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Lucy Sparrow Materials Matters interview 

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Lucy Sparrow Materials Matters interview 

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Lucy Sparrow Felt 08.12.21. internet Lucy Sparrow came to widespread attention in 2014 with an extraordinary installation held in a derelict site…

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Sew Your Soul - Exhibitions - Felt Art by Lucy Sparrow

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View the full list of exhibitions Lucy has showcased her work at. From the early days, up to the incredible solo projects of late.

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Yayoi Kusama | Flower Chair (1980 - 2000) | MutualArt

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View Flower Chair (1980 - 2000) By Kusama Yayoi; stuffed cotton work gloves, wood and paint; 34 x 26½ x 30in. (86.4 x 67.3 x 76.2cm.); Signed; . Access more artwork lots and estimated & realized auction prices on MutualArt.

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Yayoi Kusama, ‘Aggregation: One Thousand Boats Show’, | Museum/nl\

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Yayoi Kusama, Aggregation: One Thousand Boats Show, 1963. Collection Everyday, Someday and Other Stories in The Stedelijk Museum Amsterdam

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Claes Oldenburg. Floor Burger. 1962 | MoMA

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Audio from Claes Oldenburg: The Street and The Store. Hear the artist speak about his work.

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https://www.moma.org/collection/works/81461

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https://www.moma.org/collection/works/81450

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22.05.23. internet
Donna Wilson is a globally-feted designer. She initially made a name for herself in 2003 with a series of knitted toy creatures made of lambswools, which managed to be odd and endearing all at the same time. Since then, she has worked with the likes of SCP, John Lewis, V&A Dundee, as well as having a solo show at the Yorkshire Sculpture Park.

Meanwhile, her range of products has expanded, encompassing furniture and accessories, sculpture, fashion, and magazines. There's also a book. In 2010, she was named Designer of the Year at Elle Decoration's British Design Awards.

Most recently, she has launched The Knit Shop, a micro-knit factory in Dundee. She describes the new production facility as 'my small bit to keep the tradition of knitwear and textile production in Scotland alive, so that these precious skills are not lost forever'.

In this episode, we talk about: taking control of her production and the difficulty of manufacturing in the UK; how the pandemic re-shaped her business; becoming a brand; creating her creatures; preserving her craft essence; the importance of repair; having a poem written about her (yes, really); knitting; growing up on a Scottish farm and being inspired by her grandmother; and how getting spotted by New York design retailer Murray Moss changed her career.

We are delighted that the headline sponsor for this series of the podcast - and the Material Matters fair - is the brilliant lighting specialist, Bert Frank.

These pieces ar part of Wilson's Absract Assembly collection

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antipersonnel, knitted yarn, variable dimensions, 1998-2010
(life-size replicas of antipersonnel land mines)
Collection Agnes Etherington Art Centre, York Wilson Endowment Award, Canada Council, 2005
Collection The Rooms Art Gallery, Newfoundland and Labrador, 2012

During a Canada Council residency in Paris, I visited the Pyramid of Shoes, an annual protest against land mines, which inspired me to knit replicas of antipersonnel land mines. Knitting is closely associated with caring for the body - it was originally used to make undergarments (the origin of the sweater). Bandages for soldiers were once hand-knitted, and women still knit for soldiers, prisoners, and the homeless. Knitting represents recuperation, protection, and healing. In this work I use these associations to contradict the abuse of power through violence.

Germany Dm-39A1, knitted yarn, 6.5 x 11.5 cm diameter, 2005

Italy VS-1.6, knitted yarn, 9 x 23 cm diameter, 2001

USSR POM-2S, knitted yarn, 16.6 x 37 cm diameter, 2000

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antipersonnel, knitted yarn, variable dimensions, 1998-2010(life-size replicas of antipersonnel land mines)Collection Agnes Etherington Art Centre, York Wilson Endowment Award, Canada Council, 2005Collection The Rooms Art Gallery, Newfoundland and Labrador, 2012 During a Canada Council residency in Paris, I visited the Pyramid of Shoes, an annual protest against land mines, which inspired me to knit replicas...

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Warm Gun is a collection of soft pillow gun sculptures made from colorful fabrics created by artist, Natalie Baxter in Brooklyn, NY.

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A person with aphasia may have trouble understanding, speaking, reading, or writing. Speech-language pathologists are professionals who work with people with communication problems and can diagnose and treat the type of difficulty you're having.

On this page:

About Aphasia

Aphasia is a language disorder that affects how you communicate. It is caused by damage to the language centers of the brain, usually in the left side of the brain, that control understanding, speaking, and using signed languages.

Aphasia does not make you less smart or cause problems with the way you think. However, it may affect your ability to communicate your thoughts easily. Aphasia may also make it hard for you to understand, read, or write.

Aphasia can affect people in different ways, and no two people will have the same changes or recovery. The severity and recovery of aphasia depend on a number of things-including the cause, the extent of damage to the brain, family support, and treatment.

Signs of Aphasia

Aphasia can lead to trouble communicating, understanding language, reading, and writing.

Communicating

You may find that you go through one or several of these experiences:

You cannot think of the words that you want to say-or you are trying to find words that are "on the tip of your tongue."

You say the wrong word. Sometimes, you may say something related in meaning (like "fish" instead of "chicken") or in sound (like "art" instead of "arm"). Sometimes, you might use a word that is not related in meaning or in sound (like "radio" for "ball").

You switch sounds in words. For example, you say "wish dasher" for "dishwasher."

You make new words-like "thratble"-that do not have meaning (either by themselves or together in sentences with real words) to other people.

You repeat common words or phrases.

You have a hard time saying sentences. You may find it easier to say single words.

Understanding Spoken or Signed Language

You may have trouble doing any or all of the following tasks:

Recognizing an object by its name. For example, if someone asks you for a fork, you may give them a spoon.

Following directions.

Understanding what your partner is communicating, especially if they are going fast or you're not familiar with the topic.

Understanding when multiple people are talking or when there are a lot of distractions around.

Understanding language that is not straightforward. Some examples of such language include jokes, puns, sarcasm, and phrases like "better late than never."

Recognizing the meanings behind words.

Reading and Writing

You may have trouble

Reading signs, forms, books, and computer screens;

Spelling and putting words together to form sentences; and

Using numbers or doing math. For example, it may be hard to tell time, count money, or add and subtract.

Causes of Aphasia

Aphasia is most often caused by a stroke. However, any change to the brain can cause aphasia. This may include traumatic brain injury. Other causes may include brain infections, brain tumors, and other brain disorders that may worsen over time.

Testing for Aphasia

If you have any changes in communicating or understanding others, consult a medical professional to help find a medical reason. Call 911 with any sudden changes in speech or communication. Ask your doctor to consider a referral to a speech-language pathologist, or SLP. The SLP will test your language skills and will ask you about the problems you have and what you want to work on. The SLP will test how you

Understand words, questions, directions, and stories;

Produce words and sentences;

Read and write; and

Find other ways to share your ideas when you have trouble. This may include pointing or using other gestures and drawing pictures.

If you use more than one language, your SLP will test these areas in each language you use.

Treatment for Aphasia

There is no medicine for aphasia. Your SLP will set goals in partnership with you and, with your permission, the people with whom you communicate the most. Therapy activities will help you participate in the things that are important to you. Some activities help you improve language skills. Others help you work around the problems. The type of treatment you get depends on what you want and need.

Some people use other ways to communicate. These methods may include using hand gestures, writing, drawing, pointing to letters or pictures, or using a computer. This is called augmentative and alternative communication, or AAC. Your SLP can help you pick the best tools for you.

You may work with an SLP on your own or in a small group. You may want your family to be a part of your treatment. They can help you use the skills you learn with the SLP at home. Your SLP can help you connect with other resources in your community, like groups for support and socialization.

Do you use more than one language? You may communicate better in one language and have more trouble in another. Or, you may have trouble in all the languages you use. Your SLP should work with the help of an interpreter if they do not speak the same language(s) as you.

See ASHA information for professionals on the Practice Portal's Aphasia page.

Tips for Communicating With a Person Who Has Aphasia

These tips may make it easier for you to understand and talk with others. Share these tips with your family and friends.

To help me understand, do these things:

1. Get my attention before you start talking.

2. Keep your voice at a normal level. You do not need to talk louder unless I ask you to.

3. Keep the words you use simple but adult. Don't "talk down" to me.

4. Slow down.

5. Use short sentences. Repeat key words that you want me to understand.

6. Use pictures, gestures, writing, and facial expressions. I may understand those better than words sometimes.

7. Use "yes" and "no" questions to offer simple options and to make sure that you understand my message. Say my messages back to me, as needed, so I can tell you if you have understood me correctly

8. Give me choices instead of asking an open-ended question. For example, "Do you want to watch TV or go to the movies?" instead of "What should we do this afternoon?"

To help me communicate my thoughts, do these things:

1. Give me time.

2. Watch my body language and my gestures.

3. Try not to finish my sentences for me.

4. Ask me to draw, write, point, or gesture when I am having trouble.

5. Let me make mistakes. I may not be able to say everything perfectly all the time. The important thing is that we get our messages across.

6. Let me do things for myself. I may need to try a few times. Help me only when I ask for it.

7. Getting rid of distractions (such as turning off the TV or the radio) may help me communicate and understand better.

Other Resources

This list does not include every website on this topic. ASHA does not endorse the information on these sites.

To find a speech-language pathologist near you, visit ProFind.

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A person with aphasia may have trouble understanding, speaking, reading, or writing. Speech-language pathologists can help.

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The Man Who Mistook His Wife For a Hat | OLIVER SACKS: HIS OWN LIFE | Altitude Films

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Oliver Sacks, Neurologist Who Wrote About the Brain’s Quirks

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Oliver Sacks, Neurologist Who Wrote About the Brain’s Quirks

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Oliver Sacks, Neurologist Who Wrote About the Brain’s Quirks, Dies at 82 (Published 2015)

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Dr. Sacks explored some of the brain’s strangest pathways in best-selling case histories like “The Man Who Mistook His Wife for a Hat,” achieving a level of renown rare among scientists.

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Learning to Love You More: Assignment #21 Sculpt a bust of Steve.

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Learning to Love You More: Assignment #21 Sculpt a bust of Steve.

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Recently while working on a project in Hartford, CT I took a taxi and met Steve the taxi driver. I was headed to Real Art Ways the art center where I'm doing the project. Steve asked me where I was going and then concluded that I must be an artist. He told me that I should sculpt a bust of him. He gave me a picture of himself and told me he wanted it done that day, and then we would "party" that night. I said that I might have trouble getting it done so quickly, and then asked him how he would feel about various other people doing the bust instead of me. He said that would be fine.The next time I went back to Hartford about a month later I took a train from NYC and missed my stop in Hartford. I got off at the next stop in a little town outside of Hartford. It was late at night and there was no one at the station. I called a local taxi company and they told me it would be about an hour before someone could pick me up. I sat down and read a book and waited. Eventually a cab pulled up and the driver got out to help me with my bags. It was Steve. He immediately recognized me and asked me about the project. I was amazed. It wasn't even his taxi company that I had called. He drove me to the place I was staying at in Hartford and along the way he told me about being a single parent. He told me that his philosophy on child rearing is to only love the child, never discipline them. He said his children were all perfect. I thought that was really nice.So for this assignment print out a copy of Steve's picture and sculpt a bust of him. Make it roughly life size out of papier-mache or some equivalently cheap material. Sculpt and paint it as accurately as you can. I suspect that Steve will like realism best.D O C U M E N T A T I O N >

Take a picture of your bust.

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Roy Lichtenstein: Diagram of an Artist | Tate

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Roy Lichtenstein: Diagram of an Artist | Tate

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A 'diagram' is maybe a good word for the way I represent other artists. That may be true of cartooning, that it tends to be a diagram of a person. It seems to depict by outlining and delineating in a simple way what a subject is.

The studio was his favourite place. It was the idea that he could actually come down and play. Sometimes he just liked to come down and even clean his paint brushes and look around at the work he was doing, you know, at that time.

He worked at a pretty regular schedule. I mean, he was usually in the studio by ten, had the same thing for breakfast every single morning. Broke for lunch. Came back and worked.

It wasn't like, I have to go to work today, God, I have to paint today, nothing. It was his joy, it was his pleasure, it was everything. Sometimes I'd go to the studio in Southampton and he'd be alone in the studio. I'd sit in this little chair and watch him work. But I thought I'd be distracting him. No, I'd watch him work and he was just focused. Nothing could distract him.

He never really dreamed that he would be able to support himself through just painting. That was something that made him truly happy.

So the question of the hour is, how are you going to work in Rome?

I am going to do some drawing and thinking and mostly eating, I think.

He was exactly, the first day I met him to the day I never saw him again, the same way. Easy going, charming. He wasn't judgemental.

I was working at the Bianchini Gallery in New York and we did an exhibition called the Great American Supermarket. And thought, wouldn't it be great if instead of a regular poster we could get Roy Lichtenstein and Andrew Warhol to put an image on a shopping bag. They both agreed, and I met Roy in 1964 when he came in to sign the shopping bags.

Well it was '64, so he was pretty well known. He was an internationally known artist. There was still great controversy. It was in the air. Was pop art serious? Is it this? Is it art? All that stuff was still up there. A lot of people were upset about it, you know, and abstracted impressionist must have felt pretty upset, because they saw their whole anguish to the world vanish in this kind of ironic and witty and beautifully done work.

What I did in these early paintings was frightening to me really, in that it seemed to go counter to a sense of taste that I developed along with my hopeless sense of art. Except I knew it had meaning and I knew, very shortly, that it had more meaning than the things I had done before. But, because it was so different it was really frightening.

He was not a fan of comics. It was the nature of the cartoon. It just seemed as far away from an artistic image as you can get, and to try to transform that into a formal painting really appealed to him.

He also found it impossible to go back to doing what he had been doing. I must say, he never quite managed to get the tormented look in those paintings. He wasn't the tortured artist. He used to joke and say he was going to take curmudgeon lessons.

When Roy was at Ohio State, he had an art professor, Hoyt Sherman, who was a huge influence on him. Talked all about ways of seeing and perception. He had methods of teaching where he flashed slides in a dark room really quickly and had people sketch them, so that they could get kind of Holmes or [Gestalt 0:05:26] of the work. That really had a major impact on Roy.

When I turn the work upside down, it's to obliterate the subject, or to re-sense it. Think of it more as pure mark and then you can subject. You can see it clearly if you look at it through a mirror because it reverses everything. And anything you don't want is sort of doubly off because it's the other way around. It's almost the same as coming back two weeks later or something and looking at it. And then you see what's off then.

Art's about something that's entirely different from what my original sources were. And I liked the contradiction. I think people mistake the character of line for the character of art. But it's really the position of the line that's important, or the position of anything, any contrast. Not the character of it.

Anything that was kind of high flung always amused him and he himself had just kind of natural humility really.

I paint the pictures and he sells them as that. What could be better? Uh-huh, it's pretty simple. Leo.

Well I'll try to be a little bit more complicated, but not too much. And I would say that there are several kinds of relationships that can exist between and a dealer and a painter. The best one is the one that, one of friendship. And that's what my relationship is to Lichtenstein.

Well that's true.

Leo Castelli was his dealer for his entire life from 1961 until his death, and they trusted each other completely. They never had a contract.

As Roy started to become kind of more successful and better known, he used to joke and say, someone's going to be tapping him, Mr. Lichtenstein, it's time for your pills. And he would be in a wheel chair and, with his hat cocked on his head, and he would still be living in Oswego in New York, snowed in and, this would all have been a dream.

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Roy Lichtenstein: Diagram of an Artist | Tate

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Whaam! 1963 is a large, two-canvas painting by the American pop artist Roy Lichtenstein that takes its composition from a comic book strip. The left-hand canvas features an American fighter plane firing a missile into the right-hand canvas and hitting an approaching enemy plane; above the American plane, the words of the pilot appear in a yellow bubble: 'I PRESSED THE FIRE CONTROL... AND AHEAD OF ME ROCKETS BLAZED THROUGH THE SKY...'. The outline of the resulting explosion emanates in yellow, red and white; the work's onomatopoeic title, 'WHAAM!', jags diagonally upwards to the left from the fireball in yellow, as if in visual response to the words of the pilot. The painting is rendered in the formal tradition of machine-printed comic strips - thick black lines enclosing areas of primary colour and lettering, with uniform areas of Ben-Day dots, purple for the shading on the main fighter plane and blue for the background of the sky.

The work's composition is taken from a panel drawn by Irv Novick which appeared in issue number 89 of All-American Men of War, published by DC Comics in February 1962. From the original panel, Lichtenstein produced preliminary drawings, one of which is in Tate's collection ( Drawing for 'Whaam!' 1963, Tate ). In this drawing, he set out his first visualisation of the painting, including marking the divide of the original single panel into two parts, confining the main plane to one and the explosion to the other. Revealing Lichtenstein's process of making minor changes during a work's creation, the colour annotations on the drawing are different to the final colours used in the painting, notably the use of yellow instead of white for the letters of 'WHAAM!'. To make the final painting, Lichtenstein projected the preparatory study onto the two pre-primed canvases and drew around the projection in pencil before applying the Ben-Day dots. This involved using a homemade aluminium mesh and pushing oil paint through the holes with a small scrubbing brush. Onto this he painted the thick outlines of shapes and areas of solid colour in Magna acrylic resin paint. This use of different materials has made cleaning the painting a particular challenge for conservators (see 'Conserving Whaam! ', Tate website, 1 March 2018, https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897/conserving-whaam, accessed 7 November 2018). According to the artist, the diptych took one month to produce from start to finish (Lichtenstein, letter to Richard Morphet, 10 July 1967, Tate Catalogue file).

While Lichtenstein's work that draws on popular imagery from advertising and cartoons involves a degree of appropriation, the artist himself acknowledged that the act is really one of transformation: 'I am nominally copying, but I am really restating the copied thing in other terms. In doing that, the original acquires a totally different texture.' (Quoted in Lawrence Alloway, Roy Lichtenstein, New York 1983, p.106.) By taking the comic strip and using it as he does, he conflates the powerful but so-called 'low' mass-produced commercial image with the traditionally venerated medium of large-scale easel painting. Lichtenstein also explained the significance of the military subject matter he chose for many of his paintings during 1962-3: 'At that time I was interested in anything I could use as a subject that was emotionally strong - usually love, war, or something that was highly-charged and emotional subject matter. Also, I wanted the subject matter to be opposite to the removed and deliberate painting techniques.' (Lichtenstein in John Coplans, 'Interview with Roy Lichtenstein', Artforum, May 1967, p.36.) He saw the style of cartoons, with their easily digestible lines and primary colours, as an appropriate vehicle for painting a dramatic scene in a detached, calculated manner.

The choice of cartoon to represent military action arguably also renders the scene ridiculous and juvenile. Although the intention of the original publication of the comic may have been to show glorious, action-filled images of 'All-American Men of War', through Lichtenstein's quasi-absurdist treatment, the scene is turned into what art critic Alastair Sooke has described as 'a tongue-in-cheek male daydream of aggression, conquest and ejaculatory release' (Alastair Sooke, Roy Lichtenstein: How Modern Art Was Saved by Donald Duck, London 2013, p.2). Considering Whaam! was created in 1963, just as the Vietnam War was gathering steam, and taking into account Lichtenstein's own service in the US Army in 1943-6, this deconstruction of military heroism could be read as a statement on the folly of war. Lichtenstein explored the imagery of explosion in two other works in Tate's collection, Wall Explosion II 1965(Tate ) and Explosion 1965-6 (Tate ).

The content, conceptual basis and production of Whaam! makes the viewing of the work full of contradictory dualities which are never fully resolved - highly charged subject matter rendered in a dispassionate, detached style; commercial art in a fine art context; the mass-produced image painstakingly rendered by hand in a unique painting; the familiarity of the imagery and its alien application in scale and medium. Many of these dualities chime with ideas explored in the wider pop art movement by the likes of Andy Warhol and Claes Oldenburg.

Further reading
Diane Waldman, Roy Lichtenstein, London 1971, pp.16-17, reproduced p.72.
James Rondeau and Sheena Wagstaff (eds.), Roy Lichtenstein: A Retrospective, London 2012, p.39, reproduced pp.160-1.
Nathan Dunne, Roy Lichtenstein, London 2013, pp.17-18, reproduced pp.40-1.

Arthur Goodwin
November 2018

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'Whaam!', Roy Lichtenstein, 1963 on display at Tate Modern.

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Texts by Juan García, Emilio Rivera, and Enrique Huerta

The Sign Painting Project came into being between 1993 and 1997 through a collaboration between Francis Alÿs and professional local sign painters ( rótulistas) from Mexico City, particularly Juan García, Emilio Rivera, and Enrique Huerta. This major, extensive project was inspired by the pictorial style of billboards Alÿs encountered in his neighborhood in the Centro Histórico, and he began by painting small-scale canvases depicting people, everyday objects, and scenes of nondescript urban architecture in the flat, brightly-colored manner of those street advertisements. He then asked the rótulistas to copy and enlarge his paintings. The result of the artists' combined labors is a set of 120 paintings that reveal variations on particular themes and that inevitably provoke questions about collaboration, authorship and originality. Today the resulting paintings are scattered throughout the world, and this book, which features 300 color plates, acts as a catalogue raisonné of that project.

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Francis Alÿs: Sign Painting Project | David Zwirner Books

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The Sign Painting Project came into being between 1993 and 1997 through a collaboration between Francis Alÿs and professional local sign painters (rótulistas) from Mexico City, particularly Juan García, Emilio Rivera, and Enrique Huerta.

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Francis Alÿs 'Untitled (in three parts)' - Institute of Contemporary Art, Miami

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Francis Alÿs 'Untitled (in three parts)' - Institute of Contemporary Art, Miami

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Untitled (in three parts) - Institute of Contemporary Art, Miami

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Francis Alÿs is an interdisciplinary conceptual artist working in installation, video, painting, drawing, photography, and performance to address issues of geopolitical and social conflict in urban environments. Trained as an architect, Alÿs moved to Mexico City in 1986, where he began making public…

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Francis Alÿs 'New York Triptych' 1995/96

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Francis Alÿs 'New York Triptych' 1995/96

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Title

Artist

Date

1995-1996

Media category

Painting

Materials used

oil on canvas, enamel on metal; series consisting of one painting by Francis Alÿs (left) and sign paintings by Enrique Huerta (centre) and Emilio Rivera (right)

Dimensions

installation dimensions variable :
a - oil on canvas, 13.5 x 15.8 x 2 cm, painted by Alys

b - enamel on metal, 91 x 120 x 4 cm, painted by Enrique Huerta

c - enamel on metal, 60 x 75 x 2 cm, painted by Enrique Huerta

Signature & date

Signed and dated l.r.verso panel b, black fibre-tipped pen "... F. ALŸS - 1995-6 ...".
Signed and dated l.l. verso panel c, black fibre-tipped pen ".../ F. ALŸS/ 1995...".

Credit

Gift of the John Kaldor Family Collection 2016. Donated through the Australian Government's Cultural Gifts Program

Location

Not on display

Accession number

310.2016.a-c

Copyright

© Francis Alÿs. Courtesy Galerie Peter Kilchmann, Zurich Reproduction requests

Artist information

Francis Alÿs
Works in the collection

14

Share

Francis Alÿs' work is at once surreal and anchored in everyday experiences of city life. Much of his work occurs in or directly references urban streets and has a peculiar, awkward charm that highlights the strangeness of the ordinary.

Both 'New York triptych' and 'Three men in cravats triptych' draw upon the vernacular of Mexican sign painting, blurring the boundaries between commercial and fine art practices. Taking up the themes of repetition and authenticity, these works are collaborative, with Alÿs making a small painting that local sign painters then reproduce on a larger scale, each painter inevitably imbuing the image with their own subtle shifts in style and scale.

Referenced in 2 publications

Adam Free, Journey to now: John Kaldor art projects and collection, Adelaide, 2003, 41 (colour illus.), 60.

Wayne Tunnicliffe (Editor), John Kaldor family collection: Art Gallery of New South Wales, Sydney, 2011, 170, 174-175 (colour illus.).

Other works by Francis Alÿs
See all 14 works

Title

Artist

Date

1995-1996

Media category

Painting

Materials used

oil on canvas, enamel on metal; series consisting of one painting by Francis Alÿs (left) and sign paintings by Enrique Huerta (centre) and Emilio Rivera (right)

Dimensions

installation dimensions variable :
a - oil on canvas, 13.5 x 15.8 x 2 cm, painted by Alys

b - enamel on metal, 91 x 120 x 4 cm, painted by Enrique Huerta

c - enamel on metal, 60 x 75 x 2 cm, painted by Enrique Huerta

Signature & date

Signed and dated l.r.verso panel b, black fibre-tipped pen "... F. ALŸS - 1995-6 ...".
Signed and dated l.l. verso panel c, black fibre-tipped pen ".../ F. ALŸS/ 1995...".

Credit

Gift of the John Kaldor Family Collection 2016. Donated through the Australian Government's Cultural Gifts Program

Location

Not on display

Accession number

310.2016.a-c

Copyright

© Francis Alÿs. Courtesy Galerie Peter Kilchmann, Zurich Reproduction requests

Artist information

Francis Alÿs
Works in the collection

14

Share

Francis Alÿs' work is at once surreal and anchored in everyday experiences of city life. Much of his work occurs in or directly references urban streets and has a peculiar, awkward charm that highlights the strangeness of the ordinary.

Both 'New York triptych' and 'Three men in cravats triptych' draw upon the vernacular of Mexican sign painting, blurring the boundaries between commercial and fine art practices. Taking up the themes of repetition and authenticity, these works are collaborative, with Alÿs making a small painting that local sign painters then reproduce on a larger scale, each painter inevitably imbuing the image with their own subtle shifts in style and scale.

Referenced in 2 publications

Adam Free, Journey to now: John Kaldor art projects and collection, Adelaide, 2003, 41 (colour illus.), 60.

Wayne Tunnicliffe (Editor), John Kaldor family collection: Art Gallery of New South Wales, Sydney, 2011, 170, 174-175 (colour illus.).

Other works by Francis Alÿs
See all 14 works

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New York triptych, 1995-1996 by Francis Alÿs

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Francis Alÿs' work is at once surreal and anchored in everyday experiences of city life. Much of his work occurs in or directly references urban streets and has a peculiar, awkward charm that highlights the strangeness of the ordinary. Both ...