Allied Member, ASID
Licensed General Contractor
AZ ROC 287314
May 30, 2012
I was at a friends apartment and they had a few pieces from CINDY SHERMAN whom I
think is an outstanding artist. So today’s post is on a really talented photographer. I hope you enjoy learning about her!
Cindy Sherman was born in 1954 in Glen Ridge, New Jersey. Sherman earned a BA from Buffalo State College, State University of New York (1976). In self-reflexive photographs and films, Cindy Sherman invents myriad guises,
metamorphosing from Hollywood starlet to clown to society matron. Often with the simplest of means—a camera, a wig, makeup, an outfit—Sherman fashions ambiguous but memorable characters that suggest complex lives that
exist outside of the frame. Leaving her works untitled, Sherman refuses to impose descriptive language on her images—relying instead on the viewer’s ability to develop narratives, as an essential component of appreciating the work.
While rarely revealing her private intentions, Sherman’s investigations have a compelling relationship to public images, from kitsch (film stills and centerfolds) to art history (Old Masters and Surrealism) to green-screen technology
and the latest advances in digital photography. Sherman’s exhaustive study of portraiture and self-portraiture—often a playful mixture of camp and horror, heightened by gritty realism—provides a new lens through which to examine
societal assumptions surrounding gender and the valuation of concept over style.
Cindy Sherman began her now famous series Untitled Film Stills twenty years ago at the end of 1977 Those small black-and-white photographs of Sherman impersonating various female character types from old B movies and film noir
spoke to a generation of baby boomer women who had grown up absorbing those glamorous images at home on their televisions, taking such portrayals as cues for their future. With each subsequent series of photographs, Sherman has
imitated and confronted assorted representational tropes, exploring the myriad ways in which women and the body are depicted by effective contemporary image-makers, including the mass media and historical sources such as fairy tales,
portraiture, and surrealist photography.
May 29, 2012
Ok- as much as I truly do love the Impressionists I have this ‘thing” for abstract expressionism.” I love the freedom, the anonymity, as far as the artist gets to choose how he sees the subject versus having to paint the subject as is.
I love the fact, these artists seemed to answer to no one. Yes, we all know I am a rebel and I am always in search of the freedom aspect to do what one wants. No strings.
Have a great day-enjoy!
Milton Resnick, a New York painter was known for dour, thickly impastoed near-monochrome canvases.
Volatile, acerbic, unfailingly blunt, widely read and singularly dedicated to the ideal of the painter’s hard, solitary life, Mr. Resnick was in many ways the popular stereotype of the bohemian angst-ridden artist.
In the introduction to his 2002 collection of interviews and lectures, ”Out of the Picture: Milton Resnick and the New York School,” the artist-critic Geoffrey Dorfman recounts how a young man, recognizing Mr. Resnick on the street,
asked if he might accompany him on his walk. ”Are you a painter?” Mr. Resnick asked. ”No,” the young man replied. ”Then you can’t,” Mr. Resnick said.
In terms of longevity and dedication to first principles, Mr. Resnick might qualify as the last Abstract Expressionist painter. In terms of timing he had some claim to being among the first. Born in the Ukraine in 1917, he emigrated to
New York with his family in 1922 and grew up in Brooklyn. He left home as a teenager when his father forbade him to become an artist.
May 24, 2012
There is a lot that can be said and written about Arnaldo Pomodoro-but the most important thing,
I feel is that his work speaks for itself. He was botn in the 20′s in italy, and from there, I will let you just enjoy his work.
Have a wonderful day,
May 22, 2012
There is something about the lovely radial pattern that is attractive to our symmetrical eye. The radial pattern is actually comforting and natural to humans because the form can seen so much in nature (think flowers). My favorite kind of mirror happens to be gold gilding – not to say that any other kind of radial mirror is bad – I just seem to prefer it my interiors and in the interiors of others. If you are a follower of Kelly Wearstler, you should know that it is something she uses often in her designs, particularly in hotels. She said that asymmetrical radial mirrors or art pieces remind her of the natural curve of the shell, which is perfect for a sea side shack.
You can use radial mirrors in a variety of ways. The most obvious is right above the mantle on your fireplace, centered and perfect for all the world to see. But if you are looking to get a little outside of the box, consider grouping a set of radial mirrors of different sizes and patterns to create depth and visual interest. Consider replacing that traditional square cut mirror in your powder room with a sun burst shape – below is an example of that from my work and it was a hit. You can also place a radial mirror behind your bed or at the end of a hallway. People have always been fascinated with the visual phenomenon that a mirror can bring, but a sun burst mirror really takes that excitement to the next level. If you don’t need another mirror consider a radial piece of art – they are everywhere these days! If you aren’t in AZ like we are then brighten up your winter months with a burst of sun that you can hang on your wall.
May 21, 2012
I am totally obsessed with everything beautiful and interesting and have always been particularly obsessed with Pedro Friedeberg. You know, the Hand Chairs! and the Stunning Hand Tables! The Gorgeous Butterfly Chairs ! His life and his philosophy are very interesting and if you think about an artist like Dali, or Gaudi and compare their philosophies, you will find so many similarities. It is always of much interest to me to learn about what drives an artist, and what were their lives about , that the results are poured into their art! Here is Pedro’s bio, briefly put, on himself
“I was born in Italy during the era of Mussolini, who made all trains run on time. Immediately thereafter, I moved to México where the trains are never on time, but where once they start moving they pass pyramids.
My education was first entrusted to a Zapotec governess and later to brilliant mentors such as Mathias Goeritz, who taught me morals, José González, who taught me carpentry, and Gerry Morris, who taught me to play bridge.
I have invented several styles of architecture, as well as one new religion and two salads. I am particularly fond of social problems and cloud formations. My work is profoundly profound.
I admire everything that is useless, frivolous and whimsical. I hate functionalism, post modernism and almost everything else. I do not agree with the dictum that houses are supposed to be ‘machines to live in’. For me, the house and it’s objects is supposed to be some crazy place that make you laugh.
Americans do not understand Mexicans and viceversa. Americans find Mexicans unpunctual, they eat funny things and act like old-fashioned Chinese. When André Breton came to Mexico he said it was the chosen Country of surrealism. Breton saw all kinds of surrealist things happen here every day. The surrealists are more into dreaming, into the absurd and into the ridiculous uselesness of things. My work is always criticizing the absurdity of things. I am an idealist. I am certain that very soon now humanity will arrive at a marvelous epoch totally devoid of Knoll chairs, jogging pants, tennis shoes and baseball caps sideway use, and the obscenity of Japanese rock gardens five thousand miles from Kyoto.”
Have a great Monday!
May 18, 2012
I have always had a love of industrial looking furniture. And as of late, there has been a lot more interest in industrial design for interiors. I was invited to hear a lecture on two of the most influential women of design in the 20th century, one being Eileen Grey and the other Charlotte Perriand.
I always knew that had it not been for Perriand working for Le Corbusier,
the famous chaise lounge may never have been! there are so many pieces of furniture today, that have become iconic in and of themselves. And are the result of Charlotte Perriand
Perriand was one of the most influential furniture designers of the early modern movement.
charlotte was responsible for introducing the “machine age” aesthetic to furniture.
Her politics really guided her design architecturally and her furniture design. She was an extreme leftist ,as her work aimed to create functional living spaces in the belief that better design helps in creating a better society.
Her father was a tailor and her mother was an haute couture seamstress. She was born in 1903, so imagine the world at that time, especially in Paris, and what her thoughts would be as she got older. As the world wars happened and before the true age of mechanization happened. Ergo her love of industrial materials and found objects.
I am always fascinated by childhoods and places of our formative years, that have such a direct impact on us, not just as adults, but from an artistic standpoint.
Perriand became so well known for her “Bar” furniture, that you will immediately recognize a lot of the pieces. This furniture was made out of chromed steel and anodized aluminum.
I really enjoyed learning about her and I do hope you enjoy this post!
May 17, 2012
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!
May 16, 2012
I came across this artist and absolutely fell in love with his talent! There is a gallery in New York that represents Thortnon ,one of the most important artists
who is a product of the Old South, but whose distinct assemblages of paint and
found objects helped define modern artistic sensibilities. Born and raised in Alabama with no
formal education or artistic training. Thornton Dial was born in 1928 and is very much part of the
Southern Vernacular tradition.
A lot of Dial’s sculptures and assemblages often contain objects that might otherwise
have ended up in a landfill, like paint can lids, chicken wire, twine, old clothing, buttons and mattress coils.
Dial’s work began to attract art-world attention in the 1980s. In 1993, it was the subject of a large exhibition that was presented simultaneously at the New Museum in the Whitney Biennial.
There is a huge exhibit at the Indianapolis Museum of Art called “Hard Truths: The Art of Thornton Dial” and I can honestly say I have not yet been to Indianapolis and am excited to go!
May 15, 2012
I never considered myself a lucite chair girl until i built my house and realized in designing my open floor plan, that in order to really set off the Walnut slab Hudson dining table, and to see the artwork, I was forced into believing the value of working with lucite!
There is a project, that was in an issue of TRADhome online! Anyway, in this project, you will see, in wanting to highlight the flooring and the table base, a lucite klismos chair was the perfect solution.
When you are working on the design of your dining room, or breakfast room, if your pieces of importance are not going to be the chairs, think of using lucite!
its not the poor bet anymore!
May 14, 2012
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Richard Pettibone’s small construction/paintings of the 1960s — appropriations of work by Warhol, Stella, and Lichtenstein — were a defining aspect of a peculiarly West Coast current of “Conceptual Pop.”
His earliest works were shadow-box assemblages addressing his interest in model making, especially toy trains and airplanes. In the 1960s he found his voice in diminutive “copies” of newly famous New York pop artists.
Always framed and constructed upon miniature stretcher bars, they are usually presented in single-image replication.
By the 1970s, Pettibone was combining and juxtaposing different images, introducing monochrome areas and gestural scribbles into these combinations, and experimenting with the simulation of photo-realist techniques.
The Brancusi sculptures from the 1980s are various sized versions of such iconic works as Bird in Space and Endless Column. In a conflation of modernism and modernist “taste,” the Brancusi simulations are often presented in
combination with his beautifully crafted homages to the pared-down forms of Shaker furniture. Pettibone’s visual punning and aesthetic elegance is evident in his simple juxtaposition of an elegant Shaker table with a minimalist,
In the late 1980s to the present, Pettibone pursued an obsession for the poetry and criticism of modernist Ezra Pound (another great appropriator) and created a group of paintings based upon the original covers of Pound’s publications.
In the 1990s, he engaged the work of Piet Mondrian, whose paintings he both replicated and “reduced” in sculptural constructions. But without doubt, his most insistent andunifying theme has been his ever-expanding colloquy with
two paradoxical giants of 20th-century art, Marcel Duchamp and Andy Warhol