1987, Fier, Albania
Small House, Home Sweet Home, 2014
350 plaster and acrylic colored houses, each 5 x 5 cm
Acquisition: Gift by the artist
Reference: 5277
1987, Uroshevac, Kosovo
Barking on the Clouds Doesn’t Hurt the Dogs, 2022
Welded iron letters and broken glass, 60 x 840 cm
Acquisition: Gift by the artist
Reference: 5308
1962 Skopje, Macedonia
Closed Echo, 1996
Installation with 12 objects, variable dimensions; polyester, photography, metal holders, steel stripes, sand, pigment
Acquisition: Gift from the artist
Reference: 04055
1960, Dubnica, Serbia
Labyrinth III, 1997
Floor object with newspapers, 175 x 248 x 5 cm
Acquisition: Purchased
Reference: 03975
1956, Kavadarci, Macedonia
Kite of All Kites, 1986/2019
Straw, wooden construction, 400 x 300 x 120 cm
Acquisition: Purchased
Reference: 03653
Biography
In 1981 Stefanov graduated from the Academy of Arts in Belgrade, where he also studied as a post-graduate (1983-5). From the outset of his career, Stefanov treated sculpture as an object or an installation of objects. In the mid-1980s he set up several installations and assemblages made of cotton, straw, grass, clay and wood in public sites in Kavadarci and galleries in Skopje, Belgrade, and Zagreb. In 1986 he held a solo show at the Museum of Contemporary Art in Skopje, an installation with “Kites”, made of straw. In 1988 he settled in London, where the narrative aspects of his work shifted from mythology to religion. In the early 1990s, he produced a series of objects and installations entitled Seraphim, Cherubim, and Thrones in the form of angels’ wings and discs, executed in straw and boards or tree trunks and branches set up in the Whitechapel Art Gallery (Broadgate Sculpture Project, 1989), London, the Grizedale Forest (1990) in Cumbria and in Cirencester (1991). In 1993, together with the sculptor Petre Nikoloski (b 1959), he exhibited in the Macedonian section of the 45th Venice Biennale. In 2019 a retrospective exhibition Gligor Stefanov: Grabbing the Space took place at the Museum of Contemporary Art Skopje. (z.p.)
1932, Krk, Croatia – 1992, Belgrade, Serbia
Experiment with Newspapers, 1975
Newspaper, wood, steel poles, 112 х 83,5 х 64,5 cm
Acquisition: Gift by the artist
Reference: 03134
1961, Bamberg, Germany
Abandoned Landscapes, 1995
Metal, perforated photograph, glass jar, 100 х 150 х 15 см. (х 4)
Acquisition: Gift by the artist
Reference: 03951
1941, Cairo, Egypt – 2008, Athens, Greece
Expanding of a Surface – Interior, 1978
Acrylic on plywood, 190 x 183,5 cm
Acquisition: Gift
Reference: 02614
1932, Taranto, Italy – 2018, Rome, Italy
Cube, 1966
plastic, acrylic perspex, 40 x 38 x 38 cm
Acquisition: Gift
Reference: 01866
1926, Las Palmas, Spain – 1972, Madrid, Spain
Wounded in Peace, 1964/1965
Mixed media on canvas, 101 x 82 cm
Acquisition: Gift
Reference: 01664
Biography
Self-taught as an artist, Millares was introduced to Surrealism in 1948. In 1953, he moved to Madrid and became an abstract painter. In 1957, Millares along with other artists founded the avant-garde group El Paso (The Step) in Madrid. The members of El Paso at the time of signing the manifesto and in their first exhibitions as a group were the painters Rafael Canogar, Luis Feito, Juana Francés, Manolo Millares, Manuel Rivera, Antonio Suárez, Antonio Saura and the sculptor Pablo Serrano. After showing his work in San Pablo in 1957, Millares’ work was introduced to the United States in 1958.[2] He attained an international reputation by the early 1960s, and had a solo show at the Pierre Matisse Gallery in New York in 1961.
This biography is from Wikipedia under Attribution-ShareAlike Creative Commons License.
Entire biography is available at: wikipedia.org/wiki/Manolo_Millares
