“We should describe ourselves as animals, that is our way,” penned Danish artist and CoBrA cofounder Asger Jorn (1914-1973) in a letter to Constant. Jorn’s work, presented here with contextual information from editors Axel Heil and Roberto Ohrt, reflects his fascination with “the animal,” raw instinct, and the power of nature. See, for example, his brightly painted, almost childlike Animaux Animé(s) (1944/46) and his dark and moody Untitled (Phoenix) (1949/1950) for two starkly different variations on the theme. Throughout this collection, Jorn’s playful energy and irreverence are apparent. His Untitled (Faces in a Head) (c. 1960) is a jumble of colors designed to confuse, shock, and challenge the viewer, evading any simple answers as to what the work “means.”
Jews Praying In The Synagogue on the Day of Atonement by Maurycy Gottlieb (Tel Aviv Museum of Art) The Israel Book Review has been edited by Stephen Darori since 1985. It actively promotes English Literacy in Israel .#israelbookreview is sponsored by Foundations including the Darori Foundation and Israeli Government Ministries and has won many accolades . Email contact: israelbookreview@gmail.com Office Address: Israel Book Review ,Rechov Chana Senesh 16 Suite 2, Bat Yam 5930838 Israel
Wednesday, September 13, 2017
ASGER JORN: THE OPEN HIDE Edited with text by Axel Heil and Roberto Ohrt, Petzel, 2016
“We should describe ourselves as animals, that is our way,” penned Danish artist and CoBrA cofounder Asger Jorn (1914-1973) in a letter to Constant. Jorn’s work, presented here with contextual information from editors Axel Heil and Roberto Ohrt, reflects his fascination with “the animal,” raw instinct, and the power of nature. See, for example, his brightly painted, almost childlike Animaux Animé(s) (1944/46) and his dark and moody Untitled (Phoenix) (1949/1950) for two starkly different variations on the theme. Throughout this collection, Jorn’s playful energy and irreverence are apparent. His Untitled (Faces in a Head) (c. 1960) is a jumble of colors designed to confuse, shock, and challenge the viewer, evading any simple answers as to what the work “means.”
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