NUMBER 29 UPDATE Nemours
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Dossier De Presse
Dossier de Presse Inauguration du Sky Center La Marseillaise du World Trade Center Marseille Provence Marseille 28 Janvier 2019 Infos et Contact World Trade Center : Yaël Savignac-Rauzada - Responsable Communication 04 13 94 00 18 - [email protected] Presse : Laurent Weil - Bleu Dixit 06 64 55 00 66 – [email protected] Table des matières Préambule ............................................................................................................................................... 1 Le programme de développement du World Trade Center Marseille Provence ....................................... 4 La genèse des projets ............................................................................................................................... 4 2 sites complémentaires: ......................................................................................................................... 5 Les ambitions des projets menés depuis 2014 ......................................................................................... 6 Questions à… ............................................................................................................................................ 9 Les investissements : .............................................................................................................................. 13 Les Offres : ............................................................................................................................................. 13 Les Intervenants : .................................................................................................................................. -
Jef Aérosol (2011), Paris L’Art Urbain : De L’Interdit Aux Marqueurs De La Mondialisation Frédéric DURAND
« Chuuuttt », Jef Aérosol (2011), Paris L’art urbain : de l’interdit aux marqueurs de la mondialisation Frédéric DURAND L’art urbain, ou street art, est délicat à délimiter, tant dans ses formes que dans ses finalités. À l’origine, il s’agit d’inscriptions ou d’images jouant avec l’interdit ou la provocation, mais exprimant aussi une volonté plastique tout en acceptant un caractère éphémère. Par le passé, le caractère subversif s’est traduit par l’anonymat de nombreuses réalisations, voire par leur destruction sans qu’aucun témoignage n’en soit conservé. Elles étaient d’ailleurs rarement l’œuvre d’artistes professionnels. n° 3 / juin 2018 BelvedeЯ 39 L’art urbain : de l'interdit aux marqueurs de la mondialisation urant la seconde moitié du La France pays pionnier XXe siècle, les images ont de l’art urbain subversif D envahi les rues des villes La France est sans doute le pays où a via les affiches et les publicités, réellement émergé l’art urbain. Parmi au point parfois de saturer l’esprit les pionniers, Gérard Zlotykamien ou de ne plus être remarquées. qui, à partir de 1963, a peint à la Parallèlement, l’art « officiel », sou- bombe des bonhommes très stylisés vent cantonné dans des musées ou dans le chantier du trou des Halles des galeries, s’est affirmé dans des à Paris, en référence aux victimes formes déroutant de plus en plus le anonymes des guerres. Son travail grand public : abstractions, installa- restait cependant proche du graffiti tions, performances… Leurs rares ou de l’art brut. Dans ce contexte, exhibitions dans la rue n’en font une dimension esthétique plus mar- guère un art de rue. -
Jef Aérosol Part En Flèche Raphaële De La Fortelle
JEF AEROSOL PART EN FLÈCHE 1 JEF AÉROSOL OUTSIDE TOKYO LA ROCHELLE LA ROCHELLE BERLIN VENISE LILLE E DES AVELINES DES E É MUS ÉE DES AVELINES NEW YORK NEW YORK BEAUBOURG, PARIS BEAUBOURG, PARIS GIALE ST PIERRE LE PUELLIER, FRANCE PUELLIER, LE PIERRE ST GIALE É COLL ÉGIALE ST PIERRE LE PUELLIER, FRANCE LES BAINS, PARIS BAINS, LES BAINS, PARIS LONDRES KIN É P ÉKIN BELGIQUE UNION É R LA RÉUNION BUENOS AIRES BUENOS AIRES USHUAÏA ..... ..... JEF FAIT UN CARTON - MUSÉE DES AVELINES Jef Aérosol 2011 - Chuuuttt!!! - Place Stravinsky, Beaubourg, Paris, France EMMANUELLE LE BAIL Directrice du musée des Avelines De janvier à avril 2011, le musée des Avelines, musée d'art et d'histoire de Saint-Cloud, a ouvert ses portes à l'univers du street artiste Jef Aérosol pour faire découvrir à son public l'un des courants artistiques les plus importants de notre époque, mais encore peu présenté dans les musées. Les portraits au pochoir de Jef sont empreints de questionnement sur l'humani- té et sa tour de Babel monumentale dans la rotonde a captivé petits et grands. Cette installation inédite, empilement de boîtes de carton à six mètres de haut, habitée de quatre-vingt- dix visages, célèbres ou anonymes, est un hymne à la vie. Elle nous parle de la difficulté de vivre ensemble dans la tolérance et le respect des différences. Cette tour de Babel témoigne Jef Aérosol : 30 ans de pochoirs - Rétrospective - Collégiale St Pierre Le Puellier, Orléans, France d'une utopie vitale et montre combien l'art est porteur d'un À MON FRÈRE JEF, autre niveau de connaissance et d'appréhension de la réalité. -
Contemporary Art Market 2011/2012 Le Rapport Annuel Artprice Le Marché De L'art Contemporain the Artprice Annual Report
CONTEMPORARY ART MARKET 2011/2012 LE RAPPORT ANNUEL ARTPRICE LE MARCHÉ DE L'ART CONTEMPORAIN THE ARTPRICE ANNUAL REPORT LES DERNIÈRES TENDANCES - THE LATEST TRENDS / L’ÉLITE DE L’A RT - THE ART ELITE / ART URBAIN : LA RELÈVE - URBAN ART: THE NEXT GENERATION / TOP 500 DES ARTISTES ACTUELS LES PLUS COTÉS - THE TOP-SELLING 500 ARTISTS WORLDWIDE CONTEMPORARY ART MARKET 2011/2012 LE RAPPORT ANNUEL ARTPRICE LE MARCHÉ DE L'ART CONTEMPORAIN THE ARTPRICE ANNUAL REPORT SOMMAIRE SUMMARY THE CONTEMPORARY ART MARKET 2011/2012 Foreword . page 9 THE LATEST TRENDS How well did Contemporary art sell this year? . page 11 Relative global market shares : Asia/Europe/USA . page 12 Competition between Beijing and Hong Kong . page 14 Europe offers both quantity and quality . page 15 Top 10 auction results in Europe . page 16 France: a counter-productive market . page 17 Paris - New York . page 19 Paris-London . .. page 20 Paris-Cannes . page 21 THE ART ELITE The year’s records: stepping up by the millions . page 25 China: a crowded elite . page 26 New records in painting: Top 3 . page 28 The Basquiat myth . page 28 Glenn Brown, art about art . page 29 Christopher Wool revolutionises abstract painting . page 30 New records in photography . page 31 Jeff Wall: genealogy of a record . page 32 Polemical works promoted as emblems . .. page 34 New records in sculpture & installation . page 36 Cady Noland: € 4 .2 m for Oozewald . page 36 Antony Gormley: new top price for Angel of the North at £ 3 4. m . .. page 36 Peter Norton’s records on 8 and 9 November 2011 . -
A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines
Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2020-2 A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines Tommie Soro Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Art and Design Commons Recommended Citation Soro. T. (2020) A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines, Doctoral Thesis, Technological University Dublin. DOI: 10.21427/cs3g-qh75 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines By Tommie Soro BFA (Hons), MFA A Thesis for the Degree of Doctor of Philosophy (Ph.D) Technological University Dublin Supervisors: Dr. Tim Stott and Dr. Brendan K. O’Rourke Graduate School of Creative Arts and Media February 2020 Abstract The bases of artistic reputation have been widely debated within the sociology of art and art history. Remarkably, however, little has been said of the role discourse might play in the construction of artistic reputation. An obstacle to addressing this research gap is that discourse analytic approaches have been developed to analyse evaluation and the construction of legitimacy but not the construction of reputation. -
The Museum of Modern Art (Moma)
QUICK VIEW: Synopsis Since its inception in 1929, the Museum of Modern Art has continually redefined the idea of the museum in contemporary Western culture. Originally conceived by its founders as a place for Modern art to come and go (because what makes up modernism is constantly changing), MoMA, as it is commonly known, established a permanent collection in 1952 and has become the home for some of the greatest works of avant-garde painting, sculpture, film and multi-media art in the world. While MoMA remains true to its roots as a place where new styles of art can circulate, its permanent collection is widely considered the most impressive and diverse assortment of Modern art to ever exist, ranging from late-19th-century van Goghs, Monets and Gauguins to works produced in the present day. The idea of a Museum of Modern Art was once considered by critics to be an oxymoron. Its very existence posed the question: How can there be a museum (a permanent institution housing the heritage of human civilization) for Modern art (which embodies the ideal of always moving forward and constantly changing)? Rather than shy away from this paradox, MoMA has embraced its contradictory nature by appealing to both the history of Modernism and the legacy it continues to leave in the 21st century. Founding principles • The idea for the museum was first developed by a group of philanthropists, educators and museum curators, led by Abby Aldrich Rockefeller (wife of John D. Rockefeller), in 1928. They envisioned a modest-sized location in New York City that could essentially be a stop-over for some of Europe's finest Modern art. -
French Invasion Press Release
FRENCH CONNECTION INVASION New work by JonOne, Nasty, Rero, Speedy Graphito and Tilt Saturday, May 12th - Sunday, June 24th, 2012 Opening reception with live performance: Saturday, May 12th, from 7-10pm Fabien Castanier Gallery is proud to present the first exhibition in Los Angeles dedicated to the work of France’s leading street artists today. FRENCH INVASION features brand new work by: JonOne, Nasty, Rero, Speedy Graphito and Tilt. The exhibition will present an extensive range of work by these artists including paintings, installations, silkscreens and sculpture. Speedy Graphito, JonOne and Tilt will be present at the Opening Reception on May 12th, spraying a collaborative mural live throughout the evening. Paris has always been an important source of creative inspiration for artists across the globe, giving rise to some of the most important art movements in history. Though born in NYC, graffiti made its way across the pond, becoming firmly rooted in the neighborhoods of France. Whereas art produced on the streets was previously relegated to neighborhood walls and the metro, today it can be seen in galleries and museums. Street art in France has become one of the most considerable art movements of this century. Rero, 2011 FRENCH INVASION highlights the differences in media, context, audiences and issues that these artists maintain both on the street and in the art market. Common to all these artists is their investment in the streets of Paris during the 2000’s but also their evolution in galleries in France and abroad. Contemporary urban art is now the movement of today and tomorrow. -
FROM IMPRESSIONISM to POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco
UNDER THE HIGH PATRONAGE OF HIS SERENE HIGHNESS PRINCE ALBERT II OF MONACO FROM IMPRESSIONISM TO POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco FROM IMPRESSIONISM TO POP ART Après l’immense succès de l’exposition “Picasso” en 2011, Opera Gallery Monaco présente cet été “de l’Impressionnisme au Pop Art”. Une exposition prestigieuse qui, à travers plus de 50 tableaux et dessins de grands Maîtres, nous permet de suivre la période de l’Histoire de l’Art qui va de la Révolution impressionniste au choc du Pop Art. Les tubes d’étain ont été inventés vers 1840, ils ont permis aux peintres impressionnistes de sortir de leur atelier pour aller peindre des paysages “sur le motif”, c’est-à-dire dans la nature. De la même manière, la peinture acrylique diluable à l’eau est créée en 1963, elle est immédiatement adoptée par les peintres Pop Art. Andy Warhol, est le premier utilisateur de cette peinture industrielle qui accompagne de manière pertinente son discours sur la société de consommation. Entre ces deux écoles illustrées par des tableaux de Claude Monet, Pierre-Auguste Renoir d’un coté et Andy Warhol de l’autre, nous découvrons des œuvres de Fernand Léger, Marc Chagall mais aussi Joan Miró avec le splendide tableau Untitled, 1960 ou encore Fernando Botero. Enfin, nous n’avons pas résisté au plaisir de mettre en page de couverture du catalogue la gouache et aquarelle Les Grâces naturelles de René Magritte, un hommage au Maître du Surréalisme dans sa période influencée par Renoir, tout un symbole pour cette exposi- tion qui retrace la période de l’Histoire de l’Art aujourd’hui la plus prisée par les collectionneurs avertis et la plus recherchée par les amateurs de “valeurs refuges”. -
Dennis Hopper, Photographs 1961–1967, Edited by Dennis Hopper and Tony Shafrazi
Dennis Hopper, Photographs 1961–1967, edited by Dennis Hopper and Tony Shafrazi. Taschen, 2018 (484 pages). Joanna Elena Batsakis For fans of the prolific Hollywood artist Dennis Hopper, the re-release of Dennis Hopper, Photographs 1961–1967 is a sensational addition to the growing Hopper canon within Western film scholarship. Originally, the book was published as a limited-edition collector’s item in 2011, with a small run of 1,500 copies. Each copy was signed by Hopper himself, and there was an alternative option to purchase its even more prestigious version entitled Photographs 1961–1967 Art Edition, which included a gelatine print of Hopper’s infamous photograph Biker Couple (1961). In collaboration between The Hopper Art Trust, gallerist Tony Shafrazi, and Dennis Hopper, this original volume was massive in size: with 544 pages, its hardcover measured 30 centimetres in height by 33 centimetres in length and weighed 5.5 kilograms. The volume displayed dozens of black-and-white photographs Hopper had taken between 1961 and 1967, all on his Nikon Tri-X camera which was gifted to him by his first wife Brooke Hayward. The book also included introductory essays by Hopper’s long-time friends, such as Shafrazi and West Coast art pioneer Walter Hopps, as well as an extensive photographic biography authored by filmmaker and journalist Jessica Hundley. In 2018, Taschen and The Hopper Art Trust have co-operated to release a slightly smaller, unlimited trade edition of the same book, which is the subject of this review. Even though this year’s edition of has now been reduced to 484 pages and weighs 3.5 kilograms, the book is still an extremely ambitious project and integral to the Dennis Hopper canon. -
WEEKEND UPDATE by Walter Robinson
WEEKEND UPDATE by Walter Robinson If things feel a little droopy in New York, it ain’t just the heat -- it’s the Surrealists! The Guggenheim Museum is filled with symbolic phalluses, all castrated, deflated or stacked on skewers by Louise Bourgeois. Never has the spiral concrete womb so resembled a vast beehive, with queen Louise in its center. Down at the Museum of Modern Art are Salvador Dali’s famous melting clocks and oystery self-portraits, well-known emblems of his own impotency, in "Dali: Painting and Film." It’s a great show, with the galleries converted into a series of spacious theater spaces for Dali’s movies: Un Chien andalou (1929), L’Âge d’or(1930), the dream-sequence clip from Alfred Hitchcock’s Spellbound (1944), Andy Warhol’s 1966 screen test. Especially bizarre is the cartoon Destino (1946), a seven-minute-long Disney-Dali mashup that Dali did some fabulous drawings for, but that was only finished by the cartoon giant in 2003. Imagine Snow White dancing around a Dali landscape to an atonal symphony, and you pretty much got it. (As for press stills, there are none; no doubt Disney, famous for suing kindergartens for painting Mickey Mouse on their walls without permission, has some corporate policy against it.) Best of all is Dali’s Chaos and Creation (1960), a 17-minute-long black-and-white video made withPhilippe Halsman as a televised greeting to an avant-garde conference. Like a demented Ed Sullivan, Dali presents an easel holding a Piet Mondrian painting, which dissolves into an actual pigsty, with real pigs in one square, a model in an evening gown in another and a motorcycle in a third. -
When Artworks Collide
ART REVIEW When Artworks Collide Nicole Bengiveno/The New York Times At the Tony Shafrazi Gallery, this show contains two shows (one on wallpaper). By ROBERTA SMITH Published: May 16, 2008 “Who’s Afraid of Jasper Johns?,” a group show at the Tony Shafrazi Gallery in Chelsea, is the latest proof that you don’t have to be a museum to shake things up. It was organized by Gavin Brown, who has a downtown gallery of his own, and Urs Fischer, a Swiss artist he represents. Demonically aerobic for brain and eye, the show conflates two exhibitions and several different times, styles, art markets and notions of transgression. Highly site specific, it may also be one of the last words in appropriation art, institutional critique and artistic intervention, not to mention postmodern photography and, especially, wallpaper. Nicole Bengiveno/The New York Times An installation view shows Malcolm Morley’s “Age of Catastrophe” on top of a Keith Haring, left, and a Picabia over a Donald Baechler. The histories entwined here begin with Mr. Shafrazi, an infamous one-hit-wonder graffiti artist and longtime graffiti art dealer. In 1974 he spray-painted, in red, the words “Kill Lies All” on Picasso’s “Guernica,” then at the Museum of Modern Art (he meant to write “All Lies Kill”). By 1982 he had a SoHo gallery known for showing graffiti-related artists like Keith Haring, Kenny Scharf, Jean-Michel Basquiat and Donald Baechler. In 2004 Mr. Shafrazi relocated to an austere second-floor gallery in Chelsea, putting up long-running shows and concentrating mostly on the resale market: not only the graffitists but also blue-chip works by Picasso, Picabia and Francis Bacon. -
NEUE Bilder Sale Aus Exquisiter Privatsammlung Von Schweizer & Internationalen Künstlern
NEUE Bilder Sale aus exquisiter Privatsammlung von schweizer & internationalen Künstlern Liebe Graffiti-Kunst-Freunde Wir verkaufen aus exquisiter Privatsammlung Werke von Künstler wie: - Speedy Graphito (Oliver Rizzo) France - DARE (Sigi von Koeding) CH - Basel; gest. 2010 - JONONE (John Andrew Perello) USA & France - TILT (unknown) France - Smash 137 (Adrian Falkner) CH - Basel - WON ABC (Markus Müller) Germany - A1One (Karan Reshad) Iran - SEEN (Richard Mirando) USA - Pro 176 (Rudy Dougbe) France - SOZYONE (Pablo Gonzalez) Belgien - POSE (Pirmin Breu) CH - Aargau Macht Euch selber und/oder Euren Liebsten ein persönliches Geschenk. Martial: 079 427 53 32 Monika: 076 377 70 77 [email protected] [email protected] …wir freuen uns auf Eurer E-Mail / Telefon / What’s App. Speedy Graphito (Oliver Rizzo) France http://www.kollygallery.ch/speedy-graphito-artist/ https://en.wikipedia.org/wiki/Speedy_Graphito Speedy Graphito, or Olivier Rizzo, is a French painter who was born in Paris in 1961. He is one of the pioneers of the French Street Art movement alongside others like Jérôme Mesnager, Miss Tic and Blek le Rat. By imposing a powerful, innovative style in the early 1980s, Speedy influenced a generation of urban artists. Though his work has evolved considerably over the past few decades, he has become known and revered for his exploration of commercialism and references to pop culture images and icons. After a very brief career as a graphic designer and art director, in 1983 Speedy joined the collective X- Moulinex,[1] but left the following year.[2] In 1985, he was on the first meeting of the graffiti and urban art movement in Bondy (France), on the VLP's initiative, with Jef Aerosol, Miss Tic, SP 38, Epsylon Point, Blek le rat, Futura 2000, Nuklé-Art, Kim Prisu, Banlieue-Banlieue… By 1989 Speedy Graphito had participated in a number of group art exhibitions mostly in Paris, and by the late 1990s Speedy Graphito’s unique street art style was exhibited in art galleries across Europe.