Another art blog

Construct A + A by Barbara Kasten, 1984.

Ir-Razzett ta’ Sandrina by Richard England, in Mgarr, Malta, 1988-1993.

Rapture consists of two projections shown on opposing gallery walls. One projection shows a group of men dressed alike in Western-style white shirts and black pants. The other shows a group of women wearing traditional Iranian dress, including the chador,which covers their heads and most of their bodies, and in some cases, the niquab, a face covering. Despite these garments, the viewer is able to decipher individual features and expressions.   The installation, which is 13 minutes long and shown in continuous loops, shows elegiac and meditative scenes of the two groups. As the women traverse landscapes of sand and stone, the men navigate the stone architecture of an ancient city. As the women cry out—whether in celebration or anger, it’s unclear—the men unroll Persian prayer rugs and quarrel. In the final scene, the women gather on a beach, where they maneuver a small boat into the crashing waves. As their bare feet break the sand surface, the hems of their chadors become wet with salt water. Ultimately, six women remain in the boat as it drifts out to the sea.   Although art historians reference Neshat’s upbringing in Iran and her experiences in the United States as a way to shed light on her body of work, Neshat herself is neither dogmatic nor clear about her intentions. “From the beginning,” she said in a 1999 interview with art critic Arthur Danto, “I made a decision that this work was not going to be about me or my opinions on the subject, and that my position was going to be no position. I then put myself in a place of only asking questions but never answering them.” [x]

Casa de Vidro (Glass House) by Lina Bo Bardi, Brazil, São Paulo, 1951.    

Orphée mort (Dead Orpheus) by Jean Delville, 1893.

La Mort d'Abel (The Death of Abel) by Camille-Félix Bellanger, 1874-1875. musée d’Orsay

“That doesn’t really interest you,” she said with a coy smile after indulging questions about the dunes. “You want to know other things about me. You want to know why I get comparisons to Lenny.” Lenny? “Leonardo da Vinci.” She gets such comparisons largely because of her passion for science.The 11,000 trees on her Finnish mountain, for instance, were not planted haphazardly. Seen from above, they create a dizzying mathematical pattern that Ms. Denes devised using the golden ratio and the spiraling seeds at the centers of sunflowers. [...]

"In this installation, our goal is not to illuminate an object or display a source of light, but to create an environment defined by an intermediate condition of light. The exhibition area is not so much an interior, but an environment like a landform where the soft light provided by many OLED panels infuses the space, forming a large 'light-scape'. Through the use of a detailed light control program, a space with shifting changes is created. The act of moving through a landscape permeated with light provides a new lighting experience that is richer than a purely visual one." [x]

Watching Television by Andy Vible, 2011.

Vertigo by Léon Spilliaert, 1908.

Vision of Hell: Orpheus by Kim Wilkie in Boughton Park, Northamptonshire for The Duke of Buccleuch, 2007 - 2009.

Water (水面) by Tokuro Sakamoto, 2013. 

Sense títol (Untitled) by Antonio Arissa.

Spots by Marilyn Minter, 2001. 

Issey Miyake Store, in Kobe by Shiro Kuramata,1988.

Jeanne D’Arc - Astre Cola by Georges de Feure, 1896.