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July 29, 2015
As “everybody knows”, a dear friend of mine always likes to say! I have a love of the group of British artists that are considered like the “rat pack”. Forward thinking, edgy, no boundaries
Sardonic, mis-behaved and wildly talented! TRACEY EMIN is that gal!
I hope you enjoy this post!
Tracey Emin is one of Britain’s most celebrated contemporary artists.
Her work features painting, drawing, photography, textiles, video, neon and sculpture. Works that are by turns tough, romantic, desperate, angry, funny and full of longing.
Since the early 1990s, Emin (b.1963) has used her own life as the starting point for her art, exposing the most harrowing and intimate details of her personal history.
Sometimes confrontational or sexually provocative, her work resonates with the ‘personal political’ legacy of feminist art while at the same time speaking to relationships in general. Disarmingly frank and yet often profoundly private, much of Emin’s art –– is also animated by her playful and ironic wit.
July 24, 2015
I recently came across an article on YAYOI KUSAMA and I thought what a great artist to bring to you! She is one of the female artists garnering the highest prices for her work! Millions of dollars. I love art like this, as, no, can one say this on the caliber of a Modigliani?
Well, that is an interesting debate. You can compare lots of interesting art and try to make sense. I love art like this because I believe it is more about the artists life and the experiences you need to see. Abstract is hard. Especially if you are used to figural. But this is a recurring theme. I
love it, and I hope you enjoy this post!
She was the first Japanese woman ever to recieve the Praemium Imperiale, one of Japan’s most prestigous awards for international artists.
She has exhibited her work with Andy Warhol, the most iconic pop-art figure, ever.
She protested war.
She has voluntarily lived in a mental hospital since 1974, and art has saved her life.
Yayoi Kusama was a grew up in a world of hallucinations and severe obsessions, comforted (yet at the same time, frightened) only by the endless patterns of the universe:
“One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows and the walls, and finally all over the room, my body and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space,
and be reduced to nothingness. As I realized it was actually happening and not just in my imagination, I was frightened…”
Of all of the patterns that show up in her work, dots (infinity nets) overwhelm all others.
“…a polka-dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm.
Round, soft, colorful, senseless and unknowing. Polka-dots become movement… Polka dots are a way to infinity.”
By painting people with dots, she feels she gives them innocence, and obliterates their adult status. She associates the dots with endlessness and nothingness – and they are her obsession.
“Since my childhood, I have loved the round image of dots. Over several decades, dots have created, working together with net patterns, various types of paintings, sculptures, events and installations. They have indeed been moving freely about in the heaven of forms and shapes. Dots have taught me the proof of my existence. They scatter proliferating love in the universe and raise my mind to the height of the sky. This mysterious dots obsession. Dots even enter my dreams with art playing a trick on them, art which I love so deeply.” -2006
Yayoi Kusama lives only blocks away from a studio, where she is still producing art at an astonishing rate – Japanese was her second language…
Art was her first.
Yayoi Kusama arrived in New York in 1958 and quickly became known as an artist there. Her work includes sculptures, books, performance art, installations and photo collages. Although Kusama showed with influential artists in New York, she never
achieved long term critical or financial support and returned to Tokyo in the mid-seventies.
Kusama began her career by showing paintings in New York. These “net paintings” were large works with circular repetitive patterns. Her first sculpture (probably 1961) was an armchair covered with stuffed fabric phallic shapes and painted white.
More objects covered with these phalluses followed. Kusama has also covered objects such as suitcases, coats and mannequins with macaroni and paint. Her installations often feature mirrors and polka dotted objects. The installation Narcissus Garden
is comprised of 1500 mirror balls floating in water.
Yayoi Kusama’s mental illness began in childhood when she began hallucinating the dots, nets and flowers which subsequently appear in her paintings and sculptures. Kusama’s most noted work was created between 1958-1968 in New York City.
In 1998, she had a retrospective called Love Forever at the Museum of Modern Art in New York.
The example here, My Flower Bed (1965-66), is made of painted, covered mattress springs and stuffed gloves. This piece shows her frequent use of repetition and every day objects. The work suggests, as do the sculptures pictured in the background,
a fragmented biomorphism and a lush and out of control blooming.
July 20, 2015
I now find myself onto Color Field Painters. so at the top of my list is MORIS LOUIS! I am sure that you have seen his work in many museums. He is one of, or shall I say another of my all time greats!
Morris Louis (born Morris Louis Bernstein, 28 November 1912 – 7 September 1962) was an American Abstract expressionist Painter. During the 1950s he became one of the earliest exponents of Color Field painting. Living in Washington D.C. Louis,
along with Kenneth Noland and other Washington painters formed an art movement that is known today as the Washington Color School
The basic point about Louis’s work and that of other Color Field painters, sometimes known as the Washington color School in contrast to most of the other new approaches of the late 1950s and early 1960s, is that they greatly simplified the idea of what constitutes
the look of a finished painting. They continued in a tradition of painting exemplified by Jackson Pollack, Clyford Still, Mark Rothko, and Robert Motherwell. Eliminating gestural, compositional drawing in favor of large areas of raw canvas, solid planes of thinned
and fluid paint, utilizing an expressive and psychological use of flat, and intense color and allover, repetitive composition. One of Louis’s most important series of Color field Paintings were his Unfurleds
July 15, 2015
I think growing up in the garment center in Manhattan is really to blame! All the crap games and three card monty while waiting for my grandfather to finish up for the day!
Less, I digress! So, I walk into the TATE MODERN and arriving at the top of the stairs to see thee most stunning HENRY MOORE sculpture I had ever seen! I immediately thought,”now I know where they all are”
and then I thought how I could get it out of the museum! Way too many espionage novels as a kid when my father wasn’t looking! But really, if you are not familiar with HENRY MOORE read on! And if you are then enjoy the images!
I have put some of my favorite images of his work, and I am positive you will immediately know his work and all of those artists that are current that have been very inspired by his work, lets just say.
HENRY SPENCER MOORE 1898-1986 was an English sculptor and artist. His forms are usually abstractions of the human figure, typically depicting mother-adn-child or reclining figures. Moore’s works are usually suggestive of the female body apart from a phase in the ’50′s when he sculpted family groups. Moore became very well known for his larger scale abstract sculptures that were carved in marble or cast in bronze.
I could keep writing but the most important thing is to just see if he strikes your fancy. He was a genius and the start of all of this modern interpretation, at a time when they were still copying the classics in sculpture.
July 10, 2015
I was on the hunt for a perfect pair of chairs for a living room I am working on. A very soft eclectic feeling, so a mix of a
stunning sofa in a navy almost black silk mossier, very 1940′s square arms by Christian Liagre, and I wanted a pair of danish chairs, particularly Finn Juhl’s
chairs, and I thought I would introduce you to a man who, without him we may not have as stunning as we do, eclectic projects, that inclued Danish Modernist inspiration!
Long sentence for an amazing talent!
Finn Juhl was born in 1912 and was a student of architecture at the Royal Danish Academy of fine arts. We know Juhl mostly for his iconic chairs, which I am sure you are familiar with, at
least one of the images. Juhl gave a soft edge to the lines of wooden modernist chairs, favoring organic shapes which often took the wood to the limits of what was possible. He generally used teak and other dark woods, unlike many of the other proponents of the Danish Modern Movement. One of his hallmarks was the floating back and seat which is seen in most of his chair designs.
Its funny, as an interior designer to see periods of furniture go in and out of style.
There was a time in the 80′s and 90′s when the influence of Danish design was not really sought
after. But rest assured, this casual elegant, that we are all very onto now, includes pieces from the great master.
July 6, 2015
OK! THIS is my kind of art! Yes, I do love Botticelli, and Ansel Adams, and Sargent, and everyone I write about!
Childhood, memory, loss, and sexuality–these are some of the issues that Robert Gober has explored in his work since the 1980s. Considered one of the most important American artists of his generation, Gober has developed a unique sculptural practice that links many of the issues
underlying Surrealism, Minimalism, and Conceptualism to psychological questions concerning the body and our domestic environment.
Gober’s sculptural works address a variety of formal and humanistic concerns by juxtaposing functionality and dysfunction, and the familiar and the strange. Nowhere is this more apparent than in the series of sink sculptures for which Gober has become well known, such as his right-angle sink .
The sink carries a psychological charge
that is at once idiosyncratic and common, mysterious and humorous. The power of this imagery lies in the paradox of the nonfunctional aspect of his sinks; these sculptures suggest the ritual of cleansing while their lack of plumbing frustrates this possibility.
Mr. Gober stands at the forefront of a generation that emerged in the 1980s and devised new ways to fuse the personal and the political, the accessible and the mysterious. His art is a sometimes subtle, sometimes furious protest against what might be called delusions of normalcy;
the sexual, racial and religious prejudices these delusions engender are examined at their point of origin, the childhood home.
He has communicated these themes in shifting ratios of folk art, Surrealism, Pop Art, Magic Realism and Social Realism, leavened by doses of the body and performance art of the 1970s. There are moments of eerie trompe l’oeil, as in his cast wax legs or torsos with individually applied hairs,
which jut startlingly from walls and corners, like phantom limbs or parts of bodies otherwise crushed by buildings.
Rather than using existing objects or having them copied by fabricators, as many appropriation artists do, Mr. Gober makes all his pieces in the studio, working alone or with assistants. (Even that white plastic crate and those green apples.) There may be countless little imperfections or a
breathtaking sense of perfection, but either way the almost devotional artisanship imbues common objects with an uncommon gravity, along with the sense of energy, growth and vulnerability that defines real bodies.
Mr. Gober has woven baskets, carved wood doors and playpens, and fashioned his signature sinks out of plaster painted with enamel. He has reiterated these forms in deviant versions: slanting and squeezing the playpens into child-unfriendly cages; twisting the doors into knots or doubling
them into cruciforms. Here, one wraps itself around a corner, like a splayed body. He has doubled or truncated his sinks to resemble tombstones, chests or awkwardly joined torsos.
His art includes things as seemingly innocuous as hand-laminated sheets of plywood, as monstrous as a hand-painted cereal box 80 inches tall and as quietly incendiary as wallpaper whose patterns alternate images of a lynched black man and a sleeping white man.
A recent hybrid is a sink with horrifically stretched wax children’s legs looping through the drain and faucet holes: a child deformed by the parental need for purity.
Other symbols of repressive cleanliness include bags of cat litter and rat poison in painted plaster, and cast bronze or pewter sink drains, sewer drains and culverts. A huge culvert penetrates the abdomen of a nearly life-size concrete Madonna that was in his controversial installation unveiled at the
The Museum of Contemporary Art in Los Angeles in 1997.
I hope you enjoyed this post!
July 1, 2015
Disillusionment in living is finding that no one can really ever be agreeing with you completely in anything.
Today’s post on GERTRUDE STEIN comes about by way of Woody Allen’s latest movie, Midnight in Paris. The movie spends so much time with Gertrude Stein that I thought I would spend a bit of time on her today.
If you haven’t seen it, it is a classic, regardless if you like his style of movie. It is not a “New York” movie, for those of you who are not big fans of his genre.
The objective of these patrons of the arts, is to bring to the forefront, so much talent, that without them, would never be seen! So think, if Gertrude Stein and her brothers had not taken such a keen interest!
BRONZE OF GERTRUDE STEIN IN BRYANT PARK
Gertrude Stein (1980) acrylic and ink on canvas by Andy Warhol – “Ten Portraits of Jews of the Twentieth Century” – Jewish Museum, New York.
Writer and art patron. Born on February 3, 1874, in Allegheny, Pennsylvania. Gertude Stein was an imaginative, influential writer in the twentieth century. The daughter of a wealthy Jewish merchant, she spent her early years in
Europe with her family. The Steins later settled in Oakland, California. She graduated from Radcliffe College in 1898 with a bachelor’s degree. While at the college,
Stein studied psychology under William James (and would
remain greatly influenced by his ideas). She went on to study medicine at Johns Hopkins Medical School.
PORTRAIT OF GERTRUDE STEIN BY PICASSO
In 1903, Gertrude Stein moved to Paris to be with her brother, Leo, where they began collecting HENRI MATISSE Postimpressionist paintings, thereby helping several leading artists such as CEZANNE
Henri Matisse and Pablo Picasso.
She and Leo established a famous literary and artistic salon at 27 rue de Fleurus. Leo moved to Florence, Italy, in 1912, taking many of the paintings with him. Gertrude remained
in Paris with her assistant Alice B. Toklas, who she met in 1909.
Toklas and Stein would become lifelong companions.
Much of Gertrude Stein’s fame derives from a private modern art gallery she assembled, from 1904 to 1913, with her brother Leo Stein.
Of the art collection at 27 Rue de Fleurus, McBride commented: “in proportion to its size and quality … [it is] just about the most potent of any that I have ever heard of in history.” commented one of many famous art historians.
McBride also made the observation that Gertrude “collected geniuses rather than masterpieces. She recognized them a long way off.” The collection soon had a worldwide reputation.
Leo Stein’s acquaintances and study of modern art eventually resulted in the famous Stein art collections. Bernard Berenson hosted Gertrude and Leo in his English country house in 1902, and suggested they visit
Paul Cézanne and Ambroise Vollard‘s art gallery.
The joint collection of Gertrude and Leo Stein began in late 1904, when Michael Stein announced that their trust account had accumulated a balance of 8,000 francs. They spent this at Vollard‘s Gallery,
buying Gauguin‘s Sunflowers and Three Tahitians, Cézanne’sBathers, and two Renoirs.
The art collection increased and the walls at Rue de Fleurus were rearranged continuously to make way for new acquisitions. In “the first half of 1905″ the Steins acquired Cézanne‘s Portrait of Mme Cézanne
and Delacroix‘s Perseus and Andromeda. Shortly after the opening of the Paris Autumn Salon of 1905 (on October 18, 1905), the Steins acquired Matisse’s Woman with a Hat and Picasso’s Young Girl with Basket of Flowers.
By early 1906, Leo and Gertrude Stein’s studio had many paintings by Henri Manguin, Pierre Bonnard, Pablo Picasso, Paul Cézanne, Pierre-Auguste Renoir, Honoré Daumier, Henri Matisse, and Henri de Toulouse-Lautrec.
Their collection was representative of two famous art exhibitions that took place during their residence together in Paris, and to which they contributed, either by lending their art, or by patronizing the featured artists.
The Steins’ elder brother, Michael, and sister-in-law Sarah (Sally) acquired a large number of Henri Matissepaintings; Gertrude’s friends from Baltimore, Claribel and Etta Cone, collected similarly, eventually
donating their art collection, virtually intact, to the Baltimore Museum of Art
While numerous artists visited the Stein salon, many of these artists were not represented among the paintings on the walls at 27 Rue de Fleurus. Where Renoir, Cézanne, Matisse, and Picasso’s works dominated
Leo and Gertrude’s collection, the collection of Michael andSarah Stein emphasized Matisse.
PORTRAIT OF VOLLARD
June 26, 2015
When I was out on the Eastern Shore of Long Island last summer, I ran across the work of Dorothea Rockburne. Her work is fantastic and will remind you of some very well known artists with similar pathos. i hope you enjoy this post!
Born in Montreal, Canada (1932). Lives and works in New York, NY. Attended the Montreal Museum School, Montreal, Canada (1948-1950). Attended Black Mountain College, Ashville, NC (1950-1952) where she studied with
Philip Guston, Franz Kline, Cy Twombly, and Robert Rauschenberg among other contemporaries. While at Black Mountain College, the teachings of Max Dehn, a renowned
German mathematician and close friend of Albert Einstein,
made arguably the largest impact on Rockburne’s work. Dehn educated Rockburne about Pythagorean and Euclidean geometry, group theory and topology, and
the concepts of harmonic intervals. Dehn’s teachings often merged the
mathematical world and the natural world providing Rockburne with new and complex approaches to her work. Rockburne’s studies with Dehn, along with her interests in the Golden Mean,
astronomy, cosmology and lifelong
fascination with Egyptians’ use of proportion and light, invariably shaped her oeuvre. Working with varied materials including industrial wrinkle-finish paint, tar, carbon paper and metal as well as natural materials such as canvas, paper, and
chipboard, Rockburne paints, cuts, draws, folds and calculates to create complex works of art built upon mathematical foundations.
June 22, 2015
I saw a painting of Suling Wang’s and thought it had wonderful movement-fluid and graceful and it makes you smile-for me it made me feel like I could see the wind. I hope you enjoy this post and have a fantastic day!L
Suling Wang’s large-scale paintings and works on paper are influenced by the changing landscape and rapid industrialization of her native Taiwan and its divergent cultural and artistic traditions. Wang’s compositions
are characterised by sweeping strokes of bold colour that flow in and out of the visual field,
resulting in a dynamic synthesis of painting and drawing. Employing an expansive vocabulary of gestural marks and layers,
the forms are organised and defined on multiple planes allowing the paintings to be read in terms of both time and space. Her fluid and calligraphic forms are suggestive of trees, stems and rock-like structures.
Disparate visual elements such as imaginary mountains and submerged islands all overlap in planes that impart depth and create rhythmic, but occasionally disharmonious, patterns.Ultimately, the works speak of the
idea of a reality that is continually in a state of flux or dissolution.
June 17, 2015
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I guess my love of all the abstract Color Field art leads me to today’s post on PAUL FEELEY- and amazing artist, whose forms and shapes are really great to look at. It is amazing for me to be learning about all of these artists, as I truly had no idea that this school was as respected and regarded as any other, however so many of these artists are not well known.
Feeley, alongside Morris Louis and Kenneth Noland, worked against the grain of the prevailing Abstract Expressionists in the 1950s and his work is most often associated with the Color Field painters. Feeley’s distinct body of work,
however, reflects a wide range of influences, including ancient Greek and Cycladic sculptures, Moorish decorative tiles and contemporary American subjects, like his motif derived from the children’s game of jacks.
Although his work is not as well known today, during his lifetime Feeley was at the center of the New York art world. His first one-person exhibition was at the Tibor de Nagy Gallery in 1955. Starting in 1960, and continuing
until his untimely death in 1966, he had yearly one-person exhibitions at the Betty Parsons Gallery. In 1968, he was given a major retrospective at the Guggenheim Museum in New York.
Feeley was fundamental in establishing the celebrated art department at Bennington College, where he taught for over twenty years. At Bennington, he organized many historic exhibitions including the first retrospectives of his friends
Jackson Pollock, David Smith, and Hans Hoffmann, exposing his students—Helen Frankenthaler among them—to many of the most significant artists of the time.