Monday, October 26, 2009

Cheryl Yip - 3 Contemporary Artists

1 . Frances Stark

"It is certainly true that Frances is ‘not simply a visual artist who writes’. Stark’s relationship with language and the visual arts is far murkier than that. In her work -both written and visual, although it is often not so easy to distinguish between the two -language takes the form of an infinitely malleable material. Stark shapes language into her miscellaneous texts: ‘artworks’, ‘essays’, ‘articles’, ‘interviews’, ‘poems’, ‘reviews’ etc. Stark’s writings, whilst highly readable, do not follow or adhere to any traditional literary standards. Stark affords language the license to take unexpected and often unprecedented turns. Aligning something that resembles poetry, with something that might pass for journalism, with what often appear to be diary entries, Stark has created a literary form uniquely her own."

Frances Stark: Conceited girl wants to show she has a seat (after Goya)

Conceited girl wants to show she has a seat (after Goya) 2009
Digital pigment and silkscreen print on Somerset Velvet paper, 47 x 37 cm

Frances Stark is known for works that explore the act of art-making and her own authorial authority, often employing elements of appropriation and collage. For the ICA the artist has created a new print that draws on motifs in her recent work, including collaged hands that enter the picture plane, and an image of a woman 'wearing' a chair (based on a Goya etching that satirises feminine display)
ref :

Stark lives and works in Los Angeles. Her solo exhibitions include A Torment of Follies at Secession, Vienna and greengrassi, London, in 2008; and The Fall of Frances Stark at Portikus, Frankfurt, and van Abbe Museum, Eindhoven, in 2007. Nottingham Contemporary will present a major exhibition of Stark's work in autumn 2009. Frances Stark, who is also a writer and poet, often uses words or phrases as visual motifs in her compositions. Through the artist’s tracery, a line of text borrowed from a novel, poem or even a pop song will lead the viewer through the experiences that are the hallmark of her work: Words become an abstract design through repeated hand-tracing, while they cognitively but subtly introduce a subject, mood, and often the context of another discipline such as music, architecture, philosophy.

Through a narrative that charts the frustrations of combining motherhood and art, Frances Stark captures the poignancy of the human condition

An artist and a writer, Frances Stark can transform even a dreary corporate tool into a compelling visual essay. Her PowerPoint presentation Structures That Fit My Opening and Other Parts Considered to the Whole (2006), intertwines anecdotal text with photographs of her home in Echo Park, Los Angeles. It's a semi-autobiographical ramble through the creative chaos of Stark's life, focusing on the difficulties of combining motherhood with being an artist. Written with a self-deprecating wit that pricks with honesty, she tries to square the circle of her differing roles. Unlike Tracey Emin, who bares her soul publicly for us to pick at like vultures over a carcass, Stark's confessional manner is intimate and inclusive; she presents her dilemmas in a shaggy dog story that crescendos and diminishes like the chapters of a book.

Born in Newport Beach, California, in 1967, Stark studied at San Francisco State University before attending the Art Centre College of Design. She says she had been obsessed with language from an early age so it isn't surprising to find that many of her influences are literary and that she has published a series of collected writings. She wrote recently: "I am envious of those who can deliver nuggets in tightly wrapped packages. The economy of Emily Dickinson is a huge inspiration."

Stark's practice – whether it is drawn, written, painted or filmed – is about the laborious process of making art, detailing its frustrations with a wry humour. It is possibly best summed up in the collage Still Life with IBM Cards and Violin (1999), a parody of a Picasso cubist collage, in which she sends up the limitations of being an artist, unable to compete visually with the emotional impact of music. This issue has also led her to use soundtracks from Throbbing Gristle to accompany home videos that are as banal as the rock band is outlandish.

Stark's well-articulated personal anxiety encompasses George Orwell's statement that "each life viewed from the inside is a series of small defeats". In her quiet yet persistent inquiry into the human condition, she delivers, with devastating candour, the poignancy of human failure.


The Unfocused Type of Person

Untitled, 2008

Push, 2006

Butterfly Sculpture, 2008

2 . Joanne Greenbaum

Joanne Greenbaum is a New York-based artist who makes oil-on-canvas abstract paintings. To start a painting, Greenbaum makes a mark and follows its lead. One shape or color suggests another, then another, and gradually the canvas begins to fill and a rickety, provisional structure appears. Cross-hatched scrawls of paint may overlay one large area of straight-from-the-tube pigment, or appear to undergird it. A black and orange checkerboard pattern may organize the top of a painting, while beneath it more free-form figments of paint run riot. Greenbaum's palette is similarly rampant, mixing iridescent with more muted colors and allowing hues to jostle and clash. The artist's hand, with its scribbled lines and looping brushstokes, is always apparent. She makes her thinking—and rethinking—visible. The paintings stage themselves: they enact the process of their own making. Greenbaum stays close to the doodle—a pictorial whim, notated freely—and this gives her paintings an exuberant, freewheeling sense of drawing in paint.

Greenbaum exhibited four large paintings in the Locker Plant's front room. 25 smaller paintings—executed quickly, with the paint still drying on some—were hung salon-style in the back.

Joanne Greenbaum lives and works in New York. Over the past ten years she has participated in numerous group shows in the U.S. and Europe and had solo exhibitions at D'Amelio Terras in New York, greengrassi in London, and Galerie Nicolas Krupp in Basel, Switzerland. Later this year she will have a solo show at Boom/Shane Campbell in Chicago, and in 2008 a career-spanning survey of her work will be mounted at the Haus Konstruktiv museum in Zurich. The survey will then travel to the Museum Abteiberg in Monchengladbach, Germany.

Joanne Greenbaum
2004, Oil on Canvas
178 x 127cm

Joanne Greenbaum有趣的提取以富於解放的意味進行繪畫。她首要關注的是造型藝術的形式,從不跟隨傳統繪畫的固定規則,相反,她總在不斷檢驗和擴展繪畫得以進化的可能性。在作品 Poster中, Joanne Greenbaum的平面合成展示了自身的邏輯:用看似不可能的設計圖描繪並分解大膽的形狀和顏色。 Joanne Greenbaum的圖表主題不僅是一種結構工具,還是她美術消耗的一種延伸。勾勒出的優美線條展示出預期的親密和空想空間的維度,暗含一種無窮無盡的微觀世界的幻境愉悅。

Joanne Greenbaum
Table of Contents
2004, Oil on Canvas
178 x 254cm

素描成為Joanne Greenbaum繪畫中最強烈的力量。作品表面暫時的複雜在她集中的描繪里定格。在作品Table of Contents中, Greenbaum運用的大量實體顏色在削弱了的記號標記中膨脹、然後溶解:紫色和橙色的建築形狀以模糊的速度躍起,黑色的地面吞噬了整個畫面,亂的體系,就像是形式主義者的劇本:在黑色上描上銀白色,它令人窒息的能量在畫布的邊緣分解。數字和圖表形成一個混白的愉悅、紅色狂亂的活潑和藍色的花體在線條構成的網中舞動。 Table of Contents就像是收納萬物的詞典,包含了表達細緻的情感。

Joanne Greenbaum
Trend Report
2004, Oil on Canvas
203 x 178cm

Joanne Greenbaum在畫布上展示了一個純淨而急躁的過程。她的繪畫通過一個有機的程序展開,合成的元素由不斷演變的形狀控制,直接通過藝術家之手形成自然的張力。作品故意的不修邊幅顯示了藝術家對於繪畫的自信:每一個姿態均包含其自我實現的重要性和最終的作用。在作品Trend Report中, Joanne Greenbaum勾勒的形狀為爭取空間而掉落、溢出和重疊:塗鴉般的數字奪取空間,而一道道線條的軌跡從豐富的色彩區域跳出並加以對抗。 Joanne Greenbaum在作品中赤裸裸地呈現了創作的過程,與時間逝去的感覺產生共鳴,紀念自我創造的歷史。

Joanne Greenbaum
oil, flashe and acrylic on canvas
198.1 x 198.1 cm

Joanne Greenbaum
Prom King
oil, flashe and acrylic on canvas
279.4cm x 254 cm

Joanne Greenbaum
Prom Queen
oil, flashe and acrylic on canvas
279.4cm x 254 cm

Joanne Greenbaum有趣的提取以富於解放的意味進行繪畫。她首要關注的是造型藝術的形式,從不跟隨傳統繪畫的固定規則,相反,她總在不斷檢驗和擴展繪畫得以進化的可能性。她的繪畫通過一個有機的程序呈現,合成的元素由不斷演變的形狀控制,直接通過藝術家之手形成自然的張力。作品故意的不修邊幅顯示了藝術家對於繪畫的自信:每一個姿態均包含其自我實現的重要性和最終的作用。

Joanne Greenbaum的平面合成展示了自身的邏輯:用看似不可能的設計圖描繪並分解大膽的形狀和顏色。 Joanne Greenbaum的圖表主題不僅是一種結構工具,還是她美術消耗的一種延伸。勾勒出的優美線條展示出預期的親密和空想空間的維度,暗含一種無窮無盡的微觀世界的幻境愉悅。素描成為Joanne Greenbaum繪畫中最強烈的力量。作品表面暫時的複雜在她集中的描繪里定格。

Joanne Greenbaum的建築模式在消弱了的記號標記中膨脹、然後溶解:光滑的馬特地面構造質樸,幾何形模型以模糊的速度躍起,胡亂塗寫的象形文字富含古代詩歌神秘的力量。 Joanne Greenbaum支離破碎的排列創造出一種迷宮似的效果,在靜止的空間裡不安地攪動著。潦草的筆記和數字一個接一個迅速地出現,似要度量無止盡的幻想。

Joanne Greenbaum混亂的創作體系如同形式主義者的劇本:在一種顏色上描上其它顏色的愉悅,有機花體字在硬邊線輪廓構成的網中舞動帶來狂亂的活潑。 Joanne Greenbaum勾勒的形狀在美感的競爭中掉落、溢出和重疊:塗鴉般的數字奪取空間,而一道道線條的軌跡從豐富的色彩區域跳出並加以對抗。 Joanne Greenbaum在作品中呈現了創作的過程,與時間逝去的感覺產生共鳴,紀念自我創造的歷史。

3 . Stefano Arienti

(b. 1961)
lives and works in Milan, Italy. In the tradition of Arte Povera, Arienti works with found images and printed materials. He transforms his source material through a minimal gesture (like folding or puncturing) that he repeats systematically, almost obsessively. In doing so, he subverts the visual cliches of popular culture. Arienti has shown extensively in Italy and internationally, in both group and solo exhibitions. In 2005 the Fondazione Sandretto Re Rebaudengo in Turin presented a major retrospective of Arienti's work, and he has been featured in the Milano Europa 2000 Triennial, and the Third International Istanbul Biennial.

Stefano Arienti is a well-known Italian artist whose art is inspired by the Arte Provera and Conceptual movements. [1] His work is made of found materials such as magazines, postcards, newspapers and books[2]. He has exhibited extensively and in 2005, the Fondazione Sandretto Re Rebaudengo per l'Arte held a retrospective of his work. In 2008, Francesco Bonami curated the monumental exhibition "Italics: Italian Art between Tradition and Revolution, 1968-2008" at the Palazzo Grassi that included Arienti's Cassetto con strisce, 1987-1989. In 2009, the exhibition travelled to MCA Chicago. In 2007, Arienti was commissioned by Art Pace for their International Artist-In-Residence program. There he exhibited Library, a landscape of 400 bushels of wheat and 99 books that were buried within. Art Pace

Sliced Books: Stefano Arienti

The Lehman Maupin Gallery features Italian artist Stefano Arienti. He lives in Milan, where he works with found images and printed materials. His 'Sliced Books' are surprising and fun!

On display at the Gallery Corraini a selection of works by Stefano Arienti and Giovanni Ferrario, compared with some form of reality returned after their passage through the filters of thought and of technological change.

Starting point of research is the volume of the artists Stefano Arienti "Sex & Drugs & Rock & Roll", released in 1995 and represented in the exhibition, in which the illustrations in the book of the same name is also the model for subsequent designs magnified through the use of photocopies.

From clipping photocopies of this and a similar volume ( "fossil") is coming up now paper thin figures, fragile images of fossil animals and plants, in turn, scanned, reworked, altered.

The result are works that often the original source is not immediately recognizable, masked behind a complex process that does not let go backward. At the same time, the design and manipulation of Arienti and Ferrari are trying to grasp the fragility of the original form, save it and return it in a new body that appears suddenly.
Beside the scientific rationality of the plan and its revision, the choice of images of human fossils, plants and animals skirts the issue of the macabre and death while playing around with an unbalanced creative dance and the mute silence of the powder.
The spraying of these bodies paper shows in fact the singular dance of small particles on a clear glass so they see the light fantastic imaginary animal and plant species, where the reality of the matter until it can be abstracted image only suspended.
Stefano Arienti (Asola (Mantova), 1961) lives and works in Milan. Since 1986 he has exhibited in solo and group exhibitions around the world.

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