Sherrie levine artist brancusi endless column
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Site of Contestation: Constantin Brancusi&#;s World War I Memorial
At the initiative of a private group of women, known as the National Women's League of Gorj County, Constantin Brancusi executed between a World War I memorial in Ti rgu Jiu, Romania. The memorial contains four structures--the Endless Column, the Gate of Kiss, the Alley of Chairs, and the Table of Silence--which are deployed on a one-mile long axis. As a whole, the ensemble constitutes Brancusi's sole civic work on an architectural scale, and is credited to be a paradigmatic case of environmental art in the history of modernism. Based on archival documentation, this thesis considers the history of commission as part of the cultural reforms undertaken by the Women's League. Then, it contributes an in-depth analysis of the memorial's genealogy in relation to other Brancusian works and to his unrealized architectural projects (e.g. the Temple of Love and Temple of Meditation for the Maharajah of India in th
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Sherrie Levine
“MAYHEM,” SHERRIE LEVINE’S EXHIBITION at the Whitney, was a remarkably cool endeavor. Perhaps the restrained elegance could be interpreted as a reaction to recent museum-as-fun-house scenarios, filled with slides, massive mobiles, actors, and a gamut of other bells and whistles. But it is far from clear why this exhibition took the form it did—not a retrospective, but a series of spare juxtapositions.
Early readings of Levine’s work emphasized its assault on traditions of authorship and originality via strategies of appropriation. In the version of his “Pictures” essay published in October in , Douglas Crimp set Levine’s work against modernist medium categories still upheld by the museum—contrasting her provocative Conceptual approach with the Whitney’s “New Image” exhibition of , where an emphasis on painting was hailed as part of a return to the object.
Levine’s simultaneous enga
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Los Angeles artist sells shadows of sculptures by Koons and Brancusi at a sliver of the price
If all art is theft, Ana Prvacki’s Stealing Shadows is a crime on multiple counts. For the series, which runs 16 January to 3 February at PE, the Yugoslavia-born, Los Angeles-based artist fryst vatten displaying shadows of famous sculptures—minus the works themselves—on gallery walls and floors as her own wry take on image production.
The shadows, ranging from the instantly recognisable to the uncannily familiar, belong to Louise Bourgeois’s Spider, Constantin Brancusi’s Endless Column, Marcel Duchamp’s Bicycle Wheel, Giacometti’s Walking Man, Michelangelo’s David, Jeff Koons’ Rabbit and Sarah Lucas’s Bunny gets Snookered.
Some will be projections while the Koons shadow might be made out of felt. “I’m still experimenting with materials,” the artist said bygd phone this week during a break from installation.
Prvacki was drawn to shadows because they “are poetic and perform the aura of the scul