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Showing posts with label gagosian gallery. Show all posts
Showing posts with label gagosian gallery. Show all posts
Frank Gehry's Fish Obsession Swims Full Circle.
"The fish is a perfect form." —Frank Gehry
Architect and designer Frank Gehry has long been inspired by fish. He has created buildings, statues and even jewelry for Tiffany's using the form of a fish as the basis for his designs.
above: Gehry's fish, Standing Glass Fish Frank Gehry, 1986, Minneapolis Sculpture Garden, Minneapolis, MN
above: Gehry's "Fishdance" sculpture for a restaurant in Kobe, Japan (1987).
above: Gehry's Fish structure at the Olympic Port in Barcelona
above: a necklace and earrings for Tiffany & Co by Gehry
Gehry has always experimented with sculpture and furniture in addition to his architectural pursuits, coaxing inventive forms out of unexpected materials, from the Easy Edges (1969–73) and Experimental Edges (1979–82)—chairs and tables carved from blocks of industrial corrugated cardboard—to the Knoll furniture series (1989–92), fashioned from bentwood. The Fish Lamps evolved from a 1983 commission by the Formica Corporation to create objects from the then-new plastic laminate ColorCore.
above: Various Gehry fish lamps from the past four decades
After accidentally shattering a piece of it while working, he was inspired by the shards, which reminded him of fish scales. The first Fish Lamps, which were fabricated between 1984 and 1986, employed wire armatures molded into fish shapes, onto which shards of ColorCore are individually glued, creating clear allusions to the morphic attributes of real fish.
above: Frank Gehry, Low White Fish Lamp, 1984, ColorCore, silicone, wood, Collection of Fred Hoffman and Frank Gehry, courtesy of Fred Hoffman Fine Art., Image credit: Christine McMonagle
Since the creation of the first lamp in 1984, the fish has become a recurrent motif in Gehry's work, as much for its "good design" as its iconographical and natural attributes. Its quicksilver appeal informs the undulating, curvilinear forms of the Guggenheim Museum in Bilbao, Spain (1997); the Jay Pritzker Pavilion in Chicago (2004); and the Marqués de Riscal Vineyard Hotel in Elciego, Spain (2006) as well as the Fish Sculpture at Vila Olímpica in Barcelona (1989–92) and Standing Glass Fish for the Minneapolis Sculpture Garden (1986).
above: Architect Frank Gehry with the orange fish lamp, a trademark of his work in the 1980s. (©1991 Roger Ressmeyer; Fish Lamp © Frank Gehry & New City Editions/CORBIS)
above: an early fish lamp by Frank O. Gehry, cast glass, Courtesy of Joan and Jack Quinn, Beverly Hills, CA
Now, Gagosian Gallery is pleased to present Frank Gehry's Fish Lamps. The exhibition will be presented concurrently in Los Angeles and in Paris.
In 2012 Gehry decided to revisit his earlier ideas, and began working on an entirely new group of Fish Lamps. The resulting works, which will be divided between Gagosians Los Angeles and Paris, range in scale from life-size to out-size, and the use of ColorCore is bolder, incorporating larger and more jagged elements. In Los Angeles, Gehry is also designing the installation for the Fish Lamps, following his inspired design for the Ken Price exhibition at LACMA earlier this year.
above: Untitled (Los Angeles III), 2012–13, Metal wire, ColorCore formica and silicone, 44 x 16 x 55 inches (111.8 x 40.6 x 139.7 cm), courtesy of Gagosian Gallery
The softly glowing Fish Lamps are full of whimsy. As individuals or groupings of two and three, some are fixed to poles or wall sconces, while others can be placed on any existing horizontal surface. Curling and flexing in attitudes of simulated motion, these artificial creatures emit a warm, incandescent light. This intimation of life, underscored by the almost organic textures of the nuanced surfaces, presents a spirited symbiosis of material, form, and function.
"I kept drawing it [the fish] and it started to become for me like a symbol for a certain kind of perfection that I couldn't achieve with my buildings." —Frank Gehry
This 1984 fish lamp by Gehry has an estimated auction value of $90,000-$120,000:
above: Fish Lamp, New City Editions, Canada/USA/USA, 1984, Colorcore Formica, stained and lacquered plywood, glass, 40 w x 24 d x 37.5 h inches (image courtesy of Wright20)
The first Fish Lamps were shown in "Frank Gehry: Unique Lamps" in 1984 at the former Robertson Boulevard location of Gagosian Los Angeles.
Images of last week's opening exhibit at the Gagosian, with photos by Brad Elterman can be seen here.
Frank Gehry - Fish Lamps
January 11 - February 14, 2013
456 North Camden Drive
Beverly Hills, CA 90210
T. 310.271.9400 F. 310.271.9420
losangeles@gagosian.com
Hours: Tue-Sat 10-6
About Frank O. Gehry:
One of the most celebrated architects living today (and a Prtiker Prize winner), Gehry's career spans five decades and three continents. Known for his imaginative designs and creative use of materials, he has forever altered the urban landscape with spectacular buildings that are conceived as dynamic structures rather than static vessels.
Frank Gehry was born in Toronto in 1929. He studied architecture at the University of Southern California and urban planning at the Harvard Graduate School of Design. His drawings, models, designs, and sculpture have been exhibited in major museums throughout the world. Among his most celebrated buildings are the Vitra Design Museum, Weil am Rhein, Germany (1989); the Guggenheim Museum, Bilbao, Spain, (1997); and the Walt Disney Concert Hall, Los Angeles (2003). Awards include the Pritzker Architecture Prize (1989); the Wolf Foundation Prize in Arts (1992); the Praemium Imperiale in Architecture from Japan Art Association (1992); the Dorothy and Lillian Gish Prize (1994); the National Medal of Arts (1998); the Gold Medal from the American Institute of Architects (1999); the Gold Medal from the Royal Institute of British Architects (2000); and the Lifetime Achievement Award from Americans for the Arts (2000). "Frank Gehry, Architect," the most comprehensive exhibition of his work to date, was presented at the Solomon R. Guggenheim Museum in New York in 2001. Gehry's latest building, the Louis Vuitton Foundation for Creation in the Bois du Boulogne, Paris, will be completed in 2013.
information courtesy of the Gagosian Gallery press release, images courtesy of The Jewish Museum, Wright20, Gagosian Gallery, Sotheby's, Christies
Lindsay Lohan Strikes A Pose. Make That Many Poses In Richard Phillips' First Film.
above: Film stills from Lindsay Lohan by Richard Phillips
Lindsay Lohan - A Richard Phillips Film, Jul 28th 2011 at The Gagosian Gallery
The press release:
Gagosian Gallery announces Lindsay Lohan, Richard Phillips' first short film. In his 90-second motion portrait of Lindsay Lohan, Phillips draws on the conventions of his painting that explore the legacies of classical portraiture in relation to the mediated representations of contemporary popular culture.
The film depicts Lohan in a number of classical poses, with references to iconic moments in film, such as Brigitte Bardot smoldering in Jean-Luc Godard's Contempt, or the searing psychosexual interplay of Bibi Andersson and Liv Ullman in Ingmar Bergman's Persona. To create a timeless and psychologically charged Hollywood setting, Phillips repurposed a remote Malibu mansion, but freighted it with the speculative desire of contemporary cinematic performance.
Through Phillips's lens, the defiant openness that makes Lohan so compelling on film becomes the ignition key of each image; the pause before action that allows for the identities of actor and director to meld, where expectation and projection contrast with the construction of multilayered identity.
In these full-frame motion portraits of Lohan, Phillips repudiates the cynical expediency associated with the artistic and commercial convention of the screen test by examining and exposing its manipulative and coercive undertones. He thus works to subvert this carefully constructed form, presenting Lohan as released from acutely mediated narrative representation.
"Lindsay has an incredible emotional and physical presence on screen that holds an existential vulnerability, while harnessing the power of the transcendental—the moment in transition. She is able to connect with us past all of our memory and projection, expressing our own inner eminence." -Richard Phillips
Richard Phillips’ Lindsay Lohan will be included in Commercial Break, presented by the Garage Center for Contemporary Culture in Venice, June 1 - 5, concurrent with the 54th Biennale di Venezia.
Credits:
Directed by: Richard Phillips and Taylor Steele
Director of Photography: Todd Heater
Costume Designer: Ellen Mirojnick
Creative Director: Dominic Sidhu
Art Director: Kyra Griffin
Editor: Haines Hall
Color mastering: Pascal Dangin for Boxmotion
Second Director of Photography: Alejandro Berger
Directors’ Assistant: Katerina Llanes
Wardrobe Stylist: Ira Hammons-Glass
Hair Stylist: Aaron Light
Make Up Stylist: Mylah Morales
Photographer: Christelle De Castro
Photographer's Assistant: Gregory Brouillette
Music: Tamaryn and Rex John Shelverton
Production: GE Projects
Typeface(s): Jean-Luc by Atelier Carvalho Bernau
Richard Phillips would like to thank Lindsay Lohan, Eleanore Lieven, Melissa Lazarov, John Good, Natalia Bonifacci, Doug Aitken, Aimee Walleston, Michelle Finocchi, Ania Diakoff, Patrik Sandberg, Chrisitian Kaemmerling and Group Lotus, Lynne Mannino at Spotwelders, Nadia Sadigianis at Box Studios, Jess Rotter at Mexican Summer, Mark Mayer, Celestine Agency, MILK Studios, Chateau Marmont, and Gagosian Gallery. Special thanks to Josephine Meckseper.
View more videos from "Commercial Break," presented by the Garage Center for Contemporary Culture: www.commercialbreak.org
GREED: All About The Faux Fragrance Bottle, Posters, & Video
GREED
Francesco Vezzoli's project 'Greed' is a faux ad campaign for an imagined perfume. The entire project consists of a video trailer, a video (faux commercial), the bottle design and print campaign. The video was directed by the notoriously-exiled director Roman Polanski and features Natalie Portman and Michelle Williams embroiled in a fierce battle over the fanciful scent. The spurious campaign attempts to isolate and imitate the hype created by the promotion of a new luxury product in the mass market.
THE BOTTLE DESIGN
Just as Marcel Duchamp created Belle Haleine: Eau de Voilette in 1921 using a Rigaud perfume bottle with an altered label Francesco Vezzoli has created a signature perfume for the contemporary moment. Greed’s label features Vezzoli in drag, photographed by Francesco Scavullo, where Duchamp appeared on his perfume bottle as Rrose Sélavy, photographed by Man Ray.
Duchamps' Faux perfume bottle and label:
Francesco Vezzoli's Greed:
above: artist Francesco Vezzoli's Greed, The Perfume That Doesn't Exist, 2009
Crystal, paper and ribbon, 15 11/16 x 10 5/8 x 5 1/8 inches (40 x 27 x 13 cm)
THE INSTALLATION:
The installation at the Gagosian Gallery in Rome features the perfume in the center of the room flanked by the 'faux movie posters' (more on those below) and the faux commercial ran on a monitor:
THE GALLERY SHOW INVITE:
THE POSTERS
The series of needlework portraits of leading female figures in art history –including Tamara de Lempicka, Eva Hesse, Leonor Fini – serve as immortalized endorsements of Vezzoli’s fragrance.
The posters for the product by Francesco Vezzoli are made of inkjet, wool, cotton, metallic embroidery and custom jewelry on brocade. Each features a different famous female and measures 70 7/8 x 51 3/16 inches (180 x 130 cm):
above bottle, posters and installation photos courtesy of Gagosian Gallery
THE VIDEO / FAUX COMMERCIAL:
stills:
still photos courtesy of Francesco Vezzoli Studio
The trailer for the video:
See the complete video here.
GREED is just the latest castle in what the Gagosian Gallery coins Vezzoli's "ongoing preoccupation with the fundamental ambiguity of truth, the seductive powers of language, and the instability of the human persona in a series of works that explore the undisputed power of contemporary media culture."
According to Vezzoli, his art is designed to hold a mirror to society which idolizes the concept of celebrity. At the same time, Vezzoli's racy art plumbs the depths of celebrity culture itself and seemingly revels in it, with devastatingly funny results. "It's all part of this kind of style of promotional deconstruction that I've been researching for a long time. I'm not so much of a moralist trying to make a statement," he said. "I'm fascinated by celebrity. It's a phenomenon, and I don't think the whole celebrity culture is silly. It invades everything: fashion, cinema. Without stars, no event is deemed worthy of the media to cover - you need that red carpet. My work is the study of media."
About the artist:
Francesco Vezzoli was born in 1971, in Brescia, Italy. He studied at the Central St. Martin’s School of Art in London from 1992 to 1995. His work has been exhibited at many institutions including: Castello di Rivoli Museo d’Arte Contemporanea, Turin (2002); Fondazione Prada, Milan (2004 and 2005); Museu Serralves, Porto (2005); Le Consortium, Dijon (2006); and the Power Plant, Toronto (2007). Vezzoli’s work has also been featured in the 26th São Paulo Biennial (2004); the 51st Venice Biennale (2005); the Whitney Biennial (2006); and the 52nd Venice Biennale (2007). He currently lives and works in Milan.
Gagosian Gallery, Via Francesco Crispi 16, Rome.
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