`
13 notes
·
View notes
Leyla Cárdenas
Vertical Unweaving,, 2024
2 layers of dye-sublimated photographs on polyester silk then unweaved, bronze
27 1/5 × 27 3/5 × 4/5 in | 69 × 70 × 2 cm
Editions 1-3 of 3 + AP + 2AP
13 notes
·
View notes
From: María Teresa Hincapié, Vitrina, (photograph; pigmented inks on 188 g PhotoRag paper mounted on 2 mm Forex), 1989, Edition of 2/5 + 2AP [1 Mira Madrid, Madrid. MACBA, Barcelona. © María Teresa Hincapié]
29 notes
·
View notes
Yushi Li (Chinese, b. 1991) The Feast, 2020
Handmade analogue C-Type
41 3/10 × 51 1/5 in (105 × 130 cm)
Editions 2-3 of 3 + 2AP
15 notes
·
View notes
BRUCE CONNER | BREAKAWAY, 1966. 16mm, b&w/sound, 5 min, music by Ed Cobb, vocals by Toni Basil edition 6 of 6 + 2AP
While visiting Los Angeles in the fall of 1964, San Francisco-based artist Bruce Conner (1933-2008) began working on a film with his friend, the dancer, choreographer, and singer Toni Basil (b. 1943). Completed in 1966, BREAKAWAY features Basil dancing energetically against an empty black backdrop to an upbeat soundtrack, a Motown-inspired pop song called “Breakaway” that she released in 1966 as the B-side to her first single, “I’m 28.” Throughout the film’s five minutes, Conner deploys dizzying camera zooms, stroboscopic effects, and rapid-fire cuts that transform Basil’s choreography into a psychedelic spectacle of pulsating, blurred, ecstatic movement. Whereas the film’s first 2 and 1/2 minutes is synched to the duration of the song, once the bass line starts to fade, both the flow of images and the soundtrack unexpectedly begin to play again in reverse, rewinding Basil’s performance back to the beginning—an audiovisual demonstration of the “breakaway from the everyday” called for in the lyrics. – Johanna Gosse, Art and Film Historian.
20 notes
·
View notes
MEHRETU, JULIE
Nació en 1970 en Etiopía.
IMAGEN 1 - Stadia II, 2004, Ink and acrylic on canvas, 107 2/5 × 140 1/10 × 2 1/5 in, 272.73 × 355.92 × 5.71 cm
IMAGEN 2 - Epigraph, Damascus, 2016, 6 panels; Photogravure, sugar lift aquatint, spit bite aquatint, open bite Hahnemühle Bütten 350 gr., 97 3/5 × 226 × 2 in, 248 × 574 × 5 cm, Edition 3/16 + 2AP
IMAGEN 3 - Untitled (Court), 1998, Ink and oil on Mylar and vellum, 24 × 18 in, 61 × 45.7 cm
IMAGEN 4 - Easy Dark, 2007, Offset Lithograph, 55 × 35 1/4 in, 139.7 × 89.5 cm
IMAGEN 5 - Entropia (review), 2004, 32-color lithograph and screenprint, 33 1/2 × 44 in, 85.1 × 111.8 cm, Edition of 45
https://www.mariangoodman.com/artists/51-julie-mehretu/
13 notes
·
View notes
Ralf Peters, Petrol Stations - green / white (1998). C-print; c-print, diasec. 20 x 27 cm | 7 3/4 x 10 2/3 inches. Edition of 10 + 2AP. 60 x 80 cm | 23 2/3 x 31 1/2 inches. Edition of 5 + 2AP. Courtesy Bernhard Knaus Fine Art.
15 notes
·
View notes
Group Presentation Week 7
Metamorphoses 2014 - 2018, Karen Knorr
1. How are these indvidual images constructed visually and what is their relation to each other?
In the series Metamorphoses by Karen Knorr, various wild animals can be seen in the Villa Farnese in Caprarola. What makes these images a series, is the fact that the animals that normally live in the wilderness are photographed in the colorful and extravagant rooms of the villa. The animals blend into the colorful background of the rooms through their fur / plumage.
2. Use of photographic terminology.
The pictures are all taken from the same point of view, also all pictures were taken with a wide angle. The background is just as sharp as the subject and in focus. The lighting conditions are similar in all pictures, but come from different directions and sources. The pictures are clear and bright.
3. Is the sequencing of the images relevant?
Since the images have no specific order, the sequencing does not matter in this case.
4. Information that accompanies the images:
Metamorphoses 2014-2018
Hahnemühle Fine Art Pearl paper
Edition of 5 + 2AP
122 X 152 cm
80 X 100 cm
60 X 76.2 cm
5. Who produced the images and why?
Karen Knorr produced the images. Metamorphoses explores Italian legacy in Europe using Ovid’s Metamorphoses as frame in which to consider heritage and mutability in today’s Europe. Pagan stories overlap with christian ones, as an anxious response to recent global migrations that may transform the remnants of old Europe into a pluralistic dynamic federation or a closed fortress.
1 note
·
View note
WEEK 7:
Group Presentation Week 7
Metamorphoses 2014-2018, Karen Knorr
1. How individual images are constructed visually, and their relation to each other ?
In the series Metamorphosis by Karen Knorr, various wild animals can be seen in the Villa Farnese in Caprarola. What combines these images is that the animals that normally live in the wild are photographed in the colorful and extravagant rooms of the villa. The animals blend into the colorful background of the rooms through their fur/plumage.
2. Use of photographic terminology:
The pictures are all taken from the same point of view, also all pictures were taken with a wide angle. The background is just as sharp as the subject and in focus. The lighting conditions are similar in all pictures, but come from different directions and sources. The pictures are clear and bright.
3. Is the sequencing of the images relevant?
Since the images have no specific order, the sequencing does not matter in this case.
4. Information that accompanies the images:
Metamorphoses 2014-2018
Details:
Hahnemühle Fine Art Pearl paper
Edition of 5 + 2AP
122 X 152 cm
80 X 100 cm
60 X 76.2 cm
5. Who produced the images and why ?
Karen Knorr produced the Series. Metamorphoses explores Italian legacy in Europe using Ovid’s Metamorphoses as frame in which to consider heritage and mutability in today’s Europe. Pagan stories overlap with christian ones, as an anxious response to recent global migrations that may transform the remnants of old Europe into a pluralistic dynamic federation or a closed fortress.
1 note
·
View note
Modern Anatomy - Limited Edition 2 of 5, Javiera Estrada
36 x 60 Archival Pigment Print Limited Edition of 5 + 2AP 43 x 72 Archival Pigment Print Limited Edition of 3
https://www.saatchiart.com/art/New-Media-Modern-Anatomy-Limited-Edition-2-of-5/730100/4412509/view
3 notes
·
View notes
Gabriel Orozco
Lotus Leaves (Full Leaf), 2004
Soft ground etching on gampi, mounted between UV resistant plexi-glass in wood frame
25 1/2 × 28 1/2 × 5 1/4 in
64.8 × 72.4 × 13.3 cm
Buda, 2013
Pigment print
50 4/5 × 40 3/5 in
129 × 103.1 cm
Edition 2/5 + 2AP
Manguera verde, 2015
Pigment print
20 × 16 in
50.8 × 40.6 cm
Edition 2/5 + 2AP
Dé vertèbres, 2018
Limestone
11 3/4 × 11 3/4 × 11 3/4 in
29.8 × 29.8 × 29.8 cm
Lights Sign # 1 (Korea), 1995
Synthetic polymer plastic sheet and light box
39 2/5 × 39 2/5 × 7 4/5 in
100 × 100 × 19.7 cm
1 note
·
View note
Isaac Julien
Black Apollo (Once Again... Statues Never Die), 2022
Inkjet print on Hahnemühle Photo Rag Ultrasmooth
19 7/10 × 29 1/2 in | 50 × 75 cm
Editions 1, 2, 4, 5, 6 of 6 + 2AP
15 notes
·
View notes
From: María Teresa Hincapié, Vitrina, (photograph; pigmented inks on 188 g PhotoRag paper mounted on 2 mm Forex), 1989, Edition of 2/5 + 2AP [1 Mira Madrid, Madrid. MACBA, Barcelona. © María Teresa Hincapié]
35 notes
·
View notes
JULIE MEHRETU, ETIOPÍA, 1970
https://www.mariangoodman.com/artists/51-julie-mehretu/
Stadia II, 2004, Ink and acrylic on canvas, 107 2/5 × 140 1/10 × 2 1/5 in, 272.73 × 355.92
Epigraph, Damascus, 2016, 6 panels; Photogravure, sugar lift aquatint, spit bite aquatint, open bite Hahnemühle Bütten 350 gr., 97 3/5 × 226 × 2 in, 248 × 574 × 5 cm, Edition 3/16 + 2AP
Untitled (Court), 1998, Ink and oil on Mylar and vellum, 24 × 18 in, 61 × 45.7 cm
Easy Dark, 2007, Offset Lithograph, 55 × 35 ¼ in, 139.7 × 89.5 cm
Entropia (review), 2004, 32-color lithograph and screenprint, 33 ½ × 44 in, 85.1 × 111.8 cm, Edition of 45
0 notes
Erwin Wurm
Lot 77098
Untitled
Silver plated plaster sculture, with base
21 3/4 in
55.2 cm
Edition 6/6
Urinal, 2011/2019
Acrylic, paint
110 × 74 × 40 in
279.4 × 188 × 101.6 cm
Hängender Rollkragenpullover, 2011
Bronze
31 1/2 × 23 3/5 × 20 1/10 in
80 × 60 × 51 cm
Tasche bag G (Taschenskulpturen), 2019
Bronze
70 9/10 × 19 7/10 × 17 7/10 in
180 × 50 × 45 cm
Bad Thoughts IV, 2016
Bronze
11 2/5 × 10 3/5 × 3 1/2 in
29 × 27 × 9 cm
Edition 2/5 + 2AP
0 notes
STURTEVANT
Elaine Frances Sturtevant, también conocida profesionalmente como Sturtevant, era una artista estadounidense. Ella logró el reconocimiento por sus repeticiones cuidadosamente inexactas de las obras de otros artistas. Nació en 1924 y falleció en 2014.
IMAGEN 1 - Warhol Diptych, Diptych - silkscreen inks, synthetic polymer and acrylic on canvas
IMAGEN 2 - STUPIDITY, 2013, Digital film, color, sound
IMAGEN 3 - Duchamp Untitled, 1997, 15 × 13 3/5 in, Photograph and laser photocopy collage on paper, 38 × 34.5 cm
IMAGEN 4 - Trilogy of Transgression (Stills), 2004, 3 channel video installation, Edition of 5 + 2AP
https://www.moma.org/calendar/exhibitions/1454
0 notes