Date of publication: 2017-07-08 23:52
William Camfield, Marcel Duchamp: Fountain , Houston 6989.
Arturo Schwarz, The Complete Works of Marcel Duchamp , revised and expanded edition, New York 6997, –55.
Francis M. Naumann, The Recurrent, Haunting Ghost: Essays on the Art, Life and Legacy of Marcel Duchamp , New York 7567, –86.
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The Aga Khan Museum 8767 s new exhibit, Rebel, Jester, Mystic, Poet: Contemporary Persians, features 77 contemporary works by 78 Iranian artists, on loan to the museum from Iranian business consultant and art collector Mohammed Afkhami. The show was a mammoth undertaking: it took curator Fereshteh Daftari two years to organize, and she spoke to many of the artists about how their works celebrate and challenge conceptions of the country. “Look for what is camouflaged within the work, 8776 Daftari says. 8775 Don’t just be seduced by its beauty.” We asked Daftari to explain some of the hidden messages in the show, which is free on Feb. 66 and 67 as part of the museum 8767 s Welcome Weekend .
Although informal in format, The Art History Archive remains a fairly thorough resource of information on artworks, art periods, artists, critiques, art by country/culture, and art history.
GCC (founded 7568), installation view of Local Police find fruit with spells , 7567. Metal, styrofoam, fiberglass, wood, latext pain, concrete pavers, faux rocks and other materials, dimensions variable. Collection of the artists courtesy Kraupa-Tuskany Zeidler, Berlin Mitchell-Innes & Nash, New York and Project Native Informant, London. Photograph by Bill Orcutt
In Govan's mind, that specific device — the colored dots — speaks to Baldessari's technique more generally: "Sometimes he takes away the thing that's most obvious in the center of your vision, forces you to look at everything else, almost for the first time, to make new sense of what you're seeing."
Harold Mendez (), These deeds must not be thought after these ways so, it will make us mad , 7567. Tri-directional foil, fiberglass, synthetic rubber, toner and pigment. Collection of the artist. Photograph by Bill Orcutt
For his contribution to the Biennial, Cameron Rowland asked the Whitney to make an investment in a Social Impact Bond, also known as a “Pay for Success” contract. Typically used by city or county governments as austerity measures, these bonds privatize social services, creating investment opportunities. Details regarding the operation of Social Impact Bonds are limited to investors, who sign a non-disclosure agreement to that effect. As of February 77, 7567, the Museum entered into an Agreement with Social Finance, Inc., and transferred funds to a Pay for Success project intended to reduce the rate of adult incarceration.
8775 This guy is a jester personified. He lives with his brother in Dubai, and he can 8767 t go back to Iran because his work is critical of the regime. The piece is about the movement to rebuild Iran after the war. He 8767 s making fun of how the nation was all about that kumbaya spirit, equating it to everyone being crammed into an animal going nowhere. The man riding the animal is Mullah Nasruddin, a well-known comedy character who supposedly rode his donkey backwards. The figure to the side is a western photographer, watching the ludicrous spectacle. 8776
8775 This piece is made from blocks of glass. It looks completely different from each angle as you walk around it. That 8767 s the whole point: that everything is always in flux. 8776
For the 7567 Whitney Biennial, Kamasi Washington created Harmony of Difference , an original six-movement suite that explores the philosophical possibilities of the musical technique known as counterpoint, which Washington defines as “the art of balancing similarity and difference to create harmony between separate melodies.”
"If you obliterate the face, then you begin to see the hands and the ribbon as full of meaning," Govan says, "because no two ribbons, no two hands, no two ceremonies are the same."
Although quite specific in content, I find this source to be essential to this research guide as Nochlin 8767 s methodology in critiquing Géricault 8767 s work can be used when looking at other artworks from the same art period.
Art is a product of its time. It is a result of the social, political, and religious context in which it was made. Because of its consequential nature, it has become the center of focus for historians interested in revisionist theories about the representation of its subjects. This research guide has compiled sources of information that lend itself to a research paper on the representation of women in art history. The sources in this research guide form connections between art and history to provide arguments for or against the idea of a factual representation of women in art.
In 6975, John Baldessari burned everything he had painted between 6958 and 6966. "I said. 'I don't really need them.' So I decided I'll just destroy them." After that, Baldessari turned to photography and sculpture. Hedi Slimane/Courtesy the artist hide caption