Cont Art 7 - David Reed The combination of contradictory...

Info iconThis preview shows pages 1–8. Sign up to view the full content.

View Full Document Right Arrow Icon
David Reed “No. 287” 1989-90 • The combination of contradictory techniques and formal constructions: shallow space and deep space, gesture and geometry, monochrome and full color. • Abstraction which spoke to the violent dissociation of contemporary culture: expression and artifice, reality and theatre, anguish and control. • The rapid movement from left to right foreground to background replicates the cinematic effect prevalent in films and TV.
Background image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
Caravaggio David Reed
Background image of page 2
Gen Brown “Mark E. Smith as Pope Innocent X” 1999 • Painting at the end of the millennium. • The return of trompe l’oeil as a means of parodying modern work with an historic technique. • The resulting image appears as though it were filtered several times from its original source: from painting to photograph to sculpture of the photograph to painting of the sculpture of the photograph of the original painting. • The resulting work is simultaneously alive and dead.
Background image of page 3

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
Luc Tuymas “Gas Chamber” 1996 •Provocative images combined with an utter indifference and detachment. •Starting with a small scale doodle, about the size of an index card, Tuymas projects it onto a larger canvas while retaining the qualities of smallness of the sketch: the doodle marks, bleached out values. • This practice mimics the manner in which so many images are mediated through television, cinema, magazines newspapers, etc. resulting in watered down versions of the real horror /banality of the subject. • Tuymas’ work is a washed out simulacrum of an important image, not the image itself.
Background image of page 4
Maurizio Cattelan “The Ninth Hour” 1999 • Included in the thirteen artists exhibition Beauty and Horror in Contemporary Art in London that was schedule to close just days before the millennial moment of January 1, 2001, Cattelan’s installation consisted of a life size replica of the pope crushed by a random meteorite. • The most disturbing aspect of the work is the Popes apparent unawareness of the irony of his plight. • The work is indicative of a mood of serious unease that seemed to prevail throughout the western world just before and during the
Background image of page 5

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
Jake and Dinos Chapman “Zygotic Acceleration, Biogenetic Desublimated Libidinal Model” 1995 • Also included in the London show was the work of Jake and Dinos Chapman that concerned itself with the uncertainty and insecurity of the future. • This work reminiscent of a minimalist composition (recall Robert Morris ) consists of the Chapman’s infamous character Fuck Face, a morphed child mannequin with sexual organs for facial features, adorned in nothing more than Fila sneakers. • The sculpture invokes the human fascination with sexuality while engendering a repulsion towards genetically corrupted bodies.
Background image of page 6
Jake and Dinos Chapman “Hell” 1999-2000 •Thousand of miniature painted plastic figures embroiled in a battle. • One side consists of Nazi soldiers and
Background image of page 7

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
Image of page 8
This is the end of the preview. Sign up to access the rest of the document.

Page1 / 35

Cont Art 7 - David Reed The combination of contradictory...

This preview shows document pages 1 - 8. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online