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Азиз + Кьючер

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(Перенаправлен от Энтони Азиза )
Азиз + Кьючер
Сэмми Кухер и Энтони Азиз в их студии в Говане, Бруклин, Нью -Йорк, в 2022 году
Рожденный Энтони Азиз
1961
Луненбург, Массачусетс , США
Сэмми Кьючер
1958
Лима, Перу
Образование Сан -Франциско Художественный институт
Known forPhotography, digital media, video, sculpture
AwardsPollock-Krasner Foundation
Friends of Photography
WebsiteAziz + Cucher

Энтони Азиз (родился в 1961 году) и Сэмми Кьючер (род. 1958) - американские художники, базирующиеся в Бруклине, штат Нью -Йорк, которые работают вместе как совместный дуэт Азиз + Кучера . [ 1 ] [ 2 ] Их междисциплинарная практика включала цифровую фотографию и анимацию, видео, текстиль, печать экрана и скульптура. [ 3 ] [ 4 ] [ 2 ] [ 5 ] Они появились в начале 1990-х годов и считаются пионерами в постфотографии и тогдашнее использование цифровых изображений в изобразительном искусстве. [ 1 ] [ 6 ] [ 7 ] [ 8 ] Более ранняя фотография и скульптуры дуэта были сосредоточены на социально-антропологических темах, таких как дегуманизация , разбивка связи и представления об утопии или дистопии в отношении развития технологий. [ 9 ] [ 10 ] [ 11 ] В более поздних инсталляциях и выставках они приняли более политический подход, изучая такие вопросы, как война, неравенство и последствия глобализации. [ 12 ] [ 13 ]

Aziz + Cucher выставил на местах, включая новый музей , [ 14 ] Венецианская биеннале , [ 15 ] Музей искусств округа Лос -Анджелес (LACMA), [ 16 ] Музей современного искусства Сан -Франциско (SFMOMA), [ 17 ] МАССА МОКА [ 7 ] и Международный центр фотографии . [ 18 ] Their artwork belongs to the public collections of LACMA,[19][20] SFMOMA,[21] Fonds national d'art contemporain (Paris),[22] Galería de Arte Nacional (Caracas),[23] and the Museum of Contemporary Photography, among others.[24]

Biographies

[edit]

Anthony Aziz was born in 1961 in Lunenburg, Massachusetts.[24] He is a third generation Lebanese-American with extended family still living in Lebanon.[1] He received a BA degree in philosophy from Boston College in 1983, then studied film, photography and art history before enrolling at the San Francisco Art Institute (SFAI) and earning an MA in 1990.[12][1] While at SFAI, he focused on photographic and text projects involving the public presentation of masculinity and power.[25][12] Aziz is a professor of fine art and photography at The New School in New York.[1][26]

Sammy Cucher was born in 1958 in Lima, Peru into a Jewish family and was raised in Caracas, Venezuela.[24][1] His family later emigrated to Israel.[27][1] He studied experimental theater and received a BFA degree from Tisch School of the Arts at New York University in 1983.[12] After participating in the New York avant-garde theater scene until 1985, he enrolled at the San Francisco Art Institute and earned an MFA degree in 1992 with an emphasis on video and art.[12] Cucher is a part-time assistant professor at The New School.[1][28]

Cucher and Aziz met in graduate school at SFAI and began collaborating in 1990.[29][21] They have been life and work partners since 1992.[1] Their early solo exhibitions took place at New Langton Arts in San Francisco,[30] Jack Shainman Gallery in New York,[31][10][5] the 1995 Venice Biennale,[15] and The Photographers' Gallery in London,[29] among other venues. In 1997, they moved to New York City.[32]

Work and critical reception

[edit]
Aziz + Cucher, Maria, C-print, 50" x 40", 1994–95. Collection of the Los Angeles County Museum of Art.

In their first decade, Aziz + Cucher explored intersections between the social, biological and technological realms, particularly notions of the post-human condition and potential pathologies associated with progress.[33][34] Focused on the human body—often technologically transformed, though not necessarily improved—their metaphorical projects frequently used new digital approaches to produce images and objects that were previously unattainable.[2][3][5][6] Critics related this work to Surrealist evocations of the "uncanny" that grafted doll parts or objects to human form, such as those of Hans Bellmer and Man Ray.[11]

In the mid-2000s, they shifted to layered allegorical work focused on geopolitical conflict (particularly in the Middle East), human history and globalization, often taking a tragicomic, absurdist tone.[33][13][35] Less centered on the body and technology, this work is characterized by an expanded range of medium and approach, including videos and multi-channel video installations, digital animations, works on canvas, and tapestries that combine digital and folk-inspired imagery.[2][1][13]

Projects, 1992–2008

[edit]

Beginning in the early 1990s, Aziz + Cucher produced several series that explored metaphors for organic-technological interface, often centered on skin as a boundary or site of intervention.[29][32][10] Their first collaborative series, Faith, Honor and Beauty (1992–93), was created in a climate of NEA censorship of art with sexual content at the height of the AIDS crisis.[30][36][29] It consisted of ten larger-than-life-size color photographs of robust, optimistic-looking male and female nudes with unnervingly idealized bodies—they lacked genitals, nipples and navels—that evoked a genetically altered, possible super race.[30][36][37] The figures struck poses echoing conventions of classical statuary, Social Realist portraiture and fascist art,[38][12][39] while bearing props (e.g., a laptop, fur coat, basket of apples, rifle, child) that marked them as ironic archetypes mocking consumerism, conformity and ultra-conservative values.[31][40] Village Voice critic Vince Aletti called them "heroes for a society in flight from sex and desire, as scary as they are seductive";[36] Artweek's Tony Reveaux described the series as "right-wing political correctness stretched to its logical, anti-humanist conclusion."[30]

The duo extended that work with perhaps their best-known series of works, "Dystopia" (1994–95). These digitally altered "portraits" examined representation, alienation, and the artists' perceived sense of the potential diminishment of human identity and interaction in the wake of an uncritical embrace of information technology.[5][10] The large-scale photographs featured heads of regular men and women with smooth skin "grafted" over all their sense-organ orifices, rendering them vaguely alien yet still human in temperament (e.g., Maria, 1994–95); more troubling to critics was their sense of being sealed tight against the world, deaf, dumb, blind and possibly trapped—and pointedly, beyond pleasure and desire.[10][6][8]

Aziz + Cucher, Chimera #1, Light jet c-print, 60" x 30", 1998.

With the exhibition "Plasmorphica" (1997, Jack Shainman Gallery), Aziz + Cucher made their first foray into sculpture, displaying biomorphic, hybrid objects on floor-to-ceiling poles alongside slick, product-display-like photographs of the same forms.[5][41] The sculptures were created by casting ergonomic common items (computer mouse, phone, remote control), reworking them with organic protuberances, nodules and bulges, and then shrink-wrapping them in plastic skin.[5][42] Reviewers characterized the objects as "chilling" with a "sinister playfulness"[11] that synthesized senses of the commercial, erotic, strange and intrusive.[42][38] In Dominique Nahas's words, they were "tantalizingly suggestive of interchangeable, anonymous, polymorphic, amputated body parts, tensed muscles, prosthetic devices and feral sex toys."[11] Aziz + Cucher re-photographed the objects in the "Chimeras" series (1998–99), digitally "sheathing" them with simulated human skin detailed with photorealistic pores, moles, freckles and body hair.[3][43][44] Tema Celeste deemed them "at once disturbing and familiar … like the amputated torsos of robots given organic form."[45] The duo's "Interiors" images (1999–2001) continued to work with human skin divorced from the figure, this time through digital transformations of open, unadorned, minimalist interiors into "living" spaces covered in realistic flesh, whose doorways and hallways suggested body cavities and passages.[46][3][45]

In two subsequent projects, Aziz + Cucher shifted away from visceral depictions of the body and skin.[12] The digital drawings of the "Naturalia" series (2000–01) imitated 19th-century anatomical illustrations, depicting fictional anatomical organs along with pseudo-technical terminology, diagrams and bibliographic citations that gave the illusion of real scientific research.[3][45] In the "Synaptic Bliss" video and print works (2004–08), they moved toward the landscape and consciousness, seeking to evoke the human life force through a hallucinatory, artificial nature recalling psychedelic states of mind, which and blurred boundaries between inside and outside.[12][47]

Later work, 2009–present

[edit]
Aziz + Cucher, In Some Country Under A Sun And Some Clouds, 8-channel video installation, 2012. Installation view, Indianapolis Museum of Art.

After largely suppressing overt reference to their own identities in their work for over a decade, Aziz + Cucher turned to a more direct and personal, if metaphorical, engagement with geopolitical conflict and history in the latter 2000s. It was borne out of their individual responses, family connections and sense of anxiety and helplessness with regard to a series of tragic events: 9/11, the U.S. invasion of Iraq, and in particular, the Second Lebanon War (or Israeli-Hezbollah War) in 2006.[12][2] This work first appeared in "Some People" (2012), their multi-disciplinary exhibition at the Indianapolis Museum of Art, which featured four stylistically diverse video works begun in 2009 and shot during travels through conflict-fraught areas—Israel, Lebanon, Croatia, Serbia and Bosnia.[12][1] Non-narrative, but additive in relation to one another, the videos explored the tragicomic in relation to everyday life, notions of history and progress, ideology and art.[1][13][48]

In the show's multi-screen video installation The Time of the Empress, the duo presented loops of digitally animated, stripped-down modernist buildings (based on bombed-out structures shot in Bosnia) that rhythmically grew upward in tiny accumulating line segments and simultaneously collapsed from below into pixilated dust.[33][4][2] Reviews likened the sequences to "a series of Towers of Babel,"[33] evoking the rise and fall of empires, historical cycles of progress and regression or chaos and order, and the stubbornness of human innovation.[2][27] Artforum contended that the installation conveyed both "a sense of lost promise [and] the possibility for future reclamation."[4] The duo employed eight screens for In Some Country Under a Sun and Some Clouds, each of which showed a person in post-apocalyptic-like attire contorted unnaturally as if in paralysis before a vast desert—a commentary on the hardening of fixed ideological positions.[1] Report From the Front was a mockumentary about an archaeological dig that satirized the politicized nature of such events in Israel.[1] In By Aporia, Pure and Simple (2012), the artists appeared for the first time in their work. An expression of their refusal of silence, impotence, despair and the absurdity of wrestling with the madness of terrorism and Middle East conflict through art, the video chronicled them in everyday life (working, taking the subway, walking New York neighborhoods)—in the guise of "fools" wearing clown costumes the entire time.[1][13][48]

Aziz + Cucher, Some People, Cotton and wool jacquard tapestry, 74" x 124", 2014.

The duo extended these themes in their "Tapestries" cycle (2014–17) a series of collage-like Jacquard loom works, seeking to update the medieval European medium of pictorial narrative with their version of contemporary history paintings.[13][2] The tapestries reworked digital imagery from their travels and the "Some People" videos—twisted figures, battlefield sites, jet fighters, nonsensical flags and signs, animals, themselves in clown garb—using Renaissance compositional strategies and an absurdist theater approach (e.g., Some People, 2014); the shifting perspectives offered uneasy commentary on modern hypocrisy, human conflict and the complexities and contradictions of global politics.[13][2]

In the installation You're Welcome and I'm Sorry (2019, MASS MoCA), Aziz + Cucher portrayed the polarizing effects of inequality and the absurdity of modern political theater, mocking neoconservative policies, white nationalist ideologies and claims of economic ignorance made by world leaders in the aftermath of the 2008 financial crisis.[2][7] Placed within a room painted in circus stripes (the colors derived from bank logos), the six-channel video featured parodistic, whirling and orating business characters in costumes and masks made from repurposed shirts, ties, and deconstructed power suits. They appeared in shifting, quasi-corporate environments (the World Economic Forum stage, Wall Street offices) alongside stock exchange banners, emojis and slot machines, accompanied by a soundtrack of financial verbiage and metal music.[2][7]

The artists reprised the MASS MoCA piece's title in their 2022 exhibition at Gazelli Art House in London, which included thirty years of work, including new mixed-media paintings.[2] In these works on canvas, such as The Lobby (2022), they continued in the vein of the prior installation, combining satiric social commentary, bright colors, layered patterning, spatial disorientation and characters in tattered corporate wear and masks. Brooklyn Rail critic Tennae Maki suggested the paintings brought their work around full circle: "the manic, oscillating mechanization found within the exhibition mirrors the very paradox that the artists have long endeavored to address. It marries the gifts and penalties that digital technology has bestowed onto society—you’re welcome and I’m sorry."[2]

Museum collections and awards

[edit]

Aziz + Cucher's artwork belongs to the public collections of international institutions including the Brondesbury Collection,[49] C-Collection (Lichtenstein),[50] di Rosa Center for Contemporary Art,[51] Fonds national d'art contemporain,[22] Galería de Arte Nacional (Caracas),[23] Indianapolis Museum of Art,[52] Kalamazoo Institute of Arts,[53] Leslie-Lohman Museum of Art,[8] Los Angeles County Museum of Art,[19][20] Museo de Arte Contemporáneo de Castilla y León (MUSAC),[54] Museum of Contemporary Photography,[24] National Gallery of Australia,[55] San Francisco Museum of Modern Art,[21] and San Jose Museum of Art,[56][57] among others.

Aziz + Cucher have received grants and awards from the Pollock-Krasner Foundation (2002, 2017, 2022), New York Foundation for the Arts (2003, 2015) and Friends of Photography (Ruttenberg Award, 1996), among others.[21][58][59][60] The Pollock-Krasner Foundation award represented the first time it was given to artists working with photography and digital media.[21] They have received artist residencies from Djerassi, the Frans Masereel Centrum (Belgium) and the San Francisco Art Institute.[61][62]

References

[edit]
  1. ^ Jump up to: a b c d e f g h i j k l m n o Sheets, Hilarie M. "It's an Absurd World, Send In the Clowns," The New York Times, April 29, 2012. Retrieved June 7, 2024.
  2. ^ Jump up to: a b c d e f g h i j k l m Maki, Tennae. "Aziz + Cucher: You’re Welcome and I’m Sorry," The Brooklyn Rail, December 2022. Retrieved June 7, 2024.
  3. ^ Jump up to: a b c d e Attias, Laurie. "Aziz + Cucher," ARTnews, December 2001, p. 148.
  4. ^ Jump up to: a b c Patel, Alpesh Kantilal. "Aziz + Cucher," Artforum, January 21, 2014. Retrieved June 7, 2024.
  5. ^ Jump up to: a b c d e f Cash, Stephanie. "Aziz + Cucher at Jack Shainman," Art in America, December 1997, p. 91.
  6. ^ Jump up to: a b c Bonetti, David. "Bonding art with new technology," San Francisco Chronicle, December 23, 1994, p. D-9.
  7. ^ Jump up to: a b c d MASS MoCA. "Aziz + Cucher," Suffering From Realness, North Adams, MA: MASS MoCA, 2019.
  8. ^ Jump up to: a b c Leslie-Lohman Museum of Art. John (from Dystopia series), Aziz + Cucher, Collection. Retrieved June 6, 2024.
  9. ^ Auerbach, Ruth. "Aziz- Cucher," Extracamara/ Caracas: fotografías de la ciudad, Caracas, Venezuela, 1997, P. 60. Retrieved June 6, 2024.
  10. ^ Jump up to: a b c d e Aletti, Vince. "Aziz + Cucher/Allan McCollum and Laurie Simmons," The Village Voice, June 6, 1995.
  11. ^ Jump up to: a b c d Nahas, Dominique. "Aziz + Cucher at Jack Shainman: 3 Critical Comments”, Review, October 1, 1997, p. 15–19.
  12. ^ Jump up to: a b c d e f g h i j Freiman, Lisa D. "Turning on its Owners: Aziz + Cucher's Spatial Uncanny," in Aziz + Cucher: Some People, Lisa D. Freiman (ed.), Indianapolis, IN/Germany: Indianapolis Museum of Art/Hatje Cantz, 2012. Retrieved June 7, 2024.
  13. ^ Jump up to: a b c d e f g P., L. "Aziz + Cucher: Motley's the Only Wear," ArtPremium, Winter 2018, p. 8–15.
  14. ^ Hess, Elizabeth. "Museum Bytes Dog," The Village Voice, June 15, 1993, p. 93.
  15. ^ Jump up to: a b Venice Biennale. La Biennale di Venezia, Venice: Venice Biennale, 1995.
  16. ^ Sobieszek, Robert A. Ghost in the Shell: Photography and the Human Soul, 1850–2000, Los Angeles: Los Angeles County Museum of Art, 1999.
  17. ^ San Francisco Museum of Modern Art. "SFMOMA Presents Focused Survey Of Recent Innovations In Body Design," August 15, 2002. Archived from the original 2018-10-10. Retrieved June 7, 2024.
  18. ^ Fusco, Coco. Only Skin Deep, New York: International Center of Photography, 2003.
  19. ^ Jump up to: a b Los Angeles County Museum of Art. Maria, Aziz + Cucher, Collections. Archived from the original on 2021-11-03. Retrieved June 6, 2024.
  20. ^ Jump up to: a b Los Angeles County Museum of Art. Sybill, Aziz + Cucher, Collections. Archived from the original on 2021-11-03. Retrieved June 6, 2024.
  21. ^ Jump up to: a b c d e San Francisco Museum of Modern Art. Aziz + Cucher, Artists. Retrieved June 6, 2024.
  22. ^ Jump up to: a b Fonds National d’Art Contemporain. Aziz + Cucher, Chris, Artwork. Retrieved June 6, 2024.
  23. ^ Jump up to: a b Narciso, Emilio. "Referencias Cruzadas. Arte Contemporáneo De Venezuela," Artishock, August 12, 2020. Retrieved June 6, 2024.
  24. ^ Jump up to: a b c d Museum of Contemporary Photography. #4, from the 'Interior' series, Aziz + Cucher, Collections. Retrieved June 6, 2024.
  25. ^ LaPalma, Marina Debellagente. "Masculine Masquerade," Afterimage, May 1991.
  26. ^ The New School. Anthony Aziz, Faculty. Retrieved June 6, 2024.
  27. ^ Jump up to: a b Lehat, Sarah. "Time of the Empress: Architectural Identity and the Persistence of Hope," HuffPost, January 17, 2014. Retrieved June 7, 2024.
  28. ^ The New School. Sammy Cucher, Faculty. Retrieved June 6, 2024.
  29. ^ Jump up to: a b c d Charity, Ruth and Yvonamor Palix. Unnatural Selection, Aziz + Cucher, London/Paris: The Photographers' Gallery/Espace d'art, 1996.
  30. ^ Jump up to: a b c d Reveaux, Tony. "A Bodily Challenge," Artweek, December 1, 1992, p. 23.
  31. ^ Jump up to: a b Seward, Keith. "Aziz + Cucher," Artforum, December 1993. Retrieved June 7, 2024.
  32. ^ Jump up to: a b Carvalho, Denise. "Aziz + Cucher at Jack Shainman: 3 Critical Comments”, Review, October 1, 1997, p. 15–19.
  33. ^ Jump up to: a b c d Katz-Freiman, Tami. "From Body Politics to Conflict Politics: Aziz + Cucher Come Out of the (Biography) Closet," in Aziz + Cucher: Some People, Lisa D. Freiman (ed.), Indianapolis, IN/Germany: Indianapolis Museum of Art/Hatje Cantz, 2012. Retrieved June 7, 2024.
  34. ^ Art Nexus. "Aziz + Cucher," February-April 2001, p. 155–56.
  35. ^ Westall, Mark. "Interview: Aziz + Cucher," FAD Magazine, January 17, 2014. Retrieved June 7, 2024.
  36. ^ Jump up to: a b c Aletti, Vince. "Aziz + Cucher," The Village Voice, September 21, 1993.
  37. ^ Webster, Mary Hull. "Manipulate Desires," Artweek, July 21, 1994.
  38. ^ Jump up to: a b Cohen, Mark Daniel. "Aziz + Cucher at Jack Shainman: 3 Critical Comments”, Review, October 1, 1997, p. 15–19.
  39. ^ Bonetti, David. "Leaving the 'white cube'," San Francisco Chronicle, November 20, 1992, p. D-2.
  40. ^ Artspace. "On the Scene: San Francisco Chronicle, March/April 1993, p. 91.
  41. ^ Glueck, Grace. "Aziz + Cucher," The New York Times, October 3, 1997, p. E35. Retrieved June 7, 2024.
  42. ^ Jump up to: a b Forest, Jason. "Bay Area Now," Art Papers, November-December 1997, p. 39.
  43. ^ Hunt, David. "Aziz + Cucher," Flash Art, May-June 2001, p. 150.
  44. ^ Israel, Nico. "Aziz + Cucher," Artforum, February 2001. Retrieved June 7, 2024.
  45. ^ Jump up to: a b c Gilmore, Jonathan. "Aziz + Cucher," Tema Celeste, March-April 2001, p. 95.
  46. ^ MacAdam, Barbara A. "A Salon for the 21st Century," ARTnews, May 2000, p. 232–33.
  47. ^ Walkowiak, Jeffrey. "When the Mind Sees More Than the Eye," Scenapse: Nueva Fotografía, Barcelona/Madrid, 2008.
  48. ^ Jump up to: a b Лмельширих-Латар, Ноам. "Может ли искусство помогать в разрешении конфликта?" Кадр , 18 сентября 2018 года. Получено 7 июня 2024 года.
  49. ^ Коллекция Брендсбери. Aziz + Cucher , Collection. Получено 6 июня 2024 года.
  50. ^ C-Collection. Азиз + Кьючер . Получено 6 июня 2024 года.
  51. ^ Ди Роза Центр современного искусства. Список художников . Получено 6 июня 2024 года.
  52. ^ Индианаполис Музей искусств. Aziz + Cucher , коллекции. Получено 6 июня 2024 года.
  53. ^ Каламазу Институт искусств. #4 , из серии Interior, Aziz + Cucher , Collection. Получено 6 июня 2024 года.
  54. ^ Arte Aldia . «Выставки Musac Summer 2016», News, 2016. Получено 6 июня 2024 года.
  55. ^ Национальная галерея Австралии. Aziz + Cucher, Still Life #6 , Collection. Получено 6 июня 2024 года.
  56. ^ Сан -Хосе Музей искусств. Мария , из серии «Дистопия» , коллекция. Получено 6 июня 2024 года.
  57. ^ Сан -Хосе Музей искусств. Человек с женой . Коллекция. Получено 6 июня 2024 года.
  58. ^ Поллок-Краснер Фонд. Азиз + Кьючер , художники. Получено 6 июня 2024 года.
  59. ^ ArtForum . «Фонд Поллока-Краснер объявляет о новых грантах почти 2,7 миллиона долларов»,- новость, 3 августа 2022 года. Получено 6 июня 2024 года.
  60. ^ Музей современной фотографии. Aziz + Cucher , коллекции. Получено 6 июня 2024 года.
  61. ^ Frans Masereel Centrum. Жители , 2016. Получено 6 июня 2024 года.
  62. ^ Сан -Франциско Художественный институт. «Aziz + Cucher назначен художниками-резидентами и гостевым факультетом» , 5 ноября 2013 года. Получено 6 июня 2024 года.
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