Alex Tennigkeit Usurper S Choice

In her most recent works, painter Alex Tennigkeit investigates the codes of today's hip-hop culture. In her large-format canvases, decorative wall pieces, objects and small-format gouaches, she produces installations that illustrate and exaggerate the world of popular culture. She uses visual and textual citations from popular film, music, fashion and advertising, making use of the most superficial elements of the media world. We find naked bodies, smiling beauties, fast cars and other symbols of modern pop culture: Tennigkeit uses sampling to overstate and expose these in her art.

Tiré du site Internet de Revolver: "Alex Tennigkeit erweitert die bildhaften Projektionen von Malerei und Zeichnung stets durch installative Elemente oder Objekte. Die großformatigen Malereien erinnern in den ihnen zugrunde liegenden Strategien des Bildaufbaus an das Sampling verschiedener Motivvorlagen, die aus dem Bereich der kommerziellen Populärkultur stammen. Sie arbeitet mit Bild- und Textzitaten aus der Film-, Musik-, Mode- und Werbewelt. Sie bedient sich dort, wo die Medienwelt am oberflächlichsten ist. Nackte Körper, lächelnde Beauties, schnelle Autos und andere Symbole der modernen Popkultur finden in ihren Malereien und Zeichnungen ihren Platz ..."

Alexander Kosolapov is one of the most remarkable go-betweeners of contemporary art, a nomadic presence across ideologies and cultures and a hero of Russian Conceptualism alongside Ilya Kabakov, Boris Mikhailov and Dmitri Prigov. In 1973, he cofounded the Sots-Art movement, which satirically conflated Soviet and American capitalist iconographies; in 1975 he relocated to New York, remaining there for 30 years and immersing himself in the American art scene. Dovetailing Russian political art with American Pop, Kosolapov created such well-known images as the Lenin Coca Cola (1985), Malevich Marlborough and Lenin McDonald's. In his most recent works, Kosolapov proposes new, nonexistent brands for post-Soviet Russia. This substantial survey appraises the entirety of his career to date.

Published to coincide with an exhibition organized by Bob Nickas, on view at David Zwirner, New York (February 19 – March 23, 2013), this indispensable catalogue on Alan Uglow (1941-2011) includes all new photography of paintings created from the early 1990s through 2010, past interviews, archival images, and an exhibition chronology illustrated with images of museum and gallery invitation cards. Uglow quickly gained a reputation as an “artist’s artist.” Working in series that evolved slowly over decades, he always remained faithful to his central vision and his practice was unaffected by the increasingly commercial demands of the art scene in the 1980s and 1990s. His paintings revolve around a subtle dialogue between notions of center and edge, and are executed gradually, with several layers of paint. They appear at once calm and dynamic, and simultaneously suggest emptiness and ground.