29 x 66 cm
In its stringency, obsession and peculiarity, the oeuvre of Julius Koller is one of the most idiosyncratic and consistent in European art since the 1960s. Yet Koller is not only a seminal figure in the history of the neo- and post-avant-garde; his work has long been a critical inspiration for artists and intellectuals. In the most recent past, Koller’s concepts of the Anti-Happening, the Anti-Picture, the Universal-cultural Futurological Operation (U.F.O.), his actions, objects, texts and the enormous referential archive he built up, have attracted growing interest on the part of a broader art public. From around 1960, in response to the modernist mainstream in Slovak art, Julius Koller began to develop his aesthetic position of the “antihappening.” His strategy consists in using real objects and everyday life as the predefined program for an aesthetic operation: from 1965, in texts rubberstamped on paper that refer to the context of the “anti-happening,” and then in 1967/1968 in pictures for which Koller used white latex paint instead of oils and which saw the first appearance of the question mark—the symbol of Koller’s brands of naming, or “making known,” that was later to undergo many mutations in various media and states of aggregation. The “invitation cards for an idea”—as Koller called the text works relating to the “anti-happenings”—and the palimpsests and serial arrangements of the “anti-pictures” set themselves apart from the academicism of Modernism in more than just formal terms. Koller foregoes every form of technical mastery. The “anti-pictures” are amateurish in style, ensuring that they fulfill their task, defined by Koller as “engaging rather than arranging.” Julius Koller was born in 1939 in Piestany, Slovakia. He died in 2007 in Bratislava.
tombs and ignitions is a collaborative ceramic sculpture by artists Tyler Cross and Kyle Lypka...
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Collaborative approach fuels rise of San Francisco’s Friends Indeed gallery Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Art market news Collaborative approach fuels rise of San Francisco’s Friends Indeed gallery Founder Micki Meng shows that working with like-minded gallerists can be an art trade superpower Julie Baumgardner 12 February 2024 Share For Meng, collaboration means sharing artists with other galleries, as well as sharing information on collectors and dealers with trusted colleagues Photo: Mike Egan Although some dealers seem to have adopted collaboration as merely their latest business strategy, it is an inherent practice for Micki Meng, the founder of what she calls her “gallery-cum-institution” Friends Indeed...
The lengthy titles in Chen Xiaoyun’s work often appear as colophons to his photographs that invite the viewer to a process of self realization through contemplating the distance between word and image...
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Since 2005, Charles Avery has devoted his practice to the perpetual description of a fictional island...
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Particularly shaped by his own youth in the 1990s, his recent works have incorporated things like a marijuana leaf, a dragon-emblazoned chain wallet, metal grommets, and the ubiquitous (in the 90s) Stussy symbol...
Podcast 84: Traditional Arts: Dikir Barat, Kavadi Attam and Nanyin | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints December 8, 2020 ArtsEquator speaks to Lyn Lee, Nirmala Seshadri and Soultari Amin Farid about Nanyin, Kavadi Attam and Dikir Barat and the study and practice of traditional arts in Singapore...
Art Basel and Parley for the Oceans launch partnership at Art Basel Miami Beach 2023 - FAD Magazine Skip to content By Mark Westall • 4 December 2023 Share — Art Basel and Parley for the Oceans have announced a partnership and launch ‘Art for the Oceans’, a global fundraising initiative to protect Oceans, Climate and Life against plastic pollution, climate change and biodiversity loss...