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    GUMAGUARmoderní :: postmoderní :: současné umění
    KHALAVERA
    KHALAVERA --- ---
    GUMAGUAR
    GUMAGUAR --- ---
    KHALAVERA
    KHALAVERA --- ---
    PASHWAKA
    PASHWAKA --- ---
    KHALAVERA
    KHALAVERA --- ---
    KHALAVERA
    KHALAVERA --- ---
    James Hopkins



    Afterparty




    In My Dream There Were Three Different Doors


    http://www.cosmicgalerie.com/en/pages/artistes.php?name=jameshopkins&page=portfolio
    KHALAVERA
    KHALAVERA --- ---
    Christoph Ruckhäberle










    http://www.galeriekleindienst.de/kuenstler,christoph_ruckhaeberle,123.html
    QUAACA
    QUAACA --- ---
    TEAPOD
    TEAPOD --- ---
    Jo. to záhlavíé jsem udělal já. A řikam to protože jsem se rozhodl že nebudu sledovat kluby zlých lidi.
    a dalo by se to jednoduše zjistit, protože to pochazi z mého flickru.
    ATOMIC
    ATOMIC --- ---
    NOIK: petr sís
    NOIK
    NOIK --- ---
    KHALAVERA
    KHALAVERA --- ---
    KHALAVERA
    KHALAVERA --- ---
    KHALAVERA
    KHALAVERA --- ---
    KHALAVERA
    KHALAVERA --- ---
    Joe Bradly














    Joe Bradley’s work reconfigures the daunting spectrum of minimalist painting with an endearing sense of humility and pathos. Arranging his canvases in the shapes of absurd and clunky figures, Bradley subverts the subtle grids of Ad Reinhardt and the pantone hued planes of Ellsworth Kelly, infusing traditional formalism with cartoon humour. Through this merger of abstraction and figuration, Bradley embraces equally the non-objective ideals of 70s art and a contemporary humanist approach to high culture.

    Executed on cheap pre-fab canvases, and painted with intentional mediocrity, Bradley’s paintings are immediately sympathetic in their impoverished aesthetic. Towering with a commanding primitivism – alluding to both totems and obsolete computer graphics – Bradley’s works transact on the transcendent spiritualism of monochrome painting, instead offering an unnerving contemplation of unabashed dumbness.

    In championing the abject, Bradley engages with the problems of painting itself. Each arrangement reveals the processes of theatricality and illusion, creating a sense of narrative and personal gesture through generic attributes of colour, line, shape, and composition. Behind their tongue in cheek parody, Bradley’s paintings resolve the detachment of hard edged abstraction with an affectionate intimacy; each work commands mediation through its understated integrity.
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