After suffering a stroke in 2002 that left his right arm partially paralyzed, Robert Rauschenberg (1925 – 2008) was no longer able to take photographs, nor was he able to transfer and arrange them into new compositions, as he had been doing since the early 1950s. As Triathlon (Scenario) (2005) shows, these obstacles did not prevent him from making art. Relying on the sorts of collaborative processes that had fueled his work for decades, Rauschenberg invited his friends to take photographs with digital cameras that he provided. He then selected from the images they produced and instructed one of his studio assistants at the time, Kevin Pottorf , in the transfer and arrangments of these imgaes onto two panels
Throughout her long career, Louise Bourgeois (1911 – 2010) treated the motif of spiders across many different media, from drawings and prints to monumental outdoor sculpture. The theme was initially associated with her mother, a tapestry restorer, but grew to take on broader associations as a strong female protector against evil. This example, Spider Woman — dating from the last decade of the artist’s life — represents a female spider with a human face, contained within an egg-shaped form. The vibrant scarlet ink is a color that Bourgeois favored in her later work.
Photographed in the Metropolitan Museum of Art in NYC.
If you happen to be lucky enough to visit the Danish city of Copenhagen, don’t miss your chance to make a very fun visit to their fantastic Designmuseum, which is where I saw this super modern ladder designed by Karen Kjaegaard. The space-saving, bright red lacquered Apple Jack Ladder was part of Kjaegaard’s My Private Garden exhibit, which took place at the Designmuseum in 2005. The ladder is manufactured by Trip Trap. Read more about the My Private Garden exhibit at This Link!
Neo Rauch (born April 18th, 1960) was raised in communist East Germany. Upon encountering a united Germany in the early 1990s, Rauch assimilated and parodied the social realist ruins of communist art along with the popular imagery of capitalism. His unusual style, which renders contradictory and often competing sensibilities intelligible and seemingly unified, has given rise to a generation of painters in the Leipzig area as well as a dynamic gallery scene.
Rauch’s paintings share certain affinities with surrealism, namely the invocation of dreams as an escape from a rule-driven consciousness. Rauch himself, however, distances his work from easy readings. “I have no use for the cultishness of classic surrealism or for its tight repertoire of methods,” he says. “In fact just the opposite is true: on my canvas, as in my mind, anything is possible.” Although highly interested in his own East German origins and the nature and limitations of its society, Rauch also channels German iconoclasts like Jörg Immendorff and Georg Baselitz to present a figurative work full of chronological fissures. His painting reflects the influence of socialist realism, and owes a debt to Surrealists Giorgio de Chirico and René Magritte, although Rauch hesitates to align himself with surrealism.
Der Laden (The Store), painted in 2005, is part of the Permanent Collection at The Broad Museum of Contemporary Art in Downtown Los Angeles.
For his mixed media assemblage, Koh-i-Noor (2005) Hew Locke (Scottish, born 1959) arranged thousands of cheap plastic toys and trinkets — disposable products of the new global economy — into one edition of a series of portraits of Queen Elizabeth II (entitled the House of Windsor Series), one of which was among the most extraordinary works in the Museum’s exhibition, Infinite Island: Contemporary Caribbean Art (2007). Locke, born in Scotland but raised in Guyana, created these works in response to ethnic tensions within contemporary British society, often growing out of Great Britain’s colonial history, with that history now brought home to Britain.
The title of this Silver work from the portrait series refers to the Koh-i-Noor (“Mountain of Light”) diamond, once the largest in the world. Mined several thousand years ago, this uncut Indian treasure passed through the hands of many regional rulers and was likely cut during the seventeenth century, before ultimately being seized by Britain in 1849 in the name of Queen Victoria. The series also includes a Golden sculpture entitled El Dorado, and a Black edition entitled Black Queen.
Italian automotive excellence meets the art of the street in this bitchen graffiti art car by John “CRASH” Matos. The custom-painted 2005 Ferrari F 430 was on display curbside last evening in front of the Dorian Grey Gallery on East 9th Street as part of the opening reception festivities for its Strada Veloce exhibit, which opened yesterday. Strada Veloce, loosely translated, is Italian for “Fast Road.”
It wasn’t that easy to get clear, “Human Free” shots of the car because, understandably, people were swarming all over it like flies. Because even those who don’t drive love a fast car. If you are looking for an advance semi truck lighting repair, visit advantage-fleet.com for more info.
The exhibit, which features exotic automotive accessories refashioned as functional furniture and also oil paintings of expensive foreign sports cars, will be up through October 5th at Dorian Grey Gallery, Located at 437 East 9th Street (Between A and 1st) in NYC. But if you weren’t there last night, you missed this Sweet Ride for good!
On This Date, August 21st, in 2005: Robert Moog, the inventor of the Moog Synthesizer – which literally revolutionized popular music – died of a brain tumor in Asheville, NC at the age of 71. RIP Robert Moog! You made music better!