Makoto Azuma and Shunsuke Shiinoki Encyclopedia of Flowers (Lars Muller Publishers, Zurich: 2012) ISBN 978-3-03778=313-9 This extraordinary volume will certainly appeal to connoisseurs of flowers, but should be of equal interest to anyone susceptible to the seductions of color and form. Azuma is considered an haute-couture florist (whatever that may be), but the wonderous photographs, by Shiinoki, show no actual arrangements as they might exist in life. All are details in which groupings of flowers are freed from gravity and the need to be grounded in a vase or on a kenzan (flower frog). Some photographs are taken from surprising ... More » »
The premise of Paint Made Flesh is that despite the dominance of abstraction, a number of European and American artists since the early 50s have depicted the human body as a way to explore both the pleasures and pains of humanity.
Post by Max Mulhern The 1959 signature work by Mark Rothko in a small space. Yesterday, in London, I visited the Rothko show of late works at the Tate Modern and a Coptic icon show in a gallery called Sacred Space. At first glance the Rothko show appears to be a disaster. The first room shows us a signature work from 1959. But it is hung in a tiny space so instead of walking into it we slide along it. Next we enter a vast space filled with thirteen canvases six of which were originally destined for The Four Season’s ... More » »
Andrea Kirsh reports:[This is part 2 of Andrea's report from Dublin. Here's part 1]. Francis Bacon’s studio, recreated at The Hugh Lane The other ambitious exhibition that beaconed with work by John Baldessari, Daniel Buren, Bruce Nauman, Martha Rosler, Andy Warhol and others was at Dublin City Gallery The Hugh Lane [ed.: that is the correct name of the place!]. The Studio, organized by the museum’s curator, Christina Kennedy and Jens Hoffman was inspired by the studio of Francis Bacon, which is on permanent view, and predicated on the idea that the concept of the artist’s studio has long captivated ... More » »