[{"id":35251,"title":"Study for \"Sprits of the Dead\"","dimensions":"17 x 14 inches","date_begin":"2015-01-01","material":"Pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"Jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2015.0015","stream_count_app":9,"permalink":"study-for-sprits-of-the-dead","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/851/medium_500/JS15.104_28x34.jpg?1705416796","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/851/large/JS15.104_28x34.jpg?1705416796","poster_credits":"(c)Jim Shaw","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35254,"title":"Study for \"Two Top Hats\"","dimensions":"9 x 12 inches","date_begin":"2015-01-01","material":"Pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"Jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2015.0018","stream_count_app":9,"permalink":"study-for-two-top-hats","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/848/medium_500/JS15.116_28x23.jpg?1705416445","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/848/large/JS15.116_28x23.jpg?1705416445","poster_credits":"(c)Jim Shaw","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35252,"title":"Study for \"Mystery Babylon\"","dimensions":"12 x 9 inches","date_begin":"2015-01-01","material":"Pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"Jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2015.0016","stream_count_app":9,"permalink":"study-for-mystery-babylon","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/850/medium_500/JS15.113_23x30.jpg?1705416725","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/850/large/JS15.113_23x30.jpg?1705416725","poster_credits":"(c)Jim Shaw","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35253,"title":"Study for \"Refrigerator in Hell\"","dimensions":"24 x 17 inches","date_begin":"2015-01-01","material":"Ink and pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"Jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2015.0017","stream_count_app":9,"permalink":"study-for-refrigerator-in-hell","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/849/medium_500/JS15.114_43x61.jpg?1705416627","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/849/large/JS15.114_43x61.jpg?1705416627","poster_credits":"(c)Jim Shaw","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35032,"title":"Dream Object (\"There was this painted head of Jesus with statues of saints inserted into his face and beard. Then I saw another tortured Jesus with suffering statues inserted\")","dimensions":"2 x (106.7 x 177.8 x 132 cm)","date_begin":"1996-01-01","material":"styrofoam, hydrocal, foamcoat, acrylic, porcelain, sculpey, balsa wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Eric Decelle, Brussels","cached_tag_list":"object","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"dream-object-there-was-this-painted-head-of-jesus-with-statues-of-saints-inserted-into-his-face-and-beard-then-i-saw-another-tortured-jesus-with-suffering-statues-inserted","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/350/medium_500/Afbeelding12.jpg?1699871560","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/350/large/Afbeelding12.jpg?1699871560","poster_credits":"(c)Jim Shaw, 1996","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify\"\u003eSince the 1990s, for Jim Shaw, his own dreams have been an important source of inspiration. They are the basis for \u003cem\u003e\u0026#39;Dream Drawings\u0026#39;\u003c/em\u003e, in which he captures subconscious narratives in comic style. And later for \u003cem\u003e\u0026#39;Dream Objects\u0026#39;\u003c/em\u003e, a very varied series of sculptures that are often a nod to the style of other artists. The drawings can be seen as a way of organising material from Shaw\u0026#39;s dreams \u0026ndash; the \u003cem\u003e\u0026#39;Dream Objects\u0026#39;\u003c/em\u003e as ultimate manifestation of his creative unconscious. The long titles that serve as a description of the dream in question are typical too. This work refers to Shaw\u0026#39;s fascination with religion. Over the years, he has been collecting religious and educational material, including kitschy oil paintings, banners, flyers, and manuals produced by a proliferation of American cults. In this way, Shaw focuses on the importance of image creation and communication for these religious movements.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align:justify\"\u003eVanaf de jaren 1990 vormen Shaws eigen dromen een belangrijke inspiratiebron. Ze zijn de basis voor \u003cem\u003e\u0026ldquo;Dream Drawings\u0026rdquo;\u003c/em\u003e, waarin hij onderbewuste narratieven in comic stijl vastlegt, en later ook voor \u0026ldquo;\u003cem\u003eDream Objects\u0026rdquo;\u003c/em\u003e, een zeer gevarieerde reeks sculpturen die vaak een knipoog zijn naar de stijl van andere kunstenaars. De tekeningen kunnen gezien worden als een manier om materiaal uit zijn dromen te ordenen ende \u003cem\u003e\u0026ldquo;Dream Objects\u0026rdquo;\u003c/em\u003e als de uiteindelijke manifestatie van Shaws creatieve onbewuste. Typerend zijn ook de lange titels die gelden als een beschrijving van de droom in kwestie. Dit werk verwijst naar de fascinatie van Shaw voor religie. Doorheen de jaren verzamelde hij religieuze en pedagogische materialen, waaronder kitscherige olieverfschilderijen, banners, flyers, handleidingen geproduceerd door een wildgroei aan Amerikaanse sektes. Hiermee legt Shaw de focus op het belang van beeldvorming en communicatie voor deze religieuze bewegingen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align:justify\"\u003e\u0026Agrave; partir des ann\u0026eacute;es\u0026nbsp;1990, ses propres r\u0026ecirc;ves constituent une source d\u0026rsquo;inspiration importante pour Jim Shaw. Ils sont \u0026agrave; l\u0026rsquo;origine de sa s\u0026eacute;rie Dream drawings [dessins de r\u0026ecirc;ve], dans laquelle il transpose des r\u0026eacute;cits subconscients dans un style de bande dessin\u0026eacute;e. Plus tard, il cr\u0026eacute;e des Dream Objects [objets de r\u0026ecirc;ve], une s\u0026eacute;rie de sculptures tr\u0026egrave;s vari\u0026eacute;es, souvent un clin d\u0026rsquo;\u0026oelig;il au style d\u0026rsquo;autres artistes. On pourrait consid\u0026eacute;rer les dessins comme une mani\u0026egrave;re de classifier ses r\u0026ecirc;ves et les objets, comme la manifestation finale de son inconscient cr\u0026eacute;atif. Ces \u0026oelig;uvres se caract\u0026eacute;risent aussi par leurs longs titres, qui d\u0026eacute;crivent les r\u0026ecirc;ves en question. Cette \u0026oelig;uvre-ci fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; la fascination que Shaw \u0026eacute;prouve pour la religion\u0026nbsp;: au fil des ans, il a collectionn\u0026eacute; des objets religieux et du mat\u0026eacute;riel \u0026eacute;ducatif, comme des huiles sur toile assez kitsch, des banni\u0026egrave;res, des d\u0026eacute;pliants et des manuels produits par une prolif\u0026eacute;ration de sectes aux \u0026Eacute;tats-Unis. Ce faisant, Shaw met l\u0026rsquo;accent sur l\u0026rsquo;importance de l\u0026rsquo;iconographie et de la communication pour ces mouvements religieux.\u003c/p\u003e\r\n"}]},{"id":35056,"title":"Octopus Vacuum","dimensions":"492.3 x 717.6 cm","date_begin":"2008-01-01","material":"acrylic on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA / Donated by the artist and Praz-Delavallade (2024)","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0814","stream_count_app":13,"permalink":"octopus-vacuum","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/338/medium_500/Jim_Shaw__Octopus_Vacuum__2008_acrylic_on_canvas__courtesy_of_artistand_Galerie_Praz_Delavallade__Paris__Berlin.jpg?1699863866","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/338/large/Jim_Shaw__Octopus_Vacuum__2008_acrylic_on_canvas__courtesy_of_artistand_Galerie_Praz_Delavallade__Paris__Berlin.jpg?1699863866","poster_credits":"(c)Jim Shaw, 2008 - Courtesy of the Artist and Gallerie Praz Delavallade, Paris \u0026 Berlin","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003eSince 2004, Jim Shaw has been using second-hand backdrop cloths from the amateur theatre as a support for monumental paintings. They often show idealised images of suburban streets or parks. The iconography of \u003ci\u003eOctopus Vacuum\u003c/i\u003e refers to the fictional religion that Shaw has developed since the 1990s: Oism. Inspired by bizarre 19th century religious movements in the United States, the latter is an artistic attempt to create a religion with its own history, symbolism, rituals and traditions. Central is the belief in the omnipotence of a female deity, symbolised by the letter 'O'. The title's octopus, a symbol for the mystery of the unknown, is here a floating vacuum cleaner with eight hoses that appears to suck in a group of dressed-up 19th-century ladies. Around it float moustaches and other forms of facial hair, which in the late 19th century were crucial to the representation of the masculinity and power of American industrialists.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003eSinds 2004 gebruikt Jim Shaw tweedehands decordoeken uit het amateurtheater als drager voor monumentale schilderijen. Vaak tonen ze geïdealiseerde afbeeldingen van straten of parken in de buitenwijken van Amerikaanse steden. De iconografie van het werk \u003ci\u003eOctopus Vacuum\u003c/i\u003e verwijst naar de fictieve religie die Shaw vanaf de jaren 1990 uitwerkt: het Oisme. Geïnspireerd door bizarre religieuze bewegingen in de 19de eeuw in de Verenigde Staten, is het een artistieke poging om een godsdienst te creëren, met een eigen geschiedenis, symboliek, rituelen en tradities. Centraal staat het geloof in de almacht van een vrouwelijke godheid, gesymboliseerd door de letter 'O'. De octopus, een symbool voor het mysterie van het onbekende, is hier een zwevende stofzuiger met acht slangen die een groep opgeklede 19de-eeuwse jonkvrouwen lijkt op te zuigen. Daarrond zweven snorren en vormen van andere gezichtsbeharing, die cruciaal waren voor de representatie van mannelijkheid en macht van Amerikaanse industriëlen aan het einde van de 19de eeuw.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp style=\"text-align:justify;\"\u003eDepuis 2004, Jim Shaw utilise des toiles ayant servi de décor à des compagnies de théâtre amateur comme support pour des tableaux monumentaux qui représentent souvent des images idéalisées de rues ou de parcs dans des banlieues de villes états-uniennes. L’iconographie de l’œuvre \u003ci\u003eOctopus Vacuum\u003c/i\u003e fait référence à la religion fictive que Shaw a élaborée à partir des années\u0026nbsp;1990\u0026nbsp;: l’O-isme. Inspirée de mouvements religieux bizarres apparus au XIXe\u0026nbsp;siècle aux États-Unis, l’O-isme constitue une tentative artistique de fonder une religion, avec son histoire, sa symbolique, ses rituels et ses traditions. L’O-isme s’articule autour de la foi en la toute-puissance d’une divinité féminine, symbolisée par la lettre O. La pieuvre, symbole du mystère de l’inconnu, est en l’occurrence un aspirateur à huit tuyaux flottants qui paraissent aspirer un groupe de jeunes femmes vêtues comme au XIXe\u0026nbsp;siècle. Au-dessus d’elles volette une nuée de moustaches et autres formes de pilosité faciale, qui jouaient un rôle essentiel à la fin du XIXe\u0026nbsp;siècle dans la représentation de la masculinité et du pouvoir des industriels états-uniens.\u003c/p\u003e"}]},{"id":35059,"title":"The Wig Museum","dimensions":"variable dimensions","date_begin":"2017-01-01","material":"mixed media installatioin with lighting and signage: wigs, cloth and wood wig stands; and black-and-white video with audio and monitor","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Maurice and Paul Marciano, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"the-wig-museum","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/762/medium_500/2._Installation_view_Jim_Shaw_The_Wig_Museum_The_Marciano_Art_Foundation_Los_Angeles_2017_Courtesy_the_artist_and_Maurice_and_Paul_Marciano_Art_Foundation_2.jpeg?1705047099","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/762/large/2._Installation_view_Jim_Shaw_The_Wig_Museum_The_Marciano_Art_Foundation_Los_Angeles_2017_Courtesy_the_artist_and_Maurice_and_Paul_Marciano_Art_Foundation_2.jpeg?1705047099","poster_credits":"(c)Jim Shaw","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify\"\u003eOne of the central installations in the exhibition \u003cem\u003e\u0026#39;The Wig Museum\u0026#39;\u003c/em\u003e, is a museum within the museum, showing a collection of wigs. The origins of the work can be traced back to a dream\u0026nbsp; Jim Shaw had about a wig museum in the streets of the Mexican city of Tijuana which mainly functions as a tourist trap. The installation was first shown in 2017 at the then new Marciano Art Foundation in downtown Los Angeles, whose building previously served as the local Masonic hall. There, Shaw \u0026ndash; with his fascination with religion, esotericism and secret societies \u0026ndash; not only found inspiration for content, but also left behind material artefacts that became part of the work. For example, a number of found wigs which were an important part of the rituals in the temple, form the basis of the collection of \u0026#39;The Wig Museum\u0026#39;, supplemented with replicas of historical wigs and wigs that Shaw made up. Wearing wigs has been a sign of status and power in Western society for centuries. In Britain, wigs are even still worn during criminal proceedings. With \u003cem\u003e\u0026#39;The Wig Museum\u0026#39;\u003c/em\u003e, Shaw reflects on a dominant Eurocentric patriarchal system that is falling apart.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026ldquo;There are competitions among, especially, African American hair artists. I\u0026#39;ve long had an interest in such things. We have a friend who is a high level chocolate maker, a pastry chef, and he was the coach for the US Pastry Team for several years. They finally won the Coupe du monde. In our neighbourhood, there\u0026#39;s this thing every year called the Rose Parade, where people make these floats that are decorated with flowers and seeds. They all develop these aesthetics that are very particular and very much devoted to defying gravity. The hair competitions, the dessert competitions, the flower parades, they want to make something that looks impossible to exist.\u0026rdquo;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align:justify\"\u003eEen van de centrale installaties in de tentoonstelling, \u003cem\u003eThe Wig Museum\u003c/em\u003e, is een museum binnen het museum die een verzameling pruiken toont. De oorsprong van het werk is terug te voeren op een droom van Jim Shaw over een pruikenmuseum in de straten van de Mexicaanse stad Tijuana, dat vooral als toeristenval functioneert. De installatie werd in 2017 voor het eerst getoond in de toen pas opgerichte Marciano Art Foundation in het centrum van Los Angeles, waarvan het gebouw voordien dienst deed als tempel van de Vrijmetselaarsloge. Daar vond Shaw \u0026ndash; met zijn fascinatie voor religie, esoterie en geheime genootschappen \u0026ndash; niet alleen inhoudelijke inspiratie, maar ook achtergelaten materi\u0026euml;le artefacten die deel werden van het werk. Zo vormen een aantal gevonden pruiken, die een belangrijk onderdeel uitmaakten van de rituelen in de tempel, de basis van de collectie van The Wig Museum, aangevuld met replica\u0026rsquo;s van historische pruiken en pruiken ontsproten aan Shaws verbeelding. Het dragen van pruiken is in de Westerse maatschappij eeuwenlang een teken geweest van status en macht. In Groot-Brittanni\u0026euml; worden zelfs nog steeds pruiken gedragen tijdens strafrechtszaken. Met \u003cem\u003eThe Wig Museum\u003c/em\u003e reflecteert Shaw op een dominant, eurocentrisch, patriarchaal systeem dat uit elkaar valt.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026ldquo;There are competitions among, especially, African American hair artists. I\u0026#39;ve long had an interest in such things. We have a friend who is a high level chocolate maker, a pastry chef, and he was the coach for the US Pastry Team for several years. They finally won the Coupe du monde. In our neighbourhood, there\u0026#39;s this thing every year called the Rose Parade, where people make these floats that are decorated with flowers and seeds. They all develop these aesthetics that are very particular and very much devoted to defying gravity. The hair competitions, the dessert competitions, the flower parades, they want to make something that looks impossible to exist.\u0026rdquo;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align:justify\"\u003eL\u0026rsquo;une des installations centrales de l\u0026rsquo;exposition, The Wig Museum \u0026ndash; un mus\u0026eacute;e dans le mus\u0026eacute;e \u0026ndash; pr\u0026eacute;sente une collection de perruques. L\u0026rsquo;origine de l\u0026rsquo;\u0026oelig;uvre remonte \u0026agrave; un r\u0026ecirc;ve qu\u0026rsquo;a fait Jim Shaw\u0026nbsp;: dans les rues de la ville mexicaine de Tijuana, il y d\u0026eacute;couvrait un mus\u0026eacute;e de perruques qui ressemblait plut\u0026ocirc;t \u0026agrave; un pi\u0026egrave;ge \u0026agrave; touristes. La premi\u0026egrave;re pr\u0026eacute;sentation de l\u0026rsquo;installation a eu lieu en 2017, \u0026agrave; la nouvelle Marciano Art Foundation au c\u0026oelig;ur de Los Angeles, dans un b\u0026acirc;timent ayant servi de temple \u0026agrave; une loge ma\u0026ccedil;onnique. C\u0026rsquo;est l\u0026agrave; que Shaw, qui \u0026eacute;prouve de la fascination pour tout ce qui rel\u0026egrave;ve de la religion, de l\u0026rsquo;\u0026eacute;sot\u0026eacute;risme et des soci\u0026eacute;t\u0026eacute;s secr\u0026egrave;tes, a non seulement trouv\u0026eacute; une source d\u0026rsquo;inspiration, mais \u0026eacute;galement des artefacts mat\u0026eacute;riels abandonn\u0026eacute;s qu\u0026rsquo;il a int\u0026eacute;gr\u0026eacute;s \u0026agrave; l\u0026rsquo;\u0026oelig;uvre. Ainsi, quelques perruques qui tra\u0026icirc;naient et qui ont jou\u0026eacute; un r\u0026ocirc;le important dans les rituels du temple constituent la base de la collection du mus\u0026eacute;e des perruques, que viennent compl\u0026eacute;ter des r\u0026eacute;pliques de perruques historiques ou n\u0026eacute;es de l\u0026rsquo;imagination de Shaw. Des si\u0026egrave;cles durant, le port de la perruque fut un signe de statut social et de pouvoir en Occident. En Grande-Bretagne, les magistrats en portent d\u0026rsquo;ailleurs encore lors de proc\u0026egrave;s \u0026agrave; la Cour p\u0026eacute;nale. The Wig Museum constitue une r\u0026eacute;flexion sur un syst\u0026egrave;me dominant, eurocentr\u0026eacute; et patriarcal qui se d\u0026eacute;lite.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026laquo;\u0026nbsp;Les artistes capillaires, en particulier afro-am\u0026eacute;ricains, se livrent des comp\u0026eacute;titions. Longtemps, je me suis int\u0026eacute;ress\u0026eacute; \u0026agrave; ce genre de choses. Nous avons un ami, un chocolatier de haut vol, chef p\u0026acirc;tissier, qui \u0026eacute;tait l\u0026rsquo;entra\u0026icirc;neur de l\u0026rsquo;\u0026eacute;quipe \u0026eacute;tats-unienne de p\u0026acirc;tisserie pendant plusieurs ann\u0026eacute;es. Ils ont finalement remport\u0026eacute; la Coupe du monde. Dans notre quartier, il y a chaque ann\u0026eacute;e ce qu\u0026rsquo;on appelle la Rose Parade, lors de laquelle les gens d\u0026eacute;filent sur des chars qu\u0026rsquo;ils ont eux-m\u0026ecirc;mes d\u0026eacute;cor\u0026eacute;s de fleurs et de graines. Tous d\u0026eacute;veloppent cette esth\u0026eacute;tique tr\u0026egrave;s particuli\u0026egrave;re, consacr\u0026eacute;e \u0026agrave; d\u0026eacute;fier la gravit\u0026eacute;. Concours de coiffure, concours de dessert, d\u0026eacute;fil\u0026eacute;s de fleurs, les gens veulent cr\u0026eacute;er quelque chose qui para\u0026icirc;t impossible \u0026agrave; faire exister.\u0026nbsp;\u0026raquo;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"}]},{"id":35060,"title":"The Ties That Bind","dimensions":"167.6 x 157.5 cm","date_begin":"2017-01-01","material":"acrylic on muslin","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Maurice and Paul Marciano, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"the-ties-that-bind","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/764/medium_500/8._Jim_Shaw_The_Ties_that_Bind_2017_Courtesy_of_the_Artist_and_Maurice_and_Paul_Marciano_Art_Foundation.jpg?1705047254","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/764/large/8._Jim_Shaw_The_Ties_that_Bind_2017_Courtesy_of_the_Artist_and_Maurice_and_Paul_Marciano_Art_Foundation.jpg?1705047254","poster_credits":"(c)Jim Shaw, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify\"\u003eJim Shaw\u0026#39;s fascinations with hairstyles and surreal imagery come together in \u003cem\u003eThe Ties that Bind\u003c/em\u003e. The confident look, big smile and matching outfits of the \u0026#39;perfect couple\u0026#39; depicted here refer to the ideal image of homeliness and happiness, as presented by the advertising world since the 1950s. This image is contradicted by the fact that the characters seem to be swallowed up by a swirling mass of curly, blond hair. The work holds up a mirror to us of a vain world dominated by outward appearances. The expression \u003cem\u003e\u0026#39;the ties that bind\u0026#39;\u003c/em\u003e, which also serves as title for the entire exhibition, is used to describe a common idea or belief that connects people and has to do with social cohesion, group identification and identity formation. However, the ties that connect are often also the ties that chain or even suffocate...\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align:justify\"\u003eDe fascinaties van Jim Shaw voor kapsels en surrealistische beeldtaal komen samen in \u003cem\u003eThe Ties that Bind\u003c/em\u003e. De zelfverzekerde blik, de glimlach en de \u0026lsquo;matching outfits\u0026rsquo; van het \u0026lsquo;perfecte koppel\u0026rsquo; refereren aan het ideaalbeeld van huiselijkheid en geluk zoals het sinds de jaren 1950 door de reclamewereld wordt opgehangen. Dit beeld wordt doorprikt doordat de personages opgeslokt lijken te worden door een kolkende massa krullend, blond haar. Het werk houdt ons een spiegel voor van een ijdele wereld die wordt gedomineerd door uiterlijke schijn. De uitdrukking \u003cem\u003e\u0026lsquo;the ties that bind\u0026rsquo;\u003c/em\u003e, die ook als titel van de tentoonstelling fungeert, wordt gebruikt om een gemeenschappelijk idee of geloof te beschrijven dat mensen met elkaar verbindt en heeft te maken met sociale cohesie, groepsidentificatie en identiteitsvorming. De banden die verbinden zijn echter vaak ook de banden die vastketenen of zelfs verstikken...\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align:justify\"\u003e\u003cem\u003eThe Ties that Bind\u003c/em\u003e r\u0026eacute;unit la fascination qu\u0026rsquo;exercent sur Jim Shaw les coiffures ainsi que le langage visuel surr\u0026eacute;aliste. Le regard plein d\u0026rsquo;assurance, le sourire et les \u0026laquo;\u0026nbsp;tenues assorties\u0026nbsp;\u0026raquo; du couple parfait font r\u0026eacute;f\u0026eacute;rence \u0026agrave; l\u0026rsquo;image id\u0026eacute;ale du foyer et du bonheur telle que v\u0026eacute;hicul\u0026eacute;e par la publicit\u0026eacute; depuis les ann\u0026eacute;es\u0026nbsp;1950. Une perfection d\u0026eacute;mont\u0026eacute;e par une masse tourbillonnante de cheveux blonds et boucl\u0026eacute;s qui semble engloutir les personnages. L\u0026rsquo;\u0026oelig;uvre nous tend un miroir et nous renvoie l\u0026rsquo;image d\u0026rsquo;un monde vain, domin\u0026eacute; par les apparences. L\u0026rsquo;expression\u003cem\u003e The Ties that Bind\u003c/em\u003e [Les liens qui unissent], qui donne son titre \u0026agrave; l\u0026rsquo;ensemble de l\u0026rsquo;exposition, sert \u0026agrave; d\u0026eacute;crire une id\u0026eacute;e ou une croyance commune qui relie les gens et qui a trait \u0026agrave; la coh\u0026eacute;sion sociale, \u0026agrave; l\u0026rsquo;identification au groupe et \u0026agrave; la construction de l\u0026rsquo;identit\u0026eacute;. Toutefois, les liens qui unissent sont aussi souvent ceux qui entravent, voire qui \u0026eacute;touffent.\u003c/p\u003e\r\n"}]},{"id":35063,"title":"Forces of Nature / Multiple Vortexes","dimensions":"35.6 × 27.9 cm","date_begin":"2010-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2010.0018","stream_count_app":12,"permalink":"forces-of-nature-multiple-vortexes-b52ca3a2-8b1a-44b5-b8b4-eef2f41b4224","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/340/medium_500/Afbeelding2.jpg?1699865613","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/340/large/Afbeelding2.jpg?1699865613","poster_credits":"(c)Jim Shaw, 2010 - Courtesy of artist and Gagosian, Los Angeles","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026ldquo;I\u0026rsquo;ve been doing drawings based on hairdos that really existed in the sixties, turning them into different forces of nature. And this is all before the tsunami [in Japan, 11 March 2011].\u0026rdquo;\u003c/strong\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e(From an Interview in Metropolis M.)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align:justify\"\u003eIn the series \u003cem\u003e\u0026#39;Forces of Nature\u0026#39;\u003c/em\u003e, Jim Shaw examines the way in which forces of nature are stereotypically represented. The ideas of Leonardo da Vinci (1452-1519) on how to draw waterfalls or clouds produce very stylised images, which according to Shaw are very similar to the practice of comic strip artists. Shaw uses the style of comics from the 1950s and 1960s not only as a reference to childhood memories, but also because he is interested in the production methods that are used. He taught himself to draw in a style that was mainly aimed at \u0026#39;quick delivery\u0026#39; (after all, illustrators were usually paid per page) and then applied it to works of art intended for museum walls. The depiction of expressionistic elements such as explosions, speed, and natural forces are essential in comics. They aim to set the action in motion \u0026ndash; in the mind of the reader.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026ldquo;I\u0026rsquo;ve been doing drawings based on hairdos that really existed in the sixties, turning them into different forces of nature. And this is all before the tsunami [in Japan, March 11, 2011].\u0026rdquo;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e(From Metropolis M Interview)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align:justify\"\u003eIn de reeks \u003cem\u003e\u0026ldquo;Forces of Nature\u0026rdquo; \u003c/em\u003eonderzoekt Jim Shaw de manier waarop natuurkrachten stereotiep worden weergegeven. De idee\u0026euml;n van Leonardo da Vinci (1452-1519) over hoe je watervallen of wolken kan tekenen, leveren erg gestileerde beelden op, die volgens Shaw sterk aanleunen bij de praktijk van striptekenaars. Shaw gebruikt de stijl van comics uit de jaren 1950 en 1960 niet alleen als een referentie aan jeugdherinneringen, maar ook uit interesse voor de productiewijzen. Shaw leert zichzelf tekenen in een stijl die vooral gericht was op snel kunnen opleveren (tekenaars werden immers meestal betaald per pagina) en past die vervolgens toe in kunstwerken bedoeld voor museummuren. De weergave van expressionistische elementen zoals explosies, snelheid en natuurkrachten, zijn essentieel in stripverhalen om de actie in gang te zetten in het hoofd van de lezer.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026laquo;\u0026nbsp;J\u0026rsquo;ai fait des dessins inspir\u0026eacute;s de coiffures qui existaient vraiment dans les ann\u0026eacute;es\u0026nbsp;1960, et je les ai transform\u0026eacute;es en diff\u0026eacute;rentes forces de la nature. Et tout cela avant le tsunami [du 11\u0026nbsp;mars 2011 au Japon].\u0026nbsp;\u0026raquo;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e(Extrait d\u0026rsquo;une interview sans la revue Metropolis\u0026nbsp;M)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align:justify\"\u003eDans la s\u0026eacute;rie\u003cem\u003e Forces of nature\u003c/em\u003e [Forces de la nature], Jim Shaw \u0026eacute;tudie la mani\u0026egrave;re dont on repr\u0026eacute;sente les forces naturelles de fa\u0026ccedil;on st\u0026eacute;r\u0026eacute;otyp\u0026eacute;e. Les id\u0026eacute;es qu\u0026rsquo;avait L\u0026eacute;onard de\u0026nbsp;Vinci (1452-1519) quant au proc\u0026eacute;d\u0026eacute; de dessin pour des chutes d\u0026rsquo;eau ou des nuages ont produit des images fort stylis\u0026eacute;es qui, selon Jim Shaw, se rapprochent de la pratique des b\u0026eacute;d\u0026eacute;istes. Shaw utilise le style des comic strips, les bandes dessin\u0026eacute;es \u0026eacute;tats-uniennes des ann\u0026eacute;es\u0026nbsp;1950 et\u0026nbsp;1960, non seulement comme r\u0026eacute;f\u0026eacute;rence \u0026agrave; des souvenirs d\u0026rsquo;enfance, mais aussi par int\u0026eacute;r\u0026ecirc;t pour le mode de production. Shaw apprend \u0026agrave; dessiner, en autodidacte, dans un style privil\u0026eacute;giant la rapidit\u0026eacute; d\u0026rsquo;ex\u0026eacute;cution (les illustrateurs \u0026eacute;tant en g\u0026eacute;n\u0026eacute;ral pay\u0026eacute;s \u0026agrave; la page) et l\u0026rsquo;applique ensuite \u0026agrave; des \u0026oelig;uvres d\u0026rsquo;art destin\u0026eacute;es aux murs des mus\u0026eacute;es. La repr\u0026eacute;sentation d\u0026rsquo;\u0026eacute;l\u0026eacute;ments expressionnistes, tels que des explosions, la vitesse et les forces de la nature, est essentielle dans les bandes dessin\u0026eacute;es pour d\u0026eacute;clencher l\u0026rsquo;action dans l\u0026rsquo;esprit des lecteur\u0026middot;rices ou des spectateur\u0026middot;rices.\u003c/p\u003e\r\n"}]},{"id":35071,"title":"Study for The Ties that Bind","dimensions":"66 x 53.3 cm","date_begin":"2017-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2017.0054","stream_count_app":16,"permalink":"study-for-the-ties-that-bind","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/343/medium_500/Afbeelding5.jpg?1699869943","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/343/large/Afbeelding5.jpg?1699869943","poster_credits":"(c)Jim Shaw, 2017 - Courtesy of artist and Gagosian, Los Angeles","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35074,"title":"Dream Object (Irregularly Shaped Canvas: Forces of nature; Jim Shaw in pain; Hoover vacuum cleaner; rendered milky fluid)","dimensions":"139.7 × 86.4 × 7.6 cm","date_begin":"2010-01-01","material":"acrylic, ink \u0026 pencil on digital ink jet print","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2010.0021","stream_count_app":15,"permalink":"dream-object-irregularly-shaped-canvas-forces-of-nature-jim-shaw-in-pain-hoover-vacuum-cleaner-rendered-milky-fluid","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/085/medium_500/2024_Jim_Shaw_TEN_F003.jpg?1707343249","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/085/large/2024_Jim_Shaw_TEN_F003.jpg?1707343249","poster_credits":"(c)Jim Shaw, 2010 - Courtesy of the Artist and Gagosian, Los Angeles - photo: M HKA, 2024","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35075,"title":"Dream Object (Irregularly Shaped Canvas: Blake’s version on “Laocoon” with vacuum cleaner; pained Brian Randolph; Superman; Jimmy Olson and composite superman version of “Laocoon”)","dimensions":"177.8 × 88.9 × 7.6 cm","date_begin":"2010-01-01","material":"ink \u0026 pencil on digital ink jet print","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2010.0027","stream_count_app":20,"permalink":"dream-object-irregularly-shaped-canvas-blake-s-version-on-laocoon-with-vacuum-cleaner-pained-brian-randolph-superman-jimmy-olson-and-composite-superman-version-of-laocoon","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/086/medium_500/2024_Jim_Shaw_TEN_F004.jpg?1707343389","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/086/large/2024_Jim_Shaw_TEN_F004.jpg?1707343389","poster_credits":"(c)Jim Shaw, 2010 - Courtesy of the Artist and Gagosian, Los Angeles - photo: M HKA, 2024","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify\"\u003eAs a series within the \u003cem\u003e\u0026#39;Dream Objects\u0026#39;\u003c/em\u003e series, the\u003cem\u003e \u0026#39;Irregularly Shaped Canvases\u0026#39; \u003c/em\u003erefer, on the one hand, to the tradition of painting on irregularly shaped canvases by artists such as Frank Stella, Kenneth Noland, Ellsworth Kelly or Barnett Newman. On the other hand, they refer to an object on the cover of the album \u003cem\u003ePresence\u003c/em\u003e by British rock group Led Zeppelin. This work is based on an etching by William Blake of the Laoco\u0026ouml;n Group, one of the most celebrated ancient Greek sculptures. Shaw is fascinated by the work of British poet, painter and printmaker Blake (1757-1827), who is considered a major artist of English romanticism. William Blake\u0026#39;s work explores major themes such as spirituality, imagination and the nature of existence. Although in Sophocles, Laoco\u0026ouml;n appears as the priest of Apollo who warns the Trojans about the Trojan Horse, Blake reinterprets the group of statues as Jehovah with his two sons Adam and Satan. Shaw in turn appropriates the work with an interpretation in the style of Wayne Boring, Superman\u0026#39;s main cartoonist in the 1950s \u0026ndash; the period in which Shaw began reading comics.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026ldquo;The series came from a dream where a former dealer came into my studio to give orders about pieces I was working on.\u0026rdquo;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align:justify\"\u003eAls reeks binnen de reeks\u003cem\u003e \u0026ldquo;Dream Objects\u0026rdquo; \u003c/em\u003everwijzen de\u003cem\u003e \u0026ldquo;Irregularly Shaped Canvases\u0026rdquo; \u003c/em\u003eenerzijds naar de traditie van schilderen op doeken met onregelmatige vorm van kunstenaars als Frank Stella, Kenneth Noland, Ellsworth Kelly of Barnett Newman; en anderzijds naar een object op de cover van het album \u003cem\u003ePresence\u003c/em\u003e van de Britse rockgroep Led Zeppelin. Dit werk is gebaseerd op een ets van William Blake van de Laoco\u0026ouml;ngroep, een van de beroemdste beelden uit de Oudgriekse beeldhouwkunst. Shaw is gefascineerd door het werk van de Britse dichter, schilder en graficus Blake (1757-1827), die wordt beschouwd als een van de belangrijkste kunstenaars van de Engelse Romantiek. Zijn werk verkent grote thema\u0026#39;s als spiritualiteit, verbeelding en de aard van het bestaan. Hoewel Laoco\u0026ouml;n bij Sophocles voorkomt als de priester van Apollo die de Trojanen waarschuwt voor het Paard van Troje, herinterpreteert Blake de beeldengroep als Jehova met zijn twee zonen Adam en Satan. Shaw eigent zich het werk op zijn beurt toe met een interpretatie in de stijl van Wayne Boring, de belangrijkste tekenaar van Superman in de jaren 1950, de periode waarin Shaw comics begon te lezen.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026ldquo;The series came from a dream where a former dealer came into my studio to give orders about pieces I was working on.\u0026rdquo;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align:justify\"\u003eEn tant que s\u0026eacute;rie dans la s\u0026eacute;rie \u003cem\u003eDream Objects\u003c/em\u003e, \u003cem\u003eIrregularly Shaped Canvases\u003c/em\u003e fait d\u0026rsquo;une part r\u0026eacute;f\u0026eacute;rence \u0026agrave; la tradition de la peinture sur des toiles aux formes irr\u0026eacute;guli\u0026egrave;res qu\u0026rsquo;ont pratiqu\u0026eacute;e des artistes tels que Frank Stella, Kenneth Noland, Ellsworth Kelly ou Barnett Newman et, d\u0026rsquo;autre part, \u0026agrave; un objet figurant sur la pochette de l\u0026rsquo;album \u003cem\u003ePresence\u003c/em\u003e du groupe de rock britannique Led Zeppelin. Cette \u0026oelig;uvre s\u0026rsquo;inspire d\u0026rsquo;une gravure de William Blake repr\u0026eacute;sentant le Groupe de Laocoon, l\u0026rsquo;une des plus c\u0026eacute;l\u0026egrave;bres sculptures grecques antiques. L\u0026rsquo;\u0026oelig;uvre du po\u0026egrave;te, peintre et graphiste Blake (1757-1827), consid\u0026eacute;r\u0026eacute; comme l\u0026rsquo;un des artistes majeurs du romantisme anglais, explore les grands th\u0026egrave;mes de la spiritualit\u0026eacute;, de l\u0026rsquo;imagination et de la nature de l\u0026rsquo;existence, et fascine Jim Shaw. Bien que dans Sophocle, Laocoon figure comme le pr\u0026ecirc;tre d\u0026rsquo;Apollon qui met en garde les Troyens contre le cheval de Troie, Blake r\u0026eacute;interpr\u0026egrave;te le groupe sculptural comme J\u0026eacute;hovah et ses deux fils, Adam et Satan. \u0026Agrave; son tour, Shaw s\u0026rsquo;approprie l\u0026rsquo;\u0026oelig;uvre en l\u0026rsquo;interpr\u0026eacute;tant dans le style de Wayne Boring, le principal illustrateur de Superman dans les ann\u0026eacute;es\u0026nbsp;1950 et au d\u0026eacute;but des ann\u0026eacute;es\u0026nbsp;1960, p\u0026eacute;riode lors de laquelle Shaw a commenc\u0026eacute; \u0026agrave; lire des comics, des bandes dessin\u0026eacute;es \u0026eacute;tats-uniennes.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026laquo;\u0026nbsp;La s\u0026eacute;rie provient d\u0026rsquo;un r\u0026ecirc;ve dans lequel un ancien marchand est entr\u0026eacute; dans mon atelier pour me donner des ordres sur les \u0026oelig;uvres auxquelles je travaillais.\u0026nbsp;\u0026raquo;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"}]},{"id":35076,"title":"Dream Object (Irregularly Shaped Canvas: Muscleman Blake B. struggles to lib mustache; chicken restaurant and Judd sculpture nest)","dimensions":"154.9 × 91.4 × 7.6 cm","date_begin":"2010-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2010.0028","stream_count_app":15,"permalink":"dream-object-irregularly-shaped-canvas-muscleman-blake-b-struggles-to-lib-mustache-chicken-restaurant-and-judd-sculpture-nest","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/087/medium_500/2024_Jim_Shaw_TEN_F002.jpg?1707343557","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/087/large/2024_Jim_Shaw_TEN_F002.jpg?1707343557","poster_credits":"(c)Jim Shaw, 2010 - Courtesy of the Artist and Gagosian, Los Angeles - photo: M HKA, 2024","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35077,"title":"Dream Object (Irregularly Shaped Canvas: Pained Blake B.; Electrolux Vacuum Cleaner)","dimensions":"162.6 × 94 × 7.6 cm","date_begin":"2010-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2010.0032","stream_count_app":16,"permalink":"dream-object-irregularly-shaped-canvas-pained-blake-b-electrolux-vacuum-cleaner","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/088/medium_500/2024_Jim_Shaw_TEN_F005.jpg?1707343708","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/088/large/2024_Jim_Shaw_TEN_F005.jpg?1707343708","poster_credits":"(c)Jim Shaw, 2010 - Courtesy of the Artist and Gagosian, Los Angeles - photo: M HKA, 2024","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35078,"title":"UFO Photos","dimensions":"6 × (15.2 × 16.2 cm)","date_begin":"1978-01-01","material":"photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 1978.0002","stream_count_app":12,"permalink":"ufo-photos","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/353/medium_500/Afbeelding15.jpg?1699872409","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/353/large/Afbeelding15.jpg?1699872409","poster_credits":"(c)Jim Shaw, 1992 - Courtesy of the Artist and Gagosian, Los Angeles","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify\"\u003eThe \u003cem\u003eUFO Photos\u003c/em\u003e series was part of Jim Shaw\u0026#39;s graduate project at CalArts/California Institute of the Arts in 1978. The 1970s saw a large increase in the number of UFO sightings in the United States and more specifically in California. People became obsessed with alien encounters and their reporting. With these heavily retouched photos, Shaw ironically alludes to the often poor quality of \u0026#39;photographic evidence\u0026#39; image manipulation, done to proof the existence of extraterrestrial life in popular media. Shaw observes how, in times of uncertainty and distrust in politics, we project our fears on inexplicable phenomena such as observations of extraterrestrial life, spiritual experiences, or conspiracy theories. In the Martian Portraits, which was also part of his graduation project, Shaw shows the transformation of humans into reptilian aliens. The idea, more than a century old, that the world is controlled by evil reptiles has regularly resurfaced in recent decades under the influence of conspiracy theorists such as Zecharia Sitchin and David Vaughan Icke.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026ldquo;In the 1970s, when I was starting out, it was the era of the disaster film and also of close encounters. It was like people wanted the end to happen because reality was so fucking boring.\u0026rdquo;\u003c/strong\u003e\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align:justify\"\u003eDe reeks \u003cem\u003eUFO Photos\u003c/em\u003e maakte deel uit van het afstudeerproject van Jim Shaw aan het California Institute of the Arts in 1978. In de jaren 1970 was er een grote toename van het aantal ufo-waarnemingen in de Verenigde Staten en meer specifiek in Californi\u0026euml;. Mensen raakten geobsedeerd door buitenaardse ontmoetingen en de verslaggeving erover. Met deze sterk geretoucheerde foto\u0026rsquo;s knipoogt Shaw naar de vaak slechte kwaliteit van de beeldmanipulatie van het \u0026lsquo;fotografisch bewijs\u0026rsquo; in populaire media voor het bestaan van buitenaards leven. Shaw observeert hoe we in tijden van onzekerheid en wantrouwen in de politiek onze angsten projecteren op onverklaarbare fenomenen, zoals observaties van buitenaards leven, spirituele ervaringen, of complottheorie\u0026euml;n. In de Martian Portraits, ook onderdeel van zijn afstudeerproject, toont Shaw de transformatie van mensen in reptielachtige buitenaardse wezens. Het meer dan honderd jaar oude idee dat de wereld bestuurd wordt door kwaadaardige reptielen, duikt de laatste decennia, onder invloed van complottheoretici als Zecharia Sitchin en David Vaughan Icke, regelmatig weer op.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026ldquo;In the 1970s, when I was starting out, it was the era of the disaster film and also of close encounters. It was like people wanted the end to happen because reality was so fucking boring.\u0026rdquo;\u003c/strong\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align:justify\"\u003eLa s\u0026eacute;rie UFO photos faisait partie du projet de fin d\u0026rsquo;\u0026eacute;tudes de Jim Shaw, en 1978, au California Institute of the Arts. Dans les ann\u0026eacute;es\u0026nbsp;1970, les observations d\u0026rsquo;ovnis ont connu une forte augmentation aux \u0026Eacute;tats-Unis, en particulier en Californie. Les gens avaient d\u0026eacute;velopp\u0026eacute; une v\u0026eacute;ritable obsession pour les rencontres d\u0026rsquo;extraterrestres et leurs comptes rendus. Avec ces photographies intens\u0026eacute;ment retouch\u0026eacute;es, Shaw fait un clin d\u0026rsquo;\u0026oelig;il \u0026agrave; la qualit\u0026eacute; souvent m\u0026eacute;diocre de la manipulation des images pr\u0026eacute;sent\u0026eacute;es comme des \u0026laquo;\u0026nbsp;preuves photographiques\u0026nbsp;\u0026raquo; dans les m\u0026eacute;dias populaires en vue de d\u0026eacute;montrer l\u0026rsquo;existence de vie extraterrestre. Shaw observe de quelle mani\u0026egrave;re, en temps d\u0026rsquo;incertitude et de m\u0026eacute;fiance \u0026agrave; l\u0026rsquo;\u0026eacute;gard de la politique, nous projetons nos peurs sur des ph\u0026eacute;nom\u0026egrave;nes inexpliqu\u0026eacute;s, tels que des observations de vie extraterrestre, des exp\u0026eacute;riences spirituelles ou des th\u0026eacute;ories complotistes. Dans Martian Portraits, qui fait \u0026eacute;galement partie de son projet de fin d\u0026rsquo;\u0026eacute;tudes, Shaw montre la transformation d\u0026rsquo;humains en extraterrestres reptiliens. L\u0026rsquo;id\u0026eacute;e, vieille de plus de cent ans, selon laquelle le monde serait dirig\u0026eacute; par des reptiles mal\u0026eacute;fiques a refait surface au cours des derni\u0026egrave;res d\u0026eacute;cennies, sous l\u0026rsquo;influence de th\u0026eacute;oriciens du complot tels que Zecharia Sitchin et David Vaughan Icke.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026laquo;\u0026nbsp;Les ann\u0026eacute;es\u0026nbsp;1970, lors desquelles j\u0026rsquo;ai commenc\u0026eacute; \u0026agrave; travailler, \u0026eacute;taient celles des films catastrophes et des \u0026ldquo;rencontres rapproch\u0026eacute;es\u0026rdquo;. Comme si les gens voulaient que la fin arrive parce que la r\u0026eacute;alit\u0026eacute; \u0026eacute;tait si ennuyeuse.\u0026nbsp;\u0026raquo;\u003c/strong\u003e\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":35083,"title":"Official Portrait (Metaluna Mutant and Beautiful Girl)","dimensions":"76.2 × 68.6 × 3.5 cm","date_begin":"2019-01-01","material":"acrylic on muslin","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"official-portrait-metaluna-mutant-and-beautiful-girl","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/077/medium_500/2024_Jim_Shaw_TEN_F012.jpg?1707341819","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/077/large/2024_Jim_Shaw_TEN_F012.jpg?1707341819","poster_credits":"(c)Jim Shaw, 2019 - Courtesy of the Artist and Gagosian, Los Angeles","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35084,"title":"The Bridge","dimensions":"121.9 × 152.4 cm","date_begin":"2021-01-01","material":"acrylic on muslin","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2021.0001","stream_count_app":13,"permalink":"the-bridge","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/076/medium_500/2024_Jim_Shaw_TEN_F016.jpg?1707341639","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/076/large/2024_Jim_Shaw_TEN_F016.jpg?1707341639","poster_credits":"(c)Jim Shaw, 1922 - Courtesy of the Artist and Gagosian, London","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35085,"title":"Going For The One","dimensions":"152.4 × 152.4 × 7 cm","date_begin":"2022-01-01","material":"oil and acrylic on muslin","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2022.0015","stream_count_app":16,"permalink":"going-for-the-one","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/078/medium_500/2024_Jim_Shaw_TEN_F015.jpg?1707341938","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/078/large/2024_Jim_Shaw_TEN_F015.jpg?1707341938","poster_credits":"(c)Jim Shaw, 2022 - Courtesy of the Artist and Gagosian, Los Angeles","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026ldquo;Raquel Welch appears in Myra Breckenridge (1970), with Mae West and John Huston. In the film, Myron Breckenridge is reported to have died but leaves town, gets a sex change, and becomes \u0026#39;Myra.\u0026#39; Myra claims to be his widow and comes back to claim Myron\u0026rsquo;s will and half of his uncle\u0026rsquo;s acting school in Hollywood. It\u0026rsquo;s a compelling book by Gore Vidal.\u0026rdquo;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e(From: [Amadour] In Conversation with Artist Jim Shaw, www.riotmaterial.com)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align:justify\"\u003eJim Shaw takes the title of the work \u0026ndash; and its background featuring the Century Plaza Towers in Los Angeles \u0026ndash; from the album Going for the One by British rock group Yes. The central figure in the painting is actress Raquel Welch who plays Myra Breckenridge in the 1970 film adaptation of Gore Vidal\u0026#39;s book of the same name: Myra Breckinridge. The comedy fitted in with the strategy of film studio 20th Century-Fox (today 20th Century Studios) during those years, namely to conquer the silver screen with \u0026#39;sex goddesses\u0026#39;. In 1963, this included Elisabeth Taylor as Cleopatra, here reflected in a skyscraper. With this role, Welch herself wanted to prove that she was more than an \u0026#39;it girl\u0026#39;. However, the film was a flop with both critics and the general public. In Going for the One, Shaw has Welsh take the form of Kali, the Hindu goddess of destruction and rebirth, who towers over the iconic 20th Century-Fox logo. Welsh was Hollywood\u0026#39;s sex symbol in the 1960s and 1970s, succeeding Marilyn Monroe (who, when speaking about the corrupt patriarchy of Hollywood and how women were treated there, regularly shattered the myth). After a number of lawsuits against her production company, Welsh\u0026#39;s acting career was all but over from the 1980s onwards. She then became an active business woman with, among other things, a successful wig company.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align:justify\"\u003e\u003cem\u003e\u003cstrong\u003e\u0026ldquo;Raquel Welch appears in Myra Breckenridge (1970), with Mae West and John Huston. In the film, Myron Breckenridge is reported to have died but leaves town, gets a sex change, and becomes \u0026ldquo;Myra.\u0026rdquo; Myra claims to be his widow and comes back to claim Myron\u0026rsquo;s will and half of his uncle\u0026rsquo;s acting school in Hollywood. It\u0026rsquo;s a compelling book by Gore Vidal.\u0026rdquo;\u003c/strong\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003e(Uit: [Amadour] In Conversation with Artist Jim Shaw, www.riotmaterial.com)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align:justify\"\u003eDe titel van het werk, en de achtergrond met de Century Plaza Towers in Los Angeles, ontleent Jim Shaw aan het album \u003cem\u003eGoing for the One\u003c/em\u003e van de Britse rockgroep Yes. De centrale figuur op het schilderij is actrice Raquel Welch die Myra Breckenridge speelt in de verfilming uit 1970 van het boek van Gore Vidal: Myra Breckenridge. Deze komedie paste binnen de strategie van filmstudio 20th Century-Fox (vandaag 20th Century Studios) in die periode om het witte doek te veroveren met \u0026lsquo;seksgodinnen\u0026rsquo;. Zo voeren ze in 1963 ook Elisabeth Taylor op als Cleopatra,die hier weerspiegeld wordt in een wolkenkrabber. Welch zelf wilde met de rol van Myra Breckenridge bewijzen dat ze meer was dan een \u0026lsquo;it-girl\u0026rsquo;. Zowel bij critici als bij het grote publiek was de film echter een flop. In Going for the One laat Shaw de actrice de vorm aannemen van Kali, de hindoe\u0026iuml;stische godin van vernietiging en wedergeboorte, die boven het iconische logo van 20th Century-Fox uittorent. Welsh was het sekssymbool van Hollywood in de jaren 1960 en 1970 en was in die hoedanigheid opvolger van Marilyn Monroe. Die laatste doorprikte geregeld de mythe wanneer ze sprak over het corrupte patriarchaat van Hollywood en hoe vrouwen er werden behandeld. Na een aantal rechtszaken tegen haar productiehuis was de acteercarri\u0026egrave;re van Welsh vanaf de jaren 1980 zo goed als voorbij. Daarna was ze actief in de bedrijfswereld met onder andere een succesvol pruikenbedrijf.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026laquo;\u0026nbsp;Dans Myra Breckenridge (1970), Raquel Welch joue aux c\u0026ocirc;t\u0026eacute;s de Mae West et de John Huston. Dans ce film, Myron Breckenridge, cens\u0026eacute; \u0026ecirc;tre mort, quitte la ville, change de sexe et devient \u0026ldquo;Myra\u0026rdquo;. Celle-ci revient, pr\u0026eacute;tend \u0026ecirc;tre la veuve de Myron, r\u0026eacute;clame son testament et la moiti\u0026eacute; d\u0026rsquo;une \u0026eacute;cole d\u0026rsquo;art dramatique \u0026agrave; Hollywood appartenant \u0026agrave; l\u0026rsquo;oncle de son d\u0026eacute;funt mari. C\u0026rsquo;est un livre passionnant de Gore Vidal.\u0026nbsp;\u0026raquo;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e(Extrait de\u0026nbsp;: Amadour, In Conversation with Artist Jim Shaw, www.riotmaterial.com)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align:justify\"\u003eJim Shaw emprunte le titre de l\u0026rsquo;\u0026oelig;uvre ainsi que la toile de fond \u0026ndash; les tours du Century Plaza \u0026agrave; Los Angeles \u0026ndash; \u0026agrave; l\u0026rsquo;album \u003cem\u003eGoing for the One\u003c/em\u003e du groupe de rock britannique Yes. Le personnage central du tableau est l\u0026rsquo;actrice Raquel Welch dans le r\u0026ocirc;le de Myra Breckenridge, qu\u0026rsquo;elle interpr\u0026egrave;te dans l\u0026rsquo;adaptation cin\u0026eacute;matographique du livre \u0026eacute;ponyme de Gore Vidal, publi\u0026eacute; en 1970. Cette com\u0026eacute;die s\u0026rsquo;inscrit dans la strat\u0026eacute;gie du studio de cin\u0026eacute;ma 20th\u0026nbsp;Century Fox, qui cherchait \u0026agrave; l\u0026rsquo;\u0026eacute;poque \u0026agrave; conqu\u0026eacute;rir le grand \u0026eacute;cran avec des \u0026laquo;\u0026nbsp;d\u0026eacute;esses du sexe\u0026nbsp;\u0026raquo; telles qu\u0026rsquo;Elisabeth Taylor dans le r\u0026ocirc;le de Cl\u0026eacute;op\u0026acirc;tre en 1963, dont on aper\u0026ccedil;oit ici le reflet sur un gratte-ciel. Avec ce r\u0026ocirc;le, Welch esp\u0026eacute;rait prouver qu\u0026rsquo;elle \u0026eacute;tait plus qu\u0026rsquo;une It-girl, une jeune actrice \u0026agrave; la mode. Mais le film fut un \u0026eacute;chec, tant aupr\u0026egrave;s de la critique que du grand public. Dans Going for the One, Shaw fait adopter \u0026agrave; l\u0026rsquo;actrice la silhouette de Kali, la d\u0026eacute;esse hindoue de la destruction et de la renaissance, dominant le logo embl\u0026eacute;matique de 20th Century Fox. Dans les ann\u0026eacute;es\u0026nbsp;1960 et\u0026nbsp;1970, Welsh succ\u0026egrave;de \u0026agrave; Marilyn Monroe en tant que sex-symbol de Hollywood. Cette derni\u0026egrave;re a souvent perc\u0026eacute; \u0026agrave; jour le mythe hollywoodien lorsqu\u0026rsquo;elle \u0026eacute;voquait le patriarcat corrompu et de la fa\u0026ccedil;on dont on y traitait les femmes. Apr\u0026egrave;s plusieurs proc\u0026egrave;s contre sa maison de production, la carri\u0026egrave;re d\u0026rsquo;actrice de Welsh d\u0026eacute;cline dans les ann\u0026eacute;es\u0026nbsp;1980. Elle se lance alors avec succ\u0026egrave;s dans le monde de l\u0026rsquo;entreprise, entre autres, \u0026agrave; travers une soci\u0026eacute;t\u0026eacute; de perruques.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"}]},{"id":35087,"title":"Cake (Daniel in Disgust)","dimensions":"111 x 99 cm, 40.6 x 33 cm","date_begin":"2011-01-01","material":"oil on digital inkjet, acrylic and ink on panel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"cake-daniel-in-disgust","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/080/medium_500/2024_Jim_Shaw_TEN_F007.jpg?1707342170","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/080/large/2024_Jim_Shaw_TEN_F007.jpg?1707342170","poster_credits":"(c)Jim Shaw, 2011 - Courtesy of the Artist and Gagosian, Los Angeles - photo: M HKA, 2024","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35211,"title":"Strange Beautiful","dimensions":"91.4 x 121.9 x 2.5 cm","date_begin":"2019-01-01","material":"acrylic on muslin ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Praz-Delavallade, Paris (France)","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"strange-beautiful","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/081/medium_500/2024_Jim_Shaw_TEN_F017.jpg?1707342430","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/081/large/2024_Jim_Shaw_TEN_F017.jpg?1707342430","poster_credits":"(c)Jim Shaw, 2019 - Courtesy of the Artist and Praz - Delavallade, Paris (France) - photo: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35212,"title":"Gremlins From the Kremlin ","dimensions":"101.6 x 76.2 x 2.5 cm","date_begin":"2019-01-01","material":"acrylic and ink on panel ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Praz-Delavallade, Paris (France)","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"gremlins-from-the-kremlin","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/082/medium_500/2024_Jim_Shaw_TEN_F010.jpg?1707342592","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/082/large/2024_Jim_Shaw_TEN_F010.jpg?1707342592","poster_credits":"(c)Jim Shaw, 2019 - Courtesy of the Artist and Praz - Delavallade, Paris (France) - photo: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35213,"title":"Milk Separator","dimensions":"106.7 x 121.9 x 2.5 cm","date_begin":"2019-01-01","material":"acrylic and ink on panel ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Praz-Delavallade, Paris (France)","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JS19P6","stream_count_app":8,"permalink":"milk-separator","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/083/medium_500/2024_Jim_Shaw_TEN_F011.jpg?1707342869","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/083/large/2024_Jim_Shaw_TEN_F011.jpg?1707342869","poster_credits":"(c)Jim Shaw, 2019 - Courtesy of the Artist and Praz - Delavallade, Paris (France) - photo: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35214,"title":"Mnemonic device #2, Third Stone From The Sun","dimensions":"137.2 x 109.2 cm","date_begin":"2020-01-01","material":"acrylic on muslin","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Gagosian, Paris","cached_tag_list":"jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2020.0003","stream_count_app":18,"permalink":"mnemonic-device-2-third-stone-from-the-sun","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/761/medium_500/JS_001.png?1704963376","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/084/large/2024_Jim_Shaw_TEN_F014.jpg?1707343064","poster_credits":"(c)Jim Shaw, 2020 - Courtesy of the Artist and Gagosian, Paris - photo: M HKA, 2024","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify\"\u003eFor this work, Jim Shaw draws on techniques to train and support memory that were devised from the 1970s onwards by former American professional basketball player (and Olympic champion) Jerry Lucas. For the book\u003cem\u003e Remember the Word: Vol. 1, The Gospels: A Bible Memorization System\u003c/em\u003e, Lucas developed a system of auditory and visual associations to memorise the four Gospels. Shaw adopts Lucas\u0026#39;s cartoonish drawing style to create a rebus, with varying references from pop culture and the advertising world, to Breughelian scenes or a portrait of Russian president Vladimir Putin. The title may refer to \u003cem\u003e3rd Rock from the Sun\u003c/em\u003e, the 1990s American sitcom about aliens who land on Earth \u0026ndash; the third planet from the Sun \u0026ndash; which they consider a very insignificant planet. \u003ca href=\"https://youtu.be/JsrkDg9atcY?si=h2t0-9MYq7q6_fbX\"\u003e\u003cem\u003eThird Stone From The Sun\u003c/em\u003e\u003c/a\u003e is also a late 1960s song by legendary psychedelic rock guitarist Jimi Hendrix that highlights the latter\u0026#39;s interest in science fiction.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align:justify\"\u003eVoor dit werk baseert Jim Shaw zich op technieken om het geheugen te trainen en te ondersteunen die vanaf de jaren 1970 werden bedacht door voormalig Amerikaans, professioneel basketbalspeler en Olympisch kampioen Jerry Lucas. Voor het boek \u003cem\u003eRemember the Word: Vol. 1, The Gospels: A Bible Memorization System\u003c/em\u003e ontwikkelde Lucas een systeem van auditieve en visuele associaties om de vier evangeli\u0026euml;n te memoriseren. Shaw neemt de cartoonachtige tekenstijl van Lucas over om een rebus te cre\u0026euml;ren, met uiteenlopende verwijzingen van popcultuur en de reclamewereld, over breugheliaanse taferelen, tot een portret van Russisch president Vladimir Poetin. De titel kan verwijzen naar \u003cem\u003e3rd Rock from the Sun\u003c/em\u003e, de Amerikaanse sitcom uit de jaren 1990, over buitenaardse wezens die landen op de aarde, de derde planeet vanaf de zon, die ze als een zeer onbeduidende planeet beschouwen. \u003ca href=\"https://youtu.be/JsrkDg9atcY?si=h2t0-9MYq7q6_fbX\"\u003e\u003cem\u003eThird Stone From The Sun\u003c/em\u003e\u003c/a\u003e is ook een nummer uit de late jaren 1960 van de legendarische, psychedelische rockgitarist Jimi Hendrix waarin zijn interesse in sciencefiction naar voor komt.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align:justify\"\u003ePour cette \u0026oelig;uvre, Jim Shaw s\u0026rsquo;appuie sur les techniques d\u0026rsquo;entra\u0026icirc;nement et de soutien de la m\u0026eacute;moire con\u0026ccedil;ues \u0026agrave; partir des ann\u0026eacute;es\u0026nbsp;1970 par l\u0026rsquo;ancien joueur professionnel de basket-ball et champion olympique, l\u0026rsquo;Am\u0026eacute;ricain Jerry Lucas. Pour le livre \u003cem\u003eRemember the Word: Vol.\u0026nbsp;1, The Gospels: A Bible Memorisation System\u003c/em\u003e, Lucas a mis au point un syst\u0026egrave;me d\u0026rsquo;associations auditives et visuelles pour m\u0026eacute;moriser les quatre \u0026eacute;vangiles. Shaw adopte le style cartoonesque pour cr\u0026eacute;er son propre r\u0026eacute;bus, avec diverses r\u0026eacute;f\u0026eacute;rences \u0026agrave; la culture pop et au monde de la publicit\u0026eacute;, en passant par des sc\u0026egrave;nes breugh\u0026eacute;liennes et un portrait du pr\u0026eacute;sident russe Vladimir Poutine. Le titre peut faire r\u0026eacute;f\u0026eacute;rence au sitcom \u0026eacute;tats-unien \u003cem\u003e3rd Rock from the Sun\u003c/em\u003e (1996-2001), \u0026agrave; propos de l\u0026rsquo;atterrissage d\u0026rsquo;extraterrestres sur la Terre \u0026ndash; la troisi\u0026egrave;me plan\u0026egrave;te \u0026agrave; partir du soleil \u0026ndash; qu\u0026rsquo;ils consid\u0026egrave;rent comme une plan\u0026egrave;te tout \u0026agrave; fait insignifiante. \u003ca href=\"https://youtu.be/JsrkDg9atcY?si=h2t0-9MYq7q6_fbX\"\u003e\u003cem\u003eThird Stone From The Sun\u003c/em\u003e\u003c/a\u003e est aussi une chanson du l\u0026eacute;gendaire guitariste de rock psych\u0026eacute;d\u0026eacute;lique de la fin des ann\u0026eacute;es\u0026nbsp;1960, Jimi Hendrix, dans laquelle ce dernier souligne son int\u0026eacute;r\u0026ecirc;t pour la science-fiction.\u003c/p\u003e\r\n"}]},{"id":35217,"title":"Cake (Double Brian)","dimensions":"37 3/8 x 67 inches (94.9 x 170 cm), 15 x 21  13/16 (38 x 55.4 cm)","date_begin":"2011-01-01","material":"oil on digital inkjet print, acrylic and ink on panel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"Jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2011.0006","stream_count_app":18,"permalink":"cake-double-brian-379fd132-ec9c-499e-86b3-d83d6af501d3","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/079/medium_500/2024_Jim_Shaw_TEN_F006.jpg?1707342080","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/079/large/2024_Jim_Shaw_TEN_F006.jpg?1707342080","poster_credits":"(c)Jim Shaw, 2011 - Courtesy of the Artist and Gagosian, Los Angeles - photo: M HKA, 2024","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify\"\u003eJim Shaw\u0026#39;s works are not only layered with respect to content, but they often literally consist of different layers. Works from the \u003cem\u003e\u0026#39;Men in Pain\u0026#39;\u003c/em\u003e series, to which \u003cem\u003eCake (Double Brian)\u003c/em\u003e belongs, are all constructed according to the same logic. The basis is formed by enlarged prints, fixed on the canvas, of advertisements for ready-made cake mixes from the 1950s and 1960s, the heyday of printed advertising in magazines aimed at housewives. As a second layer, Shaw imitates an abstract expressionist style. Finally, he paints a male model on top, which he asked to express a bodily response to physical or psychological pain. These \u0026#39;men in pain\u0026#39; are the opposite of the always cheerfully smiling women from the commercials. Each work also has a piece that is \u0026#39;missing\u0026#39;, shown separately next to it, and thus creating a void or point of rest.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align:justify\"\u003eDe werken van Jim Shaw zijn niet enkel gelaagd op inhoudelijk niveau, maar bestaan ook vaak letterlijk uit verschillende lagen. Werken uit de reeks \u0026ldquo;Men in Pain\u0026rdquo;, waar \u003cem\u003eCake (Double Brian) \u003c/em\u003etoe behoort, zijn allemaal volgens dezelfde logica opgebouwd. De basis wordt gevormd door uitvergrote, op het canvas gefixeerde prints van advertenties voor kant en klare cakemixen uit de jaren 1950 en 1960, de glorieperiode van geprinte reclame in magazines gericht op huisvrouwen. Als tweede laag bootst Shaw een abstract expressionistische stijl na. Tenslotte schildert hij er een mannelijk model bovenop, dat hij vroeg de lichamelijke reactie op fysieke of psychische pijn uit te beelden. Deze \u0026ldquo;mannen die pijn lijden\u0026rdquo; zijn het tegenovergestelde van de immer vrolijk lachende vrouwen uit de reclameboodschappen. Elk werk heeft ook een stuk dat \u0026lsquo;ontbreekt\u0026rsquo; en dat ernaast, afzonderlijk wordt getoond. Op die manier ontstaat een leegte of rustpunt.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align:justify\"\u003eJim Shaw r\u0026eacute;alise des \u0026oelig;uvres non seulement \u0026agrave; la teneur stratifi\u0026eacute;e, mais souvent aussi compos\u0026eacute;es litt\u0026eacute;ralement de plusieurs couches. Les \u0026oelig;uvres de la s\u0026eacute;rie \u003cem\u003eMen in Pain\u003c/em\u003e, dont fait partie \u003cem\u003eCake (Double Brian)\u003c/em\u003e, sont toutes construites selon la m\u0026ecirc;me logique\u0026nbsp;: \u0026agrave; la base, et fix\u0026eacute;es sur la toile, des impressions agrandies de publicit\u0026eacute;s pour des pr\u0026eacute;parations de g\u0026acirc;teaux pr\u0026ecirc;tes \u0026agrave; l\u0026rsquo;emploi datant des ann\u0026eacute;es\u0026nbsp;1950 et\u0026nbsp;1960, l\u0026rsquo;\u0026eacute;poque glorieuse des publicit\u0026eacute;s dans les magazines destin\u0026eacute;s aux femmes au foyer. Comme deuxi\u0026egrave;me couche, Shaw adjoint une imitation du style expressionniste abstrait. Enfin, par-dessus, il peint un mod\u0026egrave;le masculin \u0026agrave; qui il a demand\u0026eacute; de repr\u0026eacute;senter la r\u0026eacute;action corporelle \u0026agrave; une douleur physique ou psychique. Ces \u0026laquo;\u0026nbsp;hommes en souffrance\u0026nbsp;\u0026raquo; sont \u0026agrave; l\u0026rsquo;oppos\u0026eacute; des femmes invariablement souriantes et enjou\u0026eacute;es des messages publicitaires. Chaque \u0026oelig;uvre comporte en outre une pi\u0026egrave;ce \u0026laquo;\u0026nbsp;manquante\u0026nbsp;\u0026raquo;, pr\u0026eacute;sent\u0026eacute;e s\u0026eacute;par\u0026eacute;ment \u0026agrave; c\u0026ocirc;t\u0026eacute; d\u0026rsquo;elle, qui cr\u0026eacute;e ainsi un vide ou un point de repos.\u003c/p\u003e\r\n"}]},{"id":35232,"title":"Religious Machine Man","dimensions":"38 x 31 x 1 3/4 inches (96.5 x 78.7 x 4.4 cm)","date_begin":"2020-01-01","material":"acrylic on muslin","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Gagosian, London","cached_tag_list":"Jim 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Courtesy the artist and M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eThe Electronic Monster and Thirteen Ghosts \u003c/i\u003e(2024) is a new work created for the exhibition, inspired by the memories of a double-bill horror movie Shaw saw at the cinema when he was nine years old. The installation brings together singing wigs, an aggressive vacuum cleaner, catalogue models, cavemen, a half-cake, half-intestine figure, and the ghosts of industrial power and consumerism in a last, grotesque, and outdated dance. The work resurfaces American society’s debris and components, like an adrift yet very much present floating ideology. It is apparent — in this piece and many others — that Jim Shaw’s oeuvre is marked by a vintage aesthetic that reveals how important the 1960s were in forging his vision as a young artist, while he now uses this aesthetic as a poignant means of both depicting and undermining “the mythologised golden age of patriarchy in post-war America, where white men ran everything”. The present spectacle confronts viewers with a typically European standpoint: hungry for and critical of a stereotypical America, existing beyond a reality one can’t quite grasp.\u003c/p\u003e\u003chr\u003e\u003cp\u003e\u003cstrong\u003eCredits\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eEditing, Animation\u003c/i\u003e - Kane Lafia\u003c/p\u003e\u003cp\u003e\u003ci\u003eVideography\u003c/i\u003e - Daniel Hawkins\u003c/p\u003e\u003cp\u003e\u003ci\u003eMusic mixing, looping etc.\u003c/i\u003e - Kane Lafia\u003c/p\u003e\u003cp\u003e\u003ci\u003eMusic\u003c/i\u003e - Jim Shaw, D’redd D’warf (Dani Tull, Brian Randolph, Daniel Hope, Jim Shaw), Kalle Nemvalts\u003c/p\u003e\u003cp\u003e\u003ci\u003eVoice Recording\u003c/i\u003e - Corby Gallegos\u003c/p\u003e\u003cp\u003e\u003ci\u003eVoice Editing\u003c/i\u003e - Alan Tofighi\u003c/p\u003e\u003cp\u003e\u003ci\u003eCatalog models written dialogue\u003c/i\u003e - Colette Weber Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eCatalog model Script editor\u003c/i\u003e - Akela Munson\u003c/p\u003e\u003cp\u003e\u003ci\u003eSet Photographer\u003c/i\u003e - LeeAnn Nickel\u003c/p\u003e\u003cp\u003e\u003ci\u003ePerformers\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eAmorphous head Puppeteer\u003c/i\u003e - Daniel Hope\u003c/p\u003e\u003cp\u003e\u003ci\u003eBook\u003c/i\u003e - Kelsey Kuykendall\u003c/p\u003e\u003cp\u003e\u003ci\u003eCake\u003c/i\u003e - Kane Lafia\u003c/p\u003e\u003cp\u003e\u003ci\u003eCavemen\u003c/i\u003e - Marnie Weber, Kane Lafia, Daniel Hope\u003c/p\u003e\u003cp\u003e\u003ci\u003eThe Electronic Monster\u003c/i\u003e - Jim Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eVacuum Cleaner\u003c/i\u003e - Daniel Hope\u003c/p\u003e\u003cp\u003e\u003ci\u003eWig Puppets\u003c/i\u003e - Tanya Haden and Mariah Csepanyi Cool\u003c/p\u003e\u003cp\u003e\u003ci\u003eVocal Performers\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eCatalog model voices\u003c/i\u003e - Conor Murphy, Blake Bailey, Corby Gallegos, Jim Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eCrackly puppet head voice\u003c/i\u003e - Tanya Haden\u003c/p\u003e\u003cp\u003e\u003ci\u003eCake and Vacuum voices\u003c/i\u003e - Corby Gallegos\u003c/p\u003e\u003cp\u003e\u003ci\u003eCigarette men voice\u003c/i\u003e - Blake Bailey\u003c/p\u003e\u003cp\u003e\u003ci\u003eParking Meter Voice\u003c/i\u003e - Jim Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eSmooth puppet head voice\u003c/i\u003e - Jim Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eCostume and Puppet Fabrication\u003c/i\u003e\u0026nbsp;- Daniel Hope, Kelsey Kuykendall\u003c/p\u003e\u003cp\u003e\u003ci\u003eAssisted by: \u003c/i\u003eShelby Date, Javier Espinoza-Lopez\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eThe Electronic Monster and Thirteen Ghosts \u003c/i\u003e(2024) is een nieuw werk dat voor deze tentoonstelling werd gecreëerd. Het is geïnspireerd op de herinnering aan twee monsterfilms die Jim Shaw in de bioscoop zag toen hij negen jaar oud was. De installatie brengt zingende pruiken, een agressieve stofzuiger, catalogusmodellen, holbewoners, een hybride wezen dat het midden houdt tussen gebak en ingewanden, en de geesten van de industriële macht en het consumentisme samen in een ultieme, groteske, uit de pas lopende dans. Het werk brengt de bouwstenen en brokstukken van de Amerikaanse samenleving aan de oppervlakte, als een ideologie op drift, zwevend maar toch heel aanwezig. In veel werken zet Jim Shaw een vintage esthetiek in, die toont hoe belangrijk de jaren 1960 waren voor zijn opvattingen als beginnend kunstenaar, en die hij nu gebruikt als een treffend middel om \u003ci\u003e“de mythologische gouden eeuw van het patriarchaat in het naoorlogse Amerika, waar witte mannen alles beheersten”\u003c/i\u003e zowel uit te beelden als te ondermijnen. Het werk confronteert kijkers met hun typisch Europees standpunt: dat met een combinatie van nieuwsgierigheid en afkeuring kijkt naar een stereotiep Amerika, dat enkel ergens voorbij de werkelijkheid bestaat.\u003c/p\u003e\u003chr\u003e\u003cp\u003e\u003cstrong\u003eCredits\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eEditing, Animation\u003c/i\u003e - Kane Lafia\u003c/p\u003e\u003cp\u003e\u003ci\u003eVideography\u003c/i\u003e - Daniel Hawkins\u003c/p\u003e\u003cp\u003e\u003ci\u003eMusic mixing, looping etc.\u003c/i\u003e - Kane Lafia\u003c/p\u003e\u003cp\u003e\u003ci\u003eMusic\u003c/i\u003e - Jim Shaw, D’redd D’warf (Dani Tull, Brian Randolph, Daniel Hope, Jim Shaw), Kalle Nemvalts\u003c/p\u003e\u003cp\u003e\u003ci\u003eVoice Recording\u003c/i\u003e - Corby Gallegos\u003c/p\u003e\u003cp\u003e\u003ci\u003eVoice Editing\u003c/i\u003e - Alan Tofighi\u003c/p\u003e\u003cp\u003e\u003ci\u003eCatalog models written dialogue\u003c/i\u003e - Colette Weber Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eCatalog model Script editor\u003c/i\u003e - Akela Munson\u003c/p\u003e\u003cp\u003e\u003ci\u003eSet Photographer\u003c/i\u003e - LeeAnn Nickel\u003c/p\u003e\u003cp\u003e\u003ci\u003ePerformers\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eAmorphous head Puppeteer\u003c/i\u003e - Daniel Hope\u003c/p\u003e\u003cp\u003e\u003ci\u003eBook\u003c/i\u003e - Kelsey Kuykendall\u003c/p\u003e\u003cp\u003e\u003ci\u003eCake\u003c/i\u003e - Kane Lafia\u003c/p\u003e\u003cp\u003e\u003ci\u003eCavemen\u003c/i\u003e - Marnie Weber, Kane Lafia, Daniel Hope\u003c/p\u003e\u003cp\u003e\u003ci\u003eThe Electronic Monster\u003c/i\u003e - Jim Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eVacuum Cleaner\u003c/i\u003e - Daniel Hope\u003c/p\u003e\u003cp\u003e\u003ci\u003eWig Puppets\u003c/i\u003e - Tanya Haden and Mariah Csepanyi Cool\u003c/p\u003e\u003cp\u003e\u003ci\u003eVocal Performers\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eCatalog model voices\u003c/i\u003e - Conor Murphy, Blake Bailey, Corby Gallegos, Jim Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eCrackly puppet head voice\u003c/i\u003e - Tanya Haden\u003c/p\u003e\u003cp\u003e\u003ci\u003eCake and Vacuum voices\u003c/i\u003e - Corby Gallegos\u003c/p\u003e\u003cp\u003e\u003ci\u003eCigarette men voice\u003c/i\u003e - Blake Bailey\u003c/p\u003e\u003cp\u003e\u003ci\u003eParking Meter Voice\u003c/i\u003e - Jim Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eSmooth puppet head voice\u003c/i\u003e - Jim Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eCostume and Puppet Fabrication\u003c/i\u003e\u0026nbsp;- Daniel Hope, Kelsey Kuykendall\u003c/p\u003e\u003cp\u003e\u003ci\u003eAssisted by: \u003c/i\u003eShelby Date, Javier Espinoza-Lopez\u003c/p\u003e"},{"locale":"fr","description":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eThe Electronic Monster and Thirteen Ghosts\u003c/i\u003e (2024) est une nouvelle oeuvre créée pour l’exposition. Elle s’inspire du souvenir de deux films de monstres que Jim Shaw a vus au cinéma lorsqu’il avait neuf ans. L’installation convoque des perruques chantantes, un aspirateur agressif, des mannequins de catalogue, des hommes des cavernes, une figure mi-cake mi-intestins, et les fantômes de la puissance industrielle et du consumérisme à une ultime danse, grotesque et déphasée. L’oeuvre fait remonter à la surface les débris et les éléments constituants de la société américaine, telle une idéologie à la dérive, flottante et pourtant bien présente. L’esthétique vintage qui – ici et ailleurs – marque le travail de Jim Shaw inscrit les années soixante comme celles qui ont forgé son regard de jeune artiste, et s’affirme comme un moyen incisif dont il use pour dépeindre et fragiliser \u003ci\u003e« l’âge d’or mythifié du patriarcat dans l’Amérique d’après-guerre, où les hommes blancs dirigeaient tout »\u003c/i\u003e. Le spectacle qui se déroule sous nos yeux nous renvoie à un point de vue d’Européens avides et critiques d’une Amérique stéréotypée, au-delà d’une réalité échappant à nos simples repères.\u003c/p\u003e\u003chr\u003e\u003cp\u003e\u003cstrong\u003eCredits\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eEditing, Animation\u003c/i\u003e - Kane Lafia\u003c/p\u003e\u003cp\u003e\u003ci\u003eVideography\u003c/i\u003e - Daniel Hawkins\u003c/p\u003e\u003cp\u003e\u003ci\u003eMusic mixing, looping etc.\u003c/i\u003e - Kane Lafia\u003c/p\u003e\u003cp\u003e\u003ci\u003eMusic\u003c/i\u003e - Jim Shaw, D’redd D’warf (Dani Tull, Brian Randolph, Daniel Hope, Jim Shaw), Kalle Nemvalts\u003c/p\u003e\u003cp\u003e\u003ci\u003eVoice Recording\u003c/i\u003e - Corby Gallegos\u003c/p\u003e\u003cp\u003e\u003ci\u003eVoice Editing\u003c/i\u003e - Alan Tofighi\u003c/p\u003e\u003cp\u003e\u003ci\u003eCatalog models written dialogue\u003c/i\u003e - Colette Weber Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eCatalog model Script editor\u003c/i\u003e - Akela Munson\u003c/p\u003e\u003cp\u003e\u003ci\u003eSet Photographer\u003c/i\u003e - LeeAnn Nickel\u003c/p\u003e\u003cp\u003e\u003ci\u003ePerformers\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eAmorphous head Puppeteer\u003c/i\u003e - Daniel Hope\u003c/p\u003e\u003cp\u003e\u003ci\u003eBook\u003c/i\u003e - Kelsey Kuykendall\u003c/p\u003e\u003cp\u003e\u003ci\u003eCake\u003c/i\u003e - Kane Lafia\u003c/p\u003e\u003cp\u003e\u003ci\u003eCavemen\u003c/i\u003e - Marnie Weber, Kane Lafia, Daniel Hope\u003c/p\u003e\u003cp\u003e\u003ci\u003eThe Electronic Monster\u003c/i\u003e - Jim Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eVacuum Cleaner\u003c/i\u003e - Daniel Hope\u003c/p\u003e\u003cp\u003e\u003ci\u003eWig Puppets\u003c/i\u003e - Tanya Haden and Mariah Csepanyi Cool\u003c/p\u003e\u003cp\u003e\u003ci\u003eVocal Performers\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eCatalog model voices\u003c/i\u003e - Conor Murphy, Blake Bailey, Corby Gallegos, Jim Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eCrackly puppet head voice\u003c/i\u003e - Tanya Haden\u003c/p\u003e\u003cp\u003e\u003ci\u003eCake and Vacuum voices\u003c/i\u003e - Corby Gallegos\u003c/p\u003e\u003cp\u003e\u003ci\u003eCigarette men voice\u003c/i\u003e - Blake Bailey\u003c/p\u003e\u003cp\u003e\u003ci\u003eParking Meter Voice\u003c/i\u003e - Jim Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eSmooth puppet head voice\u003c/i\u003e - Jim Shaw\u003c/p\u003e\u003cp\u003e\u003ci\u003eCostume and Puppet Fabrication\u003c/i\u003e\u0026nbsp;- Daniel Hope, Kelsey Kuykendall\u003c/p\u003e\u003cp\u003e\u003ci\u003eAssisted by: \u003c/i\u003eShelby Date, Javier Espinoza-Lopez\u003c/p\u003e"}]},{"id":35370,"title":"Never Hear Sew To You study","dimensions":"9 x 12 inches","date_begin":"2019-01-01","material":"Pencil on 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