‘When a Vienna museum guard befriends an enigmatic visitor, the grand Kunsthistorisches Art Museum becomes a mysterious crossroads which sparks explorations of their lives, the city, and the ways artworks reflect and shape the world.’
I highly recommend the film Museum Hours (2012), directed by Jem Cohen, with footage of the way we look at, visit and relate to paintings ( and the city) from the past in the present.
Posted by Madeleine Moore
Pieter Bruegel the Elder, Hunters in the Snow (Winter)
Katharina Grosse, New Orleans, 2008
Work by Katharina Grosse features on Madeleine Moore’s post – New Anthology (11/5/2011) and by clicking on the image above you will be taken to Grosse’s impressive website.
Posted by Robert Amstrong
Andro Wekua, from the show ‘1995’ at the Gladstone Gallery, 2010. Click here for more work by this artist.
Posted by Madeleine Moore
Sarah Braman, currently showing at Museum 52 in New York, makes work that hovers between painting and sculpture which manages to be both rough and elegant at the same time. Braman herself has said about a particular body of work- ‘These sculptures are monuments to the people I love and the joy and confusion I feel in being alive, but they are not about things, they are things! They don’t exist as a reference, representation or metaphor, but as themselves. Sculpture can act as a porthole to another dimension and all the while it is in our space, real as a table or a tree’. She also shows with Lower East Side gallery Canada.
Posted by Fergus Feehily
Miranda Blennerhasset, site-specific painting, Gorey, 2011
Currently my practice consists of large-scale site-specific painted installations. Using this medium I explore the subjects of contemporary architecture, urban design, decoration and modernism. My work responds specifically to the location in which it is made whilst also incorporating motifs and themes from the research I am carrying out at the time.
This work which was recently exhibited in Gorey reacts directly to the site’s formal and material qualities. The painting takes into account the details of the wooden floor, the scale and proportions of the space, the design of railings outside the building etc. I paint directly onto the surface of a space because it is important to me that the architecture provides not only the subject matter of the work but that it becomes an integral element of the piece. The structure of the building is fundamental both to the concept of the work and also to its final resolution.
Posted by Miranda Blennerhasset, 2nd Year MFA, NCAD