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April 17, 2014
I was in a museum of few weeks ago, I can’t remember which one I was in, but I do remember taking an interest in an exhibit of fluorescent tubular colored lights. This was not the first time I had seen this artists work, but probably the first time i took more then a moment to understand that there had to be more to what I was looking at.
So I decided to look the artist up and ergo, today’s post!
Interesting man with a lot of thought that went into his sculptures.
Have a great day!
For more than three decades, Dan Flavin (1933-1996) vigorously pursued the artistic possibilities of fluorescent light. The artist radically limited his materials to commercially available fluorescent tubing in standard sizes, shapes, and colors, extracting banal hardware from its utilitarian context and inserting it into the world of high art.
The resulting body of work at once possesses a straightforward simplicity and a deep sophistication.
Dan Flavin took an everyday object, found in most stores, homes and offices, and made it extraordinary. He used fluorescent lights of varying lengths and colors and arranged them to create sculptures of light.
DAN FLAVINS career-long exploration of an art of light, situated outside the traditional mediums of painting and sculpture, established him as a progenitor and chief exponent of minimalism. Though Flavin (1933–1996) is one of the most important and influential artists of the late 20th century,
“Dan Flavin’s light sculptures illuminate everything around them,” Stamberg reports. “His fluorescent lights don’t just hang there. They inhabit space. They wash the walls with color, they mix colors so the white walls seem painted. They bathe space — and visitors — in a warm and completely artificial glow.”
Steve Morse helped build some of the pieces. He says Flavin, who died in 1996, didn’t have an interest in the hard physics of lights, but he did have an interest in their blended effects.
Though Flavin’s lights often evoke a cheerful response from visitors, he does have darker pieces.
One (monument 4 for those who have been killed in ambush), created in response to the Vietnam War, is made from blood-colored tubes that jut off the wall aggressively — invading the viewer’s space.
“Even though the work is entirely abstract, it has an incredible range of emotion, from elation to tragic to ironic to playful, with a single medium.”
April 15, 2014
Memphis Style is so much a part of not only an artistic expression, but it went as far as influencing interior design. I have recently become aware of Peter Shire’s work and thought it would be great to introduce you to him and his work.
Enjoy this post and have a great day! Love, Jamie
Since the 1970’s, Peter Shire has been working at an intersection. Where craft, fine art, and industrial design collide, he has built his career, drawing freely from each area without taking any of it too seriously. He has had forays into architecture, furniture,
and fashion, but he keeps returning to ceramics.
In 1974 Shire made the two pieces he considers to be the first mature work of his career in clay. Auffen Gile and Gile Kilns were Shire’s sculptural, geometric interpretation of the traditional teapot, complete with sun-bleached pastel glazes, uncanny angles,
and a jumbled collage of parts. Influenced by Bauhaus aesthetics, Shire sought to make a piece that meshed all this together. In his first teapots, he rolled these elements into one and found a form that he has continued to reinvent throughout his career.
Shire’s early teapots were also significant because they attracted the eye of Ettore Sottsass, one of the founders of Memphis, an international design movement that came out of Italy during the 1980’s. Sottsass found Shire’s teapots “fresh, witty, and full of
information for the future”, and the members of Memphis agreed. The group, which sought to revitalize design by rejecting conventional standards in favor of a bold, colorful, novel approach to product design, invited Shire to Milan to work with them.
This lead to a series of projects that toyed with the intersections of industrial design and fine art, and gave Shire the opportunity to work in glass, metal and other new mediums.
April 10, 2014
Today’s post is about a fabulous photographer and one who has shaped the way we see photography. I hope you enjoy this post!
Have a great day! Love, Jamie
James Welling has been questioning the norms of representation since the 1970s. His work centers on an exploration of photography, shuffling the elemental components of the medium to produce a distinctly uncompromising body of work.
Welling is also intensely interested in cultural and personal ideas of memory in his work. In opening up the medium of photography for experimentation, James Welling’s practice has influenced an entire generation of artists and photographers.
In spite of his six-foot-plus height, you might easily overlook James Welling in a crowded room. With his shaggy gray hair and tortoiseshell glasses, he looks every bit the UCLA tenured professor that he is. James Welling has played a seminal role over the last two decades in redefining the way we look at art.
Welling is among a handful of artists who have brought photography from the outer edges, where it lived as a kind of happy stepchild, to the center of the contemporary dialogue.
Remarkably, Welling consistently produces 180-degree changes throughout his oeuvre. His images range from impromptu studio shots of drapery to tabletop landscapes of aluminum foil, from pure geometric abstractions to straight-on images of trains. Just as radically, while most photographers work in a single format, Welling has moved assuredly through formats and processes—from Polaroid to 6×7, from black-and-white 35mm to color photograms. Throughout, his work exhibits a formal precision and clarity that is nothing short of breathtaking.
April 8, 2014
So the new kick is pop art, who did it, why and where did it come from!
I hope you enjoy this post, have a great day! Love, Jamie
If the eye-tingling Op Art paintings of Cleveland artist Julian Stanczak were traded like securities on the New York Stock Exchange, they’d melt the digital ticker.
Bloomberg News and Artnet.com recently ranked Stanczak in sixth place on a list of the hottest artists in the world, based on the percentage increase of auction prices for their work since 2000.
A native of Poland and a longtime Clevelander, Stanczak rocketed to fame in the mid-1960s as a leader of Op Art, a global movement that became wildly popular for a brief moment and was then
Stanczak soldiered on quietly in his studio. He taught for decades at the Cleveland Institute of Art and created hundreds of subtle and precisely executed geometric paintings whose patterns and
colors interact in ways that make them seem to vibrate with electric energy.
In recent years, Stanczak’s work has been rediscovered with a vengeance by galleries, museums and collectors. A wave of gallery and museum exhibitions, accompanied by lavishly illustrated
catalogs, has led to a sharp increase in Stanczak’s prices.
April 3, 2014
Today’s post is another artist whose work I have just become familiar with, that commands price points in the hundreds of thousands. I have always been a staunch supporter of abstract and am finding myself in a conundrum wondering why?
I get the 1960’s and the movement to unravel figurative painting, and Kandinsky’s answer to get rid of all the ornamentation, and bring forms to their organic sense. But I do not understand the movement in the 80’s? I am enjoying taking this
converse approach to brining you this type of art. It is an interesting
position in thinking to defend the costs of these works and their representation of societies interests.
I hope you enjoy this post! Have a great day! Love, Jamie
Wool is best known for his paintings of large, black, stenciled letters on white canvases. However, Wool possesses a wide range of style- using a combined array of painterly techniques, including spray paint, silkscreen, and hand painting. Wool provides tension between painting and erasing, gesture and removal, depth and flatness.
In his abstract paintings draws lines on the canvas with a spray gun and then, directly after, wipes them out again with a rag drenched in solvent to give a new picture in which clear lines have to stand their own against smeared surfaces.
Writing in 2000, in The New York Times Ken Johnson highlighted Wool’s response to an observation made on the street as significant, “in the 1980s, Christopher Wool was doing a Neo-Pop sort of painting using commercial rollers to apply decorative patterns to white panels. One day he saw a new white truck violated by the spray-painted words ‘sex’ and ‘luv.’ Mr. Wool made his own painting using those words and went on to make paintings with big, black stenciled letters saying things like ‘Run Dog Run’ or ‘Sell the House, Sell the Car, Sell the Kids.’ The paintings captured the scary, euphoric mood of a high-flying period not unlike our own.”
March 31, 2014
Good Morning! Before I get into the blog, I want to thank everyone that has been a part of the launch of JAMIE! We are live! So, if you are not familiar with JAMIE, please do take a moment and go to the selections on the left of the blog and go to JAMIE! JAMIE is a revolutionary way to be able to access luxury interior design with not only working together with me and my design company, but by being able to shop within our boutiques! You will be able to work with my firm anywhere you are in the country without ever having to have me step into your home. you can go at your own pace and your own budget! No hourly fees, no contracts, I am with you every step of the way!
JAMIE has been many years in the making and we have had several incredibly successful trials with it. One of which is posted in the “how it works”
I do hope you let me know your thoughts, I am always available by email and do please know that I welcome your input.
Thank you again for all the support and love, JAMIE has taken a team to come to life!
Ps my email, Jamie@jamieherzlinger.com
In thinking about photography icons, I want to bring you ROBERT MAPPLETHORPE,an amazing voyeur. His art was a result of his interest in sociology. I have always been interested in his work. Yes, art can be disturbing, thought provoking and in some instances be extremely provocative.
I know you will feel the same. You may in fact be familiar with his work. Enjoy this post!
Robert Mapplethorpe was born in 1946 in Floral Park, Queens. Of his childhood he said, “I come from suburban America. It was a very safe environment and it was a good place to come from in that it was a good place to leave.”
In 1963, Mapplethorpe enrolled at Pratt Institute in nearby Brooklyn, where he studied drawing, painting, and sculpture. Influenced by artists such as Joseph Cornell and Marcel Duchamp, he also experimented with various materials in mixed-media collages,
including images cut from books and magazines. He acquired a Polaroid camera in 1970 and began producing his own photographs to incorporate into the collages, saying he felt “it was more honest.” That same year he and Patti Smith, whom he had met three years earlier,
moved into the Chelsea Hotel.
Mapplethorpe quickly found satisfaction taking Polaroid photographs in their own right and indeed few Polaroids actually appear in his mixed-media works. In 1973, the Light Gallery in New York City mounted his first solo gallery exhibition, “Polaroids.” Two years later
he acquired a Hasselblad medium-format camera and began shooting his circle of friends and acquaintances—artists, musicians, socialites, pornographic film stars, and members of the S & M underground. He also worked on commercial projects, creating album cover art
for Patti Smith and Television and a series of portraits and party pictures for Interview Magazine.
In the late 70s, Mapplethorpe grew increasingly interested in documenting the New York S & M scene. The resulting photographs are shocking for their content and remarkable for their technical and formal mastery. Mapplethorpe told ARTnews in late 1988,
“I don’t like that particular word ‘shocking.’ I’m looking for the unexpected. I’m looking for things I’ve never seen before … I was in a position to take those pictures. I felt an obligation to do them.” Meanwhile his career continued to flourish. In 1977, he participated in
Documenta 6 in Kassel, West Germany and in 1978, the Robert Miller Gallery in New York City became his exclusive dealer.
Mapplethorpe met Lisa Lyon, the first World Women’s Bodybuilding Champion, in 1980. Over the next several years they collaborated on a series of portraits and figure studies, a film, and the book, Lady, Lisa Lyon. Throughout the 80s, Mapplethorpe produced a bevy
of images that simultaneously challenge and adhere to classical aesthetic standards: stylized compositions of male and female nudes, delicate flower still lifes, and studio portraits of artists and celebrities, to name a few of his preferred genres. He introduced and refined different
techniques and formats, including color 20″ x 24″ Polaroids, photogravures, platinum prints on paper and linen, Cibachrome and dye transfer color prints. In 1986, he designed sets for Lucinda Childs’ dance performance, Portraits in Reflection, created a photogravure series for
Arthur Rimbaud’s A Season in Hell, and was commissioned by curator Richard Marshall to take portraits of New York artists for the series and book, 50 New York Artists.
That same year, in 1986, he was diagnosed with AIDS. Despite his illness, he accelerated his creative efforts, broadened the scope of his photographic inquiry, and accepted increasingly challenging commissions. The Whitney Museum of American Art mounted his
first major American museum retrospective in 1988, one year before his death in 1989.
March 27, 2014
I have always been a huge fan of graphics and they play a strong part in many of my projects. I am always fascinated by the graphics not only in nature, but when you look at graphics, especially two color graphics,
don’t you wonder, if you color was placed on top of the other?
Enter Victor Vasarely! I hope you enjoy this post!
Internationally recognized as one of the most important artists of the 20th century. He is the acknowledged leader of the OP ART movement and his innovations in color and optical illusion have had a strong
influence on many modern artists.
In 1947, Vasarely discovered his place in abstract art. Vasarely concluded that “internal geometry” could be seen below the surface of the entire world. He conceived that form and color are inseparable.
“Every form is a base for color, every color is the attribute of a form.” Forms from nature were thus transposed into purely abstract elements in his paintings
March 25, 2014
I must post about ARSHILE GORKY. His work, I am sure you are familiar with and it is stunning! When you read his life story and to then put into context the whys of abstract expressionism and start to understand,
that possibly dealing with pain and atrocities are better dealt with when abstract. In a way it allows the artist the freedom to express and cope without necessarily having to re-live all the pain.
I do hope you enjoy this post,
Arshile Gorky was born Vosdanig Adoian around 1902 (there are conflicting accounts of his birth date) in the village of Khorkom, near Lake Van, in an Armenian province on the eastern border of Ottoman Turkey. As a teenager, Gorky witnessed the systematic ethnic cleansing of his people,
the minority Armenians, by Turkish troops in 1915, which drove Gorky’s family and thousands of others out of Van. These traumatic events culminated in the tragic early death of his mother from starvation in December 1918, during a winter of severe deprivation for the Armenian refugees.
Gorky and his sister Vartoosh eventually immigrated to the United States in 1920, where he changed his name to Arshile Gorky (in honor of the famed Russian writer Maxim Gorky) and invented a new life for himself.
After living with relatives in New England, Gorky settled in New York City in 1924, and enrolled at the National Academy of Design and the Grand Central School of Art (where he also became an instructor). Despite having some formal art training, Gorky was essentially self-taught,
and obtained most of his education through visits to museums and galleries and reading art books and magazines. By doing so, Gorky became familiar with avant-garde European art and embarked on a systematic study of its masters, most notably Paul Cézanne, Pablo Picasso, and Joan Miró.
To friends and colleagues who criticized his borrowings as having a lack of originality, Gorky stressed the importance of tradition and continuity, maintaining that an artist can mature only after having experienced a period of apprenticeship.
In the late 1930s and early 1940s, Gorky’s prominent position in the New York art scene brought him into contact with several members of the Surrealist group, who had been forced to flee Europe during the Second World War. His close friendship with the poet and leader of the group, André Breton,
made a deep and lasting impression on the artist. The Chilean-born painter Roberto Matta also contributed to the development of his mature style, encouraging Gorky to improvise and experiment with biomorphic forms, and introducing the artist to the Surrealist technique of automatic drawing,
which he deftly mastered. In the numerous innovative landscapes that Gorky produced in the early 1940s, his abstract vocabulary embraced natural and organic forms, which he conveyed with an explosive, erotic energy.
Until his death in 1948, Gorky painted highly original abstractions that combined memories of his Armenian childhood, especially the gardens, orchards and wheat fields of his rural homeland, with direct observations from nature. A string of tragic events beginning in the mid 1940s, however,
would leave the artist in both physical and emotional agony. A fire in his studio, a painful operation for cancer, a debilitating automobile accident, and marital troubles led the depressed Gorky to commit suicide on July 21, 1948. Although his life was tragically cut short, the unique and impressive
body of work that Gorky left behind made a profound impact on American Art, securing his reputation as the last of the great Surrealist painters and one of the first Abstract Expressionists.
March 20, 2014
I have always loved photography, landscapes; still life’s and you know it is a recurring theme on my blog. Today I would like to introduce you to one of my favorite German photographers, known for his fantastic approach
I hope you enjoy this post and have a fabulous day! Love, Jamie
Axel is involved with ‘landscape’ on many different levels and is constantly shifting his focus, whether it is to do with the city itself, its outskirts and boundaries and also where the ‘natural landscape’ begins.
The untouched or virgin landscape has provided his main motivation in recent years, requiring long distance journeys to many different continents. Increasingly, Hütte has been drawn to more sparsely populated areas in order to concentrate on
native in its purest form.
The resulting photographs emphatically reveal strong painterly qualities. The absence of any people in his landscapes stresses the sheer grandiosity of nature, and at the same time transforming the viewer into an absent witness.
March 18, 2014
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Recently, I have been learning so much about POP Art and the POP Art movement that I did not know! It has especially been fun learning about the women artist in the movement.
JANN HAWROTH has been one of my favorites to learn about. I hope you all enjoy this post and enjoy looking through the fun art!
Jann Haworth is a Hollywood-born artist among the few women who were involved in the Pop movement in the 1960s. Her sewn cloth soft sculptures refer to typically American Pop themes such as fast food, film stars, cheerleaders, cowboys and comics, as well as to her experiences of living in England during a period of cultural transformation.Her current work now involves large scale abstract sewn canvasses, these pieces sometimes involve use the use of “comic frame” convention of the graphic novel film strip.
Jann has used her skills to teach other artists as an art educator of distinction. “I believe everyone can draw. I don’t believe in talent, I believe in determination and time.” Jann was the founder of the Looking Glass art school in England, as well as the Artshack Studio in Utah and holds the position of Visual Arts Director.
Throughout her career, Jann has used an element of three dimensionality to her work. Her pieces of full to texture, color, stories, and movement; perfect eye candy!