Thursday, March 30, 2017
Wednesday, March 29, 2017
Tuesday, March 28, 2017
Monday, March 27, 2017
Saturday, March 25, 2017
"Dubuffet coined the term art brut (meaning "raw art," often referred to as 'outsider art') for art produced by non-professionals working outside aesthetic norms, such as art by psychiatric patients, prisoners, and children. Dubuffet felt that the simple life of the everyday human being contained more art and poetry than did academic art, or great painting. He found the latter to be isolating, mundane, and pretentious, and wrote in his Prospectus aux amateurs de tout genre that his aim was 'not the mere gratification of a handful of specialists, but rather the man in the street when he comes home from work....it is the man in the street whom I feel closest to, with whom I want to make friends and enter into confidence, and he is the one I want to please and enchant by means of my work.' To that end, Dubuffet began to search for an art form in which everyone could participate and by which everyone could be entertained. He sought to create an art as free from intellectual concerns as Art Brut, and as a result, his work often appears primitive and childlike. His form is often compared to wall scratchings and children's art." ~ Wikipedia
Friday, March 24, 2017
Thursday, March 23, 2017
Wednesday, March 22, 2017
"L’Homme qui marche I (The Walking Man I or The Striding Man I, lit. The Man who Walks I) is the name of any one of the cast bronze sculptures that comprise six numbered editions plus four artist proofs created by Swiss sculptor Alberto Giacometti in 1961. On 3 February 2010, the second edition of the cast of the sculpture became one of the most expensive works of art ever sold at auction, and which is sold for about $104.3 million the most expensive sculpture, until May 2015, when another Giacometti work, L'Homme au doigt, surpassed it." ~ Wikipedia
Tuesday, March 21, 2017
Monday, March 20, 2017
Barbara Kruger, Untitled, 2013, digital print on vinyl at the National Gallery of Art
"A focused exhibition featuring the work of American artist Barbara Kruger (b. 1945) reopens the East Building Tower Gallery after nearly three years of renovation to the space. Inspired by the Gallery's recent acquisition of Kruger's Untitled (Know nothing, Believe anything, Forget everything) (1987/2014), the exhibition comprises related images of faces and figures in profile over which Kruger has superimposed her striking phrases and figures of speech. The distinctive direct address of Kruger's texts (using active verbs and personal pronouns) confronts viewers straight on, contrasting with her selected images of side-glancing figures, receiving and averting the audience’s gaze. The results are arresting conceptual works of visual power and wit." ~ National Gallery of Art
Sunday, March 19, 2017
Saturday, March 18, 2017
"Frank Stella, an iconic figure of postwar American art, is considered the most influential painter of a generation that moved beyond Abstract Expressionism toward Minimalism. In his early work, Stella attempted to drain any external meaning or symbolism from painting, reducing his images to geometric form and eliminating illusionistic effects. His goal was to make paintings in which pictorial force came from materiality, not from symbolic meaning. He famously quipped, “What you see is what you see,” a statement that became the unofficial credo of Minimalist practice. In the 1980s and '90s, Stella turned away from Minimalism, adopting a more additive approach for a series of twisting, monumental, polychromatic metal wall reliefs and sculptures based on Herman Melville’s Moby Dick." ~ www.artsy.net
Friday, March 17, 2017
I smelled the chocolate before I realized that half the busts were made from chocolate.
"Janine Antoni is a contemporary artist, who creates work in performance art, sculpture, and photography. Antoni's works focus mostly on process and the transitions between the making and finished product." ~ Wikipedia
Thursday, March 16, 2017
Wednesday, March 15, 2017
A very difficult work to capture adequately on camera. It really is one of those
pieces you have to see for yourself to fully appreciate.
Field Painting, for example, pivots references both to art-making and Johns’ own career. The primary colors red, yellow, and blue are spelled out in letters hinged perpendicularly to the canvas, where they also appear in stencil-like doubles. Attached to them are various studio tools. The Savarin coffee tin and Ballantine beer can both allude to Johns' studio paraphernalia and to his appropriation of them as motifs in his work. Passages of smeared and dripped paint, a footprint, light switch, and a neon “R” collude with other visual codes to multiply the possibility of associations.
Tuesday, March 14, 2017
Monday, March 13, 2017
So I can see you were not all equally enamored with the Joan Mitchell abstract painting I shared yesterday. So here's a couple of different ways of looking at the same Gene Davis painting. Seems like ages ago when I went to see the Davis exhibit at the American Art Musuem, but it really was only a few months ago.
It's the same painting only viewed from different angles and focal lengths. And, yes, this actually did begin to mess with my eyeballs a bit. 8-)
Sunday, March 12, 2017
"Mitchell was a leading figure in the group of artists known as the second generation of abstract expressionists. In this painting, the bold, animated lines against a white ground capture Mitchell’s spontaneous and impulsive painting method. She often drew upon childhood memories of Lake Michigan when composing paintings, some of which she called “expressionist landscapes.” Because they are totally abstract, the viewer is invited to connect to her works on an emotional level." ~ National Gallery of Art
Saturday, March 11, 2017
"Number One, 1950 (Lavender Mist) embodies the artistic breakthrough Pollock reached between 1947 and 1950. It was painted in an old barn-turned-studio next to a small house on the East End of Long Island, where Pollock lived and worked from 1945 on. The property led directly to Accabonac Creek, where eelgrass marshes and gorgeous, watery light were a source of inspiration for him.
Pollock's method was based on his earlier experiments with dripping and splattering paint on ceramic, glass, and canvas on an easel. Now, he laid a large canvas on the floor of his studio barn, nearly covering the space. Using house paint, he dripped, poured, and flung pigment from loaded brushes and sticks while walking around it. He said that this was his way of being "in" his work, acting as a medium in the creative process. For Pollock, who admired the sand painting of the American Indians, summoning webs of color to his canvases and making them balanced, complete, and lyrical, was almost an act of ritual. Like an ancient cave painter, he 'signed' Lavender Mist in the upper left corner and at the top of the canvas with his handprints." ~ www.jackson-pollock.org
Friday, March 10, 2017
"Alberto Giacometti (10 October 1901 – 11 January 1966) was a Swiss sculptor, painter, draughtsman and printmaker. He was born in the canton Graubünden's southerly alpine valley Val Bregaglia, as the eldest of four children to Giovanni Giacometti, a well-known post-Impressionist painter. Coming from an artistic background, he was interested in art from an early age." ~ Wikipedia
Thursday, March 9, 2017
"Henri Julien Félix Rousseau was a French post-impressionist painter in the Naïve or Primitive manner. He was also known as Le Douanier, a humorous description of his occupation as a toll collector. Ridiculed during his lifetime by critics, he came to be recognized as a self-taught genius whose works are of high artistic quality. Rousseau's work exerted an extensive influence on several generations of avant-garde artists." ~ Wikipedia
Wednesday, March 8, 2017
Tuesday, March 7, 2017
Now, back to the National Gallery of Art and some of my favorite paintings from a visit a couple of weeks ago.
Monday, March 6, 2017
Sunday, March 5, 2017
Saturday, March 4, 2017
Friday, March 3, 2017
Originally the Not My President's Rally at Dupont Circle was just that, a rally. No marching. Only, as the speakers spoke, the crowd swelled until the decision was made to march on the White House, causing the police to scramble.
Per usual, the D.C. police responded with alacrity both in the air and on the ground.