Ed Ruscha, Craigie Horsfield
dal 29/1/2006 al 29/4/2006
Segnalato da
29/1/2006
Ed Ruscha, Craigie Horsfield
Jeu de Paume, Paris
Exhibitions of Ruscha's photo work have been relatively scarce, in spite of its obvious connection to the other areas of his artistic activity, and especially his drawings (the subjects/objects, apartments, cityscapes, composition, use of light and shadow). Horsfield's work combines film, photography, sound, engraving and drawing. It questions both art and life, the familiar and the extraordinary, the epic and the everyday.
Two exhibitions
Ed Ruscha photographer
This exhibition organised by the Whitney Museum of American Art in New York surveys
the work done by Ed Ruscha from the late 1950s through to the early 1990s. Born in
1937, Ruscha started out as a painter under the influence of Pop Art. As his work
developed, he began trying out different techniques, working in series, making
photographs and films, producing photographic books and making virtual paintings by
projecting light into empty rooms.
Exhibitions of Ruscha's photo work have been relatively scarce, in spite of its
obvious connection to the other areas of his artistic activity, and especially his
drawings (the subjects/objects, apartments, cityscapes, composition, use of light
and shadow, etc.).
Ed Ruscha represented the United States at the Venice Biennale in 2005.
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Craigie Horsfield's work combines film, photography, sound, engraving and drawing. It questions both art and life, the familiar and the extraordinary, the epic and the everyday, the “slow time" of the present that holds traces of the past and begins the time to come.
Born in England in 1949, Horsfield worked as a disc jockey in Eastern Europe in the 1970s and moved to London in the 1980s, a decade that saw him become a key figure on the contemporary photography scene. In the 1990s he was a driving force in the development of a social approach to art and of various collective projects.
For more than thirty years, Craigie Horsfield has championed the introduction of sound works into the museum and the use of multi-screen projections to create a social space. For this believer in the role of the public, “making a work, be it making the print, looking at it, or its emotional effect, occurs in our shared space, happens in a relational present."
Image: Ed Rusha, Mock Up #4 (North Side of Hollywood Blvd.) from the series A Few Palm Trees, 1971
Opening: January 30
Jeu de Paume
Place de la Concorde 1 - Parigi