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June 12, 2015


Filed under: tom downing,washington color school — Tags: , — jherzlinger @ 7:37 am

I am always on the hunt for artists I am not familiar with and schools of thought that I don’t know.  So my interest lead me to THE WASHINGTON COLOR SCHOOL.  Some of America’s top artists have emerged from this school, totally un-benounced to me. So today’s post is a bit about the school and about one of it’s artists.

I have always loved this type of painting, as those of you that read my blogs, have come to learn.  So once again, we could say that a child is capable, but really not.

Enjoy! Much Love,


People often portray Washington, D.C., as a city full of straight-laced politicos bustling from Capitol Hill to the Beltway and back again. As true as that stereotype might be, the District played the stage for one of the greatest post-World War II art movements in the U.S.

Oversize vibrant canvases characterize the work of the Washington Color School,

an offshoot of the nationwide Color Field movement. Color field painting is defined by expanses of color close in tonal value and intensity, large presentations and simple compositions. Color is the subject matter, and simple colors, geometric forms and compositions are arranged to make the viewer feel implied emotions without them being explicitly

displayed, according to art historian David Anfam in Oxford Art Online.


The movement began in 1965 when the “Washington Color Painters” exhibit opened at the now-defunct Washington Gallery of Modern Art and continued to flourish through the early ‘70s. The painters featured in this exhibit, and those considered to be the heart of the Washington Color School, included Morris Louis, Tom Downing, Gene Davis,

Paul Reed, Howard Mehring and Kenneth Noland.


Though the heyday of the Washington Color School has come and gone, the movement left an indelible mark on the D.C. art scene. Noland taught at Catholic University’s art department, and Gilliam actually taught art in the D.C. public school system. Much of the art coming from D.C. since the 1960s has felt the Color School’s influence,

and the movement maintains its status as the only school to come out of Washington.

Tom Downing’s paintings to a large extent consisted of circles arranged in precise patterns on the canvas, with colors often chosen according to ideas of symmetry. Downing’s Spot Paintings are his best known works. There is however, not much written about this artist in the context of his own work, however you will recognize the images.


June 8, 2015


Filed under: ROBERT IRWIN — Tags: — admin @ 7:10 am

Unknown-1Robert Irwin, is one of the America’s great aesthetic radicals: a MacArthur “Genius Grant” winner and a standout among the 1960s Light and Space artists (who are seeing renewed interest at the moment),

he is arguably the most influential artist that California has ever produced.

UnknownHe started out as an Abstract Expressionist painter in the 1950s, but made increasingly minimal work—paintings with only lines, then only dots, then simply discs that hover in space, their edges indistinguishable

from the wall. He banished painterly marks, then the frame, then the painting itself.

By the 1970s, he was producing installations composed only of light and subtle alterations to spaces.images-2 He also began venturing outdoors. For a show at the Whitney in 1977, he repainted the intersection of 44th Street

and Fifth Avenue and strung a wire between the two World Trade Center buildings—artworks that few probably noticed.


“I was always asking myself, what is the actual goal of art, the actual subject of art? What justifies its high standing?” he said. “We’re building these cathedrals to art today, really almost to the level of absurdity,images-3

so you ask yourself, what does it contribute?”

June 3, 2015


Filed under: Uncategorized — Tags: — jherzlinger @ 7:15 am

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!

Much Love,


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 27, 2015


Filed under: man ray — Tags: — jherzlinger @ 7:55 am

I would have to say that MAN RAY has been one of my favorite photographers for many years.  And any chance I have to see some of his work I run to it! His life history is really wonderful and the influences he experienced quite fascinating.  I hope you enjoy his work, as I am sure many of you have seen it before.




Man Ray is foremost known as a fashion photographer, but he actually had a successful career as an artist as well. His politely avant-garde photographs for Vogue and other magazines make up the brunt of his notoriety in within the mainstream world. Yet, in the overall chronology of his artistic career the commissioned

photography of his later career seems like a second  (much less important) career.


Man Ray first came on to the radar when he began to associate with Marcel Duchamp in New York. A Jewish-American, he was born in Brooklyn in 1890. They met in 1915, when Duchamp made one of his many visits there from his stomping ground, Paris. The young artist’s first introduction to the art of the moment came in 1913 in the

form of the Armory show, at which the most subversive European artists including Duchamp and Francis Picabia (and less impressive American) exhibited their work. Two years, Man Ray became Duchamp’s right-hand man in launching the short-lived Dada movement in New York.


Duchamp’s influence became key in Man Ray’s development as an artist. Man Ray became Duchamp’s first (and only, until the Post-Modernist movement) follower when he produced his own readymade sculpture in the vein of Duchamp’s Fountain. In 1921 Man Ray came to Paris to officially become part of the European Dadaists.

He settled in Montparnasse, and was introduced to the Paris collective by Duchamp.

Perhaps Man Ray’s most enduring photograph, a visual analogy likening the shape of a woman’s backside to that of a violin.

Man Ray slowly made the transition from sculpture and painting to photography. It began to emerge as his true passion even in the 1910s, but Man Ray did not make it his sole pursuit until the late 1930s. In the transition he made several decidedly-Surrealist works.

Man Ray gained repertoire quickly, and was unceremoniously accepted by the Paris Dadaists/Surrealists, a group with exorbitant admission standards. His notoriety allowed him the privilege to photograph many of the key artists of the time, such as Marcel Duchamp and Andre Beton (the leader of the Surrealist movement).

In 1934 he had a liaison with Meret Oppenheim of the fur tea-cup fame, and photographed her nude in a classic artist-and-muse scenario.

From the time he began attracting attention as an artist until his death more than sixty years later, Man Ray allowed little of his early life or family background to be known to the public, even refusing to acknowledge that he ever had a name other than Man Ray.

Man Ray was born Emmanuel Radnitzky in South Philadelphia,Pennsylvania USA in 1890, the eldest child of recent Russian Jewish immigrants. The family would eventually include another son and two daughters, the youngest born shortly after they settled in the Willaimsburg section of Brooklyn, New York in 1897. In early 1912,

the Radnitzky family changed their surname to Ray, a name selected by Man Ray’s brother, in reaction to the ethnic discrimination and anti-Semitism prevalent at that time. Emmanuel, who was called “Manny” as a nickname, changed his first name to Man at this time, and gradually began to use Man Ray as his combined single name.

Man Ray’s father was a garment factory worker who also ran a small tailoring business out of the family home, enlisting his children from an early age. Man Ray’s mother enjoyed making the family’s clothes from her own designs and inventing patchwork items from scraps of fabric.[ Despite Man Ray’s desire to disassociate himself from his family background,

this experience left an enduring mark on his art. Tailor’s dummies, flat irons, sewing machines, needles, pins, threads, swatches of fabric, and other items related to clothing and sewing appear at every stage of his work and in almost every medium. Art historians have also noted similarity in his collage and painting techniques to those used in making clothing.




May 25, 2015


Filed under: Uncategorized — Tags: — jherzlinger @ 2:12 pm

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!




May 22, 2015


Filed under: loving Cuba — Tags: — jherzlinger @ 6:59 am

I have always loved Spanish Architecture and especially the turn of the century.

Cuba, I think to many people is one of those places, that when you see photos from the time before the revolution, it was like having Paris set in the Carribean.  I hope that once the regime changes and true democracy is restored, we will all have the opportunity to see a stunning country, especially before the developers get in!

This book is set to come out in the next couple of months, and I would truly suggest ordering a copy as it looks like a must have for architecture enthusiasts!

An unprecedented tour of stunning and architecturally significant Cuban palacios, mansions, and private homes that have been meticulously preserved, previously un-photographed, and inaccessible to visitors. At a time when more travelers are

rediscovering Cuba, this lavishly illustrated volume offers a different view of the island’s cultural achievements. It presents not the picturesque Cuba of Castro’s era, with its derelict buildings and peeling paint, but the opulent world of the Spanish Creole aristocracy of the colonial period,

with its Mudejar craftsmanship and baroque palacios, the sugarcane plantations (ingenios) and coffee plantations (cafetales), and classically inspired grand mansions. Exceptional preservation work has kept these villas in the magnificent state in which they were first envisioned.
The photographs, shot exclusively for this book, show examples in each area of the island-from the interiors and exteriors in Havana, Santiago de Cuba, Santa Clara, Cienfuegos, and Pinar del R’o to close-up details of courtyards, balconies, galleries, balustrades, grilles, and louvered doors in Trinidad, Matanzas, and Holguin. One featured home is Finca Vigia (“lookout house”), the former residence of Ernest Hemingway.




May 20, 2015


Filed under: caroline wright — Tags: — jherzlinger @ 7:31 am

Following my post on NICOLE COHEN and my love of super talented young artists, I have recently been introduced to CAROLINE WRIGHT.  Her paintings are incredible and I wanted to share them with you today!

I hope you follow her as her talent is so good.




Wright graduated from Brown in 2004, with a double major in Visual Art and Art History. After college, she moved to Paris to pursue fashion design, and ended up living in an art collective in an abandoned state

building in Belleville with artists from all over the world.

With a crowbar, Wright renovated a studio out of several secretarial offices that had been locked since the 80s. Each weekend there was an interminable réunion on such issues as where the “seat of the administration” should be (the kitchen).

The inhabitants defended their

project on a regular basis to the mayor of Paris, and as the youngest in the group and the only American, Wright also defended herself while confronting many cultural differences. Living, working, and upholding her vision and that of the group

imprinted the possibility of a life supported by and for art-making.

May 15, 2015


Filed under: diego giacometti — Tags: — jherzlinger @ 8:00 am

I know when you see the images of this amazing sculptor you will immediately recognize his work.  In my field of interior design, I thought it was interesting to show that my industry  is so influenced by the arts that most people don’t realize it.

I am asked about my inspirations towards my design and my answer is always that I am very much influenced by the arts. So with these posts which I do hope you are enjoying, you are getting a glimpse into my world from which I create the foundations of my projects.

Born in Borgonovo in Switzerland in 1902, Diego Giacometti spent his formative years very close with his brother Alberto, both discovering a great interest and talent for the arts. In 1927, the two brothers moved to an atelier in Rue Hippolyte Maindron in Paris.

Their mark there has made it a mythical place in Montparnasse. From 1929 to 1940, interior designer Jean-Michel Frank, commissioned them to make bronze and plaster objects for élite and intellectual Parisian society. In this period it is difficult to tell the brothers’

work apart. Alberto contributed to the conception whilst Diego offered his dexterity and great aesthetic sensibilities to the execution.

Apart from the close collaboration with Alberto, Diego exercised his skills as a sculptor by collaborating with a local funerary sculptor, and later with Georges Braque. When Alberto returned to Italy during the war, Diego remained in Paris to man the workshop.

During this period he became more conscious of his talent and did an internship at a foundry where he was called ‘the star of patina’. After the war, Alberto and Diego resumed their work together, but each with their own personal mark. Diego developed his own

creations; pieces of textured bronze furniture such as tables, chairs, consoles, lighting and bookshelves. Each work showed a strong architectural and balanced design, often combined with graceful sculpted animals or foliage, the introduction to his unique poetic

world. Soon he was commissioned by Alberto’s dealers or private collectors who recognised his talent: Pierre Matisse, Marguerite and Aimé Maeght, the movie producer Raoul Lévy and the couturier Hubert de Givenchy… After his brother’s death in 1965, Diego

continued increasingly to explore his expressive talents. His furniture items became fully-fledged sculptures, which are still admired and sought after today.

His sculptures are sometimes amusing or picturesque. For example, L’ Autruche (The Ostrich) owed its existence to the fact that his friend Dr. Binet, not knowing what to do with an ostrich egg, gave it to Diego who integrated inside an ostrich

that he dreamt up and sculpted. Diego Giacometti’s animal art was rich. Along with familiar animals he liked to have animals that symbolized force, power and beauty such as the heads of lions, wolves and horses.

He used bronze, a material that permitted him to sculpt in great detail, grace and elasticity. Diego’s animals called for special, often costly techniques such as the lost wax method. His animals were so finely done they helped make his reputation.




May 11, 2015


Filed under: marilyn minter — Tags: — jherzlinger @ 7:32 am

Talking about Marilyn Minter is like talking about visual firepower! Her images are electrifying-high heels splashing in viscous silver liquid, a liquid-dripping, gold-toothed smile,

and a huge painting of a baby standing in a shower of metallic drippings.  Minter is totally in command of her unique retina-razing artistic and pictorial gifts.  I was actually not familiar with her work until Kips Bay

last spring, when in one of the bedrooms there was a fabulous photorealistic piece I needed to have!

She is edgy, hard core and knows her talents and uses them.  Her power comes through all of her images which

is like looking at a perfect diamond!

Enjoy! she is the real deal!

Much Love,


May 6, 2015


Filed under: kiki kogelnik — Tags: — jherzlinger @ 7:21 am

The impact of women artists on the traditionally male-dominated field of Pop art is a topic one rarely hears about!  The narrow definition of the Pop art movement and the women that have made itself reevaluate its critical reception. there are some poutrageous female artists that I want to introduce you to! So look forward to some great and fun art!

I hope you enjoy this post!

Much love,


Kiki Kogelnik, was an amazing artist known for rakish depictions of figures and heads.

Kiki Kogelnik, who was born in Bleiburg , Australia in 1935 and studied art at the Vienna Academy of Fine Arts, began her career as a member of a circle of artists that included Arnulf Rainer.

Moving to Paris in 1959 and to New York in 1961, she worked in a mode that combined aspects of European figuration and American Pop Art with an increasing feminist consciousness. Sometimes her style mimicked fashion illustration to comment on society’s depiction of women.

Although painting was Ms. Kogelnik’s first medium, she also worked in cut-out vinyl, fiberglass and glass, and made prints and installation pieces. She had her first exhibition in New York in 1965 at the Austrian Institute.

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