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@amemoria.studio

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Between Art and Life

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Richard Artschwager - Ronald Bladen

#americanminimalism #richardartschwager #ronaldbladen #minimalism by @amemoria.studio

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6 months ago

Larry Bell study by @amemoria.studio

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6 months ago

From the exhibition catalogue: Larry Bell: Time Machines, Institute of Contemporary Art, Miami

Alex Gartenfeld interviews Larry Bell, hope you enjoy reading this as much as I did

#artinterview #larrybell #lightandspacemovement #60s by @amemoria.studio

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7 months ago

Wishlist from the past sales @christiesinc London

Man Ray, Francesco Clemente, Cy Twombly, Nabokov, René Magritte, Joan Miro, Maurice Denis and the iconic Agnes Gund Rothko

#manray #cytwombly #renemagritte #joanmiro #lolita by @amemoria.studio

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7 months ago

#pvmondaywaterday @photovogue

Photograph by Margarita Demina @de.mina.m by @amemoria.studio

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7 months ago

@vdecotiis Interiors by @rizzolibooks by @amemoria.studio

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7 months ago

Donald Judd’s work resists the comfort of interpretation; it does not ask to be read, but to be encountered. In the pages of these catalogues; Donald Judd Furniture Retrospective (1993) and Donald Judd: Selected Works 1960–1991, we find a practice that systematically evacuates metaphor in favour of presence. Yet this apparent reduction conceals a more complex operation: a recalibration of perception itself. Judd’s forms do not represent space - they produce it, insisting that meaning arises not from narrative but from the relation between object, site, and viewer.

What emerges across these texts is not simply the discourse of Minimalism, but a critique of its limits. Judd’s persistent rejection of the term “Minimal Art” signals a deeper unease with categorisation as such. His work occupies a threshold between painting and sculpture, art and furniture, autonomy and function, destabilising the very frameworks through which art is traditionally understood. The early “line paintings,” already resisting illusion, anticipate the later three-dimensional works in which material: metal, plexiglass, becomes both structure and thought. In this sense, Judd does not move from painting to object; he exposes painting’s latent objecthood.

The insistence on permanence, most radically articulated in Marfa, further extends this position. Against the circulation and displacement of artworks within institutional economies, Judd proposes a fixed relation between work and site, where installation becomes inseparable from meaning. To encounter these scanned images today is to confront a paradox: the translation of a practice grounded in spatial specificity into the flatness of the page. And yet, even here, something persists. Not an image of the work, but a trace of its logic. It is an ethics of precision, where form, material, and space converge into a singular, uncompromising proposition. by @amemoria.studio

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7 months ago

Damien Hirst in conversation with Sophie Calle continuation

#damienhirst #sophiecalle by @amemoria.studio

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7 months ago

From one of the most iconic publications on Damien Hirst by ICA Jay Jopling and the Paul Kasmin Gallery.

Damien Hirst in conversation with Sophie Calle.

#damienhirst #sophiecalle #paulkasmingallery by @amemoria.studio

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8 months ago

Tuesday’s inspiration is the home of artist Francesco Clemente in Greenwich Village. Clemente’s home is filled with works by friends and inspirations such as Joseph Beuys, Cy Twombly and Jean-Michel Basquiat who was a neighbour in the 1980s.

Photographed by @obertogili for @wmag by @amemoria.studio

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8 months ago

From the book Cy Twombly Homes & Studios by Nicola del Roscio and Florian Illies.

Photos in chronological order:

Lexington, 1990s. View of large studio with two parts of “Say Goodbye Catullus, to the Shores of Asia Minor.” Photo David Sneider

Gaeta, 1995, bathroom. Photo Francois Halard

Gaeta, 1995, bedroom. Photo Francois Halard

Via di Monserrato, Rome 1965. Stack of paintings and antique hats on baroque bench. Photo Horst P. Horst

Via di Monserrato, Rome 1965. Toy corner. Photo Horst P. Horst

Via di Monserrato, Rome 1969/70. Foam sculpture by John Chamberlain; behind it a drawing by Pablo Picasso. Photo by Ugo Mulas.

Via di Monserrato, Rome 1965. Antique foot sculpture; on the walls; sequence of Twombly drawings. Photo Horst P. Horst

Via di Monserrato, Rome 1965. Antique bust and Gerhard Richter painting “Frau Marlow.” Photo Horst P. Horst

#cytwombly #horstphorst #francoishalard #ugomulas #davidsneider by @amemoria.studio

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8 months ago

@aaaahhhparisinternationale favorites by @amemoria.studio

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8 months ago