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September 4, 2015
Ida York Abelman’s work reminds me a lot in many ways of another favorite of mine, Thomas Hart Benton. But today’s post is on Ida. Her life hisotry is one that is so reminiscent of the immigrant
Jews that came to this country. It is a beautiful history and her work is gorgeous. I do hope you enjoy this post,
Ida Abelman, was among a wave of socially conscious artists in the 1930′s. Ida York abelman was the daughter of Russian and Polish immigrants who spoke little English.
As a budding artist, she spent hours at teh metropolitan Museum of Art, often walking there from the family apartment on the Lower East Side when a nickel for the bus fare could not be spared. One day she took a portfolio of her work to the National Academy of art and was accepted to the same class as Ilya Bolotowsky and Raphel Soyer.
She was married at the age of 19 to Larry Ableman and led a very carefree existence in GreenwichVillage. A friend, the art critic Harold Rosenberg, suggested that she apply to the Works Progress Administration,
which President Roosevelt had set up to help artists, and she was put on the payroll of $23 a week!
When the mural program came to an end with the arrival of world war II, the Abelmans moved to Sag Harbor. The family found life very difficult, as being jewish, were faced with much anti-semitism. This had left them
rather isolated except from other artists.
June 26, 2015
When I was out on the Eastern Shore of Long Island last summer, I ran across the work of Dorothea Rockburne. Her work is fantastic and will remind you of some very well known artists with similar pathos. i hope you enjoy this post!
Born in Montreal, Canada (1932). Lives and works in New York, NY. Attended the Montreal Museum School, Montreal, Canada (1948-1950). Attended Black Mountain College, Ashville, NC (1950-1952) where she studied with
Philip Guston, Franz Kline, Cy Twombly, and Robert Rauschenberg among other contemporaries. While at Black Mountain College, the teachings of Max Dehn, a renowned
German mathematician and close friend of Albert Einstein,
made arguably the largest impact on Rockburne’s work. Dehn educated Rockburne about Pythagorean and Euclidean geometry, group theory and topology, and
the concepts of harmonic intervals. Dehn’s teachings often merged the
mathematical world and the natural world providing Rockburne with new and complex approaches to her work. Rockburne’s studies with Dehn, along with her interests in the Golden Mean,
astronomy, cosmology and lifelong
fascination with Egyptians’ use of proportion and light, invariably shaped her oeuvre. Working with varied materials including industrial wrinkle-finish paint, tar, carbon paper and metal as well as natural materials such as canvas, paper, and
chipboard, Rockburne paints, cuts, draws, folds and calculates to create complex works of art built upon mathematical foundations.
June 3, 2015
I have always been a fan, as you know of abstract expressionism and my love for FRANKENTHALER’S work has been for quite some time! If you are not familiar with her work you are in for a treat, as she is truly one of the world’s greatest women artists! Her freedom of expression, the use of the colors and the muted tones, the romance and reflection! I aspire to have one of her paintings on day!
I hope you enjoy this post! Have a great day!
Born in New York in 1928, Helen Frankenthaler first studied withRuffino Tamayo at the Dalton School. At Bennington College, Vermont, 1945-49, she received a disciplined grounding in Cubism from Paul Feeley, though her own instincts lay closer to the linear freedom
of Arshile Gorky and the color improvisations of Wassily Kadinsky early work.
In 1950 the critic Clement Greenberg introduced her to contemporary painting. During that summer, she studied with Hans Hofmann in Provincetown, Massachusetts. In 1951 Adolph Gottlieb selected her for an important New Talent exhibition, and she had her first one
person show in New York later that year.
The work of Jackson Pollack proved the decisive catalyst to the development of her style. Immediately appreciating the potential, not fully developed by Pollock, of pouring paint directly onto raw unprimed canvas, she thinned her paint with turpentine to allow the diluted color to penetrate quickly into the fabric,
rather than build up on the surface.
This revolutionary soak-stain approach not only permitted the spontaneous generation of complex forms but also made any separation of figure from background impossible since the two became virtually fused a technique that was an important influence on the work of other painters, particularly
Morris Louis and Kenneth Noland.
May 25, 2015
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!
April 27, 2015
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Minimalism is a long topic unto itself. And many people don’t consider Minimalism to be art. much like some people think that a work by Pollack, anyone could do by throwing paint on a canvas-now think of Minimalism. But today’s post, although yes, is about a
Minimalist artist is not about Minimalism. Rather, i want you to think, in interior design magazines that you have seen lately how objects are in multiples, or of one color, or a certain grouping all of the same item.
Although I am quite positive there is not quite the same theological idea behind it, it is the same result. Objects, in space, and their relation to that space. So I thought to bring you art as it relates to interiors. I am a huge advocate using small accessories,
that they be in multiples, usually of one color. I too love the result. the impact conveys a confidence and a simple statement. The first time I saw judd’s work was at the Museum of modern art in NYC.
I am sure you have seen his work or pieces that have been influenced. now you know who the artist is.
In the 1960s, Donald Judd began to create art that used “real materials in real space.” He created objects that occupied three-dimensional space and rejected illusionism. This style of art was called Minimalism. Judd and other Minimalists sought to create a depersonalized art in
which the physical properties of space, scale, and materials were explored as phenomena of interest on their own, rather than as metaphors for human experience. “A shape, a volume, a color, a surface is something itself,” Judd wrote. “It shouldn’t be concealed as part of a fairly different whole.”
During this time, he created shapes that were geometric in form that stood out from the wall and eventually moved to freestanding works on the floor. In the 1960s, Judd became well known for sleek, boxlike constructions made of industrial materials such as plywood,
sheet metal, and plexiglass that were painted using commercial techniques.He considered himself a painter but not a sculptor.
In the work Untitled Judd challenges the viewer to reconsider the concepts of boredom, monotony, and repetition this piece is considered to be Judd’s trademark. This piece hangs suspended from the wall. His work is almost mathematically precise but he claims his geometric series
mean nothing to him in terms of mathematics. He is impatient with critics
who claim that his works and those of other Minimal artists have no meaning. He claims he does not attempt to deliver his own political or social messages, but insists his goal is to focus on the space occupied and created by his objects-
-their purity of form. In the work Untitled Judd challenges the viewer to reconsider the concepts of boredom, monotony, and repetition. Because of the scale of his works, they are not often readily installed in museums or galleries.