Fischli and weiss guggenheim review

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fischli and weiss guggenheim review

Felix Gonzalez Torres by Nancy Spector

The artist Felix Gonzales-Torres is the subject of this monograph, published to coincide with a retrospective exhibition of his work organized by the Guggenheim Museum in New York. He is described as one of the most innovative and generous of contemporary artists - his stacks of printed paper and brilliantly-coloured candy are freely available for his audience to take, while his strings of light-bulbs and evocative photographs may be installed to any configuration the owners desire. Gonzalez-Torres invites viewers to project their own ideas, interpretations, or even their dreams onto his poetic work, leading to an artistic collaboration which extends beyond the walls of any gallery.
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Published 11.12.2018

Peter Fischli David Weiss?: Exhibition Overview

The Indiscreet Charm of Fischli and Weiss

In a New York retrospective, the Swiss artist team alternately indulges and challenges audiences with their videos, photos and sculptures. Repetition and Difference is a small, unfired-clay sculpture of two smiling, cartoonish, bowler-hatted figures, not quite identical and irresistibly charming. There is also Popular Vision of Fear , featuring a clay airplane nosing down into clay waves, and The First Fish Decides to Go Ashore it and its trailing mates are grinning madly. All crude but exceedingly deft, and most extremely funny, they are installed with gregarious profusion on pedestals and walls along the ramp in this generous show, which contains happy surprises for even the most diligent art viewers. The clay sculptures, which Fischli continues to make—Weiss died of cancer in —introduce many aspects of their joint artistic character, distinguished by modesty and humor in the service of exploring big ideas; a prodigious capacity for hard work, often under the guise of goofing off; comfort with the quotidian; and a very sharp sense of how best to bring high and low art into fruitful collision. Pickles go shopping for carpets made of sliced salami; Alps, fashioned from rumpled pillows and bed sheets, are cast in a sunset-red glow; sausage links on wheels collide as cigarette butts stand around watching. Soon thereafter, the artists acted out such comically improvisational tales themselves, making two movies in which they appear as characters identified, and costumed with endearing cheesiness, as Rat and Bear.

Fischli and Weiss: How to Work Better, Guggenheim, New York — review. The Swiss duo's absurdist vision skewers everything from art-world.
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Fischli and Weiss: Anarchy at the Guggenheim

Fischli and Weiss' THE RIGHT WAY

Fischli, the show presents more than sculptures, photographs, slide projections and videos. This marvelously entertaining exhibition demonstrates the power of creative fooling around to invigorate and free hearts and minds. At that point Mr. Fischli and Mr. But the refreshing irreverence toward calcified pieties of high art and culture that would drive all their subsequent efforts was succinctly embodied in these sweetly comical and deceptively unassuming pictures. Meeting up again, in Los Angeles in , the artists gave their antiheroic impulses expression in a minute movie starring two anthropomorphic animals, Rat and Bear, played by the artists wearing frowzy, whole-body costumes rented from a Hollywood costume shop.

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