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Sculpture --- sculpting --- human figures [visual works] --- Althamer, Paweł

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Art --- prints [visual works] --- sculpture [visual works] --- installations [visual works] --- humor --- satire [artistic device] --- religions [belief systems, cultures] --- political art --- philosophy of art --- human figures [visual works] --- Cattelan, Maurizio

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This thorough, multifaceted assessment of Raymond Pettibon's entire career to date includes nearly 700 images, contributions from important figures in the art-historical and cultural fields, and a recent interview with the artist. Beginning with childhood drawings, the book moves through to his mature work, which embraces both high and low culture.

Drawing, American --- 741.5.07 --- American drawing --- Tekenkunst ; striptekenaars ; cartoonisten A - Z --- Pettibon, Raymond, --- Ginn, Raymond, --- Pettibon, Lance, --- Exhibitions --- 75.07 --- 741.07 --- 76.07 --- Grafiek ; inkt-tekeningen --- Humor in de kunst ; ironie ; inspiratie uit underground cultuur --- Punk --- Kunst en politiek --- Graphic Novels --- Zines --- Comics --- Pettibon, Raymond °1957 (°Tucson, Arizona, Verenigde Staten) --- Kunst en woord --- Kunst en tekst --- Schilderkunst ; tekenkunst ; 1960-2016 ; Raymond Pettibon --- Schilderkunst ; schilders --- Tekenkunst ; tekenkunstenaars A - Z --- Grafische kunst ; grafische kunstenaars A-Z --- Art --- Pettibon, Raymond --- MAD-faculty 19 --- hedendaagse tekenkunst --- Pittibon, Raymond --- Peṭibon, Remond, --- פטיבון, רימונד

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For over fifty years, Metzger has worked across a variety of mediums to touch on issues of war, consumerism, and ecology. This exhibition presents the artists complete series of sculptural installations titled Historic Photographs. Begun in the mid-1990s, these works confront the viewer with some of the most powerful and tragic images of twentieth-century history, capturing events including the destruction of the Warsaw ghetto in 1943, the horrors of the Vietnam War, the Oklahoma City bombing, and environmental destruction in contemporary England.

Metzger conceived of the Historic Photographs as a radical response to the desensitization towards images of death and destruction in society and the loss of historical memory. He reconfigures each of these iconic photographs by enlarging, obscuring, or hiding them from view using simple but evocative materials. Instead of a momentary glance, the Historic Photographs require an engagement with photography that is intimate, tactile, and prolonged. They create powerful physical experiences that transmit the emotional and intellectual weight of history. Instead of creating memorials to the past, Metzgers works are gestures of social activism with the expressed intention of rebuilding our understanding of and sensitivity towards historical trauma.

As a survivor of the Holocaust, Metzger has first-hand experience of displacement and destruction that shaped his subsequent outlook on the relationship between art and society. Initially trained as a painter, Metzger also published the Auto-Destructive Art Manifesto (1959), which called for the production of artwork with industrial materials and a limited lifespan that, in his words, reenacts the obsession with destruction, the pummeling to which individuals and masses are subjected. These ideas were most dramatically realized in London in 1961, when he sprayed sheets of nylon with hydrochloric acid, burning them to tatters. Since that time, Metzger has continuously viewed his role as an artist as one that seeks radical social and political change. His works have taken the form of ephemeral objects, participatory installations, or radical proposals for collective action including his art strike and his recent initiative Reduce Art Flights. The Historic Photographs are representative of Metzgers career-long consideration of how an artwork can critique and transform the way we live in the world.

Photography --- installation artists --- Metzger, Gustav