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Haute de 9 mètres, longue de 17 mètres et large de 6 mètres, la sculpture Flying Dragon de l’artiste Alexander Calder est monumentale.
Réalisée en 1975, le dragon contemporain viendra se poser à Paris dans le cadre de la FIAC Hors les Murs, et sous l’impulsion du collectionneur d’art contemporain américain Larry Gagosian,
Nine metres high, 17 metres long and 6 metres wide, the sculpture Flying Dragon by the artist Alexander Calder is monumental.
Created in 1975, the contemporary dragon will be on display in Paris as part of the FIAC Hors les Murs, and at the instigation of American contemporary art collector Larry Gagosian,
Au début – dans le contexte du pictorialisme et d'Edward Weston – la technique d'Evans était jugée affreusement anti-artistique. Cela permet de mieux comprendre la raison pour laquelle son œuvre a été accueillie comme une contribution à la « photographie sociale ». Durant des décennies, il lui a fallu lutter contre cette classification ; aujourd'hui, il est devenu évident que sa technique était parfaite.
Roy Arden, dialogue avec Jeff Wall au sujet de Walker Evans.
Le capuchon rouge
Place Vendôme à Paris, sous la sculpture de Calder « Flying Dragon »
#photohervekaracha #Calder #AlexanderCalder #CalderFoundation #FIAC
L’installation de Flying Dragon à Paris l’œuvre monumentale trône sur la place Vendôme depuis octobre, une présentation organisée par Gagosian (@gagosian) dans le cadre de la FIAC Hors Les Murs.
The installation of Flying Dragon in Paris The monumental stabile has stood in Place Vendôme since October, a presentation organized by Gagosian (@gagosian) as part of FIAC Hors Les Murs.
Haute de 9 mètres, longue de 17 mètres et large de 6 mètres, la sculpture Flying Dragon de l’artiste Alexander Calder est monumentale.
Réalisée en 1975, le dragon contemporain viendra se poser à Paris dans le cadre de la FIAC Hors les Murs, et sous l’impulsion du collectionneur d’art contemporain américain Larry Gagosian,
Nine metres high, 17 metres long and 6 metres wide, the sculpture Flying Dragon by the artist Alexander Calder is monumental.
Created in 1975, the contemporary dragon will be on display in Paris as part of the FIAC Hors les Murs, and at the instigation of American contemporary art collector Larry Gagosian,
Unsere welt als Kunst II
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Mountain Range, eine Einzelausstellung der in Los Angeles lebenden Künstlerin Jennifer Guidi, organisiert von Gagosian. Es ist das erste Mal, dass Guidi, die mit ihren Sandmandala-Gemälden internationale Anerkennung gefunden hat, eine Ausstellung präsentiert, die sich ausschließlich mit Landschaften beschäftigt. Diese neuen Gemälde werden in der Richard Rogers Gallery präsentiert, einem ruhigen Raum, der sich über die ländliche Hügellandschaft der Provence erheb
www.youtube.com/watch?v=S0Z2m3MXZS8
Der Architekt Richard Rogers:
de.wikipedia.org/wiki/Richard_Rogers_(Architekt)
IMG_6237abfr
Mountain Range, a solo exhibition of Los Angeles-based artist Jennifer Guidi's sometimes brightly colored and somewhat kitschy paintings, organized by Gagosian.
This is the first time Guidi, who has gained international acclaim for her sand mandala paintings, has presented an exhibition focused exclusively on landscapes.
These new paintings are presented at the Richard Rogers Gallery, a serene space that rises above the rural hills of Provence ...
Mountain Range, eine Einzelausstellung der in Los Angeles lebenden Künstlerin Jennifer Guidi mit zum Teil leuchtfarbenen, etwas kitschigen Bildern, organisiert von Gagosian.
Es ist das erste Mal, dass Guidi, die mit ihren Sandmandala-Gemälden internationale Anerkennung gefunden hat, eine Ausstellung präsentiert, die sich ausschließlich mit Landschaften beschäftigt.
Diese neuen Gemälde werden in der Richard Rogers Gallery präsentiert, einem ruhigen Raum, der sich über die ländliche Hügellandschaft der Provence erhebt ...
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www.youtube.com/watch?v=zrX_pYsQEp8 ein herrlicher Morgen ...Freunde Familie die natur vor meiner Tür....(noch können wir sie genießen?
das macht mich Reich
Zum bild
Mountain Range, eine Einzelausstellung der in Los Angeles lebenden Künstlerin Jennifer Guidi, organisiert von Gagosian. Es ist das erste Mal, dass Guidi, die mit ihren Sandmandala-Gemälden internationale Anerkennung gefunden hat, eine Ausstellung präsentiert, die sich ausschließlich mit Landschaften beschäftigt. Diese neuen Gemälde werden in der Richard Rogers Gallery präsentiert, einem ruhigen Raum, der sich über die ländliche Hügellandschaft der Provence erhebt.IMG_8394arnn
Sitting Woman by Thomas Housago at the Ottawa National Gallery of Art in Canada.
gagosian.com/artists/thomas-houseago/
**All photos are copyrighted**
Mountain Range, a solo exhibition by Los Angeles-based artist Jennifer Guidi, organised wih Gagosian. This is the first time Guidi, who has gained international recognition for her sand mandala paintings, present a show solely based on landscapes. These new paintings are unveiled in the Richard Rogers Gallery, a tranquil space cantilevered over the rural hillside setting of Provence.
Mountain Range explores a recurring motif in Guidi’s oeuvre—the mountain. For Guidi, mountains symbolize a place of contemplation and reflection, a physical representation of the spiritual journey towards a higher consciousness. As paintings, they are also a formal investigation into color, composition, and material. Evocative of California’s rocky landscapes and resonant with the hills of Provence, the paintings have a mesmerizing serenity, reflecting the importance of nature and meditation in the artist’s life and practice.
Guidi’s linen surfaces begin with a base layer of sand mixed with pigments and mediums which she then marks with a hand-carved wooden dowel to create a pattern radiating from a central point, signifying an energy source. The mountain forms are then built up using a new additive technique of topographical layering of colored sand and oil paint dots that give the paintings a rich, textured and three-dimensional quality. The results are bursts of saturated colors, infused with Impressionist and Pointillist influences, representing an evolution in her work and intertwining pure abstraction with the exploration of natural and constructed, inner and outer landscapes.
Light is another key element pervading Guidi’s canvases. Painted in the sunny atmosphere of Los Angeles, her new series finds the perfect background in the equally striking “painter’s light” of Provence, the land of Cézanne and Van Gogh. In Mountain Range, Guidi further develops her established use of color, gradients, and mark-making. The Richard Rogers Gallery, seemingly floating amongst the trees, presents an opportunity for Guidi to interact not only with the pastoral landscape
but with the architecture itself.
Two large paintings, hanging back-to-back, suspended in mid-air, bisect the gallery space and present the viewer with an imagined landscape, playfully interrupting the expected view of the Luberon mountain range. Along the walls, smaller mountainscapes, acting almost as windows, lead you through the space providing unique vignettes rich in color, form, and texture.
The meditative quality of Guidi’s paintings, set against the vineyard and lavender adorned hills of Provence, with sweeping vistas and valleys below, all combine to produce a soothing effect. Guidi’s everyday practice of mindfulness is also applied to her studio work. Together with the intuitive nature of painting and the ritualistic application of the mandala, the artwork becomes an environment through which Guidi’s intention to connect shines, inviting the viewer to consider their own path.
ABOUT JENNIFER GUIDI
Born in 1972 in Redondo Beach, California, Guidi works and lives in Los Angeles. She received a BFA from Boston University and an MFA from the School of the Art Institute of Chicago. She is represented by Gagosian, Massimo de Carlo and David Kordansky. Her work has been exhibited around the world. In 2022, she presented a solo exhibition at the Long Museum in China. Later this year, the Orange County Museum of Art, California will host her first institutional exhibition in the United States
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Walton Ford, Cháy (detail)
Gagosian Gallery, New York
Verb. cháy • to burn, to become burnt; to blaze
Walton Ford, Cigninota (detail)
Gagosian Gallery, New York
in twelfth century britain swans were hunted and eaten to the point of near extinction. these birds were seen as a delicacy not to be wasted on the likes of commoners. laws were enacted forbidding anyone to kill swans without direct permission from the crown.
"the privileged few who were allowed to breed and own swans were granted a "swan mark," the oldest of which dates to 1230."
Marks were cut into the swan's beaks with sharp knives. as the birds matured their black beaks would turn orange, and the markings - sometimes referred to as cigninota - would become even more pronounced.
P.Jaisini'sArt-by-Stelly-R.US-2014-c Animated-Art-Gif-Series-Homage-to-Jaisini-Artist-warrior-by-stelly-2015
P.Jaisini'sArt-by-Stelly-R.US-2014-c Animated-Art-Gif-Series-Homage-to-Jaisini-Artist-warrior-by-stelly-2015 yu
Walton Ford, Bisclavert (detail)
Gagosian Gallery, New York
"Bisclavret" ("The Werewolf") is one of the twelve Lais of Marie de France written in the 12th century. Originally written in French, it tells the story of a werewolf who is trapped in lupine form by the treachery of his wife.