ZZZ by Vetro Baji

*Collect them all

Bill Viola, The Dreamers, 2013 Video/Sound installation. Seven channels of colour High-Definition video on seven 65" plasma displays mounted vertically on wall in darkened room; four channels stereo sound The Dreamers (2013) consists of seven individual screens, which depict underwater portraits of people who appear to be sleeping. Presented in the gallery on the lower-ground floor, and accompanied by the gentle sounds of water, the viewer is led to feel as if they themselves are submerged with these figures. In this spiritual, immersive subterranean environment, ultimate interpretation is left for the viewer to define, through the lens of their own experiences.

In the film Viola explains how his latest works touch upon a near-death experience as a child. His water portraits, The Dreamers, show video images of individuals asleep and submerged underwater. The pieces are mounted in a darkened room and accompanied by the gentle sounds of water.

SOPHIE CALLE "THE SLEEPERS" 1979 23 series of 5 to 12 images form a total of 176 b/w photographs. 23 individually framed texts photographs and texts, one book. 6 x 7 3/4 inches (each text) \ 15 x 20 cm (chaque texte) Edition of 2 Courtesy Galerie Perrotin

Sophie Calle (French, born Paris, 1953) Gloria K., first sleeper. Anne B., second sleeper 1979 Gelatin silver prints 12.6 x 18.4cm (4 15/16 x 7 1/4in.) Mat: 14 × 17 in. (35.6 × 43.2 cm) Gift of the artist and Olivier Renaud-Clement, in memory of Gilles Dusein, 2000 © Sophie Calle

I asked people to give me a few hours of their sleep. To come and sleep in my bed. To let themselves be looked at and photographed. To answer questions. To each participant I suggested an eight hour stay.

‘The Sleepers’ (1979) by Sophie Calle. In 1979, Sophie Calle asked several (23) persons, friends, strangers, neighbors, to come and spend eight hours in her bed in order to keep this bed occupied twenty-four hours a day. These people had to accept to be photographed and to answer some questions. She took photographs of the sleepers and noted the important elements of these short meetings: subjects of discussion, positions of the sleepers, their movements during their sleep, the detailed menu of their breakfast she was preparing for them. http://pietmondriaan.com/2010/12/19/josh-greene/ http://pietmondriaan.com/2013/03/09/jan-huijben-3/ http://sofiaeremkina.com/sleeping-in-a-hanging-bed/

1980, 7 black and white photographs, 1 text. Each : 15 x 20 cm | 5 7/8 x 7 7/8 inches. Photo: Guillaume Ziccarelli. © Sophie Calle / ADAGP, Paris and ARS, New York, 2017. Courtesy Perrotin.

https://newrepublic.com/article/112782/real-storybehind-tilda-swintons-performance-moma

And it’s not the only time she’ll be taking a snooze at the Manhattan museum. Swinton will be sleeping in the elevated box — which includes cushions and a water jug — six more times throughout the year. And like the one on Saturday, her performance will be unannounced. Yet this weekend’s piece was curious timing, as Swinton’s artful napping follows her recent gig starring in David Bowie’s new music video, in which she does the “electric knife ballet.” Swinton first performed this role in 1995 at London’s Serpentine Gallery — attracting more than 22,ooo visitors — and again in 1996 at Rome’s Museo Barracco. The exhibit is being put on in collaboration with Turner Prize–shortlisted artist Cornelia Parker. Actress Tilda Swinton performs the art of sleeping in her one-person piece called "The Maybe" in New York City's Museum of Modern Art on March 25, 2013

Mladen Stilinović Művész munka közben / Artist at Work, 1978 A művész szerepével több művében is foglalkozik, például a Művész munka közben (1978) című fotósorozaton (mely a Ludwig Múzeum gyűjteményi kiállításán szerepel), vagy annak a feliratnak a formájában, mely a legismertebb munkái közé tartozik, és amely szerint A MŰVÉSZ, AKI NEM BESZÉL ANGOLUL, NEM MŰVÉSZ ( 1992).

THE PRAISE OF LAZINESS MLADEN STILINOVIC

As an artist, I learned from both East (socialism) and West (capitalism). Of course, now when the borders and political systems have changed, such an experience will be no longer possible. But what I have learned from that dialogue, stays with me. My observation and knowledge of Western art has lately led me to a conclusion that art cannot exist... any more in the West. This is not to say that there isn't any. Why cannot art exist any more in the West? The answer is simple. Artists in the West are not lazy. Artists from the East are lazy; whether they will stay lazy now when they are no longer Eastern artists, remains to be seen. Laziness is the absence of movement and thought, dumb time - total amnesia. It is also indifference, staring at nothing, non-activity, impotence. It is sheer stupidity, a time of pain, futile concentration. Those virtues of laziness are important factors in art. Knowing about laziness is not enough, it must be practised and perfected. Artists in the West are not lazy and therefore not artists but rather producers of something... Their involvement with matters of no importance, such as production, promotion, gallery system, museum system, competition system (who is first), their preoccupation with objects, all that drives them away form laziness, from art. Just as money is paper, so a gallery is a room. Artists from the East were lazy and poor because the entire system of insignificant factors did not exist. Therefore they had time enough to concentrate on art and laziness. Even when they did produce art, they knew it was in vain, it was nothing. Artists from the West could learn about laziness, but they didn't. Two major 20th century artists treated the question of laziness, in both practical and theoretical terms: Duchamp and Malevich. Duchamp never really discussed laziness, but rather indifference and nonwork. When asked by Pierre Cabanne what had brought him most pleasure in life, Duchamp said: "First, having been lucky. Because basically I've never worked for a living. I consider working for a living slightly imbecilic from an economic point of view. I hope that some day we'll be able to live without being obliged to work. Thanks to my luck, I was able to manage without

getting wet".

Malevich wrote a text entitled "Laziness - the real truth of mankind" (1921). In it he criticized capitalism because it enabled only a small number of capitalists to be lazy, but also socialism because the entire movement was based on work instead of laziness. To quote: "People are scared of laziness and persecute those who accept it, and it always happens because no one realizes laziness is the truth; it has been branded as the mother of all vices, but it is in fact the mother of life. Socialism brings liberation in the unconscious, it scorns laziness without realizing it was laziness that gave birth to it; in his folly, the son scorns his mother as a mother of all vices and would not remove the brand; in this brief note I want to remove the brand of shame from laziness and to pronounce it not the mother of all vices, but the mother of perfection". Finally, to be lazy and conclude: there is no art without laziness.

Benici o del Vetro

Sleep is a 1963 American film by Andy Warhol consisting of long take footage of John Giorno, his close friend at the time, sleeping for five hours and 20 minutes.[1] The film was one of Warhol's first experiments with filmmaking, and was created as an "anti-film". Warhol would later extend this technique to his eight-hour-long film Empire.[2] Sleep premiered on January 17, 1964, presented by Jonas Mekas at the Gramercy Arts Theater as a fundraiser for Film-makers' Cooperative. Of the nine people who attended the premiere, two left during the first hour.[3] https://vimeo.com/4880378

https://artblart.com/2016/10/11/ http://www.c3.hu/~tillmann/irasok/muveszet/atjaro.html

Kónya Attila fotója

Bedő Andor fotója

Váncsa Jenő fotója

Karda Zoltán fotója

TARAS POLATAIKO SLEEPING BEAUTY National Art Museum of Ukraine August 22 - September 9, 2012

http://www.becontemporary.com/taraspolataiko.php

The idea is based on an ancient story, written by Charles Perrault in 1697. The story concerns a beauty who is cursed to sleep for 100 years to be awakened only by the kiss of her true love. The anonymous beauty sleeps at the central gallery of the National Art Museum of Ukraine for 2 hours a day, every day. To enter the gallery, the viewers must sign the following contract: "If I kiss the Beauty and she opens her eyes, I agree to marry her." In return, the Beauty's contract states: "If I open my eyes while being kissed, I agree to marry the kisser." The tension of the performance is in its seductiveness and fear of the ultimate moment. The viewer will have to think twice before kissing the Beauty. The Beauty will have to decide if the ultimate moment has come or not. The show will end the moment the Beauty opens her eyes.

Chiharu Shiota In 2002 the artist presented a version of the performance "During sleep, where all beds were sleeping girl. For the I International Biennial of Seville, which was held in 2004, it is "romanticized" their work, made it more cinematic: instead of black thread, she decided to use the vines. The result was the installation "From - inside, not the castle-like Sleeping Beauty, not that any greenhouse. https://artinvestment.ru/en/invest/painters/20090914_chiharu_shiota.html

http://www.womenofchina.cn/womenofchina/html1/people/artists/17/5162-1.htm Ever want try lying naked on an iron wire bed while the bed's pointy wires stick into your flesh from every angle and leave nice red marks on your body? How about for 36 straight days? Because this is exactly what artist Zhou Jie does as part of her solo exhibition 36 Days. Since opening on Saturday at the Beijing Art Now Gallery, photos of Zhou sleeping on her self-made iron wire bed in the nude have been appearing in both domestic and overseas headline news stories. Unprecedented attention has been focused on this 28-year-old artist as discussions about whether nudity is a form of art, if she is just trying to use some skin to become famous and questions of how she intends to sleep in such a way for 36 days have raged across the Internet. One of the most widely asked questions has been, "What if she gets her period during these 36 days?" However, when you find yourself standing and looking around the exhibition hall, you realize that nudity is merely a small part of the overall exhibition. Differing from photos of the "nude sleeping beauty on the iron wire bed" that most of this discussion has been about, visiting the gallery you can find Zhou wearing a white cotton vest and shorts, twisting the iron wire of the bed that lies in the center of the hall into place to finish work, or having a meal in the corner of the room. Around the bed lie several iron wire made toys in the shape of bears, dogs, turtles and Hello Kitty. Also her sculptures, they haven't been featured as heavily in coverage of the exhibition. Piles of basic grocery items and snacks like instant noodles, cookies and bread lay against one wall of the gallery. This is the sustenance that she bought before making the decision not to step foot outside the hall for the next 36 days so she could finish all her sculptures. These sculptures, plus her daily life, are all parts of the installation exhibition. Zhou explained to the Global Times that she never thought her exhibition would cause so much attention and that she is not bothered at all by people who are skeptical of her motives, "All these comments and opinions have become part of my work. Art is a mirror, comments and opinions are the audiences themselves." Naked Truth "After a day, the person left lying on that bed is the closest version to one's actual self." Zhou explained that since people have focused so much on the wire, they have forgotten that it is actually a bed, which isn't that bad to lie on. "It's my habit to sleep naked in my bed, it's a scene from my life," Zhou said. Zhou has been sleeping on this bed at night for several days now. She said that it was painful at first, for the first five hours she kept fighting to adjust to the bed and that it left deep marks on her skin whenever she moved. A glance at Zhou shows tiny blood stains and scratches on her body. "Maybe while I slept, maybe while I was working on the bed, I don't really know how I got them," she laughs as I point out the scratches. "It's very interesting. I'm producing it, reinforcing it, completing it, but it keeps hurting me. That might reflect a lot," Zhou said. She also pointed out the "plush" toys she made. Although Zhou has shaped them into sculptures that look like the soft huggable toys one would find in a teenaged girl's bedroom, as soon as you pick them up you feel how heavy and prickly they are. "These works are all being exhibited while they are still unfinished. They are things that an artist needs to complete and also things an artist relies on to live. Any interaction between the exhibition and the audience is unplanned. It's an open way of thinking," explained the exhibition's curator Hang Chunxiao.

A Scene from Life Zhou majored in sculpture at the China Central Academy of Fine Arts. Although her family in Hunan Province were not artists, they have supported her every step of the way. "It would be better if your sister lay there cause she's more beautiful than you!" her dad replied when Zhou told him about the exhibition. "My father is so cool," Zhou said. Before getting involved in wire sculptures, Zhou worked with porcelain. However, her porcelain figures were very different from traditional Chinese porcelains one finds in a museum: concentrated whirls, circles, shapes like human heads with red coloring to make them look like human's organs. "She is a girl with a powerful grasp of sculpture language, she's visually aggressive," Hang said, giving his impression of Zhou's work. As news of this naked artist spread, both the public and the media kept streaming into the gallery. However, most didn't get a chance to see what they wanted. Zhou said one reporter from a website begged her to get naked again so he could film a video which he said was sure to receive millions of hits. Even regular visitors often come over to ask her, "Has it begun yet?" which is basically another way of asking, "When do you take your clothes off?" Zhou explained that her reason for refusing requests is simple, since this is supposed to be an exhibit of her life, she won't purposely do any one thing just to cater to an audience. Visitors on the other hand are free to involve themselves in the exhibition as they like, either observing, talking to her, or lying on the bed. In this way the exhibition becomes interactive, allowing viewers to form their own ideas and understanding. "It's open. No plans, nothing is set in advance, it's all uncertainties," she said. On Sunday a painter surnamed Wang traveled all the way from Qingdao, Shandong Province, to sketch her. As a painter he supported what Zhou was attempting to do, "Metal and a woman's body. These two contradictions have given me a lot of inspiration." Hang insists that this is a "life installation" not performance art, the latter of which in his opinion means acting in response to the audience, while the former is a section of life. "This is a transformation of traditional sculpture, a transformation of art," Hang said. (Source:Global Times)

DIONFEBRUARY 6, 2009

Sleep and be Art If you like sleeping and like art the New Museum of Contemporary Art in New York is looking for you. You also have to be female, be between the ages of 18 and 40, and be prepared to take a sleeping pill before your performance. The sleeping women are an installation by the contemporary Chinese artist Chu Yun. Yun will be showing at the New Museum’s “The Generational: Younger Than Jesus” exhibition of emerging artists, from April 7 to June 28. If you don’t mind people watching you sleep and want to be a part of the installation, contact the New Museum asap. Details can also be found on the Idealist website here.

NOBI-ANIKI PEOPLE2011.3.31Text: Julie Morikawa “Doraemon has everything explaining our life.” Ryo Kaneko an Artist who takes his communication difficulties and turns them into assets through his art work by performing as Nobi‐ANIKI. You can see the active development of his work through his performances on the road, at galleries and art museums. Following his exhibit at the Taro Okamoto Museum of Art, Nobi‐ANIKI will participate in the Sapporo Pre‐Biennale Contemporary Art Exhibition 2011 “Approaching Art by Leaving Art

Behind – 9 days the Museum Disappears” from April 2nd. Despite difficulties Nobi‐ANIKI tries to develop. Take a look at his performance.

“Sleeping Nobi-ANIKI in the Sea” at Contemporary Art Space Osaka, 2006

The Sleep of Reason: Sui Jianguo at the Asian Art Museum

Flaming June is a painting by Sir Frederic Leighton, produced in 1895. Painted with oil paints on a 47-by-47-inch (1,200 mm × 1,200 mm) square canvas, it is widely considered to be Leighton's magnum opus, showing his classicist nature. It is thought that the woman portrayed alludes to the figures of sleeping nymphs and naiads the Greeks often sculpted.

Sleeping by day, Ray Caesar

Francis Bacon, Sleeping Figure, 1959. Oil on canvas. © The Estate of

Bacon’s Sleeping Figure, 1959, is included in La Peregrina, a personal and contemporary response to Rubens and His Legacy by celebrated artist and Royal Academician Jenny Saville. Saville has brought together artists from Picasso to the present day whose work connects with Rubens’s. From the fleshy handling of paint to the use of colour, violence and spectacle, Saville’s selection shows the continuing preoccupations artists share with Rubens. Francis Bacon’s art joins works by fellow major 20th and 21st century artists including Pablo Picasso, Sarah Lucas, and Lucian Freud. Saville herself has created new work especially for this occasion.

Sleeping Giants: Theories of Sleep in Art and Philosophy from Ancient Greece to the Present Night

Hermaphrodite © National Museums Liverpool

Taking place in conjunction with the Ancient Greece episode at Tate Liverpool, this panel reflects on sleep, as an important, but often overlooked part of culture, and also the object of numerous artworks at all stages of art history. The panel will present the work of two writers who each propose theories and philosophies of sleep. Here, sleep is understood as a space about which stories are told, as intimately woven in with fabulation. Equally, sleep is something that takes us into another relation with the times of Ancient Greece, among others. Rather though than offering a neo-classical version of sleep, this pair of talks asks whether we can see sleep as a Dionysian act, full of delight and materiality. Against the contemporary neoliberal medicalisation of sleep, the speakers also stress its character of resistance towards the market-driven acceleration of social life under late capitalism. Sleeping Beauties and Vigilant Monsters, on the Politics and Aesthetics of Sleep Dr. Alexei Penzin will discuss Perrault’s Sleeping Beauty fairy tale, linking its interpretation to the problem of vigilance and sleep in the ancient Greek philosophy, as well as to medieval and early modern political theology of sovereignty and to early capitalist modernity and elaborate an aesthetics of sleep in the contemporary context.

The Elements of Sleep Prof. Matthew Fuller will draw on his book How to Sleep, in art, biology and culture, in order to discuss the relations between sleep science and an aesthetics without a subject. In most accounts and representations of sleep, the sleeper becomes a null field, a placeholder for a thinking being, something that will come back to its senses in due course. Drawing on the pre-socratic philosopher Empedocles, an aesthetics of sleep as a bodily, mediatic and ecological admixture of forces is counterposed to this imagined emptiness of sleep.

http://www.biennial.com/events/sleeping-giants-theories-of-sleep-in-art-and-philosophy-from-ancientgreece-to-the-present-night

Alexey Kondakov

Ron Mueck, Mask II, 2001–02, mixed media, Gift of Helen and Charles Schwab through the Art Supporting Foundation to the San Francisco Museum of Modern Art. © Ron Mueck

Ron Mueck Through August 13, 2017 Información en español sobre la exposición Ron Mueck draws upon memories, reveries, and everyday experience as he portrays his subjects with extraordinary compassion. What makes his sculptures exceptional is the manner in which he balances realism with the unreal. Frequently spending more than a year conceiving and making each figure, Mueck captures every feature with astonishing detail. The naturalism of his work, however, is undercut by his calculated play with scale: Some figures fill a gallery, whereas others stand no more than three feet high. “I never made life-size figures because it never seemed to be interesting,” Mueck explained in a rare interview in 2003. “We meet life-size people every day. [Altering the scale] makes you take notice in a way that you wouldn’t do with something that’s just normal.”

The son of German émigrés, Mueck was born in Australia in 1958. After working in film and television in the United States and London, he shifted his focus to the fine arts in the mid-1990s. The 13 sculptures assembled in this exhibition—about a third of Mueck’s entire production—encapsulate the arc of his career from 1999 to 2013. Often caught in moments of silent communication or slumber, these figures illustrate the artist’s ongoing investigation of the cycle of life, from the first moment of consciousness, to young love, to the various stages of maturity and aging, and ultimately to oblivion.

https://www.mfah.org/exhibitions/ronmueck

Marina Abramović, Sleeping Exercise, 2014

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Marina Abramovic, Sleeping Exercise at Art Basel in Miami Beach, 2014. Photo by Mark Niedermann.

Art fairs can be many things, but “restful” is typically not one of them. At Art Basel in Miami Beach, Abramović changed that with a cluster of camp beds set up at Fondation Beyeler’s booth. Although the Serbian artist is best known for her performances that test the limits and endurance of the human body, in recent years she’s turned her focus to teaching what she’s labeled the “Abramović Method”—a series of activities meant to slow the pace of 21st-century life and allow people to live in the moment. In that spirit, Sleeping Exercise instructed participants to stash their electronics in nearby lockers, don noise-cancelling headphones, and lie down to escape the commotion of the fair.

Höller has a history of crafting works that allow museum- or gallery-goers a once-in-a-lifetime overnight experience. In 2008, he installed a functional rotating bed near the top of the Guggenheim’s rotunda in New York. In 2010, visitors could pay to sleep with live reindeer (and enjoy a nightcap made from the animals’ potentially hallucinogenic urine) in a former Berlin railway station. And most recently, in 2015, he introduced a pair of robotic beds that cruised through London’s Hayward Gallery as participants snoozed. At £300 for two per night, the experience also included tubes of gendered toothpastes, concocted by Höller himself “to induce and influence male- and female-oriented dreams.”

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Photo © Null Stern.

This summer, twin conceptual artists Frank and Patrik Riklin placed a bed atop a Swiss mountain and charged visitors 250 Swiss francs per night to sleep under the sky. It marked the second iteration of the pair’s Null Stern Hotel, first realized in 2009, when they transformed a 1980s Swiss fallout shelter into a commercial space that sleeps 14. A dig at luxury hotel brands busy adding a sixth, even seventh star to their ratings, they promote a “zerostar” concept (Null Stern’s motto: “the only star is you”). Although the 2016 summer season ended in August, the hotel is currently accepting reservations for 2017, with plans to install some 25 additional beds across the Swiss countryside.

Martha Araújo, “Para um corpo…”, 1987

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Galeria Jaqueline Martins & PM8, Live section, Frieze London 2016. Photo by Linda Nylind, courtesy of Linda Nylind/Frieze.

Figure and materiality have played a prominent role in Araújo’s performances since the 1980s. At Frieze London’s Live section earlier this month, she showed her “Para um corpo…” (“for a body...”) series of mattress-like works exploring the human form as both fragment and whole. Carved in the human form, these foamy sculptures had people lying inside and on top of them, offering both leisure and relaxation to fair-goers and their children.

https://www.artsy.net/article/artsy-editorial-12-artists-who-made-artworks-for-us-to-sleep-in

Ricardo Basbaum, Capsules (NBP x me-you), 2000   

Photo by @lilybonesso, via Instagram.

In the mid-’90s, Brazilian artist and writer Basbaum launched “New Bases for Personality” (NBP), an ongoing theory-based project—including both manifestos and installations staged all over the world—to explore concepts like human interaction and visual cognition. At the Tate Modern’s “Between Object and Architecture” exhibition, his cage-like “bed-capsules” lie partially open, inviting weary (or Instagram-savvy) museum visitors to crawl inside and become active participants in the work. A cryptic wall drawing and lecture soundtrack further reflect his interest in the science of communication.

Antony Gormley, ROOM, 2014

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Left: Photo by Steve White; Right: Photo by David Grandorge. Courtesy of the artist and White Cube.

A geometric human figure, the external portion of this “inhabitable sculpture” by renowned British sculptor Gormley, sits perched atop the southern wing of the Beaumont, a hotel in London’s ritzy Mayfair district. Forming a stark contrast with the hotel’s pristine neo-Georgian facade, the cluster of cubic forms contains a suite—which starts at £1,420 a night—complete with a high-ceiling bedroom, living room, pure white marbled bathroom, and large windows shrouded in blackout curtains. Unveiling the work in 2014, Gormley dubbed it a “hermit’s cave; a primal space within the city but removed from the city entirely”—a description that’s fitting within his practice, which often investigates the human body in relation to the urban environment.

Ilya and Emilia Kabakov, The House of Dreams, 2005 

Since the early 1990s, Long Island-based duo Ilya and Emilia Kabakov have created immersive “total” installations that allude to elements of history, literature, philosophy, and art. In 2005, they transformed the Serpentine Galleries into a dreamlike labyrinth of bedrooms, including white tomb-like cubes shut off from the outside world and corridors lined with surgical curtains, looking out on the surrounding Kensington Gardens. One critic described the space as “distinctively Russian,” evoking both the architecturally intricate interior of St. Basil’s church in Moscow and the sterility of the space station in Andrei Tarkovsky’s 1972 film Solaris.

Jorge Pardo, Spare Bedroom, 2014

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Courtesy of the artist and Petzel, New York. Pardo’s work has always walked the line between art, sculpture, and design. His first piece to make waves in the art world was his self-designed Los Angeles home, built on commission for the city’s Museum of Contemporary Art and exhibited for five weeks in 1998 (after which time Pardo moved in). More than a decade and a half later, Pardo explored similar themes when he constructed a spare bedroom inside New York’s Petzel Gallery for a 2014 solo show. Outfitted with a pink shag rug and a mattress, the structure was intended for visitors to explore—to step inside, peer through the multi-colored panes of glass, and even lie back on the bed and close their eyes.

Jon Sasaki, A Rest Choreographed solo performed by James Phillips, 6-7 minutes duration. http://artmuseum.utoronto.ca/exhibition/figures-of-sleep/

STIK ‘Sleeping Baby’ Fundraiser Homerton Hospital 

Posted by Donna on 8th September, 2015

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Filed under: From the Street Stik is londons most treasured street artist. From living on the cold streets, Stik found comfort and then fame, with his street art work, painting his Stik figures on the streets of london. Stik started off in Hackney wick and made his way to the street art mecca of Shoreditch. These stik figures are simple, only six lines, a circle and two dots for eyes, yet these figures convey many emotions and feelings. Check out his largest mural to date ‘Big Mother’. Story behind this can be found here.

http://www.graffitistreet.com/stik-sleeping-baby-fundraiser-homerton-hospital/

Titian - Sleeping Venus

http://wengenninwonderland.com/

The Sleeping Gypsy (French: La Bohémienne endormie) is an 1897 oil painting by French Naïve artist Henri Rousseau (1844–1910). It is a fantastical depiction of a lion musing over a sleeping woman on a moonlit night. Rousseau first exhibited the painting at the 13th Salon des Indépendants, and tried unsuccessfully to sell it to the mayor of his hometown, Laval. Instead, it entered the private collection of a Parisian charcoal merchant where it remained until 1924, when it was discovered by the art critic Louis Vauxcelles. The Paris-based art dealer Daniel-Henry Kahnweiler purchased the painting in 1924, although a controversy arose over whether the painting was a forgery. It was acquired by art historian Alfred H. Barr Jr. for the New York Museum of Modern Art.[1][2]

Henri Rousseau, “The Sleeping Gypsy,” 1897

http://aplus.com/a/paul-maria-schneggenburger-sleep-of-beloved-couples-photography?no_monetization=true

https://en.wikipedia.org/wiki/Sleeping_Cupid_(Caravaggio)

http://artsology.com/blog/2013/06/hey-no-sleeping-at-the-art-show/

http://www.artsunlight.com/artist-NS/N-S0014-Egon-Schiele/N-S0014-0029-the-sleeping-mother-of-the-artist-deutsch-dieschlafende-mutter-des-kunstlers.html

Henri Cartier-Bresson. Nap, Naples, Italy, 1960

http://www.huffingtonpost.com/entry/artists-and-sleep-meir-kryger_us_576b1305e4b09926ce5db903

John Singer Sargent, “Repose (Nonchaloire),” 1911

Sandro Botticelli, Henri Rousseau, Vincent van Gogh, Francisco de Goya, Giorgione. Aside from being some of the most imaginative and renowned makers in the history of art, these old masters share a common interest: depicting the mysterious state of sleep.

Meir Kryger is a professor at Yale School of Medicine and a sleep expert who has been obsessed with slumber since he can remember. “I’ve been studying sleep for God knows how many years,” Kryger explained to The Huffington Post. “I’ve alway been interested in it.” Kryger’s research primarily revolves around the mechanics, functions and pathology of sleep — for example, analyzing breathing patterns during sleep and examining the relationship between heart failure and sleep respiration. However, there are certain questions about the mysteries of sleep that all the scientific research in the world cannot begin to answer. Questions like: Why do we sleep? Why do we dream? “To me, sleep is very mysterious,” Kryger said. “It’s obviously another state. We don’t completely understand why we sleep. There are certainly a lot of theories, but we don’t know for sure. And then there’s the whole other question of dreaming. Babies begin to have the features of dreaming even before they are born. The question is, what do they dream of?”

Sandro Boticelli, Venus and Mars, c 1483. Tempera on panel, 69 cm x 173 cm

Image: Francesco Bartolozzi RA's 'Sleeping Boy', c.1765.

“Sleep Series” by Artist Maryam Ashkanian

The Long Sleep, 1868 - Briton Riviere

Lucien Freud, Ib and Her Husband 1922

http://www.historiesofsleep.com/

Vincent Desiderio, “ Sleep” (detail) (2008), oil on canvas (© Vincent Desiderio, courtesy Marlborough Gallery, New York)

Gabriel Orozco Sleeping Leaves (Hojas durmiendo) http://artmuseum.utoronto.ca/exhibition/figures-of-sleep/ 1990. Silver dye bleach print, 16 x 20 in./ 40.6 x 50.8 cm. Courtesy of the artist and Marian Goodman Gallery.

Diego Rivera, El sueño (La noche de los pobres)/Sleep (The night of the poor) , 1 932. Lithograph, 22 5/8 x 1 5 7/8 inches. Collection of the Madison Museum of Contemporary Art. Gif t of Rudolph and Louise Langer. © 201 3 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D. F. / Artists Rights Society (ARS), New York.

https://www.instagram.com/failunfailunmefailun/

Molnár Zoltán: Budapest, 201 5 https://artportal. hu/magazin/vaj on-ott-van-e-az-ut-vege-molnarzoltan-f otografus/

Homeless art: Sculpture of rough sleeper makes people look twice on streets of London By Culture24 Reporter | 07 June 2016

Maxwell Rushton, the artist who created works out of his own blood, is working with bags again – this time crumpled, apparently afflicted sculptures made out of black sacks, crouched to resemble homeless people sheltering on the streets of London. These figures are empty, the idea aimed at finding out how passers-by react to the unsettling proposition of seeing a shroud hunched over on a corner. “Some people had no idea what it was and some people just walked past,” says Rushton, whose bin liners encase jesmonite casts. “We had this one chap who came over and tore it to pieces...he tore the binbag off it. I had to run over and calm him down.

“I wanted to create a visual cue that would offer that some impact. It very much needed to exist in the same context around people in the street and passers-by. I knew that it would, inevitably, have people completely disregard it, as we often do. “It’s difficult to handle for anyone but you get really good at it – you get too good at it, so good at it that you find it funny. You don’t really give a s*** about someone suffocating in a binbag on the streets. That was surprising.” Based on Rushton’s own experience of apologising to a binbag when he mistook it for a homeless person last year, the creation has certainly drawn people in. Some remained indifferent, but others peered over the work or tried to comfort it. “That sort of weird feeling of dread followed me for a few weeks and I wondered what to do with it,” says the artist, recalling how Left Out began. “How I saw the homeless after that was significantly different.” His emotions echo those of some of the people who have seen the bag. “I’m definitely not exempt from trying to shut out that side of my day when I am confronted with a version of myself that has had a difficult time.” The most resonant reaction, for Rushton, came from a man on Westminster Bridge voicing his concern that the homeless might be seen as garbage. “It was really lovely to hear the thoughts inside his head that I had inside mine. There are so many reasons why I make art but having someone understand a piece in the exact terms that I’ve made it in is a really encouraging thing. “The people who didn’t know what it was and rushed over…that was really fantastic to see them immediately want to help this object which they thought was a person in distress.” With the number of rough sleepers rising, exposing the predicament of the homeless could be the first step to increasing awareness and action among a naturally avoidant society.

Henri Cartier-Bresson. Romania. 1975 | MoMA

Danae, 1907 by Gustav Klimt Danae is obviously erotic. It show women from Classical myth seduced by the god Jupiter. The sleeping figure of Danae coils up to meet a fall of golden rain that symbolizes Jupiter. The parted lips and legs, the closed eyes, the rolled-down stocking on her ankle, the red hair and diaphanous purple veil are all indicative of Danae's sensual experience. Nearly a quarter of the picture surface is taken up by Danae's thighs, which makes this a highly erotic works. The drawings for the painting is more voyeuristic than the finished works. Klimt asked his models to pose in these revealing positions and drew them with simple, clear outlines. The ornament and rich colouring of the painted versions serve to distract the viewer's attention slightly from the exposed pose of the women.

Michaël Borremans, Sleeper, 2008, oil on canvas

Hans Op de Beeck

Sleeping Girl (small version), 2018, MDF, polyester polyamide,

41 3/10 × 23 3/5 × 40 9/10 in; 105 × 60 × 104 cm

Vintage image of the weekend: Lady Diana in 1981

This snapshot from 1981 of the newly-wed and newly-crowned princess asleep in a lilac dress, captures her spontaneity, beauty and the innocence that became her signature. Wedded to the heir to the British throne on July 29, 1981 and then crowned Princess of Wales at only 20 years old, Lady Diana’s life was in fast-forward. Her comfortable childhood in the aristocratic Spencerfamily had given her a taste of freedom that came to an end when she met Prince Charles. From then on, her life was overrun with paparazzi as she became the center of attention for the press. In this snapshot taken during a party at the Victoria and Albert Museum in November 1981, Diana Spencer is a modern-day Sleeping Beauty, a princess from a fairytale, facing the hard, real world of constraints imposed by her rank and intrusive paparazzi. Her purple princess dress delicately exposes her delicate shoulders, just enough to see that Lady Diana was a young woman like any other, but always with impeccable hair.

Martha Edelheit: Flesh Wall 1965 | oil on canvas | 80 x 195 inches

Installation view of KNOCK KNOCK at South London Gallery (22 September – 18 November 2018) Pictured: If There were Anywhere but Desert, Friday (2002) by Ugo Rondinone Photo: Andy Stagg

KNOCK KNOCK: HUMOUR IN CONTEMPORARY ART 22 SEP – 18 NOV

This show of art with a comic edge is at once inviting, engaging, and sharp: plugged into international and local scenes alike

Hettie Judah, frieze, September 2018

KNOCK KNOCK explores the enduring use of humour as a device in contemporary art. Featuring works by more than thirty artists, the show spans the SLG’s main space and three floors of its new annexe in the former Peckham Road Fire Station. Curated by SLG Director, Margot Heller, with artist Ryan Gander, KNOCK KNOCKbrings works by internationally established figures such as Maurizio Cattelan, Sarah Lucas and Ugo Rondinone into dialogue with newly commissioned and existing works by younger practitioners such as Danielle Dean, Hardeep Pandhal and Simeon Barclay. The show provides a surprising encounter with a broad range of humorous strategies, from slapstick, parody and caricature through to the in-joke, one-liner and visual pun. At a time of much upheaval and unease in the world, KNOCK KNOCK aims to raise a smile at a joyous moment in the history of the SLG, but also to explore what makes us laugh in art and why. ARTISTS Eleanor Antin, Simeon Barclay, Chila Kumari Burman, Maurizio Cattelan, Heman Chong, Martin Creed, Danielle Dean, Ceal Floyer, Tom Friedman, Ryan Gander, Gelitin, Rodney Graham, Lucy Gunning, Matthew Higgs, Judith Hopf, Jamie Isenstein, Christian Jankowski, Barbara Kruger, Lynn Hershman Leeson, Roy Lichtenstein, Sarah Lucas, Basim Magdy, Suds McKenna, Jill McKnight, Jayson Musson, Harold Offeh, Hardeep Pandhal, Joyce Pensato, Ugo Rondinone, Lily van der Stokker, Pilvi Takala, Rosemarie Trockel, Yonatan Vinitsky, Rebecca Warren, Bedwyr Williams and Amelie von Wulffen.

By Pentti Sammallahti. (Sweet Dreams, Varanasi, India / 1999).

Cymon and Iphigenia is an oil on canvas painting by Frederic Leighton, 1st Baron Leighton. The painting does not bear a date but was first exhibited at the Royal Academy of Arts, London, in 1884. The Art Gallery of New South Wales in Sydney, Australia, purchased it at a Christie's auction in London in 1976. https://en.wikipedia.org/wiki/Cymon_and_Iphigenia_(painting) Ernst Haas, Egyptian Boys ,1954

+ Anna May Wong-Edward Steichen Vanity Fair 1931

Marton Perlaki

Sleeping Woman (2012) Charles Ray

+ Jean Cocteau - Alfred Stieglitz

Just completed. “Dreamlike” 20x30 oil, will be part of a new group of recent work for McLarry Fine Art in Santa Fe, NM June 22nd, www.mclarryfineart.com. . #josephlorusso #painters #fineart #paintings #instaart #instaartist #figures #figurativeart #nudeart #w omeninart #brunette #curator #artmuseum #santafegalleries #mclarryfineart #mysterious #romantic #dreamlike #love @mclarryfineart

MAN RAY

Decertor in Imbabura Ecuador

Roger Ballen Portrait of Sleeping Girl 1999

leonor_fini_l_alcove_1941_courtesy_of_weinstein_gallery

BALTHUS study-for-the-dream-i-1935.

Holy Seven Youths the Seven Sleepers of Ephesus

'Sleeping Man (Version 2)', a larger-than-life painted sculpture, by internationally renowned artist Sean Henry goes on display in The Lightbox courtyard from 11 August. The sculpture, an anonymous man shown sleeping in his bed, is placed en plein air near the main entrance of the building.

Sleeping Man by Sean Henry

Nam June Paik, 24-hour happening , June 5, 1965. Photo: Ute Klophaus.

LevysFriends 5,453 sales|5

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Nap - Cat Print, Cat Wall Art, Cat Art Print, Plant Cat, Funny Cat Print, Sleeping Cat Print, British https://www.alissalevy.net/

MAURIZIO CATTELAN Breath Ghosts Blind

http://nellyagassi.com/

Rest. Portrait of Vera Repina, the Artist' s Wife., 1882 #realism #ilyarepin

To be continued…