Posts tagged ‘architecture’

July 2, 2013

James Nares








James Nares  is British born artist living and working in New York City since 1974. Nares makes paintings and movies (most notable being the No Wave Cinema classic Rome 78) and played guitar in the no wave group James Chance and the Contortions and with Jim Jarmusch in the Del-Byzanteens and was founding member of Colab. Nares attended the Chelsea Art School in London from 1972 to 1973. He later studied at the School of Visual Arts in New York from 1974 to 1976.  Nares is best known as a contemporary art painter. His method involves repeated strokes that eventually create a precise representation.

He is known for employing single but intricate gestural brush strokes in most of his works. Grace Glueck, New York Times art critic, described the effect of Nares’s paintings as a combination of Japanese calligraphy and the 1960s cartoon works of Roy Lichtenstein. His Modernist paintings, done with brushes he personally designs, effectively capture and record motion and the passage of a moment on canvas.

Nares’s paintings have been prominently featured in films and videos focusing on a wide variety of artistic concepts such as, movement, artistic repetition, and rhythm. His work is exhibited in various museums in the United States, such as the Museum of Modern Art in New York, the Albert-Knox Art Gallery in Buffalo, NY, and the Whitney Museum of American Art in New York. Some of his major solo exhibitions include 1976: Films and Other Works at Paul Kasmin Gallery, in New York in 2012, and Mixed Use, Manhattan: Photography and Related Practices 1970s to the present in 2010 at the Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain.

Nares’s other solo exhibitions include New Paintings in 2004 at the Hamiltons Gallery in London, UK, and the New Paintings and Chronophotographs exhibition in 2005 at the Goss Gallery in Dallas, TX. His works were also featured in the Painting and Sculpture exhibition at the Lehman Maupin Gallery in New York City, in 2010. Rizzoli, a leading American publication, published a monograph dedicated to Nares’s works in 2013 that focuses on his contributions to the world of art in the past four decades.

Nares is represented by the Paul Kasmin gallery.

Nares was accorded artistic recognition by the Anthology Film Archives in 2008 for his film work. He made a series of short sculptural-related minimal art films, somewhat in style and interest to those of Richard Serra. In 1978 he released a well-known no wave 82 minute color Super-8 film entitled Rome 78, his only venture into feature-length, plot-driven film. The narrative is about the Roman emperor Caligula now set in a shabby 1978 downtown Manhattan apartment. As such, it proposes an analogy between ancient Rome and modern America as cultural empires.   Despite its large cast in period costumes, the work is never made out to be a serious undertaking, with actors who interject scenes with self-conscious laughter, and deliver seemingly improvised lines with over the top bravado. The work features No Wave Cinema regular Lydia Lunch of Teenage Jesus and the Jerks along with artist David McDermott of McDermott & McGough as Caligula, James Chance, John Lurie, Eric Mitchell as a Roman general, Judy Rifka, Jim Sutcliffe, Lance Loud, Mitch Corber, Patti Astor, Anya Phillips as the Queen of Sheba and Kristian Hoffman, among others.

Nartes’ video “Street” (with a score composed by Thurston Moore), acquired by the Metropolitan Museum of Art, is the centerpiece for an exhibition he curated for the museum from their collection on the so-named theme.  This exhibition ran from March 5 until May 27, 2013.

May 7, 2013

Marjetica Potrc





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She builds better worlds.

Marjetica Potrc has made some important art: she’s built dry toilets for Latin American slums and promoted a water jug for Africa that can also absorb the force of land mines. She’s taken the idea that art can change the world and made it come true. Sure, her art-world actions don’t do that much actual good. Instead, they do what art does best: they talk about how the world might be better.

“I believe in art. People need art to negotiate their world,” Potrc says. And the depth of that belief may be this artist’s true contribution.

Potrc (pronounced “PO-turtch,” with Marjetica sounding close to “Mari-EH-tee-tza”) was born in 1953 in Ljubljana, Slovenia, where she still lives. She got her start in architecture, but began making building-themed art about 15 years ago.

A typical Potrc begins with a structure or situation she finds in a distant place—say, Venezuela or Rajasthan, India—then tweaks to make more livable. “We should respect people in favelas, and learn from them, and their living conditions.” Other work comes closer to sculpture, as she mashes up constructions: in a big installation at MIT called Hybrid House, Potrc set down a wild building that hybridized features of buildings from Caracas, the West Bank, and West Palm Beach. By colliding three such different visions, Potrc achieves a surrealist edge that also embraces the real.


March 18, 2013

Øystein Aasan



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Berlin-based Norwegian artist Øystein Aassan  uses a combination of materials including paper, plywood, ink, adhesive letters, photography, and pop cultural imagery to create sculptural installations and wall pieces that explore issues around memory and duplication. Influenced by the presentation of works in Peggy Guggenheim’s early-20th-century gallery, Art of This Century, Aasan arranges images and reproduced texts on architectural grids, or what the artist calls “display units”, drawing attention to the construction of the pieces.

Øystein Aasan

February 5, 2013

Mary Lum






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situation 10Mary Lum Born 1951, in St. Cloud, MN, lives and works in North Adams, MA

Received her MFA from the Rochester Institute of Technology, Rochester, NY and her BFA from the University of Michigan, Ann Arbor, MI  Carrol and Sons Gallery, Boston, MA

Mary Lum creates collages and wall works that outline and unfold space, gleaned from the margins of the urban environment. She collects fragmented images and the poetic undercurrents of the city through her camera lens, later dislocating these architectural details—stairwells and railings for instance—and repositioning them in geometric planes of color that open up space. In doing so, she draws attention to the overlooked but subliminally powerful architecture of modern life.

With frequent residencies in Paris, London, and New York, Lum casts herself in the role of the latter-day flâneuse (a French term meaning stroller coined by Charles Baudelaire). She ties her interest in flânerie back to Baudelaire, but also to Walter Benjamin’s unfinished Arcades Project and the concept of psychogeography as practiced by 1950s and 60s writers and artists of the Situationists International. Pyschogeography suggests the experience of one’s environment through intuition rather than cognitive organization. This kind of perceptive exploration of cities feeds Lum’s interdisciplinary practice.



December 13, 2012

Ai Weiwei

‘Life is never guaranteed to be safe’


‘ Sunflower seeds at the Tate’


December 12, 2012

Ai Weiwei








weiwei stools


Ai Weiwei (born 18 May 1957) is a Chinese contemporary artist, active in sculpture, installation, architecture, curating, photography, film, and social, political and cultural criticism.  Ai collaborated with Swiss architects Herzog & de Meuron as the artistic consultant on the Beijing National Stadium for the 2008 Olympics.  

Ai Weiwei is China’s most famous international artist, and its most outspoken domestic critic. Against a backdrop of strict censorship and an unresponsive legal system, Ai expresses himself and organizes people through art and social media. In response, Chinese authorities have shut down his blog, beat him up, bulldozed his newly built studio, and held him in secret detention.

As a political activist, he has been highly and openly critical of the Chinese Government’s stance on democracy and human rights. He has investigated government corruption and cover-ups, in particular the Sichuan schools corruption scandal following the collapse of so-called “tofu-skin schools” in the 2008 Sichuan earthquake.  

In 2011, following his arrest at Beijing airport on 3 April, he was held for over two months without any official charges being filed; officials alluded to their allegations of “economic crimes” (tax evasion).

In October 2011 ArtReview magazine named Ai number one in their annual Power 100 list. The decision was criticised by the Chinese authorities.  Chinese Foreign Ministry spokesman Liu Weimin responded, “China has many artists who have sufficient ability. We feel that a selection that is based purely on a political bias and perspective has violated the objectives of the magazine”.

AI WEIWEI: NEVER SORRY is the inside story of a dissident for the digital age who inspires global audiences and blurs the boundaries of art and politics. First-time director Alison Klayman gained unprecedented access to Ai while working as a journalist in China. Her detailed portrait provides a nuanced exploration of contemporary China and one of its most compelling public figures.  This is one to watch and it’s on netflix!

You can follow him on twitter here

December 8, 2012

Francois Morellet




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Born in Cholet in 1926 François Morellet worked in his father’s business between 1948 and 1975. He taught himself to paint but also took lessons from a painter. His early landscapes, portraits and still lifes were executed in pastose brushwork in a subdued palette but they soon gave way to painting distinguished by stylized pictorial elements. By 1950 François Morellet was styling himself an “abstract painter”. That year Morellet had his first one-man show at the Galerie Creuze in Paris.
In the mid-1950s François Morellet was preoccupied with configuring the picture field as an infinite structure reaching beyond the confines of the picture itself. In so doing, François Morellet eliminated the all-over technique of a Jackson Pollock from his range since Morellet based each work on principles and systems established in advance. François Morellet was in fact more interested in method than in the finished painting.
Morellet joined “GRAV” (‘Groupe de Recherche d’Art Visuel': 1960-1968), a group of Kinetic artists who explored the possibilities of the visual arts in a scientific and experimental way. Determined to find a new medium of expression, François Morellet used neon from 1963 as his material of choice. What interested Morellet in neon tubing was its specific material properties: its luminosity, the way it could be made to shut on and off automatically and the fact that it was manufactured.
From 1968 François Morellet became interested in architecture and space. He was given commissions for working in public spaces, including the Centre culturel in Compiègne, the La Défense section of Paris and the Kröller-Müller Museum Park in Otterlo.
In 1992 François Morellet summed up his work himself in “Relâche n° 1″ by combining in it all the materials he had ever used: painted canvas, neon tubing, adhesive tape and strips of metal. Following aleatoric principles, François Morellet allowed chance to transform his materials into an aesthetic disorder. His provocative stance and humor place Morellet closer to Dada than to Geometric Abstraction and Minimal art.
François Morellet lives in Cholet and Paris.

November 20, 2012

Howard Hodgkin

Sir Gordon Howard Eliot Hodgkin was born in London in 1932 and attended Camberwell School of Art and the Bath Academy of Art, Corsham .  British painter and printmaker, his work is most often associated with abstraction. In 1984, he represented Britain at the Venice Biennale and in the following year won the Turner Prize. He has exhibited internationally for over four decades and his work is included in major public and private collections all over the world.  In 2003 he was appointed by Queen Elizabeth II as a Companion of Honour. A major exhibition of his work was mounted at Tate Britain, London, in 2006. Also in 2006, The Independent declared him one of the 100 most influential gay people in Britain, as his work helps many people express their emotions to others.  Hodgkin’s work plays with the notion of “representational pictures of emotional situations,” and viewers delight exploring in the intense interactions of paint and surface.   A brilliant colorist whose work lies between representation and abstraction, Hodgkin defies definitions.

November 20, 2012

Kenneth Josephson


Kenneth Josephson was born on July 1, 1932 in Detroit, Michigan. He completed his elementary education in Detroit. In 1953 after being sent in Germany by the United States Army he was trained in photo lithography and aerial reconnaissance photography. In 1957 he earned a Bachelor of Fine Arts from the Rochester Institute of Technology, located in New York. There he studied under Minor White.

Kenneth Josephson created works in the 1960s and 1970s that placed him at the forefront of Conceptual photography. These early photographs focused on the act of picture making and offered playful commentary on photographic truth and illusion. Especially memorable from this era are his pictures within pictures. Since then, Josephson has extended his output to include elegant images of India’s street life, a series of affectionately witty nudes, and photographs of books folded into whimsical and sensuous forms.

November 20, 2012

Daniele Papuli


Italy-based artist Daniele Papuli creates site-specific installations made of paper.   The sculptural floor piece known as Cartoframma consists of over 10,000 strips of paper that curve and spiral out to create a magnificent rippling effect.

Despite being made entirely out of paper, the piece gives the illusion of a fibrous texture or liquid consistency. Papuli’s decision to work primarily with paper began in 1993 after trip to Berlin where he attended a workshop on the methods of manufacturing paper. Since then, the sculptor has gone on to utilize the delicate material, experimenting with its form and strength. Paper is, all at once, a difficult medium to work with, because of its fragility, and an inspiring one due to its flexibility and the ease with which one can manipulate it.


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