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Anna Berger. Off Piste, 2016. Oil on aluminium, 70 x 60 cm. Courtesy of Kevin Kavanagh Gallery. …ion, which is also rife in contemporary art, with RICHARD Prince and Jeff Koons leading the pack. German artist Vivian Greven (b1985) paints directly from images of Bernini’s iconic 17th-century marble sculpture The Ecstasy of Mother Theresa – her smooth pearly face appears almost to effervesce in the three paintings in the exhibition. Through repetition, colour and a square canvas, Greven creates a modern icon, similarly to how Andy Warhol depicted his celebrity subjects. Mixing religious iconography with the language of contemporary celebrity speaks of our time. “Each representation of her appears equally as aloof to the next,” writes Kealy in his text. The other “figurative” painter in the exhibition is the Czech painter Daniel Pitin (b1977), who, inspired by theatre sets, films and architecture, works from his imagination, building scenes of abstract props with actors who perform on his canvas. Painting in dark earthy colours, he brings a melanch…
Mark Rothko. <em>Black on Maroon, Sketch for "Mural No.6", </em>1958. Mixed media on canvas, 266.7 x 381.2 cm. Tate. Presented by the artist through the American Federation of Arts 1968 © 1998 by Kate Rothko Prizel and Christopher Rothko …empirical propositioning. He gives the example of RICHARD Serra in that sculptor's denial that his work is art and his belief that 'arthood' is reached empirically. An object is only art when placed in the context of art. Kosuth claims that, '... art's ability to exist will depend not only on its not performing a service - as entertainment, visual (or other) experience or decoration - ... but, rather, it will remain viable by not assuming a philosophical stance; for in art's unique character is the capacity to remain aloof from philosophical judgments'. Kosuth says that, 'In this period of man, after philosophy and religion, art may possibly be one endeavour that fulfils what another age might have called "man's spiritual needs". Or, another way of putting it might be that art deals analogously with the state of things "beyond physics" where philosophy itself always had to make assertions ... Art is the definition of art'.4 It is this special quality of Rothko's later wor…
My Dear BB … The Letters of Bernard Berenson and Kenneth Clark, 1925-1959. … Hugh Trevor-Roper to Bernard Berenson, edited by RICHARD Davenport-Hines, Weidenfeld & Nicolson, 2006, page xxviii. 5. Ibid, page xxv. 6. In addition to Cohen’s biography, other studies include Ernest Samuels’ meticulously researched biographies Bernard Berenson: The Making of a Connoisseur, 1979 and Bernard Berenson: The Making of a Legend, 1987, as well as Colin Simpson’s character assassination Artful Partners: Bernard Berenson and Joseph Duveen, 1987. 7. How to milk a millionaire by John Updike, The New York Times, 29 March 1987. 8. Cited in Behrman, page 149. 9. Rumor and Reflection by Bernard Berenson, Simon & Schuster, 1952, page 245. 10. On Clark’s relationship with the work of German art historians, see Breaking the shell of the humanist egg: Kenneth Clark’s University of London lectures on German Art Historians by Matthew C Potter, Journal of Art Historiography, Volume 11, December 2014. 11. Isaiah Berlin and Meyer Schapiro: An Exchange, The Brooklyn Rail…
Fiona Banner: Harrier and Jaguar, installation view, Tate Britain Duveens Commission 2010, London. …to be easy with the mega-scale. Like the sculptor RICHARD Serra he employed scale in order to enwrap the viewer in a total visual environment. Later, in 1997, at the Deutsche Guggenheim in Berlin, he was to install a painting, The Swimmer in the Econo-mist (1997-98), which surrounded bemused viewers with a spin-cycle of diffused art-historical references which appropriated new quotations both from Picasso’s Guernica but also from his own original F111. Now in Tate Britain’s Duveen Gallery, happily cleared of all arredamente to reveal its own classical purity of form, Fiona Banner presents a complete reversal of that earlier Rosenquist idea of the surrounding space, the object-viewer in a vacuum, within a worked-over, definitive volume. She matches this humanist yet plutocratically-scaled environment of Duveen with two manifestations of technological near-obsolescence, relics of late 20th century aeronautics. These two objects are treated in the way that human beings have a…
Susan Aldworth. Reassembling the Self 3, 2012. Lithograph made at the Curwen Studio, 85 x 65 cm, lithograph made at the Curwen Studio 2012. Image courtesy of the artist and GV Art. …be sure whether any memory is really our own. Dr RICHARD Wingate in his catalogue text for this exhibition outlines the development of imagery in biomedical research: “…Technological interventions … have altered the material stuff of biomedicine and human anatomy, from the slab of dissected material and collection of glass slides, to a three dimensional, digital theatre of the spectacular….” That medical and artistic images have been affected by our technological revolution concerns not only the aesthetics of the imagery but significantly the places we can now see into. “…visualisation techniques … have harnessed optical physics to give a dramatic window into living cells and the functioning system….” In the light of these changesWingate asks: “… what effect does the mechanics and aesthetic of visualisation have on our sense of our own biology?” Influenced by our technological and image-filled environment we are, in general, familiar with visualisations of t…
Rupert Shrive, Paris, 2011. Photograph by Alberto Ricci. Courtesy Yale University Press. …ludes devoted to three architects (Norman Foster, RICHARD Meier and Oscar Niemeyer) and three photographers (Brassaï, Henri Cartier-Bresson and Hans Namuth). There is symmetry and elegance in Peppiatt’s Old World, leisurely style. In fact, the best way to approach this book is with an equally leisurely, meandering pace; dipping in and out guided by instinct and whim and stopping along the way to savour the insights, humour and camaraderie revealed in its pages. Peppiatt admits that his collection is “a kind of weird, patchy but exalting autobiography”.2 Perhaps, but in its best moments, Interviews with Artists succeeds as a guide to the interview as an art in itself. Some entries are typical Q&A format, while others are distillations, where Peppiatt’s engaging commentary serves as glue for choice quotations from his sometimes willing, sometimes stingy sparring partners. For Peppiatt, the interview is a game where roles might be obscure and often reverse without warning. A…
Frank Shebageget. Cell, 2010. Courtesy of the artist. Photograph: David Barbour. …and artists like Tammy Tarbell, Kent Monkman, and RICHARD Glazer-Danay, to name a few in CH3. CDM: Gail Tremblay’s It Was Never About Playing Cowboys and Indians really got to me. Can you speak about Tremblay’s weaving of recycled film from a documentary about Native children in her baskets rather than a traditional, organic material, and how she questions Hollywood stereotypes of Native Americans by confounding visual expectations? ET: I, too, was struck by Gail's piece, not only for the content but the scale. These baskets [Onondaga and Micmac basketry] are rarely this large. The size of Gail’s basket itself makes a statement. If one simply looks in the exhibition catalogue and reads the dimensions (approximately 24 inches (61cm) in height and 14 inches (35.6 cm) in diameter), I don't think one is really prepared for the impact of seeing this work in person. There is a good deal of intellectual thought that went into the work before its execution, and this is what makes it so…

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