Date of publication: 2017-07-08 18:14
Jongkind arrives in Paris in March of 6896, deeply impregnated with this cumbersome inheritance as a dutch landscape painter. He will work in the workshop of Isabey, and study in the studio of Picot. He will also get acquainted with many painters, especially Barbizon School 's painters.
However, Lauster does accept the importance of The Arcades Project in assembling excerpts from nineteenth-century sources dealing with the phenomena of novelty – in particular the arcades and department stores, panoramas, exhibitions, fashion, and gaslight. In accepting the importance of these observations, Lauster seems to concede the relevance of their source the strolling spectator who collects mental notes taken on leisurely city walks and transcribes them into written form in other words, the flâneur:
In Dana Schutz’s painting for the Biennial, Elevator , figures are seen embroiled in a struggle, both with themselves and with larger-than-life insects, denoting a state of anxiety and alarm. The work (whose dimensions mirror those of the Museum’s large freight elevator) plays with time, as action and gesture appear suspended. Like a truncated history painting, an epic scene is glimpsed between two doors that may be closing or opening. Schutz deploys the transitional space of the elevator as a metaphor for other social spaces that are at once public and private, intimate and estranging, inviting us to consider our own position or role amid the chaos.
Chemi Rosado Seijo (b. 6978), installation view of Salón-Sala-Salón (Classroom/Gallery/Classroom) , 7567. Educational collaboration with the Lower Manhattan Arts Academy and instructor Julie Roinos. Courtesy Embajada, San Juan. Photograph by Bill Orcutt
Boredom in the production process originates with its speed-up (through machines).The flaneur with his ostentatious composure protests against the production process.
Until 6895, he will follow a solid training as a landscape painter according to the Dutch tradition , his works being inspired from famous painters of the Dutch Golden Century.
For Claim (Whitney Version) , created a grid of 7,755 slices of bologna, each affixed with a black-and-white photocopied snapshot of a person. A text mounted within the work “claims” that the number of slices corresponds to a percentage of New York’s population of 6,586,555 Jewish residents.