Alécio de Andrade - Musée du Louvre, Paris, 1990 | More posts
Karen Knorr - Musée Carnavalet, 2004 - 2007
The usual aim of the fable is to teach a lesson by drawing attention to animal behaviour and its relationship to human actions and shortcomings. Animals in fables speak metaphorically of human folly, criticizing human nature. Yet it seems that the nature of Karen Knorr’s work has another aim. In Knorr’s “Fables” the animals are not dressed up to resemble humans nor do they illustrate any explicit moral. Liberated, they roam freely in human territory drawing attenton to the unbridged gap between nature and culture. They encroach into the domain of the museum and other cultural sanctuaries which resolutely forbids their entry.
See more of Karen Knorr posts here.
Daniel Freytag - NSW Art Gallery
Photography by James Casebere
Michael Eastman - Venice, Italy | More posts
Karen Knorr - Academies, 1994 -
Within the spaces of the Royal Academy Schools in London, the Royal Academy of Art in Stockholm, and the Repin Institute in St Petersburg, Knorr reflects upon the relationship between the production of western art in the academy and the transmission and reproduction of such ideas through the museum. The series explores the foundation myths of European fine art culture and the link to national identity and patrimony.
h/t likeafieldmouse
Iñigo Aragón - Retablos Contemporáneos
Cyril Porchet - Seduction
Artist’s statement:
“I photographed these cultural places in order to produce an effect of visual saturation. This profligacy of splendor contributes to stun the senses and at first glance provides an effect which tends toward abstraction. The optical flatness produced by the camera looks like and references the “trompe l’oeil” technique often used in this type of architecture. The goal of this approach is to show in an analytical way the exuberance and the surfeit of baroque as a critical shortcut of the dramatic character of our current society.
Baroque style developed at a time where the Catholic Church was reacting against a new science and new forms of religion. The monumental baroque was a style that the papacy was able to exploit like the absolute monarchies did. The baroque wouldtherefore have served a catholic will to reconquer souls. Therefore, by choosing baroque churches as metaphor of spectacle, my pictures also work as an historical reminder of the picture function.
My work is displayed in print formats of 120 cm over 160 cm under acrylic glass.”
Psychological interiors by Sarah Hobbs
1. Escapism (2009)
2. Paranoia (1999)
3. Overcompensation (2006)
4. Insomnia (2000)
5. Memory Loss (2000)
6. Avoidance (2009)
Francis Alÿs, Nightwatch, 2004.
Surveillance cameras observe a fox exploring the Tudor and Georgian rooms of the National Portrait Gallery at night.
Photography by brokenview
