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March 28, 2012
I was having lunch the other week when a dear friend of mine introduced me to the fine art photographer, Stacy Bass. I instantly fell in love with her work and the way she captures and image. I wanted to learn and see more, so I turned to my dear friend, Google. I have learned a lot about this talented artist, and that she is coming out with her first book, In the Garden, due to hit the shelves April 24th and I can’t wait! The proof is in the picture!
Stacy Bass is an award winning fine art photographer with the eye form gardens, design, and architecture. With mostly the use of natural light she has the ability to capture an image effortlessly.
Bass began focusing on Fine Art and Commercial photography in college and debuted her first solo exhibition in 1988. At her first show she instantly attracted a small, yet dedicated group of collectors. This gave her the motivation she needed to continue her art. After receiving a law degree, Bass decided to get back to photography once more and has been shooting breathtaking images ever since! She has been doing photography for for-end shelter magazines, like Luxe Interiors + Design and House Beautiful among many.
“…I prefer not to look at scouting shots so that I can react, in real time, to what I see without any preconceived notions about what to shoot and from what angles” Stacy Bass.
Stacy’s first book, In the Garden, is 224 page collection featuring the Northeast’s most awe-inspiring and beautiful private gardens!
You can pre-order her book at this link:
March 27, 2012
I have been recently introduced to this fabulous artist, while doing my research of very hip POP Female artists.
I hope you love her work!
have a great day!
In addition to being a novelist, a former professional wrestler, and a playwright, Drexler was a painter who showed in New York.
Drexler is more than a special case; as a master of edgy fiction, theater, and painting, her talents and accomplishments add up to a unique combination that no one, can rival.
And, to go even further, she has never become a celebrity and continues to refuse the temptation of turning into a cause celebre. Such independence has made her a cult figure unlike any other. In no-brow America, this is about as good as it gets.
Drexler’s work ranges from small painting-collages to large oils and acrylics, all done when Roy Lichtenstein and Andy Warhol were making their first breakthroughs about subject matter, as well as hardening what they did into a smooth, machine-like style. It is clear that Drexler belongs right in there with them, and doesn’t lose anything in the comparison
One telling difference is in her subject matter, which is derived primarily from films and other mass media, and the way Drexler marries it to the paint.
Drexler’s subjects include , mugging, a vampire biting the shoulder of his victim, lovers embracing, a couple making love, and a woman straddling a man while scratching his eyes out andwrestling him for a gun. One could easily imagine dozens of young art historians and curators writing furiously on the relationship between these paintings and Michel Foucault’s theory that all relationships are about power. But that would ignore these works as paintings, and that Drexler is interested in what images can tell us through the medium of paint.
Drexler isolates her figures, which are always doing something, against a bright monochromatic ground, often red, blue, or yellow. When she divides the painting into distinct rectangles framed by a white band, each area might be a different solid color. The ground is both flat and spatial, which the artist further exploits through the poses of her figures
March 22, 2012
Brian Bress, his you tube videos are amazing! I recently was introduced to his work and thought it really good and really interesting. Video is not a medium I am at once conversant with but yet still a major form of art and expression. So today’s post is on this great artist. If you google his name, and go to YouTube, you can see his amazing work.
I do hope you enjoy this post,
Brian Bress’ photographs and videos are full of odd characters, and anachronistic objects. Vestiges of familiar narratives are everywhere, but are made strange through recombination. He performs each step of production, both behind and in front of the
camera. This singularity of sensibility has uneasy moments for viewers accustomed to the overproduced standards of television and commercials. Bress’ movies distinguish themselves by employing Brechtian devices at expense of the auteur rather than the audience. In his videos the high holy efforts of early performance and conceptual art are recast to exploit the comedic desires of a YouTube public.
March 21, 2012
I fell in love with Joyce Wieland , her quilts, her art, her films! Her sotry of her life, well you know me, is a wonderful, tough and heartfelt story. Art is such an amazing medium to learn about peoples hearts and their influences.
I hope you enjoy this post!
Joyce Wieland (1930-1998) is legendary for her contribution to the development of contemporary visual arts in Canada. A self-described ‘cultural activist’ she is best known for celebrating Canadian national identity and bringing forward
feminist issues within the predominantly male art culture of the time. Initially a painter and filmmaker, she also embraced traditional women’s media such as quilts and sewn collages. In her mind, the landscape and ecology of Canada
was female. Issues of gender and nationality were interchangeable. Concern with the protection of Canadian confederation and gender issues would repeatedly surface in her quilts, films and assemblages.
Wieland was left in the care of an older sister after the death of both of her parents. She took solace in drawing and creating comic strips. During her high-school years, she was encouraged to enroll in the visual art program.
Later, work as a graphic designer and at an animation house provided her with techniques that would be used in future art production
Many of Wieland’s ideas, including nationalism and feminism were formulated in New York and you can see the influence of American pop culture and film making on her work.
Alongside a toy airplane and an image of a sinking ship, a heart cut out of red material hangs to dry on a clothesline. A series of coffee cups with lipstick stains mark the passage of time. The predominance of red and white suggest an equation between heartbreak, disaster and the colours of the Canadian flag. Confedspread (1967), playfully composed of
numerous sewn squares of colorful plastic and synthetic fillers, is Wieland’s first attempt at using the quilt format as a vehicle of expression.
More quilts would follow: Reason Over Passion (1968) echoed the words of Pierre Trudeau. Her retrospective at the National Gallery in 1971 was its first ever for a living woman artist.
In it, she introduced ideas of artistic collaboration to the public by contracting groups of sewers to help create the quilts.
Joyce Wieland’s prolific career lasted over thirty years and established her as an icon of Canadian art history. She is credited with introducing ideas and breaking conventions that contributed significantly to the development of contemporary art in Canada.
March 20, 2012
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One of my most recent introductions to a new artist, amounted to me so identifying with her philosophy and her work that I wanted to share her talent with you!
Eva Hesse was amazing-unfortunatley she died of brain cancer but she didnt let her illness get in her way of producing great works. I do hope you enjoy this post,
“The artist who did the most to humanize Minimalism without sentimentalizing it was Eva Hesse. Dying of brain cancer at thirty-four, an age at which most artist’s careers are barely under way, she left a truncated body of work but one of remarkable power: an instrument of feeling that spoke of an inner life, sometimes fraught with anxiety…
“Spurred by the examples of Claes Oldenburg, and Dubeffet, Hesse grew more and more interested in what usually didn’t pertain to sculpture. Backing away from its ‘male’ rigidity, which included the high-style rhetoric of Minimalism, she allowed her
fascination with the ‘female’ and the inward, including what was grotesque and pathetic, to enlarge. The phallic mockery in Hesse’s work can be comically obscene: black salamis wound with string, slumping cylinders of fiberglass. Even when it looks entirely abstract, her work refers to bodily functions. Hang Up,1965-66, looks at first like a query about illusion and reality – the big rectangular frame hanging on the wall with no picture in it, but with a loop of steel tube spilling onto the gallery floor and
connecting the frame’s top left to its bottom right corner. But again, there’s a fleshy metaphor. Both tube and frame are wrapped in cloth, like bandaged parts of a patient, and the tube might be circulating some kind of fluid. Blood? Lymph? Fantasies? Even in absence, the body is somehow there, as an ironically suffering presence; the title phrase, ‘Hang-Up,’ means both what you do to pictures and (in ‘sixties slang) a mental block, a neurosis.
“However, Hesse wasn’t an art martyr and her images are very much more than mere enactments of illness or oppression. They reflect on identity, sometimes with wry wit or an angry fatalism; but to see Hesse as a precursor of ‘victim art’ does her a disservice. She never wanted to see her work smugly categorized as ‘women’s art.’ Quite the contrary; Hesse wanted it to join the general discourse of modern images, uncramped by niches of gender or race. ‘The best way to beat discrimination in art is by art,’ she brusquely replied to a list of questions a journalist sent her. ‘Excellence has no sex.’ Very old-fashioned of her, by today’s standards of cultural complaint.”