![]() ![]() ![]() ![]() The lenses themselves offer the viewer distorted perspectives on the objects, drawings, and scribbles that lie underneath, enhancing the dichotomy between perceived consciousness and the imaginary. Here, the artist developed her signature lens boxes-sculptural reliefs combining drawings, found objects, and magnifying glasses and lenses-that reflected her wide-ranging interests in nature, cosmology, and spirituality. In 1962, Bauermeister moved to New York, where she lived for ten years. Her studio, in Cologne, hosted Fluxus happenings and served as a meeting place for renowned avant-garde artists such as John Cage and Nam June Paik, choreographer Merce Cunningham, and composer Karlheinz Stockhausen. Narrator: Mary Bauermeister began her career in Germany, where she became a leading artist among her peers-including musicians, performers, visual artists, and writers-affiliated with Fluxus in the early 1960s. In the name of art.Hear more about Mary Bauermeister's "Title I" (1965) from Julie Mehretu's "Cry Gold and See Black" presentation, as part of “Artistic License: Six Takes on the Guggenheim Collection,” the first-ever artist-curated exhibition mounted at the Guggenheim. These are artists who will always go beyond limits and boundaries. Her selection is all-female, with works by brilliant, inspired women such as Lee Bontecou, Louise Nevelson (with a magnificent Luminous Zag: Night, 1871), Adrian Piper and Chryssa. Jenny Holzer, meanwhile, has the difficult task of concluding this journey at the heart of the Guggenheim. Carrie Mae-Weems in turn focuses on the concept of «black and white» and how (thanks to Rothko and Beuys) it can conceal a universe of shades. Mehretu, in addition to officializing the African Renaissance testified to at the Venice Biennale, has chosen to recount contemporary anxieties, traumas and dystopias by bringing together Dubuffet, Matta and David Hammons, not to mention an absolute, universal icon in the form of Francis Bacon’s Three studies for a Crucifixion (1962). The most striking sections of Artistic License are thus provided by Julie Mehretu (Addis Ababa, 1970), the American Carrie Mae Weems (1953) and Jenny Holzer (1950). It almost seems that the curator-artists seek complicity with the artists they have chosen, a complicity that breaks through the confines of time and style, and this is undoubtedly one of the possible ways to interpret this exhibition.īut in the years of the MeToo movement, it seems that women have once again been given the task of recounting (and showing) the potentially circular nature of art, capable of dialogue with society, including its difficulties, without genre/gender or stylistic divisions. Rather, they recount a change in perspective that involves Guo-Qiang himself alongside recent re-interpretations of Kline and Rothko, he offers a highly conventional work from his own youth, Donghu Village (1978). The surprises come thick and fast, in a room where we encounter William de Kooning’s Figures, Kandinsky’s Amsterdam – View from the Window and Rothko’s fantastic Still Life with Rope, Hammer and Trowel, which have nothing of the abstract we would expect from such masters of the genre (also note here the three beautiful gouaches by Giacomo Manzù selected by Paul Chan). ![]() Climbing up the rotunda of the Guggenheim, with the first level of the spiral in a striking pale pink (technically classified as Pantone “Coral Rose 169U”), we start with Cai Guo-Qiang (1957), the Chinese artist who has chosen fireworks and gunpowder to show how art has the power to physically upend society. ![]()
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