His works, such as his 1975 self - portraits, evoke the power of individual expressive acts in a photo - saturated culture by reaffirming painterly control over technical images and archetypal symbols, in
this instance photographs of the artist in a crucifixion pose, drawn over with manic black marks.
Not exact matches
For
instance, the man portrayed as the Walking Figure by Pool (2011) is based on a
photograph of the Dada
artist Francis Picabia.
Take horses for
instance: from the symbolism behind the forms
of Amy Laugesen's classic sculptures to the expressive interpretation
of Peggy Judy's paintings
of livestock; from the mystical
photographs by Sandra Lee Kaplan to the modern artifacts and adornments
of Janet Nelson; the style, form, and interpretation
of these
artists couldn't be more varied.
His series Studio Physics thus addresses «the physical phenomena
of still and moving objects in space over time» through multidimensional still life compositions, the product
of an involved process for which the
artist first creates and
photographs a still life arrangement —
of oranges scattered over a table, for
instance.
«When Attitudes Become Form: Bern 1969 / Venice 2013» brings together the original works presented at the Kunsthalle and Schulwarte, loaned for the event by important private collections and international museums (for example the works
of Carl Andre, Claes Oldenburg, Bruce Nauman, Eva Hesse, Giovanni Anselmo, Hanne Darboven, Reiner Ruthenbeck, Marinus Boezem and Richard Tuttle); site - specific interventions «reenacted» directly or in association with the
artists and their Estates (for
instance the works
of Joseph Beuys, Daniel Buren, Walter De Maria, Jan Dibbets, Alain Jacquet, Joseph Kosuth, Sol LeWitt, Keith Sonnier, Ger van Elk, Lawrence Weiner and Gilberto Zorio); plus a selection
of photographs, videos, books, letters, ephemeral objects and other original materials relating to the 1969 show and its context.
«When Attitudes Become Form: Bern 1969 / Venice 2013» brings together the original works presented at the Kunsthalle and Schulwarte, loaned for the event by important private collections and international museums (for example the works
of Carl Andre, Claes Oldenburg, Bruce Nauman, Eva Hesse, Giovanni Anselmo, Hanne Darboven, Reiner Ruthenbeck, Marinus Boezem and RichardTuttle); site - specific interventions «reenacted» directly or in association with the
artists and their Estates (for
instance the works
of Joseph Beuys, Daniel Buren, Walter De Maria, Jan Dibbets, Alain Jacquet, Joseph Kosuth, Sol LeWitt, Keith Sonnier, Ger van Elk, Lawrence Weiner and Gilberto Zorio); plus a selection
of photographs, videos, books, letters, ephemeral objects and other original materials relating to the 1969 show and its context.
Mira Dancy's gorgeous, joyful mural
of a reclining female nude, for
instance, takes off across from the ecstasy
of feminist
artist Mary Beth Edelson's Woman Rising (1973), a black - and - white
photograph in which a woman stands in an open desert, her arms stretched out toward the sky in a gesture
of empowerment and freedom that is reinforced by a V - shaped line
of contrails in the sky.