Open Phone BoothNilbar Güreş · 2011

  • KunstretningContemporary
  • Oprettelsesdato2011
  • Dimensioner79.0 x 78.0 cm
Exploring injustices based on identity, social domination and oppression mechanisms, Nilbar Güreş works with various media such as collage, painting, drawing, photography, video and sculpture. The artist constructs provocative scenes where she not only focuses on the practices of being visible, invisible, and the state of being ignored in public and private spaces, but also investigates the ways in which these practices are transformed into opportunities for resistance. Güreş employs elements of staging and performance for her inquiry into the politics of representation and symbols. Her series titled

Nilbar Güreş (1977 –)

Explore the evocative works of nilbar güreş, a Turkish artist based in Vienna. Her art examines female identity, Muslim women in Europe & domestic/public spaces through bold imagery.

Om dette kunstværk

  • Titel: Open Phone Booth
  • Kunstner: Nilbar Güreş
  • År: 2011
  • Oprindelige mål: 79.0 x 78.0 cm
  • Format: Panoramic
  • Ophavsretlig status: Ophavsretligt beskyttet
  • Bevægelse: Contemporary
  • Kontekst i korpus: exploration of power, identity & oppression
  • Hovedfarve: Phthalo Green
  • Nøgleord: dark textile art, geometric patterns, identity art piece

Spørgsmål og svar

Hvordan er farvesammensætningen i "Open Phone Booth" af Nilbar Güreş opbygget?

I "Open Phone Booth" parres en Statement kontrast med en Balanced Harmony harmoni.

Hvilke farver dominerer i "Open Phone Booth" af Nilbar Güreş?

"Open Phone Booth" af Nilbar Güreş benytter en Neutrals farvepalet, hvor Phthalo Green (#151419) er den dominerende farve.

Hvordan passer "Open Phone Booth" ind i Nilbar Güreşs temaer og stil?

"Open Phone Booth" er et værk fra Nilbar Güreşs Contemporary-periode, hvis gennemgående temaer inkluderer exploration of power, resistance through form, symbolic narrative, persian miniature, islamic art traditions, textile craftsmanship, identity & oppression, social inequality.

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