5.9m x 12.4 m
Dear Followers :
I wanted to post this tonight, because i’ve become an applied arts student this week (yay), and he’s the first artiste we had the honour to study
Kazimir Malevich, Circle, 1994
Acrylic on Canvas
119.3 x 140 cm.
47 x 55 1/8 in.
Paintings of Suprematist paintings as they appear reproduced in art history texts, including the glare and curvature of the paper.
Diana Shpungin, Under Taken, 2011, drawing installation, 26.5 x 56 inches
pencil on paper, pencil on wall, archival mounting board, medical tape, erasers.
Working freelance at the dynamic and creative Casey Vidalenc Fashion House in Paris, he discovered string as a creative material, first sewing on clothes, then sewing on his own drawn and photographic work. The strings ended-up flying off the support and began filling rooms. And there, miles and miles of string and hours of labor going up and down ladders later, they form spheres, cones, intersecting wing shapes, or gothic arches, layers upon layers like three dimensional architectural drawings. In mind-boggling intricacy, the straight lines of taut strings sculpt floating forms. The thread is thin enough to not be easily seen, but the mass of repeated lines, though weightless and ephemeral, creates form. The effect is heightened by moving around the various forms, letting their myriad of lines cross and recross in never repeating patterns.
Sol LeWitt’s Wall Drawing 38: tiny bundles of tissue paper in blue, red, yellow and white inserted into the pegboard wall.
The backstory goes that in 1970, LeWitt was commissioned to create a new wall drawing for the tenth Tokyo Biennale, but the gallery space provided was paneled in pegboard that could not be removed or covered. Ever the creative opportunist, LeWitt came up with this instead.
Mathilde Roussel, Lifes of Grass. soil, wheat seeds, structure from recycled metal, fabric.
“The natural world, ingested as food becomes a component of human being. Through these anthropomorphic and organic sculptures made of soil and wheat grass seeds, I strive to show that food, it’s origin, it’s transport, has an impact on us beyond it’s taste. The power inside it affects every organ of our body. Observing nature and being aware of what and how we eat makes us more sensitive to food cycles in the world - of abundance, of famine - and allows us to be physically, intellectually and spiritually connected to a global reality.”
“I think it’s a complex emotion when you look at glamorous pictures. I can’t say that everybody gets pleasure out of it, but I do, and a lot of people I know get a lot of pleasure out of looking at the most glamorous pictures. But you’re constantly aware that you’re never going to look that good. So there are two feelings there, not just one, and I’m just trying to mirror that, to make a picture of what that feels like.”
Whatever you say reverberates, whatever you don’t say speaks for itself.
So either way, you’re talking politics.
- Jenny Holzer, Projections - Chicago 2008