Pale And Interesting? Do Not! These Works Are Very Hot. .. | Sell Art

Although white is often used as a soft background, and noisy tones declare themselves in this context—especially in the “white cube” of the gallery space—but it is far from neutral. "White" wrote GK Chesterton "not only without color; it is a shiny and sure thing, as fierce as red, as clear as black. God paints in many colors; but he has never painted so gorgeous. , I almost said it was as gorgeous as when he painted white." The British novelist made a lot of sense. As an example, consider its use in ceremonial clothing, including baptismal gowns, wedding dresses, and funeral shrouds. White marks the milestones in our lives, from cradle to grave.

Given that White has rich cultural associations—including not only holiness, healing, and hygiene, but also erasure, death, and new beginnings—it’s no wonder that it was adopted by some of the greatest artists in history, producing amazing results. Think of Pieter Bruegel the Elder's extraordinary winter scenery "Hunter in the Snow" (1565), or James Abbott McNeill Whistler (James Abbott McNeill Whistler) sparkling Portrait of "Symphony in White", No. 1: White Girl (1861-2), or indeed those Ku Klux Klan members with their heads and masks wrapped around their heads and masks, like ghosts that are too strong, through the paintings of Philip Guston. Then came the modernist sub-genre of white monochrome, starting with Kazimir Malevich’s abstract canvas with white characters on a white background (1918), followed by Robert Lehmann, Piero Manzoni and Agnes Used by iconic figures such as Martin.

Here, we have assembled the works of six contemporary artists who explore this (non-)color. For them, white refers to the concealment of information, the miracles and horrors of whiteboards, the legacy of structural racism, and the deadly beauty of snow. Pale and interesting? This is a serious understatement. These works are very hot.

JOHN BALDESSARI-People who lack a rational shape: Example 6 (2012)

As one of the most influential artists of his generation, John Baldessari systematically stress-tested the boundaries of what might be considered art. Whether it’s burning one’s ten-year paintings (cremation plan, 1970), or recording one’s waving on a distant boat (goodbye, boat, 1972-3), heading to the fairways for absurd pitching and putting games (artists use golf clubs) Hit various objects, 1972-3) or cover the faces of people depicted in photos and movie stills with his iconic dots (Bloody Sunday, 1987), the pioneering Los Angeles conceptualist created A series of works are uncompromising, rigorous in thinking, and with playful humor. Throughout his long career, he has remained faithful to the title of the guide article he formulated in 1971: I will not create any more boring art.

In his print Crowds with Shape of Reason Missing: Example 6, Baldessari found a photo from an old sword and sandals movie, and covered the right part of the image with a cloud of white paint. On the left, we see a group of citizens eagerly gazing from the shoulders of a group of helmeted heavy infantry phalanxes, but what is frustrating is that we have no way of knowing what they are gazing at. The arrival of heroes, villains, and dazzling classical beauties, played by an unknown matinee idol? No matter what it is, Baldessari's editing behavior constantly draws our attention back to all our established visual habits, allowing us to see a large audience. When talking about the production of this work, the artist said, "I like the idea that the crowd has a certain shape." Here, the process of clearing information is both hidden and revealed. With the appearance of movie stars, the actors slowly and blinked into the spotlight of our sight.

ANGELA DE LA CRUZ-White (none) print (2010)

Russian novelist Vladimir Nabokov (Vladimir Nabokov) in his "Literature Lectures" described his excitement just before literary creation: "The pages of the book are still blank, but there is a miraculous feeling. There, it’s written in invisible ink, and it’s clamoring to become visible." If a person is a prolific author of recognized cold classics such as "Lolita" and "Pale Fire", this is easy to tell, but for those of us who have never touched the Word document (or actually the canvas) , Is it usually not a person who is pregnant on a whiteboard? And possibility, but the cold white expanse, as dangerous and desolate as the Siberian tundra? British Turner Prize nominee Angela de la Cruz’s white (none) print depicts a very common sight in the work space of a frustrated writer or artist: a piece of paper that is crumpled up because of the words or images on the surface. The sad thing to be left aside is that it didn't meet expectations, or it didn't show up at all. Does this prove that Dela Cruz’s creative engine is malfunctioning, or (perhaps worse) that she hit a block? If so, the artist has managed to save something from the wreckage: the crumpled white A4 has become the subject of the still life, and the road ahead is once again unimpeded.

The term "post-black art" was coined by the black American curator Thelma Golden in the late 1990s to define the work of a generation of emerging black American artists, including Julie Mehretu, Mark Bradford and Rashid Johnson. Golden unraveled this concept in an article in her pioneering collective exhibition "Freestyle" held at the Harlem Studio Museum in 2001. She wrote that it covered "persistence not to be labeled as black "Practitioners of the artist label, although their work [is] immersed in it, in fact, are very interested in redefining the complex concept of black [...] they are all post-Basquiat and post-big men". Although Golden's exhibition is widely understood as an attempt to correct the historical marginalization of black art, it is not without critics. As the legendary African American artist David Hammons said: “Racism is real, and many artists who endure its influence feel that museums are promoting a kind of art-fashion, postmodern, and gentle. International-turned the institution into a'boutique'.'or a'country club'".

This print created by the well-known African American artist Dread Scott is printed with the words "POST-WHITE" in white paint on an all-white background, which may be interpreted as a (still ongoing) debate on "freestyle" Response. In a sense, this is a humorous game on the pedigree of the pale monochrome canvas of the 20th century—we should note that the most famous examples of these were drawn by white artists. However, in addition to this, it raises an urgent question: Why must black artists and curators constantly interrogate—and argue—the blackness of black art, while the whiteness of white art is almost invisible?

JAN YOORS-Untitled (The Wedding in Harlem-Hat) (1962)

The origin of the "white wedding" in the West is not as commonly believed, but lies in the long-term purity and chastity of this color. For many centuries, brides wore clothes of any color they liked, until after Queen Victoria and Prince Albert married in 1840-the young British monarch wore a white Honiton lace gown, which gained enthusiasm in the emerging print media. Reports of – This trend dominates among the wealthy elite, and eventually penetrates other parts of society and becomes a “tradition”. For any contemporary bride-to-be, they lament the impractical and questionable sexual politics of the white wedding dress, and its similarities with meringue. This historical trivial matter of revisionism will surely relieve them.

In the lens of the famous Flemish American artist, photographer, writer, and filmmaker Jan Yoors, we meet a young black bride on the streets of New York, who is about to walk up the steps of the church to swear to her. Her beloved is telling the truth. It's cold, so her skirt is hidden by a dark fur coat, but her white hat shines like a lighthouse. It's not so much a shiny crown or even a halo, it's a woman. Cap fabric stuff. What thoughts whizzed past under this headgear? Perhaps the direction she stared at was a clue. She didn't look forward, toward the steps of the church, but over her shoulders, returning to the life she was about to leave—and herself.

THOMAS BANGSTED-The collapsed barn (2006)

There are few passages in literature as melancholic and beautiful as the end of James Joyce’s short story "The Dead" (1914), which describes the protagonist Gabriel Conroy (Gabriel Conroy) witnessing an Irish church cemetery Snow: "It floats thickly on the tombstone on the crooked cross, on the spear of the wicket, on the barren thorns. His soul slowly fainted, and he heard the snow falling faintly in the universe. , And like their final ending, it faintly falls on all the living and the dead.” Here, meteorological events not only foretell that individual lives will be inevitably erased, but also that their memories will be erased. Heartbreakingly, Joyce realized that even the words in his own story—like the "tombstones" and "barren thorns" he wrote—would be obscured by ruthless time.

In the famous Danish-born, New York artist Thomas Bangsted's photo Collapsed Barn, we see a farmhouse flooded by heavy snow, under a clear blue sky. This sudden weather is so destructive, it proves that the structure of the farm has been bent and collapsed. Their beams and girders protrude from the white drifts, just like the remains of an ancient temple unearthed in an archaeological excavation, or some unknown Abstract sculpture made by land artist. The canvas "Ice Sea" (1823-24) by the German Romantic painter Casper David Friedrich echoes here, depicting the wreck of a ship in the icy North Pole. Like Joyce's "The Dead," Banstead's lens is a work about entropy, in which life is not faded to black, but faded to brilliant, never-ending white.

MAX BILL-Composition with white center (geometric abstraction) (1972)

Widely regarded as the most influential figure in the Swiss design world of the 20th century, Max Biel-studied under the guidance of Bauhaus artists Joseph Albers, Vasily Kandinsky and Paul Klee in Dessau- —Leave a legacy and product design that span architecture, art, theoretical works, teaching methods, and graphics, especially the iconic timepieces he carefully imitated for the German watch manufacturer Junghans, which still add luster to the discerning wrist. Although his redundant geometric paintings and sculptures make some critics think he is a formalist, the facts are much more complicated. For Bill, the purpose of his works is to transcend "surface value", not only embodies "form as beauty, but also embodies the form of intuition or thought or conjecture with visible substance."

As its title implies, Bill's printed work "Composition with White as the Center (Geometric Abstraction)" is composed of colorful triangles and rectangles arranged with a white square in the middle. There is obvious rationalism for all these works-although Bill once wrote "I think it is possible to build art on the basis of mathematical thinking to a large extent"-but its geometric forms converge in a way that resembles a mandala. On the emptiness of its central theme. According to this idea, we might interpret this painting as a map of the universe, just like what we see in Tibetan Buddhist thangka paintings. We should remember that white light includes all other colors. Will Bill's red, yellow, blue, green, and black Euclidean figures soon merge into or be erased by a higher plane of reality? [White Module]

A set of five etchings, four of which have aquatint

Limited edition lithograph on Dalton Natural Bond paper

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You can link from this website to third-party websites ("linked websites"). However, we will not review, control or inspect linked sites in any way, and we do not control the content, availability, advertising, products, information or use of user information or other materials of any such linked sites or any other links contained therein. These links do not mean that we endorse the linked website or are associated with the linked website. You are responsible for complying with the appropriate terms of service of the linked sites and any other obligations under the copyright, confidentiality, defamation, decency, privacy, security and export laws related to the use of such linked sites and any content contained on them. In any case, we are not directly or indirectly responsible to anyone for any loss or damage caused or caused by the creation or use of linked sites or the information or materials accessed through these linked sites. You should ask any questions to the site administrator or webmaster. We reserve the exclusive right to add, change, reject or delete (without notice) any feature or link from the site to any linked site and/or introduce different features or links to different users at our sole discretion.

Any type of website link must be approved by us. In order to seek our permission, you can write to us at the address below. However, we reserve the right to refuse any request or revoke any permission granted by us for linking through such other types of links at any time at our own discretion, and have the right to request the termination of any such links to this website.

You agree to defend, compensate and exempt Artspace LLC, its directors, officers, employees, agents, suppliers, partners, contractors, galleries, artists, institutions, distributors, representatives and affiliates from any and all Claims, liabilities, damages, costs, and costs incurred in any way due to your use of this website, your violation of any law, your violation of terms, or the publication or transmission of any user content or materials, including reasonable attorney fees or your use of this website, Including but not limited to any third party claiming that any information or material you provide violates the ownership of any third party. You agree to cooperate fully with the defense of any claim within the scope of reasonable request. Your compensation obligation will continue to be effective after these terms and your use of this website.

You understand and agree:

This website, including but not limited to, all content, functions, materials and services are provided on an "as is" and "available" basis, and does not make any form of express or implied statements or guarantees, including: (I) Information and data , Data processing services or any guarantees for uninterrupted access; (II) any guarantees regarding the availability, accuracy, completeness, usefulness or content of the information; (III) any guarantees regarding ownership, non-infringement, merchantability or specific use Sexual guarantee; or (IV) Any statement or guarantee regarding the seller’s character, reputation or business practices. Artspace does not guarantee that this website or the functions, content or services provided therefrom will be timely, safe, uninterrupted or error-free, nor does it guarantee that defects will be corrected. Artspace does not guarantee that this website will meet the expectations or requirements of users. Any suggestions, results or information you obtain through this website, or oral or written materials, do not constitute any guarantee not expressly made here. If you are not satisfied with this website, your only remedy is to stop using this website.

Any buyer must submit all claims related to any item to the seller, and must resolve any disputes related to any item directly with the seller.

Artspace does not endorse, guarantee or guarantee any products or services offered or provided by or on behalf of sellers on or through this website. Artspace is not a party to any transaction between buyers and sellers (unless specifically requested and notified to both parties in writing).

Any materials downloaded or otherwise obtained through the use of this website are at your own discretion and at your own risk, and you will be fully responsible for any damages caused by downloading any such materials.

Artspace does not endorse, warrant or guarantee any products or services provided or provided by third parties on or through this website. Without the direct involvement of the company, Artspace is not a party to any transaction between the user and the third party, nor will it be monitored.

You expressly agree to dismiss Artspace, LLC., its affiliates or any of their directors, executives, employees, agents, partners, subsidiaries, departments, successors, suppliers, distributors, distributors, dealers, distributors Business, ), and the foregoing, from any and all litigation, claims or litigation or cause of litigation in law or equity, as well as any and all losses, damages, costs or expenses, including but not limited to court fees and attorney's fees' Expenses, you may be responsible for the exempted party or any of the parties (known or unknown, disclosed or undisclosed) due to the dispute or in any way related to the dispute. You further waive any applicable rights under section 1542 of the California Civil Code and any similar laws in any applicable jurisdiction, which states: "General publication does not extend or exempt the execution of the exemption, if he knows it, It will definitely have a major impact on his reconciliation with the debtor."

In any case, Artspace, its affiliates or any of their respective directors, officers, employees, agents, partners, subsidiaries, departments, successors, suppliers, distributors, service providers of affiliated companies, C, C Responsible for any indirect, special, incidental, consequential, punitive or punitive damages, loss of revenue or expected loss of profit, or loss of business caused by or directly or indirectly related to the use or inability to use this website or its content, materials and functions , Loss of data or sales, or the cost of alternative services, even if the company or its representatives or such individuals have been notified of the possibility of such damage. Some jurisdictions do not allow the limitation or exclusion of liability, so some of the above limitations may not apply to you. In any case, Artspace is fully responsible for all damages, losses and litigation reasons (whether contract or tort, including but not limited to negligence or other reasons) caused by you due to these terms or your use of this website, totaling 100.00 Dollar. Without limiting the foregoing provisions, Artspace or its respective directors, employees, agents, successors, subsidiaries, divisions, distributors, suppliers, affiliates or third parties shall not under any circumstances under any circumstances The following is or otherwise occurs due to the loss of any data or information contained in your account or otherwise stored by or on behalf of Artspace.

You hereby acknowledge that the preceding paragraph applies to all content, goods and services provided through this website.

You agree that the laws of New York State (excluding its conflict of laws rules) will govern these terms. Please note that your use of this website may be subject to other local, state, national and international laws. You expressly agree that the exclusive jurisdiction to resolve any claims or disputes related to Artspace's use of this website in any way belongs to the state and federal courts in New York County, New York, and you further agree and expressly agree to exercise the jurisdiction of the New York County and federal courts Personal jurisdiction. In addition, you expressly waive the jury in any legal proceedings against Artspace’s parent company, subsidiary, department or affiliate or their respective officers, directors, employees, agents or heirs in accordance with these terms or in connection with these terms Any right to trial. Any claim or cause of action you file for using this website must be filed within one (1) year after the claim occurs.

By providing any personal information to this website, all users, including but not limited to EU users, fully understand and clearly agree to the collection and processing of such information in the United States.

Any inquiries about these terms should contact us directly at the address below.

Items purchased from our website are transported by third-party carriers in accordance with the contract of carriage. Therefore, the risk of loss and ownership of such items may be transferred to you after we deliver to the carrier.

Artspace and its partners strive to be completely accurate in the description and pricing of the products on the website. However, due to the nature of the Internet, occasional failures, service interruptions or errors may cause inaccurate information to appear on the website. Artspace reserves the right to cancel any purchase that shows an inaccurate price. If the displayed price is higher than the actual price, you may refund the overcharged fee. If the displayed price is lower than the actual price, Artspace will cancel the purchase and try to contact you by phone or email to ask if you need the goods at the correct price.

You acknowledge that temporary interruptions in website availability may occur from time to time, and this is a normal event. In addition, we may decide to stop providing this website or any part of this website at any time for any reason. Under no circumstances will Artspace or its suppliers be liable for any damages caused by such interruptions or lack of availability.

You can be notified by email or regular mail. This website may also provide you with notices of changes to terms or other matters by displaying notices or notice links on the website.

If there is a dispute over the identity of the person submitting the entry, the entry will be deemed to have been submitted by the person who registered the email account. All drawings will be carried out under the supervision of the sponsor. The sponsor’s decision is final and binding on all matters related to this competition. Sponsors reserve the right to disqualify any individual they find to participate in the competition at their own discretion, and the individual decides to tamper with the entry process or the operation of the competition or the website at www.artspace.com; violates the terms of service of this website; violates these official rules. ; Acting in a destructive manner, or with the intent to annoy, abuse, threaten or harass any other person. If for any reason, due to computer virus infection, loopholes, tampering, unauthorized intervention, fraud, technical failure, or any other reason, the competition cannot proceed as planned, the organizer unilaterally believes that it will damage or affect management and security , Fairness, completeness, or the correct conduct of this competition, the sponsor reserves the right to cancel, terminate, modify or suspend the competition.

The organizer is not responsible for any error, omission, interruption, deletion, defect, operation or transmission delay, communication line failure, theft or destruction, or unauthorized access to its website. The organizer is not responsible for any problem or technical failure of any telephone network or telephone line, computer online system, server, computer equipment, software, any e-mail failure, or PON technology received by the recipient, for human errors or human errors on the Internet or any website. Traffic jam, or any combination thereof. The organizer is not responsible for any incorrect or inaccurate information acquisition or failure to acquire such information, whether it is caused by website users, tampering or hacking, or by any equipment or programs associated with or associated with this website. The organizer is not responsible for any injuries or damages caused by the participants or any other person’s computer due to participation in this competition or the participation or use of this website. Under no circumstances will sponsors or their parent companies, distributors, affiliates, subsidiaries, officials, suppliers and agencies, their respective directors, officials, employees, or their representatives and agents, including because of you Compensation for direct, indirect, incidental, consequential or punitive damages arising from participating in this competition, visiting and using this website or downloading from this website and/or downloading printed materials from this website. Without limiting the foregoing provisions, all content on the website and in this competition is provided "as is", and does not provide any form of express or implied guarantee, including but not limited to marketability or non-marketability. Implied warranty, infringement. Some jurisdictions may not allow the limitation or exclusion of liability for incidental or consequential damages or the exclusion of implied warranties, so some of the above limitations or exclusions may not apply to you. Check if your local law has any restrictions or restrictions on these restrictions or exclusions.

As a condition of participating in the competition, you agree that any and all unresolvable disputes, claims and causes of action caused by or related to this competition, or any prizes awarded, or the determination of the winner It should be resolved separately, without resorting to any form of class action, and only through arbitration in accordance with the Commercial Arbitration Rules of the American Arbitration Association, which will take effect at that time. In addition, in any such dispute, you shall not be compensated under any circumstances, and you hereby waive all rights to claim punitive, incidental or consequential damages or any other damages (including attorney’s fees), but you Except for actual losses-out-of-pocket expenses (that is, expenses related to participating in this competition), and you further waive all rights to double or increase the damage. All questions and issues related to the interpretation, validity, interpretation and enforceability of these official rules, or your rights and obligations or the rights and obligations of sponsors related to this competition, shall be governed by state laws and in accordance with It interprets the laws and rules of the New York State of the United States, but does not affect its conflict of laws rules. All litigation should be conducted in the state of New York City and the county.

To contact us with any questions or concerns related to this agreement or website, or to provide us with any notice under this agreement, please visit Contact Us or write to us:

Artspace LLC 65 Bleecker St. 8th Floor New York, NY, 10012 Email: service@artspace.com Fax: 646-365-3350

These terms constitute the entire agreement between you and Artspace and govern your use of this website, superseding any previous agreements between you and Artspace. You may also be required to comply with additional terms and conditions that apply to certain parts of this website.

You agree that there is no joint venture, partnership, employment or agency relationship between Artspace and you due to this agreement or your use of this website.

Any claim or cause of action you may make against Artspace or this website must be filed within one (1) year after the claim or cause of action arises.

Our failure to exercise or enforce any rights or provisions of these terms does not constitute a waiver of such rights or provisions. If any provision of this clause is deemed invalid by a court with legal jurisdiction, both parties still agree that the court should strive to realize the intentions of both parties reflected in the provision, and other provisions of this clause are still valid and effective.

Without our express written consent, you may not assign these terms or any of your rights or obligations under these terms.

This clause is beneficial to the interests of Artspace's heirs, assigns and licensees. The chapter titles in the clauses are for convenience only and do not have legal or contractual effect.

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For first-time buyers and avid collectors, Artspace’s personal art consultants can help you understand, discover and fall in love with a piece of art.

Collector Services will contact you within two business days.

To bid, enter the maximum amount you are willing to pay for the job. Artspace will accept the next incremental bid and save any excess amount as the highest bid. If your bid is higher than yours, we will continue to bid on your behalf until your maximum bid is reached.

The bid increment increases at the following intervals:

You will receive an email confirming your bid and when.

If you are the winning bidder, we will contact you 48 hours after the auction ends.

Every bid submitted is considered the highest bid. You should always bid at the highest price you are willing to spend for the work, but this does not necessarily mean that you will pay that price. As the auction progresses, we will gradually increase your bid to ensure that you are always the highest bidder. If the winning amount is lower than your highest bid, you will pay the current increment. If your highest bid no longer exceeds the current bid, you will receive a higher bid notification email and can choose to bid again.

In the case of multiple bidders making the same bid at the same time, the highest bidder shall be the one with the highest amount first, until the other bidders exceed the highest bid.

For Artspace Auctions, the winning bidder is required to pay a buyer's premium of 15% on top of the hammer price. For Artspace Benefit Auctions, buyer premiums do not apply. If it is, it will be clearly stated. Purchases made through all auctions (including welfare auctions) are subject to sales tax.

The winning bidder will be contacted within 48 hours to arrange shipping and provide the final price, including commission, shipping, taxes and duties (if applicable). Promotional codes cannot be used for auction works.

To secure a bid, please enter your credit card details below. We will not charge your card, but will only use it to verify your bid. We only need to verify your card once. Before your card is debited, you will be notified that you are the winning bidder and you can choose to change your payment method at that time.

All our frames are manufactured in the United States, using environmentally friendly and sustainably sourced engineered hardwoods to ensure durability and defect-free uniform finishes. The frame is available in black or white satin and honey pecan.

All prints are fixed with acid-free linoleum tape to the Alpha Cellulose backing that protects quality, acid-free and lignin-free. The surface paper of the cushion is anti-fading and anti-bleeding, and is attached to the foam core mounting plate to protect the quality, which will ensure that the work will not deteriorate over time. Artwork with decorative edges or decorative edges will float on the mat, and use acrylic spacers to separate the artwork from the glass. All installations are completely reversible and will not cause any potential damage to the artwork.

All of our frames are made of 0.090mm quality plexiglass, which can block 66% of ultraviolet rays and prevent fading due to exposure to light, so that your artworks will be protected in the next few years. It is now considered the industry standard for artists, museums and galleries all over the world.

Suitable for images up to 30" x 40"

Suitable for paper size larger than 30" x 40"

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