Posts Tagged ‘boxes

09
Feb
12

Michael Zelehoski : Mixed Media Assemblages (Artwork)

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“Each epoch always has and always needs its oppositions of destruction and construction.” Mondrian

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‘Burned Pallet’
Assemblage
50 x 50″
2011
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‘Box’
Assemblage
22 x 27″
2008
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‘Burned Pallet’
Assemblage
Detail
2011
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‘Folding Chairs’
Assemblage
24 x 37″
2009
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‘Human Lobster Trap’
Assemblage
63 x 93″
2009
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‘Folding Chairs’
Assemblage
28 x 41″
2008
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My recent work involves the literal collapse of three-dimensional objects and structures into the picture plane. This simple gesture – which is basically just taking things apart and putting them back together flat – is at the heart of what we think of as two-dimensional, representational art. I’m just doing it in a very literal way and whereas the whole point of Magritte’s pipe was that it wasn’t. The whole point of these objects is that they are what they are.

I work almost exclusively with found, utilitarian objects such as shipping pallets and boxes. I deconstruct the objects, cutting them into sometimes hundreds of abstract fragments before reassembling the pieces two-dimensionally. The negative space is filled with carefully fitted pieces of wood, creating a solid plane in which the object is trapped in a parody of its former perspective. The object’s concreteness is in direct contrast to the spatial illusionism of its composition not to mention the perceived autonomy of the picture plane.

By unifying the picture plane and the spatial environment, I’m trying to reconcile the dichotomy between pictorial and physical space, art and object, sculpture and painting. Sculpture has been defined as a three-dimensional object in space. These are three-dimensional objects in two-dimensional space and although they find themselves trapped, unable to perform their original functions, they remain active and productive on the level of our experience. These objects, which have always been thought of as means to other ends, have become ends in themselves. – Artist Statement

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Michael Zelehoski : Website

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25
Feb
11

Barbara Stumm : Photography

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barbara stumm
photograph
2009
“⦁⦁”

orange touch

barbara stumm
“orange touch”
photograph
2009

Wilhelm Tell's apple...

“wilhelm tell’s apple”
barbara stumm
photograph
2010

wrap yourself in orange

“wrap yourself in orange”
barbara stumm
photograph
2010

party time

barbara stumm
photography
“party time”
2010

life's little surprises

“life’s little surprises”
barbara stumm
photograph
2009

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Barbara Stumm : More Works

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22
Sep
10

Stray Dogs & Legoman : Intangible States

Live audiovisual performance by Stray Dogs & Legoman

Intangible States evokes the world of the urban nomad. Always in transit, everything seems a series of dreamlike states in which memories, the real and the imaginary collide. Intangible States : Website

19
Aug
10

Carlos Tiscar : Altavoz

Spanish designer Carlos Tiscar gives us ‘Altavoz’, a shelf system consisting of boxes of different sizes.

The main aspect of this shelf system is the “visual loudspeaker” concept. It consists of a box with an expressive interior due to the angle of two of its internal sides. This kind of shape reminds me of some Le Corbusier windows and also of aircraft windows (i.e. although small they have a “visual amplification” caused by the surrounding panel shape). The idea is that an object put in the box will be “amplified”. With only three modules (sizes A4, A3 and A2 formats) by positioning both horizontal and vertically, you can make all kind of compositions; wall mounted, on the floor by forming a pile or on a table surface. Of course you can also use one single item. (Carlos Tiscar).

Download : Carlos Tiscar Portfolio pdf

12
Jul
10

Donald Judd : ‘The Simple Expression Of Complex Thought’.

Donald Judd
Cloth in Illustrated Jacket
1993

Donald Judd
Untitled
1987

Donald Judd
Menziken 87-55
1987

Donald Judd
Untitled
1974

Donald Judd
Untitled
1971

Donald Judd
Untitled (Core Piece)
1969

Donald Judd
Untitled
1972

One of the most significant American artists of the post-war period, Donald Judd changed the course of modern sculpture. Working in New York in the 1960s, Judd became known as one of the key exponents of ‘Minimalism’, but it was a label that he strongly rejected. Although he shared many of the principles identified with Minimalist art — the use of industrial materials to create abstract works that emphasise the purity of colour, form, space and materials — he preferred to describe his own work as ‘the simple expression of complex thought’.

In the late 1940s he began to practice as a painter, but by the late 1950s was working to free his painting of traditional ‘European’ preoccupations with composition and illusionism. In the early 1960s, Judd began to introduce three dimensional elements onto the surface of his works, at first creating reliefs, and then moving towards entirely free-standing structures which he called ‘specific objects’. By 1963 he had established an essential vocabulary of forms — ‘stacks’, ‘boxes’ and ‘progressions’ — which preoccupied him for the next thirty years.

Judd broke new ground in his exploration of volume, interval, space and colour . He rejected the tradition of artistic expression and craftsmanship by using industrial materials such as Plexiglas, sheet metal and plywood, and from the mid-1960s his works were fabricated by external manufacturers. By encouraging concentration on the volume and presence of the structure and the space around it, Judd’s work draws particular attention to the relationship between the object, the viewer, and its environment. This relationship became a central focus of Judd’s career, and he devoted much of his later life to the sympathetic installation of his own work.

Judd’s engagement with philosophy, architecture, design and politics informed his own work, and influenced succeeding generations of artists and designers. His pared-down forms and sensuous use of industrial materials remain a feature of much contemporary art, architecture and design. [Extract : Tate Modern]

Donald Judd : Tate Collection

Nick Serota on Donald Judd : Videos




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