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Matthew Barney the 45 year old American artist who works in sculpture, photography, drawing and film, whose early works combined sculptural installations with performance and video has been featured by Carol Vogel in a New York Times article titled ‘Matthew Barney Heads to the Morgan Library’. Vogel states “…Barney, an artist with a cultlike following… fashions his sculptures out of unusual materials like tapioca (dumbbells) and petroleum jelly (a weight bench). His drawings are the least known of his works. But to a place like the Morgan they are also the most intriguing. “There will be many people who will be surprised to see a Matthew Barney exhibition here,” said William M. Griswold, the museum’s director. “But his drawings are central to what we do. Many of them explore aspects of his technical innovations and his process, which makes a show like this ideal. For many people it will be a real revelation.” …It is the first museum retrospective devoted to Mr. Barney’s drawings and will consist of about 100 works. They range from the late 1980s, when he was still an undergraduate at Yale University, to those he created in conjunction with his five-part “Cremaster” film cycle, produced between 1994 and 2002, to his current project, “River of Fundament,” his film and live performance collaboration with the composer Jonathan Bepler that was inspired by Norman Mailer’s novel “Ancient Evenings.” Loans for the exhibition are coming from museums here and in Europe as well as from private collections. Besides the drawings… the show will include some of Mr. Barney’s storyboards. To show the kinds of myths and legends that inspire his work he has chosen books and manuscripts from the Morgan’s own collection, like a 2,000-year-old Egyptian Book of the Dead, a medieval zodiac and a copy of Walt Whitman’s “Leaves of Grass.”  Inspired by Carol Vogel, New York Times ow.ly/iqW6r Image source Wikipedia ow.ly/iqVZF An artist with a cultlike following (March 24 2013)

 

Matthew Barney the 45 year old American artist who works in sculpture, photography, drawing and film, whose early works combined sculptural installations with performance and video has been featured by Carol Vogel in a New York Times article titled ‘Matthew Barney Heads to the Morgan Library’. Vogel states “…Barney, an artist with a cultlike following… fashions his sculptures out of unusual materials like tapioca (dumbbells) and petroleum jelly (a weight bench). His drawings are the least known of his works. But to a place like the Morgan they are also the most intriguing. “There will be many people who will be surprised to see a Matthew Barney exhibition here,” said William M. Griswold, the museum’s director. “But his drawings are central to what we do. Many of them explore aspects of his technical innovations and his process, which makes a show like this ideal. For many people it will be a real revelation.” …It is the first museum retrospective devoted to Mr. Barney’s drawings and will consist of about 100 works. They range from the late 1980s, when he was still an undergraduate at Yale University, to those he created in conjunction with his five-part “Cremaster” film cycle, produced between 1994 and 2002, to his current project, “River of Fundament,” his film and live performance collaboration with the composer Jonathan Bepler that was inspired by Norman Mailer’s novel “Ancient Evenings.” Loans for the exhibition are coming from museums here and in Europe as well as from private collections. Besides the drawings… the show will include some of Mr. Barney’s storyboards. To show the kinds of myths and legends that inspire his work he has chosen books and manuscripts from the Morgan’s own collection, like a 2,000-year-old Egyptian Book of the Dead, a medieval zodiac and a copy of Walt Whitman’s “Leaves of Grass.”

 

Inspired by Carol Vogel, New York Times ow.ly/iqW6r Image source Wikipedia ow.ly/iqVZF

Jeffrey L Sturchio the American Senior Partner at Rabin Martin and former CEO of the Global Health Council, the world's largest membership alliance of public health organizations and professionals in more than 140 countries dedicated to saving lives by improving health throughout the world, has been featured in an article by Isolda Agazzi on the IPS News Service titled ‘Tsunami of Diseases Waiting to Hit’ stating “A tsunami is looming on the horizon and the world is unprepared for it. This one won’t be a massive wall of water but a tidal wave of disease – and experts say the international community needs to act fast to keep it from crashing. “Non-communicable diseases (NCDs) – cancer, heart disease, diabetes and chronic respiratory diseases, among others – have become the leading cause of death worldwide,” Jeffrey Sturchio … told a conference…  “Some 36 million people die from (NCDs) every year, 80 percent of them in low and middle income countries – a figure that will increase by 17 percent in the coming years and by 25 percent in Africa,” he added. Tuberculosis and malaria, in comparison, kill one to two million people around the world every year.“The disease burden is shifting to NCDs, but since developing countries still have to fight infectious diseases, they face a double burden,” Sturchio warned. However, developing countries do not appear to be paying adequate attention to the impending crisis. …financial resources are stretched thin, and it is unlikely that the funds needed to launch a massive global campaign will be readily available. “The reality is that in the last 20 years, tens of billions of dollars in official development assistance have gone to developing countries, mainly (to fight) HIV/AIDS, and it is unrealistic to think that the same will happen again, It will therefore be necessary to capitalise on existing investments and reallocate some of the resources already in circulation” he said.”  Inspired by Isolda Agazzi, IPS News Service ow.ly/in8m3 Image source Global Health TV ow.ly/in8iJ Tsunami of diseases waiting to hit (March 21 2013)

 

Jeffrey L Sturchio the American Senior Partner at Rabin Martin and former CEO of the Global Health Council, the world’s largest membership alliance of public health organizations and professionals in more than 140 countries dedicated to saving lives by improving health throughout the world, has been featured in an article by Isolda Agazzi on the IPS News Service titled ‘Tsunami of Diseases Waiting to Hit’ stating “A tsunami is looming on the horizon and the world is unprepared for it. This one won’t be a massive wall of water but a tidal wave of disease – and experts say the international community needs to act fast to keep it from crashing. “Non-communicable diseases (NCDs) – cancer, heart disease, diabetes and chronic respiratory diseases, among others – have become the leading cause of death worldwide,” Jeffrey Sturchio … told a conference…  “Some 36 million people die from (NCDs) every year, 80 percent of them in low and middle income countries – a figure that will increase by 17 percent in the coming years and by 25 percent in Africa,” he added. Tuberculosis and malaria, in comparison, kill one to two million people around the world every year.“The disease burden is shifting to NCDs, but since developing countries still have to fight infectious diseases, they face a double burden,” Sturchio warned. However, developing countries do not appear to be paying adequate attention to the impending crisis. …financial resources are stretched thin, and it is unlikely that the funds needed to launch a massive global campaign will be readily available. “The reality is that in the last 20 years, tens of billions of dollars in official development assistance have gone to developing countries, mainly (to fight) HIV/AIDS, and it is unrealistic to think that the same will happen again, It will therefore be necessary to capitalise on existing investments and reallocate some of the resources already in circulation” he said.”

 

Inspired by Isolda Agazzi, IPS News Service ow.ly/in8m3 Image source Global Health TV ow.ly/in8iJ

Yinka Shonibare the 50 year old British-Nigerian artist best known for his exploration of colonialism and post-colonialism within the contemporary context of globalisation, while acknowledging his physical disability as part of his identity and physically incapable of carrying out the making of the work himself, his conceptualism takes on a new angle. Shonibare’s work explores issues of colonialism alongside those of race and class, through a range of media which include painting, sculpture, photography, installation art, and film. Coline Milliard in an article published on Boulin Artinfo states “…Shonibare has long nurtured an ambiguous relationship with the Establishment, past and present. But the artist, a prominent post-colonialist voice in Britain – who …cherishes his recently awarded order of chivalry as Member of the British Empire with a pride that isn’t entirely ironic. Shonibare is a self-proclaimed dandy, an “insider and outsider,” and the 18th century, cradle of that empire, is a constant point of reference both for its political overtones and dazzling aesthetic. …The adoption of a motif so conveniently combining bright patterns and politics has been a blessing and a curse for the artist. Although it provided him with a “brand,” its repetitive use has led to a flattening out of his production, and accusations of one-trick-ponyism. …the fabric serves an array of distinct topics, of which post-colonialism and hybrid identity are only two of the most central. The omnipresence of conflicts, the threat of global warming, and food-sustainability are key concerns for Shonibare. …But no matter how idea-led, there’s always an obvious enjoyment of the material, of the colors, textures, or the craft of well-tailored garments in Shonibare’s production. “I may be interested in a number of issues, but primarily I am an artist, and my job is to take people elsewhere,” the artist has said. “My job is to create a wonderland for them.”  Inspired by Coline Milliard, Blouin Artinfo ow.ly/in4R8 Image source Africa SI ow.ly/in4IN My job is to create a wonderland (March 20 2013)

 

Yinka Shonibare the 50 year old British-Nigerian artist best known for his exploration of colonialism and post-colonialism within the contemporary context of globalisation, while acknowledging his physical disability as part of his identity and physically incapable of carrying out the making of the work himself, his conceptualism takes on a new angle. Shonibare’s work explores issues of colonialism alongside those of race and class, through a range of media which include painting, sculpture, photography, installation art, and film. Coline Milliard in an article published on Boulin Artinfo states “…Shonibare has long nurtured an ambiguous relationship with the Establishment, past and present. But the artist, a prominent post-colonialist voice in Britain – who …cherishes his recently awarded order of chivalry as Member of the British Empire with a pride that isn’t entirely ironic. Shonibare is a self-proclaimed dandy, an “insider and outsider,” and the 18th century, cradle of that empire, is a constant point of reference both for its political overtones and dazzling aesthetic. …The adoption of a motif so conveniently combining bright patterns and politics has been a blessing and a curse for the artist. Although it provided him with a “brand,” its repetitive use has led to a flattening out of his production, and accusations of one-trick-ponyism. …the fabric serves an array of distinct topics, of which post-colonialism and hybrid identity are only two of the most central. The omnipresence of conflicts, the threat of global warming, and food-sustainability are key concerns for Shonibare. …But no matter how idea-led, there’s always an obvious enjoyment of the material, of the colors, textures, or the craft of well-tailored garments in Shonibare’s production. “I may be interested in a number of issues, but primarily I am an artist, and my job is to take people elsewhere,” the artist has said. “My job is to create a wonderland for them.”

 

Inspired by Coline Milliard, Blouin Artinfo ow.ly/in4R8 Image source Africa SI ow.ly/in4IN

Figures I make always resist all classifications (December 8 2012) Figures I make always resist all classifications (December 8 2012)

Bharti Kher the 43 year old British Indian contemporary artist whose work encompasses painting, sculpture and installation has been profiled by Carla Raffinetti in an article published on Artlyst titled ‘Bharti Kher’s Surreal World Of Cyborgs Bindis And White Elephants’. Raffinetti states “Bharti Kher’s is one of India’s best-known contemporary artists. …Although the artist was born and bred in England, she settled in India permanently in 1992 after meeting her future husband there, the Indian artist Subodh Gupta.  As the daughter of first generation Indian immigrants to the UK, Kher’s work explores themes of identity and belonging, of being of Indian descent but of not quite being Indian, of being raised in Great Britain but not being quite British either. Kher’s world is a place where all metanarratives have broken down.  Her work collages an uneasy mix of socio-cultural memes together.  As an Indian insider-outsider, Bharti Kher questions cultural and social rules through her art.  Taking her own disjointed identity as a starting point, Kher’s work walks the tightrope between ancient Indian customs juxtaposed with modern Western values.  Outside of the narrow frame of Asian art, her work serves more broadly as a metaphor of the multiple meanings that can be ascribed to an object or a situation, depending on its context. … whilst Kher delves into her ethnicity for imagery, she does not do so exclusively, preferring an approaching that is more culturally ambiguous.  Says the artist, “The figures I make always resist all classifications of class, race, time – they could be anybody at any time.”

 

Inspired by Carla Raffinetti ow.ly/fKfP6 image source Arken ow.ly/fKfKN

Art is essentially a sensual relationship (December 6 2012) Art is essentially a sensual relationship (December 6 2012)

Lawrence Weiner the 70 year old Conceptual Artist whose work often takes the form of typographic texts, has been profiled by Louisa Buck for an article in The Art Newspaper titled ‘Lawrence Weiner: man of his word’. Buck states “For nearly half a century, the texts of Lawrence Weiner have been painted on the walls of cities and public buildings from Halifax to Hong Kong and galleries from Beijing to Mexico City. They have been spelled out in cobblestones, printed on beer mats, cast into iron manhole covers, floated inside souvenir Biros and sung as lyrics by a country and western band. Rendered in a utilitarian yet elegant typeface that is instantly recognisable, his cryptic but suggestive phrases operate simultaneously on several levels, whether spatial, poetic or political. …These constructions of what Weiner calls “Language + materials referred to” …Or, more specifically, a sculptor who works with words. “I never quite understand why the shit hits the fan when sculpture is presented within the form of language,” he says. “The use of language is the same as the change to being able to use acrylic or light to make things—it’s not exotic.” Weiner may not make objects per se, but he is adamant that the stuff of the world is always at the centre of everything he does. He defines his art as “the relationship of human beings to objects and objects to objects in relation to human beings”, and insists that “art is essentially a sensual relationship between materials and objects”.”

 

Inspired by Louisa Buck ow.ly/fKexX image source WeareBuild ow.ly/fKeuW

Jake Beckman an acrylic painter of magical realism and representational abstracts describes herself as a self-realized artist and Renaissance woman Self-realized artist and renaissance woman (January 3 2011)

Jake Beckman an acrylic painter of magical realism and representational abstracts describes herself as a self-realized artist and Renaissance woman. Beckman while renowned for her scratching, scribbling and coloring utilizes a range of other media from sculpture to digital art. While the canvas is where the painterly effects happen, she has a conceived notion from a prolonged process of thought, knowing how the finished painting is going to appear long before the brush touches the canvas. Once Beckman’s thought processes reach this stage through sketching and digital manipulation she comes to action, rapidly applying her preferred medium of fast drying acrylic paints, allowing her to apply multiple layer effects in short bursts.

 

Inspired by Jake Beckman ow.ly/3xhdb

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