At the P.S.1 Contemporary Art Center in 2004, he showed 100 Years (2001), a work whose title suggested a survey exhibition, only to subvert that logic. He produced two books, both titled Voyeur, in 19, that featured a wide array of images, from documentation of plane crashes to nudes. Divorced from their original contexts, these shots took on new, strange meanings in the hands of Feldmann, who circulated them in ways their creators may not have intended.įeldmann’s photographic works grew more expansive during the course of his career. 11 Bilder, for example, consisted of fewer than a dozen pictures of women’s knees. Known as “Bilders” (“Pictures”), these booklets, produced between 19, were made available for free. Some of Feldmann’s earliest notable works involve groupings of appropriated images that seem banal. Some have even grouped his art in with the strain of Pop that could be found during the ’60s in Germany, his home country. His works, many of them composed of pictures he’d collected over the years into a massive archive, are today considered important, if under-known, forerunners to appropriation art of the ’80s. In 1999, he had master craftsmen produce a plaster replica of a Neoclassical sculpture Feldmann then painted it bright pink.īut critics saw these works as more than just pranks. In 2011, when he became the oldest artist to win the Guggenheim Museum’s $100,000 Hugo Boss Prize, he pinned that amount in $1 bills to the institution’s walls. Many of Feldmann’s artworks would have been considered stunts if they were done by lesser artists. Step No.Ilya Kabakov, Pioneering Installation Artist and Gimlet-Eyed Critic of Russia, Dies at 89 After the engraving - an official LIULI artwork is born. Our artist refines and re-polishes each and every detail yet again.Īn etched number on the base of each piece indicates its limited edition and reminds us to never stop creating. 11: Retouching of details burnishing and polishing Rough polish, removal of excess support, refinement and fine surface polish with a high-speed fabric wheel. Like excavating fragile archaeological relics, one false move and you're left with broken shards.įirst comes die-cutting - smoothing the crystal down to the last microinch. When the art pieces emerge, our masters step in to carefully chip away the plaster mold. 9: Re-firing at 1,400 degrees CelsiusĮxtreme patience and care are necessary when removing the plaster to prevent damage. Under intense heat, a new vision of transparency and clarity is born. Color and size appropriate pieces are placed within the plaster and fired.įire and melt. Liuli ingredients are created through unique firing and processing of glass. 7: Removal of wax with steam-the essence of the “lost-wax” process Wax is steamed out of the plaster under high heat yielding a negative plaster mold. 6: Coating the wax sculpture with plaster to form a refractory mold Embedding wax form with fire-resistant plaster. The wax mold is placed on a wooden plank in a metal container and plaster is poured and solidified. 5: Wax form refinement removing imperfections Our artists refine the wax mold to its final perfection. Because every microinch and subtlety plays its own role in the grand scheme of beauty. 4: Shedding of silicon mold to obtain the wax formĪ careful refinement of the wax sculpture. Like a butterfly molting, the silicon is shed to reveal a positive wax form. Once wax has solidified and cooled, release the wax form by carefully peeling back the silicone mold. Pour molten wax into the negative silicone mold. Once complete, the clay is removed to reveal a negative silicone mold. Each layer must dry completely before additional layer is applied, thickness must be uniform to prevent leakage of wax. Layer after layer (3 to 7 layers) is fastidiously coated to produce a negative mold, a crucial step in capturing the prevision of the sculpture. Step 2 of the process involves coating our original clay sculpture in silicone. Yang leads a team of experienced artisans to create arts that honor the richness of cultural heritage and value.
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