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April 27, 2015
Minimalism is a long topic unto itself. And many people don’t consider Minimalism to be art. much like some people think that a work by Pollack, anyone could do by throwing paint on a canvas-now think of Minimalism. But today’s post, although yes, is about a
Minimalist artist is not about Minimalism. Rather, i want you to think, in interior design magazines that you have seen lately how objects are in multiples, or of one color, or a certain grouping all of the same item.
Although I am quite positive there is not quite the same theological idea behind it, it is the same result. Objects, in space, and their relation to that space. So I thought to bring you art as it relates to interiors. I am a huge advocate using small accessories,
that they be in multiples, usually of one color. I too love the result. the impact conveys a confidence and a simple statement. The first time I saw judd’s work was at the Museum of modern art in NYC.
I am sure you have seen his work or pieces that have been influenced. now you know who the artist is.
In the 1960s, Donald Judd began to create art that used “real materials in real space.” He created objects that occupied three-dimensional space and rejected illusionism. This style of art was called Minimalism. Judd and other Minimalists sought to create a depersonalized art in
which the physical properties of space, scale, and materials were explored as phenomena of interest on their own, rather than as metaphors for human experience. “A shape, a volume, a color, a surface is something itself,” Judd wrote. “It shouldn’t be concealed as part of a fairly different whole.”
During this time, he created shapes that were geometric in form that stood out from the wall and eventually moved to freestanding works on the floor. In the 1960s, Judd became well known for sleek, boxlike constructions made of industrial materials such as plywood,
sheet metal, and plexiglass that were painted using commercial techniques.He considered himself a painter but not a sculptor.
In the work Untitled Judd challenges the viewer to reconsider the concepts of boredom, monotony, and repetition this piece is considered to be Judd’s trademark. This piece hangs suspended from the wall. His work is almost mathematically precise but he claims his geometric series
mean nothing to him in terms of mathematics. He is impatient with critics
who claim that his works and those of other Minimal artists have no meaning. He claims he does not attempt to deliver his own political or social messages, but insists his goal is to focus on the space occupied and created by his objects-
-their purity of form. In the work Untitled Judd challenges the viewer to reconsider the concepts of boredom, monotony, and repetition. Because of the scale of his works, they are not often readily installed in museums or galleries.
April 22, 2015
Being in New York, is like going to a giant theme park for me! Between running to work with clients, or in this past week, the excitement of filming the NBC Open House Segment, I always find time to dash into my favorite museums,
which happen to be any and all of them! The museum of Modern Art, a favorite, , has the works of one of my all time favorites, DIEGO RIVERA!
(recognize the woman?)
“An artist is above all a human being, profoundly human to the core. If the artist can’t feel everything that humanity feels, if the artist isn’t capable of loving until he forgets himself and sacrifices himself if necessary,
if he won’t put down his magic brush and head the fight against the oppressor, then he isn’t a great artist.”
Considered the greatest Mexican painter of the twentieth century, Diego Rivera had a profound effect on the international art world. Among his many contributions, Rivera is credited with the reintroduction of fresco painting into modern art and
architecture. His radical political views and tempestuous romance with the painter Frieda Kahlo were then, and remain today, a source of public intrigue. In a series of visits to America, from 1930 to 1940, Rivera brought his unique vision to public
spaces and galleries, enlightening and inspiring artists and laymen alike.
Diego Rivera was born in Guanajuato, Mexico in 1886. He began to study painting at an early age and in 1907 moved to Europe. Spending most of the next fourteen years in Paris, Rivera encountered the works of such great masters as Cézanne, Gauguin,
Renoir, and Matisse. Rivera was searching for a new form of painting, one that could express the complexities of his day and still reach a wide audience. It was not until he began to study the Renaissance frescoes of Italy that he found his medium. It was with a
vision of the future of the fresco and with a strong belief in public art that Rivera returned to Mexico.
Frescoes are mural paintings done on fresh plaster. Using the fresco form in universities and other public buildings, Rivera was able to introduce his work into the everyday lives of the people. Rivera concerned himself primarily with the physical process of human
development and the effects of technological progress. For him, the frescoes’ size and public accessibility was the perfect canvas on which to tackle the grand themes of the history and future of humanity. A life long Marxist, Rivera saw in this medium an antidote to the
elite walls of galleries and museums. Throughout the twenties his fame grew with a number of large murals depicting scenes from Mexican history. His work appealed to the people’s interest in the history of technology and progress. The desire to understand progress was
visible in the growing industrial societies of the 1930s, and Rivera saw the workers’ struggle as a symbol of the fragile political ground on which that capitalism trod.
In 1930, Rivera made the first of a series of trips that would alter the course of American painting. In November of that year, Rivera began work on his first two major American commissions: for the American Stock Exchange Luncheon Club and for the California School
of Fine Arts. These two pieces firmly but subtly incorporated Rivera’s radical politics, while maintaining a sense of simple historicity. One of Rivera’s greatest gifts was his ability to condense a complex historical subject (such as the history of California’s natural resources)
down to its most essential parts. For Rivera, the foundation of history could be seen in the working class, whose lives were spent by war and industry in the name of progress. In these first two commissions and all of the American murals to follow, Rivera would investigate
the struggles of the working class.
In 1933 the Rockefellers commissioned Rivera to paint a mural for the lobby of the RCA building in Rockefeller Center. “Man at the Crossroads” was to depict the social, political, industrial, and scientific possibilities of the twentieth century. In the painting, Rivera included a
scene of a giant May Day demonstration of workers marching with red banners. It was not the subject matter of the panel that inflamed the patrons, but the clear portrait of Lenin leading the demonstration. When Rivera refused to remove the portrait, he was ordered to stop
and the painting was destroyed. That same year, Rivera used the money from the Rockefellers to create a mural for the Independent Labor Institute that had Lenin as its central figure.
Rivera remained a central force in the development of a national art in Mexico throughout his life. In 1957, at the age of seventy, Rivera died in Mexico City. Perhaps one his greatest legacies, however, was his impact on America’s conception of public art. In depicting scenes
of American life on public buildings, Rivera provided the first inspiration for Franklin Delano Roosevelt’s WPA program. Of the hundreds of American artists who would find work through the WPA, many continued on to address political concerns that had first been publicly
presented by Rivera. Both his original painting style and the force of his ideas remain major influences on American painting.
April 17, 2015
Ok- as much as I truly do love the Impressionists I have this ‘thing” for abstract expressionism.” I love the freedom, the anonymity, as far as the artist gets to choose how he sees the subject versus having to paint the subject as is.
I love the fact, these artists seemed to answer to no one. Yes, we all know I am a rebel and I am always in search of the freedom aspect to do what one wants. No strings.
Have a great day-enjoy!
Milton Resnick, a New York painter was known for dour, thickly impastoed near-monochrome canvases.
Volatile, acerbic, unfailingly blunt, widely read and singularly dedicated to the ideal of the painter’s hard, solitary life, Mr. Resnick was in many ways the popular stereotype of the bohemian angst-ridden artist.
In the introduction to his 2002 collection of interviews and lectures, ”Out of the Picture: Milton Resnick and the New York School,” the artist-critic Geoffrey Dorfman recounts how a young man, recognizing Mr. Resnick on the street,
asked if he might accompany him on his walk. ”Are you a painter?” Mr. Resnick asked. ”No,” the young man replied. ”Then you can’t,” Mr. Resnick said.
In terms of longevity and dedication to first principles, Mr. Resnick might qualify as the last Abstract Expressionist painter. In terms of timing he had some claim to being among the first. Born in the Ukraine in 1917, he emigrated to
New York with his family in 1922 and grew up in Brooklyn. He left home as a teenager when his father forbade him to become an artist.
April 13, 2015
In continuing with my new adoration of Indian Artists, today’s post is on one of the originals. Ram Kumar is said to be one of the first indian artists to give up
figurativism for abstract art.
Associated with the Progressive Artists Group, Ram Kumar is considered one of India’s foremost
abstract painters. Kumar was born to a large family in 1924
and studied art after completing his degree in economics. He moved to Paris and studied under Fernand Leger and Andre Lhote. He has won critical acclaim
as a painter for his abstract landscapes which are fantastic!
I hope you are enjoying this series! Have a fantastic day!
April 8, 2015
I have always been in love with photography, as you know. I have recently become acquainted with the work of NADAR TOURNACHON and his brother ADRIEN TOURNACHON. This post is on Nadar and what I have learned about him I do hope you enjoy his work as I fell in love with his style.
Have a great day! Love,
To the question—“Who do you think is the world’s greatest photographer?”—French essayist Roland Barthes provided a simple, one-word answer: “Nadar.” And in the history of French photography in the nine- teenth century, there are few who rival the artistry and output of this
man who lived for eighty years of the nineteenth century and ten of the twentieth century.
Nadar’s notoriety in photography came after successful careers first in writing and publishing and then in caricature. Based in Paris, Nadar met and communed with a large circle of late-Romantic artists and writers, as well as the radical social thinkers of the time. This circle considered
itself bohemian and in opposition to anything bourgeois; it was politically and socially liberal and believed in the importance of art, personal integrity, and freedom of self-expression.
Nadar’s turn to portrait photography appears to be a natural progression from his work in caricature. Already focused on capturing the essence of individuals’ physi- ognomy through drawing and then mass producing the caricatures through lithography, Nadar possessed the aesthetic
and interpersonal skills to use the medium of photography to its best advantage. Not only did he study with a photographer producing the finest-quality prints in Paris in 1854, but he also had a ready-made clientele, as well as name recognition. His circle of acquaintances was very broad, and
many up-and-com- ing and established artists, writers, and social activists had already sat for Nadar. One of two extant albums that Nadar used for guests to sign when sitting for their portraits comprises over 400 names (with accompanying commentaries or samples of drawing, music, or poetry)
of the most famous individuals working in music, art, poetry, fiction, politics, and the military in a twenty-year period between the mid-1850s and the early 1870s.
April 3, 2015
I was at a friends apartment and they had a few pieces from CINDY SHERMAN whom I
think is an outstanding artist. So today’s post is on a really talented photographer. I hope you enjoy learning about her!
Cindy Sherman was born in 1954 in Glen Ridge, New Jersey. Sherman earned a BA from Buffalo State College, State University of New York (1976). In self-reflexive photographs and films, Cindy Sherman invents myriad guises,
metamorphosing from Hollywood starlet to clown to society matron. Often with the simplest of means—a camera, a wig, makeup, an outfit—Sherman fashions ambiguous but memorable characters that suggest complex lives that
exist outside of the frame. Leaving her works untitled, Sherman refuses to impose descriptive language on her images—relying instead on the viewer’s ability to develop narratives, as an essential component of appreciating the work.
While rarely revealing her private intentions, Sherman’s investigations have a compelling relationship to public images, from kitsch (film stills and centerfolds) to art history (Old Masters and Surrealism) to green-screen technology
and the latest advances in digital photography. Sherman’s exhaustive study of portraiture and self-portraiture—often a playful mixture of camp and horror, heightened by gritty realism—provides a new lens through which to examine
societal assumptions surrounding gender and the valuation of concept over style.
Cindy Sherman began her now famous series Untitled Film Stills twenty years ago at the end of 1977 Those small black-and-white photographs of Sherman impersonating various female character types from old B movies and film noir
spoke to a generation of baby boomer women who had grown up absorbing those glamorous images at home on their televisions, taking such portrayals as cues for their future. With each subsequent series of photographs, Sherman has
imitated and confronted assorted representational tropes, exploring the myriad ways in which women and the body are depicted by effective contemporary image-makers, including the mass media and historical sources such as fairy tales,
portraiture, and surrealist photography.
March 27, 2015
You know, its a funny thing when I hear writers talk about writers block. Designers, whether it be a fashion designer or an interior designer, get design block. Why I bring this up? I was on a project, that for the life of me I could not get a vibe on nor get started. At the time, my eldest daughter, who was three then,was in love with a book called,
Swami on Rye! and Ohh-la-la-so, that is where Maria Kalman comes in. I just caught her exhibit at the Jewish Museum in New York, and it is fabulous!
I am grateful, as my inspiration for this clients entire house was because of her colored illustrations. Just to fill you in, the client wanted her entire home in shades of purple! I hope you have the opportunity to view this fabulous exhibit!
Maira Kalman was born in Tel Aviv and moved to New York with her family at the age of four. She has worked as a designer, author, illustrator and artist for more than thirty years without formal training. Her work is a narrative journal of her life and all its absurdities.
She has written and illustrated twelve children’s books including Ooh-la-la-Max in Love, What Pete Ate, and Swami on Rye. She often illustrates for The New Yorker magazine, and is well known for her collaboration with Rick Meyerowitz on the NewYorkistan cover in 2001.
Recent projects include The Elements of Style (illustrated), and a monthly on-line column entitled Principles of Uncertainty (2006-07) and The Pursuit of Happiness (2008-09) for The New York Times.
According to Maria Kalman, ”it’s wonderful to wash dishes when you’re trying to write a story.” Trying to live in an unordered house would make her nervous, she says.
But Kalman, an artist whose humor and candid sensitivity have made her a fixture in American illustration, lives, like the rest of us, in a very unordered and chaotic world. In fact, she’s built an artistic career out of making sense of, and editing, and even celebrating, the chaos. An exhibit of her work,
“Maira Kalman: Various Illuminations (of a Crazy World),”
is currently on show at the Jewish Museum in New York.
Like many cartoonists, Kalman straddles high and low art, her unique writing voice and drawing style adept at addressing a wide audience across a range of forms. Her illustrations appear steadily in prominent newspapers and magazines. She has published many children’s books and an illustrated edition of Strunk & White’s classic composition guide,
“The Elements of Style.” She created two ongoing visual blogs, for the New York Times’ website, later published as books. And her work has graced many a cover of the New Yorker, including a famous image that mapped the various tribal areas of the city (Pashmina on the Upper East Side, Taxistan in Queens,
Khandibar in Brooklyn) a few months
after September 11th, while the city was still shaken up, but intact in its diversity.
Kalman’s first blog for the New York Times, “The Principles of Uncertainty,” was a meditation on questions of happiness, purpose, loss and her own personal history. Photographs, paintings, and loopy, handwritten text interrogate legacies of the past. Kalman moves from an illustration of an older
woman with three bobby pins directly
to a painting of a library flattened during the London blitz, with the following caption:
Then the all-clear sounded. And people returned, hope undiminished. They returned, so elegant and purposeful to the books. What does this have to do with bobby pins and radiators and Kokoshniks? One thing leads to another.
Kalman’s second series for the Times also explored history and philosophy, but she focused intentionally on a topic she knew less about: American democracy.
“I was sent on this assignment because I didn’t know anything about politics, so I would bring a naivete, but also a sense of optimism and a sense of curiosity to the subject,” she says.
Kalman handles large questions about leadership and patriotism by focusing on the daily routines of the Founding Fathers and the objects that gave texture to their lives. She becomes fascinated by Abraham Lincoln and asks Ruth Bader Ginsburg about where she gets her robes
and lace collars (some are from Paris). The result is a deeply empathetic
treatment of justice, citizenship and American politicians past and present.
This past year saw the first major museum survey, which showcases the range of her illustrations. In addition to 100 works on paper, the exhibit features embroideries and photographs, as well as an installation of belongings that have been immortalized in her work.
March 23, 2015
I was introduced to the work of Grayson Perry who is an amazing potter, and tells his life story via his art. He is also a cross dresser with an alter ego that I found very interesting!
Grayson Perry, winner of the 2003 Turner Prize, uses the seductive qualities of ceramics and other art forms to make stealthy comments about societal injustices and hypocrisies, and to explore a variety of historical and contemporary themes. The beauty of his work is what draws us close. Covered with scraffito drawings,
handwritten and stencilled texts, photographic transfers and rich glazes, Perry’s detailed pots are deeply alluring. Only when we are up close do we start to absorb narratives that might allude to dark subjects such as environmental disaster or child abuse, and even then the narrative flow can be hard to discern.
The disparity between form and content and the relationship between the pots and the images that decorate them is perhaps the most challenging incongruity of Perry’s work. Yet, beyond the initial shock of an apparently benign or conservative medium carrying challenging ideas, what keeps us drawn to the work is its variety.
Perry is a great chronicler of contemporary life, drawing us in with wit, affecting sentiment and nostalgia as well as fear and anger. Autobiographical references – to the artist’s childhood, his family and his transvestite alter ego Claire – can be read in tandem with debates about décor and decorum and the status of the
artist versus that of the artisan, debates which Perry turns on their head.
Born in Chelmsford, Essex in 1960, Grayson Perry lives and works in London. Perry was the winner of the 2003 Turner Prize, and has had major solo exhibitions at Musée d’Art Moderne Grand-Duc Jean, Luxembourg (2008), 21st Century Museum of Contemporary Art, Kanazawa, Japan (2007), Andy Warhol Museum, Pittsburgh (2006),
Barbican Art Gallery, London (2002) and Stedelijk Museum, Amsterdam (2002). Grayson Perry has also curated two exhibitions - Unpopular Culture, de la Warr Pavilion (then touring) (2008) and The Charms of Lincolnshire, The Collection, Lincoln (2006).
March 18, 2015
Richard Pettibone’s small construction/paintings of the 1960s — appropriations of work by Warhol, Stella, and Lichtenstein — were a defining aspect of a peculiarly West Coast current of “Conceptual Pop.”
His earliest works were shadow-box assemblages addressing his interest in model making, especially toy trains and airplanes. In the 1960s he found his voice in diminutive “copies” of newly famous New York pop artists.
Always framed and constructed upon miniature stretcher bars, they are usually presented in single-image replication.
By the 1970s, Pettibone was combining and juxtaposing different images, introducing monochrome areas and gestural scribbles into these combinations, and experimenting with the simulation of photo-realist techniques.
The Brancusi sculptures from the 1980s are various sized versions of such iconic works as Bird in Space and Endless Column. In a conflation of modernism and modernist “taste,” the Brancusi simulations are often presented in
combination with his beautifully crafted homages to the pared-down forms of Shaker furniture. Pettibone’s visual punning and aesthetic elegance is evident in his simple juxtaposition of an elegant Shaker table with a minimalist,
In the late 1980s to the present, Pettibone pursued an obsession for the poetry and criticism of modernist Ezra Pound (another great appropriator) and created a group of paintings based upon the original covers of Pound’s publications.
In the 1990s, he engaged the work of Piet Mondrian, whose paintings he both replicated and “reduced” in sculptural constructions. But without doubt, his most insistent andunifying theme has been his ever-expanding colloquy with
two paradoxical giants of 20th-century art, Marcel Duchamp and Andy Warhol
March 13, 2015
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You didn’t think I was not going to introduce you to more of my newest art crush! ILYA BOLOTOWSKY-wonderful abstract expressionist whose paintings you may befamiliar with. I think his work is tremendous, and I hope you enjoy this post!
Bolotowsky is considered to be a leading early 20th-century painter in abstract styles in New York City. His work, a search for philosophical order through visual expression, embraced cubism and geometric abstraction.
Bolotowsky was a painter and sculptor of Russian birth. Having moved first to Constantinople (now Istanbul) and then in 1923 to New York. Inspired both by Surrealist biomorphic forms and geometric abstraction, his first non-objective work was in 1933.
During the Depression of the 1930s he painted numerous abstract murals under the auspices of government-sponsored art programs. By the late 1940s, when he taught for two years at Black Mountain College, he was concentrating on a color diverse variant of Piet Mondrian’s Neo-Plasticism, the style that characterized both the painted columns Bolotowsky began to make in the 1960s