Coinciding with the current exhibition on Marcel Duchamp at the Barbican, London, ‘The Art Newspaper” have released an interview with the artist from their March 1993 issue which up until now remained unpublished.
This is a fascinating insight into Duchamp’s thinking
“Two years before Marcel Duchamp’s death in 1968, the Belgian director, Jean Antoine, filmed an interview with the artist in his Neuilly studio in the summer of 1966.
This was shown on French-speaking Belgian television in 1971 in the programme “Signe des Temps” (Sign of the Times). When the Video Library was set up ten years ago by the non-profit-making association, Jeunesse et Arts Plastiques, I suggested to Jean Antoine that he keep a U-matic video copy. A copy was stored in the Video Library of the non-profit-making association, Jeunesse et Arts Plastiques.
Apart from being broadcast on Belgian television, the interview has been shown several times to the mainly student audience of the association, but the text has never been published.
This transcript, edited for The Art Newspaper, is the most faithful rendering possible of the way Marcel Duchamp expressed himself. It is a remarkable document that gives us a fresh and immediate insight into his mind. Michel Baudson. @” The Art Newspaper
Read the full interview here
A major retrospective of the works of Roy Lichtenstein opens at the TATE Modern Gallery and runs from 21 February – 27 May 2013.
The opening header for the show from the TATE reads……..
“Tate Modern is proud to present a retrospective of one of the great American artists of the twentieth century.
Lichtenstein: A Retrospective is the first full-scale retrospective of this important artist in over twenty years. Co-organised by The Art Institute of Chicago and Tate Modern, this momentous show brings together 125 of his most definitive paintings and sculptures and will reassess his enduring legacy.
Lichtenstein is renowned for his works based on comic strips and advertising imagery, coloured with his signature hand-painted Benday dots. The exhibition showcases such key paintings as Look Mickey 1961 lent from the National Gallery Art, Washington and his monumental Artist’s Studio series of 1973–4. Other noteworthy highlights include Whaam! 1963 – a signature work in Tate’s collection – and Drowning Girl 1963 on loan from the Museum of Modern Art, New York.
The artist’s rich and expansive practice will be represented by a wide range of materials, including paintings on Rowlux and steel, as well sculptures in ceramic and brass and a selection of previously unseen drawings, collages and works on paper.” sourced @ http://www.tate.org.uk/whats-on/tate-modern/exhibition/lichtenstein.
For teachers of Stage Six (Yrs 11 & 12) HSC NSW a Case Study on the artist is available at STAGESIX
An interesting article appeared in the Australian, tabling some of the hot water artists have found themselves in over the appropriation or re-representation of indigenous iconography.
image courtesy of ‘The Australian’
“Imants Tillers expected no controversy when he showed his painting The Nine Shots at the Sydney Biennale in 1986.
The artist had built his entire practice on breathing new life into motifs or compositions by other artists without any trouble. So when some complained that his painting had appropriated imagery from Aboriginal artist Michael Jagamara Nelson’s painting Five Dreamings’, he was surprised to realise he had committed a kind of artistic blasphemy
“I didn’t think I had done anything wrong but other people did,” he says. “Referencing indigenous art was only a minor part of my practice at the time.”
Tillers came under fire for not seeking permission from Nelson to use the imagery. Aboriginal artist Gordon Bennett hit back on behalf of Nelson in 1990, creating a work called The Nine Ricochets that re appropriated Tiller’s imagery. Then, in 2001, an unlikely friendship emerged when Tillers and Nelson started painting together at the suggestion of Brisbane gallery director Michael Eather. “I feel grateful for having had the personal contact,” Tillers says now. “There is still a huge cultural gulf between a Warlpiri artist and a Western artist, but painting is a way of connecting.” @ The Australian
(Reuters) – Fifteen Nepali artists were closeted for a month with a heap of 1.5 metric tons (1.7 tons) of trash picked up from Mount Everest. When they emerged, they had transformed the litter into art.
The 75 sculptures, including one of a yak and another of wind chimes, were made from empty oxygen bottles, gas canisters, food cans, torn tents, ropes, crampons, boots, plates, twisted aluminum ladders and torn plastic bags dumped by climbers over decades on the slopes of the world’s highest mountain.
Kripa Rana Shahi, director of art group Da Mind Tree, said the sculpting – and a resulting recent exhibition in the Nepali capital of Kathmandu – was aimed at spreading awareness about keeping Mount Everest clean.
“Everest is our crown jewel in the world,” Shahi said. “We should not take it for granted. The amount of trash there is damaging our pride.”
Nearly 4,000 people have climbed the 8,850 meter-high (29,035 feet) Mount Everest, many of them several times, since it was first scaled by New Zealander Sir Edmund Hillary and Tenzing Norgay Sherpa in 1953.
Although climbers need to deposit $4,000 with the government, which is refunded only after they provide proof of having brought the garbage generated by them from the mountain, activists say effective monitoring is difficult.
Read the full story
text and image courtesy of Reuters.com
(Reuters) – Britain’s foremost living sculptor Antony Gormley wants us to get inside his head with his latest work “Model”, a 100-tonne steel maze of cubes and squares, dark corners and splashes of light on show at the White Cube gallery in London.
The giant grey-black work, based on a human form lying down, is entered via the right “foot”, and combines the fun of an adventure playground with the unnerving quality of a labyrinth often plunged into darkness.
For the first time, the Turner Prize-winning artist who has always been preoccupied with the human form allows us to get inside, and draws parallels between the body and the architectural spaces we inhabit.
“I think we dwell first in this borrowed bit of the material world that we call the body,” Gormley told Reuters, standing beside the imposing structure made up of interlocking blocks.
“It has its own life that is unknowable. But the second place we dwell is the body of architecture, the built environment,” he added.
“We’re the most extraordinary species that decided to structure our habitat according to very, very abstract principles of horizontal and vertical planes.”
Model has plenty of surprises. The more nimble visitor can crawl through its left “arm”, which is a passage around three feet high, or clamber on to a roof bathed in light.
“There are places that you wouldn’t necessarily know are there,” Gormley said. As if to prove his point, he disappeared into a large raised “aperture” invisible in the darkness.
Sound also plays a part, with the resonance of voices and rumble of footsteps giving clues to the size of each space.”
image and text courtesy Reuters.com
Judy Chicago: Deflowered
The American feminist artist Judy Chicago, who is best known for The Dinner Party, 1974-79, an installation of 39 dinner place settings for mythical and historical women, returns to London for the first time in more than 20 years to show her work at the Riflemaker Gallery (13 November-22 December) and the Ben Uri Gallery (14 November-10 March 2013), her first UK museum show. Chicago’s early works on paper will occupy Riflemaker’s three floors, as well as the acrylic work Birth Hood, 1965, and pieces from The Dinner Party. “We wanted to explore Chicago’s influence on contemporary art,” says Tot Taylor, the gallery’s director.
“At a time where one of the dominant influences in contemporary practice appears to be art created ‘from a female perspective’ it might be said that Judy Chicago built on the work which had been done by Georgia O’Keeffe and Louise Bourgeois”
Full article @ The Art Newspaper
image courtesy of Riflemaker Gallery
STAGESIX a resource site for HSC Visual Arts educators, students and the broader education community is now live. This site is part of project REWIRE and is currently in it’s initial phase of development. To get an overview of what STAGESIX is about click here or click on the STAGESIX graphic in the sidebar.
This is lengthy but very much worth sitting through.
“In the China of the recent thirty years, materialism swung from an ideology without a material basis to a pure act of material production and consumption without meanings, which makes today an interesting moment to reexam tangibility in architecture.
Originally from Beijing and educated both in China and in the US, Chang received Master of Architecture degree from the University of California at Berkeley in 1984. He has been practicing in China since 1992 and established Atelier Feichang Jianzhu (FCJZ) in 1993. He has won a number of prizes, such as First Place in the Shinkenchiku Residential Design Competition in 1987, a Progressive Architecture Citation Award in 1996, the 2000 UNESCO Prize for the Promotion of the Arts, and the Academy Award in Architecture from American Academy of Arts and Letters in 2006. He has published eight books and monographs so far, including one in English/French entitled Yung Ho Chang / Atelier Feichang Jianzhu: A Chinese Practice and one in Italian entitled Yung Ho Chang: Luce chiara, camera oscura. He participated in many international exhibitions of art and architecture, including five times in the Venice Biennale since 2000. He has taught at various architecture schools in the USA and China; he was a Professor and Founding Head of Graduate Center of Architecture at Peking University from 1999 to 2005; he held the Kenzo Tange Chair at Harvard in 2002 and the Eliel Saarinen Chair at Michigan in 2004. Since 2011, became a Pritzker Prize Jury member”. @ Vimeo
“The Kunsthaus in Bregenz / Austria explores the architectural work of Ai Weiwei with a solo show titled Art / Architecture. While not as widely presented as his artistic oeuvre, Ai Weiwei’s work in the field of architecture is extremely important for the artist because of the collaborative – that is social and political – aspect of it.
On three floors of architect Peter Zumthor’s Kunsthaus building, the exhibition focuses on Ai Weiwei’s collaborative architecture projects such as the Beijing National Stadium (known colloquially as the Bird’s Nest), developed in collaboration with the Pritzker price winning architects Herzog & de Meuron, but also numerous projects with lesser known architects.”@ Vernissage TV
Read more here