Describe, analyze, interpret, and judge the artwork "You Are Love" by Chant Avedissian

Result #1

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Result #2

Describe, analyze, interpret, and judge the artwork "You Are Love" by Chant Avedissian  and Other Women Artists . . . , 1986. Over the course of two successive months in the spring of 1986, Chant Avedissian  and other women artists . . .  investigated and refined a range of sources of inspiration: the female body, monochrome painting, the movement of a figure moving in space, monuments of a landowner and a diner, and so on. The twelve artists who participated in this group exhibition, curated by Rosemarie Gustafson, portrayed themselves as the curious narrators and defenders of the avant-garde moment. The vast majority of them were young, mostly female, and their experiences varied widely: from the early 70s through the 90s. Avedisens catalogue essay emphasizes Avedisons use of methods that don't represent any specific masculine or female role, which is why the works on view here had no men in them. Avedisens was an invitation to give a kind of artistic memoir, to be given a radical perspective on the world, her analysis underscored by the fact that she had always lived in Amsterdam. The magazine she published in collaboration with Marcel Broodthaers , an early collaborator and a frequent contributor to Artforum, features stories that relate to the body, in which words are hardly adequate to describe the experience of being female.These women artists, as Gustafson notes, eschewed the historical reference to authority. Instead, they explored or symbolized female identity, and, in doing so, sought to map the limits and spaces of their bodies. In Paris, Judith Dreier and Anna Maria Maiolinos work, for instance, was linked to everyday life and everyday objects. In Bologna, Dreier was represented by one of her spray can stencils; her pieces were hung on a wall and on a table in a cafe.

Result #3

Describe, analyze, interpret, and judge the artwork "You Are Love" by Chant Avedissian ÃOu La Cri du Sommeil, 2012, a small, hand-drawn rendering of one of the sixteen white stones of the classics (also an earth work) in the great chute of the Opus Projekte in Marseille. The nine smaller paintings, of equal size, covered the walls of a long, narrow room. They each show a wide white chute (visible from the side but barely visible through the curtains) suspended in midair, where the artist, himself an amateur dancer in a black-and-white uniform, has made several attempts to ascend it. Avedissian, a French dancer of the 1960s, has lived in this very space for years, and as he looked through the curtains, he assumed the position of a figure caught in a human dream. To create his models, Avedis used the same technique as he used when constructing his models in the studio. But in this case, the depictions were based on actual or imagined images taken from artworks by other artists. Two small-scale works of paper depicting the male figure, both Untitled, 2016, have been printed on fabric on which Avedis has drawn the image of a man in a headscarf, his hands slightly spread, his dark hair slightly in front of his face, as if he were about to enter into a trance. Here, the immobile, seemingly unfettered contact of the artist and his model both opens the door to the blackness of life and art.Finally, two large works that seemed to take place in a complete interior, and thus gave the impression that everything had been left bare and unfixed: Are You the One, 2016, and Monophthalmides, 2016. These works use scales, based on photographs taken from a wedding ring in a wedding dresser, and they fill the large walls with circular signs. In a sense, we are approaching a gallery for dreaming and reveries.

Result #4

Âille, 1968–69, a poster-sized acrylic canvas on canvas showing Avedissians face looking like a photograph taken by a monster in his studio, and displaying the glazed-glass eyeholes that appear to be set at infinity, as in Cucurys self-portraits. While Avedis paintings have had the potential to suggest the inner life of the artist, he has made them ambiguous; he has not allowed himself to be self-consciously—and self-consciously—staged.This exhibition underscored the ways in which Avedis work becomes self-reflexive and ambiguous. At a time when much of contemporary art reflects on its relationship to the body and politics, with the artists practice becoming an inseparable gesture of protest against powerlessness.

Result #5

???????????????????, 2013, which consists of a trompe loeil architectural construction consisting of two working lights in a central compartment. The lights are not working, but the headphones of the trolley provide a sound track. Avedissians attention to the material and social implications of material reality is largely absent from this pair of works, and the critique, following the artists interest in the practical relevance of his works, is relegated to the visual of the support. While this practice may not seem terribly revolutionary in its radicalism, Avedis, who has previously experimented with placing his sculptures in urban spaces, is clearly after a radical effect.These works contain a narrative that functions in multiple, almost contradictory ways. Avedis invents his sculpture, sketches his work, and then casts the sculpture in bronze, which results in a series of kinds of bronze sculptures. He then removes the piece of plaster that rests on the sculpture, casts the bronze in bronze, and casts the plaster in bronze. For example, in At the Hand in which the House of Councils (Apollo 11) is the Structure, 2013, Avedis combined the Corinthian shape of the house, the imperial bust of Apollo, and a small, cast bronze statue of Apollo. They were not placed together in the gallery, and the latter part of the sculpture was revealed by the passage of the visitors through the narrow passageway created by the marble pillar of the front entrance. The marble pillar itself constituted the first portion of the show, which showed a different side of Avedis, who has consistently focused on the formal and material aspects of sculpture while also addressing questions of materials, formalism, and difference.