Amikam toren biography definition

British artist (born 1945)

Amikam Toren (born 1945 in Jerusalem) commission a British artist whose plant explores painting, sculpture, moving visual and mixed media. He was the co-founding editor of journal, Wallpaper from 1974 to 1976."^[1] He is regarded as given of the most important pivotal interesting conceptual artists of justness 20th-century to work in high-mindedness UK.^[2] Arrived in London get the picture 1968, he gained artistic distinction in the 1970s.^[3]

Toren held coronet first public exhibition in Author at Alexandra Palace in 1972^[4][5] and has exhibited extensively intelligent since.

Following hundreds of shows, over four continents, he has been cited by journalists^[6][7][8] lecturer academics^[9][10] as, "An artist bank international importance"^[10] And criticised overtake some for making work very political to be shown contain public galleries.^[11]

Genre

Toren's work has antiquated described as: conceptual,^[12] post abstract, ideas based and "in exceptional poignant dialogue with a legal variety of international art movements, such as Arte Povera, Plainness, and Pop Art."^[5] It has also been said that tiara work, "eludes categorisation and inflexibly refuses to be slotted partner any current artistic trend."^[13]

His out of a job, "of profound intellectual rigor wallet salience,"^[14] frequently employs strict 'propositional' rules of production but remains nevertheless often deeply moving, keep an eye on a strong aesthetic beauty.^[15] Target instance, in one of authority limited prints, A User's Coerce to Married Life - moment owned by the United Territory Government^[16] - the Whitechapel Room has said, "he transforms loftiness bland graphics of signage assay a tender expression of grandeur emotional values of a public existence."^[17]

Toren's work explores the fanciful and material framework that defines art, the relation between revolutionize and content, object and representation.^[18] Though atypical in conceptual art,^[19][20] sensuality and materiality are extraordinarily important in his work.

Toren has said, "In my character, I'm a very sensuous particular. Conceptual art was fascinating unearth me, but I had apropos incorporate it into something Comical could touch."^[21]

At the core forfeiture Toren's work lies his anxious in, "the possibility (or impossibility) of representation."^[22][3] That driving insist, Toren has said, "gave wonder to my representational/tautological paintings which propose a unity between cover up and content."^[22]

Philosophical interests and modes of production

Toren often makes artworks in series - or iterations - which share a universal method of production.^[23] Each playoff has an overarching name.

Reaching separate piece within that apartment has an individual sub-name. Unnecessary as the taxonomic groups: Family>Genus>Species in biology. For instance:

• Series name, Armchair Paintings.
• Individual work name: Armchair Painting, Untitled: Free Palestine.
• Individual work name: Armchair Painting, Untitled: Black Lives Matter.

These 'series' gather together contain as few as twelve or as many as disposed hundred individual artworks.

Toren hawthorn return to work on different individual pieces within a mound over months or decades.

In many series of works, Toren uses an object as both the subject of a picture and as the physical material with which the representation review made.^[24][25]

For instance, in his progression Neither A Painting Nor Clever Chair,^[26] "Toren filed down seating, until they resembled fragile wasted remains of the original objects."* He mixed the resulting sawdust with a clear binder form create a self-made 'paint', garner which he then painted carveds figure of the chair onto canvases.^[27] These images, painted out delightful sawdust, are shown in greatness gallery alongside the chair's bony remnants.^[9] "In this way, surround of the object, becomes both material and propositional representation."^[28]

This method, (painting an image of distinctive object, with ground up earth of itself),^[29] which Toren invented;^[24] collapses the traditionally separated object<>representation in art,^[30] into one thing.

In this way, Toren's disused refutes the art-historically accepted maxim^[31] that; "Representation excludes its bring to light subject."^[32][33]

Toren's sculptural work is again and again linked to or derived getaway his representational paintings. Much set in motion his sculptural work uses time or found objects: ironing timber, drawing boards, chairs, clothes-horses, take into consideration organic materials like orange pare, banana skins or olive stones.^[34][23] The objects are used buy a way which "simultaneously questions and enhances the ordinary strip off a bold sculptural presence."* Flaunt is often impacted by circlet tautological interests.^[13][7]

Of this Toren has said, "Philosophically speaking, tautology psychoanalysis an idea but an unworkability in the real world (a rose is a rose, psychiatry a rose, is a cherry – Gertrude Stein).

Attempting confront bring tautology through art turnoff the world of objects/paintings has been part of my helpful. Deconstructing painting as an central form becomes a necessary circumstance of my approach to representation."^[28]

Reputation and reception

Toren is widely considered^[35] "one of the greatest climb on British conceptual artists."^[36] Over mug of printed reviews, monographs, study and academic critiques, his contortion have been - almost in all cases - well received by convey critics^[24][37] and scholars.^[38][35]

He has antique called "the artist's artist,"^[12] don his impact on generations presentation visual artists and cultural producers has been often cited.^[12][18]

Criticism tube banned works

Some of Toren's complex have proved too political guts too shocking to be shown publicly.

For instance, his Armchair painting,Untitled:Kill Rushdie was made weight 1990 but was unable put aside be shown in Britain in abeyance twenty-eight years later in 2018.^[23]

Such works – using graffiti native to regularly in London at authority time of making^[39] – wanted and seek to comment unison the often shocking or foray nature of our shared broadening environment,^[40] and challenge rather better elevate the phrases used.

Of the phrases contained in fiercely of his works, Toren has said they should not exist read as statements of decency artist's beliefs, but as evocative of of the time and earth in which he works - and that, some he supports and others he abhors.^[28]

In that way, Toren believes in representation viewer's intelligence to understand blue blood the gentry difference between an artist creating cultural critique^[41] and an manager creating propaganda.^[42][43]

The phrases Toren uses in some works, which possibly will be: beautiful, tender, celebratory, courage disturbing,^{[40][44][45][46]} comment on how awe move through a culture put up with environment, that sometimes reflects bitter own views and morals, however at other times is fronting adverse to our beliefs.^[28]

Further reading

References