THE ARTIST PROJECT: Lee Mingwei On Chinese Ceremonial Robes
"You can change your skin and put on a different robe and you’re a different person." Conceptual artist, Lee Mingwei, describes the strict symbolism on three Chinese ceremonial robes. Weaving dragons surrounded by wavy clouds and soft fire is reserved for emperors, who are as mystical and powerful as the design.
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THE ARTIST PROJECT: Barbara Bloom On Vilhelm Hammershøi's Moonlight, Strandgade 30
How can you depict something that is not there? Barbara Bloom is held by this very concept as she stares into one of the many lonely and loving interior paintings by Vilhelm Hammershøi's. The painting asks her to not ask what is happening in the room
THE ARTIST PROJECT: Ann Agee on the Villeroy "Harlequin Family"
Although sculptor and visual artist Ann Agee did not always admire ceramics aesthetically, she was attracted to the medium’s tension between fine art and decorative object. As Agee explores The Jack and Belle Linsky Collection at the Metropolitan Mus
THE ARTIST PROJECT: Arlene Shechet on a Bronze Statuette of a Veiled and Masked Dancer
"When an artist is in love with the piece that communicates very well over time. So thousands of years later, we’re still feeling it." For the past two decades, sculptor Arlene Shechet has returned to a small bronze statuette of a dancer.
THE ARTIST PROJECT: Ann Hamilton on a Bamana Marionette
Though artist Ann Hamilton enjoys to aimlessly discovering new works in a museum, she finds herself returning to the Bamana marionette again and again. Hamilton describes the power this small and simple figure holds, and imagines the animation and mo
THE ARTIST PROJECT: Adam Fuss on a Marble Grave Stele of a Little Girl
"She’s saying goodbye to the world, and isn’t that masterful of an artist to capture that reluctance?" British photographer Adam Fuss is drawn to an extraordinarily beautiful grave marker of a young girl.
THE ARTIST PROJECT: Barry X Ball on an Egyptian fragment of a queen’s face
A sculptor himself, Barry X Ball observes the effects of destruction on statues dating all the way back to ancient Egypt. Missing features from a once full human facial sculpture, Barry says there is no loss, and maybe even, there is more power in it