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Dag Erik Elgin: Mirror Falling from the Wall
Since 1986, in his Originals series, Dag Erik Elgin has devoted himself as a re-creating painter to his own admittedly subjective, but not unusual, canon of modern painting. In the series he repeats the selected works, all of them Modernist or Classical Modernist, but without pursuing maximum authenticity in the copying manner of an art forger. The resulting canvases are at the boundary between complete appropriation and studying replica; in them, Elgin relives as a painter the processes whereby the actual originals arose, but at the same time uses them to generate an intellectual reflection on the sensitive topics of original and forgery. His Originals are aesthetically attractive, yet--as forgeries--they would not withstand a critical autopsy in the art market, for their materials and manner of production in no way disguise the fact that they have been created in the present. Yet it is the painting itself, the insistence on a personal product in oil on canvas, that makes the Original an original in an age of perfected digital opportunities for appropriation, which would outdo any artisanal transfer.
Re: The Ash Lad
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Warburg Models
Architectural patronage was crucial for the thinking of Aby Warburg and his circle. In Hamburg the purpose-designed Kulturwissenschaftliche Bibliothek Warburg, completed in 1926, organized Warburg's remarkable library. From 1927 Warburg developed ideas about orientation in the radical transformation of a disused water tower into the Hamburg Planetarium. After the Warburg Institute transferred to London in 1933 this pattern of seminal architectural commissioning continued, including projects designed by the avant-garde practice Tecton during the 1930s, and culminating in the construction of the library's present home at Woburn Square, Bloomsbury in 1958. Warburg Models: Buildings as Bilderfah...
Nu
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Josef Albers: No Tricks, No Twinkling of the Eyes
Josef Albers: no tricks, no twinkling of the eyes presents a reading of Albers' practice through the lens of contemporary artists, writers and art historians, who negotiate the relevance of both his educational and artistic legacy today.Selections of Albers' own writing are dispersed throughout the book, offering a rich glance into his dedication to pedagogy and art, and the pioneering ideas that still resonate with contemporary art practitioners.Richly illustrated, the publication spans Albers' production over sixty years and highlight the dexterity of Albers' practice and not least his commitment to creating complex perceptual and spatial experiences through deceivingly simple compositions of colors and lines.The design of the book by Jeanne Betak has been conceived with great consideration to both the material and visual flow, following Albers' own love of materiality and typography.
Contemporary
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