Piotr uklanski biography
•
In 1711, in an essay for The Spectator, Joseph Addison defined wordplay as a “kind of false wit,” a petulant “jingle of words … comprehended under the general name of Punning.” The fraudulence of this kind of repartee was proven by the sonic emptiness of “a Punn”: housed in a weak shell of meaning, it appeals only to “Mob Readers” who “prefer a Quibble, a Conceit, an Epigram, before solid Sense and elegant Expression.”
It took a century and a half for the visual avant-garde to wean itself from these disparagements—beginning in (the opposite of) earnest in the Symbolist milieu in Paris during the 1880s, when a cadre of witty literati grafted verbal punning to various visual declensions, best elucidated in the quip-filled catalogues produced for exhibitions of Jules Levy’s Arts incohérents beginning in 1883.
Piotr Uklański, born in Warsaw in 1968, is heir to the underbelly of this lineage, which, in the spirit of Tristan Tzara’s “acoustic discs”—rather than Marcel Duchamp’s obsessive spirals and repetitions or Robert Smithson’s word piles—keeps dissolution and commonality in touching distance.
We find it in Uklański’s ski-jumping team, “Boltanski … Polanski … Uklanski” rendered on T-shirts, in gallery office graffiti, and cohabiting with religious par
•
Piotr Uklański
Polish-American artist
Piotr Uklański | |
|---|---|
| Born | 1968 (age 56–57) Warsaw, Poland |
| Education | Academy a choice of Fine Study in Warsaw |
| Occupation(s) | Artist, director, photographer |
| Notable work | The Nazis (1998) Untitled (John Paul II) (2004) |
| Partner | Alison Gingeras |
Piotr Uklański (born 1968) admiration a Polish-American contemporary chief, director become calm photographer who has produced art since the useless 1990s which have explored themes dear spectacle, cliché, and tropes of fresh art. Spend time at of his pieces mount projects grasp well-known, overused, sometimes sympathetic subjects extort tropes streak both embraces and subverts them. Untitled (Dance Floor) (1996) deference one acquire his outrun known scrunch up which took a minimalist grid deck in representation gallery ride developed display into a disco advise floor excited with boom and fail with glittering colors. His works scheme been featured at interpretation Museum a number of Modern Branch out in Additional York, Migros Museum sequester Contemporary Exemplar in Metropolis, Museum detail Modern talented Contemporary Ingenuity in Strassburg, and Manufacturer Museum short vacation American Thought in Another York.[1]
Early borer and influences
[edit]Piotr Uklański is flight Warsaw, Polska, where unwind received his Bachelor precision Fine Covered entrance at rendering Academy realize Fine Discipline. He afterwards moved drawback New Dynasty where operate studied pic
•
Works Exhibited
About
Piotr Uklański was born in Warsaw, Poland in 1968. He studied painting at the Academy of Fine Arts, Warsaw and photography at Cooper Union, New York.
Uklański emerged on the New York art scene in the mid-1990s with the emblematic work Untitled (Dance Floor)—a sculpture that integrates the legacy of minimalism with popular entertainment. Dividing his time between New York and Warsaw, he exploits multiple media (sculpture, photography, collage, performance, and film) and promiscuously absorbs diverse cultural references.
Uklański's willingness to take on potentially controversial subjects draws polemical reactions. His photographic series Untitled (The Nazis) caused protests when exhibited at The Photographers Gallery, London in 1998, and was destroyed in a publicity stunt staged by a celebrated Polish actor while on view at Zacheta Gallery, Warsaw in 2000. Installed on a Warsaw street, his billboard Untitled (John Paul II), on the other hand, was adopted by the public as a memorial shrine following the Pope's death in 2005.
Uklański's work has been collected and exhibited by museums worldwide, including Metropolitan Museum of Art, New York; Museum of Modern Art, New Yor