Ana Maria Tavares
Categories: Sculpture Objects Installation art Singapore Biennale Sonsbeek
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The work of Ana Maria Tavares is strongly influenced by Oscar Niemeyer and other utopian modernist Brazilian architects. Her sculpture is made of metallic material taken from building interiors and product design, sliding along the border between design and fine art. Airports and departure lounges are a recurrent theme in her work, places that symbolize exit from everyday life, getting ready to depart, floating, meditating, and de co-existence of the real and the virtual. Strategies for Enchantment (2001), which was created by placing a piano, mirror and seats in a glass-walled room, and Middelburg Airport Lounge with Parede Niemeyer (2001), in which Tavares used mirrors and video projection to transform De Vleeshal in the Netherlands into a futuristic airport lounge, are examples of how she has transformed sites while making the most of their features.
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Documents of Contemporary Art. Utopias: Throughout its diverse manifestations, the utopian entails two related but contradictory elements: the aspiration to a better world, and the acknowledgment that its form may only ever live in our imaginations. Furthermore, we are as haunted by the failures of utopian enterprise as we are inspired by the desire to repair the failed and build the new... |
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South African Art Now. South African Art Now documents, through in-depth essays and stunning full-color photographs, the remarkable work of nearly one hundred South African artists working in every medium from painting, sculpture, and video to cutting-edge performance art. This lush volume includes the impressive work of art world stars such as William Kentridge and Marlene Dumas; newly prominent artists such as Berni Searle, Robin Rhode, and Mustafa Maluka; and exciting newcomers still unknown outside their own country, but clearly marked for success... |
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James Rosenquist. Painting Below Zero: Notes on a Life in Art. “Frank, funny, truthful, ironic and in every way an entertaining account of one major American artist’s involvement in an art movement that interests everyone–and, more than that, of his own character. Jim Rosenquist is a true American original and his book ought to be read by anyone who wants to understand the last half-century of his country’s visual culture, high, low, and in between.” –Robert Hughes, amazon |
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