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Published in Modern Painters, December/January 2005
Related Artists: Tacita Dean
Published in Art Monthly, December 2004 - January 2005
Related Artists: Fiona Tan
Published in Art Forum, December 2004
Related Artists: Tacita Dean
Published in Art Forum, December 2004
Related Artists: Tacita Dean
Published in The Guardian, December 2004
Related Artists: Marlene Dumas
Published in Time Out London, December 2004
Related Artists: Marlene Dumas
Published in Time Out, December 2004
Related Artists: Marlene Dumas
Published in Time, December 2004
Related Artists: Fiona Tan
Published in ARTnews, December 2004
Related Artists: Juan Uslé
Published in Art Monthly, November 2004 ( Issue 281 )
Related Artists: Tacita Dean
Published in The Guardian, November 2004
In a painting, the smallest things matter, the most cursory little incident. What gets better and better in Dumas’s work is the tension between the articulated and those other areas she passes over in silence, or falls into uncouth passages of collided strokes and rubbings-out, the places where the painting suddenly fumbles.
http://arts.guardian.co.uk/critic/feature/0,,1357433,00.html
Related Artists: Marlene Dumas
Published in Death? The Independent, November 2004
http://findarticles.com/p/articles/mi_qn4158/is_20041122/ai_n12819256
Related Artists: Marlene Dumas
Published in Metro, November 2004
Related Artists: Marlene Dumas
Published in The Guardian, The Guide, November 2004
Known for her depiction of bodies - often strippers or prostitutes - the work of Amsterdam-based painter Marlene Dumas has always been haunted by the evanescence of the flesh and the possibility of redeeming it through painting.
http://www.guardian.co.uk/theguide/exhibitions/story/0,,1343691,00.html
Related Artists: Marlene Dumas
Related Exhibitions: MARLENE DUMAS: The Second Coming
Published in The Art Newspaper, November 2004
Related Artists: Fiona Tan
Published in Newsweek, October 2004
Related Artists: Fiona Tan
Published in The Independent, October 2004
(Dean) is interested in “anachronism” and the curious mechanics of “objective chance - it’s all about what appears to be random but is actually tapping into something deep in your unconscious.
http://findarticles.com/p/articles/mi_qn4159/is_20041017/ai_n12762119
Related Artists: Tacita Dean
Published in Time Out, October 2004
Related Artists: Tacita Dean
Published in The Independent, October 2004
There’s no beginning, no middle, no end to (Deans) work; no development, no outcome; just a sense of something unrevealed, hidden by revelation.
http://findarticles.com/p/articles/mi_qn4159/is_20041003/ai_n12763572
Related Artists: Tacita Dean
Published in The Art Newspaper, October 2004
Related Artists: Tacita Dean
Published in The Independent, October 2004
Related Artists: Tacita Dean
Published in Blueprint, October 2004
Related Artists: Cornelia Parker
Published in The Times, October 2004
Related Artists: Fiona Tan
Published in The Guardian, October 2004
I could also keep watching Fiona Tan’s camera all day, as it inquires, insinuates, probes and glides over the make-up and kimonos, the faces and jewellery and hairdos of the Toyisha archery festival in Japan, where young girls perform a highly stylised archery contest as a rite of passage into adulthood.
http://www.guardian.co.uk/culture/2004/oct/07/2
Related Artists: Fiona Tan
Published in Chicago Sun Times, October 2004
Related Artists: Fiona Tan
Published in Modern Painters, Autumn 2004
http://www.pollyapfelbaum.com/pdf/article8.pdf
Related Artists: Polly Apfelbaum
Published in Modern Painters, Autumn 2004
Related Artists: Cornelia Parker
Published in The Guide, September 2004
Related Artists: Tacita Dean
Published in Art Monthly, September 2004
Related Artists: Cornelia Parker
Published in The Guardian, September 2004
http://www.guardian.co.uk/society/2004/sep/27/hospitals.cancercare
Related Artists: Cornelia Parker
Published in The Guardian, September 2004
Parker likes doing violent things to her materials: she has shot, crushed and stretched objects before. Yet what is surprising about this piece is not its energy or movement but its peace and tranquillity.
http://arts.guardian.co.uk/features/story/0,,1307181,00.html
Related Artists: Cornelia Parker
Published in Frieze, September 2004
Published in Exit Art Madrid, July/September 2004
Published in Kansas City Star, July 2004
Related Artists: Polly Apfelbaum
Published in Art Press, 1 July 2004
Published in The Guardian, July 2004
Related Artists: Thomas Schütte
Published in The Pitch, 24-20 June 2004 ( p 31 )
It’s the intricacies of Apfelbaum’s art that make it so intriguing. The aesthetic elements—wild colors, soft textures, dramatic tonal gradations, a multitude of shapes creating visually kinetic patterns—captivate the eye and suggest endless possibilities.
http://www.pitch.com/2004-06-24/culture/pretty-polly/
Related Artists: Polly Apfelbaum
Published in Kunstaspekte - Kunst International, 2004
Related Artists: Juan Uslé
Published in Parkett, 2004 ( No. 71 )
Banner’s new work simply gives us objects instead of words; the objects evoke a visceral and physical response through their lines and form. Fighter planes, like many modern weapons, are fetishized; in military magazines there is normally it centerfold image of a jet, a feature which echoes the layout of pornography publications.
http://www.fionabanner.com/words/beyondwords.htm
Related Artists: Fiona Banner
Published in ArtForum, 2004 ( p. 242-43 )
Published in Burlington Magazine, 2004 ( p. 566-67 )
Published in Sculpture, 2004 ( 23 p. 28-33 )
Penone’s works demonstrate a persistent commitment to the Arte Povera obsession with the body and nature. His actions of the ‘60s and early ‘70s uniquely combined humanist empiricism with a sense of craft, a European artisanal approach crossed with avant-garde actions.
http://www.allisonhunter.com/Art/penone.html
Published in Oeil, 2004 ( 558 p. 20-21 )
Published in Connaissance des Arts, 2004 ( 616 p. 52-56 )
Published in Beaux Arts Magazine, 2004 ( 239 p. 56-61 )
Published in International Herald Tribune, 12-Jun-04
The artist appears to have reached down to touch upon certain fundamentals, and to have come up with a highly original mutation of this deeper, hidden culture. As a result, his work is touched with the rays of various newly developing ideas concerning the fundamental human experience of time, memory and the transitory.
http://www.iht.com/articles/2004/06/12/gibson_ed3_.php
Published in Financial Times, 6 June 2004
(Penone’s sculptures are) strangely moving - as if they were human sculptures that laid bare all the stages of growth from embryo to adulthood. Moving also is the contrast of massive strength and fragility, and the overriding sense of time and finality: they are autopsies of once living things.
http://search.ft.com/ftArticle?queryText=giuseppe+penone&y=10&aje=true&x=10&id=040611006754&ct=0
Published in Artnet, June 2004
Dumass painterly quality is so sensuous that it furthers the hunger for her images. She is a self proclaimed Abstract Expressionist Painter working very quickly by moving the viscous mixture of paint and thinner across the canvas creating an almost blurred and diaphanous sensation, reminiscent of Michaux and Richter.
http://www.artnet.com/Magazine/reviews/davis/davis6-18-04.asp
Related Artists: Marlene Dumas
Published in The Telegraph, 5 May 2004
So how do you look at work by Penone? The answer is: not as an objet d’art but as a process, and not as an act of creation but as an act of revelation. In a famous early piece, which is being shown in several variations in Penone’s magnificent retrospective in the Centre Pompidou in Paris, he took a beam of lumber, then carved into it until he exposed the trunk and branches of the sapling which, unbelievably, still retained their original shape even after the mature tree had been felled, sawn, and planed for sale.
http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2004/05/05/bapen05.xml
Published in The Guardian, May 2004
Related Artists: Anna Barriball
Published in Frieze, June/July/August 2004
Barriball’s works may appear slight at first, but their complexities soon unfold. There’s a poetics of reversal and contradiction: to conceal is to reveal; transparency produces obscurity; the border between inside and outside is undone.
http://www.frieze.com/issue/review/anna_barriball
Related Artists: Anna Barriball
Published in The Independent, The Information, 3 April 2004
One of a new generation of emerging British artists, Anna Barriball often produces time-inflected art: a grid of coloured candles are allowed to burn away until there is nothing left but puddles of wax and wick, which she then christens with titles such as Nine Hours and One Minute. We know exactly what happened when we weren’t looking.
http://findarticles.com/p/articles/mi_qn4158/is_20040403/ai_n12785274
Related Artists: Anna Barriball
Related Exhibitions: Anna Barriball
Published in Artforum International, April 2004 ( XLII No. 8 p. 123-127 )
Related Artists: Chantal Akerman
Published in Time Out, April 2004
Related Artists: Anna Barriball
Published in Art Review, April 2004
Related Artists: Cornelia Parker
Published in Carnet Arte , 1 April 2004
Published in The Village Voice, 3 March 2004
Published in The Independent, The Information, March 2004
Related Artists: Anna Barriball
Published in Time Out, March 2004
Related Artists: Marlene Dumas
Published in The Hindu, 17 February 2004
Related Artists: Dayanita Singh
Published in The Independent, 10 February 2004
John Riddy has always been concerned with the poetics of space, with the relationship between photography and architecture, spatial illusion and dreaming. His interiors and landscapes, along with the cityscapes he photographs, are devoid of human presence. Whether they are brightly lit offices or a shepherd’s hovel in the arid plains of South Africa, they represent the traces of human presence, the evidence that we leave of our various lives.
http://findarticles.com/p/articles/mi_qn4158/is_20040210/ai_n12765544
Related Artists: John Riddy
Published in The New York Times, 6 February 2004
Published in The Irish Times, 5 February 2004
Related Artists: Daphne Wright
Published in ArtForum, February 2004 ( 150 )
The paintings incorporate the random and arbitrary… within a practice that nonetheless requires finical accuracy; there is a degree of almost mindless repetition and filling in involved, but the resulting forms are unpredictable and uncategorizable.
http://findarticles.com/p/articles/mi_m0268/is_6_42/ai_113389518/
Related Artists: Ingrid Calame
Published in Time Out, February 2004
Related Artists: John Riddy
Published in Sunday Tribune, 1 February 2004
Related Artists: Daphne Wright
Published in The Irish Times, 31 January 2004
Related Artists: Daphne Wright
Published in Irish Examiner, 27 January 2004
Related Artists: Daphne Wright
Published in Art in America, January 2004
(Apfelbaums) installation at the ICA was glorious, perhaps the most beautiful midcareer survey I’ve ever seen. The earlier, more object-insistent works were upstairs, with tour of the artist’s major, room-filling floor assemblages of cut and dyed fabric occupying the ground floor. To cap it off, Apfelbaum introduced an audacious new piece as an architecturally unifying gesture by covering the walls that form the two-story atrium space with wallpaper patterned in stacks of 1-inch monochrome ovals, open in their centers like zeros.
http://findarticles.com/p/articles/mi_m1248/is_1_92/ai_112131277
Related Artists: Polly Apfelbaum
Published in Artforum, January 2004
The dilation practiced in Horsfield’s large black-and-white work is a magnification of the reduced minutiae of the photograph until they pass through the looking glass and take on the breadth of the shadowy wall, the support surface on which pictures, including photographs, are suspended in time. And this dilation is an extension and maximization of the equivalence between the surfaces of silver-coated paper and animal hide, fabric fiber, skin grain, not to mention the viscosity of the human gaze, to the point that the transparency of the photograph gives way, not to a single, reductive opacity, but to an expansive meeting between materialities.
http://findarticles.com/p/articles/mi_m0268/is_5_42/ai_112735004/pg_1
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