FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1547607015> ?p ?o ?g. }

• W1547607015 startingPage "4" @default.
• W1547607015 abstract "There were quite a large number of American photographers and video artists showing in London this autumn - perhaps a development that is mirroring the recent influx of British painters to New York? Painters and photographers, whatever their nationality, once sought to capture and nature: one was amazed by the light, the frozen moment and the artist's eye. Just as art has moved from what I heard a curator call wall-based (meaning paintings), to installations and conceptual works, photography has done the same by critiquing and moving beyond the concerns that also used to occupy painting. This observation is easily applied to Sherrie Levine's work. Along the walls of the South London Gallery - a beautiful building in a relatively poor, unfashionable area of southeast London, built in 1898 for the express purpose of bringing the best of contemporary art to working people - in neat rows hang her 8 [inches] x 10 [inches] black and white photographs from 1993-96 of reproductions of famous nineteenth-century paintings in 1950s art history books. All the images are the same size and are arranged in series by artist. The photographs reveal the paintings' formal structures in a way that is usually superficially obscured by each artists' concern with color. When looking at a Edgar Degas ballet pastel, the texture and hues of the medium dominate, so it was a surprise to notice instead the dancers' expressions and the complex space in the work. The same could not be said of the photographs of the Paul Cezanne still-lifes in which the paintings seemed to disappear into awkward jumbles of texture and flat, misshapen fruit. On the short walls hang 24 [inches] x 38 [inches] iris prints of Claude Monet's Cathedrals. The images have been put through a computer and the colors analyzed and printed as blocks representing their density. The prints are beautiful because Monet's colors are so subtle and various. As easy as it is to criticize much postmodern work as derivative, Levine's photography forces one to examine the accusation that the only value of postmodernist art comes from the value inherent in the work it appropriates. In contrast to Levine, the photography of Edwin Blumenfeld (1897-1969) is from another tradition entirely. Blumenfeld was famous for his fashion work at Vogue and Harper's Bazaar. However, the Barbican Gallery's well-constructed show reveals the talent and eye for design in his personal work that made him excel professionally. The influences of Dada and Surrealism combine to make his work political, moving and sensuous. Hitler (1933), an image of Adolf Hitler superimposed with an image of a skull daubed with red at the eyes and mouth, is horrifying, as is The Dictator (1937) - a calf's head perched on the torso of a mannequin draped in the Grecian style. In a female nude from the 1930's there are intimations of Edward Weston's work, and in a 1937 black male nude study, shades of Herb Ritts and Robert Mapplethorpe. Blumenfeld's famous images of nudes draped in wet silk evoke the marble folds of the Victory of Samothrace. In later years, when he retired from fashion work, his struggle with the paradoxes of human nature found expression in many nudes and self-portraits made using solarization and double exposures. These are moving visions of humanity that combine the sensual and the analytical. At the Lisson Gallery in northwest London, the work of three artists taxed the analytical skills of viewers. Two of the artists, James Casebere and Gaylen Gerber, are American and the third, Pierre Bismuth, is Belgian. Casebere's photographs are breathtaking. Cavernous spaces seem to be deserted and pristine light filters through from barred windows and high apertures; the photographs exude peace, solitude and eerie abandonment. It was only upon looking closely at the last image, Toilets (1995), a row of toilets in a long room, that I realized (with surprise and some disappointment) that these were not real spaces. …" @default.
• W1547607015 created "2016-06-24" @default.
• W1547607015 creator A5069408706 @default.
• W1547607015 date "1997-01-01" @default.
• W1547607015 modified "2023-09-24" @default.
• W1547607015 title "Report from London" @default.
• W1547607015 hasPublicationYear "1997" @default.
• W1547607015 type Work @default.
• W1547607015 sameAs 1547607015 @default.
• W1547607015 citedByCount "0" @default.
• W1547607015 crossrefType "journal-article" @default.
• W1547607015 hasAuthorship W1547607015A5069408706 @default.
• W1547607015 hasConcept C104317684 @default.
• W1547607015 hasConcept C119657128 @default.
• W1547607015 hasConcept C142362112 @default.
• W1547607015 hasConcept C144024400 @default.
• W1547607015 hasConcept C153349607 @default.
• W1547607015 hasConcept C185592680 @default.
• W1547607015 hasConcept C189645446 @default.
• W1547607015 hasConcept C205783811 @default.
• W1547607015 hasConcept C2780343955 @default.
• W1547607015 hasConcept C46312422 @default.
• W1547607015 hasConcept C52119013 @default.
• W1547607015 hasConcept C55493867 @default.
• W1547607015 hasConcept C56273599 @default.
• W1547607015 hasConceptScore W1547607015C104317684 @default.
• W1547607015 hasConceptScore W1547607015C119657128 @default.
• W1547607015 hasConceptScore W1547607015C142362112 @default.
• W1547607015 hasConceptScore W1547607015C144024400 @default.
• W1547607015 hasConceptScore W1547607015C153349607 @default.
• W1547607015 hasConceptScore W1547607015C185592680 @default.
• W1547607015 hasConceptScore W1547607015C189645446 @default.
• W1547607015 hasConceptScore W1547607015C205783811 @default.
• W1547607015 hasConceptScore W1547607015C2780343955 @default.
• W1547607015 hasConceptScore W1547607015C46312422 @default.
• W1547607015 hasConceptScore W1547607015C52119013 @default.
• W1547607015 hasConceptScore W1547607015C55493867 @default.
• W1547607015 hasConceptScore W1547607015C56273599 @default.
• W1547607015 hasIssue "4" @default.
• W1547607015 hasLocation W15476070151 @default.
• W1547607015 hasOpenAccess W1547607015 @default.
• W1547607015 hasPrimaryLocation W15476070151 @default.
• W1547607015 hasRelatedWork W107256934 @default.
• W1547607015 hasRelatedWork W109538690 @default.
• W1547607015 hasRelatedWork W1169652623 @default.
• W1547607015 hasRelatedWork W1173515853 @default.
• W1547607015 hasRelatedWork W1498507058 @default.
• W1547607015 hasRelatedWork W1549923962 @default.
• W1547607015 hasRelatedWork W2334735002 @default.
• W1547607015 hasRelatedWork W2435669431 @default.
• W1547607015 hasRelatedWork W2529926087 @default.
• W1547607015 hasRelatedWork W2547233503 @default.
• W1547607015 hasRelatedWork W560044761 @default.
• W1547607015 hasRelatedWork W563682357 @default.
• W1547607015 hasRelatedWork W565527682 @default.
• W1547607015 hasRelatedWork W571651436 @default.
• W1547607015 hasRelatedWork W573245631 @default.
• W1547607015 hasRelatedWork W576145388 @default.
• W1547607015 hasRelatedWork W582436645 @default.
• W1547607015 hasRelatedWork W621162936 @default.
• W1547607015 hasRelatedWork W629707513 @default.
• W1547607015 hasRelatedWork W637712781 @default.
• W1547607015 hasVolume "24" @default.
• W1547607015 isParatext "false" @default.
• W1547607015 isRetracted "false" @default.
• W1547607015 magId "1547607015" @default.
• W1547607015 workType "article" @default.