Friday, October 21, 2011

PETER DOIG

'Painting becomes interesting, when it becomes timeless.'


'The building took me by surprise as a piece of architecture, but it was not until I saw the photographs I had taken of the building through the trees that it became interesting. That made me go back and look at it again. I was surprised by the way the building transformed itself from a piece of architecture into a feeling. It was all emotion suddenly.'









"A picture Doig had made in 1990 of a white canoe mirrored on a lake at night, sold at Sotheby's for £5.7m. It was the most ever paid for a painting by a living European artist. Doig didn't get the money - the painting had been owned by Charles Saatchi - but in that extravagant moment, he went from being a quiet critical success to an infamous commercial one. He was, suddenly, new evidence of the art world gone mad. How did that feel?
'It made me wonder: what am I doing this for?' The way he works didn't help. He cheerfully describes his finished work as the product of 'mistake, after mistake, after mistake', a painstaking process of failing better, and talks of wanting the layered surfaces of his work to be 'slightly repellent, on close inspection'." Read the whole article here: http://outsidetheivorytower.blogspot.com/2008/02/doig-tells-tim-adams-about-lsd-fame-and.html






Monday, October 17, 2011

MARKUS MUNTEAN AND ADI ROSENBLUM


Markus Muntean, Born in Graz, Austria, 1962
Adi Rosenblum, Born, Haifa, Israel, 1962
They live and work in London and Vienna. 
They have been working in partnership since 1992 and have developed a unique joint signature style.









'This double authorship has the same function as the white frame or margins, which puts the painting into brackets. These white frames or margins of course have connotations in terms of comics or TV monitors. They allow us to deal with very painterly issues and iconographies, and questions of authorship'. 


'We are fascinated by, and investigate, how far you can go with the construction of the gesture of the figure. Because, we think the more artificial it gets, the more moving it is, even though, in the normal sense it is the natural that is the thing that moves you'. The archetypal static poses of these contrived figures are familiar from both contemporary popular culture and art history. Reminiscent of characters from Renaissance paintings undergoing a sublime religious experience, they reflect Christian iconography, much of which refers back to classical art.' Adi Rosenblum







"Muntean/Rosenblum's work appropriates adolescent figures from fashion or lifestyle magazines, transforming them into strangely compelling scenes which question the possibility of spirituality in contemporary society." Read the rest of the article here: http://www.tate.org.uk/britain/exhibitions/artnow/munteanrosenblum/default.shtm
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