A journal by artist and designer John Coulthart.
Sculpture
Not an album cover design by Storm Thorgerson but an artwork of 10,000 lights by Giancarlo Neri which filled the grounds of the Circus Maximus in Rome earlier this week. Neri’s earlier work, The Writer, a huge table and chair, was also shown in Rome as well as appearing on Hampstead Heath in London. What the photo above doesn’t show is the lights gradually changing colour but you can see that via YouTube.
Previously on { feuilleton }
• The art of Yayoi Kusama
• Atomix by Nike Savvas
Your mobile expectations: BMW H2R project (2007).
A busy time for the artist this month with his design for BMW’s Art Car series (above) going on display for the first time in San Francisco. All the previous artists involved in this series have been content with merely painting on the body of the car. Eliasson’s creation is a considerable departure in that respect.
The new artwork was created on the hydrogen-powered H2R race car, after the artist replaced the body with a combination of steel mesh and reflective panels. The car was then sprayed with 530 gallons of water over the course of several days to create layers of ice.
It was constructed in situ at the San Francisco Museum of Modern Art, where it will remain in a display case with a special cooling unit from 8 September until 13 January next year, as part of the exhibition, Your Tempo: Olafur Eliasson.
According to BMW, the aim of this latest project was to transform an object of advanced industrial design into a work of art that reflects on the relationship between global warming and the car industry.
Continues here.
Previously on { feuilleton }
• Olafur Eliasson’s Serpentine Pavilion
• The London Oasis
• New Olafur Eliasson
• The art of Cai Guo-Qiang
Laocoön and His Sons attributed to Agesander, Athenodoros
and Polydorus of Rhodes (c. 160–20 BCE).
No jokes about snakes in a frame, please. Bram Dijkstra’s Idols of Perversity: Fantasies of Feminine Evil in Fin de Siècle Culture (1986) is a wide-ranging study of the “iconography of misogyny” in 19th century painting. Dijkstra examines the numerous ways that women were depicted in late Victorian and Symbolist art, with one chapter, “Connoisseurs and Bestiality and Serpentine Delights”, being devoted to representations of women with animals, especially snakes. The story of Eve and the Serpent prompts many of these latter images, of course, while scenes with other creatures seem intended to demonstrate the Victorian attitude that woman was closer to the brute beasts than man and could often be found conspiring with them to bring down her masculine masters. Continue reading “Men with snakes”
The Candles by Christian Boltanski.
The Shadow is an exhibition at Compton Verney from Saturday 30 June–Sunday 9 September, 2007. I’d been considering a post about shadows in art for a while so this has forced my hand. There’ll be some follow-ups in the coming week, work permitting. I’m busy with a big new piece of Lovecraft-related art at the moment, among other things. More about that later.
Shadows carry with them a range of associations. Whilst the shadow exists as a scientific phenomenon, its presence, from the Greek philosopher Plato through to JM Barrie’s children’s story Peter Pan, reflects the values and beliefs of society as well as an expression of psychological states.
The Shadow is the first extensive group show of its kind to look at an ancient theme that continues to emerge particularly in the work of contemporary artists. The exhibition will provide the viewer with a series of atmospheric encounters where sometimes the source is revealed but frequently the shadow exists independently, often revealing a presence outside the space represented.
The exhibition includes painting, sculpture and video by international contemporary artists such as Doug Aitken, Laurie Anderson, Christian Boltanski, Ceal Floyer, Mona Hatoum, Gary Hill, Tracey Moffatt, Anri Sala, Fiona Tan, Andy Warhol, William Wegman and Francesca Woodman.
The Choirboy (A Young Singer) by Georges de La Tour (1640s).
To compliment The Shadow exhibition, Compton Verney will present a number of key candlelight works by the French artist Georges de La Tour (1593–1652).
La Tour was born in the Duchy of Lorraine and influenced by the work of Caravaggio. His works have been attributed to a number of artists and it is only since 1915 that a group of his signed paintings were linked and attributed conclusively to La Tour.
It was not until 1972 when all his surviving works were brought together in a major retrospective exhibition at The Orangerie, Paris that he came to the attention of a wider public. This exhibition will represent a rare opportunity for British audiences to view La Tour’s paintings and will focus on a number of powerful works, mainly from La Tour’s late period, which concentrate on the effect of light on the human figure.
Archaeological Site (A Sorry-Installation) by Guillaume Bijl.
A work for the Skulptur Projekte Münster 07. More views on Flickr.