Download Art Now Artist at the Rise of the New Millennium by Uta Grosenick PDF

By Uta Grosenick

Modern paintings in a nutshell (TASCHENs twenty fifth anniversary detailed variation) This artwork Now twenty fifth anniversary distinctive version brings jointly contemporary paintings and biographical details for over eighty of todays such a lot influential artists, forming a huge and colourful spectrum of the paintings that has formed the paintings global in recent times. Featured artists contain: Matthew Barney, Maurizio Cattelan, John Currin, Tacita Dean, Thomas call for, Rineke Dijkstra, Douglas Gordon, Andreas Gursky, Thomas Hirschhorn, Damien Hirst, Mike Kelley, Martin Kippenberger, Jeff Koons, Sharon Lockhart, received Ju Lim, Paul McCarthy, Mariko Mori, Sarah Morris, Vik Muniz, Takashi Murakami, Shirin Neshat, Albert Oehlen, Chris Ofili, Gabriel Orozco, Jorge Pardo, Elizabeth Peyton, Thomas Ruff, Cindy Sherman, Thomas Struth, Wolfgang Tillmans, Rirkrit Tiravanija, Luc Tuymans, Jeff Wall.

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In the basement of London’s Natural History Museum, working with Alex Ball, the museum’s electron microscopist, the British artists Olly and Suzi take a break from “navigating the machine”—having found an image that intrigues them—and start to draw. Given the remote locations in which most of their work has been made since the early 1990s, this is a rare opportunity to see the artists at work: to see how the drawing happens, how the marks get made. They sit a long way back from the screen, Suzi with a pencil and Olly with a ballpoint pen, drawing in a manner that seems indifferent to the extraordinary abilities of the sophisticated equipment surrounding them.

1. Olly and Suzi drawing on Hovgard Island, Antarctica, 2005. The drawing Penguins Sliding can be seen on the rock at the left of the photograph. Photograph courtesy of the artists. Arctic, Desert, Ocean, Jungle. The fact that each of them had a young family by the time of its publication led them to decide to limit the number of expeditions undertaken each year, and to explore the scope for making a certain amount of studio work again. This had to be done, however, in a manner that would not compromise their commitment to bringing to life the directness of their own experience of remote habitats in the eyes and minds of their viewers.

Yet Jones’s insistence that he is not a moralist, and Evaristti’s cool mockery of the idea of the moralist, 62 allow them to hold open (or at the very least to attempt to hold open) aspects of their work in a manner that does, in a sense, seem trusting. This is not intended as a defense of either Rat Piece or Helena. But simply to condemn such works is to learn nothing from them. ” It is hard to see how limits can effectively be put on trust. indb 17 11/21/12 11:38 AM 18 INTRODUCTION cynical work not to be art.

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