Art in Print

How London has barely changed in 300 years

 

Buckingham

 

A rare 7ft print showing a panorama of London almost exactly 300 years ago, has come up for sale as part of a collection of pictures of the capital, shows that, if anything, little has changed with the London’s landscape.
The work by Johannes Kip, a Dutch artist who moved to London following the accession of William of Orange and Mary, was originally intended to be published around 1715 but delayed first by the Jacobite rebellion and later a rift at the heart of the Royal Family. The work is expected to fetch £60,000 as part of a sale of 150 prints of London through Daniel Crouch Rare Books. It was originally dedicated to Caroline of Ansbach, the then Princess of Wales and future queen. She and her husband the Prince of Wales appear in a coach directly behind that of the prince’s father George I, in what Kip originally intended as a display of loyalty.
But his plan came unstuck amid a bitter rift between father and son, which prevented him publishing the work for another five years until they were reconciled.
 
Via: The Daily Telegraph

 

Raw power: why Iggy Pop posed naked for Jeremy Deller’s Life Class

 

 

 
Iggy Pop doesn’t play an instrument when he performs on stage. “He plays his body,” according to artist Jeremy Deller. “The way he manipulates it, damages it, bends it and flaunts it has become his way of communicating. His body interprets the music but it’s also playing its own tune.” Being ironically known for presenting his naked torso as a central part of his art, displaying it in a way that is so disruptive and unfettered, it suggests a sound wave made flesh. The form and fury of Iggy’s torso has become as recognized as Mick Jagger’s lips or Elvis Presley’s hips. Before Iggy’s emergence in the late 1960s, no male musical star had bared so much flesh so comfortably.
 
For his latest project, Deller decided to highlight all this history in a new setting: a life-drawing class. “There are hundreds of thousands of photographs of him,” says the Turner prize-winning artist, “but very few drawings. I thought his body deserves to be looked at differently, to be taken more seriously, in a way that would connect him to art history.” Deller convinced the Brooklyn Museum, a group of local artists and Iggy himself to play along. The result, Iggy Pop Life Class, opens at the museum next month. The show involves 107 interpretations of the star’s nude physique by 22 artists, ranging in age from their teens to their 80s. The museum will pair their work with objects from its collection depicting the male figure over the last few centuries: sculptures from ancient Egypt, Africa and India; drawings by such artists as Egon Schiele and Max Beckmann; as well as photographs by Jim Steinhardt and Robert Mapplethorpe.
 
Via: The Guardian
 

 Klimt’s Women, Real and on Canvas

 

 

Among the most controversial issues roiling fin de siècle Vienna was “Die Frauenfrage,” or “the woman question”. As they were doing in any other cities and nations of Europe and North America, women were challenging a patriarchal society that judge them unworthy of the rights customarily accorded to men. You would hope that Klimt and the Women of Vienna’s Golden Age, 1900-1918 at the Neue Galerie, would delve widely, deeply and fearlessly into this complex topic. But while scholarly essays in the hefty, 320-page do just that, the show itself only partly and obliquely brings out the most interesting issues relation to women and the art of Gustav Klimt.
 
The 11 life-size portraits at the heart of the show are fascinating to look at and, with help from the catalog, to think about. Among them, naturally, is Klimt’s best known painting “Portrait of Adele Block-Bauer I” (1907), which sold for a record of $135 million in 2006, was made more famous last year by the movie “Woman in Gold” and has been on permanent display at the Neue Galerie since 2006. And yet, portraiture wasn’t Klimt’s main thing. He was primarily an allegorist who incorporated mythic figures into otherworldly visions of pagan religiosity. During the period covered by this show, Klimt produced an average of only one portrait a year, all of women, and hewed to a relatively standardized approach, a balance between tradition and Modernism. While Klimt’s paintings represent chic, modern women who belong to a world of elegance and luxury, they also radiate a sort of exotic and ethereal side to their subjects.  The possibility of Klimt’s preoccupation with women in the full range of his art may well relate to a personal obsession, or viewed woman as a key to the modernity of his art.
 
Via: The New York Times

 

Behold, The ICA LA’s New Mark Bradford–Design Logo and Visual Identity

 
 Concept drawing. COURTESY INSTITUTE OF CONTEMPORARY ART, LOS ANGELES

 

Today, the Institute of Contemporary Art, Los Angeles (formerly the Santa Monica Museum of Art) revealed its new logo and visual identity, which was designed in collaboration with artist Mark Bradford. The ICA LA’s makeover will grace its new wHY architecture firm-designed location, currently under construction in downtown Los Angeles, when it opens in fall 2017. Bradford’s work typically incorporates social and political ephemera, such as flyers and graffiti’d stencils, to create multi-layered snapshots of society that blur the lines between high and low culture. A busy year is to come for Bradford as next year he will be the representative for the United States at the Venice Biennale as well.

 

Via: Art News