Description
Ensemble de cinq ouvrages et deux publications :
BAxTER, gLEN (1944)
*The Wonder Book of Sex.
little, brown and Company, 1995. relié gauffré de couleur rose avec couverture
illustréee. 25 x 19,5 cm. édition originale. tranche décolorée.
kOCH, uwE
*Schauspielerinnen.
Homburg,Felix Verlag, 1994. affi che pliée sous couverture rigide.
25 x 19 cm édition originale de 400 exemplaires.
une suite de portraits sur l'ingénuité féminine.
pRINCE, RICHARD (1949)
*Point d'ironie n°39. avril 2006.
SHRIgLEy, DAVID (1968)
*Ants Have Sex in your Beer.
london : redstone Press, 2007. broché. 18 x 12,5 cm. édition originale.
CLOSky, CLAuDE (1963)
*SEX.
napoli : electa, 2007. broché. 21 x 15 cm. édition originale.
livre d'artsite composé de photographies associant des objets
du quotidien avec une relation connotée !
on y joint Vacances à Arcachon. le sexe en mots en maux de sèxe... !
OTHONIEL, JEAN-MICHEL (1964)
*De l'intervention des habillements sexuels par le Dr. P. Hospital - Ancien médecin
en chef de l'asile de Clermont-ferrand.
saint-etienne : Musée d'art Moderne, 1993. 21 x 13,5 cm.
édition originale. livre d'artiste.
*Some Genders, 1995, une carte imprimée.
23,5 x 5 cm.
réalisée à l'occasion de l'exposition « Féminimasculin : le sèxe de l'art »
au Centre georges Pompidou, Paris.
Notes
Glen Baxter (born 4 March 1944), nicknamed Colonel Baxter, is an English cartoonist, noted for his absurdist drawings and an overall effect often resembling literary nonsense.[1] Born in Leeds, Baxter was trained at the Leeds College of Art. His images and their corresponding captions employ art and language inspired by pulp fiction and adventure comics with intellectual jokes and references. His simple line-drawings often feature cowboys, gangsters, explorers and schoolchildren, who utter incongruous intellectual statements regarding art and philosophy. Baxter's artwork has appeared in The New Yorker, Vanity Fair and The Independent on Sunday.
Richard Prince (born 1949, in the Panama Canal Zone now Panama) is an American painter and photographer. Prince began appropriating photographs in 1975. His image, Untitled (Cowboy), a "rephotograph" of a photograph taken originally by Sam Abell and appropriated from a cigarette advertisement, was the first "rephotograph" to raise more than $1 million at auction when it was sold at Christie's New York in 2005. Starting in 1977, Prince photographed four photographs which previously appeared in the New York Times. This process of re-photographing continued into 1983, when his work Spiritual America featured Garry Gross's photo of Brooke Shields at the age of ten, standing in a bathtub, as an allusion to precocious sexuality and to the Alfred Stieglitz photograph by the same name. His Jokes series (beginning 1986) concerns the sexual fantasies and sexual frustrations of middle-class America, using stand-up comedy and burlesque humor. After living in New York City for 25 years, Prince moved to upstate New York. His mini-museum, Second House, purchased by the Guggenheim Museum, was struck by lightning and burned down shortly after the museum purchased the House (which Richard had created for himself), having only stood for six years, from 2001 to 2007.[1] Prince now lives and works in New York City.
Richard Prince was born on August 6, 1949, in the U.S.-controlled Panama Canal Zone, now part of the Republic of Panama. During an interview in 2000 with Julie L. Belcove, he responded to the question of why his parents were in the Zone, by saying "they worked for the government." When asked further if his father was involved in the military, Prince responded, "No, he just worked for the government." Prince later lived in the New England city of Braintree, Massachusetts, a suburb of Boston.
He was first interested in the art of the American abstract expressionist Jackson Pollock. "I was very attracted to the idea of someone who was by themselves, fairly antisocial, kind of a loner, someone who was noncollaborative."[2] Prince grew up during the height of Pollock's career, making his work accessible. The 1956 Time magazine article dubbing Pollock "Jack the Dripper" made the thought of pursuing art as career possible. After finishing high school in 1967, Prince set off for Europe at age 18. He returned home and attended Nasson College in Maine. He describes his school as without grades or real structure. From Maine he was drawn to New York City. Prince has said that his attraction to New York was instigated by the famous photograph of Franz Kline gazing out the window of his 14th Street studio. Prince described the picture as "a man content to be alone, pursuing the outside world from the sanctum of his studio."[3] Prince's first solo exhibition took place in June 1980 during a residency at the CEPA gallery in Buffalo, New York.[4] His short book Menthol Pictures was published as part of the residency.[5] In late 2007, Prince had a retrospective at the Solomon R. Guggenheim Museum, a comprehensive show hung in chronological order along the upward spiraling walls. The show continued onto the Walker Art Center in Minneapolis. Maria Morris Hamburg, the curator of photography at the New York Metropolitan Museum of Art, asserted, "He is absolutely essential to what's going on today, he figured out before anyone else--and in a very precocious manner--how thoroughly pervasive the media is. It's not just an aspect of our lives, but the dominant aspect of our lives." Prince has built up a large collection of Beat books and papers. Prince owns several copies of On the Road by Jack Kerouac, including one inscribed to Kerouac's mother, one famously read on The Steve Allen Show, the original proof copy of the book and an original galley, as well as the copy owned by Neal Cassady (the Dean Moriarty character in the book), with Cassady's signature and marginal notes.[6] Describing his career and methodology in a 2005 New York magazine interview, Prince said, "It's about knocking about in the studio and bumping into things."
Re-photography uses appropriation as its own focus: artists pull from the works of others and the worlds they depict to create their own work. Appropriation art became popular in the late 1970s. Other appropriation artists such as Sherrie Levine, Louise Lawler, Vikky Alexander, Cindy Sherman, Barbara Kruger and Mike Bidlo also became prominent in the East Village in the 1980s. During the early period of his career, Prince worked in Time magazine's tear sheets department. At the end of each work day, he would be left with nothing but the torn out advertising images from the eight or so magazines owned by Time-Life. On the topic of found photographs, Prince said, "Oceans without surfers, cowboys without Marlboros...Even though I'm aware of the classicism of the images. I seem to go after images that I don't quite believe. And, I try to re-present them even more unbelievably." [7] Prince had very little experience with photography, but he has said in interviews[citation needed] that all he needed was a subject, the medium would follow, whether it be paint and brush or camera and film. He compared his new method of searching out interesting advertisements to "beachcombing." His first series during this time focused on models, living room furniture, watches, pens, and jewelry. Pop culture became the focus of his work.
Claude Closky is a French artist born in Paris in 1963.
Jean-Michel Othoniel is a contemporary artist born in 1964 in Saint-Etienne (France). He lives and works in Paris.
An artist who has a passion for all sorts of metamorphoses, sublimations and transmutations, Jean-Michel Othoniel has a predilection for materials with reversible properties. Othoniel first gained recognition with a series of sculptures made of sulfur, exhibited at Documenta IX in Kassel in 1992. In 1993, Jean-Michel Othoniel introduced glass into his work and began to explore its properties. Transformations, mutations of materials, and rites of passage from one state to another echo an essential rite in the artist's work: that of journeys and memory. In 1994, he participated in the exhibition Féminin/Masculin at the Pompidou Center in Paris, with an installation entitled My Beautiful Closet, a mise-en-scène of dancers filmed in the darkness of a closet. In 1996, Othoniel hung gigantic necklaces in the bamboo gardens of the Villa Medici in Rome, and later in the trees of the Venetian garden of the Peggy Guggenheim Collection (1997), and at the Alhambra and Generalife, in Granada (1999). Similar to a forbidden fruit, the necklace has a life in and of itself: it merges into the landscape and the leaves, like organic outgrowths absorbing shadows and diffracting light. The notion of wound or injury is at the heart of his work. In 1997, Othoniel created Collier Cicatrice, a small necklace made of red glass that the artist offers to whoever wants to wear it with pride. In 2000, a century after Hector Guimard, Jean-Michel Othoniel transformed the Palais Royal-Musée du Louvre into the Kiosque des Noctambules: two crowns made of glass and aluminum conceal a bench designed for chance encounters in the sleepy city. Kiosque des Noctambules In 2003, Jean-Michel Othoniel conceived Crystal Palace for the Cartier Foundation in Paris and for MOCA in Miami. For Crystal Palace, he asked glassblowers in Venice and at Marseille's CIRVA to create forms that would ultimately become enigmatic sculptures standing between jewelry, architecture and erotic objects. In December 2004 in art, at the Théâtre de la Ville in Rochefort and later at the Théâtre du Châtelet in Paris, Jean-Michel Othoniel staged Le Petit Théâtre de Peau d'Ane, an installation composed of four lacquered wooden sideboards, surmounted by thirty-five glass-filled models, and as many globes or huge vertugadins embroidered with gold and sequins. This installation was conceived as a decor for the tiny puppets that Pierre Loti used to play with as a child, and that Othoniel discovered in the house of this famous French writer. Also in 2004, for the exhibition Contrepoint at the Louvre Museum, Jean-Michel Othoniel set his works in the museum's spectacular Mesopotamian rooms. His monumental glass and aluminum sculptures, which are always created in relation to the places in which they are shown, acquire a timeless and peaceful dimension. The great white river of pearls adorned with nipples, which was purchased by the Musée d'Art Moderne de la Ville de Paris, is now on view in the museum's new collection display. For the Unlimited Section at Art Basel 2005, Jean-Michel Othoniel showed The Boat of Tears in a pool located in front of the fair. The artist, whose works often combine the political and the intimate, salvaged a boat built by Cuban boat people and abandoned on the shores of Miami and used it as a basis for his work. A crown, chains and necklaces made of colored glass taper down into giant tears of clear crystal. The sculpture floats on the water like a ghost ship, loaded with tears of suffering and joy, overflowing with memories and covered by festive ornaments. The artist has progressively built up a world based on ultimate freedom and the acceptance of the reversible, a world characterizing his personality. His work takes on a variety of forms: drawings, sculptures, photographs, narratives, choreography and video. His streamlined works are steeped in poetry and eroticism.
