Posts Tagged ‘Marcel Duchamp’

Now through January 27th, the public is invited to participate in an upcoming installation by NEW/NOW artist, Michael Mahalchick, by donating objects which will become the raw material for his work. Welcomed items include trinkets, hand-made treasures, decorative objects, manufactured goods,  etc. If an object could conceivably be found at a garage sale and is of reasonable size, it likely fits the bill. Objects selected for inclusion in the artist’s work will be featured in the upcoming exhibition NEW/NOW: Michael Mahalchick in the Cheney Gallery March 9- June 9, 2013.

The work of Michael Mahalchick defies any one specific definition. Moving seamlessly between the realms of sculpture/assemblage, installation, performance, music and dance, Mahalchick incorporates a self-identified “scavenging” aesthetic or “thrift-store nostalgia” to his work. In utilizing objects of everyday use (or disuse), the artist is free to imbue whatever meaning he sees fit to ascribe, making icons out of the ordinary.

Michael Mahalchick March 7 – April 22nd, 2012 : Michael Mahalchick, "IT" installation, March 6th, 2012, Canada Gallery

Michael Mahalchick, “IT” installation, March 6th, 2012, Canada Gallery

Ever since Duchamp scandalized the world with his Fountain, the concept of the object as art has been a prominent part of our visual lexicon, from Rauschenberg’s gritty Combines to the poetic assemblages of Joseph Cornell. Like Duchamp, Mahalchick’s works call into question meaning and purpose in art and culture. Who holds the power to ascribe meaning in our every day lives and why? (more…)

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This post comes to us from Eliza Heussler, Curatorial Intern. 


Randazzo, detail, 2000. Martin Kline (b.1961). Encaustic on panel, 47 7/8 x 47 7/8 x 3 in. Collection of the artist.

Only a few inches away from every one of the encaustic paintings and sculptures in the exhibition Martin Kline: Romantic Nature is a small, albeit prominent cautionary note: “Please do not touch the artwork.” Why the extra precaution? After all, it is one of those “golden rules” of museum-going that we refrain from any physical contact with works of art for fear of damage. Walking through the McKernan Gallery, now a temporary home for Martin Kline’s first mid-career retrospective (on view through June 17), the impulse to touch is ever present. The haptics —that is the science that deals with the sense of touch—of Kline’s art is one of the qualities that makes his work not only dynamic and innovative but lustful and sensual. The haptic quality connects artwork and viewer, mind and body, thought and sensation, idea and emotion. (more…)

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Lego Sculpture, Nathan Sawaya, example of commodity sculpture

Yellow, 2006. Nathan Sawaya (b. 1973). 35″ x 13″ x 28″, Legos.

In 2008, artist Lisa Hoke created a new installation for the NBMAA on the landing of the LeWitt Staircase.  The Gravity of Color, New Britain  consists of thousands of plastic cups coated with various paints and then attached to the Museum’s walls adjacent to the stairs.  The vibrant colors create breathtaking gradations of colors and textures.  The individual cups do not appear as mere plastic cups when put together.  Instead, they ooze in a spiraling manner from their intersecting center around the windows, as if they are growing.  If you haven’t seen this in person, it is an installation that should not be missed!  (more…)

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Daisies, 1925. Charles Demuth (1883-1925). Watercolor and graphite on wove paper , 11 5/8 x 13 7/8 in. New Britain Museum of American Art, Harriet Russell Stanley Fund, 1947.14.

Continuing our series on The Great American Watercolor exhibition , today we’ll be looking at the works of Charles Demuth and Charles E. Burchfield.

Demuth was born in Lancaster, Pennsylvania and studied at both Drexel Institute and the Pennsylvania Academy of Fine Arts in Philadelphia. As a young man, Demuth traveled to Paris where he was part of the avant-garde movement and was influenced by the art of Marcel Duchamp. He created many watercolors with a breadth and force of brushwork and color that reflect the Fauve movement in Paris.  Demuth is known as one of America’s first “moderns.” Many of his paintings were left in the hands of fellow artist and friend Georgia O’Keeffe who helped ensure his legacy after his death. (more…)

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