Vija Celmins Web #8 2004

No title available

blake kathryn
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we're not kids anymore.

titsay

⁂
taylor price

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dirt enthusiast
i don't do bad sauce passes
AnasAbdin
Aqua Utopia|海の底で記憶を紡ぐ

Product Placement
d e v o n

@theartofmadeline

Andulka
Show & Tell
Cosimo Galluzzi
TVSTRANGERTHINGS
trying on a metaphor

seen from United States
seen from United States
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seen from Malaysia

seen from Malaysia
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seen from United Kingdom
seen from United States
seen from United Kingdom
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seen from South Africa
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seen from Pakistan
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@real-changer
Vija Celmins Web #8 2004
Vija Clemins
House #2
1965
Wood, cardboard, oil paint
Marlene Dumas (South African/Dutch, b. 1953), Losing (Her Meaning), 1988. Oil on canvas, 50 x 70 cm.
Vija Celmins, Burning Man, 1966
marlene dumas, waiting (for meaning), 1988
vija celmins, hot plate, 1964
gordon matta clarke
olafur eliasson
Olafur Eliasson . I grew up in solitude and silence, 1991
Before they become sculptures, the objects in Kevin Beasley’s sculptures undergo a prolonged period of neutralization. In his studio, bins upon bins of gnarly clothing, old shoes, and mangled foam sit among audio equipment both cutting-edge and in complete disrepair. My colleague Magdalyn Asimakis has argued that this is an integral step in Beasley’s transformation of these objects, in which he manipulates their familiar, indexical relationship to the body toward radically disorienting, destabilizing ends. Not only does his refunctioning undermine our assumed relationship to the object world, it also disrupts notions of fixity that we ascribe to materials and people alike. “The works do not languish as composite constructions of powerless parts,” Magdalyn writes. “Indexed to both the artist’s and viewers’ bodies, the sculptures implicate those with whom they share space, disorienting assumptions. In so doing, they disrupt the fixity of bodily identification and locate the ambiguous body as a site of the present.” Furthermore, by manipulating his materials into the realm of abjection, Beasley invokes a space outside the traditional dualistic power relation of subject and object, suggesting another way of being in the world. Kevin’s work is on view in our show, “That I am reading backwards and into for a purpose, to go on:” at The Kitchen, until June 10.
Kevin Beasley, …ain’t it?, 2014
stef driesen, untitled, 2006.
e. e. cummings. photo by me.
Louise Bourgeois
Ana Mendieta, Silueta en Fuego, 1976
Marlene Creates, Sleeping Places, Newfoundland 1982
Ana Mendieta, Untitled (Silueta Series), 1976
Ana Mendieta, Silueta Series, Iowa