A limb can signify the tactility of oil paint or vice versa — not so very far from the formalist goal of
painting as object after all.
Not exact matches
Some abolitionist works like «Uncle Tom's Cabin» could
paint slavery
as a form of captivity, but the canonical captives of antebellum American literature were white women kidnapped by Indians, who
after the Civil War were often replaced by freed slaves
as objects of superstitious terror.
Yet somewhere
after the midpoint of the show we become aware that the
objects on view aren't
paintings so much
as «Rothkos.»
«
After the collages, I began to
paint the eyes approaching the
paintings on board
as decorative
objects symbolically representing the eye motif while creating an optical situation where the interior image and periphery of the
painting (margins outside of the eye and thus
painting) serve
as a flipping perspective between view finder mask to visible interior image.
CA: The way you compare
painting and dance makes me think of course of the often - quoted description of the Abstract Expressionists by Harold Rosenberg, «At a certain moment the canvas began to appear to one American painter
after another
as an arena in which to act — rather than a space in which to reproduce, redesign, analyze or «express» an
object, actual or imagined.
With a complete selection of over 90 works in different media such
as painting, industrial design, animation and fashion, the exhibition, curated by MOCA Chief Curator Paul Schimmel, reveals this artist's personal universe: from his early works in the 1990s, in which he explored his own identity, to his large - scale sculptures created
after 2000, veritable icons of this artist, and ending with his gallery of manufactured
objects, his animation projects, his connection to the world of fashion, and his compelling works of recent years.
A complex piece in Zaatari's overall oeuvre, Time Capsule not only serves
as a sort of sequel to the artist's earlier video In This House (2005), for which he unearthed a letter buried by leftist militants in 1991 (right
after the Lebanese Civil War ended), it also links the experience of the Arab Image Foundation, which Zaatari co-founded in 1997 (he recently resigned from the organization's board, which inspired the time capsule project), to that of Beirut's National Museum, where dOCUMENTA (13)'s team found the wrecked
objects that are now on view with Adnan's
painting tool in the rotunda of the Fridericianum.
A number of cast bronze sculptures that appropriate
objects from outside of the Western canon will also be on view, including Gamelan Figures, Naga Effigy, and Little Dancer (all from 2017);
as well
as Monochromes
after Van Gogh Sunflowers: 1 - 12 (2015) in which the artist makes use of pixelation to produce a series of monochromatic panels where the individual colors are derived from Van Gogh's iconic
paintings.
The best - case scenario is when I'm
painting, it feels
as if I'm feeling that
object through the brushstroke, or I'm reimagining what it means to be that
object, in
paint, so a lot of what I'm
after is this correspondence between the
object and the
paint mediated through me.»
With surfaces that have been continually
painted over
after new appearances of graffiti or scuffings, these found
objects have been refashioned
as art.
He came into his own
as an artist in the age of Watergate,
after painting had been declared dead, the
object superfluous and originality a privilege of the past — at a time when just about everything that used to define what great art could be now provoked distrust for the artist and many of his generation.
Just
as Cézanne tried to restore the solid form
after Impressionism, and the more he longed for stability in his composition the less stable his
objects become, Downes's desire to build firm forms with
paint results in his exponentially less stable relationship to the horizontal platform of the earth.