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April 22, 2014

MANUEL NERI! YES PLEASE!

Filed under: manuel neri — Tags: — jherzlinger @ 8:43 am

I had the pleasure many years ago of meeting Manuel Neri and getting to spend some time with him  His work is tremendous and so inspirational to me.

I hope that you enjoy learning about these amazing talents! And that you find them inspirational!

Manuel Neri has taken up the existential quest of the beauty of the unfinished, the unfinishable. His sculptures have extremes of surface and texture that relate to their creative birth and their succeeding stages of ‘death’ (and perhaps rebirth) through the artist’s continued re-working of the surfaces and form.It was in Neri’s surprising and substantial body of early paintings and painted papers, figurative as well as nonfigurative, that he developed his special skills for polychromy and brushwork, which he then applied radically to sculpture, his primary sensual and public medium.Neri’s works on paper encompass almost every artistic approach, and show a broadly talented sculptor intelligently, urgently, and creatively probing color, form, materials and the nature of graphic invention.

Manuel Neri (b. 1930) is one of the premier figurative sculptors working today. Born in Sanger, California, Neri began exploring new forms and materials in sculpture and painting in the early 1950s while studying in San Francisco. It was during this period that

such prominent Bay Area artists as David Park, Elmer Bischoff, and Richard Diebenkorn began to take a renewed interest in the human figure. Their efforts to combine the human form with abstract expressionist practice had a lasting influence on Neri.

Initially, Neri began sculpting in “junk”—burlap, wire, cardboard—and, soon thereafter, in simple plaster. His lone female figures, often in frankly erotic or naturalistic poses, were lauded immediately not only for their vitality and rawness but also for being simultaneously

contemporary and timeless. From the onset, Neri painted the “skin” of his figures with patches of bright color—a conscious bow, he has said, to the painted sculpture of Marino Marini and to the ceramics of Pablo Picasso, as well as to the visceral expressionism of Willem de Kooning.

Neri’s figures and abstractions on canvas and on paper are equally expressive. Rendered in oil, pastel, tempera, graphite, and charcoal, these works are, in the words of Jack Cowart, former chief curator of the Corcoran Gallery of Art in Washington, D.C., the “record of an artist anxiously,

constantly, experimenting and visualizing his craft.”1 Some of Neri’s most important nonsculptural works include the “Window Series” paintings from the late 1950s and early 1960s, and a series of drawings dating from 1976 onward that feature a monumental figure placed in the center of a painted sheet.

Over the past twenty years, Neri has sculpted in Carrara marble even as he continues working in bronze, in some cases, adding brushstrokes of paint, scratches, and other marks atop the marble surface or bronze patina. Recent unpainted marbles are exceptionally notable for their monumentality

and sharp delineations between rough and polished surfaces, and their clear references to classical sculpture.

By casting, carving, and hand-painting his sculptures, Neri is able to explore the life processes of transformation and disintegration. According to writer Bruce Nixon, this “collision of hand and material is fundamentally existential … [and represents] a literal, physical effort to erase the gap between [artist and model].

Indeed, throughout Neri’s entire career, a lone, archetypal woman has been the vehicle for his most ambitious formal and symbolic goals.

ENJOY!

LOVE

JAMIE

April 17, 2014

DAN FLAVIN-THE TUBULAR LIGHT ARTIST

Filed under: dan flavin — Tags: — jherzlinger @ 8:49 am

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!

Enjoy,

Love,

Jamie

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

PETER SHIRE-A TEAPOTS BEST FRIEND!

Filed under: peter shire — Tags: — admin @ 8:47 am

images-2images-3Memphis 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. images-4 Unknown-1Auffen 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. Unknown

April 10, 2014

JAMES WELLING IS AN AMAZING PHOTOGRAPHER!

Filed under: james welling — Tags: — admin @ 9:18 am

Unknown-1Today’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 Unknown-2uncompromising 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.

 

 

Unknown

 

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 images-3images-2work exhibits a formal precision and clarity that is nothing short of breathtaking.

 

April 8, 2014

JULIAN STANCZAK REDISCOVERED!

Filed under: julian stanczak — Tags: — admin @ 8:56 am

Unknown-1So 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

 

Unknown-2If 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

quickly forgotten.

UnknownStanczak 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 illustratedimages-4images-3

catalogs, has led to a sharp increase in Stanczak’s prices.

April 3, 2014

CHRISTOPHER WOOL-WHAT SHOULD I SAY

Filed under: christopher wool — Tags: — admin @ 8:51 am

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?

UnknownI 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.images-2

 

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. images-3Wool 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 images-4their 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.”

 images-5

March 31, 2014

ROBERT MAPPLETHORPE-ONE OF THE BEST!

Filed under: robert mapplethorpe — Tags: — jherzlinger @ 10:07 am

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!
Enjoy!
Love, Jamie
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!

Love,

JAMIE

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

VICTOR VASARELY MY FAVORITE GRAPHIC ARTIST

Filed under: Uncategorized — admin @ 8:40 am

Unknown-1I 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 Unknowngraphics,

don’t you wonder, if you color was placed on top of the other?

Enter Victor Vasarely!  I hope you enjoy this post!

Love, Jamie

 

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”images-2 could be seen below the surface of the entire world. He conceived that form and color are inseparable.

 

images-3“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 paintingsimages-4

March 25, 2014

ARSHILE GORKY-ABSTRACT EXPRESSIONISM AT ITS BEST!

Filed under: arshile gorky — Tags: — jherzlinger @ 9:08 am

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,

Much love,

Jamie


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

AXEL HUTTE-I LOVE THIS PHOTOGRAPHER!

Filed under: axel hutte — Tags: — admin @ 8:37 am

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 approachUnknown-2

Unknown-1to landscapes. 

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

Unknownnative in its purest form.

 

images-2The 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.


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