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New York – Urs Fischer: “Sotatsu” at Gagosian Gallery Through June 23rd, 2018

May 26th, 2018

Urs Fischer, Sōtatsu (detail) (2018)New York, Artworks © Urs Fischer, Photo Rob McKeever
Urs Fischer, Sōtatsu (detail) (2018)New York, Artworks © Urs Fischer, Photo Rob McKeever

Throughout the career of Swiss artist Urs Fischer, space and form have long worked in lock step with acts of repetition and iteration, allowing his myriad approaches towards studio process to create ever-evolving forms and bodies of work that change as much from piece to piece as they do series to series.  For his most recent body of works on view now at Gagosian Gallery‘s uptown location, the artist takes this interest to a natural conclusion, creating a series of panel-based paintings that draw on a gradual evolution in the painter’s improvisations on single images.
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German Lost Art Plans New Guidelines for Project Funding

May 25th, 2018

Portrait of Adele Bloch-Bauer I, by Gustav Klimt, via Market WatchThe German Lost Art Foundation will begin developing guidelines for funding projects in provenance research for museums, collections and basic research, the Washington Post reports. The funding continues the organization’s attempts to provide restitution support for lost and looted art pieces.
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The Guardian Spotlights New Performance Piece at CERN

May 25th, 2018

Haroon Mirza and Gaika, via The GuardianThe Guardian spotlights an ambitious and expansive body of performance works set to take place at the CERN Large Hadron Collider, organized by a group of artists including Jack Jelfs and Haroon Mirza. “It’s like the way people look at Stonehenge,” says the DJ Elijah, who is part of the project. “That could be like Cern 1,000 years in the future – maybe not even that far ahead. ‘Why were people smashing particles together to work out how the universe started?’ This is the biggest machine ever created, maybe nothing will ever be bigger. So it might be seen as a ritual site.”
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REFERENCE LIBRARY

Vladimir Tatlin

1885 – 1953
Lives and works in:

Moscow

Education includes:

Moscow School of Painting, Sculpture Architecture

Tatlin is one of the most important figures heading the Russian
Avant-Garde art movement in the 1920s. His work and his philosophies
eventually became the foundation of the Constructivist movement,
although he later rejected the role as “father of constructivism”.

Tatlin’s early work confronted the notion of a flat two-dimensional
painting as the primary art form. His so-called “corner-reliefs”
consist of planks of wood, planes of metal, pieces of twine, etc. that
are arranged hanging from a corner. These pieces appear to be an
abstract or cubist painting, blown out into three dimensions.

Art history most frequently mentions his name in relation to his
attempt to create Monument to the Third International. This project
was envisioned to a be a huge tower, dwarfing the Eiffel Tower, which
was, at the time, the tallest man-made structure. It was conceived to
be a revolutionary utopian force – a new version of the classical
monument, which at once inspires political allegiance and depicts a
heroic, historical context. The monument would be all of this, function
as the headquarters of the international Communist movement and embody
a new industrial aesthetic built on modern technology.