![Triptych: Venice Biennale (2009)> Danish Pavilion, Wolfgang Tilmans Fragment/Biennale Storage Still Life (Arsenale)/Czech and Slovak Pavilion, Roman Ondak Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg190.jpg)
Triptych: Venice Biennale (2009)> Danish Pavilion, Wolfgang Tilmans Fragment/Biennale Storage Still Life (Arsenale)/Czech and Slovak Pavilion, Roman Ondak Fragment, [detail]
Artist: Lucy Hogg
Work ID: 74098
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Oeuvre d'art par Lucy Hogg
Mirror #4
Artist: Lucy Hogg
ID : 69095
Description: Source: Death of Marat, Jacques-Louis David, 1793
Des mesures :
Collection:
Date de réalisation : 1991
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Mirror #5
Artist: Lucy Hogg
ID : 69096
Description: Source: Portrait de l'artiste, Jacques-Louis David, 1794
Des mesures :
Collection:
Date de réalisation : 1991
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Rebuild #1
Artist: Lucy Hogg
ID : 69084
Description: Source: La grand odalisque, Jean-Auguste Ingres, 1814
Des mesures :
Collection:
Date de réalisation : 1991
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Mirror #7
Artist: Lucy Hogg
ID : 69098
Description: Source: Self portrait, Frans Hals, 1730's
Des mesures :
Collection:
Date de réalisation : 1991
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Mirror #1
Artist: Lucy Hogg
ID : 69092
Description: Source: Orphan Girl at the Cemetary, 1824, Eugene Delacroix
Des mesures :
Collection:
Date de réalisation : 1991
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Rebuild #3
Artist: Lucy Hogg
ID : 69086
Description: Source: La Baigneuse Valpinçon, Jean-Auguste Ingres, 1808
Des mesures :
Collection:
Date de réalisation : 1991
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Rebuild #4
Artist: Lucy Hogg
ID : 69087
Description: Source: La grande odalisque, Jean-Auguste Ingres, 1814
Des mesures :
Collection:
Date de réalisation : 1991
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Mirror #6
Artist: Lucy Hogg
ID : 69097
Description: Source: Malle Babbe, Frans Hals, 1729
Des mesures :
Collection:
Date de réalisation : 1991
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Mirror #2
Artist: Lucy Hogg
ID : 69093
Description: Source: Orphan Girl at the Cemetary, 1824, Eugene Delacroix
Des mesures :
Collection:
Date de réalisation : 1991
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Mirror #3
Artist: Lucy Hogg
ID : 69094
Description: Source: Self Portrait, Eugene Delacroix, 1837
Des mesures :
Collection:
Date de réalisation : 1991
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Rebuild #2
Artist: Lucy Hogg
ID : 69085
Description: Source: La Baigneuse Valpinçon, Jean-Auguste Ingres, 1808
Des mesures :
Collection:
Date de réalisation : 1991
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Untitled (after Madame Récamier)
Artist: Lucy Hogg
ID : 69091
Description: Source: Madame Récamier, née Julie (dite Juliette) Bernard (1777 - 1849), Jacques Louis David, 1800
Des mesures :
Collection:
Date de réalisation : 1992
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Wounded Warrior #2
Artist: Lucy Hogg
ID : 69089
Description: Source: Cuirassier blessé quittant le feu, Théodore Géricault, 1814
Des mesures :
Collection:
Date de réalisation : 1992
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Wounded Warrior #1
Artist: Lucy Hogg
ID : 69088
Description: Source: Officier de chasseurs a cheval de la garde, Théodore Géricault, 1812
Des mesures :
Collection:
Date de réalisation : 1992
Matériaux : oil on linen
Collection virtuelle : Original CCCA
V#1
Artist: Lucy Hogg
ID : 69090
Description: Source: The Birth of Venus, 1863, Alexandre Cabanel
Des mesures :
Collection:
Date de réalisation : 1993
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Exhibition installation
Artist: Lucy Hogg
ID : 69101
Description: Vancouver Art Gallery, 1994, photo by Lucy Hogg
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Exhibition installation
Artist: Lucy Hogg
ID : 69100
Description: Vancouver Art Gallery, 1994, photo by Lucy Hogg
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Exhibition installation
Artist: Lucy Hogg
ID : 69099
Description: Vancouver Art Gallery, 1994, photo by Trevor Mills
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Monkey Painter
Artist: Lucy Hogg
ID : 69111
Description: Source: Le Singe peintre, Jean Siméon Chardin, 1739-40
Des mesures : 55.88 x 46.99 cm
Collection:
Date de réalisation : 1995
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Gilles, studio installation
Artist: Lucy Hogg
ID : 69104
Description: Source: Pierrot, dit Gilles, Antoine Watteau, 1720.
Gilles, 1994 – 2003
When I started this project I was teaching a painting seminar about the Death of Painting.
In 1994 I went to France and saw sixteen versions of Claude Monet's "Rouen Cathedral" at the Musée des Beaux Arts in Rouen, a series he did in 1892 – 93, a hundred years earlier. I also encountered my first Yves Klein blue monochrome painting at the Centre Pompidou, which had been painted in 1960. On a previous trip to Paris I had fallen in love with Jean-Antoine Watteau's " Gilles" at the Louvre, finished in 1720, which may have served as a shop sign for a café.
In my research on Yves Klein, I was taken up by his persona of the Dandy; he'd moved the legacy of Beau Brummel to the 20th Century. I was quite envious of the younger male painters in my milieu who seemed able to take up abstract painting without a qualm. Dandies themselves, they smartly took up a critique of the monochrome, weaving in references to pop culture, while making attractive, decorative work. They got to have their cake and eat it too. I'd trained as a formalist fifteen years earlier, but in the heady 80's had eschewed a conservative practice that didn't take up the political. Ever the whiney feminist, somehow I'd missed the boat.
This series was an attempt to reconcile all that. The seriality of Monet's project connected to the seriality of Yves Klein's. Yves Klein's performative figure seemed to connect to Gilles, the consumptive clown/artist. Both died young. Although known for his blue paintings, Yves Klein dealt with all the primaries. His paintings were a reiteration of Rodchenko's red yellow and blue monochromes, which in 1921 declared the death of painting. The first time this sentiment may have been uttered was in 1839, when the French painter Paul Delaroche was asked to prepare a committee report on the invention of the Daguerreotype to the French government.
With this work I hoped to make more complex what seemed to me a certain feminist polemic in my earlier work.
Des mesures :
Collection:
Date de réalisation : 1996
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Gilles # 1
Artist: Lucy Hogg
ID : 69102
Description: Source: Pierrot, dit Gilles, Antoine Watteau, 1720.
Gilles, 1994 – 2003
When I started this project I was teaching a painting seminar about the Death of Painting.
In 1994 I went to France and saw sixteen versions of Claude Monet's "Rouen Cathedral" at the Musée des Beaux Arts in Rouen, a series he did in 1892 – 93, a hundred years earlier. I also encountered my first Yves Klein blue monochrome painting at the Centre Pompidou, which had been painted in 1960. On a previous trip to Paris I had fallen in love with Jean-Antoine Watteau's " Gilles" at the Louvre, finished in 1720, which may have served as a shop sign for a café.
In my research on Yves Klein, I was taken up by his persona of the Dandy; he'd moved the legacy of Beau Brummel to the 20th Century. I was quite envious of the younger male painters in my milieu who seemed able to take up abstract painting without a qualm. Dandies themselves, they smartly took up a critique of the monochrome, weaving in references to pop culture, while making attractive, decorative work. They got to have their cake and eat it too. I¿d trained as a formalist fifteen years earlier, but in the heady 80's had eschewed a conservative practice that didn't take up the political. Ever the whiney feminist, somehow I'd missed the boat.
This series was an attempt to reconcile all that. The seriality of Monet's project connected to the seriality of Yves Klein's. Yves Klein's performative figure seemed to connect to Gilles, the consumptive clown/artist. Both died young. Although known for his blue paintings, Yves Klein dealt with all the primaries. His paintings were a reiteration of Rodchenko's red yellow and blue monochromes, which in 1921 declared the death of painting. The first time this sentiment may have been uttered was in 1839, when the French painter Paul Delaroche was asked to prepare a committee report on the invention of the Daguerreotype to the French government.
With this work I hoped to make more complex what seemed to me a certain feminist polemic in my earlier work.
Des mesures : 304.8 x 233.68 cm
Collection:
Date de réalisation : 1996
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Gilles # 3
Artist: Lucy Hogg
ID : 69103
Description: Source: Pierrot, dit Gilles, Antoine Watteau, 1720.
Gilles, 1994 – 2003
When I started this project I was teaching a painting seminar about the Death of Painting.
In 1994 I went to France and saw sixteen versions of Claude Monet's "Rouen Cathedral" at the Musée des Beaux Arts in Rouen, a series he did in 1892 – 93, a hundred years earlier. I also encountered my first Yves Klein blue monochrome painting at the Centre Pompidou, which had been painted in 1960. On a previous trip to Paris I had fallen in love with Jean-Antoine Watteau's " Gilles" at the Louvre, finished in 1720, which may have served as a shop sign for a café.
In my research on Yves Klein, I was taken up by his persona of the Dandy; he'd moved the legacy of Beau Brummel to the 20th Century. I was quite envious of the younger male painters in my milieu who seemed able to take up abstract painting without a qualm. Dandies themselves, they smartly took up a critique of the monochrome, weaving in references to pop culture, while making attractive, decorative work. They got to have their cake and eat it too. I¿d trained as a formalist fifteen years earlier, but in the heady 80's had eschewed a conservative practice that didn't take up the political. Ever the whiney feminist, somehow I'd missed the boat.
This series was an attempt to reconcile all that. The seriality of Monet's project connected to the seriality of Yves Klein's. Yves Klein's performative figure seemed to connect to Gilles, the consumptive clown/artist. Both died young. Although known for his blue paintings, Yves Klein dealt with all the primaries. His paintings were a reiteration of Rodchenko's red yellow and blue monochromes, which in 1921 declared the death of painting. The first time this sentiment may have been uttered was in 1839, when the French painter Paul Delaroche was asked to prepare a committee report on the invention of the Daguerreotype to the French government.
With this work I hoped to make more complex what seemed to me a certain feminist polemic in my earlier work.
Des mesures : 304.8 x 233.68 cm
Collection:
Date de réalisation : 1996
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Gilles, Installation view
Artist: Lucy Hogg
ID : 69105
Description: Installation: Kenderdine Art Gallery, Saskatoon, Saskatchewan. Source: Pierrot, dit Gilles, Antoine Watteau, 1720.
Gilles, 1994 – 2003
When I started this project I was teaching a painting seminar about the Death of Painting.
In 1994 I went to France and saw sixteen versions of Claude Monet's "Rouen Cathedral" at the Musée des Beaux Arts in Rouen, a series he did in 1892 – 93, a hundred years earlier. I also encountered my first Yves Klein blue monochrome painting at the Centre Pompidou, which had been painted in 1960. On a previous trip to Paris I had fallen in love with Jean-Antoine Watteau's " Gilles" at the Louvre, finished in 1720, which may have served as a shop sign for a café.
In my research on Yves Klein, I was taken up by his persona of the Dandy; he'd moved the legacy of Beau Brummel to the 20th Century. I was quite envious of the younger male painters in my milieu who seemed able to take up abstract painting without a qualm. Dandies themselves, they smartly took up a critique of the monochrome, weaving in references to pop culture, while making attractive, decorative work. They got to have their cake and eat it too. I¿d trained as a formalist fifteen years earlier, but in the heady 80's had eschewed a conservative practice that didn't take up the political. Ever the whiney feminist, somehow I'd missed the boat.
This series was an attempt to reconcile all that. The seriality of Monet's project connected to the seriality of Yves Klein's. Yves Klein's performative figure seemed to connect to Gilles, the consumptive clown/artist. Both died young. Although known for his blue paintings, Yves Klein dealt with all the primaries. His paintings were a reiteration of Rodchenko's red yellow and blue monochromes, which in 1921 declared the death of painting. The first time this sentiment may have been uttered was in 1839, when the French painter Paul Delaroche was asked to prepare a committee report on the invention of the Daguerreotype to the French government.
With this work I hoped to make more complex what seemed to me a certain feminist polemic in my earlier work.
Des mesures :
Collection:
Date de réalisation : 1996
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Fantasy Critic
Artist: Lucy Hogg
ID : 69114
Description: Source: Denis Diderot, Jean-Honoré Fragonard, 1769
Des mesures : 120.65 x 92.71 cm
Collection:
Date de réalisation : 1997
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Fantasy Artist
Artist: Lucy Hogg
ID : 69113
Description: Source: Portait d'un jeune artiste, Jean-Honoré Fragonard, 1769
Des mesures : 120.65 x 92.71 cm
Collection:
Date de réalisation : 1997
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Modest Artist
Artist: Lucy Hogg
ID : 69112
Description: Source: Autoportrait dit aux besicles, Jean Siméon Chardin, 1771
Des mesures : 60.96 x 46.99 cm
Collection:
Date de réalisation : 1998
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Artist’s Horse
Artist: Lucy Hogg
ID : 69119
Description: Source: Tete de cheval blanc, Théodore Gericault, 1816
Des mesures : 66.04 x 55.88 cm
Collection:
Date de réalisation : 1998
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Amateur Artist
Artist: Lucy Hogg
ID : 69115
Description: Source: Baron Schwiter, Eugéne Delacroix, 1827
Des mesures : 218.44 x 142.24 cm
Collection:
Date de réalisation : 1998
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Juvenile Artist
Artist: Lucy Hogg
ID : 69118
Description: Source: Le Peintre ambulant, Frans Hals, 1640
Des mesures : 40 x 31 cm
Collection:
Date de réalisation : 1999
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Bitter Artist
Artist: Lucy Hogg
ID : 69117
Description: Source: Salvator Rosa, Self Portrait
Des mesures : 139.7 x 111.76 cm
Collection:
Date de réalisation : 1999
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Two Boys
Artist: Lucy Hogg
ID : 69116
Description: Source: Lord John Stuart and his Brother, Lord Bernard Stuart, Anthony Van Dyck, 1638
Des mesures : 256.54 x 147.32 cm
Collection:
Date de réalisation : 1999
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Artist’s Lioness
Artist: Lucy Hogg
ID : 69120
Description: Source: Tete de lionne, Théodore Gericault, 1816
Des mesures : 66.04 x 55.88 cm
Collection:
Date de réalisation : 1999
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Untitled Nude
Artist: Lucy Hogg
ID : 69124
Description: Source: An Académie French, Theadore Gericault, 1800-50
Des mesures : 210.82 x 172.72 cm
Collection:
Date de réalisation : 2000
Matériaux : oil on linen
Collection virtuelle : Original CCCA
New Artist
Artist: Lucy Hogg
ID : 69128
Description: Source: Lady Caroline Howard, Sir Joshua Reynolds, 1778
Des mesures : 175.26 x 137.16 cm
Collection:
Date de réalisation : 2000
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Prescient Artist
Artist: Lucy Hogg
ID : 69123
Description: Source: Autoportrait, de au gilet vertv, Eugéne Delacroix
Des mesures : 66.04 x 55.88 cm
Collection:
Date de réalisation : 2000
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Hesitant Artist
Artist: Lucy Hogg
ID : 69122
Description: Source: Frédéric Chopin, Eugéne Delacroix, 1838
Des mesures : 55.88 x 66.04 cm
Collection:
Date de réalisation : 2000
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Two More Boys
Artist: Lucy Hogg
ID : 69127
Description: Source: The Binning Children, Sir Henry Raeburn, 1811
Des mesures : 167.64 x 152.4 cm
Collection:
Date de réalisation : 2001
Matériaux : oil on linen
Collection virtuelle : Original CCCA
My Little Pony
Artist: Lucy Hogg
ID : 69126
Description: Source: Baltasar Carlos On Horseback, Diego de Velasquez, 1635
Des mesures : 208.28 x 172.72 cm
Collection:
Date de réalisation : 2001
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Artist’s Pet (Intractable)
Artist: Lucy Hogg
ID : 69130
Description: Source: Maria Teresa de Borbon y Vallabriga, Goya, 1783
Des mesures : 76.2 x 53.34 cm
Collection:
Date de réalisation : 2001
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Artist’s Pet (Pugnacious)
Artist: Lucy Hogg
ID : 69129
Description: Source: The Marguesa de Pontejos, Francisco de Goya, 1786
Des mesures : 76.2 x 53.34 cm
Collection:
Date de réalisation : 2001
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Artist Dressed As a Girl
Artist: Lucy Hogg
ID : 69125
Description: Source: Master John Heathcote, Thomas Gainsborough, 1770-74
Des mesures : 172.72 x 127 cm
Collection:
Date de réalisation : 2001
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Artist’s Standard
Artist: Lucy Hogg
ID : 69134
Description:
Des mesures :
Collection:
Date de réalisation : 2002
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Artist’s Pet (Aspiring)
Artist: Lucy Hogg
ID : 69132
Description: Source: The Young Women (The Letter), Goya, 1813-20
Des mesures : 81.28 x 55.88 cm
Collection:
Date de réalisation : 2002
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Four More Emotions
Artist: Lucy Hogg
ID : 69136
Description: Source: Sketches of a Cat's Head, Frans Snyders, 1609
Des mesures : 55.88 x 45.72 cm
Collection:
Date de réalisation : 2002
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Artist’s Pet (Ingenuous)
Artist: Lucy Hogg
ID : 69137
Description: Source: A King Charles Spaniel, Edouard Manet, 1866
Des mesures : 60.96 x 45.72 cm
Collection:
Date de réalisation : 2002
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Fantasy Landscape (quinachrodone red)
Artist: Lucy Hogg
ID : 69139
Description: Source: Olio su telav, Canaletto, 1722
Des mesures : 66.04 x 101.6 cm
Collection:
Date de réalisation : 2002
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Artist’s Pet (Supplicant)
Artist: Lucy Hogg
ID : 69131
Description: Source: Portrait of Philadelphia and Elizabeth Warton, Anthony Van Dyck, 1640
Des mesures : 81.28 x 66.04 cm
Collection:
Date de réalisation : 2002
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Artist’s Pet (Insatiable)
Artist: Lucy Hogg
ID : 69133
Description: Source: Venus mit dem Orgelspieler, Titian, 1550-52
Des mesures : 167.64 x 167.64 cm
Collection:
Date de réalisation : 2002
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Fantasy Landscape (diminished ultramarine blue)
Artist: Lucy Hogg
ID : 69138
Description: Source: veduta ideat con rovine romane in riva al mara, Canaletto, 1722
Des mesures : 71.12 x 101.6 cm
Collection:
Date de réalisation : 2002
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Fantasy Landscape (cadmium green, long)
Artist: Lucy Hogg
ID : 69143
Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York
Des mesures : 76.2 x 228.6 cm
Collection:
Date de réalisation : 2002
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Four Emotions
Artist: Lucy Hogg
ID : 69135
Description: Source: Sketches of a Cat's Head, Frans Snyders, 1609
Des mesures : 55.88 x 45.72 cm
Collection:
Date de réalisation : 2002
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Gilles (Red), Installation view
Artist: Lucy Hogg
ID : 69109
Description: Installation: Owens Art Gallery, Sackville New Brunswick [with Gary Neil Kennedy].
Gilles, 1994 – 2003
When I started this project I was teaching a painting seminar about the Death of Painting.
In 1994 I went to France and saw sixteen versions of Claude Monet's "Rouen Cathedral" at the Musée des Beaux Arts in Rouen, a series he did in 1892 – 93, a hundred years earlier. I also encountered my first Yves Klein blue monochrome painting at the Centre Pompidou, which had been painted in 1960. On a previous trip to Paris I had fallen in love with Jean-Antoine Watteau's " Gilles" at the Louvre, finished in 1720, which may have served as a shop sign for a café.
In my research on Yves Klein, I was taken up by his persona of the Dandy; he'd moved the legacy of Beau Brummel to the 20th Century. I was quite envious of the younger male painters in my milieu who seemed able to take up abstract painting without a qualm. Dandies themselves, they smartly took up a critique of the monochrome, weaving in references to pop culture, while making attractive, decorative work. They got to have their cake and eat it too. I¿d trained as a formalist fifteen years earlier, but in the heady 80's had eschewed a conservative practice that didn't take up the political. Ever the whiney feminist, somehow I'd missed the boat.
This series was an attempt to reconcile all that. The seriality of Monet's project connected to the seriality of Yves Klein's. Yves Klein's performative figure seemed to connect to Gilles, the consumptive clown/artist. Both died young. Although known for his blue paintings, Yves Klein dealt with all the primaries. His paintings were a reiteration of Rodchenko's red yellow and blue monochromes, which in 1921 declared the death of painting. The first time this sentiment may have been uttered was in 1839, when the French painter Paul Delaroche was asked to prepare a committee report on the invention of the Daguerreotype to the French government.
With this work I hoped to make more complex what seemed to me a certain feminist polemic in my earlier work.
Des mesures :
Collection:
Date de réalisation : 2003
Matériaux :
Collection virtuelle : Original CCCA
Gilles (Purple and Yellow), Installation view
Artist: Lucy Hogg
ID : 69106
Description: Installation: Faux-mouvement, Metx, France, 2003.
Gilles, 1994 – 2003
When I started this project I was teaching a painting seminar about the Death of Painting.
In 1994 I went to France and saw sixteen versions of Claude Monet's "Rouen Cathedral" at the Musée des Beaux Arts in Rouen, a series he did in 1892 – 93, a hundred years earlier. I also encountered my first Yves Klein blue monochrome painting at the Centre Pompidou, which had been painted in 1960. On a previous trip to Paris I had fallen in love with Jean-Antoine Watteau's " Gilles" at the Louvre, finished in 1720, which may have served as a shop sign for a café.
In my research on Yves Klein, I was taken up by his persona of the Dandy; he'd moved the legacy of Beau Brummel to the 20th Century. I was quite envious of the younger male painters in my milieu who seemed able to take up abstract painting without a qualm. Dandies themselves, they smartly took up a critique of the monochrome, weaving in references to pop culture, while making attractive, decorative work. They got to have their cake and eat it too. I¿d trained as a formalist fifteen years earlier, but in the heady 80's had eschewed a conservative practice that didn't take up the political. Ever the whiney feminist, somehow I'd missed the boat.
This series was an attempt to reconcile all that. The seriality of Monet's project connected to the seriality of Yves Klein's. Yves Klein's performative figure seemed to connect to Gilles, the consumptive clown/artist. Both died young. Although known for his blue paintings, Yves Klein dealt with all the primaries. His paintings were a reiteration of Rodchenko's red yellow and blue monochromes, which in 1921 declared the death of painting. The first time this sentiment may have been uttered was in 1839, when the French painter Paul Delaroche was asked to prepare a committee report on the invention of the Daguerreotype to the French government.
With this work I hoped to make more complex what seemed to me a certain feminist polemic in my earlier work.
Des mesures :
Collection:
Date de réalisation : 2003
Matériaux :
Collection virtuelle : Original CCCA
Gilles (Blue), Installation view
Artist: Lucy Hogg
ID : 69108
Description: Installation: Faux-mouvement, Metx, France, 2003.
Gilles, 1994 – 2003
When I started this project I was teaching a painting seminar about the Death of Painting.
In 1994 I went to France and saw sixteen versions of Claude Monet's "Rouen Cathedral" at the Musée des Beaux Arts in Rouen, a series he did in 1892 – 93, a hundred years earlier. I also encountered my first Yves Klein blue monochrome painting at the Centre Pompidou, which had been painted in 1960. On a previous trip to Paris I had fallen in love with Jean-Antoine Watteau's " Gilles" at the Louvre, finished in 1720, which may have served as a shop sign for a café.
In my research on Yves Klein, I was taken up by his persona of the Dandy; he'd moved the legacy of Beau Brummel to the 20th Century. I was quite envious of the younger male painters in my milieu who seemed able to take up abstract painting without a qualm. Dandies themselves, they smartly took up a critique of the monochrome, weaving in references to pop culture, while making attractive, decorative work. They got to have their cake and eat it too. I¿d trained as a formalist fifteen years earlier, but in the heady 80's had eschewed a conservative practice that didn't take up the political. Ever the whiney feminist, somehow I'd missed the boat.
This series was an attempt to reconcile all that. The seriality of Monet's project connected to the seriality of Yves Klein's. Yves Klein's performative figure seemed to connect to Gilles, the consumptive clown/artist. Both died young. Although known for his blue paintings, Yves Klein dealt with all the primaries. His paintings were a reiteration of Rodchenko's red yellow and blue monochromes, which in 1921 declared the death of painting. The first time this sentiment may have been uttered was in 1839, when the French painter Paul Delaroche was asked to prepare a committee report on the invention of the Daguerreotype to the French government.
With this work I hoped to make more complex what seemed to me a certain feminist polemic in my earlier work.
Des mesures :
Collection:
Date de réalisation : 2003
Matériaux :
Collection virtuelle : Original CCCA
Fantasy Landscape (pale grey blue)
Artist: Lucy Hogg
ID : 69142
Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York
Des mesures : 71.12 x 121.92 cm
Collection:
Date de réalisation : 2003
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Sliding Landscape (diminished turquoise)
Artist: Lucy Hogg
ID : 69153
Description: Source: Capriccio, Francesco Guardi, 1760's.
Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.
The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.
Des mesures : 66.04 x 101.6 cm
Collection:
Date de réalisation : 2003
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Cropped Landscape (mauve/green)
Artist: Lucy Hogg
ID : 69151
Description: Source: Capriccio, Francesco Guardi, 1760's
Des mesures : 66.04 x 101.6 cm
Collection:
Date de réalisation : 2003
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Fantasy Landscape (diminished yellow ochre)
Artist: Lucy Hogg
ID : 69140
Description: Source: veduta ideat con rovine romane in riva al mara, Canaletto, 1722
Des mesures : 76.2 x 106.68 cm
Collection:
Date de réalisation : 2003
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Sliding Landscape (chromeoxide green/ultra blue)
Artist: Lucy Hogg
ID : 69160
Description: Source: veduta ideat con rovine romane in riva al mara, Canaletto, 1722.
Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.
The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.
Des mesures : 66.04 x 101.6 cm
Collection:
Date de réalisation : 2003
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Gilles (Red), Installation view
Artist: Lucy Hogg
ID : 69107
Description: Installation: Faux-mouvement, Metx, France, 2003.
Gilles, 1994 – 2003
When I started this project I was teaching a painting seminar about the Death of Painting.
In 1994 I went to France and saw sixteen versions of Claude Monet's "Rouen Cathedral" at the Musée des Beaux Arts in Rouen, a series he did in 1892 – 93, a hundred years earlier. I also encountered my first Yves Klein blue monochrome painting at the Centre Pompidou, which had been painted in 1960. On a previous trip to Paris I had fallen in love with Jean-Antoine Watteau's " Gilles" at the Louvre, finished in 1720, which may have served as a shop sign for a café.
In my research on Yves Klein, I was taken up by his persona of the Dandy; he'd moved the legacy of Beau Brummel to the 20th Century. I was quite envious of the younger male painters in my milieu who seemed able to take up abstract painting without a qualm. Dandies themselves, they smartly took up a critique of the monochrome, weaving in references to pop culture, while making attractive, decorative work. They got to have their cake and eat it too. I¿d trained as a formalist fifteen years earlier, but in the heady 80's had eschewed a conservative practice that didn't take up the political. Ever the whiney feminist, somehow I'd missed the boat.
This series was an attempt to reconcile all that. The seriality of Monet's project connected to the seriality of Yves Klein's. Yves Klein's performative figure seemed to connect to Gilles, the consumptive clown/artist. Both died young. Although known for his blue paintings, Yves Klein dealt with all the primaries. His paintings were a reiteration of Rodchenko's red yellow and blue monochromes, which in 1921 declared the death of painting. The first time this sentiment may have been uttered was in 1839, when the French painter Paul Delaroche was asked to prepare a committee report on the invention of the Daguerreotype to the French government.
With this work I hoped to make more complex what seemed to me a certain feminist polemic in my earlier work.
Des mesures :
Collection:
Date de réalisation : 2003
Matériaux :
Collection virtuelle : Original CCCA
Gilles (Blue), Installation view
Artist: Lucy Hogg
ID : 69110
Description: Installation: Owens Art Gallery, Sackville New Brunswick [with Gary Neil Kennedy].
Gilles, 1994 – 2003
When I started this project I was teaching a painting seminar about the Death of Painting.
In 1994 I went to France and saw sixteen versions of Claude Monet's "Rouen Cathedral" at the Musée des Beaux Arts in Rouen, a series he did in 1892 – 93, a hundred years earlier. I also encountered my first Yves Klein blue monochrome painting at the Centre Pompidou, which had been painted in 1960. On a previous trip to Paris I had fallen in love with Jean-Antoine Watteau's " Gilles" at the Louvre, finished in 1720, which may have served as a shop sign for a café.
In my research on Yves Klein, I was taken up by his persona of the Dandy; he'd moved the legacy of Beau Brummel to the 20th Century. I was quite envious of the younger male painters in my milieu who seemed able to take up abstract painting without a qualm. Dandies themselves, they smartly took up a critique of the monochrome, weaving in references to pop culture, while making attractive, decorative work. They got to have their cake and eat it too. I¿d trained as a formalist fifteen years earlier, but in the heady 80's had eschewed a conservative practice that didn't take up the political. Ever the whiney feminist, somehow I'd missed the boat.
This series was an attempt to reconcile all that. The seriality of Monet's project connected to the seriality of Yves Klein's. Yves Klein's performative figure seemed to connect to Gilles, the consumptive clown/artist. Both died young. Although known for his blue paintings, Yves Klein dealt with all the primaries. His paintings were a reiteration of Rodchenko's red yellow and blue monochromes, which in 1921 declared the death of painting. The first time this sentiment may have been uttered was in 1839, when the French painter Paul Delaroche was asked to prepare a committee report on the invention of the Daguerreotype to the French government.
With this work I hoped to make more complex what seemed to me a certain feminist polemic in my earlier work.
Des mesures :
Collection:
Date de réalisation : 2003
Matériaux :
Collection virtuelle : Original CCCA
Sliding Landscapes, exhibition installation
Artist: Lucy Hogg
ID : 69163
Description: Installation, Strand on Volta Gallery, Washington DC, 2004.
Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.
The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.
Des mesures :
Collection:
Date de réalisation : 2004
Matériaux :
Collection virtuelle : Original CCCA
Fantasy Landscape (burnt sienna, orange)
Artist: Lucy Hogg
ID : 69145
Description: Source: Stormy Landscape Marco Ricci, 1730, National Gallery of Art, Washington, DC
Des mesures : 91.44 x 137.16 cm
Collection:
Date de réalisation : 2004
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Fantasy Landscape (dim ultra blue medium)
Artist: Lucy Hogg
ID : 69147
Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York
Des mesures : 91.44 x 172.72 cm
Collection:
Date de réalisation : 2004
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Fantasy Landscape
Artist: Lucy Hogg
ID : 69144
Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York
Des mesures : 76.2 x 228.6 cm
Collection:
Date de réalisation : 2004
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Fantasy Landscape (diminished violet/burnt sienna orange)
Artist: Lucy Hogg
ID : 69146
Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York
Des mesures : 66.04 x 101.6 cm
Collection:
Date de réalisation : 2004
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Fantasy Landscape (pthalo green/chromeoxide green)
Artist: Lucy Hogg
ID : 69141
Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York
Des mesures : 76.2 x 121.92 cm
Collection:
Date de réalisation : 2004
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Last Landscape (study, left side)(sap green/blue grey)
Artist: Lucy Hogg
ID : 69148
Description: Source: Capriccio: Classical Ruins, Canaletto, 1735, The Royal Collection, London, England
Des mesures : 60.96 x 76.2 cm
Collection:
Date de réalisation : 2004
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Ruminative Woman (Orange)
Artist: Lucy Hogg
ID : 69166
Description: Source: Portrait of a Young Woman with a Fan, Rembrandt van Rijn, 1633
Des mesures : 55.88 x 45.72 cm
Collection:
Date de réalisation : 2004
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Sliding Landscape (grey brown)
Artist: Lucy Hogg
ID : 69159
Description: Source: Capriccio, Francesco Guardi, 1760's.
Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.
The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.
Des mesures : 66.04 x 101.6 cm
Collection:
Date de réalisation : 2004
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Sliding Landscape (blue grey)
Artist: Lucy Hogg
ID : 69152
Description: Source: Extensive Pastoral Landscape, Marco Ricci, 1730.
Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.
The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.
Des mesures : 66.04 x 101.6 cm
Collection:
Date de réalisation : 2004
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Sliding Landscape (chromeoxide green/violet)
Artist: Lucy Hogg
ID : 69154
Description: Source: Stormy Landscape, Marco Ricci, 1730, National Gallery of Art, Washington, DC.
Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.
The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.
Des mesures : 66.04 x 101.6 cm
Collection:
Date de réalisation : 2004
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Last Landscape (study, right side)blue grey/violet grey)
Artist: Lucy Hogg
ID : 69149
Description: Source: Capriccio with Ruins of Pointed Arch, Canaletto, 1735, The Royal Collection, London, England
Des mesures : 60.96 x 76.2 cm
Collection:
Date de réalisation : 2004
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Last Landscape
Artist: Lucy Hogg
ID : 69150
Description: Source: Capriccio: Classical Ruins, 1735 and Capriccio with Ruins of Pointed Arch, Canaletto, 1735, The Royal Collection, London, England
Des mesures : 91.44 x 228.6 cm
Collection:
Date de réalisation : 2005
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Skeptical Man (Sap Green)
Artist: Lucy Hogg
ID : 69167
Description: Source: Portrait of Jacques Le Roy, Anthony Van Dyck, 1631
Des mesures : 55.88 x 45.72 cm
Collection:
Date de réalisation : 2005
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Convivial Man (Purple/Red)
Artist: Lucy Hogg
ID : 69165
Description: Source: The Feast of Bacchus, Diego Velazquez, 1629
Des mesures : 55.88 x 45.72 cm
Collection:
Date de réalisation : 2005
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Smug Woman (Orange)
Artist: Lucy Hogg
ID : 69169
Description: Source: Portrait of a Young Woman with Rosary, Peter Paul Rubens, 1609
Des mesures : 55.88 x 45.72 cm
Collection:
Date de réalisation : 2005
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Bemused Man (Cadmium Green)
Artist: Lucy Hogg
ID : 69164
Description: Source: Portrait of a Man, Rembrandt van Rijn, 1632
Des mesures : 55.88 x 45.72 cm
Collection:
Date de réalisation : 2005
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Sliding Landscapes, studio installation
Artist: Lucy Hogg
ID : 69161
Description: Studio Installation, 2006.
Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.
The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.
Des mesures :
Collection:
Date de réalisation : 2006
Matériaux :
Collection virtuelle : Original CCCA
Sliding Landscape (diminished orange)
Artist: Lucy Hogg
ID : 69156
Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York.
Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.
The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.
Des mesures : 66.04 x 101.6 cm
Collection:
Date de réalisation : 2006
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Apprehensive Woman (Ultramarine Blue)
Artist: Lucy Hogg
ID : 69168
Description: Source: Hendrickje Stoffels, Rembrandt van Rijn, 1650's
Des mesures : 55.88 x 45.72 cm
Collection:
Date de réalisation : 2006
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Sliding Landscape (yellow ochre)
Artist: Lucy Hogg
ID : 69158
Description: Source: Stormy Landscape, Marco Ricci, 1730, National Gallery of Art, Washington, DC.
Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.
The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.
Des mesures : 66.04 x 101.6 cm
Collection:
Date de réalisation : 2006
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Sliding Landscapes, studio installation
Artist: Lucy Hogg
ID : 69162
Description: Studio Installation, 2006.
Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.
The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.
Des mesures :
Collection:
Date de réalisation : 2006
Matériaux :
Collection virtuelle : Original CCCA
Sliding Landscape (quinachrodone red/cadmium red)
Artist: Lucy Hogg
ID : 69157
Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York.
Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.
The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.
Des mesures : 66.04 x 101.6 cm
Collection:
Date de réalisation : 2006
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Studio Installation
Artist: Lucy Hogg
ID : 69172
Description: Studio Shot, Randall School, Washington DC
Des mesures :
Collection:
Date de réalisation : 2006
Matériaux :
Collection virtuelle : Original CCCA
Weary Man (Red)
Artist: Lucy Hogg
ID : 69171
Description: Source: Portrait of Jacque Le Roy, Anthony Van Dyck, 1631
Des mesures : 55.88 x 45.72 cm
Collection:
Date de réalisation : 2006
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Resigned Woman (Turquoise Green)
Artist: Lucy Hogg
ID : 69170
Description: Source: Portrait of a Woman, Rembrandt van Rijn, 1630
Des mesures : 55.88 x 45.72 cm
Collection:
Date de réalisation : 2006
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Sliding landscape (cadmium green)
Artist: Lucy Hogg
ID : 69155
Description: Source: Cappricio Notturno, Canaletto, 1722 Collection: Alessandro Morandotti, Rome.
Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.
The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.
Des mesures : 66.04 x 101.6 cm
Collection:
Date de réalisation : 2006
Matériaux : oil on linen
Collection virtuelle : Original CCCA
The Last Pony #6 (turquoise green)
Artist: Lucy Hogg
ID : 69181
Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.
Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.
With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight.
While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.
For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.
A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.
Des mesures : 137.16 x 111.76 cm
Collection:
Date de réalisation : 2007
Matériaux : digital print
Collection virtuelle : Original CCCA
The Last Pony #3 (copper)
Artist: Lucy Hogg
ID : 69178
Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.
Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.
With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight.
While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.
For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.
A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.
Des mesures : 137.16 x 111.76 cm
Collection:
Date de réalisation : 2007
Matériaux : digital print
Collection virtuelle : Original CCCA
Gabriel Kuri Fragment (Quick Standards, 2006), New Museum, New York
Artist: Lucy Hogg
ID : 69205
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
The Last Pony #5 (green)
Artist: Lucy Hogg
ID : 69180
Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.
Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.
With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight.
While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.
For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.
A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.
Des mesures : 137.16 x 111.76 cm
Collection:
Date de réalisation : 2007
Matériaux : digital print
Collection virtuelle : Original CCCA
The Last Pony #7 (turquoise blue)
Artist: Lucy Hogg
ID : 69182
Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.
Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.
With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight.
While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.
For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.
A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.
Des mesures : 137.16 x 111.76 cm
Collection:
Date de réalisation : 2007
Matériaux : digital print
Collection virtuelle : Original CCCA
Storage, Corcoran College of Art and Design (David Williams)
Artist: Lucy Hogg
ID : 69188
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Morris Louis Fragment (Seal, 1959), Hirshhorn Museum, Washington DC
Artist: Lucy Hogg
ID : 69184
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Storage, Millennium Art Center (Dan Steinhilber), Washington, DC
Artist: Lucy Hogg
ID : 69200
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Hurricane Fencing, Chelsea Meat Packing District, New York
Artist: Lucy Hogg
ID : 69207
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Parking Lot, Chelsea Meat Packing District, New York
Artist: Lucy Hogg
ID : 69209
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Mathew Barney Fragment, Guggenheim Museum, Venice, Italy
Artist: Lucy Hogg
ID : 69198
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Air Duct, Crystal Palace at Documenta, Kassel, Germany
Artist: Lucy Hogg
ID : 69195
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Storage, Millennium Art Center, Washington DC
Artist: Lucy Hogg
ID : 69202
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Exit, St. Marco Cathedral, Venice, Italy
Artist: Lucy Hogg
ID : 69193
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Q St. Construction, Washington DC
Artist: Lucy Hogg
ID : 69187
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Q St. Construction, Washington DC
Artist: Lucy Hogg
ID : 69199
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
The Last Pony #2 (rose pink)
Artist: Lucy Hogg
ID : 69177
Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.
Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.
With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight.
While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.
For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.
A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.
Des mesures : 137.16 x 111.76 cm
Collection:
Date de réalisation : 2007
Matériaux : digital print
Collection virtuelle : Original CCCA
The Last Pony #4 (yellow green)
Artist: Lucy Hogg
ID : 69179
Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.
Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.
With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight.
While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.
For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.
A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.
Des mesures : 137.16 x 111.76 cm
Collection:
Date de réalisation : 2007
Matériaux : digital print
Collection virtuelle : Original CCCA
Gedi Sibony fragment, New Museum, New York
Artist: Lucy Hogg
ID : 69208
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Isa Genzken Fragment, New Museum, New York
Artist: Lucy Hogg
ID : 69190
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Backroom storage, Peter Blum Gallery, New York (John Beech fragment)
Artist: Lucy Hogg
ID : 69186
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Storage, Millennium Art Center (Dan Steinhilber fragments)
Artist: Lucy Hogg
ID : 69185
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
The Last Pony #1 (purple)
Artist: Lucy Hogg
ID : 69176
Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.
Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.
With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight.
While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.
For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.
A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.
Des mesures : 137.16 x 111.76 cm
Collection:
Date de réalisation : 2007
Matériaux : digital print
Collection virtuelle : Original CCCA
The Last Pony, exhibition installation
Artist: Lucy Hogg
ID : 69175
Description: The Last Pony, Installation, Meat Market Gallery, Washington, DC, 2007.
Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.
With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight.
While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.
For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.
A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
The Last Pony, exhibition installation
Artist: Lucy Hogg
ID : 69173
Description: The Last Pony, Installation, Meat Market Gallery, Washington, DC, 2007.
Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.
With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight.
While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.
For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.
A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Women’s Restroom, Hirshhorn Museum, Washington DC
Artist: Lucy Hogg
ID : 69194
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Empty Lot, Chelsea Meat Packing District, New York
Artist: Lucy Hogg
ID : 69206
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Storage, Millennium Art Center (Dan Steinhilber), Washington, DC
Artist: Lucy Hogg
ID : 69201
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Morris Louis Fragment, Hirshhorn Museum, Washington DC
Artist: Lucy Hogg
ID : 69191
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
The Last Pony, exhibition installation
Artist: Lucy Hogg
ID : 69174
Description: The Last Pony, Installation, Meat Market Gallery, Washington, DC, 2007.
Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.
With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight.
While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.
For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.
A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
The Last Pony, studio installation
Artist: Lucy Hogg
ID : 69183
Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.
Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.
With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight.
While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.
For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.
A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.
Des mesures : 304.8 x 243.84 cm
Collection:
Date de réalisation : 2007
Matériaux : oil on linen
Collection virtuelle : Original CCCA
Storage, Corcoran College of Art and Design (David Williams)
Artist: Lucy Hogg
ID : 69189
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Schrebergarten, Site of Jeremy Deller Project, Munster, Germany
Artist: Lucy Hogg
ID : 69204
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Felix Gonzales Torres Fragment, American Pavilion, Venice, Italy
Artist: Lucy Hogg
ID : 69203
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Mathew Barney Fragment, Guggenheim Museum, Venice, Italy
Artist: Lucy Hogg
ID : 69196
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
17th St. Construction, Washington, DC
Artist: Lucy Hogg
ID : 69192
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
Q St. Construction, Washington DC
Artist: Lucy Hogg
ID : 69197
Description:
Des mesures :
Collection:
Date de réalisation : 2007
Matériaux :
Collection virtuelle : Original CCCA
![Triptych: Construction, 10th St. Washington DC/ Jack Shainman Gallery, Nick Cave Fragment/ Corcoran Studio (Nicholas Donnelly, Student), [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg167.jpg)
Triptych: Construction, 10th St. Washington DC/ Jack Shainman Gallery, Nick Cave Fragment/ Corcoran Studio (Nicholas Donnelly, Student), [detail]
Artist: Lucy Hogg
ID : 74072
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Chelsea Gallery District, ParkingLot/ Site Santa Fe, Nick Mangan Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg179.jpg)
Triptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Chelsea Gallery District, ParkingLot/ Site Santa Fe, Nick Mangan Fragment, [detail]
Artist: Lucy Hogg
ID : 74084
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: New Museum Inaugural Exhibition, Gabriel Kuri Fragment/ Crystal Palace, Documenta (2007)/Hirshhorn Museum, Morris Louis Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg171.jpg)
Triptych: New Museum Inaugural Exhibition, Gabriel Kuri Fragment/ Crystal Palace, Documenta (2007)/Hirshhorn Museum, Morris Louis Fragment, [detail]
Artist: Lucy Hogg
ID : 74076
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: Venice Biennale (2009)> Danish Pavilion, Wolfgang Tilmans Fragment/Biennale Storage Still Life (Arsenale)/Czech and Slovak Pavilion, Roman Ondak Fragment, [detail]
Artist: Lucy Hogg
ID : 74098
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: Empty Lot, Chelsea Gallery District/ New Museum Inaugural Exhibition, Gedi Sibony Fragment/Confederation Court Mall, Charlottetown, Prince Edward Island
Artist: Lucy Hogg
ID : 74105
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Washington DC, K St. Demolition/American Pavilion, Venice Biennale (2007), Felix GonzalesTorres Fragment/ Corcoran Studio (David Williams, student), [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg143.jpg)
Triptych: Washington DC, K St. Demolition/American Pavilion, Venice Biennale (2007), Felix GonzalesTorres Fragment/ Corcoran Studio (David Williams, student), [detail]
Artist: Lucy Hogg
ID : 74059
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Diptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Corcoran Studio (Andy Brown, Student), [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg209.jpg)
Diptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Corcoran Studio (Andy Brown, Student), [detail]
Artist: Lucy Hogg
ID : 74115
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 132.08 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: New Museum Inaugural Exhibition, Marc André Robinson Fragment/ Czech Slovak Pavilion,Venice Biennale (2009) Roman Ondak Fragment/ Philadelphia Museum of Art, Matisse Fragment
Artist: Lucy Hogg
ID : 74110
Description:
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ Hirshhorn Museum, MorrisLouis Fragment/ Peter Blum Gallery, John Beech Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg156.jpg)
Triptych: Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ Hirshhorn Museum, MorrisLouis Fragment/ Peter Blum Gallery, John Beech Fragment, [detail]
Artist: Lucy Hogg
ID : 74061
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Diptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Corcoran Studio (Andy Brown, Student), [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg208.jpg)
Diptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Corcoran Studio (Andy Brown, Student), [detail]
Artist: Lucy Hogg
ID : 74114
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 132.08 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Chelsea Gallery District, ParkingLot/ Site Santa Fe, Nick Mangan Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg178.jpg)
Triptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Chelsea Gallery District, ParkingLot/ Site Santa Fe, Nick Mangan Fragment, [detail]
Artist: Lucy Hogg
ID : 74083
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Diptych: Whitney Biennial 2008, New Humans Fragment/ Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg176.jpg)
Diptych: Whitney Biennial 2008, New Humans Fragment/ Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]
Artist: Lucy Hogg
ID : 74081
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 132.08 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Chelsea Gallery District, Carpark/ Whitney Biennia 2008, Rita Ackerman Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg194.jpg)
Chelsea Gallery District, Carpark/ Whitney Biennia 2008, Rita Ackerman Fragment, [detail]
Artist: Lucy Hogg
ID : 74100
Description:
Des mesures : 58.42 x 132.08 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Empty Lot, Chelsea Gallery District/ New Museum Inaugural Exhibition, Gedi Sibony Fragment/Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg200.jpg)
Triptych: Empty Lot, Chelsea Gallery District/ New Museum Inaugural Exhibition, Gedi Sibony Fragment/Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]
Artist: Lucy Hogg
ID : 74106
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: Romanian Pavilion, Venice Biennale (2009)/ Corcoran Studio (Ivica Volanska, Student)/ Scottish Pavilion, Venice Biennale (2009) Martin Boyce Fragment
Artist: Lucy Hogg
ID : 74090
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ Hirshhorn Museum, MorrisLouis Fragment/ Peter Blum Gallery, John Beech Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg155.jpg)
Triptych: Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ Hirshhorn Museum, MorrisLouis Fragment/ Peter Blum Gallery, John Beech Fragment, [detail]
Artist: Lucy Hogg
ID : 74060
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Empty Lot, Chelsea Gallery District/ New Museum Inaugural Exhibition, Gedi Sibony Fragment/Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg202.jpg)
Triptych: Empty Lot, Chelsea Gallery District/ New Museum Inaugural Exhibition, Gedi Sibony Fragment/Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]
Artist: Lucy Hogg
ID : 74108
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Chelsea Gallery District, Carpark/ Whitney Biennia 2008, Rita Ackerman Fragment
Artist: Lucy Hogg
ID : 74099
Description:
Des mesures : 58.42 x 132.08 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Venice Biennale 2009> Scottish Pavilion, Martin Boyce Fragment/ Certosa Island, Site of John Gerrard Installation/American Pavilion, Bruce Nauman Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg183.jpg)
Triptych: Venice Biennale 2009> Scottish Pavilion, Martin Boyce Fragment/ Certosa Island, Site of John Gerrard Installation/American Pavilion, Bruce Nauman Fragment, [detail]
Artist: Lucy Hogg
ID : 74088
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: Venice Biennale 2009> Scottish Pavilion, Martin Boyce Fragment/ Certosa Island, Site of John Gerrard Installation/American Pavilion, Bruce Nauman Fragment
Artist: Lucy Hogg
ID : 74086
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Chelsea Gallery District, ParkingLot/ Site Santa Fe, Nick Mangan Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg180.jpg)
Triptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Chelsea Gallery District, ParkingLot/ Site Santa Fe, Nick Mangan Fragment, [detail]
Artist: Lucy Hogg
ID : 74085
Description:
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Chelsea Gallery District, Carpark/ Whitney Biennia 2008, Rita Ackerman Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg195.jpg)
Chelsea Gallery District, Carpark/ Whitney Biennia 2008, Rita Ackerman Fragment, [detail]
Artist: Lucy Hogg
ID : 74101
Description:
Des mesures : 58.42 x 132.08 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Diptych: Corcoran Studio (Bethany Hansen, Student)/ Artist’s Studio, Joseph and John Dumbacher Fragment
Artist: Lucy Hogg
ID : 74102
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 132.08 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Empty Lot, Chelsea Gallery District/ New Museum Inaugural Exhibition, Gedi Sibony Fragment/Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg201.jpg)
Triptych: Empty Lot, Chelsea Gallery District/ New Museum Inaugural Exhibition, Gedi Sibony Fragment/Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]
Artist: Lucy Hogg
ID : 74107
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Chelsea Gallery District, ParkingLot/ Site Santa Fe, Nick Mangan Fragment
Artist: Lucy Hogg
ID : 74082
Description:
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: New Museum Inaugural Exhibition, Marc André Robinson Fragment/ Czech Slovak Pavilion,Venice Biennale (2009) Roman Ondak Fragment/ Philadelphia Museum of Art, Matisse Fragment
Artist: Lucy Hogg
ID : 74109
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Diptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Corcoran Studio (Andy Brown, Student)
Artist: Lucy Hogg
ID : 74113
Description: Detritus 2007 - current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process á in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges á the urges that shape our entire material culture á as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
Iád like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the antiáobject, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 132.08 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Corcoran Studio (Mia Montazolli, Student)/ New Museum Inaugural Exhibition, Isa Genzken Fragment/ 17th St. Construction, Washington DC, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg164.jpg)
Triptych: Corcoran Studio (Mia Montazolli, Student)/ New Museum Inaugural Exhibition, Isa Genzken Fragment/ 17th St. Construction, Washington DC, [detail]
Artist: Lucy Hogg
ID : 74069
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: Sculpture Projects in Munster (2007), Jeremy Deller Fragment/ Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ K St. Detritus, Washington DC
Artist: Lucy Hogg
ID : 74063
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Sculpture Projects in Munster (2007), Jeremy Deller Fragment/ Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ K St. Detritus, Washington DC, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg159.jpg)
Triptych: Sculpture Projects in Munster (2007), Jeremy Deller Fragment/ Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ K St. Detritus, Washington DC, [detail]
Artist: Lucy Hogg
ID : 74064
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Sculpture Projects in Munster (2007), Jeremy Deller Fragment/ Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ K St. Detritus, Washington DC, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg161.jpg)
Triptych: Sculpture Projects in Munster (2007), Jeremy Deller Fragment/ Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ K St. Detritus, Washington DC, [detail]
Artist: Lucy Hogg
ID : 74066
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Corcoran Studio (Mia Montazolli, Student)/ New Museum Inaugural Exhibition, Isa Genzken Fragment/ 17th St. Construction, Washington DC, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg163.jpg)
Triptych: Corcoran Studio (Mia Montazolli, Student)/ New Museum Inaugural Exhibition, Isa Genzken Fragment/ 17th St. Construction, Washington DC, [detail]
Artist: Lucy Hogg
ID : 74068
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: Construction, 10th St. Washington DC/ Jack Shainman Gallery, Nick Cave Fragment/ Corcoran Studio (Nicholas Donnelly, Student)
Artist: Lucy Hogg
ID : 74071
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: New Museum Inaugural Exhibition, Gabriel Kuri Fragment/ Crystal Palace, Documenta (2007)/Hirshhorn Museum, Morris Louis Fragment
Artist: Lucy Hogg
ID : 74075
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Washington DC, K St. Demolition/American Pavilion, Venice Biennale (2007), Felix GonzalesTorres Fragment/ Corcoran Studio (David Williams, student), [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg142.jpg)
Triptych: Washington DC, K St. Demolition/American Pavilion, Venice Biennale (2007), Felix GonzalesTorres Fragment/ Corcoran Studio (David Williams, student), [detail]
Artist: Lucy Hogg
ID : 74056
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: Venice Biennale (2009)> Danish Pavilion, Wolfgang Tilmans Fragment/Biennale Storage Still Life (Arsenale)/Czech and Slovak Pavilion, Roman Ondak Fragment
Artist: Lucy Hogg
ID : 74094
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Construction, 10th St. Washington DC/ Jack Shainman Gallery, Nick Cave Fragment/ Corcoran Studio (Nicholas Donnelly, Student), [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg169.jpg)
Triptych: Construction, 10th St. Washington DC/ Jack Shainman Gallery, Nick Cave Fragment/ Corcoran Studio (Nicholas Donnelly, Student), [detail]
Artist: Lucy Hogg
ID : 74074
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Construction, 10th St. Washington DC/ Jack Shainman Gallery, Nick Cave Fragment/ Corcoran Studio (Nicholas Donnelly, Student), [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg168.jpg)
Triptych: Construction, 10th St. Washington DC/ Jack Shainman Gallery, Nick Cave Fragment/ Corcoran Studio (Nicholas Donnelly, Student), [detail]
Artist: Lucy Hogg
ID : 74073
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Venice Biennale (2009)> Danish Pavilion, Wolfgang Tilmans Fragment/Biennale Storage Still Life (Arsenale)/Czech and Slovak Pavilion, Roman Ondak Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg191.jpg)
Triptych: Venice Biennale (2009)> Danish Pavilion, Wolfgang Tilmans Fragment/Biennale Storage Still Life (Arsenale)/Czech and Slovak Pavilion, Roman Ondak Fragment, [detail]
Artist: Lucy Hogg
ID : 74096
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: Washington DC, K St. Demolition/American Pavilion, Venice Biennale (2007), Felix GonzalesTorres Fragment/ Corcoran Studio (David Williams, student)
Artist: Lucy Hogg
ID : 74054
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Washington DC, K St. Demolition/American Pavilion, Venice Biennale (2007), Felix GonzalesTorres Fragment/ Corcoran Studio (David Williams, student), [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg151.jpg)
Triptych: Washington DC, K St. Demolition/American Pavilion, Venice Biennale (2007), Felix GonzalesTorres Fragment/ Corcoran Studio (David Williams, student), [detail]
Artist: Lucy Hogg
ID : 74055
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Romanian Pavilion, Venice Biennale (2009)/ Corcoran Studio (Ivica Volanska, Student)/ Scottish Pavilion, Venice Biennale (2009) Martin Boyce Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg188.jpg)
Triptych: Romanian Pavilion, Venice Biennale (2009)/ Corcoran Studio (Ivica Volanska, Student)/ Scottish Pavilion, Venice Biennale (2009) Martin Boyce Fragment, [detail]
Artist: Lucy Hogg
ID : 74093
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: New Museum Inaugural Exhibition, Marc André Robinson Fragment/ Czech Slovak Pavilion,Venice Biennale (2009) Roman Ondak Fragment/ Philadelphia Museum of Art, Matisse Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg206.jpg)
Triptych: New Museum Inaugural Exhibition, Marc André Robinson Fragment/ Czech Slovak Pavilion,Venice Biennale (2009) Roman Ondak Fragment/ Philadelphia Museum of Art, Matisse Fragment, [detail]
Artist: Lucy Hogg
ID : 74112
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: New Museum Inaugural Exhibition, Marc André Robinson Fragment/ Czech Slovak Pavilion,Venice Biennale (2009) Roman Ondak Fragment/ Philadelphia Museum of Art, Matisse Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg205.jpg)
Triptych: New Museum Inaugural Exhibition, Marc André Robinson Fragment/ Czech Slovak Pavilion,Venice Biennale (2009) Roman Ondak Fragment/ Philadelphia Museum of Art, Matisse Fragment, [detail]
Artist: Lucy Hogg
ID : 74111
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ Hirshhorn Museum, MorrisLouis Fragment/ Peter Blum Gallery, John Beech Fragment
Artist: Lucy Hogg
ID : 74058
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Romanian Pavilion, Venice Biennale (2009)/ Corcoran Studio (Ivica Volanska, Student)/ Scottish Pavilion, Venice Biennale (2009) Martin Boyce Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg186.jpg)
Triptych: Romanian Pavilion, Venice Biennale (2009)/ Corcoran Studio (Ivica Volanska, Student)/ Scottish Pavilion, Venice Biennale (2009) Martin Boyce Fragment, [detail]
Artist: Lucy Hogg
ID : 74091
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Diptych: Corcoran Studio (Bethany Hansen, Student)/ Artist’s Studio, Joseph and John Dumbacher Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg198.jpg)
Diptych: Corcoran Studio (Bethany Hansen, Student)/ Artist’s Studio, Joseph and John Dumbacher Fragment, [detail]
Artist: Lucy Hogg
ID : 74104
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 132.08 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Venice Biennale 2009> Scottish Pavilion, Martin Boyce Fragment/ Certosa Island, Site of John Gerrard Installation/American Pavilion, Bruce Nauman Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg182.jpg)
Triptych: Venice Biennale 2009> Scottish Pavilion, Martin Boyce Fragment/ Certosa Island, Site of John Gerrard Installation/American Pavilion, Bruce Nauman Fragment, [detail]
Artist: Lucy Hogg
ID : 74087
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Romanian Pavilion, Venice Biennale (2009)/ Corcoran Studio (Ivica Volanska, Student)/ Scottish Pavilion, Venice Biennale (2009) Martin Boyce Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg187.jpg)
Triptych: Romanian Pavilion, Venice Biennale (2009)/ Corcoran Studio (Ivica Volanska, Student)/ Scottish Pavilion, Venice Biennale (2009) Martin Boyce Fragment, [detail]
Artist: Lucy Hogg
ID : 74092
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Diptych: Corcoran Studio (Bethany Hansen, Student)/ Artist’s Studio, Joseph and John Dumbacher Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg197.jpg)
Diptych: Corcoran Studio (Bethany Hansen, Student)/ Artist’s Studio, Joseph and John Dumbacher Fragment, [detail]
Artist: Lucy Hogg
ID : 74103
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 132.08 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Triptych: Corcoran Studio (Mia Montazolli, Student)/ New Museum Inaugural Exhibition, Isa Genzken Fragment/ 17th St. Construction, Washington DC
Artist: Lucy Hogg
ID : 74067
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Corcoran Studio (Mia Montazolli, Student)/ New Museum Inaugural Exhibition, Isa Genzken Fragment/ 17th St. Construction, Washington DC, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg165.jpg)
Triptych: Corcoran Studio (Mia Montazolli, Student)/ New Museum Inaugural Exhibition, Isa Genzken Fragment/ 17th St. Construction, Washington DC, [detail]
Artist: Lucy Hogg
ID : 74070
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Venice Biennale (2009)> Danish Pavilion, Wolfgang Tilmans Fragment/Biennale Storage Still Life (Arsenale)/Czech and Slovak Pavilion, Roman Ondak Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg192.jpg)
Triptych: Venice Biennale (2009)> Danish Pavilion, Wolfgang Tilmans Fragment/Biennale Storage Still Life (Arsenale)/Czech and Slovak Pavilion, Roman Ondak Fragment, [detail]
Artist: Lucy Hogg
ID : 74097
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: New Museum Inaugural Exhibition, Gabriel Kuri Fragment/ Crystal Palace, Documenta (2007)/Hirshhorn Museum, Morris Louis Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg173.jpg)
Triptych: New Museum Inaugural Exhibition, Gabriel Kuri Fragment/ Crystal Palace, Documenta (2007)/Hirshhorn Museum, Morris Louis Fragment, [detail]
Artist: Lucy Hogg
ID : 74078
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Diptych: Whitney Biennial 2008, New Humans Fragment/ Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg175.jpg)
Diptych: Whitney Biennial 2008, New Humans Fragment/ Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]
Artist: Lucy Hogg
ID : 74080
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 132.08 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: New Museum Inaugural Exhibition, Gabriel Kuri Fragment/ Crystal Palace, Documenta (2007)/Hirshhorn Museum, Morris Louis Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg172.jpg)
Triptych: New Museum Inaugural Exhibition, Gabriel Kuri Fragment/ Crystal Palace, Documenta (2007)/Hirshhorn Museum, Morris Louis Fragment, [detail]
Artist: Lucy Hogg
ID : 74077
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
Diptych: Whitney Biennial 2008, New Humans Fragment/ Confederation Court Mall, Charlottetown, Prince Edward Island
Artist: Lucy Hogg
ID : 74079
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 132.08 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Sculpture Projects in Munster (2007), Jeremy Deller Fragment/ Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ K St. Detritus, Washington DC, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg160.jpg)
Triptych: Sculpture Projects in Munster (2007), Jeremy Deller Fragment/ Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ K St. Detritus, Washington DC, [detail]
Artist: Lucy Hogg
ID : 74065
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ Hirshhorn Museum, MorrisLouis Fragment/ Peter Blum Gallery, John Beech Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg157.jpg)
Triptych: Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ Hirshhorn Museum, MorrisLouis Fragment/ Peter Blum Gallery, John Beech Fragment, [detail]
Artist: Lucy Hogg
ID : 74062
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
![Triptych: Venice Biennale 2009> Scottish Pavilion, Martin Boyce Fragment/ Certosa Island, Site of John Gerrard Installation/American Pavilion, Bruce Nauman Fragment, [detail]](https://ccca.art/wp-content/uploads/2024/04/hogg184.jpg)
Triptych: Venice Biennale 2009> Scottish Pavilion, Martin Boyce Fragment/ Certosa Island, Site of John Gerrard Installation/American Pavilion, Bruce Nauman Fragment, [detail]
Artist: Lucy Hogg
ID : 74089
Description: Detritus 2007 – current
For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.
I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.
I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.
The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.
Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.
In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.
Des mesures : 58.42 x 186.69 cm
Collection:
Date de réalisation : 2009
Matériaux : inkjet digital print
Collection virtuelle : Original CCCA
