Vincent van Gogh
gasp - a photograph! Why have I never thought of researching that…?
THE DAILY PIC: Think yesterday’s Pic was strange? I’ll give you strange. I caught this new piece by Jordan Wolfson, titled “Female Figure”, yesterday at David Zwirner, a few days before the end of its run. “All” it is is a superbly crafted animatronic sculpture of a woman that dances for a few minutes as you watch, its every motion perfectly matching the motions of a real human being … with pole-dancing skills. (Click on the image to see her – sorry, it – move.) Most eerie of all – what makes it seem utterly alive – is the way its gaze locks with yours and then follows your eyes wherever you go in the room. You’re glad this femme fatale is tethered to her mirror (getting a woman to bipedal around in high heels is still beyond the reach of robotics, as it’s almost beyond the reach of flesh and blood) because if she were free to approach as she pleased, you’d have to take off running. (Note that perfect facial expressions are also beyond robotics, and Wolfson hides that fact by giving his figure a mask.)
Should most of the credit for this piece go to the engineers rather than the artist? Is it just a way-cool piece of tech? Sure – but remember that once upon a time, perspective was “just” a new technology, as were oil paints, but the first examples of their use count as landmark works of art.
I am also perfectly aware of the real and vital feminist issues that our android raises, and her ties to the cheesiest traditions of bad SciFi. But I’m afraid that I can’t keep all that in mind once her hips start swiveling. (Courtesy Jordan Wolfson, David Zwirner, New York, and Sadie Coles HQ, London)
Do Not Abandon Me is a collaboration between Louise Bourgeois and Tracey Emin consisting of sixteen intimate works made over the past two years. These drawings articulate physical drives and feelings, candidly confronting themes of identity, sexuality and the fear of loss and abandonment through joint expression.
This series originated with Bourgeois, who began the works by painting male and female torsos in profile on paper, mixing red, blue and black gouache pigments with water to create delicate and fluid silhouettes. Bourgeois then passed the images on to Emin, who later confessed: ‘I carried the images around the world with me from Australia to France, but I was too scared to touch them’. Emin overlaid Bourgeois’s forms with fantasy, drawing smaller figures that engaged with the torsos like Lilliputian lovers, enacting the body’s desires and anxieties. In one, a woman kisses an erect phallus; in another, a small fetus-like form protrudes from a swollen belly. In many, Emin’s handwriting inscribes the images with a narrative, putting into words the emotions expressed in Bourgeois’s vibrant gouaches.
This suite of prints was one of the last projects Louise Bourgeois completed before her death. They were then printed at Dye-namix studio in New York with archival dyes on cloth in an edition of 18 sets with 6 artist proofs. The exhibition travels to Hauser & Wirth from Carolina Nitsch Project Room, New York, and is accompanied by a fully illustrated catalogue.
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David Annesley, Swing Low, 1964
1964! Eat that, Memphis!
Say, What? | David Wiesner: All those cut out images sandwiched between the panes of glass mean something. Those items are a symbolic representation of a set of ideas Duchamp devised. Here is the glossary, if you will, that decodes the images:
The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) -Marcel Duchamp at the Philadelphia Museum of Art
Marcel Duchamp - The Bride Stripped Bare by her Bachelors, Even (The Large Glass) La Mariée mise à nu par ses célibataires, même (1915-23), reconstruction by Richard Hamilton 1965-6, lower panel remade 1985 (via Tate)
Kendell Geers - Stripped Bare(2009)
Glass and steel 277 x 175 x 79 cm 109 (x 68 7/8 x 31 inches.