dan challis

tategalleries: Ellen Gallagher: AxME at Tate Modern Ellen...

Sun, 19 May 2013 15:43:41 -0400

Ellen Gallagher Deluxe 2004–5 (detail, Wiglette) http://ow.ly/kB7pq

Ellen Gallagher DeLuxe 2004-5 http://ow.ly/kB7pq

Ellen Gallagher Murmur 2003-2004 http://ow.ly/kB7pq

Ellen Gallagher DeLuxe 2004-5 (detail, Free Nurses) http://ow.ly/kB7pq

Ellen Gallagher DeLuxe 2004-5 Ellen Gallagher (detail, The Man Who Kept Harlem Cool) http://ow.ly/kB7pq

Ellen Gallagher DeLuxe 2004-5 (detail, Start Glow Wigs) http://ow.ly/kB7pq

tategalleries:

Ellen Gallagher: AxME
at Tate Modern

Ellen Gallagher is one of the most acclaimed contemporary artists to have emerged from North America since the mid-1990s. Her gorgeously intricate and highly imaginative works are realised with a wealth of virtuoso detail and wit. This is her first major solo exhibition in the UK, providing the first ever opportunity to explore an overview of her twenty-year career.

Gallagher brings together imagery from myth, nature, art and social history to create complex works in a wide variety of media including painting, drawing, relief, collage, print, sculpture, film and animation. The exhibition explores the themes which have emerged and recurred in her practice, from her seminal early canvases through to recent film installations and new bodies of work.

Find out more: http://ow.ly/kB7pq

sulphuriclike: Doris Salcedo_Untitled_2003installation at 8th...

Mon, 13 May 2013 12:15:14 -0400

sulphuriclike:

Doris Salcedo_Untitled_2003
installation at 8th International Istanbul Biennial

thetuesdayafter: Roni Horn at Xavier Hufkens

Mon, 13 May 2013 12:07:14 -0400

thetuesdayafter:

Roni Horn at Xavier Hufkens

likeafieldmouse: Beckett

Thu, 09 May 2013 04:45:12 -0400

likeafieldmouse:

Beckett

likeafieldmouse: Ryan Everson - Fear Expanded (2012)

Tue, 07 May 2013 15:15:36 -0400

likeafieldmouse:

Ryan Everson - Fear Expanded (2012)

globalartnews: MATTHEW DARBYSHIRE UK Dans les œuvres de...

Sun, 05 May 2013 17:33:19 -0400

globalartnews:

MATTHEW DARBYSHIRE UK

Dans les œuvres de Darbyshire, à la manière d’un Pierre Bourdieu teinté d’espièglerie, la notion de goût est l’appât et celle de classe est le piège. En se référant aux objets du quotidien qui nous entourent comme à des « indices », son examen médico-légal de ce qui ne semblent qu’être les produits d’un mode de vie design révèlent une triste réalité imprégnée de préjugés culturels, d’ambitions insatiables, d’idéologies dévoyées, de sectarismes désuets et de croyances « à la carte ». En n’ajoutant rien au monde si ce n’est un appel à l’observation, les œuvres de Darbyshire transforment les réconforts domestiques achetés en magasin en germes fertiles du doute et de l’insatisfaction, suggérant ainsi que le registre de la dissension est potentiellement plus productif que celui du consensus.

Blades House, son installation aux Gasworks de Londres en 2008, fait connaître le fruit de sa recherche et, depuis, il a exposé au Tate Britain de Londres, dans les galeries Hayward et ICA, à la Tramway Gallery de Glasgow, la Fundacion Miro de Barcelone et la BACC de Bangkok. Cette année, Darbyshire présentera des expositions individuelles à la Zabludowicz Collection (Londres, GB), la Kettles Yard (Cambridge, GB) et le FRAC Nord-Pas de Calais (France), puis l’an prochain au Bloomberg Space (Londres, GB).

En menant une réflexion sur l’art, l’architecture et le design, qu’il soit ancien ou nouveau, à l’échelle nationale ou internationale, Darbyshire tente d’identifier certaines des forces qui déterminent nos goûts et influencent l’aspect et l’atmosphère de nos lieux de vie.

referencesrequired: Anthony McCall - Solid Light Works (2013)

Sun, 05 May 2013 06:25:12 -0400

referencesrequired:

Anthony McCall - Solid Light Works (2013)

danbourke: Billy Apple, PAID: The Artist Has to Live Like...

Sat, 04 May 2013 07:50:33 -0400

danbourke:

Billy Apple, PAID: The Artist Has to Live Like Everybody Else (15/3/02), 2002. Screenprint and receipt; 420 x 295 mm.

The proposition THE ARTIST HAS TO LIVE LIKE EVERYBODY ELSE functions as a statement in public space, claiming both the work’s and the artist’s rights to integrate into the reality of socio-economic structures.

Formulated and displayed for the first time during the economic boom of 1985, this statement has kept its relevance in a variety of different contexts. In 1991 it appeared as a running text on an outdoor electronic signboard, placed on the façade of the Bank of New Zealand’s (BNZ) office in Auckland. It reappeared in 1993 on the back cover of The National Business Review, linking the art of business with the business of art. By 1993 the artist had attached this statement to his Paid series. In this ongoing project, Billy Apple offers for payment the invoices that he has received for a range of purchases from his day-to-day living. The collector pays the invoice and then receives it framed and mounted on a form titled Paid with the words ‘The artist has to live like everybody else’ written underneath. In these, Billy Apple shortcuts the usual processes of making art, earning money and spending it.

anti-utopias: Brookhart Jonquil - Power Split, 2011, altered...

Sat, 04 May 2013 07:49:30 -0400

anti-utopias:

Brookhart Jonquil - Power Split, 2011, altered light fixture, two electrical outlets, dimensions variable. Image © Brookhart Jonquil. Used here by kind permission from the artist. All rights reserved.

More images here.

Power Split consists of a common work-light, the electrical cord to which has been sliced along its length. The plug, divided into two parts, is inserted into two separate electrical outlets.