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January 30, 2012
I recently was introduced to the work of Allan D’Arcangelo-I immediately fell in love with his work! I have always been enamored of pop art-given the time-the sociological implications of pushing art this way-all of it.
I was not familiar with his work until recently and wanted to bring him to your attention. You will see a lot of other artists inspirations in his paintings, which all seem, oddly enough to have been influenced by similar influences.
To think about the commitment you have to have to a subject, much like an author on a topic.
Have a great day!
Enjoy the post!
Allan D’Arcangelo began his studies interested in history and government, but eventually switched to art. He was born in Buffalo, New York in 1930. he is best known for his paintings of the highway,
which he bagan in 1963. These paintings, typically flat planes with a perspectival highway extending into the distance. Often the highway was surrounded by the logos of gas stations and other highway signage,
floating, disembodied, on the background. Early in his career, he made a name for himself as part of the pop movement, with works such as marilyn and madonna and Child. some of the characteristics of pop are
retained in his highway paintings, particularly the use of popular brand name logos, and the expanses of flat color. However, as the highway paintings evolved, they moved away from Pop art.
D’Arcangelo’s paintings became much more abstracted, sometimes reduced to a stylized traffic barriers repeated at different angles. The most interesting part of the paintings are the contrasts: the flat picture plane
and the one point perspective highway receding beyond the picture plane,the real and the artificial as seen in the use of color, light and shape, and the abstract and representational.
January 29, 2012
This past week has been a blur! I am really excited to be designing projects that are pushing my talents to styles that I love! and can’t wait to share the finished product with you! So, needless to say, this is a time when comfort food really hits the spot!
On the menu for tonight enjoy a, Curried Butternut Squash and Cauliflower Soup, Potato-Apple Latkes and the best Roasted Chicken and finish it all with Paula Deen’s Pound Cake, which I promise is the best one!
Curried Butternut Squash and Cauliflower
3 medium butternut squash (about 5 pounds)-halved, peeled and seeded
2 tablespoons unsalted butter
1 large onion, coarsely chopped
1 table curry powder
Salt and freshly ground pepper
2 tablespoons honey
1 teaspoon cinnamon
One 2-pound head of cauliflower, cut into 1-inch florets
3 quarts Vegetable Stock
1 cup heavy cream
Roasted Garlic Flat Breads and cream fraiche, for serving
1. Cut 4 of the butternut squash halves into 1-inch chunks; cut the remaining 2 squash halves into 1/4-inch dice(i always roast the squash first-as it helps the sweetness to come out_425-for like3-40- minutes-toss with a little olive oil first and some sea salt
2. Melt the butter in a large, heavy saucepan. Add the onion. Cover with a piece of crumpled wax paper and cook over moderately low heat until the onion is softened, about 10 minutes. Remove the wax paper. Add the curry powder and season with salt and pepper; cook, stirring, until fragrant, about 1 minute. Raise the heat to high, add honey and cinnamon and bring to a boil. Stir in large chunks of squash and the cauliflower until coated with the spices. Add Vegetable Stock and bring to a simmer. Cook over moderately low heat until the vegetables are very tender, about 40 minutes.
3. Working in batches, puree the soup in a blender until smooth. Return the soup to the saucepan. Add the heavy cream, cover partially and simmer over moderately low heat for 10 minutes, stirring occasionally. Season the curried squash soup with salt and pepper.
4. Meanwhile, in a steamer basket set over boiling water, steam the finely diced squash until just tender, about 8 minutes. Lightly season the diced squash with salt.
5. Ladle the soup into shallow bowls. Garnish the soup with the diced squash and dollop of creme fraiche and serve hot with a great hunk of bread!
1 egg, lightly beaten
2 tablespoons all-purpose flour
1 tablespoon kosher salt
1/8 teaspoon freshly ground white pepper
4 baking potatoes (2 1/2 pounds), peeled and coarsely grated
1 Granny Smith apple-peeled, cored and coarsely shredded
Canola oil, for frying
1. In a large bowl, mix the egg with the flour, salt and white pepper. In a colander, toss the shredded potatoes with the onion and apple and squeeze dry. Add to the bowl and stir to combine. Set aside for 10 minutes.
2. In a large skillet, heat 1/2 cup of canola oil
3. Spoon heaping tablespoon of the latke mixture into the oil about 2 inches apart and flatten slightly with a fork. Fry the latkes over moderately high heat until golden on the bottom, 2 to 3 minutes. Lower the heat to moderate, turn the latkes and fry until golden and crisp, about 2 minutes longer. Drain the latkes on paper towels set on a rack and transfer to a platter. Repeat with the remaining latke mixture, adding more oil to the skillet as needed. Serve hot Applesauce and sour cream.
The Best Roast Chicken
- 1 (5 to 6 pound) roasting chicken
- Kosher salt
- Freshly ground black pepper
- 1 large bunch fresh thyme, plus 20 sprigs
- 1 lemon, halved
- 1 head garlic, cut in half crosswise
- 2 tablespoons (1/4 stick) butter, melted
- 1 large yellow onion, thickly sliced
- 4 carrots cut into 2-inch chunks
- 1 bulb of fennel, tops removed, and cut into wedges
- Olive oil
Preheat the oven to 425 degrees F.
Rinse the chicken inside and out. Remove any excess fat and leftover pin feathers and pat the outside dry. Liberally salt and pepper the inside of the chicken. Stuff the cavity with the bunch of thyme, both halves of lemon, and all the garlic. Brush the outside of the chicken with the butter and sprinkle again with salt and pepper. Tie the legs together with kitchen string and tuck the wing tips under the body of the chicken. Place the onions, carrots, and fennel in a roasting pan. Toss with salt, pepper, 20 sprigs of thyme, and olive oil. Spread around the bottom of the roasting pan and place the chicken on top.
Roast the chicken for 1 1/2 hours, or until the juices run clear when you cut between a leg and thigh. Remove the chicken and vegetables to a platter and cover with aluminum foil for about 20 minutes. Slice the chicken onto a platter and serve it with the vegetables.
Paula’s Sour Cream Pound Cake
Preheat oven to 350 degrees F.
In a large mixing bowl, cream the butter and sugar together. Add the sour cream and mix until incorporated. Sift the baking soda and flour together. Add to the creamed mixture alternating with eggs, beating in each egg 1 at a time. Add vanilla.
Pour the mixture into a greased and floured loaf pan. Bake for 40 minutes to 1 hour or until toothpick inserted into the center of the cake comes out clean.
January 25, 2012
I fell in love with the works of JOHN FERREN! An american in Paris at the time of the 30′s, and you can so see the influence his relationships with Picasso, Klee, Miro, Kadinsky and many others had on him. His works are varied and beautiful and interpretive. So different from looking at color field abstracts where the lines are so definitive, and it seems the mission statement is more clear, and not as interpretive!
John Ferren was born in Pendleton, Oregon and grew up in Los Angeles. His life history is pretty interesting, given that as a young man he was briefly emplyoed as an engineer for California Telephone, worked as a producer of plaster sculpture and was an apprentice to an italian stonecutter, for whom he carved tombstones and made building ornaments.
In San Francisco Ferren developed the basis for the art that he would create throughout the rest of his career. He became interested in oriental philosophy, and through his friendship with the abstractionist Yun gee, he became well acquainted withEastern philosophies. This philosophy really influenced his work in regards to the abstract boldly coloristic work based on the ideas of spontaneity, chance and unity .
I hope you enjoy this post!
Have a great day!
January 24, 2012
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.
January 23, 2012
Talking about Marilyn Minter is like talking about visual firepower! Her images are electrifying-high heels splashing in viscous silver liquid, a liquid-dripping, gold-toothed smile,
and a huge painting of a baby standing in a shower of metallic drippings. Minter is totally in command of her unique retina-razing artistic and pictorial gifts. I was actually not familiar with her work until Kips Bay
last spring, when in one of the bedrooms there was a fabulous photorealistic piece I needed to have!
She is edgy, hard core and knows her talents and uses them. Her power comes through all of her images which
is like looking at a perfect diamond!
Enjoy! she is the real deal!
January 21, 2012
I am so craving tonight’s dinner! I can’t wait to have a couple friends over and enjoy this amazing meal! To start we will have a blood orange, beet, and fennel salad, then Dover Sole with mustard sauce and green beans, followed by chocolate souffles! Enjoy!! Have a great weekend!
BLOOD ORANGE, BEET, & FENNEL SALAD
2 medium red beets, tops trimmed
2 medium golden beets, tops trimmed
3 blood oranges
1 medium navel orange (preferably Cara Cara)
1 tablespoon fresh lemon juice
1 tablespoon fresh lime juice
1/2 small fennel bulb, very thinly sliced crosswise on a mandoline
1/4 red onion, very thinly sliced on a mandoline (about 1/3 cup)
Good quality extra-virgin olive oil, pumpkin seed, or walnut oil (for drizzling)
Coarse sea salt, such as fleur de sel or Maldon sea salt, and freshly ground pepper
1/4 cup loosely packed frshed cilantro and.or chervil leaves
Preheat oven to 400 degrees F. Wash beets, leaving some water on skins. Wrap individually in foil; place on a rimmed baking sheet and roast until beets are tender when pierced with a knife, about 1 hour. Let cool.
Meanwhile, using a sharp knife, cut all peel and white pith from all oranges; discard. Working over a medium bowl, cut between membranes of 2 blood oranges to release segments into bowl; squeeze juice from membranes into bowl and discard membranes. Slice remaining blood orange and Cara Cara orange crosswise into thin rounds. Place sliced oranges in bowl with segments. Add lemon juice and lime juice.
Peel cooled beets. Slice 2 beets crosswise into thin rounds. Cut remaining 2 beets into wedges. Strain citrus juices; reserve. Layer beets and oranges on plates, dividing evenly. Arrange fennel and onion over beets. Spoon reserve citrus juices over, then drizzle salad generously with oil. Season to taste with coarse sea salt and pepper. Let salad stand for 5 minutes to allover flavors to meld. Garnish salad with colantro leaves.
DOVER SOLE WITH MUSTARD SAUCE AND GREEN BEANS
1/2 lb. small green beans (haricots verts), trimmed
2 tablespoons grape seed oil, divided
1 whole 1-lb. skinless Dover sole
1 teaspoon (or more) paprika
1 tablespoon unsalted butter
1 small shallot, minced
1 small garlic clove, minced
1 tablespoon chopped flat-leaf parsley
1 tablespoon chopped fresh tarragon
Freshly ground pepper
Mustard sauce (recipe follows)
Drain; transfer to a large bowl of ice water to cool. Drain; pat dry. Halve beans crosswise.
Heat 1 tablespoon oil in large nonstick skillet over medium heat. Season sole all over with salt. Using a fine-mesh sieve, dust paprika over both sides of fish. Add fish to skillet. Cook undistrurbed until golden, 3-5 minutes longer. Transfer to a platter.
Meanwhile, melt butter with remaining 1 tablespoon oil in another large skillet over medium heat. Add shallot and garlic; cook, stirring often, until softened, about 2 minutes. Add green beans and cook, stirring to coat, until warm. Stir in parsley and tarragon. Season with salt and pepper.
Carefully remove 2 fillets from top of fish, keeping pieces intact. Lift bones from fish to expose remaining fillets. Divide fillets and Mustard Sauce between plates. Serves with green beans and lemon wedges.
3/4 cup dry white wine
2 teaspoons minced shallot
1 small sprig thyme
1/2 small bay leaf
1/4 teaspoon tarragon or white wine vinegar
6 tablespoons unsalted butter
2 large egg yolks
1/8 teaspoon piment d’Espelette or paprika
1 1/2 teaspoon Dijon mustard
Bring the first 5 ingredients to a simmer in a small saucepan; cook until liquid is reduced to 2 tablespoons, about 10 mintues. Transfer to a medium metal bowl. Let cool slightly. Discard thyme sprig and bay leaf.
Meanwhile, simmer butter in a small saucepan over medium heat until foamy; skim foam surface; discard. Pour clarified butter into a small glass measuring cup, leaving browned bits behind. Keep warm.
Whisk egg yolks, piment d’Espeltte, and 1 tablespoon water into wine mixture. Set bowl over a saucepan of simmering water (do not allow water to touch bowl). Whisk constantly until ribbons form, about 5 minutes. Slowly whisk in butter. Whisk constantly until well blended and fluffy, about 2 minutes. Remove from heat; whisk in Dijon mustard. Season with salt. Serve immediately.
3 tablespoons unsalted butter, room temperature (for ramekins)
6 tablespoons superfine sugar, divided, plus more for dusting
1 cup whole milk
1 vanilla bean, split lengthwise
3 large egg yolks
2 tablespoons all purpose flour
1/2 teaspoon kosher salt
5 oz. semisweet or bittersweet chocolate (62%-70% caco) chopped
2 tablespoons natural unsweetened cocoa powder (not Dutch-process) 6 large egg whites
lightly sweetened whipped cream
Preheat oven to 400 degrees F. Butter ramekins and lightly dust with superfine sugar. Chill. Place milk in a small saucepan; scrape in seeds from vanilla bean; add bean. Bring just to a boil. Remove from heat and let milk steep.
Discard bean form milk on high speed, beat yolks and 3 tablespoon super fine sugar in a medium bowl until slightly thickened and pale yellow, about 3 minutes. Beat in flour and salt. Gradually beat in half of vanilla milk. Whisk egg mixture into remaining vanilla milk in saucepan; bring to a simmer, whisking constranlty, over medium heat. Cook, stirring constrantly, until souffle base is thickened, 2-3 minutes. Transfer souffle base to a large bowl.
Combine chocolate and cocoa powder in a small bowl; set over a saucepan of simmering water. Stir until chocolate is melted and mixture is smooth. Gradually whisk chocolate mixture into souffle base.
Using an electric mixer with clean, dry beaters, beat egg whites in a large bowl until frothy, about 1 minute. With machine running, gradually add remaining 3 tablespoon super fine sugar by tablespoonfuls, beating to blend between additions. Continue beating meringue until semi-firm, glossy peaks form, 6-7 minutes. Gently stir 1/4 of meringue into souffle base to lighten; then fold remaining meringue in 2 additions. Fill ramkins 3/4 full.
Bake until centers are just set and souffles are puffed, 12-15 minutes. Remove from oven and dust with powdered sugar. Serve immediately, topped with a dollop of whipped cream.
January 20, 2012
I have been in Los Angeles all week working on what is to be a spectacular project! Please forgive the lack of post today,
I will look forward to writing some great ones for next week! Have a wonderful weekend! And look for Saturday Supper tomorrow!
Tons of love,
January 19, 2012
I was introduced to Andrew Lords work about a year ago. He is a British artist, super well respected for his craft, with a very unique take on ceramics. Ceramics has always been for me, memories of art in high school, and really not good at it.
So I am always interested in well known ceramicists, as this medium is a lot harder to judge and assess and actually do, then one might think.
Lord usually makes ceramics. Clay — the “dust of the ground” — is his primary material. He breathes remarkable life into the human qualities that, since ancient times, have been attached to ceramic vessels.
Most any clay vessel has a mouth, lip, neck, body and foot, and the use of bodily terminology is not accidental. Lord regards those body parts quite literally — not by making forms that necessarily describe them but through
highlighting the sense of touch. He even uses his body, as well as his hands, to push, squeeze and mold the vessels. The forms can appear crude on initial encounter, but they grow sophisticated, even elegant, the longer you linger.
There are bite marks all over a trio of vessels aptly titled “biting.” The oversize cup, urn and three-footed bowl of the group titled “tasting” feature surfaces that are lumpy but smoothly licked. A pair of tall, differently shaped vases called “swallowing,
” which may be the most beautiful objects ever , appear to have taken shape by physical manipulation in the crook of the artist’s neck, formed between jaw, shoulder and collarbone. Lord’s body was employed as a tool.
As in Lord’s 1980s work, those evanescent golden highlights take shape as material substance in the clay sculptures. Rips, tears and breaks that occur as the vessels are being made, glazed and fired in a kiln are patched
with epoxy, covered in gold leaf. The pots’ white crackle glaze is like a pore-flecked skin; gold sanctifies the vessels’ bodily wounds.
I told you, this is not just any ceramicist!
January 18, 2012
I seem to be on a Washington Color School kick at the moment. Today’s post is another one of these fabulous artists!
Believe it or not, Paris and New York don’t hold the monopoly on influential visual art movements; D.C. is the home of theWashington Color School, a group of painters deeply attuned to the Color Field Movement, who brought their
own twist to the burgeoning genre in the early 1960s. The Color Field painters wanted to rid their art of unnecessary subtext and context, letting their bold abstract works speak to the nature and psychology of the colors they used.
Artists like Mark Rothko and Clyfford Still helped define the movement as it created an entirely new form of abstract expressionism;
Washington Color School painters like Paul Reed took the bold colors but left behind the expressionism, creating intense works with strong movement that each stood as its own piece, without the emotion.
I love his work and hope you enjoy this post!
January 16, 2012
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A dear friend of mine had me over to their home last week to show me a fabulous piece of contemporary art! and low and behold, it was an amazing shopping bag! Chanel no less! Fabulous piece, metal and gorgeous and the epitome of all that is great with contemporary art. That being said, I thought I would introduce you to this amazing artist!
“In my work, I try to blur the boundary between painting and sculpture in order to create what can be regarded as a three-dimensional painting. Drawing on the languages of Pop and Minimalism, abstraction and representation, I make recognizable objects,
such as milk containers, shopping bags, or matchbooks, using
traditional painting and printing materials and techniques. By focusing on mundane, ephemeral, or disposable subjects, I want my work to be both ordinary and poetic, accessible and transfigured.” – Jonathan Seliger
Born in 1955, Jonathan Seliger graduated from the State University of New York at Binghamton in the year 1978, with a Bachelor of Arts degree. Since his first solo exhibition in the year 1993, his work has been shown extensively in galleries and museums throughout the world. His neo-Pop sculptures and installations provide viewers
with a compelling re-contextualization of familiar, everyday objects such as traffic barriers and recognizably-branded shopping bags. The often-whimsical nature of Seliger’s work belies the sculptor’s meticulous and highly detailed technical approach to its creation. His art, uniquely hand-crafted, succeeds in creating the illusion of having
been mass-produced, thus bringing an echo of consumerism into the traditionally rarified environment of fine art gallery and museum.