shu and joe

Posts filed under ‘Art’

Most Valuable Puppets

June 10, 2009

Trip up to the Frye in Seattle to see the Puppet Show. CJ’s Puppet Conference was on view as was Pierre Huyghe’s ‘This is not a time for dreaming’ (2004), an exploration of “puppet opera.”

Rirkrit on the right. I got busted for taking these — apparently puppets are people, too.

Still from ‘This is not a time for dreaming.’

Warhol’s puppets of Richard Nixon and LBJ.

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Read/Write Think/Dream

January 14, 2009

John Baldessari talks about his 2001 installation for UCSD, Read/Write Think/Dream and his experience as a life-long teacher.

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Op-Art Intrigue

November 26, 2008

In the mid-1970s Victor Vasarely designed and paid for the construction of what he christened the Centre Architectonique d’Aix-en-Provence. The structure was intended to act as a permanent exhibition space for Vasarely’s work, but also as a populist community center for artists and designers, a focal point for an as-yet-unrealized artists’ colony. Today the building is largely disused and in disrepair. What’s worse, the majority of the artist’s archive, which was housed in the Centre and a second museum he established in Gordes, has been pilfered by Vasarely’s relatives and sold off. His grandson, Pierre Vasarely, is out to right such wrongs and has been involved in a court battle with his step-mother Michèle Taburno for years. Taburno is generally credited with masterminding the dilution of Vasarely’s archive and has made herself quite wealthy in the process. The whole sordid story was covered by Artinfo.

Monument marking the entry to the Vasarely Foundation

Vasarely Foundation, Aix-en-Provence

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Here is Always Somewhere Else

November 18, 2008

I’ve been waiting for this for a while – Rene Daalder’s documentary concerning the disappearance at sea of Bas Jan Ader, one of the most incisive performance artists of the 1970s. His career was short and his output limited, but his influence on recent art practice has been huge.

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Kalin Lindena

November 7, 2008

Kalin Lindena once invited artists to graffiti a gallery wall in Cologne, then spent the next few days painting over their work to create a massive collage. A former graffiti artist herself (she “studied” for almost 10 years), Lindena is familiar with layering color over existing textures and structures. Her latest exhibition is at Galerie Parisa Kind in Frankfurt.

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Tara Donovan

October 23, 2008

Design Observer has posted an interview with recent MacArthur Grant recipient Tara Donovan.

Untitled, 2003, styrofoam cups and glue

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Drama Queens

October 16, 2008

Enjoying Michael Elmgreen and Ingar Dragset’s animated “play” Drama Queens. This artworld send-up stars work by Alberto Giacometti, Ulrich Rückriem, Barbara Hepworth, Sol LeWitt, Jeff Koons and Andy Warhol and features the voices of Jeremy Irons, Joseph Fiennes and Kevin Spacey. Gives new meaning to the notion that a work of art “speaks.”

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Kent Henricksen

Kent Henricksen has a solo exhibition—titled Absence of Myth—up at Torino’s Galleria Glance. Kent’s work was included in our By Hand book, so it’s been great to see how his work has developed over the past few years. Here are a few images from the show:

Devious Delight, 2008, 26.5 x 23.5 in. – 67.3 x 59.7 cm

Transcendental Treasures I, 2008, Embroidery thread and gold leaf on canvas – 9.5 x 11.5 in. – 24.1 x 29.2 cm

To have and to hold, 2008, Embroidery thread and gold leaf on silk – 37 x 58 in. – 94 x 147.3 cm

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Why are conceptual artists painting again?

October 2, 2008

Sounds like a good topic to open up The Building’s monthly art talks series. Berlin-based critic Jan Verwoert is at the helm, and all are welcome.

Friday, October 3rd, 730 PM

the building
Platz der Vereinten Nationen 14a
Berlin, 10249 DE
T: 030 28 04 79 73

How have the basic conditions of art practice changed and what words and models could we use to open up the potentials at the heart of these developments in art after Conceptualism?

The dominant models no longer satisfy. It makes no sense to melodramatically invoke the “end of painting” (or any other medium-specific practice for that part) when the continous emergence of fascinating work obviously proves apocalyptic endgame scenarios wrong. Yet, to pretend it were possible to go back to business as usual seems equally impossible because the radical expansion of artistic possibilities through the landslide changes of the 1960s leave medium-specific practices in the odd position of being one among many modes of artistic articulation, with no preset justification. How can we describe then what medium-specific practices like painting or sculpture can do today?

Likewise, it seems, that we can still not quite convincingly describe to ourselves what Conceptual Art can be: An art of pure ideas? As if “pure” idea art were ever possible let alone desirable! An art of smart strategic moves and puns? We have advertising agencies for that. The social and political dimension of Conceptualism has been discussed, but often only in apodictic terms, not acknowledging the humour, the wit, the existential, emotional or erotic aspects, as well as the iconophile, not just iconoclast motives, that have always also been at play in the dialectics and politics of life-long conceptual practices.

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Rob Wynne in Philadelphia

September 30, 2008

Rob has another show opening this weekend at Locks Gallery in Philadelphia.

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