In his series Four Horsemen of the Apocalypse, Paul Pfeiffer draws our attention to how iconography can produce saints, heroes, and other legendary figures out of regular human beings. Using digital editing (modern painterly techniques, according to Pfeiffer) he removes the billboards, scoreboards, other players, and all graphics on the athlete’s uniform, leaving only a solitary figure in a triumphant moment, applauded by thousands of adoring spectators. The plain white uniform of the athlete and the title of the work identify the player as a conquering figure of Biblical proportions, as described in Revelations 6:2 of the New Testament: “And I saw, and behold a white horse: and he that sat on him had a bow; and a crown was given unto him: and he went forth conquering, and to conquer.”
We are excited to announce the awarded residencies for next summer. The following participants will receive funding to travel to the island starting June 2014 and their work will be featured in an exhibition and publication at the DeVos Art Museum in…
Congrats to those selected for the 2014 Rabbit Island Residency! Watch for the exhibition in Fall 2014.
Marina Abramovic is not the first to capitalize on an unusual partnership. One of the most notable—and unusual—artistic associations happened between the master of suspense Alfred Hitchcock and one of the most famous Spanish Surrealist painters..
Station to Station is a very strange bird. In one sense it’s just a huge, rolling celebration of woolly local scenes, raw and pure in the most nondigital way possible. (New York magazine called it “Coachella on wheels.”) The range of artists Aitken plans to hook up with along the way is almost comically diverse. A flamenco dancer is scheduled to perform in California; the artist Olafur Eliasson wants to make a “drawing machine” that will autocreate an artwork as it traverses the country. Aitken is angling to get dance music pioneer Giorgio Moroder to hop on board, gathering samples and music to produce “an extended mix that goes across the country.” Brazilian artist Ernesto Neto is donating a sort of ceremonial yurt that Aitken will … well, do something with. The live components are part of the point he’s making: In a world where you can call up culture on demand, live shows have become the one non-copyable, non-streamable, totally intimate experience.