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Friday, August 19, 2016

Thursday, May 26, 2016

Mireille Vautier, Artist

Ogre's Wife
Wire and Plastic
variable dimensions
2009

mireillevautier.com

Jennifer Rubell, Artist, b. 1970, works in New York City







The de Pury Diptych
June 21, 2010

On the first floor, arranged in a grid are 69 full-size mattresses, made up sloppily with white sheets, loosely referencing Tracey Emin's My Bed. Silver platters of bloody roast beef, beets, big salads, potatoes, asparagus are divided among the beds. Next to each bed are a few bottles of wine and water; a few cases of Jack Daniel’s at others; glasses in their cartons, forks, knives; paper towels. 

Note: The above installation and statement are part of a larger event. To see and read more, go to artist's website. Link below. 

Alberto Giacometti, Artist, 1901 - 1966, Switzerland

No More Play
1933
Plaster and Wood










Tuesday, May 24, 2016

Touch Project Research

I will continue to add to this post over the summer months (2016). 



Maria Moyer
treehugger.com







Kelly Jean Ohl





Sunday, May 22, 2016

Rodney McMillian, b. 1969, South Carolina, USA

In the unforgettable Untitled (2009), he has impaled a familiar IKEA chair with a giant black tube—evoking a sort of industrial-scale phallus enacting sexual violence against a mainstay of bourgeois d├ęcor. 

For Couch (2012), he severed a sateen sofa and pasted it together with a thick band of cement. 

By presenting rather than representing, exposing rather than obscuring, McMillian’s work might seem in direct opposition to the idea of illusion. While this might be true of the work itself, McMillian accomplishes the great feat of destabilizing many of the illusions our society relies on for its survival. We consider our private spaces to be sacred, but they are not isolated from the racist rhetoric and policies that come from the top of the political order. Our leaders assure us that we have come a long way, but racism and inequality persist to this day in ever-evolving ways. McMillian shows us that progress—like comfort, safety, and stability—is an illusion.
Above images and text source blog.art21.org



From Asterisks in Dockery, 2012