Marcello Nitsche

Buum

Rogelio López Cuenca

 

For Copyright Reasons, 2010
Óleo sobre tela
162 x 130 cm

 

Rogelio López Cuenca (España,1959)

José Damasceno

PROMOÇÃO
Hidrocor s/ cartão e grafite, 2006

Dimensões da obra: 43 x 30 cm
Detalhes: tiragem numerada: 45/100 e assinada no canto inferior direito
Certificado do Clube de Gravuras do MAM-RJ

Beto Shwafaty

Amadeo Souza Cardoso

poema em cor - Canção d'açude

Serrana

Ben Vautier

rien [nada]

fermer les yeux [fechar os olhos]

tautologias de Ben Vautier

Pedro Geraldo Escosteguy

Cartaz, 1967
Técnica mista
180 x 132cm
Col. Marília Escoteguy, Porto Alegre

Francis Picabia

 

Postagem em homenagem ao dia do artista

SP Estampa

s/t, gravura que faz parte do álbum "Impressões e Contaminações".

gravura em linóleo, pochoir (estêncil), transfer, carbono e carimbo.

The Small Utopia. Ars Multiplicata

The exhibition The Small Utopia. Ars Multiplicata opened a month ago at the Fondazione Prada in Venice, and continues until November 25th. Curated by art historian and critic Germano Celant (whose dedication to the subject of artists' books, multiples, records and video dates back at least forty years), the exhibition appears to be the largest and most comprehensive ever mounted on the subject. Covering a period of 75 years, beginning in the early 20th century and continuing until 1975, the show features over six hundred works in an exploration of "the idea of uniqueness in art and in its perception, through the multiplication not just of the objects themselves but also of the different means used for its distribution, from artist’s books to magazines and from experimental cinema to radio."

The sprawling exhibition includes Andy Warhol's Brillo Boxes and Heinz Tomato Ketchup Boxes, Man Ray's Obstruction and Cadeau, Arman's Ordures au Naturel and Poubelle, Joseph Beuys' Felt Suits and Sled, a recreation of the European Fluxus Mail-Order Warehouse, Marcel Duchamp's Boîte-en-valise (three copies) and most (if not all) of the Readymades, Richard Hamilton's The Critic Laughs (again, three copies), several cans of Manzoni's Merde d'Artista, Pyramid by Roy Lichtenstein, ten Oat Flowers by Meret Oppenheim, Wedding Souvenir by Claes Oldenburg (enough slices to produce a full cake!), a whole stack of his Geometric Mouse and London Knees. Also included are collections such as the Nouveaux Realistes’ suitcase, Seven Objects in a Box, Fluxus ephemera, Futurist fashion, Bauhaus books and hundreds of other classics.























Mais em http://artistsbooksandmultiples.blogspot.com.br/2012/08/the-small-utopia-ars-multiplicata.html

Helio Oiticica

Bandeira feita a partir de fotografia de "Cara de Cavalo" morto. O amigo de Hélio era "inimigo público" e foi assassinado pela polícia.

O poeta Torquato Neto diante de "pureza é um mito"

Claude Closky

Claudio Rocha

MONOTIPIAS TIPOGRÁFICAS DE CLAUDIO ROCHA

A técnica da impressão tipográfica evoluiu durante quase cinco séculos, passando pela Revolução Industrial para se tornar uma tecnologia complexa no século XX. A produção de tipos, papéis e tintas acompanhou a evolução dos equipamentos de impressão, permitindo que a qualidade gráfica obtida nesse sistema atingisse padrões absolutos de excelência.

Hoje, essa tecnologia foi amplamente superada e o sistema tipográfico é uma herança que se mantém como forma de arte, ligada principalmente a projetos editoriais de fundo cultural.

As Monotipias Tipográficas se inserem nesse contexto, aproximando as artes gráficas das artes plásticas. Os equipamentos e ferramentas gráficas são colocados a serviço da criação: prelo, tipos de madeira e metal, espátula, rolinho para entintamento manual, estopa, solvente, clichês. Sobreposições, velaturas, decalques, colagem, pressão extra nos cilindros, tudo é usado como forma de expressão. Um estado de imersão intenso conecta livremente a energia criativa com a técnica gráfica e conduz a resultados inesperados.

http://ateliepriscilamainieri.com.br/

Peter Davies

Fun With the Animals: Joseph Beuys Text Painting
1998
acrylic on canvas
396.2 x 243.8

In a giant incomprehensible flow chart (a form borrowed from Beuys’s blackboard works), he maps out the ‘six degrees of separation’ of his art heroes, linking them impossibly to each other, and inevitably back to Beuys. It requires the complicated linear thinking of a late-night drinking game, but Davies proves it’s only twelve easy jumps from Picasso to Sarah Lucas (if Peter Doig and Matthew Barney’s love of sport can be counted as an actual link). Peter Davies presents an art history on a functional level: it’s about as close to science as it gets.

http://www.saatchi-gallery.co.uk/artists/peter_davies.htm

The fun one hundred, 2001
29 Color Serigraph, 58 x 84 cm.
Edition (250). Signed

Peter Davies' colourful lists inspired by conceptualism's dry text works rank modern and contemporary artists according to his opinions, these text based paintings explore the role of the artist in defining popular culture while combining certain art historical and contemporary art notions with everyday life or culture. The intentionally anti-aesthetic lists take something which is understood, accepted or acknowledged and while adhering to those givens, something from the contemporary world is thrown in to skew it. 

Davies' text works seem far removed from the the traditional notion of how conceptual, text based art should appear.  His wordy arrangements arrangements explain how things stand in a particular system without recourse to a traditional forms of representation.  As works of art they are homorously reflexive, dwelling upon the artistic context that they are part of.

As in The Fun One Hundred Davies says "The text paintings offer a playful and humorous take on my attempt to understand art history and contemporary art". Davies' lists offers explanations as to why these artists are 'fun', such as 'David Hockney - Pool Attendant' and 'Vanessa Beecroft - Hanging Out'.(via http://www.opus-art.com/artists/PeterDavies)

Robert Indiana

  Here’s the 1973 L.O.V.E. stamp.

This is a sculpture by Robert Indiana. Created in a time when the United States was consumed by the Vietnam War, LOVE became a symbol for Peace. This famous sculpture is one of the most celebrated works within the pop art movement.

 Marc Bijl, Porn, 2002

Aldo Chaparro, 2008

General Idea's famous AIDS logo, an appropriation of Robert Indiana's LOVE sign of the 1960s. The artists created the logo as a form of branding, and then applied it to media and advertising strategies, calling the infiltrations that followed Imagevirus.

AIDS - Amsterdam Tram Project, 1990

62,5 x 63,7 cm

poster / screenprint on sticker

edition 40, handwritten title 'Amsterdam Tram Project'

* In 1990 trams in Amsterdam were covered with large AIDS silkscreen stickers of General Idea. The 'Amsterdam Tram Project' became quite controversial, i.e. conductors refused to drive their trams covered with the colourful and marked stickers afraid of giving their support to or at least being compromised and associated with homosexuality.

In the mid-1980's, the Canadian art group General Idea - AA Bronson, Felix Partz, and Jorge Zontal - created a symbol using the acronym AIDS, using the letters in a manner that resembled Robert Indiana's LOVE logo. This became part of Imagevirus, a project of paintings, sculptures, videos, posters, wallpapers and exhibitions that investigated the term AIDS as both word and image, using the mechanism of viral transmission. Imagevirus spread like a visual virus, producing an image epidemic in urban spaces from Manhattan to Sydney. It was displayed as, among other things, a Spectacolor sign in Times Square, a sculpture on a street in Hamburg, and a poster in the New York subway system. General Idea felt compelled to make Imagevirus at a time when AIDS was emerging as a global epidemic affecting gay men disproportionately.

Museum Fodor Amsterdam issued the posters in a signed and numbered edition.

http://www.galerievangelder.com/editions%20prints%20A-Z.html