Showing posts with label Fibers. Show all posts
Showing posts with label Fibers. Show all posts
Thursday, May 5, 2016
Sunday, April 24, 2016
Monica Stauffer, Student Work
Copious | To be copious is to have excess amounts of something, overflowing. Spilling out, seeping from a container, touching and affecting other things.
Saturday, April 23, 2016
Thursday, May 15, 2014
Louise Bourgeois, b. 1911 France, d. 2010 NYC
Cell (Glass Spheres and Hands)
"Cell (Glass Spheres and Hands)" is one of several freestanding sculptural installations by Louise Bourgeois. The title "Cell" can refer to the most basic building block of a living organism or a prison. Bourgeois' Cells combine aspects of both definitions, pairing the organic with the correctional. Matching used perfume bottles, vanity mirrors, model homes, and excised limbs with steel fencing, broken furniture, a guillotine, and a mechanical saw, each composition employs domestic and institutional elements to tell a story. In "Cell (Glass Spheres and Hands)," two fragmented marble arms rest on a fabric covered table. With hands clasped in a gesture of prayer, the isolated arms appear to be soft and vulnerable in spite of their rock-hard substance. Encircling the table are five glass spheres of different sizes, each resting on its own worn chair. Each enclosed sphere is like a bubble, self-contained but fragile in its existence. The chairs and spheres face the table in a united front, cornering and further isolating the hands. The work plays with relationships such as teacher/student and parent/child. In an arrangement that is reminiscent of a family gathering or classroom situation, "Cell (Glass Spheres and Hands)" invests inanimate objects with human qualities by enacting a drama in space. kelua.com
Cell II (1991)
The mirrored table could be a lady’s vanity where she would display her bottles of perfume. Shalimar could be the scent her mother wore throughout Bourgeois’ childhood. The mirror reflects the hands, contorted with distress, as are the stylized glass bottles, doubling the impact of both. The wooden doors connect together as though they have joined hands, confining the memories and emotions associated with the objects inside, unwilling to release.
The simple placement of an empty bottle can evoke so much. Jacques Guerlain created Shalimar in 1921 on the heels of the end of World War I, when Bourgeois would have been 7 years old. With notes of vanilla, bergamot, and iris, it is a perfume in the category of “Oriental” that was immensely popular at the time. Shalimar epitomized elegance, taste, and romance. It was the story of the Mughal emperor who built the Gardens of Shalimar for his great love in Lahore, and then the Taj Mahal, that inspired Guerlain to put forth this enduring classic.
A perfume, inspired by the story of ideal love, is used up, has dried away in Bourgeois’ sculpture. Yet the involuntary memory stirred upon smelling the perfume, much like Proust’s experience with tea and the madeleine, is irrepressible. This is the power of scent. All that is left are the tortured memories that do not wish to go away. madperfumista.com
“Structures of Existence” at the Guggenheim Museum Bilbao is the largest overview to date of Franco-American artist Louise Bourgeois’s “Cells” – a series of sculptural environments created over a period of two decades that deal with issues of memory, emotion, pain, anxiety, and abandonment.
Within each of the architectural “Cell” enclosures, Bourgeois composed found objects, garments, furniture, and sculptures into emotionally charged theatrical sets, establishing a barrier between the interior world of the artist and the exterior world of the exhibition space. blouinartinfo.com
Friday, May 24, 2013
Thursday, December 27, 2012
Tatiana Blass, b. 1979, Brazil
PENELOPE, 2011
Carpet, loom, wool, chenille yarn
Dimensions variable
Morumbi's Chapel
The work consists of a 14-meter long red carpet extending from the chapel entrance to the main altar, where its end is attached to a hand loom equipped with foot pedal, thus giving the impression that the carpet weaving is under way.
On the other side of the loom, tangled yarns are stretched out to pass through holes in the wattle-and-daub wall and reach the outside area.
The red yarn takes over the greenery of the museum garden, covering the lawn and climbing shrubs and trees. In this process, it creates an ambiguous movement of construction and de-construction, in a reference to the Greek myth of Penelope.
Blind Dog
Adornment
Vinyl plaques on floor
Saturday, December 15, 2012
Franz Erhard Walther, Artist
Leg Piece
Franz Erhard Walther (German, born 1939)
1964. Fabric, 53 1/8 x 14 9/16" (135 x 37 cm). Scott Burton Fund. © 2012 Franz Erhard Walther / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany
Source is Museum of Modern Art
Monday, April 30, 2012
Daniel Arkham, Artist
This image came up when I searched plaster sculpture. However, I cannot firm that the material is plaster. The artist has much more to look at on his website. Link here.
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