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Saatchi-gallery asked:


Marc Swanson lives and works in Brooklyn. He uses a variety of materials–from crystals and glitter to lumber and deerskin–to make sculptures that examine renewal, personal history, mortality, and rites of passage. He received an MFA from The Milton Avery Graduate School of the Arts at Bard College in Annandale-on-Hudson, New York, and has recently solo exhibitions at Bellwether Gallery in New York and Julia Friedman Gallery in Chicago.Marc Swanson is a sculptor and installation artist. Swanson’s repeated use of central motifs has resulted in a body of poignant, witty, often self-referential works. In “Killing Moon #3,” Swanson creates a self-portrait as a Yeti in his lair in the boiler room at P.S. 1 for the Greater New York show (2005).

Marc Swanson art work

Marc Swanson’s Fits and Starts is a sculpture of a life-size deer, entirely encrusted in rhinestone crystals. The deer is portrayed mid-leap, its hind legs in the air and its head turned, as if glancing back at a person or another animal in pursuit. Swanson, who views the sculpture in terms of fantasy and desire, notes that the deer is an alluring and elusive creature that is simultaneously darting away and frozen in time. The graceful sculpture suggests an unattainable object of adoration, trying to flee those who wish to approach. Swanson has made several related deer-head sculptures, which he calls his “surrogates,” encrusting the conventional hunter’s trophy with dazzling rhinestones and hanging it on the wall

About Marc Swanson Exhibitions

Marc Swanson’s second solo exhibition at Bellwether, “Live Free or Die,” was an anthem to crushed dreams and hopes for the future. Conceived as a four-part installation comprising individual artworks fitted into a loosely autobiographical scenario, the show roughly conveyed the artist’s coming to terms with his homosexuality and his politically conservative, rural New Hampshire roots. It also suggested a lapsed search for the possibility of renewal in a psychically devastated landscape.

Conclusion of this article:

Swanson’s honky-tonk environment initially seemed to be at odds with his purportedly self-revelatory intent. Each tired symbol pumped up the volume of exhausted artifice. Yet on some level, the contrivance of this deliberately awful down-and-out setting, with its dime-store mannequins and cheaply realized decor–made with, among other things, glitter, sgraffitoed Plexiglas, hockey tape, hanging T-shirts, rope nets, dirt and deerskin–seemed to offer an authentic glimpse into the artist’s sense of abject futility, Goth morbidity and misplaced projection of *** fabulousness.

Read entire article about Marc Swanson or looking for his paintings please visit us on http://www.saatchi-gallery.co.uk/artists/marc_swanson.htm

Saatchi-gallery asked:


Jeppe Hein’s works address us individually; though, importantly, we might not have asked them to. Hein delights in apparently serendipitous events, suspending common sense laws of cause and effect and conjuring up scenarios in which, in direct response to our presence, seemingly sentient behaviour is coaxed from inanimate things.

selected GROUP EXHIBITIONS

2005

Museum of Contemporary Art, Los Angeles

MCA, Chicago

2004

Wohnseifer / Hein, Union Projects, London

Moving Parts, Kunsthalle Graz / Museum Jean Tinguely Basel

Performative Installation, Siemens 2004, Galerie für zeitgenössische Kunst, Leipzig

A Secret History of Clay: From Gauguin to Gormley, Tate Liverpool

Gegen den Strich, Kunsthalle Baden-Baden

Quicksand, De Appel, Amsterdam

What did you expect?, Galerie Jan Mot, Brussels

2003

Hein, Schellberg, Wohnseifer, Schnittraum, Köln

The straight or crooked way, Royal Collage of Art, London

Biennial of Ceramic in Contemporary Art, Albisola

Auf eigene Gefahr, Schirn Kunsthalle, Frankfurt

Performative Installation, Galerie für Zeitgenössische Kunst, Leipzig

2002

Ingrepp, Uppsala Kunstmuseum, Uppsala

I promise it`s political, Museum Ludwig, Köln

Fuzzy, Galleria Minini, Brescia

Inside / Outside, Galerie für zeitgenössische Kunst, Leipzig

Hell, neugerriemschneider, Berlin

No Return. Positions from the Collection Haubrok, Museum Abteiberg, Mönchengladbach

2001

Changes possible, Kiel

Biennale di Venezia

Arbeit, Essen, Angst, Kokerei Zollverein, Essen

Frankfurter Positionen 2001, Frankfurt

Strategies against Architecture II, Pisa

Neue Welt, Frankfurter Kunstverein

Take off, Arhus Kunstmuseum

In some of his pieces he articulates a dialogue between the work itself, the person encountering it and the gallery space in which it is sited – though this is a conversation for which one is wholly unprepared. Works of this kind imply a wry relationship both to the Minimalist sculpture of the 1960s and to those forms of institutional critique that sought to question the authority of the museum or gallery space. Yet Hein’s practice does not really fit either tradition – the mode of address and playful tone is at odds with, for example, phenomenological interpretations of Minimalist sculpture, in which the viewer participated in the work but as a relatively abstract presence.

The other wall shows what I chose to create in the end. With this exhibition I’ve been thinking about the gallery’s situation, and how it presents and represents art. How artists can go into an exhibition space and use it to stage their art. My job has been to find out how I, with the room as frame, can make my work function best, while maintaining a relationship with the room itself.

what to Do Next…

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Saatchi Gallery asked:


Art gallery is defined as a room or cluster of rooms in a series that serves the objective to exhibit various forms of art. Individuals can consider art galleries as a hub of various forms of art and artist where they share common interest to promote art. Artist of both local and international admiration rush to these venues to exhibit their work to public and acquire new ideas.

The art galleries act as a platform where devoted artist can expose their adroitness in various forms of art like sculpture, photographs, illustrations, installation art and applied arts. Among the different forms, painting is customarily displayed medium. Gallery encourages the unsung artist to display their work with enthusiasm. Fresh artist find art galleries as niche where they can express their dexterity. So, artist can consider the galleries as a spring board for their careers.

The art fairs are held annually or at irregular intervals in these art galleries. Among the different classified art forms, contemporary art has gained importance in the present age. This art gallery carry the objective of private-profit-motive. Such type of galleries is seen to be clustered in urban areas. Here, artists can sale their works and art lovers can purchase the works of artists they admire. Besides, you will also find art galleries run on funds of government. This sort of public galleries put on show regularly by levying an entrance fee.

True art lovers can acquire information and peruse each stroke of the artist in the art galleries. Furthermore, art enthusiastic can study art in different perspective and understand the artist psychology and frame of mind while shaping the work. To encourage artist and art lovers art galleries also arrange showdowns. From this venue, art works are taken to online where artist get more advantages and options to display their work. Users can upload their work and send through emails or as e-cards with the help of new functionality. So, art galleries play a significant role in propelling art and artists’ career.

Saatchi-gallery asked:


Isa Genzken was born on 1948 in Bad Oldesloe and currently lives and Works in Berlin, Germany.Urlaub possesses a ridiculous elegance, caught between high design and holiday festivity. Drawing from the Minimalist concept of objective abstraction, Genzken’s work straddles the spheres of formalist purity and narrative interpretation. Entrenched in the process of making, Genzken’s work is the result of her own intimate interaction with materials, tempering the procedure of formal decision-making with the spontaneity of imaginative play. Kitsch objects such as plastic leaves, figurines, and an oversized wine glass carry their own associative references while operating as neutral compositional elements of shape, colour, and texture. Urlaub exudes escapist fantasy while retaining a refined order, culminating as surreal microcosm of caprice vs. rationale.

Isa Genzken EDUCATION:

1993-1997

• Düsseldorf Art Academy

1993-1975

• Studied Art History and Philosophy at the University of Cologne

1971-1973

• Berlin University of Fine Arts

1969-1971

• Hamburg College of Fine Arts

SOLO EXHIBITIONS

2005

• Der Spiegel 1989-1991: Isa Genzken, The Photographers Gallery, London, UK

• Kinder filmen, Galerie Daniel Buchholz, Cologne, Germany

New Work, David Zwirner, New York, NY

2004

• Wasserspeier and Angels, Hauser & Wirth, London, UK

• China Art Objects, Los Angeles, CA

• International Art Prize, Cultural Donation of SSK Munich, Munich, Germany

2003

• Isa Genzken, Kunsthalle Zürich, Zürich, Switzerland [catalogue]

• Empire Vampire Teil II, Städtische Galerie im Lenbachhaus Kunstbau, Munich, Germany

• The Wrong Gallery, New York, NY

2002

• Haare wachsen, wie sie wollen, Skulpturenprojekt Galerie Meerrettich (Josef Strau), Berlin, Germany

• Museum Abeiberg Mönchengladbach [catalogue]

• Wolfgang-Hahn-Preis, Museum Ludwig, Cologne, Germany

2001

• Galerie Daniel Buchholz, Cologne, Germany

• Magnani, London, UK

• Science Fiction/Heir und jetzt zufrieden sein, AC-Saal (with Wolfgang Tillmans),

• Museum Ludwig, Cologne, Germany [catalogue]

Conclusions:

Isa Genzken has been making a name for herself with an oeuvre including sculpture, photography, film, video, works on paper and canvas, collages and books.

What to Do Next…

If you want any information about Isa Genzken or looking for his paintings please visit us on http://www.saatchi-gallery.co.uk/artists/isa_genzken.htm

Saatchi-gallery asked:


John Stezaker is fascinated by the power of images and questions the authority of pictures found in books, magazines, postcards and encyclopaedias by directly intervening into their ordinary status. Through the handcrafted act of splicing together, inverting, or simply adjusting an image Stezaker embarks upon ‘a process that cuts it off from its disappearance into the everyday world’.

Stezaker has been centrally influential in a number of developments in art over the last three decades; from Conceptual Art, New Image Art through to the contemporary interest in collage. Showing first as a part of the British Conceptual Art group in ‘The New Art’, 1972 (the first Hayward Annual), Stezaker’s interest in the concept soon gave way to a long-term fascination with the image, finding new aesthetic allegiances with the image through working with found photographs and printed matter.

This fascination is translated into alterations, deletions, visual concordances and juxtapositions of disparate sources, intuitively creating new images, relationships, characters and meanings. Stezaker’s investigations continue to develop in this exhibition of new works that concentrate specifically on the portrait. In the ‘Love’ series, subtle but masterful alterations to found original film star portraits shift and magnify emotion and expression that had before only been implied, sometimes imperceptibly, in the original image. The glamorous and carefully posed faces are subtly transformed into otherworldly, uncanny beings.Playing with ideas of cubism and caricature, Stezaker’s series of black and white portraits fuse male and female faces, reflecting the idea of marriage and hybrid symmetry, but also a discord of union. Perhaps the most subtle of found image alterations are the ‘Reclined’ series;

what to Do Next…

Find more information about John Stezaker Exhibitions or looking for his paintings please visit us on

http://www.saatchi-gallery.co.uk/artists/john_stezaker.htm

Saatchi Gallery asked:


As an art gallery that exists both in actuality as well as virtually, the Saatchi Gallery is second to none in the volume and quality of work housed on its website and in its halls. In fact, Saatchi represents the standard against which all other galleries are measured, and indeed may itself be the definitive source for accessing contemporary art of all styles. The gallery uses several methods to publish the creative work of the thousands of artists that utilise its services as a means of promoting themselves. In its online form, a wide variety of rooms exist in which artists may not only post samples of their work, but also interact with the other artists and with the art lovers that frequent its cyber-halls. Such rooms as the Stuart Room, provide a place for students of the visual arts to display their own work and form networks to promote and discuss art. The Crits Room allows other artists the opportunity to critique the works placed there on display, while a room exists in which street artists have the freedom to create and display their works without prejudice, but rather with acclaim.

Other resources on the site also allow for the actual creation of artistic pieces, such as the availability of an online studio. In addition to this, the gallery (both London- and online-based) hosts a wide variety of exhibitions based on important historical or cultural themes. It includes culture-based themes such as “USA Today: New American Art,” “Germania: New Art from Germany,” and “New Britannia.” Exhibitions are also held under such themes as “The Power of Paper” and “Shape of Things to Come” in order to underscore the strength of these respective artistic mediums. The Saatchi Gallery therefore offers more than a portal to viewing art: it is a means of creating, exploring, and understanding current art as well as shaping its direction for the future.