‘Vengeance on the Tsars (Varshavianka)‘, Aleksandr Apsit, 1918
Chance Jean Arp (Hans Arp) 1933 Impish Fruit Jean Arp (Hans Arp) 1943 Danger
Artist page for Jean Arp (Hans Arp) (1886–1966)
Chance Jean Arp (Hans Arp) 1933 Impish Fruit Jean Arp (Hans Arp) 1943 Danger
Artist page for Ana Lupas (born 1940)
has intensive interaction with nature and the farming population, which were in danger
Contains a typescript of a manifesto by Jacques Lipchitz. Probably, the text is linked to the story with the Exposition Internationale Paris 1937 because it was kept with related correspondence. Full translation: ‚1. In light of saving art from liquefaction, our generation is considerably pre-occupied with plastic [art]. Isn?t it the time to incorporate depth into the form, following the example of science, which has widened the concept of the world by integrating scientific experience into thoughts? 2. Under the influence of new social conditions, we continue to say that art should be as clear as liquid to allow the …
Is there a danger of surrendering to the requirements of the public, who are more
artist Mona Hatoum shows us her studio
It’s not anymore about protection it’s more about a situation of abuse or danger.
[Transcription/translation] A DIALOGUE WITH DEATH Death: (Skeleton in top-hat and overcoat walks into my studio) How do you do? Me: (Terrified and trembling, I try to speak but can’t make a sound.) Death: Why such horror, why such frightful fear, when you spend so much time preoccupied with me, when you’ve been drawing me and carrying me around in your thoughts since childhood? I’m flattered that you’ve never forgotten me and I’m almost inclined to believe that you’ve fallen in love with me and wanted to welcome me with… Me: (Interrupting) Get out, Death, get out! Death: Do calm down, …
Death: (Becoming quite grave) No sooner do you think you’ve escaped the present danger
Tate glossary definition for automatism: In art, automatism usually refers to the accessing of material from the subconscious or unconscious mind as part of the creative process – as seen in the art of the surrealist movement
Entire City Max Ernst 1934 On display at Tate Modern Part of In the Studio Danger
In this episode of Tate’s podcast series Walks of Art, Scottee journeys through London’s Soho to explore the artists who have lived and worked there including Francis Bacon and Lucien Freud.
It was the danger that attracted him because half the interest was in the danger.
return to Chile after Pinochet’s presidency, feeling that her life would be in danger
[it] can be understood as a clear and present danger to women.
