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Sylvie Fleury
This installation of Sylvie Fleury consists of household furnishings in where every piece of furniture is covered with fake fur, a fabric common in Fleury's work. But Fleury's Bedroom Ensemble II also pays homage to an artist who similarly raised the pedestrianism of trivial objects to the level of monumental sculpture. In 1963, Claes Oldenburg recreated bedrooms under this same title, distorting their perspectives to enhance the effect of depth and create a disconnection with reality. With her own vocabulary of textures and colors, Fleury pushes Oldenburg's proposition to its limits. This book is the first comprehensive study devoted to this work and to the relationships between this installation and the other works of the artist belonging to the collection of the museum.
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Sylvie Fleury
Sylvie Fleury (b. Geneva, 1961; lives and works in Geneva) makes art in which references to the realms of luxury and commodities serve to dismantle the hierarchical distinctions between art, culture, design, fashion, and commerce. She got her start in the art world almost by chance when, in 1990, the artist John Armleder hired her as his assistant, and since then she has presented objects of desire from the domains of fashion and cosmetics as sculptures and installations. Arrangements on the floor of the exhibition space feature shopping bags emblazoned with the emblems of popular fashion houses as well as shattered makeup boxes. Status symbols and fetishes from the realm of consumer goods a...
Andy Warhol, Sylvie Fleury, Robert Longo, Vincent Szarek
\"I think that cars today are almost the exact equivalent of the great Gothic cathedrals," Roland Barthes famously said. "I mean the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appropriates them as a purely magical object." For evidence of this dictum, one need look no further than Cars, the 1986-87 series of silkscreen prints and paintings that Andy Warhol (1928-1987) executed at the behest of Mercedes-Benz in honor of the esteemed German automaker's centenary. This volume of the same name collects Warhol's silkscreens together with the work of three other artists featuring Mercedes-Benz automobiles: drawings and airbrush paintings by Robert Longo (born 1953), videos by Sylvie Fleury (born 1961) and Vincent Szarek (born 1973), who takes design elements from the Mercedes-Benz SLR as the starting point for the sculptures depicted here.
Women Artists in the 20th and 21st Century
Taschen's inventive layout is effective in presenting the provocative works, words, and biographies of the nearly 100 women artists gathered here. Grosenick, a freelance art historian in Germany, has selected women artists working in Germany, the US, South Africa, Japan, Poland, France, Scandinavia, and Spain, among other countries. The entry for each artist is six pages, with much of the space devoted to good- quality color photos of her work. c. Book News Inc.
Sylvie Fleury.
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Eye on Europe
An intriguing and vibrant study of an innovative and lesser-known facet of contemporart art. Identifies significant strategies exploited by European artists to extend their aesthetic vision within the mediums of prints, books and multiples. Exploring commercial techniques, confrontational approaches and language and the expressionist impulse. Showcases the creativity being channelled into printed art by todays generation.
Oracles
This book presents 123 calling cards of artists (painters, sculptors, photographers, architects, graphic designers, illustrators etc.) from the 18th century to the present day. The facsimiled cards are slipped like bookmarks into a book by several authors on the history of the use of calling cards, the social context in which they were produced, and related historical and fictional narratives. The often unexpected graphic qualities of these personalized objects, each designed to capture an individual identity within the narrow confines of a tiny rectangle card, implicitly recount a history of taste and typographic codes in the West. But this calling card collection also lays the foundations ...
Simon Moretti: Crocodile Cradle
Crocodile Cradle' is an exhibition by Simon Moretti developed on three platforms: a filmed performance online; a text collage on the glass facade of PEER gallery, London; and a book. For this collaborative project, artist Simon Moretti invited fifty-one artists to supply a text that they had written or found, to be considered as part of a collaborative artwork to represent their thoughts in the current charged moment in history. The book, co-published with PEER, features an afterword by Ingrid Swenson and has been designed by A Practice For Everyday Life.00Exhibition: PEER Gallery, London, UK (02.09.2021) (book launch).
Sylvie Fleury
Artwork by Sylvie Fleury. Edited by Renate Wiehager.
