|
|
Post by shine166 on Oct 14, 2011 4:03:52 GMT -8
I haven't even had the payment taken from my card yet on mine! They seem determined to make me sweat. ah.. ive not even checked that |
|
|
|
Post by hellosir on Oct 14, 2011 5:54:09 GMT -8
Congrats Sven on the pixel collection, and that 50/50 is really cool I didn't know it existed I thought it was just the separate prints, but that looks really quite nice, imagine even better with the rest of the pixels. As for the static prints I must say they do look pretty good much better than the jpg but I'm still not sold on them as a set/pair. Thanks for sharing lowpro
|
|
|
|
Post by rkitek on Oct 14, 2011 7:53:53 GMT -8
Sven, now that you have all of the pixel series I was just curious if you have any personal favorites?
|
|
|
|
Post by gildoinc on Oct 14, 2011 14:12:58 GMT -8
decided to finally grab one of the 50/50, Zoom In/Zoom Out etchings . . .  Image size 43½" x 27½" Paper size 54" x 36½" Edition of 15 this one will cost a fair penny to frame i bet. How are you planning on framing this one Sven? |
|
|
|
Post by solar77 on Oct 14, 2011 16:39:46 GMT -8
I love much of Tauba's work, and it pains me to say this - but I get the feeling the majority of people buying her work are doing so for the wrong reason. The parallels/comparisons to the speculation/hype/boom & bust of the Urban Art scene circa 2006-2008 are hard to ignore. No, I think you're seeing the legitimate ascent of an artist into the highest levels of the art world. I'm sure there are some speculators trying to buy up whatever's left to ride the wave, but Tauba is for legit and has very real art world buy in. She is not Nick Walker, et al. |
|
|
|
Post by mose on Oct 15, 2011 5:10:03 GMT -8
Can't add much to what seems to be a hot thread. But, can say, at the 2010 Whitney Biennial, Tauba's pieces got blown out of the room by David Zwirner artist Suzan Frecon.
Auerbach's works were big, somewhat 'dumb', and appeared quite sloppy in medium-to-close range. Their simple illusionism did not connect and left me feeling quite flat. Not impressive and not something I'd personally live with on the wall. I was let down, expecting much more.
Frecon's canvas works had some of the most impressive surface and finish I've seen, with amazing color. Sitting there, you could just imagine how many thin washes were applied to build it up. The time was definitely worth it(to me), as I couldn't help but 'fall' in to the color and surface and spend the afternoon engrossed by it. Remind me somewhat of Rothko's techniques and results. Also, I see some connection to the color work used by John McCracken on his planks - that immersive kind of color that is built up through layer after layer. All-in-all, very impressive.
While Auerbach is being annointed, and perhaps rightly so, I do encourage any/all to really spend time with the work in person before judging. For me, it made me not much of a fan of the folds/crumples(though, her static photos, earlier calligraphy works, some works on paper, and her prints are very appreciated).
|
|
|
|
Post by funkymonkey on Oct 16, 2011 5:57:53 GMT -8
Can't add much to what seems to be a hot thread. But, can say, at the 2010 Whitney Biennial, Tauba's pieces got blown out of the room by David Zwirner artist Suzan Frecon. Auerbach's works were big, somewhat 'dumb', and appeared quite sloppy in medium-to-close range. Their simple illusionism did not connect and left me feeling quite flat. Not impressive and not something I'd personally live with on the wall. I was let down, expecting much more. Frecon's canvas works had some of the most impressive surface and finish I've seen, with amazing color. Sitting there, you could just imagine how many thin washes were applied to build it up. The time was definitely worth it(to me), as I couldn't help but 'fall' in to the color and surface and spend the afternoon engrossed by it. Remind me somewhat of Rothko's techniques and results. Also, I see some connection to the color work used by John McCracken on his planks - that immersive kind of color that is built up through layer after layer. All-in-all, very impressive. While Auerbach is being annointed, and perhaps rightly so, I do encourage any/all to really spend time with the work in person before judging. For me, it made me not much of a fan of the folds/crumples(though, her static photos, earlier calligraphy works, some works on paper, and her prints are very appreciated). This is somewhat a strange reference. I understand that both Auerbach and Frecon are abstract/conceptual painters. However, grouping the two together is like comparing Pollock to Lewitt. In my view, Auerbach’s starting point is very scientific and conceptual. Her work is often an attempt to reinterpret chaos (such as static series) and order (such as the Bible). Auerbach is not trying to directly express a geometrical relationship. On the other hand, Frecon is a literal painter. She is very critical about her techniques in the use of geometric shapes and colors in her works. As a result, her compositions often reflect a meticulous process of repetition and fine tuning. Given the two artists are trying to address very different issues and to achieve different goals in their works; I don’t think this is an apple to apple comparison. Perhaps it’s more appropriate to place Frecon in the group of precise geometric abstractionists, such as Robert Mangold, Agnes Martin or Dorothea Rockburne. |
|
|
|
Post by mose on Oct 16, 2011 7:11:38 GMT -8
Francesco Bonami put them in the same room together at the Biennial. I never set out to consider them together or at the same time, but that consideration was invited. At that sitting, one was found to be impressive, one wasn't. It was a result I hadn't been expecting, as I had actually run through the Whitney to get to the Auerbachs before going back and fully absorbing the exhibit.
I will say, as well, that Scott Short's piece at the Biennial was more impressive, to me, than Tauba's three. And his work is conceptual in some of the same ways as Tauba, showing a particular kinship with her static photos.
|
|
|
|
Post by funkymonkey on Oct 16, 2011 11:36:42 GMT -8
|
|
|
|
Post by volvic on Oct 16, 2011 12:54:19 GMT -8
Fantastic result for her, and well deserved i think.
|
|
|
|
Post by mose on Oct 16, 2011 12:57:54 GMT -8
Dollardaze, did you see the MoMA lecture with Auerbach & Brice Marden?
Holy hell, what an absolute mess it was. The topic was supposed to be 'spiritualism and abstract expressionism' but it went off the rails within 5 minutes. It was obvious that the moderator and panelists had never spoken in advance, the third panelist - a sociologist from Columbia U - was horrible, and Marden alternated between sleeping/bored and pithy comments.
Really embarrassing. Auerbach tried, but could not overcome.
|
|
|
|
Post by epicfai on Oct 16, 2011 14:41:04 GMT -8
many of these auerbach pieces set off a visual illusion for me where I start to see lines moving. |
|
|
|
Post by shine166 on Oct 17, 2011 8:41:24 GMT -8
happy days.. static prints just dropped through my door  |
|
sport1
Junior Member
Posts: 56
|
Post by sport1 on Oct 17, 2011 10:24:24 GMT -8
|
|
|
|
Post by parklife2 on Oct 17, 2011 11:39:04 GMT -8
That Text piece is real nice.
|
|
|
|
Post by mistersmith on Oct 17, 2011 14:56:28 GMT -8
That Text piece is real nice. ...for a child's room, maybe. Also, the letter is not pronounced "Doubly-oo." |
|
|
|
Post by troom on Oct 17, 2011 15:18:02 GMT -8
That Text piece is real nice. ...for a child's room, maybe. Also, the letter is not pronounced "Doubly-oo." Probably just a typo |
|
|
|
Post by funkymonkey on Oct 17, 2011 15:43:55 GMT -8
Very nice text piece, indeed.
|
|
|
|
Post by ricosg11 on Oct 17, 2011 18:57:45 GMT -8
Second only to the folds for me are the abstracted calligraphy works. The hand it must take to complete those...Those things are beautiful.
|
|
|
|
Post by Chop-Logik on Oct 17, 2011 20:04:24 GMT -8
That Text piece is real nice. ...for a child's room, maybe. Also, the letter is not pronounced "Doubly-oo." Interesting that you bisect DUBBLYEW that way. I read it as Double-Yew. |
|
avert
Full Member
Posts: 179
|
Post by avert on Oct 17, 2011 20:49:54 GMT -8
that's one of my favorite text works she's done.
|
|
|
|
Post by rizza79 on Oct 17, 2011 21:06:16 GMT -8
it will be interesting to see how this text piece does. if you really look at this particular work of art and technique and remove "Tauba Auerbach" from the equation, it really is far from mind blowing. I am sure someone will pay 35k for it though....not that it cost any more than prob 3k or less in 05, but I do realize that's irrelevant. nonetheless, it should be interesting to watch how it all unfolds.
|
|
|
|
Post by parklife2 on Oct 17, 2011 21:48:29 GMT -8
interesting point rizza. funny thing is that i've followed her work for about 8 years and these text pieces are what established her and were what I found to draw me in first..then the abstract work came after she had a few shows and a bit of a following and people were saying that hopefully she wont go too abstract and loose people...it appears that the opposite happened..when she went abstract she really started to gain momentum...and a following. Of course other factors played a roll as well obviously.
|
|
|
|
Post by troom on Oct 18, 2011 6:49:10 GMT -8
it will be interesting to see how this text piece does. if you really look at this particular work of art and technique and remove "Tauba Auerbach" from the equation, it really is far from mind blowing. I am sure someone will pay 35k for it though....not that it cost any more than prob 3k or less in 05, but I do realize that's irrelevant. nonetheless, it should be interesting to watch how it all unfolds. +1 |
|
|
|
Post by rizza79 on Oct 18, 2011 8:38:58 GMT -8
interesting point rizza. funny thing is that i've followed her work for about 8 years and these text pieces are what established her and were what I found to draw me in first..then the abstract work came after she had a few shows and a bit of a following and people were saying that hopefully she wont go too abstract and loose people...it appears that the opposite happened..when she went abstract she really started to gain momentum...and a following. Of course other factors played a roll as well obviously. I am in no way saying I don't like the text pieces. In fact, I like some of them more than the other stuff. there are some absolutely great text based works. I was more referring to the one that will be in auction. It is just not one that I would pursue personally. hopefully there will be some stronger examples available at some point  in terms of her work overall, I am drawn to how she is a very well rounded artist who has a wide range of concepts and compositions in every medium. not something you find with too many young artists these days. |
|
