Giulio paolini biography of abraham

  • This retrospective exhibition of Giulio Paolini's art was a considerable achievement.
  • Www.instagram.com › johan.vansteenkiste › Post.
  • “In 1969 a young artist in Turin named Giulio Paolini took as his personal motto the Latin inscription—itself a quotation from Nietzsche—at the.
  • Nove particolari in due tempi (Nine Details in Two Stages)

    “The attention is analytical, but the result is enigmatic.” (Giulio Paolini)

    Giulio Paolini has explored issues of control and comprehension using collage, perspective and quotation for much of his life. In “Nove particolari in due tempi (Nine Details in Two Stages),” Paolini’s appropriated image of the figure is not in the center, but off to the right. The perspectival lines are not connected to the right (writing/drawing) hand of the figure, but closer to the left eye and/or the raised left hand. In the overall composition, Paolini balances between centrifugal and centripetal forces where the left goes right, the right goes left and hierarchy (between artist, viewer, subject matter, source material and end result) is always in question.  Looking further at the figure, its image can be read as being taken from “the past” on account of its enlarged engraving-like lines (the image is taken from a seventeenth-century handbook about perspective, “Les Perspecteurs” by Abraham Bosse). The reproduced lines are contrasted by the rigidly clean and geometric rectangles on the other sheets of paper as well as by the straight but hand-drawn lines that unify the overall compo


    May 13 – June 3, 2021

    REMAKE; Sarah Charlesworth, Giulio Paolini, Paul Mpagi Sepuya, and Shellburne Thurber
    Krakow Witkin Gallery

    Virtual Viewing:
    https://www.krakowwitkingallery.com/exhibitions/remake-sarah-charlesworth-giulio-paolini-paul-mpagi-sepuya-and-shellburne-thurber-online-only/


    An online presentation of four works over four weeks

    Sarah Charlesworth’s “Verbs,” which is part of her iconic “Modern History” series, was made in 1978 (released by the artist in 2003) and is a black and white photographic print made from a masked-off newspaper, reproduced at its original scale with only photos, verbs and the masthead remaining visible. Through the selective removals, Charlesworth highlights the formal hierarchies of power as well as the visual results of editorial perspective.

    In 2013, Lucy Gallun, a photo curator at MoMA, NY, wrote the following:

    “What is “unwriting”? Is it an act of removal or addition? Of stitching or unraveling? Of narration, interpretation, or revision? “Unwriting” is the term that artist Sarah Charlesworth (American, 1947–2013) chose for the introductory notes of her 1979 catalogue, “Modern History”…

    Charlesworth’s elimination of everything except these spe

  • giulio paolini biography of abraham
  • Salvador Dalí, Abraham, Abraham!, Lithograph, 1964

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