Allied Member, ASID
October 24, 2013
I received a lot of emails regarding the post on Jimmy Lee Sudduth and I thought I would follow up that post with one on ROMARE BEARDON as many people had questions about him. I have always had a penchant for folk art, as I previously wrote, I find that there is a wonderful warm and personable feeling that invites everyone to participate in a way with memories of their own. Not necessarily memories of that of the artist, but those that have to do with one’s life on a personal level.
Many artists and art historians consider Romare Bearden one of America’s most important and inventive artists. But he’s hardly a household name.
Bearden’s primary medium was the collage, fusing painting, magazine clippings, old paper and fabric, like a jigsaw puzzle in upheaval. But unlike a puzzle, each piece of a Bearden collage
has a meaning and history all its own. Shortly before he died of cancer in 1988, Bearden said working with fragments of the past brought them into the now.
“When I conjure these memories, they are of the present to me,” he explained. “Because after all, the artist is a kind of enchanter in time.”
Bearden took snippets of Harlem life and shot them through with vivid images of the American South. His family moved from Mecklenburg, N.C., in 1914 when he was a toddler, and he grew up in the heart of the Harlem Renaissance.
Bearden’s mother was a dashing figure, a reporter for a leading black newspaper. Family friends included luminaries such as Langston Hughes, W.E.B. DuBois and famous musicians who helped ignite Bearden’s passion for jazz.
One of Bearden’s first patrons would Duke Ellington. Much later, he designed a record cover for Wynton Marsalis
Bearden’s collages bring to mind the pleasing graphic unity of patchwork quilts, into which slaves once sewed coded messages about the Underground Railroad. Meaning literally came out of the seams.
Bearden’s dense, multilayered art nodded toward codes and complexity. They were cut, etched and painted with magazine photos from Life, Ebony and Look, recalling rural Southern shanties papered with newspaper clippings.
Marsalis says one favorite work by Bearden shows a Harlem street.
“All of these images of Harlem life,” says Marsalis, “Louis Armstrong’s in it, in the middle there’s a guy in overalls, which you would look at it, and you think, ‘That didn’t belong,’ but at that time, it certainly did belong.”
October 17, 2013
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!
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.
October 15, 2013
Silence and soundless – this is doors in eternity.
On this page you get acquainted with artworks of the petersburg artist-visioneer Andrew Polushkin madded in traditional and digital technology.
Esoteric dreams and drug-trips, myths of dim worlds and myth’o'mading of subconscious, hallucinations experience, caught in web of attention and fixed with material reality.
- here is bases and headwaters of creative activity of A. Polushkin
October 10, 2013
I have to admit that I had no idea that there was even a market that represented Indian Artists. And as it turns out, the Indian art market is making a strong comeback!
There is an inaugural edition of the largest contemporary art event ever to take place in India-the Kochi-Muziris Biennale-and it is now open. This art fair is hoping to regenerate
the region’s history and culture. being that China’s economy is not as strong as it was pertaining to the art market, India seems to be emerging as the place to invest art dollars.
India is becoming a haven for art patrons as its economy swells. so today’s post is on one of the major artists from india names SYED HAIDER RAZA.
Raza was born in 1922 and is known
as the “master of colors”. Raza uniquely articulates indian metaphysical thought and his own memories from childhood by employing the passionate colors
of India with all their symbolic,
and emotive value. Raza is one of the top selling Indian artists at auction and is regarded as one of the most distinguished artists of the Indian subcontinent.
I hope you enjoy learining about this inteersting market. In looking at his work, I see a lot of modernist influences from artist such as Jim Dine and Frank Stella
Have a great day!
October 8, 2013
I have always loved Modern Art in any form. From abstract expressionism to installation art to modern French cuisine, modern literature, and especially modern architecture.
For me, great modern architecture takes you on a very interesting journey, because great modern architecture is actually very intellectual and complicated. To the viewer,
it looks like simple planes that may intersect or they may combine to form other walls and surfaces. But it is the study of this art form that actually has so much behind it.
It’s like thinking that a Jackson Pollack painting was some paint randomly thrown on a canvas.
On many visits to Santa Fe, I was able to see first hand the architecture of Legorretta and always thought how brilliant the use of color and walls, the excitement that his architecture is able to bring.
When you look at the selected images you will see why Legorretta is one of the world’s most respected architects.
Ricardo Legorreta is Mexico’s most significant living architect. He combines the traditions of Western modernism with the building culture of his native country. Vibrant color, geometric shapes,
fountains, light-filled spaces, and intimate courtyards are hallmarks of his style.
In a career spanning nearly fifty years and with more than 100 design projects to his name he has created a diverse body of work. It ranges from museums and hotels to office buildings and factories,
university campuses to urban spaces, as well as private residences in Mexico and abroad.
Legorreta was born in 1931 in Mexico City, where he studied architecture. After a partnership with José Villagrán, he set up his own practice.
He was a close friend of his compatriot, Luis Barragán, who first combined modernism and Mexican tradition in the 1940s and 50s. He was also influenced by the monumental
concrete architecture of Louis Kahn.
Influences from Mexico’s colonial period and from the Islamic world – the patios – also feature in his work.
October 3, 2013
Sebastijan Dračić is another one of those younger-generation Croatian painters, whose work draws plenty of attention lately. His specific artistic expression
builds a nearly immobile, quiet frame that captures a mystical atmosphere caused by someone’s recent departure or uncertain presence
Dračić’s work – portrays his preoccupation with interiors as a reflection of a certain state, as well as a place of subtle commentary.
Dračić’s spaces do not evoke real place; on the contrary, melding real and imaginary segments intensifies an impression of a dreamlike atmosphere, which
draws the viewer into intense, often amazing spaces of some nameless presence, something that eludes the sight, but not the feelings. There are number of
possible referential foundations on which these imaginary landscapes can rest. And the very title of the cycle points to one – The beginning and the end of the world.
The forest of monumental proportions reflects its life in the singularity of each tree, and vice versa. Just as a tree cannot grow if its roots are not well embedded in the soil,
a man cannot exist separately from the environment that maintains and shapes that existence. It is a vision of an individual and the universal experience of life,
and the worlds in which they interweave.
October 1, 2013
As much as I love modern, as of late my thoughts are turning to thinking about California Architecture. The freedom the houses have, the romance. You can feel the salt in the air! Wallace Neff is really one of the pioneers in this style of architecture.
So much is always written about Santa Barbara style, but not a lot about who is responsible for it. So, as a break from fashion, I thought I will introduce you to two of the top guys from the early period in that style.
Wallace Neff may have been the preeminent architect of Spanish colonial-revival houses in Southern California, but surprisingly little has been written about him, despite the publicity he received for designing great estates for Hollywood legends such as Mary Pickford.
“I just build California houses for California people,”
this exceedingly private architect told friends and clients. In fact, Neff was an ambitious and inventive designer who was not only adept at manipulating traditional styles to please famous, wealthy clients like Cary Grant, Claudette Colbert, and Darryl Zanuck;
he was also a pioneer in low-cost housing and pneumatic building.
The Bubble House, as his best-known Airform structure was fondly nicknamed, had a social vision as compelling as that of any modernist housing project.
Wallace Neff (1895– June 8, 1982) was an architect based in Southern California and was largely responsible for developing the region’s distinct architectural style referred to as
“California” style. Neff was a student of architect Ralph Adams Cram and drew heavily
from the architectural styles of both Spain and the
Mediterranean as a whole, gaining extensive recognition from the number of celebrity commissions, notably Pickfair, the mansion belonging originally to Mary Pickford and Douglas Fairbanks .
Neff houses are sought after, owning one is like being a member in a private club. when Brad Pitt and Jennifer Anniston were married, that was their homes architect.
I do hope you enjoyed this post1
September 26, 2013
I was recently introduced to CHANTAL JOFFEE’S amazing artwork! Her images, some dark and a bit disturbing, offer glimpses into a world of potential artists and their struggle to get what they are looking for out of their chosen porfession! Some of the characters you may recognize or feel akin to!
I love her work and hope you enjoy this post!
Have a great day!
Chantal Joffee’s work centres around a powerful group of female images!
Her art offers complex fictional portrayals of the artist’s heroines painted chronologically and moving towards us in time from the 1840′s. As well as conceptual explorations of
representations of female icons, the works also engage with key moments in literature, painting and feminist history. Both specific and non-specific, these are imagined depictions of women - some are real individuals and others hybrid figures – born out of Joffe’s consideration of works of art and literature and the social climate in which they
were created. Manet’s The Drummer Boy, the writings of Emily Brontë and Emily Dickinson, the paintings of Lee Krasner and Tamara de Lempicka are all referenced here along with the intimate musings of Edmund White and the
passionate polemics of Susan Sontag. Each painting shows these young women at a point early in their lives, when they are
beginning to find a voice and question what it means to pursue a dream of being an artist. Set against dark backgrounds and located somewhere not of this time, the strongly contoured bodies are depicted in awkward or
sexual poses, distorted or kneeling but equally conveying a sense of vulnerability. The models – as is often the case in Joffe’s work -
are taken from photographs in contemporary fashion magazines and bear little or no resemblance to their imagined counterparts.
September 25, 2013
I saw this artists work and was amazed at the thoughts behind it. This is definitely an artist whose work you may argue the idea of what is art. But when you read about him it makes sense. I think it is always important to understand that art constitutes and makes up and takes on many forms. just like peoples personalities. Another amazing form ofexpression.
I hope you enjoy this post,
Stephen Willats, born in 1943, is a British artist who lives and works in London, and initially studied on the influential ‘Ground Course’ at Ealing School of Art from 1962 to 1963. Since the 1960s, Willats’ projects have centred
on the relationships between individuals in society, often focusing on aspects of cognitive behaviour, the ways people encounter one another, how they reach agreement, and how they respond to their environment.
Willats combines his rich theoretical knowledge of cybernetics, learning theory, and interactive, self-organising systems with a desire to operate in the fabric of everyday reality. Taking place anywhere from institutional
galleries to tennis clubs and inner-city housing estates, his projects challenge the notion of art as a passive activity, transforming it into an agent of social change.
September 19, 2013
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Everyone that knows me, knows I am in love with the color white! My all time favorite artist for this was always Ellsworth Kelly, but that’s for another post!
Today, I am bringing you another fantastic artist that loves using white!
Robert Ryman was born in Nashville, Tennessee in 1930. Ryman studied at the Tennessee Polytechnic Institute and the George Peabody College for Teachers, Nashville, before serving in the United States Army (1950-52). Ryman’s work explodes the classical distinctions between art as object and art as surface, sculpture and painting, structure and ornament.
Emphasizing instead the role that perception and context play in creating an aesthetic experience. Ryman isolates the most basic of components‚ materials, scale, and supports‚ His work enforces limitations that allow the viewer to focus on the physical presence of the work in space.
Since the 1950s, Ryman has used primarily white paint on a square surface, whether canvas, paper, metal, plastic, or wood, while working with the nuanced effects of light and shadow to animate his work. In Ryman’s work , wall fasteners and tape, serve both practical and aesthetic purposes. Neither abstract norentirely monochromatic, Ryman‚’s paintings are paradoxically surrealist.
About his work, Ryman says,
“I don’t think of my painting as abstract because I don’t abstract from anything. It’s involved with real visual aspects of what you are looking at whether wood, paint, or metal‚ it’s how it is put together, how it looks on the wall and works with the light…Of course, realism can be confused with representation. And abstract painting‚does not mean abstracting from representation‚ My work is involved mostly with symbolism. It is about something we know, or about some symbolic situation…I am involved with real space, the room itself, real light, and real surface.”