notes
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Nicholas Byrne Keyed E 2012 oil on linen 50 x 35 cm 20 x 14 ins
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David Shrigley
David Shrigley
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Untitled, B, Lucas Samaras, Graphite and incised lines on paper, 1966.
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PixCell-Deer#24 by Kohei Nawa via-ish blacid
PixCell-Deer#24 by Kohei Nawa via-ish blacid
PixCell-Deer#24 by Kohei Nawa via-ish blacid
PixCell-Deer#24 by Kohei Nawa via-ish blacid
PixCell-Deer#24 by Kohei Nawa via-ish blacid
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Alex Couwenberg
Alex Couwenberg
Alex Couwenberg
Alex Couwenberg
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Stéphane Joannes
Stéphane Joannes
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Tim Yankosky at Andrea Scwartz Gallery, tonight.
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“Jim Isermann at Mary Boone…Isermann transforms the soaring trussedroof space by installing a standard off-the-shelf drop ceiling grid and five hundred custom translucent vacuum-formed styrene panels. Each modular unit is one of four variations of planes that tilt in or out in a configuration in which the divisions engage the ceiling grid in the overall patterning. Suspended below the vast skylight, the daylong transition from natural light to incandescent fixtures will backlight the panels and add another dimension to the panels’ orientation and repetition. The drop ceiling’s compression of vertical space and the walls left bare alter the viewers’ perception of the Gallery’s function, evoking instead an Op-Minimalist lecture hall or airport concourse.”
“Jim Isermann at Mary Boone…Isermann transforms the soaring trussedroof space by installing a standard off-the-shelf drop ceiling grid and five hundred custom translucent vacuum-formed styrene panels. Each modular unit is one of four variations of planes that tilt in or out in a configuration in which the divisions engage the ceiling grid in the overall patterning. Suspended below the vast skylight, the daylong transition from natural light to incandescent fixtures will backlight the panels and add another dimension to the panels’ orientation and repetition. The drop ceiling’s compression of vertical space and the walls left bare alter the viewers’ perception of the Gallery’s function, evoking instead an Op-Minimalist lecture hall or airport concourse.”
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Thomas Bayrle, Katholisch, Kunst-station Sankt Peter, Cologne. Via Contemporary Art Daily.
Thomas Bayrle, Katholisch, Kunst-station Sankt Peter, Cologne. Via Contemporary Art Daily.
Thomas Bayrle, Katholisch, Kunst-station Sankt Peter, Cologne. Via Contemporary Art Daily.
Thomas Bayrle, Katholisch, Kunst-station Sankt Peter, Cologne. Via Contemporary Art Daily.
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Pius Fox
Pius Fox
Pius Fox
Pius Fox
Pius Fox
Pius Fox
Pius Fox
Pius Fox
Pius Fox
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a sentiment of mystery, curiosity and nostalgia thematically runs through the ‘ghost photographs’ by american artist angela deane. working with collected images, which the artist says, ‘have a history unknown to me and speak of another’s memory, removed in both time and space’, she subtracts the people captured with the vintage finds by covering them in white paint and illustrating two black circles where their eyes would be. the new portraits liken themselves to the familiar visual of a ghost, cloaked in opaque material and masked behind the guise of the fabric ‘in this way, a private and specific experience becomes an open and shared one through the material addition of paint on photograph’, she describes. deane explores the beautiful, painful and sometimes puzzling human condition of memory — where these reflections stem come from and what can be learned from their everlasting recollection.

Via designboom.

a sentiment of mystery, curiosity and nostalgia thematically runs through the ‘ghost photographs’ by american artist angela deane. working with collected images, which the artist says, ‘have a history unknown to me and speak of another’s memory, removed in both time and space’, she subtracts the people captured with the vintage finds by covering them in white paint and illustrating two black circles where their eyes would be. the new portraits liken themselves to the familiar visual of a ghost, cloaked in opaque material and masked behind the guise of the fabric ‘in this way, a private and specific experience becomes an open and shared one through the material addition of paint on photograph’, she describes. deane explores the beautiful, painful and sometimes puzzling human condition of memory — where these reflections stem come from and what can be learned from their everlasting recollection.

Via designboom.

a sentiment of mystery, curiosity and nostalgia thematically runs through the ‘ghost photographs’ by american artist angela deane. working with collected images, which the artist says, ‘have a history unknown to me and speak of another’s memory, removed in both time and space’, she subtracts the people captured with the vintage finds by covering them in white paint and illustrating two black circles where their eyes would be. the new portraits liken themselves to the familiar visual of a ghost, cloaked in opaque material and masked behind the guise of the fabric ‘in this way, a private and specific experience becomes an open and shared one through the material addition of paint on photograph’, she describes. deane explores the beautiful, painful and sometimes puzzling human condition of memory — where these reflections stem come from and what can be learned from their everlasting recollection.

Via designboom.

a sentiment of mystery, curiosity and nostalgia thematically runs through the ‘ghost photographs’ by american artist angela deane. working with collected images, which the artist says, ‘have a history unknown to me and speak of another’s memory, removed in both time and space’, she subtracts the people captured with the vintage finds by covering them in white paint and illustrating two black circles where their eyes would be. the new portraits liken themselves to the familiar visual of a ghost, cloaked in opaque material and masked behind the guise of the fabric ‘in this way, a private and specific experience becomes an open and shared one through the material addition of paint on photograph’, she describes. deane explores the beautiful, painful and sometimes puzzling human condition of memory — where these reflections stem come from and what can be learned from their everlasting recollection.

Via designboom.

a sentiment of mystery, curiosity and nostalgia thematically runs through the ‘ghost photographs’ by american artist angela deane. working with collected images, which the artist says, ‘have a history unknown to me and speak of another’s memory, removed in both time and space’, she subtracts the people captured with the vintage finds by covering them in white paint and illustrating two black circles where their eyes would be. the new portraits liken themselves to the familiar visual of a ghost, cloaked in opaque material and masked behind the guise of the fabric ‘in this way, a private and specific experience becomes an open and shared one through the material addition of paint on photograph’, she describes. deane explores the beautiful, painful and sometimes puzzling human condition of memory — where these reflections stem come from and what can be learned from their everlasting recollection.

Via designboom.