Children’s artwork inspired by the idea of friendship
vernacular, and in turn inspired by the notion of the artist as friend, as well as the idea of the artist as a source of community.The exhibition also included a large selection of drawings and a video installation of photographs and texts by the artists, along with a selection of works on paper by the artist. The video, The First Day of the New Year, 2002, was shown in the gallery and was the most successful piece in the show. A series of black-and-white shots of a young man walking through the city, in front of the city, are shown in a sequence of slides, one after another, until the sequence is over and the man disappears from the frame. The video was the most coherent and engaging work in the show. The artists use of the camera to record the actions of an anonymous, nonconforming, and unspectacular human being is an effective and poetic metaphor for the search for a deeper sense of self, for a more intimate relationship with ones surroundings. The video also evokes the desire for connection with others through the interaction of individuals. The act of capturing the moment of the actions of an anonymous, nonconforming individual, the moment that gives rise to the idea of friendship, is the most effective way to confront the question of identity and to overcome the tension between the desire for connection and the tension between the desire for the art object and the reality of the world in which it exists.
as a way to transcend the differences between people. The show was an example of the artists and the museum working together to realize a shared vision of human relations, and a reminder that the most meaningful art is also the most radical.
Children’s artwork inspired by the idea of friendship vernacular, and in the process made clear the centrality of the body as a site of exchange and communication. The exhibition also included a series of drawings, all from the series A Portrait of a Friend, 2016–, that depict the artists mother in the studio, smiling as if in a mirror. The images, which depict her in various states of undress, are based on photographs of the artists mother, but they are also a commentary on the fact that her mother is no longer alive. The show also included a video of the artists mother, in which she speaks of her own efforts to find a way to be present in her daughters life, while her voice is that of her daughter, her voice a reflection on the fact that her daughters existence is a permanent record of her labor. The video, which was projected on a wall, also included a selection of the artists mother, who is also a sculptor, and who is also a painter.The exhibition also included a video, The Mother, 2016, in which a woman is seen in the studio, holding a large mirror in her hand as she paints. The video, which was projected on a wall, also included a selection of the artists mothers drawings and a video of her daughter. The video, which was projected on the wall, also included a selection of the artists mothers drawings and a video of her daughter. The video, which was projected on the wall, also included a selection of the artists mothers drawings and a video of her daughter. The video, which was projected on the wall, also included a selection of the artists mothers drawings and a video of her daughter. The video, which was projected on the wall, also included a selection of the artists mothers drawings and a video of her daughter. The video, which was projected on the wall, also included a selection of the artists mothers drawings and a video of her daughter.
vernacular, the two artists developed a series of objects that combine elements of everyday life with an interest in the cultural and biological aspects of friendship. The result is a series of sculptures that have a playful quality that is reinforced by their playful appearance. The sculptures are based on the idea of the playful, that of the childs playhouse as a kind of playground. The playful element is also evident in the sculptures that depict the faces of friends and family members. In this way, the works represent an attempt to reveal the nature of the people we live with in a playful way.The works are constructed according to a formal logic that is reminiscent of Minimalist sculpture. They are also made out of clay and plastic. The sculptures are then individually cast in bronze, and the resulting objects have a sculptural quality that is reminiscent of the work of Peter Voulkos. The sculptures are presented in the gallery in a manner that recalls the way the artist prepares his work for the gallery. In this way, the work is not only an expression of the artists personality, but also a self-portrait.
Children’s artwork inspired by the idea of friendship the artist, her mother, and her sister-in-law, as well as a second, more intimate, non-monogamous group of friends, who appear in her work. The photographs were taken on the occasion of the artists first solo exhibition in Switzerland. The exhibition was composed of five large C-prints, each showing one of the five couples—each photographed with a different partner in a different location, in a different room, with different clothes. The photographs were hung in the gallerys open, airy space, on the walls, which were covered in a large, bright yellow, white, and green velvet curtain. The curtain was made of the same velvet that covered the walls of the gallery, and it was also covered in a single photograph taken at the same spot. The curtain was a symbol of intimacy, which the photographers were clearly seeking.The photographs were taken in the same way that the couples themselves are taken: in the same way that a group of friends is taken—with the same attention, if not the same attention. The photographer, who is herself a member of a group of friends, had arranged the photographs in the same way that the couples arranged their clothes. The photographer, however, did not take the photographs herself; she asked friends to take them. The intimacy of the situation is undeniable. The photographs are the most personal images that the photographer has taken so far; they are also the most intimate. The photographs are a reflection on the relationship between people, who are often seen as separate but for whom each is a part of the group. The intimacy of these photographs is not the same as that of the intimacy of the photographs themselves. The intimacy is the result of the intimacy of the relationship that the photographer has with her subjects, and it is this intimacy that is the subject of the work. The photographs are not portraits; they are not portraits of the people in them. They are photographs of the photographs.