8/30/2023 0 Comments Maximalist artworkBeing natural wood, the pattern on the wood will always be different. Items can be delicate so please keep out of reach of children to prevent damage. N.B all sizes are approximate and colour may vary depending on the screen you are using. Size: approximately 110cm in length (including hanging part) and 47cm wide. Gold coloured metal hoop detailing and laser cut pieces make this one of my hybrid pieces (using parts from all of my wall hangings).ĭisplay by hanging on a wall pin or over a hook. Made from sustainable Birch plywood, hand painted and constructed in Milton Keynes, England. This lovely wall hanging would make a beautiful addition to any room to create a modern mid-century feel. The colours used are warm and rich tones with golf detail. This Piece is made from plywood, paint, metal, waxed cord and wooden beads. ‘Less Is a Bore: Maximalist Art & Design’ runs at ICA Boston, USA until 22 September 2019.Lovingly handmade modern wall art. While the debates surrounding art and craft, form and content roll on, the veiled messages within the patterns are ready to be decoded. What is Maximalist Painting 3-4. Courtesy: the artist and DC Moore Gallery, New Yorkįloral wallpaper, a richly decorated chair and ornately embroidered jacquard fabric feature elsewhere in ‘Less Is a Bore’, yet nothing on display is ever simply cosmetic. Joyce Kozloff, If I Were an Astronomer: Boston, 2015, mixed media on canvas, 0.9 x 1.4 m. The clothes are, however, all high-street purchases of items printed with ‘ethnic’ designs, and the work looks at the role of fast fashion in the appropriation and commodification of cultures. Courtesy: Catharine Clark, San FranciscoĪlso on display is a black and white photograph from Stephanie Syjuco’s series ‘Cargo Cults’ (2013–16) of a woman dressed in an array of graphically patterned garments that could have been designed by Bridget Riley. Stephanie Syjuco, Cover-Up, 2016, pigmented inkjet print, 51 x 38 cm. The circle, however, is a troubling symbol for Pindell, who in her youth observed its use as a symbol in racial segregation practices in the American south. A hypnotic, highly decorative work, it would fit neatly into an abstract tradition. Howardena Pindell’s Artemis (1986) is a circular, mixed-media painting composed of swipes and globules of yellow, baby blue, lime and off-white. Courtesy: the artist and Garth Greenan Gallery, New York Howardena Pindell, Artemis, 1986, mixed media on canvas, 1.8 x 2 m. Courtesy: the Fabric Workshop and Museum, Philadelphia photograph: Will Brown Venturi, Scott Brown & Associates, Grandmother, 1983/2019, pigment on cotton sateen, 1.4 m width. Yet, as the works on display here demonstrate: no such binary exists. In contemporary art criticism, so-called aesthetic works are often reduced to one side of the perceived binary between a piece’s formal qualities and its intellectual message. Prominent Pattern and Decoration artists from the 1970s and ’80s are shown alongside contemporary artists taking on an ornamental tradition. Embracing excess, decoration and luxury, maximalism, a movement defined by art historian Robert Pincus-Witten, began in the 1970s and centred around the rebuttal of asceticism.Īn exhibition at Boston’s Institute of Contemporary Art takes Venturi’s statement as its title and groups works that share these traits. This glib, throwaway line turned minimalism on its head, making a joke of the famously austere modernist phrase ‘less is more’. ‘Less is a bore,’ said Robert Venturi in 1963. Nathalie du Pasquier, Untitled (detail), c.
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