Stepping into Damián Ortega's solo exhibition Casino (curated by Vicente Todolí) at Milan's HangarBicocca, viewers may feel that they have entered into a dark and unusual four-dimensional universe, dotted with bright frozen explosions.
Of the twentieth-century art gods (Pablo Picasso, Henri Matisse, Marcel Duchamp, Jackson Pollock and Andy Warhol), Marcel Duchamp elicits no middle road. He is either revered as a godlike figure of contemporary art or disdained as a charlatan.
In Duchamp's eyes, eroticism was as much of a movement as expression and cubism. Besides unifying the concerns of Duchamp's career, the exhibition of early work also demonstrates one of the reasons that the artist may have given up painting.
April Nordbee, a 29-year-old mother of two who lives in Wisconsin, has found her life completely changed over the past two years, all as the result of a lucky keystroke error she made during a Google search that caused her to discover the life and work of artist Marcel Duchamp.
Magritte's paintings, while traditional in technique (often oil on canvas), are innovative and witty in concept. Doubling, fragmentation, displacement, and irrational juxtapositions are his favored strategies.
Multi-layered, complex, dreamlike and humanistic, The Refusal of Time is a manifestation, a work of art that seeks to explore ambiguity, to remain unfinished and to avoid the black hole at the end of time.
Americans responded to the art in the Armory Show with excitement, confusion, and dismay. Some members of the press called the exhibition's Gallery I, with its European modernist works, a "Chamber of Horrors."