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[SOON , A TITLE HERE ] - Page 52

post #766 of 1310

frank stella





post #767 of 1310
love me some stella
post #768 of 1310
Donald Judd
post #769 of 1310
Thread Starter 
I hope you enjoyed my Donald Judd video earlier in this thread
post #770 of 1310
Originally Posted by sipang View Post

I hope you enjoyed my Donald Judd video earlier in this thread
how early? shog[1].gif
i was a victim of subscriptions and discovered the thread late redface.gif
post #771 of 1310
Thread Starter 
I don't know, I can't find the post anymore

but here it is
Warning: silly! (Click to show)
post #772 of 1310
hahaha!! that was awesome.
post #773 of 1310
post #774 of 1310
Originally Posted by tween_spirit View Post

more info in link at top
Warning: Spoiler! (Click to show)
"Baby I'm gonna sex you all night long."
post #775 of 1310

Helmut Lang Prepares for an Art Exhibition


Warning: Spoiler! (Click to show)
In 2004 the fashion designer Helmut Lang, at the peak of his fame, sold the remaining shares of his label to Prada, which already owned the rest, and a few months later quit the fashion business altogether. He spent the following year at his house in the Hamptons, deliberately doing nothing.

“This is very hard to do,” Mr. Lang said recently. “The first half of the year was kind of easy. The second half, I had to force myself.”

He then set about reinventing himself as a visual artist, a process that his friend Mark Fletcher, a private art dealer and adviser, likens to slow food, something that can’t be hurried.

Mr. Lang’s first New York show, organized by Mr. Fletcher; Neville Wakefield, an independent curator; and Sadie Coles, a London gallerist, opens on Friday in a Greenwich Village space that is a sort of halfway house, somewhere between a real gallery and a private viewing room. The space, in one of the grand, old Edith Whartonish town houses fronting Washington Square, used to resemble an LSD den, with shag carpeting and purple walls, according to Mr. Fletcher, who refurbished it. Now it’s a pair of elegant, high-ceilinged rooms, furnished for the moment with Mr. Lang’s art: matted black sheepskins on the walls and black stalagmites sprouting from the floor.

In the strange logic of the art world, this is actually a low-profile New York debut for someone in Mr. Lang’s position.

“That’s the good thing about Mark’s space,” Mr. Wakefield said in an interview. “He’s not wheeling this work out in a Gagosian-style showcase, which probably was an option.”

“It’s as if Helmut were a young artist,” he added. “He hasn’t been making work for very long.”

When he was making clothes, Mr. Lang was known for designs that were minimalist, frequently androgynous and often made from unusual, even unwearable materials. He made silk blouses that looked like transparent plastic trash bags, shirts that changed color when they touched the skin and coats with collars that looked like inflatable airline pillows. His most famous design was probably a sleeveless rubber dress that required the wearer to douse herself with talcum powder before trying it on.

Most of the pieces in the show — aside from the sheepskin, some foam wall reliefs and a pair of what appear once to have been industrial scrub brushes — are made of rubber as well: big chunks and disks of it, some of which Mr. Lang, 56, scavenged himself and some he paid a helper to find. He declined to specify exactly what these objects were in their previous lives.

“That takes away from possibility,” he said, explaining that it was up to the viewer to interpret the shapes. The round slabs might well have been the rock-hopper discs commercial fishermen use to keep their nets from snagging on the sea bottom. Stacked one on top of another, they suggest totem poles or hoodoos, those odd, thin rock formations, or maybe giant, unearthly kebabs. A couple, with dome-shaped tops, make you work hard not to think of a penis.

In person Mr. Lang is disarmingly modest. The other day, overseeing the installation of the exhibition, he was wearing a grayish sweater over a dark T-shirt and jeans that appeared to be authentically threadbare (unlike the $270 pairs he used to sell that were pre-splattered to look like artist’s pants).

“I have always been interested in materials and in transforming them,” he said in fluent, German-accented English. “When I was making clothes, we sometimes used recycled stuff — we made clothes from older clothes.” The difference, he explained, is that as a fashion designer, he was “building around a body” and now he is building the body itself.

He added that he saw his present career less as a break with his past than as a return to the kind of artistic impulse he felt when he was 18 and living alone in Vienna, after cutting ties with his father and stepmother, who insisted that art was what lazy people did for a living.

“When you’re young, you’re fearless and more creative, more of an outsider,” he said, explaining that he became a fashion designer by accident. “I had no money but I wanted some clothes, so I had a seamstress make some for me. I can’t remember now what they were — some trousers and a top — but my friends liked them and asked if I could make some for them. I had no formal training,” he said and laughed. “My sketches looked like doctors’ handwriting.”

“But I knew I wouldn’t want to be in fashion my entire life,” he went on. “I’m hungry now for having the most time I can have for my creativity and less time for managing fame and success. In the fashion world if you’re successful, everyone loves you, and you have available every service. It’s hard to walk away, except it wasn’t hard for me. I had my mind completely made up.”

Mr. Fletcher said he became convinced of Mr. Lang’s commitment in 2010, after a fire in Mr. Lang’s Spring Street studio destroyed much of his fashion archive. Mr. Lang spent the better part of a year sorting through what remained and then called in the shredders. The resulting scraps, mixed with resin and pigment, he fashioned into slender, tree-trunk-like sculptures that he showed on Long Island in 2011: synthetic birches with every now and then the trace of a “Helmut Lang” label peeping through.

“It was a complete break with his past,” Mr. Fletcher said. “That’s when I knew this guy was completely serious, and not just looking for something to occupy his days.”

But even for someone as rich and famous and well connected as Mr. Lang, who is friends with Jenny Holzer and was with Louise Bourgeois (who died in 2010), breaking into the art world isn’t easy.

“I think it’s changing, but there’s still a kind of odd Berlin Wall between fashion and art,” Mr. Fletcher said, “a barricade between what’s perceived as a higher art and a lesser one.”

Mr. Wakefield said: “I think it’s very difficult, very brave for someone who has had such acclaim in one realm to stick his neck out in another and run all the risks that success shields you from. I think he’s approaching this with humility. It’s written into the work, whether consciously or not.”

He added, talking about his hopes for the show, “No one is going to throw down their head in despair if some of it sells. But the real thing is just putting the work out there and starting a discourse and seeing whether it can be taken for what it is, divorced from all the preconceptions and baggage that people attach to the fact that he had a career in fashion.”

Looking past his sculptures and out into Washington Square, Mr. Lang said: “I have a lot of insecurities, but you learn from your failures. I think right now I cannot do better. The process takes a very long time. I wait until something is strong enough to fight me as a piece and then I let it go.”

He paused and added: “Art is just another medium, in a way. I try to remember what Louise Bourgeois once told me: ‘Materials are just materials. They’re here to serve you.’ ”

Edited by steveoffice - 5/5/12 at 4:49pm
post #776 of 1310
this is badass

post #777 of 1310
Silent SS '85:

post #778 of 1310
Japanese artist Isao Hashimoto has created a beautiful, undeniably scary time-lapse map of the 2053 nuclear explosions which have taken place between 1945 and 1998, beginning with the Manhattan Project's "Trinity" test near Los Alamos and concluding with Pakistan's nuclear tests in May of 1998. This leaves out North Korea's two alleged nuclear tests in this past decade (the legitimacy of both of which is not 100% clear).

Each nation gets a blip and a flashing dot on the map whenever they detonate a nuclear weapon, with a running tally kept on the top and bottom bars of the screen. Hashimoto, who began the project in 2003, says that he created it with the goal of showing"the fear and folly of nuclear weapons." It starts really slow — if you want to see real action, skip ahead to 1962 or so — but the buildup becomes overwhelming.
Warning: Spoiler! (Click to show)
Multimedia artwork
"2053" - This is the number of nuclear explosions conducted in various parts of the globe.*
Profile of the artist: Isao HASHIMOTO
Born in Kumamoto prefecture, Japan in 1959.
Worked for 17 years in financial industry as a foreign exchange dealer. Studied at Department of Arts, Policy and Management of Musashino Art University, Tokyo.
Currently working for Lalique Museum, Hakone, Japan as a curator.
Created artwork series expressing, in the artist's view, "the fear and the folly of nuclear weapons":
"1945-1998" © 2003
"The Names of Experiments"
About "1945-1998" ©2003
"This piece of work is a bird's eye view of the history by scaling down a month length of time into one second. No letter is used for equal messaging to all viewers without language barrier. The blinking light, sound and the numbers on the world map show when, where and how many experiments each country have conducted. I created this work for the means of an interface to the people who are yet to know of the extremely grave, but present problem of the world."
Contact the artist:
Should you have any query regarding this artwork, please contact e-mail address below:
* The number excludes both tests by North Korea (October 2006 and May 2009).

watch the whole thing for escalating fear factor

scary fucking shit
post #779 of 1310
And USA gets their panties in a bunch when N.Korea does a couple tests.
post #780 of 1310

Considering the cost of uranium for just one bomb, you've got to wonder what could have been accomplished with the money from all those tests.

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