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September 28, 2012
 As you all know, I am always interested in the philosophical nature of art, why , the influences, the time period, what is the artist trying to tell us or hoping for us to experience.
Lee fan is such an artist with a lot to say via his art. My daughters thought it was funny that I would be so interested in “a guy that puts rocks on the floor”! Like what’s up mommy?
But if you enjoy installation art, this is pretty interesting.
 Mr. Lee, 75, is an aesthetic distiller. He boils two- and three-dimensional art down to formal and conceptual essences. Sculptures consist of ordinary, pumpkin-size boulders juxtaposed with sheets and slabs of dark, glossy steel.
Paintings made of wide brush strokes executed in gridded order on raw canvas exemplify tension between action and restraint.
A much published philosopher as well as an artist who divides his time between Japan and Paris, Mr. Lee has enjoyed considerable recognition in Europe and in the Far East.
Lee Ufan is acclaimed for an innovative body of work that revolves around the notion of encounter—seeing the bare existence of what is actually before us and focusing on “the world as it is.”
Lee was born in southern Korea in 1936 and witnessed the political convulsions that beset the Korean peninsula from the Japanese occupation to the Korean War, which left the country divided in 1953.
Over the last 40 years, he has lived and worked in Korea, Japan, and France, becoming a transnational artist in a postmodern world before those terms were current. “The dynamics of distance have made me what I am,” he remarks.
In the late 1960s, in an artistic environment emphasizing ideas of system, structure, and process, Lee emerged as the theoretical leader of Mono-ha (literally, “School of Things”),  a Japanese movement that arose amid the collapse of colonial world orders,
antiauthoritarian protests, and the rise of critiques of modernity.
 Lee’s sculptures, presenting dispersed arrangements of stones together with industrial materials like steel plates, rubber sheets, and glass panes, recast the object as a network of relations based on parity among the viewer, materials, and site.
Over the last 40 years, he has lived and worked in Korea, Japan, and France, becoming a transnational artist in a postmodern world before those terms were current. “The dynamics of distance have made me what I am,” he remarks.
Love,
Jamie
September 27, 2012
 The first time I was introduced to the work of DIANE ARBUS, it was an exhibit at the Met in New York. The show was mounted in such a way that leant an even more eerie feeling to these photographs. Again, noting that art can be a bit disturbing, and provocative at the same time.
When disturbing subjects are in the hands of artists it is fascinating to see what they do with the images. I hope you enjoy this post and learning about ARBUS!
ENJOY
LOVE
JAMIE
Born Diane Nemerov on March 14, 1923, in New York, New York. Diane Arbus was one of the most distinctive photographers in the twentieth century, known for her eerie portraits and offbeat subjects. Her artistic talents emerged at a young age; she was created interesting drawings and paintings
while in high school. She married Allan Arbus in 1941 who taught her photography.
 Working with her husband, Diane Arbus started out in advertising and fashion photography. They became quite a successful team with photographs appearing in such magazines as Vogue. In the late 1950s, she began to focus on her own photography.  To further her art, Arbus studied with photographer Lisette Model
around this time. She began to pursue taking photographs of people she found during her wanderings around New York City. She visited seedy hotels, public parks, a morgue, and other various locales.  These unusual images had a raw quality and several of them found their way in the July 1960 issue of Esquire magazine.
 These photographs were a spring board for more work for Arbus.
By the mid-1960s, Diane Arbus was a well-established photographer, participating in shows at the Museum of Modern Art in New York among other places. She was known for going to great lengths to get the shots she wanted. She became friends with many other famous photographers, such as Richard Avedon and `Walker Evans.
While professionally Arbus continued to thrive in the late 1960s, she had some personal challenges. Her marriage ended in 1969, and she later struggled with depression. She committed suicide in her New York apartment on July 26, 1971. Her work remains a subject of intense interest, and her life was part of the basis of the 2006 film,
Fur, starringNicole Kidman as Arbus.
September 26, 2012
OK, so we all know my love of art that sometimes pushes boundaries. Much like the way I think. But GABRIEL OROZCO is truly a genius. His work really speaks to me, and to know my love of independence you would understand why.
 I hope you enjoy this post!
Much Love,
Jamie
With a body of work that is unique in its formal power and intellectual rigor, Gabriel Orozco (Mexican, b. 1962) emerged at the beginning of the 1990s as one of the most intriguing and  original artists of his generation—and one of the last to come of age in the twentieth century. Orozco resists confinement to a single medium,
roaming freely and fluently among drawing, photography, sculpture, installation, and painting. From one project to the next, he deliberately blurs the boundaries between the art object and the everyday environment, instead situating his contributions in a place that merges “art” and “reality,” whether in exquisite drawings
made on airplane boarding passes or in sculptures made from recovered trash.
 Many of Orozco’s works—which are often created specifically for the occasion of an exhibition—have become indisputable classics of 1990s art, such as the Citroën automobile surgically reduced to two-thirds its normal width (La DS, 1993) and a human skull covered with a graphite grid (Black Kites, 1997).
September 25, 2012
 I was introduced to KIM DINGLE’S art a bit ago, while at a gallery in the City. I really liked what her art was about and thought her statement was very interesting.
I do hope you enjoy this post! Have a great day!
Love,Jamie
Born in 1951 in Pomona, CA, Kim Dingle has been exploring the subversive edges of female childhood and myths of nationhood and history in lush paintings and startling sculptures for over
two decades. Her characters “Fatty” and “Fudge”– known as “Priss Girls” when in sculptural form–act out, misbehave, and are gripped by a mindless and inexplicable violence against nature
and each other. Dingle, who often paints in a palette of blurry beiges, sepias, and browns on vellum, creates ethereal scenes of frolic and frenzy that reference historical events and cultural norms.
Feminist Artist Statement
 I’ve been an artist since I was a baby. My art is about my inner life, and the pain of it. It’s about the very painful process of being alive. By nature I am not an overtly political artist. I know
that everything is political, that everything is politicized. But…I don’t work at that level. The fact that we walk around…and eat and breathe and have ideas and don’t need any batteries or
cords is just amazing to me. I mean, what keeps us moving? I’m in awe of it.
“Priss” is like Shirley Temple as a psycho pit bull.
 Being a girl is my background. Of course I have a feminist consciousness but I don’t think of myself as an artist who has a feminist agenda. No more so than any other artist, male or female.
September 24, 2012
 I had the pleasure of running across a very whimsical artist named BRUCE McCALL. I love James goodman Gallery and he carries his work. Very light and happy in comparison to many of the artists I like to write about.
Sometimes its fun to just appreciate the simplicity of looking at a piece of art work that doesnt need much explanation. which, as you know for me, not needing a lot of explanation in and of itself is highly unusal! HA!
Enjoy!
Love,
Jamie
Bruce McCall’s humor writing and art work have been seen regularly in The New Yorker since 1980. Born and raised in Canada, where he was a high-school dropout, McCall is a largely self-taught artist and writer who returned
to his first love, humor and satire, after careers in commercial art, journalism, and advertising. He has published two story collections,  “Zany Afternoons” and “All Meat Looks Like South america,” as well as an illustrated humor book, “The Last Dream-O-Rama,” and a memoir about growing up Canadian, “Thin Ice,” and his first children’s book, “Marveltown,”.
September 21, 2012
 I have been writing a lot about artists as of late, where their work is focused on vertical and horizontal planes, and basically the use of primary colors. I am sure you are wondering how many of these artists are there? I myself am interested to know what movement is this? Yes, we all have heard of Piet Mondrian, we have seen his paintings, we can relate color blocking to fashion of the ’60′s but I want to take you one step further today.
I was not familiar with the term-Neo-Plasticism which seems to be the movement that these artists are associated with. This movement is also known as De Stijl. The visual themes of neo-plasticism explores the range of placements of geometric forms.
Neo-Plasticism is the belief that art should not be the reproduction of real objects, but the expression of the absolutes of life! To the artists way of thinking, the only absolutes of life were vertical and horizontal lines and the primary colors. To this end, Neo-plasticists only used planar elements and the colors red, yellow and blue. This movement happened in the 1910′s and the two main painters of this movement were Piet Mondrian and Theo van Doesburg, a dutch artist. (later post to come)
There is an interesting philosophical aspect to this style of art. One, you may think too far out there, but none the less interesting to think about.
And it is as follows-the style consists also of compositions of squares and rectangles and accented with primary colors against a solid white background. Some attribute this style to be representative of the stinging isolation of the lives of all Americans of the Depression era. However, the well planed nature of this type of art is said to reveal the desire for a new reconstructed world prevailing over the seemingly hopeless situation in the United states during the Depression.
From this movement we can look forward to the American Minimalism of the 1960′s and 1970′s.
Burgoyne Diller made an important contribution to the development of non-objective art in the United States. Working in a hard-edged geometric style, he produced paintings, drawings and collages that paved the way for the development of American Minimalism during the 60′s and 70′s.
Diller is also recognized as the first American painter to embrace the tenets of Neo-plasticism-Today’s painting examples are all his.   I really love his style and now that i am more familiar with the philosophy behind this, I am even more excited to find more artists that were part of this movement!
I do hope you enjoyed today’s post!
Make it a great day!
Love,
Jamie
September 19, 2012
 I was in San Francisco not too long ago, and found murals on the sides of buildings that were amazing! Then I found myself in a museum there, where I saw artwork by the same artist, which led me to today’s post. ANDREW SCHOULTZ is an amazing muralist, artist and thinker.
I really loved his attention to detail and the fact that his art doesn’t get lost by the size. You know, sometimes murals to canvas is a big leap, and one not easily made. Kind of like tripling a recipe and it comes out ready for the garbage!  His works are awesome and intricate. I hope you enjoy this post!
Much Love,
Jamie
Sourcing inspiration from 15th Century German map making and Indian miniature paintings, Andrew Schoultz’s frenetic imagery depicts an ephemeral history bound to repeat itself. In his mixed-media works, notions of war, spirituality and sociopolitical imperialism are reoccurring themes,
which shrewdly parallel an equally repetitive contemporary pursuit of accumulation and power. Intricate line work, painting, metal leaf and collage twist and undulate under Schoultz’s meticulous hand, ranging from intimately sized wall works to staggering murals and installations.
While his illustrated world seems one of chaos and frenzy, Schoultz also implies a sense of alluring fantasy and whimsy – a crossroads vaguely familiar to the modern world.
Schoultz (b. 1975, WI) received his BFA from the Academy of Art University, San Francisco (CA). He has had solo exhibitions in Los Angeles, New York, San Francisco, Copenhagen, Philadelphia, Rotterdam, Boston, London, Portland, Detroit and Milan. He has been included in group exhibitions
 at the Andy Warhol Museum (PA), Torrance Art Museum (CA), Havana Biennial (Cuba), Hyde Park Arts Center (IL), Laguna Art Museum (CA), San Francisco Museum of Modern Art (CA), among others. His work can be seen in the public collections of the San Francisco Museum of Modern Art (CA),
Frederick R. Weisman Foundation (CA) and the Progressive Art Collection (OH), in addition to his publicly funded murals in Portland (ME), Jogjakarta (Indonesia) and San Francisco (CA). Schoultz lives and works in San Francisco (CA).
This is an excerpt from an interview Schoultz gave, that I thought shed a lot of light into his personality and his art!
“A lot of the reoccurring themes have to do with the fact that I am drawn to story telling (In a non-definitive way). In stories, characters re-occur and build themselves. I like the idea of developing a character or image. Painting and drawing something over and over again seems like a very natural way to
develop something. Undoubtedly, if you paint the same thing hundreds of times, it is naturally only going to get better and better and development can’t help but happen. Repetition also stems from being involved in graffiti for the last half of my life. Writing the same word over and over, and slowly it changes,
and finds a meaning. Some of the imagery I have been using as of late is sort influenced by a cross section between 15th century German map making, and Indian miniature painting from around that same time period. Most of the purpose behind these two art movements was for conquering new frontiers,
telling stories of war, spirituality, belief systems, and also for the recording of history of those time periods. I am trying to form a parallel with this time period but sort of contemporize it, and address the same subjects that they were addressing but in a present day sense. There is something interesting about
using this type of imagery that was based on older times of war and conflict, to talk about the present day mess that the US is in. This war is insane, and I can’t help but vocalize this in my work. You know the saying “If you don’t know history, it will repeat itself” (or something like that)? It sure seems like in
 history the pursuit of greed and power has been a re-occurring theme. The only thing that has really changed is technology and convenience.
I guess I would say I am not as drawn to making art in public places, as I am drawn to the general audience of the public. I like that audience. It is the most truly diverse audience that you can address with art in America today. Your audience could literally be anyone and I like that possibility. It also eliminates
the element of preaching to the choir because it would be impossible to predict who that choir would be on a consistent basis. I think this is the fact that really changes the way you go about doing art in the public space versus in the gallery. Children are also an important audience to me and are often an
audience that is almost non existent in the gallery world.”
September 18, 2012
 Louise nevelson belongs to a generation of manhattan-based painters and sculptors who were born at the close of the nineteenth  century and whose careers spanned the twentieth, coinciding with the development of modernism in America.
Like several of the artists who later became known as abstract expressionist painters and sculptors, in the1920′s, nevelson travelled to Paris and also studied in new York at the art Students league.
 it wasn’t until the late 1940′s and during the 1950′s that modernism came into its own in teh united states adn artists who had been working steadily through the 1920′s and 1930′s developed a mature style.
Each of these artists combined the predominant avant-garde influences of cubism and surrealism as well as the writings of Carl Jung, freud and Sartre with their own personal  concerns to create the distinctive works for which
they are best known.
Nevelson’s tabletop sculptures collaged from found pieces of wood metamorphosed first into wall sculptures and finally into total environments.
I hope you enjoy this post as I so love her work! Have a great day!
Love, Jamie
September 13, 2012
 As “everybody knows”, a dear friend of mine always likes to say! I have a love of the group of British artists that are considered like the “rat pack”. Forward thinking, edgy,  no boundaries
Sardonic, mis-behaved and wildly talented! TRACEY EMIN is that gal!
I hope you enjoy this post!
Love, Jamie
Tracey Emin is one of Britain’s most celebrated contemporary artists.
Her work features painting, drawing, photography, textiles, video, neon and sculpture.  Works that are by turns tough, romantic, desperate, angry, funny and full of longing.
Since the early 1990s, Emin (b.1963) has used her own life as the starting point for her art, exposing the most harrowing and intimate details of her personal history.
 Sometimes confrontational or sexually provocative, her work resonates with the ‘personal political’ legacy of feminist art while at the same time speaking to relationships in general. Disarmingly frank and yet often profoundly private, much of Emin’s art –– is also animated by her playful and ironic wit.
September 12, 2012
 I am so excited to bring you this artist! How fantastic that art has so many mediums in which emotions and stories may be expressed!  Maria Nepomuceno’s work is stunning!
I hope you enjoy this post!
Love, Jamie
Maria Nepomuceno’s woven and beaded sculptures feel entirely self-sufficient. They’re at once charming and mysterious, relaxed and vivacious, like the never-entirely-gentle Rio environment that produced them.
Holland Cotter, The New York Times
Maria Nepomuceno is an emerging Brazilian artist.
Maria Nepomuceno’s seductive sculptures and installations made of brightly coloured rope, straw and beads spread throughout the spaces they inhabit: they varyingly hang in hammock-like forms, drape down walls, sprawl across floors, or group together as constellations in a new and curious cosmos.
 Maria Nepomuceno allows her materials to obey their own organisational logic, weaving them together in a process that presents seemingly infinite possibilities for the spiraling, circling and multiplying of forms. Inspired by ancient traditions and complex  indigenous craft techniques, Nepomuceno pushes these into a wholly contemporary engagement with space and structure, form and concept.
That the sculptures appear anthropomorphic and organic is essential to a reading of her work: the spiraling central to her process relates to the spirals occurring naturally throughout the universe, giving shape to entire galaxies as well as the blueprint for existence, DNA.
The sculptures bear a direct relationship to the human body, at times seeming familiar and almost functional, as though they are to be utilized for some as yet unlearned task, and at others appearing entirely alien, like unidentified microbes occupying new  anatomical terrain. Nepomuceno’s work draws on the modern history of Brazilian art.
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