, London, 20 January - July 2013
Tuesday, 24 July 2012
Friday, 20 July 2012
Tuesday, 17 July 2012
Monday, 16 July 2012
George Herms
Delusional Shift, 2010
Collage on Paper, 14 x 11 inches
Snow Job IV, 2011
Collage on paper, 26 x 20 inches
Sann Diego Rose XI
Collage on paper, 26 x 20 inches
Delusional Shift, 2010
Collage on paper, 14 x 11 inches
Since the late 1950s, George Herms has been a central figure in the development of the West Coast assemblage aesthetic. Influenced by the Beat generation more attuned to the musical nuance of the everyday than the modernist requiem to order, Herms’s commitment to counterculture is expressed through his repurposing of used materials and his rejection of compositional structures in favor of loose associations of objects and ideas. Herms salvages elements from the trash heap of popular culture, combining them with words and phrases to create final entities that are neither pure thought, nor pure object—they are both prop and proposition. At times, Herms has been associated with landmarks of the developing L.A. art scene—Wallace Berman and Semina, Walter Hopps and the Ferus Gallery, Dennis Hopper and the film culture of Easy Rider—but his art has refused any singular identification. An advocate of all things free—spirit, material, and love—Herms is the spiritual godfather to an art of the unknown, forging something out of nothing, which continues to be a driving compulsion of artists today.
George Herms, OHWOW
Thursday, 12 July 2012
Wednesday, 11 July 2012
Haute Couture: The Polaroids of Cathleen Naundorf
+226267.jpg)
La Fille En Plâtre IV (version 1)
Les Mariées
My Little Darling
The Crying Game
Paris-based photographer Cathleen Naundorf releases her publication Haute Couture: The Polaroids of Cathleen Naundorf.
Focusing predominantly on six fashion houses, to whose archives she was granted unlimited access, Naundorf's large format photographs illustrate the stunning couture of Armani, Chanel, Dior, Lacroix, Elie Saab and Valentino in decadently poised settings, sheltered against the easily rectified whims of digital photography. The inherent imperfections of the developmental process, described by Naundorf as "a gesture of homage to the unique nature of the haute-couture fashion", often leave smattering of imperfections across and around the image, making it as singular and inimitable as the fashion it enshrines.
Timeless and infallible, Naundorf's images are more redolent of the artisanal craftsmanship of photographers such as Richard Avedon and Irving Penn than of her contemporaries; she uses a large format camera, either a Deardorff or Plaubel, with polaroid film in a format difficult to source, in order to do justice to the otherworldly essence of couture. Her key influence and mentor, German fashion photographer Horst P. Horst, is also prominent throughout the book. In Homage to Horst P. Horst, Naundorf photographs a young, bobbed model in a Chanel gown against the backdrop of Coco's former Ritz apartment, in the very same armchair in which Horst photographed Mademoiselle Chanel herself some seventy years earlier. Even the motif of lace-backed corsets, which Horst first immortalised in Mainbocher Corset, 1939, runs throughout the publication in tribute to the iconic photographer.
The Historical Box, Hauser & Wirth, London
The War Room, Wally Hedrick, 1967—2002
Oil on canvas
8 parts, 335.2 x 167.6 cm / 132 x 88 in each
Jouster, Robert Mallary, 1960
Wood, steel, cardboard, tarpaper, dirt and polyester resin
259 x 126.3 x 22 cm / 102 x 49 3/4 x 8 5/8 in
Illuminations Drawings, Simone Forti, 1972
Charcoal and ink on newsprint
3 parts: 61 x 48.3 cm / 24 x 19 in
3 parts: 48.3 x 61 cm / 19 x 24 in
6 Film Stills, Stan VanDerBeek, 1957—1965
16mm films transferred to DVD, Exhibition Loop
The Historical Box, 23 May - 28 July 2012, Hauser & Wirth, Piccadilly, London
‘The Historical Box, curated by Mara McCarthy, director of The Box, Los Angeles showcases key pieces by influential American artists including John Altoon, Judith Bernstein, Simone Forti, Wally Hedrick, Robert Mallary, Barbara T. Smith and Stan VanDerBeek. This exhibition brings together a collection of important performance, film, dance, drawings and sculpture created during the political and social turmoil of the Sixties and Seventies in the USA. It aims not only to broaden the canon of art history, but also to highlight the contemporary relevance of the issues which these artists confronted over three decades ago.
Monday, 9 July 2012
Friday, 6 July 2012
.gif)
Wednesday, 4 July 2012
Subscribe to:
Posts (Atom)
