Posts tagged art
e m i l l u k a s A R T I S T
press #1072, 2011
y a y o i k u s a m a A R T I S T
posing in her installation International Galerij Orez, 1965
“Just weeks after moving into an East 19th street loft in September 1961, Yayoi Kusama, aided by Donald Judd, began sewing and stuffing hundreds of small canvas sacks full of cotton… Some were erect; others were semi-flaccid… this collision between what were now unmistakably phallic objects into this realm of kitsch-infused, quotidian femininity… undertaken to conquer her fear of the phallus… she recalls, ‘i began making penises in order to heal my feelings of disgust towards sex… i was terrified of sex, and of the phallus.’” accumulations, chris kraus
GO SEE until September 30, 2012
G O S E E ( C O M I N G S O O N ): J U D D & S O H O
“Donald Judd was one of the first artists to move to SoHo. Soon this derelict industrial neighborhood became a vibrant haven for artists, writers, musicians, and community activists, among others… Judd participated in efforts to change zoning laws in Lower Manhattan to allow the conversion of industrial spaces into live-work studios, through A.I. R (Artist-in-Residence) designation. Judd hosted dinner parties and social gatherings, and had a genuine curiosity for new ideas and debate about the intersection of art, culture, history and politics at a time of great tumult and change in the United States and the world. The ground floor of 101 Spring Street was used for occasional temporary exhibitions, community and activist meetings, and performances. Over the next 25 years, Judd renovated the building floor by floor… As the building where Judd lived and worked… 101 Spring Street will offer a firsthand experience that cannot be found at any other major art institution in New York City. Visitors will encounter art and design that exists on its own terms.” via Judd Foundation. donate towards the restoration here.
s e r g i o c a m a r g o A R T I S T
untitled, 1971
c a r m e n h e r r e r a A R T I S T
blanco y verde, 1966
m e l b o c h n e r A R T I S T
perspective one point (positive), 1967
G O S E E: T H E P A I N T I N G F A C T O R Y
abstraction after warhol MOCA, through August 20, 2012
“Ironically, one of the places where this fresh approach to abstraction was germinating was the studio that might seem the farthest from the practice of the abstract tradition, Andy Warhol’s Factory. The Factory was a haven for all sorts of brilliant artistic misfits, but was also a laboratory where the historical and contemporary innovations in art and culture could be remixed and reconstituted…”
g i l l i a n w e a r i n g A R T I S T
self portrait at three years old, 2004
gillian looks back on her younger self with the eyes of her present self, wearing a prosthetic mask of her youth revealing only her adult eyes.
A PAGE FROM + FRIEZE no. 148
eleanor nairne on gillian wearing
“a picture of modern british society”
G O S E E: Y A Y O I K U S A M A fireflies on the water
the whitney, new york through september 30, 2012
“Yayoi Kusama’s depictions of seemingly endless space have been a central focus of her artistic career. Kusama’s Fireflies on the Water with its carefully constructed environment… creates a space in which individual viewers are invited to transcend their sense of self.” watch polka dot world.
find more of our GO SEE’s here.
k a z i m i r m a l e v i c h A R T I S T
black square, 1915
“malevich’s black square against white background became the symbol, the basic element in the system of the art of suprematism, the step into the new art. black square immediately occupied its own niche in the long and complex history of world art.” read more of what is black square here. placed in the corner of malevich’s first suprematist exhibition he stated that “the corner symbolizes that there is no other path to perfection except for the path into the corner. one cannot arrive at perfection without a rational syntax.” more.
v i c t o r v a s a r e l y A R T I S T
cassiopee II, black and white period, 1958
REQUIRED READING
S U R R E A L I S M T O D I E F O R
“Surrealism certainly had roots in an imaginative obsession with torture and killing…” via Art in America
v i c t o r v a s a r e l y A R T I S T
fugue, 1958
y o k o o n o A R T I S T
pastel drawing, an invisible flower, 1952, age 19
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