http://www.exporevue.com/artistes/fr/radisic/index.html
Mostrando entradas con la etiqueta 1952. Mostrar todas las entradas
Mostrando entradas con la etiqueta 1952. Mostrar todas las entradas
Pierre Radisic
Fotógrafo belga, trabaja principalmente el tema del desnudo. En 2007 expuso en la Casa de la Mujer en Zaragoza su serie Cuerpos Celestes, en la que crea un símil entre las constelaciones de la piel y las astronómicas.
http://www.exporevue.com/artistes/fr/radisic/index.html
http://www.exporevue.com/artistes/fr/radisic/index.html
David Salle
Artista estadounidense. Fue alumno de John Baldessari y su obra puede relacionarse con la de Sigmar Polke. Pinta cuadros con técnicas mixtas, de gran formato, a partir de referencias diversas, desde el arte antiguo hasta la publicidad. Participó en Documenta en 1982, en la Bienal de Whitney en 1986 y ha expuesto en importantes museos del mundo como Saatsgalerie Moderner Kunst (Munich) y el Museo de Arte de Tel Aviv.
http://www.davidsallestudio.net/
http://www.davidsallestudio.net/
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| Mingus in Mexico, 1990, Acrílico y óleo sobre lienzo, 244 x 312 cm. |
Lari Pittman
Pintor californiano, creció en Colombia y vive en Los Ángeles. Su obra se inspira en la tradición folk, las artes decorativas y la pintura mural mexicana. Busca la dualidad. Emplea técnicas muy variadas: acrílicos, vynil-cel, lacas, lápices de colores, ...para crear espacios complejos y saturados, en los que ilcluye siluetas y símbolos.
En 1997 participó en Documenta Kassel, en 1993, 95 y 97 en la Bienal de Whitney y en 2003 en la Bienal de Venecia.
http://www.gladstonegallery.com/pittman.asp
En 1997 participó en Documenta Kassel, en 1993, 95 y 97 en la Bienal de Whitney y en 2003 en la Bienal de Venecia.
http://www.gladstonegallery.com/pittman.asp
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| Attendant, 2006 |
| Aerosol, vinyl-cel, gesso sobre lienzo y panel, 259 x 218 cm. |
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| Sintñitulo, 2007 |
| Acrñilico, vinyl-cel, lienzo, tabla, gesso 101 x 132 cm. |
Yasue Shimoshige
Artista y diseñadora textil japonesa. Ha participado en la exposición The Nature Spirit, llevada a cabo en el Centro Cultural Hispano-Japonés USAL (Salamanca) y en el Centro de Arte Complutense UCM (Madrid), 2011-12.
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| Bosque Por siempre - VERDE 70 x 534 x 3 cm Rayón Técnica de tejido con hilo retorcido, costura |
Xavier Prou (Blek le Rat)
Artista francés pionero en el uso de la técnica del estarcido para los graffiti (1981), que luego empleará también Banksy. Retratar personajes conocidos por el mundo y afirma que su intención no es otra que hablar con los dibujos a la sociedad y defiende el arte del graffiti frente a las prohibiciones y multas.
"^[...]The graffiti movement has no other intention than to speak via pictures. Words for the community, words of love, words of hatred, of life and death. It’s just a fine and subtle kind of therapy and an attempt to fill the emptiness of this terrible world, to cover public space with pictures that people going to work can enjoy. But the authorities were not sympathetic to our cause and declared war on graffiti. They invented a lot of laws and waged war until every little stencil graffiti or art expression had been stripped of its soul. Young artists were threatened with punishments and fines completely out of proportion to the act. As if graffiti were more dangerous than drugs. But the immense desire to paint and to express themselves encourages artists to support one another. Doing it all around the world, they made this urban art into the biggest art movement of the 20th century; just look at the spread of their pictures and the authenticity they radiate. There is no place in the world with no mural artistic traces. Even in Peking, under the strongest regime, there is a man leaving his mark right at this moment. However, urban art is still seen as a spreading blemish on the urban face. Personally, I think the colors of our sprays help the urban landscape to bloom with poetic intentions".
"^[...]The graffiti movement has no other intention than to speak via pictures. Words for the community, words of love, words of hatred, of life and death. It’s just a fine and subtle kind of therapy and an attempt to fill the emptiness of this terrible world, to cover public space with pictures that people going to work can enjoy. But the authorities were not sympathetic to our cause and declared war on graffiti. They invented a lot of laws and waged war until every little stencil graffiti or art expression had been stripped of its soul. Young artists were threatened with punishments and fines completely out of proportion to the act. As if graffiti were more dangerous than drugs. But the immense desire to paint and to express themselves encourages artists to support one another. Doing it all around the world, they made this urban art into the biggest art movement of the 20th century; just look at the spread of their pictures and the authenticity they radiate. There is no place in the world with no mural artistic traces. Even in Peking, under the strongest regime, there is a man leaving his mark right at this moment. However, urban art is still seen as a spreading blemish on the urban face. Personally, I think the colors of our sprays help the urban landscape to bloom with poetic intentions".
Manifiesto de Blek Le Rat
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| NYC, 2006 |
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| Tributo a Tom Waits, 1983 |
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| Último tango en París, 1986 |