Posts tagged contemporary art

Maurizio Cattelan
A Perfect Day, 1999 

The piece existed solely on the evening of the opening and consisted in the presentation to the public of the gallerist Massimo De Carlo of Milan literally affixed to the wall by adhesive tape, that almost entirely covered him, like a grotesque but not less striking crucifixion.

Maurizio Cattelan

A Perfect Day, 1999 

The piece existed solely on the evening of the opening and consisted in the presentation to the public of the gallerist Massimo De Carlo of Milan literally affixed to the wall by adhesive tape, that almost entirely covered him, like a grotesque but not less striking crucifixion.

Tristan Pigott - What’s Your Point (2013)

Tristan Pigott - What’s Your Point (2013)

Mateo López - Helecho, 2011
cut paper, plastic bag, air
dim. var.

Mateo López - Helecho, 2011

cut paper, plastic bag, air

dim. var.

Jeff koons, metallic venus @ whitney museum, new york city, usa, www.whitney.org

Jeff koons, metallic venus @ whitney museum, new york city, usa, www.whitney.org

Tracey Emin, JUST LOVE ME (1998)
Tracey Emin, JUST LOVE ME (1998)
BANKSY, TROLLEYS (2006)
BANKSY - The Unauthorised Retrospective @ Sotheby’sCurated by Steve Lazarides11 June 2014 - 25 July 2014 | London

BANKSY, TROLLEYS (2006)

BANKSY - The Unauthorised Retrospective @ Sotheby’s
Curated by Steve Lazarides
11 June 2014 - 25 July 2014 | London

David Hockney - John St. Clair Swimming (1972)

David Hockney - John St. Clair Swimming (1972)

Felix Gonzalez-Torres | http://www.artic.edu/aic/collections/artwork/152961

American, born Cuba, 1957–1996

"Untitled" (Portrait of Ross in L.A.), 1991

Multicolored candies, individually wrapped in cellophane
Ideal weight 175 lb.; installed dimensions variable, approximately 92 x 92 x 92 cm (36 x 36 x 36 in.)


Felix Gonzalez-Torres produced work of uncompromising beauty and simplicity, transforming the everyday into profound meditations on love and loss. “Untitled” (Portrait of Ross in L.A.) is an allegorical representation of the artist’s partner, Ross Laycock, who died of an AIDS-related illness in 1991. The installation is comprised of 175 pounds of candy, corresponding to Ross’s ideal body weight. Viewers are encouraged to take a piece of candy, and the diminishing amount parallels Ross’s weight loss and suffering prior to his death. Gonzalez-Torres stipulated that the pile should be continuously replenished, thus metaphorically granting perpetual life.

blakegopnik:

THE DAILY PIC:  My take on Jeff Koons? That he’s the planet’s sole sufferer from a disorder I’ve dubbed “aesthetic agnosia”: an inability to recognize the normal codes of art and culture. The prime symptom of Koons’s illness is a career’s worth of works that don’t fit into any of the normal categories that the rest of us use to sort out the (art) world. He’s the Man Who Mistook His Wife For A Sculpture – an outsider artist who happens to sit right in the center of the art-world inside. (That position alone is part of his genius.) This is what I felt when I reviewed his first retrospective, only six years ago in Chicago, and my view hasn’t much changed with his new spread at the Whitney – you can hear me voice it again in the latest “Strictly Critical” video that I’ve made with my (oh-so-misguided) pal Christian Viveros-Fauné.
But the Whitney show did make me think, again, of a recent(-ish) book called “In Praise of Copying,” by the theorist Marcus Boon. It argues that the West has come to neglect (or even to deride) the ancient principle of copia – the pleasure to be had, and the insights to be gained, from the sheer multiplicity of things in the world around us. We moderns treasure unique originals  where we ought to value the endless copies we are, in fact, so good at making. Koons, of course, is our master of multiplictity. Works from the 1980s, such as “New Hoover Convertibles, Green, Blue Doubledecker”  that I’m showing here, make that obvious – this is a shrine to copia, a reliquary of its patron saint Trademark. But much of Koons’s art is about taking objects that ought to be unique – a balloon dog the size of an elephant, say – and finding ways to produce them in series. Even a moment of orgasm with his porn-star ex-wife, as much a unicum as anything ought to be, becomes a mechanically produced – and therefore reproducible – oil painting. (Pace almost all my art-critical colleagues, I happen to agree with Koons that his “Made in Heaven” porn pictures are among his greatest and most important works.) 
Koons misunderstands what a masterpiece ought to be – and therefore turns them out in numbers. (Image ©Jeff Koons)
The Daily Pic also appears at blogs.artinfo.com/the-daily-pic. For a full inventory of past Daily Pics visit blakegopnik.com/archive.

blakegopnik:

THE DAILY PIC:  My take on Jeff Koons? That he’s the planet’s sole sufferer from a disorder I’ve dubbed “aesthetic agnosia”: an inability to recognize the normal codes of art and culture. The prime symptom of Koons’s illness is a career’s worth of works that don’t fit into any of the normal categories that the rest of us use to sort out the (art) world. He’s the Man Who Mistook His Wife For A Sculpture – an outsider artist who happens to sit right in the center of the art-world inside. (That position alone is part of his genius.) This is what I felt when I reviewed his first retrospective, only six years ago in Chicago, and my view hasn’t much changed with his new spread at the Whitney – you can hear me voice it again in the latest “Strictly Critical” video that I’ve made with my (oh-so-misguided) pal Christian Viveros-Fauné.

But the Whitney show did make me think, again, of a recent(-ish) book called “In Praise of Copying,” by the theorist Marcus Boon. It argues that the West has come to neglect (or even to deride) the ancient principle of copia – the pleasure to be had, and the insights to be gained, from the sheer multiplicity of things in the world around us. We moderns treasure unique originals  where we ought to value the endless copies we are, in fact, so good at making. Koons, of course, is our master of multiplictity. Works from the 1980s, such as “New Hoover Convertibles, Green, Blue Doubledecker” that I’m showing here, make that obvious – this is a shrine to copia, a reliquary of its patron saint Trademark. But much of Koons’s art is about taking objects that ought to be unique – a balloon dog the size of an elephant, say – and finding ways to produce them in series. Even a moment of orgasm with his porn-star ex-wife, as much a unicum as anything ought to be, becomes a mechanically produced – and therefore reproducible – oil painting. (Pace almost all my art-critical colleagues, I happen to agree with Koons that his “Made in Heaven” porn pictures are among his greatest and most important works.)

Koons misunderstands what a masterpiece ought to be – and therefore turns them out in numbers. (Image ©Jeff Koons)

The Daily Pic also appears at blogs.artinfo.com/the-daily-pic. For a full inventory of past Daily Pics visit blakegopnik.com/archive.

Yue Minjun
A Pyramid, 2001
silkscreen on paper

Yue Minjun

A Pyramid, 2001

silkscreen on paper