Piotr uklanski biography for kids
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Born in 1968 in Warsaw, Poland, he went on to study painting at the Academy of Fine Arts in Warsaw. In 1990, Uklanski moved to New York to study photography at Cooper Union. “I studied painting, but in the evenings inom was doing performance,” he said of his time at school. “The performances, at the time, I was interested in for photographs. It was sort of like I was creating an image in the performance, and that in some way led me to my interest in photography.” The artist has since enjoyed considerable critical acclaim, with his works exhibited at the Metropolitan Museum of Art, Gagosian Gallery, and the Kunsthalle Basel. Never backing away from controversy, his series of photographs, Untitled (The Nazis), resulted in protests when it was shown in 1998 at The Photographers Gallery in London. In 2006, his first feature film, entitled Summer Love: The First Polish Western, was released, the film was an tjänsteman selection of the Venice bio Festival in
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Piotr Uklański
Polish-American artist
Piotr Uklański | |
|---|---|
| Born | 1968 (age 56–57) Warsaw, Poland |
| Education | Academy of Fine Arts in Warsaw |
| Occupation(s) | Artist, director, photographer |
| Notable work | The Nazis (1998) Untitled (John Paul II) (2004) |
| Partner | Alison Gingeras |
Piotr Uklański (born 1968) is a Polish-American contemporary artist, director and photographer who has produced art since the mid 1990s which have explored themes of spectacle, cliché, and tropes of modern art. Many of his pieces and projects take well-known, overused, sometimes sentimental subjects and tropes and both embraces and subverts them. Untitled (Dance Floor) (1996) is one of his best known works which took a minimalist grid floor in the gallery and developed it into a disco dance floor activated with sound and lit with bright colors. His works have been featured at the Museum of Modern Art in New York, Migros Museum of Contemporary Art in Zurich, Museum of Mo
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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 Ducham