John Armleder Liberty Dome VIIa 1998 Mirrored Plexiglas domes (in eight parts). 105 x 226 x 19 in. (266.7 x 574 x 48.3 cm). Signed and dated “John Armleder 98” and numbered of 10 on the reverse of one disc. This work is from an edition of 10.
Provenance Art & Public, Geneva Catalogue Essay Refusing to be limited to a single genre, medium, or movement and willing to throw out the rules of style and good taste in the name of artistic experimentation, the Swiss-born artist John Armleder has spent the past forty years crafting a legendary reputation and compiling a resume that includes painter, sculptor, draughtsman, performance artist, critic and curator, as well as associations with highly influential movements ranging from Fluxus to Neo-Geo. Possessed of a critic’s distanced view of art history and culture’s location within society, Armleder questions the potential of artistic radicalism of the historical avant-garde and Modernist varieties to exist as anything more than the visual vocabulary of Post-Modernism, as distinctions between high and low culture collapse and idealistic artwork becomes chic décor.Working within this historical context, Armleder’s endeavors as an artist explore issues of critical and audience perception and reception, authenticity and authorship, and the combination of myriad styles, media and materials: quite often Armleder takes a curatorial approach to art-making via the juxtaposition of disparate objets trouvées, from disco balls, potted plants and plastic straws, to objects of his own design, such as Liberty Dome VIIa, 1998, a series of eight mirrored domes mounted on the wall which blurs the lines between sculpture and design, fine art and fashionable ornament. Read More
John Armleder Liberty Dome VIIa 1998 Mirrored Plexiglas domes (in eight parts). 105 x 226 x 19 in. (266.7 x 574 x 48.3 cm). Signed and dated “John Armleder 98” and numbered of 10 on the reverse of one disc. This work is from an edition of 10.
Provenance Art & Public, Geneva Catalogue Essay Refusing to be limited to a single genre, medium, or movement and willing to throw out the rules of style and good taste in the name of artistic experimentation, the Swiss-born artist John Armleder has spent the past forty years crafting a legendary reputation and compiling a resume that includes painter, sculptor, draughtsman, performance artist, critic and curator, as well as associations with highly influential movements ranging from Fluxus to Neo-Geo. Possessed of a critic’s distanced view of art history and culture’s location within society, Armleder questions the potential of artistic radicalism of the historical avant-garde and Modernist varieties to exist as anything more than the visual vocabulary of Post-Modernism, as distinctions between high and low culture collapse and idealistic artwork becomes chic décor.Working within this historical context, Armleder’s endeavors as an artist explore issues of critical and audience perception and reception, authenticity and authorship, and the combination of myriad styles, media and materials: quite often Armleder takes a curatorial approach to art-making via the juxtaposition of disparate objets trouvées, from disco balls, potted plants and plastic straws, to objects of his own design, such as Liberty Dome VIIa, 1998, a series of eight mirrored domes mounted on the wall which blurs the lines between sculpture and design, fine art and fashionable ornament. Read More
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