{"id":35217,"title":"Cake (Double Brian)","dimensions":"37 3/8 x 67 inches (94.9 x 170 cm), 15 x 21  13/16 (38 x 55.4 cm)","date_begin":"2011-01-01","material":"oil on digital inkjet print, acrylic and ink on panel","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Gagosian, Los Angeles","cached_tag_list":"Jim shaw","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JSHAW 2011.0006","stream_count_app":18,"permalink":"cake-double-brian-379fd132-ec9c-499e-86b3-d83d6af501d3","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/079/medium_500/2024_Jim_Shaw_TEN_F006.jpg?1707342080","cached_actor_names":"Jim Shaw","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","category":{"en":"Drawing","nl":"Tekening","fr":"Dessin"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/079/large/2024_Jim_Shaw_TEN_F006.jpg?1707342080","poster_credits":"(c)Jim Shaw, 2011 - Courtesy of the Artist and Gagosian, Los Angeles - photo: M HKA, 2024","translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align:justify\"\u003eJim Shaw\u0026#39;s works are not only layered with respect to content, but they often literally consist of different layers. Works from the \u003cem\u003e\u0026#39;Men in Pain\u0026#39;\u003c/em\u003e series, to which \u003cem\u003eCake (Double Brian)\u003c/em\u003e belongs, are all constructed according to the same logic. The basis is formed by enlarged prints, fixed on the canvas, of advertisements for ready-made cake mixes from the 1950s and 1960s, the heyday of printed advertising in magazines aimed at housewives. As a second layer, Shaw imitates an abstract expressionist style. Finally, he paints a male model on top, which he asked to express a bodily response to physical or psychological pain. These \u0026#39;men in pain\u0026#39; are the opposite of the always cheerfully smiling women from the commercials. Each work also has a piece that is \u0026#39;missing\u0026#39;, shown separately next to it, and thus creating a void or point of rest.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align:justify\"\u003eDe werken van Jim Shaw zijn niet enkel gelaagd op inhoudelijk niveau, maar bestaan ook vaak letterlijk uit verschillende lagen. Werken uit de reeks \u0026ldquo;Men in Pain\u0026rdquo;, waar \u003cem\u003eCake (Double Brian) \u003c/em\u003etoe behoort, zijn allemaal volgens dezelfde logica opgebouwd. De basis wordt gevormd door uitvergrote, op het canvas gefixeerde prints van advertenties voor kant en klare cakemixen uit de jaren 1950 en 1960, de glorieperiode van geprinte reclame in magazines gericht op huisvrouwen. Als tweede laag bootst Shaw een abstract expressionistische stijl na. Tenslotte schildert hij er een mannelijk model bovenop, dat hij vroeg de lichamelijke reactie op fysieke of psychische pijn uit te beelden. Deze \u0026ldquo;mannen die pijn lijden\u0026rdquo; zijn het tegenovergestelde van de immer vrolijk lachende vrouwen uit de reclameboodschappen. Elk werk heeft ook een stuk dat \u0026lsquo;ontbreekt\u0026rsquo; en dat ernaast, afzonderlijk wordt getoond. Op die manier ontstaat een leegte of rustpunt.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp style=\"text-align:justify\"\u003eJim Shaw r\u0026eacute;alise des \u0026oelig;uvres non seulement \u0026agrave; la teneur stratifi\u0026eacute;e, mais souvent aussi compos\u0026eacute;es litt\u0026eacute;ralement de plusieurs couches. Les \u0026oelig;uvres de la s\u0026eacute;rie \u003cem\u003eMen in Pain\u003c/em\u003e, dont fait partie \u003cem\u003eCake (Double Brian)\u003c/em\u003e, sont toutes construites selon la m\u0026ecirc;me logique\u0026nbsp;: \u0026agrave; la base, et fix\u0026eacute;es sur la toile, des impressions agrandies de publicit\u0026eacute;s pour des pr\u0026eacute;parations de g\u0026acirc;teaux pr\u0026ecirc;tes \u0026agrave; l\u0026rsquo;emploi datant des ann\u0026eacute;es\u0026nbsp;1950 et\u0026nbsp;1960, l\u0026rsquo;\u0026eacute;poque glorieuse des publicit\u0026eacute;s dans les magazines destin\u0026eacute;s aux femmes au foyer. Comme deuxi\u0026egrave;me couche, Shaw adjoint une imitation du style expressionniste abstrait. Enfin, par-dessus, il peint un mod\u0026egrave;le masculin \u0026agrave; qui il a demand\u0026eacute; de repr\u0026eacute;senter la r\u0026eacute;action corporelle \u0026agrave; une douleur physique ou psychique. Ces \u0026laquo;\u0026nbsp;hommes en souffrance\u0026nbsp;\u0026raquo; sont \u0026agrave; l\u0026rsquo;oppos\u0026eacute; des femmes invariablement souriantes et enjou\u0026eacute;es des messages publicitaires. Chaque \u0026oelig;uvre comporte en outre une pi\u0026egrave;ce \u0026laquo;\u0026nbsp;manquante\u0026nbsp;\u0026raquo;, pr\u0026eacute;sent\u0026eacute;e s\u0026eacute;par\u0026eacute;ment \u0026agrave; c\u0026ocirc;t\u0026eacute; d\u0026rsquo;elle, qui cr\u0026eacute;e ainsi un vide ou un point de repos.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":5037,"name":"Jim Shaw","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}