Derrick Adams is a multidisciplinary New York-based artist working in performance, video, sound and 2D and 3D realms. His practice focuses on the fragmentation and manipulation of structure and surface, exploring self image and forward projection.
A recipient of a 2009 Louis Comfort Tiffany Award, and 2014 S.J. Weiler Award, Adams received his MFA from Columbia University, BFA from Pratt Institute, and is a Skowhegan and Marie Walsh Sharpe alum.
His exhibition and performance highlights include: Greater New York '05, MoMA PS1; Open House: Working In Brooklyn '04, Brooklyn Museum of Art; PERFORMA ‘05, ‘13, ‘15; Radical Presence & The Shadows Took Shape, Studio Museum in Harlem; The Channel, Brooklyn Academy of Music; and is in the permanent collections of The Metropolitan Museum of Art, Studio Museum in Harlem, Virginia Museum of Fine Arts, and the Birmingham Museum of Art.
His work can be seen in New York at Tilton Gallery; Rhona Hoffman Gallery, Chicago; Gallerie Anne de Villepoix, Paris; and Vigo Gallery, London.
An unscripted performance "Ask The President" uses the image of the dollar as the framework to reflect the monument/mountain while the artist animates the hectic duties of our leader presented as a lesson in how to apply the 5 W's we once learned as children. This performance is set to an original soundtrack entitled, The President’s March.
“Go Stand Next to the Mountain” is a live performance with a portable 5 sided sculpture and video projections presented at The Kitchen, NYC in 2010. This selected video component was presented as projected interludes between acts and borrows from a style mostly inspired by educational television programming. The performance compares man to mountain, mountain to monument and monument to monumental figure. The 5 short interludes: “GO,” “Stand,” “Next,” “M is for...,” and “Word Play”; reinforce the theme as well as deconstruct the concept of the performance.
Ralph Goings is a realist painter who has exhibited in the USA, Europe and Japan and is represented in museums and private collections here and abroad. He is recognized as one of the original members of the Hyper-Realist or Photo-Realist group of the late 1960’s.
Alexander, who lived in Paris during the 1890s, achieved international success with his studies of female figures gracefully posed in elegant interiors. In this example, the provocative facial expression and supple curves reflect the contemporary French taste for sensual images of women as well as the undulating linear rhythms of Art Nouveau. With its model decoratively attired in a sweep of white fabric, "Repose" was lampooned in a French magazine as a portrayal of Loïe Fuller (1862–1928), the American dancer famous for manipulating swirling folds of silk in her performances at the Folies Bergère in Paris.
For a lot of artists, the first brush with paint usually comes at an early age. This was not too dissimilar for Seoul-based artist Dahye Choi, who graduated from art college and “rarely thought about anything other than art.” At this time, 2009, she was exhibiting her first solo show and worked across both illustration and painting. She thought that “without a doubt” painting was the best thing she could do – but little did she know that she would come to regret it.
There’s an overlooked reason for Pollock’s fame. Even if you love him, you might not know the name of the man who made him famous.
Jackson Pollock is one of the 20th century’s most famous artists. But do you know the critic who made his reputation?
Clement Greenberg is a well-known name in the art world, but not necessarily to art fans. However, he earned a reputation as one of the most influential art critics in the 20th century, whose legacy included the canonization of Jackson Pollock.
Abstract expressionist art needed vocal champions to support challenging, unique work, and Greenberg was the most powerful and vocal in his defense of the art and, in particular, Jackson Pollock. Greenberg went from tie salesman to intellectual in less than a decade, thanks to strongly worded arguments for a new artform. Jackson Pollock was one of his favorite artists, and the two spent time together socially as they simultaneously climbed in the art world.
Is Clement Greenberg the reason that Jackson Pollock is so famous? He’s definitely a part of it — and understanding the role of Greenberg and critics like him can be a useful tool to understanding art in the 20th century.
Overrated is a series that takes a look at the things we all know — the books, the trends, and the ideas that have become iconic — and answers the question: “Why is this so famous"?
Vox.com is a news website that helps you cut through the noise and understand what's really driving the events in the headlines. Check out http://www.vox.com.
Claude Monet - La Gare Saint Lazare, hosted at The National Gallery, London narrated by Jarvis Cocker
Discover why Cocker compares Claude Monet’s La Gare Saint Lazare (The National Gallery, London) to an 80’s horror movie and an ACDC concert, and listen to him explain why Impressionism is called what it is.
Find out more on https://g.co/ArtZoom Listen and keep your eyes peeled as iconic music figures take you on a tour of some of the greatest masterpieces of the world in Art Zoom. Zoom into La Gare Saint-Lazare here: http://bit.ly/2XiMBsN
Pieter Bruegel the Elder - The Tower of Babel, hosted at Kunsthistorisches Museum Wien narrated by Feist
As well as telling us the story behind Pieter Bruegel the Elder’s The Babel Tower (Kunsthistorisches Museum Wien), discover why Feist compares the renaissance artist and his contemporaries to the indie folk-pop duo Kings of Convenience and singer, songwriter and activist, Chance the Rapper.
Find out more on https://g.co/ArtZoom Listen and keep your eyes peeled as iconic music figures take you on a tour of some of the greatest masterpieces of the world in Art Zoom. Zoom into the Tower of Babel here: http://bit.ly/2XJHPRU
Jonathan Wateridge's paintings are elaborately crafted 'non-events' that have the trappings of a real occurrence but for the most part are entirely fabricated.
A significant part of his work over recent years has been to reconfigure or re-make a given scenario or found image. This involves building full-scale sets and using performers to enact roles, within the context of the studio, in order to set up questions about the way we frame and understand notions of the real.
His work initially employed painterly realism as a 'default setting' by which to view the world, curbing any excesses of style to emphasise not only the often fleeting, banal and everyday quality of the scenes depicted but also the nature of their construction.
More recently, this has given way to an increasingly lyrical use of paint which explores the tension between the social dimension of the figuration and the more formal and expressive qualities of the work.