69 posts tagged art
69 posts tagged art
Castles in the Sky, 2010 by Wes Lang — 38x50 inches, acrylic and pencil on paper
In tandem with his show at Partners & Spade, Wes will be tattooing a few lucky art lovers and fans from 1-6pm this afternoon; if that sounds like your particular kind of yen, be sure to hop by Andy Spade and Anthony Sperduti’s storied storefront/studio on Great Jones Street.
(via Wes Lang)
Lanvin (Paris) by Alex Gross | mixed media on panel | 24” x 24” | 2010
STRIKE A JUXTAPOSE — “No. 13 (White, Red on Yellow)” by Mark Rothko, 1958 vs. Cacharel by Cédric Charlier, Spring/Summer 2011
“…In Rothko’s oeuvre color varies greatly, and it evokes a full range of emotions. The primary hues of red and yellow that make up “No. 13 (White, Red on Yellow)” are bright and joyous, while other works are composed of dark, brooding maroons, blues, and greens. In the two years before his suicide in 1970, the artist produced a large series of dark paintings, the majority of which were executed on paper with acrylics. Made up of opaque, monochromatic grays, browns, and blacks, these works are generally simpler in structure and eliminated the floating effect that previously enlivened paintings like ‘No. 13 (White, Red on Yellow).’” [read more at The Metropolitan Museum of Art]
STRIKE A JUXTAPOSE — “Night Creatures” by Lee Krasner, 1965 vs. Givenchy by Riccardo Tisci, Spring 2010
“…During the 1940s, Krasner was among the group of first-generation Abstract Expressionists working in New York, although her considerable achievements at that time were often eclipsed by those of her famous husband, Jackson Pollock. Throughout the next two decades, Krasner created intensely wrought paintings and collages characterized by gestural brushwork, rich surface texture, and allover rhythmic movement.
Executed on paper, “Night Creatures” delivers an even greater emotional impact than her larger oils on canvas of the same period. One imagines that hidden within the thicket of Krasner’s swirling black-and-white paint strokes are menacing eyes, heads, and even entire figures surrounded by dense foliage.” [read more at The Metropolitan Museum of Art]
STRIKE A JUXTAPOSE — “Celia” by American artist John Graham circa 1944 vs. Louis Vuitton by American designer Marc Jacobs Fall/Winter 2010 (as styled for the “Fifties Flair” category of the 2010 Fashion’s Night Out: The Show event)
… In the early 1940s Graham underwent a radical philosophical transition, during which his belief in Marxism and psychoanalysis was replaced by more magical thinking. His taste for modernism shifted to the old masters, particularly those of the Renaissance. “Celia” was painted during these transitional years and is one of the many portraits of imaginary women dating from this time. In these paintings he achieved a monumental reinterpretation of classical art. Here, the calm and dignity of the lovely woman, her elegant silhouette, and her monumental solidity are reminiscent of ancient Roman portraiture, of Ingres, and of Raphael, while the forms, as well as the curious sense of detachment from place and time hint at biomorphic Surrealist sculpture. The tension between the figure and the flat pictorial structure belies Graham’s avowed dismissal of modernism. He maintained that he gave his sitters staring (sometimes crossed) eyes not as an expressive device, “but as a means to anchor space to a point in the room, to create more tension…to make the figures immutable, fixed and timeless.” [read more at The Metropolitan Museum of Art]
I’m an avid fan of the midwestern surrealist Gertrude Abercrombie (1909-1977), her Depression-era work and advocation of the WPA, collaborations with her close Chicago jazz comrades (including Dizzy Gillespie and Sarah Vaughan), keenness for dressing in dark clothes and velvet pointed hats (and thereby being known around town as “a witch”), enthusiasm for 1920’s Rolls Royces (of which she owned three throughout her lifetime), and, of course, her simple compositions that melded both reality and fantasy.
White Cat, 1935-1938 by Gertrude Abercrombie
Reblogged from darksilenceinsuburbia
So poignant and engaging in its unpretentiousness and simplicity of composition.
The woman crawling through the tawny grass was the artist’s neighbor in Maine, who, crippled by polio, “was limited physically but by no means spiritually.” Wyeth further explained, “The challenge to me was to do justice to her extraordinary conquest of a life which most people would consider hopeless.” He recorded the arid landscape, rural house, and shacks with great detail, painting minute blades of grass, individual strands of hair, and nuances of light and shadow.
on Nomi Nickel’s wall.
Jan Toorop – Tonny Dreesmann, 1926
William Sergeant Kendall (1869–1938) – Psyche, 1909
Leonora Carrington (Mexican, born England, 1917)
Self-Portrait, circa 1937–38
»I remember originally being intrigued by this piece upon ogling it in The Pierre and Maria-Gaetana Matisse Collection special exhibition (May 18, 2004–June 26, 2005) at The Met while still in high school.