Herbert Rösler

Herbert Rösler (June 15, 1924 – November 11, 2006) was a German artist, writer and designer. He worked as a painter, graphic designer, sculptor, developed models for futuristic architecture, designed clothes, furniture and handcrafted jewelry. Furthermore, he is also known as founder of the Christian work- and housing-community Gruppe 91 (Group 91), their beliefs and lifestyle have similarities to the Jesus movement. Rösler was the creative and spiritual guidance for this community from their beginning in 1968 to the date of his passing in 2006.Artworks of Rösler are on permanent display in the exhibition hall G91-Bau in Tübingen. Besides their cultural engagement, Rösler and his group were also committed to many social projects

 

   

 

 

 

 

 

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Conceptual art Chen Zhen

Chen Zhen (1955 – 13 December 2000) was a Chinese-French conceptual artist known for his large-scale sculptures and installations such as La Danse de la fontaine émergente in Paris. He is recognized as one of the most important Chinese artists since the 1990s.
Born in Shanghai and educated in Shanghai and Paris, Chen suffered from autoimmune hemolytic anemia and died at age 45. He was the brother of Chen Zhu, a vice chairman of the National People's Congress of China.
Although his career was cut short by disease, Chen had achieved international fame by the time he died. His mature work, created in the last decade of his life, explored «synergy» between different cultural and political environments. He is also known for using furniture and antique Chinese materials in his constructions. His large-scale works, exploring the topics of health and homeland, were well received globally. He held more than 30 solo shows in Europe, Asia, and America. After his death, memorial exhibitions were held at the Institute of Contemporary Art in Boston,MoMA PS1 in New York City, as well as in Greece and Italy.
Despite his fame abroad, as of 2015 there have been only two solo exhibitions of his works in his native Shanghai. The first was held at the Shanghai Art Museum in 2006, and the second at the Rockbund Art Museum (2015). The latter was curated by Hou Hanru, artistic director of the MAXXI in Rome

 

 

 

 

 

 

 

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Painter and poet Jean Raine

«Jean Raine (1927-1986) has come to painting from the literary and cinema worlds. Essentially a poet, Raine’s paintings are an extension of his poetry. Intellectually he shares the sensibilities of the surrealists, although his paintings do not seem to reflect that interest. Raine’s visual sense is, rather, tempered by the european group of action painters who had organised as COBRA, although Raine matured as a painter after COBRA had already disbanded.
Raine’s affinity for the COBRA group is apparent in a similar feeling for a synthesis of the arts, as well as in the execution of his work, which is in the exuberant style so familiar from the work of COBRA painters. These are strong differences, however, between Raine’s work and that of other COBRA painters; in contrast to Alechinsky, Raine’s work is more consistently tied to a readable imagery; in contrast to Jorn, Raine’s imagery is more direct in presenting figures rather than simply suggestions of figures. Because of the references in the titles, of course, there is a somewhat blurred distinction between what we only see and what we already know....»

 

 

 

 

 

 

 

 

 

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Abstract art Andre Marfaing

«The French abstractionist Marfaing was born in Toulouse in 1925. He studied law and worked as a lawyer for several years. He began to paint as an amateur at first, and then attended classes in sculpture and painting. In 1949 he moved to Paris and devoted himself entirely to painting.
Over many years he associated with the leading artists and poets of the School of Paris: Fernand Léger, Maurice Estève, Alfred Manessier and Gerard Schneider, amongst others. This circle of artists had a decisive influence on the development of his individual style. The figuratism of his early works gave way to lyrical abstraction. His first abstract compositions date from the beginning of the 1950s.Marfaing was an active participant in exhibitions in Paris from the early 1950s and he became a regular exhibitor at the Salon des Réalités Nouvelles from 1954 onwards. During this period he also exhibited in international shows.In the second half of the 1950s Marfaing’s style developed new characteristics. Geometric and architectural shapes replaced the lyrical abstraction of his early compositions. His first solo exhibition was held in October 1958 at the Claude Bernard Gallery in Paris, and from then on he took part in many exhibitions. In 1962 he represented France at the Venice Biennale and in 1966 he participated in the group exhibition, “Fifteen Artists of My Generation”. He used a variety of techniques in his work: etching, lithograph, oils, acrylics and collage, and he also worked as an illustrator.
Marfaing gradually moved over to working solely in black. According to him black was the most appropriate medium for expressing feelings. His compositions show endless diversity, but principally depict a perpetual conflict of opposing realities: light and dark, volume and vacuum, space and plane. Many critics and friends of the artist have called his style “ascetic”. He makes use of black and its subtle half-tones with incredible precision and conciseness. From the 1970s onwards Marfaing began to use acrylic paints, and it is this medium that particularly brings out the contrasting rhythm of black and white splashes in his compositions of that period. His own words, “I am examining the world without addressing reality”, provide the best summary of his many etchings and lithographs, now very popular amongst today’s modern art collectors.
After Marfaing’s death in Paris in 1987 a series of one-man exhibitions was held in Paris and Toulouse.»


 

 

 

 

 

 

 

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Performances visual art Leszek Knaflewski

«A visual artist and pedagogue, Leszek Knaflewski was born in Poznań on the 8th of May, 1960. He created installations, objects, photographs, drawings, video works and sound performances. From the 1990s, he split his activity between visual arts and music. He died suddenly on the 6th of September, 2014.
Knaflewski’s works are not easily interpreted or analyzed, but instead conjure loose associations – their goal is to tease the viewers’ imagination. During the ‘90s, he kept returning to the use of root-like forms in his pieces – treating them as a symbol of the forces of life, growth, and upward expansion. The artist also tended to present them in the form of a cross and present as a metaphor for the human body. In his work Para (A Couple, 1990), two long, wavy roots, topped off with cross-shaped ‘heads’, rest on white sheets strewn around a muddy floor. The life-like roots/crosses resemble a pair of lovers in an intimate position. In his other works from that period, (Akt/The Nude, 1993, Siedząca/The Sitting Woman, 1994),  root-like forms were used to reinterpret the subjects of classical art. The artist also used miniature pieces of plants that looked like spermatozoa. Paintings from the Kalendarz/The Calendar series were made up of hundreds of such mini-roots placed on interfacing flakes. In other works, clusters of roots were intertwined with half-burned matches whose heads faced upwards, laid out on a delicate net made out of hair. In Knaflewski’s works, the natural, organic materials are intermixed with objects borrowed from material culture and transformed into very expressive, yet puzzling figures.

 In 1999, Knaflewski began to introduce sound into his works. He built instrument-like objects, such as Trumna elektryczna/The Electric Coffin, which he could play to create acoustic space installations. Initially, the performances with electric coffins also included Partytury/Scores with notes made out of the spermatozoa-roots. He first performed with this instrument-object at the AT Gallery in Poznań. In his following sound performances, he developed the layers of music. Each appearance was entirely unique, as the performances  were largely improvised. The sounds, produced with the use of a bell, one string, and the coffin’s body, were amplified. The motif of a coffin also appeared in Knaflewski’s Balet biernego oporu/Ballet of Passive Opposition (2000) – an installation comprising three transparent Perspex coffins, filled with little roots. Above them, he hung a shower head whose hose was finished off with a metal skewer. In his subsequent works – Catolic-cola (2001) and Killing me Softly (2005) – Knaflewski set his sights on contemporary consumer culture and clericalism. Catolic-cola is a monumental installation resembling the back wall of a bar. It is made up of a light box with an image of a horse tilling the ground with a cross and a set of shelves with identical mud-filled glasses lined up on top. The glasses and the light box are decorated with a sign based on Coca-Cola’s logo. By turning the cross into a plough, the artist made a reference to the activity of the Catholic Church, which functions in a similar way to superficial popular culture. The Killing Me Softly cycle (an intentional reference to Roberta Flack’s classic hit)  is made up of eight large-format, black & white lightboxes, on which the artist is posing as a priest. The perfectly-designed photo shoot is made to resemble advertisements for luxury products. The figure of the preacher was presented in ambiguous situations – their significance, sometimes controversial or sometimes just obscure, is hard to read in accordance with traditional Christian symbolism. Knaflewski, wearing a custom-made cassock, poses with a balaclava – a clear attribute of terrorists – and a machine gun, with pearls in place of his teeth, or steering the Holy Spirit’s dove (with an antenna on its head) with a joystick. In this multipart piece Knaflewski raises critical questions about the authority of priests and tackles the symbolic dimension of the figure.
(Author: Ewa Gorządek, April 2011; update: LS, AS, September 2014 culture.pl )

 

  

 

 

 

 

 

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Kinetic and luminal art Gyula Kosice

Gyula Kosice (born Ferdinand Fallik; April 26, 1924 – May 25, 2016) was a Czechoslovakian-born Argentine sculptor, plastic artist, and poet. He was one of the most important figures in kinetic and luminal art and luminance vanguard.
He was born in an ethnic Hungarian family in 1924.Kosice used his natal city name as artist name. He was one of the precursors of abstract and non-figurative art in Latin America. He used, for the first time in international art scene, water and neon gas as part of an artwork. Light and movement were also present in his works.
He created monumental sculptures, hydrospatial walks, hydrowalls, etc. He made more than 40 personal and 500 collective exhibitions all over the world.
 Kinetic and luminal art

 

 

 

 

 

 

 

 

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Exposition Art Blog ; Photo Gallery - Fernand Fonssagrives

«Fernand Fonssagrives (June 8, 1910 – April 23, 2003), born near Paris, France, was a photographer known for his 'beauty photography' in the early 1940s, and as the first husband of the model Lisa Fonssagrives. He died in 2003 at Little Rock, Arkansas.
Fonssagrives was a fashion photographer in the 1940s and 1950s when he took pictures for Town and Country and Harper's Bazaar magazines. At one point he was the highest paid photographer in New York. His later pictures featured female nudes with patterns of light on their skin. His photographic works are represented in Europe by Michael Hoppen Photography (London) and in the United States by Bonni Benrubi (New York) and Duncan Miller Gallery (Santa Monica). An image he created of his first wife Lisa is on the cover of the Spring Christie's photographic auction catalog (2008).
He was also an award winning sculptor working in Bronze, a painter and a writer.
Fonssagrives was married in 1935 to his first wife Lisa, whom he met at a dance school in Paris, and both became dancers. He said that he gave up dancing after he was injured in a diving accident. As a gift for recuperation Lisa gave Fernand a Rolleiflex camera. It was this that introduced him to photography, he becoming a noted photographer and her a noted model. They divorced in 1950.
Fonssagrives's second marriage—to Diane Capron, a professional figure skater and teacher—also ended in divorce. The native Frenchman lived the last 30 years of his life in Little Rock, Arkansas.
Fonssagrives was survived by a daughter from his first marriage, Mia Fonssagrives-Solow, a sculptor and jewelry designer who is married to real estate developer Sheldon Solow, and a son from his second marriage, Marc Fonssagrives.»

 

 

 

 

 

 

 

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Eugène Leroy - Neo-Expressionism painting

 Eugène Leroy (Born: 08 August 1910; Tourcoing, France Died: 10 May 2000; Wasquehal, France)
«Eugène Leroy was a French artist known for his expressive and thickly painted surfaces. His primary subject was the nude, created using traditional painting tools and methods applied generously to the canvas—adding layers upon layers of paint until human forms are barely distinguishable. For most of his career, Leroy’s work remained largely unknown until his discovery during the Neo-Expressionist wave of the early 1980s. It was only late into his life that he had his first major solo exhibition at Michael Werner Gallery in Cologne in 1983, and his first American show at Edward Thorp the following year. His paintings were given their own gallery at the ninth documenta in Kassel, Germany. The artist was born on August 8, 1910 in Tourcoing, France, and in 1996 he was awarded the Grand Prix Nationale de la Peinture. Just four years later, he died on May 10, 2000 in Lille, France. The city of Tourcoing renamed its Musée des Beaux-Arts to the MUba Eugène Leroy in his honor in 2010.»

 

 

 

 

 

 

 

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Metal art sculpture car part John Chamberlain

John Angus Chamberlain (April 16, 1927 – December 21, 2011)was an American sculptor. At the time of his death he resided and worked on Shelter Island, New YorkChamberlain is best known for creating sculptures from old automobiles (or parts of) that bring the Abstract Expressionist style of painting into three dimensions. He began by carving and modelling, but turned to working in metal in 1952 and welding 1953. By 1957, while staying with the painter Larry Rivers in Southampton, New York,[9] he began to include scrap metal from cars with his sculpture Shortstop, and from 1959 onward he concentrated on sculpture built entirely of crushed automobile parts welded together. Far more than just another wrinkle on assemblage Shortstop and subsequent works completely reinvented modeling casting, and volume altering Marcel Duchamp's notion of the readymade and using the car as both medium and tool.In 1962 Donald Judd wrote, «The only reason Chamberlain is not the best American sculptor under forty is the incommensurability of 'the best' which makes it arbitrary to say so.»By the end of the 1960s, Chamberlain had replaced his signature materials initially with galvanized steel, then with mineral-coated Plexiglas, and finally with aluminum foil. In 1966, he began a series of sculptures made of rolled, folded, and tied urethane foam.Since returning in the mid-1970s to metal as his primary material, Chamberlain has limited himself to specific parts of the automobile (fenders, bumpers, or the chassis, for example). In 1973, two 300-pound metal pieces by Chamberlain were mistaken for junk and carted away as they sat outside a gallery warehouse in Chicago.

 

 

 

 

 

 

 

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Avant-Garde-fashion - Anti-fashion

Anti-fashion is an umbrella term for various styles of dress which are explicitly contrary to the fashion of the day. Anti-fashion styles may represent an attitude of indifference or may arise from political or practical goals which make fashion a secondary priority. The term is sometimes even used for styles championed by high-profile designers, when they encourage or create trends that do not follow the mainstream fashion of the time. This anti-fashion was adopted in response to the 'overly fashion conscious' fans of bands such as the Sex Pistols.
In the 1990s, a minimalist style described as anti fashion emerged on both sides of the Atlantic where young people would typically wear simple clothes such as black jeans and white T-shirts without a visible brand name. Another period of anti-fashion has taken place in the 1950s with the advent of rock and roll, especially with young adolescent women.Instead of the standard of wearing a dress or skirt, particularly hoop skirts and poodle skirts, many young women wore jeans and plaid shirts, or simple plain T shirts in rebellion with the gender roles and societal norms at that time. This fashion has the roots of many modern anti-fashion trends, such as grunge, decades later

 

 

 

 

 

 

 

 

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