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David Altmejd
David Altmejd creates highly detailed sculptures that often blur the distinction between interior and exterior, surface and structure, representation and abstraction. For Altmejd, the process of making is paramount – he is interested in how the act of constructing an object generates meaning. Altmejd often defies traditional material conventions. In his recent series of large-scale semi-figurative sculptures he used seemingly random objects (such as hessian, polystyrene, chains, fur, crystals and resin casts of his hands and of exotic fruits) to create resonant connections and juxtapositions between diverse material elements. In his complex installations involving Perspex structures and vitrines, Altmejd often pairs symbolic objects, such as crystals and taxidermy birds and animals, with virtuosic applications of materials such as plaster, glitter, minerals and mirrors.0Exhibition: Xavier Hufkens, Brussels, Belgium (14.02.-30.03.2013).
Misled by Nature
Contemporary Art and the Baroque. Featuring the work of six international artists, this publication examines a recurring facet of contemporary artistic production material excess, accumulation, bravado, asymmetry, and theatricality. The impact of such art is decidedly visual and primeval, with artists creating powerfully immersive environments aimed at enticing, challenging and even unsettling viewers. Three essays discuss ornamentation, hybridity, material sensibilities, transformation and the sublime in contemporary art practice."
David Altmejd
Canadian sculptor David Altmejd (born 1974) presents his large-scale Plexiglass installation The Flux and the Puddle, a multilayered, structural environment in which werewolves, smashed mirrors and sculpted heads are strategically placed. I think of the big Plexiglas box as a kind of stage or a laboratory space, Altmejd explained to a reviewer for Art in America. The work is operatic. It's basically about the making of sculpture. Everything you see was made from inside the box. Ideas germinated from the inside. I let the work evolve and grow as much as possible. There's very little that's premeditated; it's not pre-designed. This publication documents the artist's knack for inventing disorienting and complex architectural arrangements.
David Altmejd
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David Altmejd: 자라나는 오브제
동시대 조각가 데이비드 알트메이드 작가론. 동시대 미술에서 조각의 외연이 설치와 공공미술로 확장되는 흐름과는 다르게, 작업 ‘과정’에 주목함으로써 한동안 시들해진 ‘몸’에 대한 담론을 ‘자라나는 물질’의 관점에서 새롭게 제시하는 조각가의 작품세계를 살펴본다. 오브제가 생명을 얻는 과정과 그동안 우리가 망각해 왔고 편견으로 무시해 왔던 ‘잔존하는’ 이미지들을 조각으로 ‘육화’하는 과정이 생생히 드러난다. 전체 분량에 비해 컬러 도판이 많아 그의 작품세계를 한 눈에 훑어볼 수 있다.
Machinic Assemblages of Desire
The concept of assemblage has emerged in recent decades as a central tool for describing, analysing, and transforming dynamic systems in a variety of disciplines. Coined by Deleuze and Guattari in relation to different fields of knowledge, human practices, and nonhuman arrangements, “assemblage” is variously applied today in the arts, philosophy, and human and social sciences, forming links not only between disciplines but also between critical thought and artistic practice. Machinic Assemblages focuses on the concept’s uses, transpositions, and appropriations in the arts, bringing together the voices of artists and philosophers that have been working on and with this topic for many years with those of emerging scholar-practitioners. The volume embraces exciting new and reconceived artistic practices that discuss and challenge existing assemblages, propose new practices within given assemblages, and seek to invent totally unprecedented assemblages.
Mythtym
"Writer and artist Trinie Dalton has said of her work, "The idea of contextualizing art by hanging it on the same wall is a fundamental one. My zines are literary/art/music history anthologies that follow a cross-genre salon style. They're parties on paper, and I want to be an exquisite host." Dalton's curatorial parties on paper bring together artists, musicians, critics, novelists, cartoonists, and other less-classifiable cultural producers. Mythtym compiles the greatest hits from previous zines, including Touch of Class about oh-so-sexy unicorns, and Werewolf Express about that savage canine mutant. It also premiers Mirror/Horror, a 100-page piece on the subject of mirrors: as symbols in horror stories, psychological metaphors, as material for psychedelic art and the disco ball."--BOOK JACKET.
Fractured Figure
Tiré du site Internet d'Amazon.com (Vol. 1): "A culture's body image, as refracted through its art, will usually provide a more telling account of its preoccupations than the most explicit political art; it seems that cultural symptoms leak more readily into depictions of the body than into more overt statements. This is especially true in periods of heightened alienation, when the solitary figure gains poignancy, but bodies register their eras in many ways: the signifiers of opulence, imperialism, fashion, social decay, sexual convention and anxiety can all be readily inscribed onto the human form in art--and indeed, always have been. Fractured Figure projects our millennial moment as one ...
Peter Clapham Sheppard
"This book is a celebration of the rediscovery of Toronto-born artist Peter Clapham Sheppard. Termed a "radical" in his early career, rather than being inspired by his friends and contemporaries in the Group of Seven, Sheppard looked to New York painters of the urban and industrial scenes for inspiration."--
Skin Fruit
Text by Lisa Phillips, Massimiliano Gioni. Conversation with Jeff Koons.
