Category: art

Sheree Hovsepian

dig

This is very nice works.

Sheree Hovsepian: Contact
Charest Weinberg is pleased to present, Contact, an exhibition of new works by New York City based artist, Sheree Hovsepian. This will be the first solo exhibition for the artist with Charest-Weinberg.

Sheree Hovsepian was born in Isfahan, Iran in 1974. She immigrated to the U.S in 1976 and was raised in Toledo, Ohio. She attended the University of Toledo and obtained her BFA and BA with a focus on Photography and Art History. In 2002, she received her MFA from the School of the Art Institute of Chicago.

Recent projects include Harlem Postcards at the Studio Museum in Harlem, a solo project at the Spertus Museum in Chicago, and a solo exhibition at Spare Room/West St. Gallery. Currently, she lives and works in New York City.

June 24th, 2011 – August 20th, 2011

http://www.shereehovsepian.com

 

kind of screwed – waxy.org

dig

Andy Baio cited the Jeff Koons case, in regards to his trouble with Kind of Bloop

This kind of transformation is the foundation of fair use. In a 2006 verdict, the court found artist Jeff Koons’ use of a fashion photo “adds something new, with a further purpose or different character, altering the first with new expression, meaning, or message.”

I don’t think there’s any question that Kind of Bloop’s cover illustration does the same thing. Maisel disagreed.

I think Maisel’s lawyers would cite Cariou vs. Prince.  There are questions, and they are kind of valid.

 

I would have recommend the circled ones; compositionally less dependent on the source image.

TS – paradise

dig

paradise

Thomas Struth
Paradise 2
signed on a label affixed to the reverse
cibachrome print
image: 177 by 226cm.; 69 3/4 by 89in.
sheet: 183 by 231cm.; 72 by 91in.
Executed in 1998, this work is number 4 from an edition of 10.

LITERATURE
Ingo Hartman & Hans Rudolf Reust, Thomas Struth: New Pictures from Paradise, Munich
2002, no. 7301, illustration of another example in colour
Uta Grosenick, Ahead of the 21st Century: The Pisces Collection, Cologne 2002, pp. 168-169, no.
130, illustration of another example in colour

artwork and “participant”

dig

Lygia Clark

Lygia Clark
0.0
industrial paint on wood
41 by 82cm.; 16 1/8 by 32 1/4 in.
Executed in 1957-1982.

AUTHENTICATION
This work is registered in the archives of The World of Lygia Clark Cultural Association under
number 544 and is accompanied by a certificate of authenticity.
CATALOGUE NOTE
Lygia Clark was one of the most innovative Latin American artists of the 20th Century. She
transformed the practice of geometric abstraction through a profound belief in the importance of
interaction between an artwork and “participant”.
Clark initially explored the Modernist traditions that infiltrated Brazilian culture in the 1940s, and
looked toward geometric abstractions and the interplay of colour and line in the construction of
pictorial space. These initial investigations soon developed into bolder, more dynamic
compositions. The artist’s pivotal role in the Rio de Janeiro-based Neo-Concrete movement in the
late 1950s was imperative to her artistic development. The group challenged rationalist
Constructivism and promoted a subjective, more organic approach to art. The use of new
materials was greatly encouraged, as was the importance of invention and creativity.
Conceived in 1957 and realised in 1982, Superfície Modulada No. 2 is a beautifully serene
example from this incredibly important transitional period. Clark’s use of industrial paint on wood
together with her method of penetrating the picture surface with linear divisions, underscores her
interest in physical versus pictorial space. By fracturing the surface of the painting with fine
recessed lines, Clark creates something tangible, almost three-dimensional, thus disallowing a
planar reading of the surface. The absence of a frame or visible support allows the artwork into
real space within which the viewer can exist. Lygia Clark would endeavour throughout her career
to create a more direct relationship between the body and the object itself. With Superfície
Modulada No. 2, Clark creates an alternative for the art object. With this early and seminal work,
we see the beginning of the artist’s conception of art as an immersive and subjective experience.
via sothebys

Sao Francisco de Xavier, Brazil

dig

tstruth

Thomas Struth
Geldern 1954 – lives in Düsseldorf and Berlin
SAO FRANCISCO DE XAVIER, BRAZIL
2001. C-Print, 2003.
46,3 x 59,2 cm (60,8 x 75,5 cm) (18 1/4 x 23 1/4 in. (23 7/8 x 29 3/4 in.))
Signed, dated (exposure and print), titled and numbered in pencil on the reverse.
From the edition of 40 + 12 A.P. numbered prints from the Portfolio II of the Brooklyn Academy of Music (BAM), ed. by the Serge Sorokko Gallery, San Francisco 2004.

via Online Catalogues – Villa Grisebach Auctions.

lanterne am zaun

dig

Else Thalemann
Berlin 1901 – 1984 pen Lauterbach
LANTERN AT A FENCE
Circa 1930. Vintage. Gelatin silver print. Agfa-Brovira-paper.
17,1 x 12,1 cm (17,3 x 12,3 cm) (6 3/4 x 4 3/4 in. (6 3/4 x 4 7/8 in.))
On the reverse typewritten label with photographer- and title note as well as archive number.

via