Nothing Is Invisible

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Posts Tagged ‘Conceptual Art’

Anish Kapoor – Leviathan at Monumenta – Photos & Video

Posted by the editors on Saturday, 14 May 2011

Leviathan (2011) by Anish Kapoor

Anish Kapoor’s truly monumental installation Leviathan, currently at Monumenta at the Grand Palais in Paris, is shown in all its beauty (well, perhaps not all) in a post published by the great design blog Designboom, entitled, in Designboom’s own pithy manner, “anish kapoor: monumenta 2011 – leviathan“.  A true feast for the eyes, with absolutely wonderful photos, and fascinating comments by Kapoor himself, in video, below.  All thanks to Designboom.  Bravo and merci!!

images: © designboom

See our previous posts on Anish Kapoor, here.

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Posted in Abstract Art, Art, Conceptual Art, culture, Environment, Exhibitions, General, Installations, Links, Museum & Gallery Shows, Museums, Nothing Is Invisible, nothingisinvisible, sculpture, video | Tagged: , , , , , , , , , , , | Leave a Comment »

Point Omega, by Don DeLillo

Posted by the editors on Wednesday, 27 April 2011

PointOmega.jpg

Point Omega, by Don DeLillo

Point Omega (2010) (novel) by Don DeLillo (White Noise (1985), Underworld (1997), The Body Artist (2001), Falling Man (2007)).  Disturbing, masterful, spare; lucid and complex.

According to DeLillo, the novel considers an idea from “…the writing of the Jesuit thinker and paleontologist Pierre Teilhard de Chardin.”  The ‘Omega Point’ of the title “…[is] the possible idea that human consciousness is reaching a point of exhaustion and that what comes next may be either a paroxysm or something enormously sublime and unenvisionable.”  (According to Wikipedia, Teilhard makes sense of the universe by its evolutionary process. He interprets complexity as the axis of evolution of matter into a geosphere, a biosphere, into consciousness (in man), and then to supreme consciousness (the Omega Point).  The Omega Point is said to denote the state of  maximum organized complexity (complexity combined with centricity), towards which the universe is evolving.)

 As on knows, omega (the last letter of the Greek alphabet) is often used to denote the last, the end, or the ultimate limit of a set, in contrast to alpha, the first letter of the Greek alphabet. In the New Testament, God is declared to be the “alpha and omega, the beginning and the end, the first and the last”. (Wikipedia)

Omega can equally be thought of as the end of death or even time, or as the name of the end; in linguistics, as the phonological word; in textual criticism, as the archetype of a manuscript tradition

At the end of Point Omega, DeLillo, in his “Acknowledgment”, writes: “24 Hour Psycho, a videowork by Douglas Gordon, was first screened in 1993 in Glasgow and Berlin.  It was installed at the Museum of Modern Art in New York in the summer of 2006.” 24 Hour Psycho is the showing of Alfred Hitchcock‘s classic film thriller Psycho (1960) slowed down from its usual 24 frames per second, 109 minute running time, so that it runs 1440 minutes, or 24 hours, at approximately 2 frames per second.  In Point Omega, the first and last sections of the DeLillo’s novel take place during a showing of 24 Hour Psycho.

24 Hour Psycho, as an artistic creation, deals with themes common to Gordon’s work, such as “recognition and repetition, time and memory, complicity and duplicity, authorship and authenticity, darkness and light”, as one can learn in an piece in The Guardian.  Moreover, the slideshow and text accompanying it, as highly relevant as they are to DeLillo’s work, are fascinating in their own right.

With respect to the first edition cover of Point Omega, one could wonder at the presence of the sign for infinity, given the accepted literal and symbolic understanding of “omega” as, truly, the end.  Conscious choice and interesting implications of infinite endings, or even, the end of infinity?  Amusing joke?  Artist’s choice?  Coincidence? (PR)

We recommend that you buy your books.  Have a wonderful personal library.

Omega uc lc.svg

images: Wikipedia

nothingisinvisible@live.fr

Posted in Art, Book Reviews, Conceptual Art, culture, Exhibitions, film, General, Installations, Language, Links, Literature, Museum & Gallery Shows, Nothing Is Invisible, nothingisinvisible, Slide Shows | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment »

The Future of British Art?

Posted by the editors on Tuesday, 5 April 2011

Stocking filler? ... Tracey Emin's My Bed – British art's apex of technical uninvolvement.

Tracey Emin’s My Bed – British art at its sleepiest?

image: Nils Jorgensen/Rex Features/The Guardian

Jonathan Jones has written an interesting article entitled “Painted into a corner: are the stuckists right about modern British art?” in the On Art blog in the Art & Design section of The Guardian, looking at contemporary British art, the debate between conceptualists and traditionalists, installations and painting, and what it means for the future of art in the UK.  Make your bed, then sleep in it.

Wikipedia entry on the Stuckists, here.

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Posted in Abstract Art, Art, Conceptual Art, Exhibitions, General, Installations, Links, Nothing Is Invisible, nothingisinvisible, painting | Tagged: , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

Conceptual Art with Grit – Glenn Ligon Retrospective at the Whitney in New York – Politically Provocative & Beautiful to Behold

Posted by the editors on Friday, 4 March 2011

“Warm Broad Glow,” by Glenn Ligon, in a 2005 installation, is being reconfigured for his Whitney retrospective

image: Whitney Museum/The New York Times

Carol Vogel has written an interesting article entitled “The Inside Story on Outsiderness” in the Art & Design section of The New York Times about the conceptual artist and painter Glenn Ligon and his upcoming retrospective Glenn Ligon: AMERICA” at the Whitney Museum in New York City (10 March 2011 – 5 June 2011, 945 Madison Ave. at 75th St., New York, NY 10021, (212) 570-3600)

  As the Whitney puts it:

“Glenn Ligon: AMERICA is the first comprehensive mid-career retrospective devoted to this pioneering New York–based artist. Throughout his career, Ligon (b. 1960) has pursued an incisive exploration of American history, literature, and society across a body of work that builds critically on the legacies of modern painting and more recent conceptual art. He is best known for his landmark series of text-based paintings, made since the late 1980s, which draw on the writings and speech of diverse figures including Jean Genet, Zora Neale Hurston, Jesse Jackson, and Richard Pryor. Ligon’s subject matter ranges widely from the Million Man March and the aftermath of slavery to 1970s coloring books and the photography of Robert Mapplethorpe—all treated within artworks that are both politically provocative and beautiful to behold.

This exhibition features roughly one hundred works, including paintings, prints, photography, drawings, and sculptural installations, as well as striking recent neon reliefs, one newly commissioned for the Whitney’s Madison Avenue windows. Ligon’s most iconic works will be presented alongside previously unexhibited early paintings and drawings, which will shed new light on his artistic origins. The exhibition is accompanied by an amply illustrated catalogue that examines Ligon’s working methods in the context of American culture more broadly. Yourself in the World, a companion volume published by the Whitney and Yale University Press, collects Ligon’s lively interviews and trenchant essays on topics ranging from pop culture and the work of young artists to the first post-Katrina Biennial in New Orleans.

Glenn Ligon: AMERICA is organized by Whitney curator Scott Rothkopf. The exhibition travels to the Los Angeles County Museum of Art in the fall of 2011 and to the Modern Art Museum of Fort Worth in early 2012.”

It’s never too late to be provoked, nor to behold beauty, nor, for that matter, to learn more about conceptual art.

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Posted in Art, Conceptual Art, culture, Exhibitions, General, Installations, Language, Links, Museum & Gallery Shows, Museums, Nothing Is Invisible, nothingisinvisible, painting | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

“John Baldessari: Pure Beauty” – “Tweaking Tradition, Even in Its Temple”

Posted by the editors on Saturday, 23 October 2010

“Falling Cloud,” John Baldessari, 1965

image: Falckenberg Collection, Hamburg/The New York Times

Roberta Smith has, as usual, written a fine article, this time on the subject of the Metropolitan Museum of Art’s fine John Baldessari retrospective (“John Baldessari: Pure Beauty” through Jan. 9 2011 at the Metropolitan Museum of Art; (212) 535-7710, metmuseum.org).  Definitely recommended reading, and, of course, viewing.  “Tweaking Tradition, Even in Its Temple” by Roberta Smith in the Art & Design section of The New York Times.

Great slideshow, here.

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Posted in Art, Conceptual Art, culture, Exhibitions, General, Links, Museums, Nothing Is Invisible, painting, Slide Shows | Tagged: , , , , , , , , , , , , , , | Leave a Comment »

 
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