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Painted in 1971 and exhibited that same year at the Whitney Museum in New York City, Texas Louise is a large-scale painting by Frank Bowling from his series Map Paintings (1966-1971), which the artist began upon moving to the US in 1966.

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One of her generation's pioneers in so-called "artist cinema", American video artist Diana Thater stands out with her hybrid installations where multiple video projections occupy the exhibition space. The close relation between the video's spatial and temporal dimensions creates a heightened immersive experience for the viewer whose presence is fully factored in the stage arrangement.

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naam van kunstenaar: David Hommons
geboortedatum: in 24juli 1943
Titel kunstwerk : standing room only

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Curled up in a ball, a ginger cat sleeps peacefully-in reality, it is stuffed-on a djembe, an African percussion instrument composed of a wooden barrel in the shape of a chalice and a skin stretched by a bundle of cords. The result is a striking, ambiguous image that is both familiar and radical.

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naam van kunstenaar:  Anri Salsa
Gemaakt in 2012

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naam kunstenaar: yancheng wang
geboortedatum: 1960
titel kunstwerk: sans titre
weetje over de kunstenaar:
- chinees
- 2021: the Correspondence of the National Academy of Arts of Italy
- 50 solo tentoonstellingen

bron Sans titre | Pinault Collection. (2021, 18 september). https://lesoeuvres.pinaultcollection.com/en/artwork/sans-titre-9 https://lesoeuvres.pinaultcollection.com/en/artwork/sans-titre-9https://lesoeuvres.pinaultcollection.com/en/artwork/sans-titre-9

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Losing (Her Meaning) | Pinault Collection

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This painting was a key work in the Waiting for Meaning exhibition of 1988.

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In 1395 Days Without Red, the camera follows a musician through besieged Sarajevo as she braves danger to join her orchestra for a day. Staccato images of her walking across intersections are interspersed with those of the orchestra beginning to rehearse the first movement of Tchaikovsky's Pathétique symphony.

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A sculpture of the artist mounted on a horse, Horse and Rider is reminis-cent of the classical figure of the equestrian statue, in the tradition of the "canon" invented in antiquity: the Emperor Marcus Aurelius in the Capitoline Square in Rome, multiplied during the Renaissance through the honorary representation of the condottiere (military leaders), such as Donatello's Gattamelata in Padua or Verrochio's Colleone, in Venice. As usual, Charles Ray uses the model closest to him, the easiest to call upon: himself. Paris is punctuated by these same sculpted groups representing saints and kings on horseback: from Bosi's Louis XIV, in the nearby place des Victoires, to Bernini's Louis XIV in the cour Napoléon in the Louvre, from Lenot's Henri IV standing in the middle of the Pont Neuf to the Jeanne d'Arc on rue Castiglione, to name but a few. Like a subversion of this statuary of power and magnificence, Horse and Rider reverses all its codes, chipping away at the mani-festo of assurance and virility usually deployed by the genre. Instead of a haughty figure, in majesty and in movement, the figure of the artist, seated and stooped over his horse at a standstill, seems to be powerless: "I'm not a horse rider and the horse knows it. I tried to sculpt my nervousness and the horse's as well" (from the catalogue of the Kunstmuseum, Basel, 2014). And for good reason: the artist did not sculpt the reins, which normally allow the rider to direct their mount. This image calls for another, that of a possible artist's self-portrait, a pictorial one: the portrait of Watteau as Gilles, a disenchanted entertainer.

Horse and Rider does not commemorate any battle, nor does it celebrate its model. As is often the case with the artist, it is about questioning a "type" from the history of sculpture, in order to better account for their aesthetic value over time: "I see the great archaic or classical sculptures as contemporary. They work too well to be discarded or out-dated, regardless of the work's original purpose. Horse and Rider, placed on the ground-not on a pedestal-interacts directly with the space of the viewer, with the public, with the city.

Finally, the work has as much to do with the personal history of the artist, who spent his adolescence in a particularly strict military high school, as with that of America, whether it be patriotic sculpted groups, Hollywood films, the Wild West and its mythical figure-the cowboy on horseback-or children's figurines. The man on the horse conjures up an incredible iconography, a historical density to which the artist responds by the weight of the work itself, close to ten tonnes. Firmly embedded in the space, and a central tenet in multiple traditions of representation, the equestrian statue here sees the opening of a new chapter in its history, in which splendour gives way to the anti-hero, the modern Don Quixote.

"My sculptures circle the second floor, and in front of the Bourse is ano-ther portrait of an artist, myself, over the hill, sitting in a western saddle on a horse that is also over the hill. We are both exhausted, but rather than being up in the sky embedded in the clouds on a stone pedestal a mile high, we stand on the ground with you and your neighbour. [Rather than remaining superficial, the] patina of the city will have embedded itself within its surface rather than upon it. Be patient, Parisians."
Charles Ray
Extract from the essay "57,000 Pounds" in the exhibition catalogue

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A sculpture of the artist mounted on a horse, Horse and Rider is reminis-cent of the classical figure of the equestrian statue, in the tradition of the "canon" invented in antiquity: the Emperor Marcus Aurelius in the Capitoline Square in Rome, multiplied during the Renaissance through the honorary representation of the condottiere (military leaders), such as Donatello's Gattamelata in Padua or Verrochio's Colleone, in Venice.

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François Pinault - cité de la réussite 2002 - 1/3

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L'installation hyperréaliste Housepainter I met en scène un peintre en bâtiment afro-américain prenant une pause dans son travail, l'air distrait. La multiplication d'éléments contextuels, de la toile de protection aux différents ustensiles spécifiques en passant par les traces de peinture sur le mur, confère à l'œuvre une authenticité troublante.

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Losing (Her Meaning) | Pinault Collection

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This painting was a key work in the Waiting for Meaning exhibition of 1988.

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geboortedatum: 1976
titel van het kunstwerk: Anamatronic Mouse
Weetje over de kunstenaar:
- Brit
- is rolstoelgebruiker
- Heeft o.a. gestudeerd aan de Jan Van Eyck academie in Maastricht.
- Historisch referentiekader: No Style style.

bron: https://en.wikipedia.org/wiki/Ryan_Gander. geraadpleegd op 4 september 2022

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Beeld --> streetart --> 2016 (hedendaagse tijd) --> Westers referentiekader --> conceptuele kunst

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HYPECOURT sunrise set - Lindertsteegen2022

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HYPECOURT SUNRISE-TO-SUNSET 430M2 Jan Breydelplein Sint-Niklaas, Belgium The Hype court was commission by...