The life and works of maurizio cattelan

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Since early on, he has culled widely from a conceptual based toolbox from which various mediums, forms, objects, and materials are used to express his underlying messages. Then in , he rented out his allotted space at the Venice Biennale to an advertising agency who installed a billboard for perfume with the title slogan Working Is a Bad Job. One thing the artist knew for sure though, was that he wanted to someday show his work at Marian Goodman Gallery. He was fascinated with the status that came along with being an artist, and the idea of having one's work seen on magazine covers. Appreciated equally for both his dark humor and his vivid sculptures, Cattelan frequently depicts celebrities, political individuals, figures from art history and animals in comically absurd scenes with deep meanings. In , he even went so far as to steal the contents of another artist's show from a nearby gallery and attempt to pass them off as his own, until the police forced him to return the work. Between and his work has largely centered on publishing and curating. The donkey was a symbol of peace, an alternative to the horse, which was more associated with war. Maurizio Cattelan — Untitled, — Image via whitehotmagazine.

In another piece, Errotin, la Vraie Lapin,Cattelan had Paris gallerist Emmanuel Perrotin dress up in a pink bunny costume shaped like a large penis. When in public, Cattelan's known to be enigmatic and slippery, dancing between the same type of emotional extremes he presents in his artwork - from sad depressive to class clown all in a matter of moments.

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Conceptually, Cattelan's work recalls earlier pieces by Korean artist Nam June Paik, who often juxtaposed mainstream technological devices with religious or spiritual imagery in order to also critique the worship of mass media, as in TV Buddha During this time, Cattelan met some very talented designers who helped him set up his artistic manner and basis of his future artworks.

Between and his work has largely centered on publishing and curating. All were fascinated with the ability this artist presented — Jonathan P.

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Early Training and Work Cattelan had no formal arts education. According to Debord, the advent of mass media and advertising around the s, caused people to become more transfixed by commodities and their representation, "images detached from every aspect of life," as a distraction, or substitute for, real life.

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The work also grabbed the attention of Dodie Kazanjian, art critic for Vogue, and Calvin Tomkins, art critic for the New Yorker, who sought Cattelan out and formed an instant friendship with him. Hollywood is also re-figures a current reality in front of a new context.

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Biography of Maurizio Cattelan