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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
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.
March 18, 2015
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
March 9, 2015
February 9, 2015
An artist, can’t get much more successful than Kerry James Marshall! Museums everywhere own his work. (The Corcoran was one of his first buyers. And the Baltimore Museum of
Art is displaying his “Ladder of Success,” a recent purchase.) In 1997, he won the $500,000 MacArthur “genius” award, an ultra-prestigious invitation to Germany’s twice-a-decade
Documenta show and a place in the Whitney Museum’s biennial.
Success, after success, after success, such as few Black American artists have ever had. And not nearly good enough. Marshall says that he has yet to measure up to certain of his
best-known rivals: “Leonardo, Michelangelo and Raphael. . . . They represent the core of the historical pantheon of great artists, recognized worldwide. And a big part of my objective
is to be listed in the history among those artists.”
It’s about “a longing to be fully a part of the story of some system you are deeply in love with,” says Marshall
And it’s about the certain knowledge that, in art at least, no black person has ever truly reached that goal.
Until quite recently, Afro American people have barely even been the subjects of pictures.
Marshall has set out to correct that imbalance. Some of his pictures portray the living rooms of the black middle class. There are also paintings of street toughs, dead before their time.
Marshall has painted inner-city housing projects and black lovers by the sea. He’s also worked a bit in installation art, photography, video and even puppetry. But whatever the subject,
or the medium, his works balance celebration and critique of Black America; it’s impossible to come to any simple reading of his pictures’ point of view. Marshall may be today’s most
eloquent artistic chronicler, and most compelling analyst, of the African American experience. His success beyond the black community means that he’s also opened mainstream eyes to it.
February 4, 2015
I have always loved stripes-and can never get enough of them. I use them a lot in my designing of rooms-a subtle stripe can really offset a pattern fabric beautifully.
Anyway-gene davis is a stripe master!
I hope you enjoy this post!
Davis was born in Washington D.C. in 1920, and spent nearly all his life there. Before he began to paint in 1949, he worked as a sportswriter, covering the Washington Redskins and other local teams.
Working as a journalist in the late 1940s, he covered the Roosevelt and Truman presidential administrations, and was often President Truman’s partner for poker games.
Davis’s first solo exhibition of drawings was at the Dupont Theater Gallery in 1952, and his first of paintings was at Catholic University in 1953. A decade later he participated in the “Washington Color Painters”
exhibit at the Washington Gallery of Modern Art, which traveled to other venues around the US, and launched the recognition of the Washington color school as a regional movement in which Davis was a central figure.
The Washington painters were among the most prominent of the mid-century color field painters. Though he worked in a variety of media and styles, including ink, oil, video, acrylic and collage. Davis is best known by
far for his acrylic paintings (mostly on canvas) of colorful vertical stripes, which he began to paint in 1958. The paintings typically repeat particular colors to create a sense of rhythm and repetition with variations.
One of the best-known of his paintings, “Black Grey Beat” (1964), owned by the Smithsonian, reinforces these musical comparisons in its title. The pairs of alternating black and grey stripes are repeated across the canvas,
and recognizable even as other colors are substituted for black and grey, and returned to even as the repetition of dark and light pairs is here and there broken by sharply contrasting colors.
In 1972 Davis created Franklin’s Footpath, which was at the time the world’s largest artwork, by painting colorful stripes on the street in front of the Philadelphia Museum of Artr, and the world’s largest painting,
Niagara (43,680 square feet), in a parking lot in Lewiston, N.Y. His “micro-paintings”, at the other extreme, were as small as 3/8 of an inch square.
January 12, 2015
I have always loved cecil Beaton’s work and the iconic images he created. His portraits have stayed in our minds when we think of the images of certain people. Much like Madonna’s song that she sings Vogue, all of these characters were Cecil Beaton’s images.
Photography, and what I am hoping to show you, is as important a medium as a pint brush and a canvas. A lens in the hands of an artist is so stunning. Have you ever taken a bad picture? or heard the expression that the camera loves a certain person?
I love the medium, and I hope you enjoy this art form.
The man described by his on-off friend Truman Capote as a “total self-creation”, he knew that the business of being Cecil was no laughing matter, but something that needed serious application for the success he had always craved.
And the proof of that success is the influence he has had over so many younger photographers since his death 29 years ago. Mario Testino, who has captured modern society and fashion as variously as Beaton did, speaks for many when he says:
“He marked his period as if he were the only photographer around.”Another of today’s most celebrated fashion photographers, Nick Knight, praises his work “for its grace and elegance. From the touching and funny pictures of his sisters and the delicately
fragile poses of his photographs of society beauties, as if they were made of porcelain, to the memorable wartime images, he was always sensitive and poetic.”
So, what was the essence of Beatonism? He was a born outsider; posh but not quite posh enough – his family’s wealth was based on trade. Well educated – but at Harrow, not Eton. Cambridge, not Oxford. Clever but not intellectual. Good-looking but not quite handsome.
He just failed to make the grade in those things that he considered mattered. Vain – he had his clothes made one size too small to flatter his already slim figure – but never glamorous, despite an international lifestyle that brought him into contact with everyone who “mattered” for more than 50 years.
But he had a burning desire to leap the fence and browse the green fields of aristocratic privilege, still going strong in the Twenties and Thirties. Beaton was what was known at the time as a pansy. With eyes trained on the British upper classes and American plutocrats, his tendencies could have
been a disadvantage, but he capitalised on them by aiming not at the men, but at their wives.
Beaton was a very clever photographer whose early portraits reflected continental art movements in his use of mirrors, torn paper, fragments of classical sculpture and even Cellophane to create a surreal fantasy that would automatically make his sitters look much more interesting
than they usually were. They were as flattered culturally as they were physically, even if they had no idea that the original ideas were taken from the work of Cocteau, Bakst or Dalí.
December 17, 2014
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You gotta love an artist that can make art, truly out of anything he sees. I saw a piece by Vik Muniz and was insanely curious about this artist. I enjoyed the fact that he could see he way though
what is, into what could be-so an existential view almost.
He incorporates a multiplicity of unlikely materials into this photographic process. Often working in series, Vik has used dirt, diamonds, sugar, string, chocolate syrup and
garbage to create bold, witty and often deceiving images drawn from the pages of photojournalism and art history. His work has been
His work is based on different levels of perception. Primarily, he is a sculptor who documents his work with the photography medium. After the project execution it does not matter
if the objects are destroyed, as long as the idea is captured in the photographs.
An example of how Muniz experiences perception in his work can be seen in his series ‘Equivalents’ (1993) – simulations of cloud formations, made with lumps of cotton, inspired by
Alfred Stieglitz’ cloud studies. In this piece the visitor can see once at a time lumps of cotton, clouds or an image that he sees in these clouds. But he will never see these 3 phenomena at the same time.
Muniz photographs all kind of everyday materials and creates illusionary visualizations. Material he uses are i.e. chocolate, sugar, wire, dirt, confetti, objects, thread or jam.