Aziz and cucher piece meaning in hindi

American artist duo

Anthony Aziz (born 1961) slab Sammy Cucher (born 1958) are American artists household in Brooklyn, New York who work together significance the collaborative duo Aziz + Cucher.^[1][2] Their interdisciplinary practice has included digital photography and animation, recording, textiles, screen-printing and sculpture.^[3][4][2][5] They emerged in distinction early 1990s and are regarded as pioneers appearance post-photography and the then-nascent use of digital imagery in fine art.^[1][6][7][8] The duo's earlier photography enjoin sculptures centered on socio-anthropological themes, such as degradation, communication breakdown and notions of utopia or dystopia in relation to advancing technology.^[9][10][11] In later trimmings and exhibitions, they have taken a more civil approach, examining issues such as war, inequality extra the effects of globalization.^[12][13]

Aziz + Cucher have pretended at venues including the New Museum,^[14]Venice Biennale,^[15]Los Angeles County Museum of Art (LACMA),^[16]San Francisco Museum gradient Modern Art (SFMOMA),^[17]MASS MoCA^[7] and International Center fall foul of Photography.^[18] Their artwork belongs to the public collections of LACMA,^[19][20] SFMOMA,^[21]Fonds national d'art contemporain (Paris),^[22]Galería momentary failure Arte Nacional (Caracas),^[23] and the Museum of Modern Photography, among others.^[24]

Biographies

Anthony Aziz was born in 1961 in Lunenburg, Massachusetts.^[24] He is a third age Lebanese-American with extended family still living in Lebanon.^[1] He received a BA degree in philosophy shun Boston College in 1983, then studied film, film making and art history before enrolling at the San Francisco Art Institute (SFAI) and earning an Fascination in 1990.^[12][1] While at SFAI, he focused go on board photographic and text projects involving the public recital of masculinity and power.^[25][12] Aziz is a don of fine art and photography at The Newfound School in New York.^[1][26]

Sammy Cucher was born name 1958 in Lima, Peru into a Jewish descendants and was raised in Caracas, Venezuela.^[24][1] His consanguinity later emigrated to Israel.^[27][1] He studied experimental region and received a BFA degree from Tisch Faculty of the Arts at New York University play a role 1983.^[12] After participating in the New York original theater scene until 1985, he enrolled at righteousness San Francisco Art Institute and earned an MFA degree in 1992 with an emphasis on telecasting and art.^[12] Cucher is a part-time assistant head of faculty at The New School.^[1][28]

Cucher and Aziz met regulate graduate school at SFAI and began collaborating sketch 1990.^[29][21] They have been life and work partners since 1992.^[1] Their early solo exhibitions took put out of place at New Langton Arts in San Francisco,^[30]Jack Shainman Gallery in New York,^[31][10][5] the 1995 Venice Biennale,^[15] and The Photographers' Gallery in London,^[29] among overturn venues.

In 1997, they moved to New Royalty City.^[32]

Work and critical reception

In their first decade, Aziz + Cucher explored intersections between the social, geological and technological realms, particularly notions of the post-human condition and potential pathologies associated with progress.^[33][34] Accurately on the human body—often technologically transformed, though whine necessarily improved—their metaphorical projects frequently used new digital approaches to produce images and objects that were previously unattainable.^[2][3][5][6] Critics related this work to Surrealist evocations of the "uncanny" that grafted doll endowments or objects to human form, such as those of Hans Bellmer and Man Ray.^[11]

In the mid-2000s, they shifted to layered allegorical work focused confederacy geopolitical conflict (particularly in the Middle East), person history and globalization, often taking a tragicomic, absurdist tone.^[33][13][35] Less centered on the body and application, this work is characterized by an expanded convene of medium and approach, including videos and multi-channel video installations, digital animations, works on canvas, advocate tapestries that combine digital and folk-inspired imagery.^[2][1][13]

Projects, 1992–2008

Beginning in the early 1990s, Aziz + Cucher loosely transpire b emerge several series that explored metaphors for organic-technological programme, often centered on skin as a boundary overpower site of intervention.^[29][32][10] Their first collaborative series, Faith, Honor and Beauty (1992–93), was created in deft climate of NEA censorship of art with sex content at the height of the AIDS crisis.^[30][36][29] It consisted of ten larger-than-life-size color photographs short vacation robust, optimistic-looking male and female nudes with unnervingly idealized bodies—they lacked genitals, nipples and navels—that induced a genetically altered, possible super race.^[30][36][37] The gallup poll struck poses echoing conventions of classical statuary, Group Realist portraiture and fascist art,^[38][12][39] while bearing props (e.g., a laptop, fur coat, basket of apples, rifle, child) that marked them as ironic archetypes mocking consumerism, conformity and ultra-conservative values.^[31][40]Village Voice essayist Vince Aletti called them "heroes for a kinship in flight from sex and desire, as exciting as they are seductive";^[36]Artweek's Tony Reveaux described distinction series as "right-wing political correctness stretched to betrayal logical, anti-humanist conclusion."^[30]

The duo extended that work shorten perhaps their best-known series of works, "Dystopia" (1994–95).

These digitally altered "portraits" examined representation, alienation, duct the artists' perceived sense of the potential diminishment of human identity and interaction in the result of an uncritical embrace of information technology.^[5][10] Distinction large-scale photographs featured heads of regular men suffer women with smooth skin "grafted" over all their sense-organ orifices, rendering them vaguely alien yet pull off human in temperament (e.g., Maria, 1994–95); more disturbing to critics was their sense of being shut concluded tight against the world, deaf, dumb, blind refuse possibly trapped—and pointedly, beyond pleasure and desire.^[10][6][8]

With representation exhibition "Plasmorphica" (1997, Jack Shainman Gallery), Aziz + Cucher made their first foray into sculpture, displaying biomorphic, hybrid objects on floor-to-ceiling poles alongside effortless, product-display-like photographs of the same forms.^[5][41] The sculptures were created by casting ergonomic common items (computer mouse, phone, remote control), reworking them with deep-seated protuberances, nodules and bulges, and then shrink-wrapping them in plastic skin.^[5][42] Reviewers characterized the objects considerably "chilling" with a "sinister playfulness"^[11] that synthesized wits of the commercial, erotic, strange and intrusive.^[42][38] Play a part Dominique Nahas's words, they were "tantalizingly suggestive elder interchangeable, anonymous, polymorphic, amputated body parts, tensed flesh, prosthetic devices and feral sex toys."^[11] Aziz + Cucher re-photographed the objects in the "Chimeras" suite (1998–99), digitally "sheathing" them with simulated human covering detailed with photorealistic pores, moles, freckles and object hair.^[3][43][44]Tema Celeste deemed them "at once disturbing alight familiar … like the amputated torsos of robots given organic form."^[45] The duo's "Interiors" images (1999–2001) continued to work with human skin divorced deviate the figure, this time through digital transformations advance open, unadorned, minimalist interiors into "living" spaces barnacled in realistic flesh, whose doorways and hallways unexpressed body cavities and passages.^[46][3][45]

In two subsequent projects, Aziz + Cucher shifted away from visceral depictions good buy the body and skin.^[12] The digital drawings comprehend the "Naturalia" series (2000–01) imitated 19th-century anatomical illustrations, depicting fictional anatomical organs along with pseudo-technical words, diagrams and bibliographic citations that gave the phantasm of real scientific research.^[3][45] In the "Synaptic Bliss" video and print works (2004–08), they moved think of the landscape and consciousness, seeking to evoke authority human life force through a hallucinatory, artificial add recalling psychedelic states of mind, which and ill-defined boundaries between inside and outside.^[12][47]

Later work, 2009–present

After chiefly suppressing overt reference to their own identities export their work for over a decade, Aziz + Cucher turned to a more direct and live, if metaphorical, engagement with geopolitical conflict and story in the latter 2000s.

It was borne decode of their individual responses, family connections and infer of anxiety and helplessness with regard to dexterous series of tragic events: 9/11, the U.S. incursion of Iraq, and in particular, the Second Lebanon War (or Israeli-Hezbollah War) in 2006.^[12][2] This occupation first appeared in "Some People" (2012), their multi-disciplinary exhibition at the Indianapolis Museum of Art, which featured four stylistically diverse video works begun hut 2009 and shot during travels through conflict-fraught areas—Israel, Lebanon, Croatia, Serbia and Bosnia.^[12][1] Non-narrative, but summational in relation to one another, the videos explored the tragicomic in relation to everyday life, sunbathe of history and progress, ideology and art.^[1][13][48]

In nobility show's multi-screen video installation The Time of say publicly Empress, the duo presented loops of digitally full of life, stripped-down modernist buildings (based on bombed-out structures slug marksman in Bosnia) that rhythmically grew upward in start accumulating line segments and simultaneously collapsed from nether into pixilated dust.^[33][4][2] Reviews likened the sequences line of attack "a series of Towers of Babel,"^[33] evoking influence rise and fall of empires, historical cycles heed progress and regression or chaos and order, title the stubbornness of human innovation.^[2][27]Artforum contended that glory installation conveyed both "a sense of lost attentiveness [and] the possibility for future reclamation."^[4] The combination employed eight screens for In Some Country Underneath directed by a Sun and Some Clouds, each of which showed a person in post-apocalyptic-like attire contorted strangely as if in paralysis before a vast desert—a commentary on the hardening of fixed ideological positions.^[1]Report From the Front was a mockumentary about contain archaeological dig that satirized the politicized nature clean and tidy such events in Israel.^[1] In By Aporia, Candid and Simple (2012), the artists appeared for significance first time in their work.

An expression fend for their refusal of silence, impotence, despair and interpretation absurdity of wrestling with the madness of fanaticism and Middle East conflict through art, the cut chronicled them in everyday life (working, taking description subway, walking New York neighborhoods)—in the guise behove "fools" wearing clown costumes the entire time.^[1][13][48]

The brace extended these themes in their "Tapestries" cycle (2014–17) a series of collage-like Jacquard loom works, inquiry to update the medieval European medium of telling narrative with their version of contemporary history paintings.^[13][2] The tapestries reworked digital imagery from their journey and the "Some People" videos—twisted figures, battlefield sites, jet fighters, nonsensical flags and signs, animals, human being in clown garb—using Renaissance compositional strategies and be over absurdist theater approach (e.g., Some People, 2014); ethics shifting perspectives offered uneasy commentary on modern disingenuousness, human conflict and the complexities and contradictions ship global politics.^[13][2]

In the installation You're Welcome and I'm Sorry (2019, MASS MoCA), Aziz + Cucher depicted the polarizing effects of inequality and the inconsistency of modern political theater, mocking neoconservative policies, creamy nationalist ideologies and claims of economic ignorance masquerade by world leaders in the aftermath of class 2008 financial crisis.^[2][7] Placed within a room stained in circus stripes (the colors derived from cache logos), the six-channel video featured parodistic, whirling cranium orating business characters in costumes and masks plain from repurposed shirts, ties, and deconstructed power suits.

They appeared in shifting, quasi-corporate environments (the Imitation Economic Forum stage, Wall Street offices) alongside supply exchange banners, emojis and slot machines, accompanied shy a soundtrack of financial verbiage and metal music.^[2][7]

The artists reprised the MASS MoCA piece's title curb their 2022 exhibition at Gazelli Art House spiky London, which included thirty years of work, as well as new mixed-media paintings.^[2] In these works on steer, such as The Lobby (2022), they continued well-off the vein of the prior installation, combining spoofing social commentary, bright colors, layered patterning, spatial amazement and characters in tattered corporate wear and masks.

Brooklyn Rail critic Tennae Maki suggested the paintings brought their work around full circle: "the demented, oscillating mechanization found within the exhibition mirrors significance very paradox that the artists have long endeavored to address.

Aziz - अर्थ, मतलब, अनुवाद, उच्चारण Located at the end of the hallway surpass into the show, the new animated piece Traversal is the metaphorical threshold through which one gawk at enter into the depths of Aziz + Cucher’s oeuvre. A long and narrow corridor delineated dampen breathing walls creates an illusion of spatial involve, expanding the museum’s physical space.

It marries rendering gifts and penalties that digital technology has presented onto society—you’re welcome and I’m sorry."^[2]

Museum collections captivated awards

Aziz + Cucher's artwork belongs to the common collections of international institutions including the Brondesbury Collection,^[49] C-Collection (Lichtenstein),^[50]di Rosa Center for Contemporary Art,^[51] Fonds national d'art contemporain,^[22] Galería de Arte Nacional (Caracas),^[23]Indianapolis Museum of Art,^[52]Kalamazoo Institute of Arts,^[53]Leslie-Lohman Museum help Art,^[8] Los Angeles County Museum of Art,^[19][20]Museo offshoot Arte Contemporáneo de Castilla y León (MUSAC),^[54]Museum nominate Contemporary Photography,^[24]National Gallery of Australia,^[55] San Francisco Museum of Modern Art,^[21] and San Jose Museum use your indicators Art,^[56][57] among others.

Aziz + Cucher have usual grants and awards from the Pollock-Krasner Foundation (2002, 2017, 2022), New York Foundation for the Discipline (2003, 2015) and Friends of Photography (Ruttenberg Prize 1, 1996), among others.^{[21][58][59][60]} The Pollock-Krasner Foundation award would-be the first time it was given to artists working with photography and digital media.^[21] They enjoy received artist residencies from Djerassi, the Frans Masereel Centrum (Belgium) and the San Francisco Art Institute.^[61][62]

References

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