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Discover Latest #Modernism News, Articles and Videos with Contenting
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The Machine at the Heart of Man: Constantinos Doxiadis’ Informational Modernism • Digicult | Digital Art, Design and Culture
L’esposizione The Machine at the Heart of Man: Constantinos Doxiadis’ Informational Modernism esamina una delle condizioni più pressanti e rivoluzionarie degli ultimi cinquant’anni
Jan Avgikos on Gladys Nilsson - Artforum International
To my mind, Gladys Nilsson is the reigning queen of weird-ass figuration and has been for more than fifty years. She was a founding member of the Hairy Who, a group of six Chicago artists who showed together in the mid- to late 1960s and borrowed equally from high modernism and the sordid ranks of populist art to create irreverent images and objects. Their work seemed designed to challenge the tyranny of good taste and decorum, especially as defined by their contemporaries in New York and across Europe.While many of her colleagues borrowed significantly from straight porn, underground comics,
Revitalizing the Heritage of Socialist Modernism: BACU’s Online Initiative to Protect Central and Eastern European Architecture » Design You Trust
Monument To The Conquerors Of Space Moscow, 1964 Preserving the monumental yet decaying structures of central and eastern Europe erected between 1955-91 is the
Helen Hughes on Peter Tyndall - Artforum International
Over half a century, Peter Tyndall’s oeuvre has undergone an enigmatic evolution. This survey, comprising more than two hundred works, begins with a single black-and-white painting from 1993 of the pictogram that in 1974 Tyndall conceived of as his primary symbol and which he has continued using ever since: a square with two vertical lines protruding from the top like antennae, signifying a painting and its hanging wires.Having emerged in Melbourne in the mid-1970s, Tyndall is associated with that city’s distinctive postmodernist scene, with its tongue-in-cheek intersection of European modernism
Who painted Hilma af Klint’s otherworldly visions? - Artforum International
ANNA CASSEL: THE SAGA OF THE ROSE. EDITED BY KURT ALMQVIST AND DANIEL BIRNBAUM. Bokförlaget Stolpe, 2023. 182 pages.ANNA CASSEL: THE SAGA OF THE ROSE, a sumptuously designed book by the same publisher of the seven-volume, thirty-eight-pound Hilma af Klint Catalogue Raisonné, is not only an astonishing revelation of a heretofore unknown visual artist, but one whose recently discovered participation in the creation of Hilma af Klint’s renowned “Paintings for the Temple” necessitates a reconceptualization of this pioneering work, and hence a corrective to the history of modernism itself as it
Artforum International
ON A CRISP NIGHT IN NEW DELHI last December, I made my way to Vivan Sundaram’s brutalist bungalow, nested in a leafy garden and casually adorned with some of the most iconic exemplars of Indian modernism: his aunt Amrita Sher-Gil’s melancholic young women, his friend Bhupen Khakhar’s playfully awkward watch repairman, Nasreen Mohamedi’s rigorous lines, and Vivan’s own portentous portrait of his maternal family which was recently installed in the sitting room. As I took in the work’s commanding scale and muted palette, Vivan and his partner—the influential critic-curator Geeta Kapur—emerged from
Tina Rivers Ryan on “Signals: How Video Transformed the World” - Artforum International
THE HISTORY OF VIDEO ART at the Museum of Modern Art, New York, begins in 1968 with Pontus Hultén’s sprawling exhibition “The Machine as Seen at the End of the Mechanical Age.” As suggested by its title, the show was a retrospective survey of modernism’s fascination with all things metallic, kinetic, and electric, from Giacomo Balla’s paintings of speeding automobiles to the self-destructive automatons of Jean Tinguely. But Hultén also included two monitors displaying Nam June Paik’s single-channel videos, auguring art’s transition from the industrial-machine age to the postindustrial age of