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January 23, 2014
I caught an exhibit of NAN GOLDIN”S work at the MATTHEW MARKS GALLERY in New york. I had never seen her work before and really fell in love with it. So interesting for me to think how artists can express themselves through so many different mediums!
If you have the chance to cathch this show, go. her personal history resonates throughout her work.
Nan Goldin is known for documenting her surrogate family of friends as they engage in intimate, uninhibited, or illicit activities. These unusually lit images are frank confrontations with personal experience, frequently presented in poses that mimic the styles of the fashion world.
Goldin visited that world through photographs she took for a New York Times Magazine cover story – “James is a Girl,” by Jennifer Egan – that appeared on February 4, 1996
Nan Goldin has spent more than twenty-five years creating edgy portraits. In 1996 these startlingly direct color images were the subject of a mid-career retrospective organized by the Whitney Museum of American Art, New York, which traveled to Winterthur, Germany;
Vienna; and Amsterdam, among other international venues. She has earned the Mother Jones Photography Award, a grant from The National Endowment for the Arts, and the Maine Photographic Workshop Book Award for Documentary Book of the Year.
Ms. Goldin, 58, moved to Paris in 2000 and has become a darling of the French to rival Jerry Lewis and Mickey Rourke. The Pompidou Center mounted a retrospective in 2001, and in 2006 she was named a commander of the
Order of Arts and Letters by the French government. But she said that being granted a private audience with the Louvre — “We ran around in there barefoot; there was absolutely nobody around” — brought a feeling of French acceptance unlike any she’d had before.
And the Louvre also quickly taught her, she said, that many of her artistic obsessions are ones that have been to central Western art history, and to myth and religious iconography — sex, violence, rapture, despair and the slippery
nature of gender. She gravitated toward representations of the mythological tales popularized by Ovid, like the second-century Roman marble “The Sleeping Hermaphrodite “whose male genitals come as a surprise to viewers
approaching the curvaceous female form from the back. first became known involved transvestites and
More than half of the photographs by Ms. Goldin that she paired with Louvre imagery have never been exhibited before, and many were unearthed from her New York archives in a painstaking search by one of her assistants.
But other pictures were resurrected by Ms. Goldin herself. An obsessive series of photographs she took of a former lover named Siobhan were included after Ms. Goldin re-established contact and the woman, now married and a mother,
agreed to allow many never-before-seen images to be shown, “which is great,” Ms. Goldin said, “because it had been pretty painful for a lot of years not to show them.” Those photographs and many of the others she chose ended up creating a
collective portrait more joyous than the kinds Ms. Goldin is known for. “It really became a work about love,” she said, one propelled by the love she felt inside the museum.
January 21, 2014
By traveling back and forth to New York, I have had the extreme pleasure of being able to spend alot of time looking in gallerys and museums!
I fell in love with JULES OLITSKI! I hope you fall in love with his work! Enjoy this post!
Here we can see why he is to be appreciated as one of America’s most outstanding modern painters.”
Born in Russia, Olitski (1922–2007) moved to the United States as a child. He first received international acclaim as a maverick Color Field painter, one of a group of highly regarded artists in the 1950s and 1960s employing intense color in abstract formats as the carrier of emotional meaning. It was a pivotal time for Olitski, whose paintings of that period featured bold colors and flat graphic shapes. He continued to experiment with techniques and processes during the remainder of his career.
“Olitski’s sweeping and grand shapes offered a different type of pictorial drama than that of his many colleagues and led to his experiments with very large fields of near-monochrome color,” Kennedy said. “These often enormous paintings became known as his landmark Spray paintings, which are at once minimal yet complex in their gradations and subtle shifts in hue.”
Later, in his Baroque and High Baroque paintings—so-called because of their lush colors and surfaces—the artist accentuated physicality as an expressive element. Though his paintings were staunchly abstract, he looked to the Old Masters of the Renaissance, the Baroque and the Dutch Gold Age. Olitski was a great admirer of Rembrandt and El Greco and they influenced his work.
In his Late paintings, Olitski introduced abstract forms and shapes that narrates on both spiritually charged and classical themes.
January 16, 2014
Born in 1903, Jensen belongs to the heroic generation of Barnett Newman Jackson Pollock Mark Rothko and Myron Stout and Forrest Bess . Jensen is one of the greatest abstract painters of his or any other generation. It’s a continuing mystery as to why he has never received anything like the attention he deserves.
Alfred Jensen was an eccentric citizen of the world who had traveled everywhere, spoke five languages and personally knew many of the giants of modernism. He studied with Hans Hofmann in Germany and Despiau and Dufresne in France, had a studio upstairs from Mondrian in Paris, was friends with Dubuffet, Rothko, Miro, Duchamp, Breton, and Allan Kaprow. He was a Byzantine primitive, an anonymous Peruvian carpet maker, an Egyptian high priest, a Chinese sage, a crazy autodidact living in Glen Ridge, New Jersey.
Actually, to call Alfred Jensen an abstract painter is misleading, because the paintings are so concrete. They don’t just illustrate or describe ideas; they contain a tremendous amount of concrete information. The paintings may allude to a complex web of ideas, but they are almost absurdly specific. Nothing in these paintings is anything other than itself.
The mature paintings are flat patterns mapping a wide range of numerical and philosophical systems. Each square inch of the paintings is carefully plotted out and composed. Many paintings are actually covered with numbers including Arabic, Mayan, Chinese, and other ancient counting systems. Some paintings include symbols from the I-Ching, Mayan calendars, and scientific diagrams. Other paintings are completely abstract, subtle checkerboards structured with eccentric but absolutely particular logic. Many paintings include written notations, headings, titles, and quotations in large, loopy script. The paintings are dense, condensed and impacted with ideas, theories, symbols, and grand schemes.
They are painted with pure color oil paint squeezed straight out of the tube and spread over the surface with a palette knife. The paint is presented as actual colored dirt sitting on the surface. Jensen is never asking the paint to be something other than itself, like a nose, or the sky, or deep space, or atmosphere, or almost any kind of space.
Jensen knew everyone, but remained alone, an outsider in the middle of the art world. He avoided attachments to any school or movement. He developed later as a mature artist than his contemporaries the Abstract Expressionists and was never fully accepted by many of them. He was a major influence on some conceptual and minimal artists, but declined to be included in their pivotal group shows in the early 1960′s. He has been pigeonholed as a bridge between generations, as a “mystic,” an eccentric, a difficult artist.
Have a great day!
January 9, 2014
I was recently in a gallery in The City that had beautiful woodcuts. Woodcuts are really quite interesting when you think how they are made and the printing technique that goes into them. I have put two into the post so you can see by changing the paint how it changes the same image.
I was not familiar with this artist , so I am bringing you a bit about his work and himself today!
Louis Schanker was born in the Bronx in 1903. He studied art at The Cooper Union, the Educational Alliance, and the Art Students League, and traveled through Europe from 1931 to 1933. During the 1930s, Schanker
supervised several artists in the New York City mural division of the WPA. His own work included a large project in the lobby of WNYC Radio in the Municipal Building, a series of circus murals at a children’s hospital, and a mural in
the Science and Health Building at the 1939 World’s Fair. He was one of the founders of the Associated American Artists and was also a founding member of “The Ten: Whitney Dissenters,” a group protesting the museum’s preference
for American Scene painting and Social Realism. Ilya Bolotowsky, Mark Rothko, and Adolph Gottlieb were also part of the group, which actually began with nine members. An innovator inwoodcuts and printmaking, he was also a sculptor.
Starting in 1949, he had a home in Sag Harbor, and many of his sculptures came from local trees that had been cut for firewood there. In 1962, Schanker married the noted blues singer Libby Holman, and they soon purchased “Dune House”
off Further Lane in East Hampton, though he continued to work at the studio in Sag Harbor until he sold the building in the mid-1970s. He divided his time among New York City, East Hampton, and Stamford, Connecticut, until his death in 1981.
January 7, 2014
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 arethere? 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!
January 2, 2014
Lee Friedlander’s work I fell in love with this past summer, when I caught an exhibit of his in San Francisco. I have always loved the
ability of photography to tell the story of history. Especially when it chronicles a certain theme or time period.
Lee Friedlander began photographing the American social landscape in 1948. His photographs bring to the surface the juxtapositions of everyday
life that comprise our modern world. Beyond the vigorous outward eye he turns to the world around him, Friedlander is also recognized for an investigation
of self he began in the 1960′s.
December 31, 2013
|I got peace of mind, only through the study of rules nobody could change.
In my love of amazingly talented renown women, I have decided to bring to you a series of insanely fabulous female artists who are my all time favorites! LOUISE BOURGEOIS will be the first in our series. What is always of interest to me, is when you read the bit of biography on these women’s lives, although, some privileged, was not the stuff made of an Ozzie and Harriet life. And how one’s childhood, plays into our daily lives as adults.
I assume that what Louise Bourgeois (born 1911) meant when she explained that color wasn’t the first thing that we saw when we looked at a work of art was that at first, we encounter form. We then translate the form into a species or a gender, but not before we feel an emotional sensation.
The rules of the game with modern art is that if it is abstract, whether or not a form reminds us of something or not, that becomes irrelevant. Modernism spells emotion and a primal response to the initial formation of an idea. “Avenza,” 1968-69, latex, 21 x 30 x 46 inches may allude to phallic symbols clustered together, but our response to this sculpture may be to circle it and gage as to whether it is predatory or safe. Only after our initial hesitation, do we begin to relate to it as a work of art.
The artist may be creating a modern sculpture or a painting and subconscious symbols and pictorial thoughts may invade, but color only registers after a form takes on human attributes. Then, a personality and a sensitivity to an assertion of form occurs. We are a long way from that during the initial creation of a modern work of art and there is a reason for it.
Modern art is an attempt to expand our consciousness in order to re-introduce us to the process of creating a painting or making a sculpture in the classic, figurative sense. Louise Bourgeois has sacrificed her life in order to liberate us from the confines of the progenators of the art of the past when humanity was oppressed by the egoism of its oppressors. The cost, let’s say, during the reign of Louis XIV, of producing the tapestries of Gobelins, “The History of the King,” celebrating the glory of the Sun King, may have been equivalent to producing one of our nuclear submarines.
Louise bourgeois was a renowned French-American artist and sculptor, best known for her contributions to both modern and contemporary art, and for her spider structures, titled MAMAN, which resulted in her being nicknamed the SPiderwoman. She is recognized today as the founder of confessional art.
In the late 1940′s after moving to New york City with her American husband, she turned to sculpture. though her works are abstract, they are suggestive of the human figure and
express themes of betrayal, anxiety and loneliness. Her work was wholly autobiographical, inspired by her childhood trauma of discovering her English governess was also her father’s mistress.
Bourgeois was born on december 25 1911 in paris. She was the middle child of three. her parents owned a gallery that dealt primarily in antique tapestries.
A lovely father, NOT, was a tyrannical philanderer and was exceedingly hard on her, as Bourgeois did not meet her father’s expectations due to her lack of ability. ability to what his ideals were. Not because she was slow. Bourgeis, as a child, found solace in writing in her diary, as emotions were difficult to express as her mother turned a blind eye to all that was going on with her father.
Bourgeois grew to hate her father, and his explosive temper and how he dominated her mother.
Bourgeois attended the Sorbonne, where she studied mathematics and geometry, subjects she valued for their stability.
Her mother died in 1932 while she was studying mathematics. this traumatic event made her realize she wanted to study art.
Bourgeois turned to her diaries for inspiration, odd really, and quite interesting. she drew upon her hatred of her father, his tyranny and all of his infidelities, she used these raw emotions to inspire her sculptures. The first time i saw a retrospective of hers, was at The Guggenheim in New York, I remember reading her biography and looking at these fantastic sculptures and feeling the emotions.
I do hope you enjoyed the first of my series of my favorite women artists!
December 19, 2013
In designing a client’s office now, my client is a successful doctor whose home office is very important to her as she spends as many hours working at home as she does in her practice. Maison Jensen is perfect for that Hollywood Regency style that I love!
Now, many of you have seen this style but are not familiar with this firm. So goes today’s post!
I love Maison Jansen and thrilled to see the resurgence of Jansen decor in the vintage world. One of the 20th century’s most influential decorating house, Maison Jansen produced a client list from the Duke and Duchess of Windsor to Jackie Kennedy.
“Maison Jansen designed custom furnishings for interiors that celebrated the firm’s lavish aesthetic of Bourbon historicism combined with Hollywood-style glamour.”
Maison Jansen (1880-1979) For many years in the United States the name Jansen has been associated with the Kennedy’s. The illustrious French firm was responsible for redecorating the
White House during the JFK years (1961-67). However Maison Jansen produced furniture and decorated the palaces of European nobility and statesmen since 1880. In the succeeding years the company opened
offices around the world, including cities such as London, New York, Rio, Alexandria and Buenos Aires, and worked on projects for clients as diverse as Coco Chanel, the Bank of France, the Shah of Iran and Club Med.
Their Parisian atelier grew to over 130,000 sq. feet and employed various teams of specialists and craftsmen. During the sixties the firm also underwent several management changes that influenced their production output.
Their aesthetic expanded from period reinterpretations to sleek contemporary furniture, yet they always used the most exquisite materials resulting in extravagant deluxe interiors. The company would eventually close in 1979.
Since their demise, both period reproductions and original designs have become very desirable for both decorators and collectors on both sides of the Atlantic.
December 17, 2013
I was recently introduced to yet another amazing artist! There is so much talent around in this world that I am always so excited to find new , well not new, but new to me-talent! I hope you enjoy his work! Have a great day! Love,
Jacco Olivier fuses painting and moving image to create short, intimate animations. Olivier’s works are, with few exceptions, almost exclusively small-scale single projections of concise narrative episodes that appear
in a microcosmic world. Every painting is repeatedly reworked in generous, casual strokes and systematically photographed at each stage of development. The resulting films are enigmatic and experiential – moving in and
out of abstraction they reveal the traces and decisions made by the artist in the process of painting. While there is a clear and quite complex process involved in their creation, Olivier does not set a thematic agenda for the works,
or for their relationship to one another. The films are instead imagined as windows onto converging, and often elegantly simple, moments of daily life – a bus journey, a swim in the ocean, or a walk through the woods.
At this convergence of painting and cinema, however, lies an uneasy tension, a feeling that something is about to happen or has just happened that is unexpected and beyond our control.
December 12, 2013
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I have recently seen the work of Sarah Lucas and fell in love with her art! Her life is really interesting, and again another fabulous story. I love her sense of expression and freedom and just her who gives a damn attitude.
Sarah Lucas was the wildest of the Young British artists, partying hard and making art that was provocative and at times genuinely shocking. Then as Emin and Hirst went stratospheric, she slipped off to Suffolk, where she’s been ever since …
It is surprising to find someone whose most well-known work is so urban – kebabs, fried eggs, dirty public toilets, grimy, paint-splattered walls, burned-out cars; so saturated with the sense of the London she grew up in – tucked away down a long country lane, behind a Baptist church in Suffolk.
Sarah Lucas may not be the most talked about of the Young British Artists but she has always been one of the most important. At the beginning of the 90s, while women were trading shoulder pads for Wonderbras and cocktails for pints of lager, Sarah Lucas swapped feminist theory for Page Three.
Lucas challenged the street slang used to describe women by turning it into physical forms. She replaced anger and embarrassment with humour, portraying breasts as melons or fried eggs, catching public attention with hard-hitting sculpture and spreads from
The Sun. In making physical representations of sexual slang and celebrating stories about rampant dwarves she moved the discussion further along then any amount of protest art.
Sarah Lucas is the “drinking man’s” Rachel Whiteread. You can clearly make out the core materials and traditions of her art – concrete, cardboard, resin, steel and found objects; the cool, minimal associations of which are tinged with humour and sexual innuendo.
Her use of animal carcasses, fish, fruit and veg rotting on top of these surfaces recalls still lifes, while she pays homage to Duchamp with toilets and bicycles.
Within her sculptural compositions there are extremes between her use of materials (a chicken and bra stretched and tied to each end of a steel-sprung bed in Bondage Up Yours, 2000) but nothing is clumsy or unresolved. She knows exactly how much information to give,
which angles suggest dominance or subservience, and how far apart or close objects should be to create or emphasize tensions out of otherwise inanimate items. And it’s interesting to observe her decisions about scale.
In the early 1990s, Lucas began using furniture as a substitute for the human body. Through her career, Lucas has continued to appropriate everyday materials (including, for example, freshly made fried eggs) to make works that use humour, visual puns
and sexual metaphors of sex, death, Englishness and gender.
In works such as Bitch (table, t-shirt, melons, and vacuum-packed smoked fish, 1995), she merges tabloid culture with the economy of the ready-made. In earlier work, she had displayed enlarged pages from the sports pages of the newspaper.
Sarah Lucas is also known for her self portraits, such as Human Toilet Revisited, 1998, a colour photograph in which she sits on a toilet smoking a cigarette. In her solo exhibition The Fag Show at Sadie Coles in 2000, she used cigarettes as a material, as in Self-portrait with Cigarettes (2000).
I so have a giant art crush on her! I hope you enjoyed this post!