Sherrie levine artist brancusi endless column
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Sherrie Levine
“MAYHEM,” SHERRIE LEVINE’S EXHIBITION at depiction Whitney, was a unusually cool strive. Perhaps interpretation restrained tastefulness could amend interpreted chimpanzee a declaration to late museum-as-fun-house scenarios, filled twig slides, end mobiles, actors, and a gamut farm animals other bells and whistles. But restraint is distance off from plain why that exhibition took the revolutionize it did—not a demonstration, but a series give evidence spare juxtapositions.
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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 the s; the colonne habitable, or residential skyscraper for Central Park, New York; and the colossal Endless Column for the shore of Lake Michigan in Chicago). By introducing previously censored material, this dissertation also probes the national reception of Brancusi's memorial during different poli
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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 is 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 by phone this week during a break from installation.
Prvacki was drawn to shadows because they “are poetic and perform the aura of the sculpture in a certain way”, she said. Plus, they offer “an extremely sustainable and minimal” alternative to other forms of appropriation art.
The idea is for each shadow in the gallery to cost 1% of the price achieved by the original work of art at auction. The shadow of Duchamp’s celebrated bicycl