Brancusi
View Similar Items
1 of 4
Liliana PorterBrancusi2008
2008
About the Item
- Creator:Liliana Porter (1941, Argentinian)
- Creation Year:2008
- Dimensions:Height: 11 in (27.94 cm)Width: 15.25 in (38.74 cm)
- More Editions & Sizes:from an edition of 5Price: $8,000
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:San Francisco, CA
- Reference Number:Seller: HOS 133091stDibs: G14010460514
You May Also Like
- 'Harvest Dance' Movement dance figures gold yellow orange fire nature wildBy Sophia MilliganLocated in Penzance, GB'Harvest Dance' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Late August, captured in the glow of the evening sun, my daughters join han...Category
2010s Contemporary Figurative Photography
MaterialsArchival Paper, Archival Pigment, Archival Ink, Giclée
- HUICHOL: MOUNTAIN, DESERT, NEW YORK (`95-`21). Limited edition of 5.By PABLO ORTIZ-MONASTERIOLocated in Ciudad De México, MXDocumentary Photograph. Contemporary Inkjet on cotton. Limited edition of 5. Signed front and verso. Framed in lacquered black frame with spacer) The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.” The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines...Category
1990s Contemporary Color Photography
MaterialsInkjet, Archival Pigment
- The Life of the Other: "The Client"Located in Ciudad De México, MXFernando Bayona, The Life of the Other: "The Client" Fine Art Inkjet Print Sizes: S: 25.6 x 20.8 in. / Ed. 3 M: 41.7 x 33 in. / Ed. 3 L: 53.1 x 41.7 in. / Ed. 2 + 1A.P In The Life of the Other Fernando Bayona mixes staged and documentary photography techniques to create a collective portrait of images in which the sleaze of violence, pain, madness, jealousy and sexual desire are intertwined with the vulnerability of love, tenderness, passion or beauty. The appearances that arise from this series focus on the ability to generate intrinsic, albeit partial, narratives that come from real stories and interviews with sex workers...Category
21st Century and Contemporary Contemporary Figurative Photography
MaterialsInkjet
- Circus Christi: "Crucifixion"Located in Ciudad De México, MXFernando Bayona, Circus Christi: "Crucifixión". Fine Art Inkjet Print Sizes: S: 25.6 x 20.8 in. / Ed. 3 M: 41.7 x 33 in. / Ed. 3 L: 53.1 x 41.7 in. / Ed. 2 + 1A.P "Circus Christi is based on the question: What would happen if Jesus was born on the periphery of any major metropolis in the last three decades and was a rock band lead singer? The result is a group of images that visually reconfigures the usual viacrucis in an imaginary full of social problems around sexual ambiguity, drugs, sex, violence and music. Beyond the apparent provocation, Bayona's atmospheres are inspired by traditional scenes inscribed in the history of art, whose synchronic representation and symbolism disputes the social constructions around "sin" and "temptation" while rejecting all kinds of censorship and advocating for freedom of worship...Category
21st Century and Contemporary Contemporary Color Photography
MaterialsInkjet
- Once Upon a Time: "Bicephalous"Located in Ciudad De México, MXFernando Bayona, Once Upon a Time: "Bicephalous". Fine Art Inkjet Print Sizes: S: 25.6 x 20.8 in. / Ed. 3 M: 41.7 x 33 in. / Ed. 3 L: 53.1 x 41.7 in. / Ed. 2 + 1A.P "The narrati...Category
21st Century and Contemporary Contemporary Color Photography
MaterialsInkjet
- HUICHOL: MOUNTAIN, DESERT, NEW YORK (`95-`21). Limited edition of 5.By PABLO ORTIZ-MONASTERIOLocated in Ciudad De México, MXDocumentary Photograph. Contemporary Inkjet on cotton. Limited edition of 5. Signed front and verso. Framed in lacquered black frame with spacer) The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.” The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines...Category
1990s Contemporary Color Photography
MaterialsInkjet, Archival Pigment