#abstract expressionism american artistic triumph | Explore Tumblr Posts and Blogs

dailyrothko · 1 month

Text

No, the Popularity of Abstract Art is Not the Result of a CIA PsyOp

If you are unlucky enough to move around the internet these days and talk about art, you’ll find that many “First commenters” will hit you with what they see as some hard truth about your taste in art. Comments usually start with how modern art is “money laundering” always comically misunderstanding what that means. What they are saying is that, of course, rich people use investments as tax shelters and things like expensive antiques and art appraised at high prices to increase their net worth. Oh my god, I’ve been red-pilled. The rich getting richer? I have never heard of such a thing.

What is conveniently left out of this type of comment is that the same valuation and financial shenanigans occur with baseball cards, wine, vacation homes, guitars, and dozens of other things. It does indeed happen with art, but even the kind that the most conservative internet curator can appreciate. After all, Rembrandts are worth money too, you just don’t see many because he’s not making any more of them. The only appropriate response to these people who are, almost inevitably themselves, the worst artists you have ever seen, is silence. It would cruel to ask about their own art because there’s a danger they might actually enjoy such a truly novel experience.

When you are done shaking your head that you just subjected yourself to an argument about the venality of poor artists plotting to make their work valuable after they died, you can certainly then enjoy the accompanying felicity of the revelation they have saved to knock you off your feet: “Abstract art is a CIA PsyOp”

Here one must get ready either to type a lot or to simply say “Except factually” and go along your merry, abstract-art-loving way. But what are the facts? Unsurprisingly with things involving US government covert operations, the facts are not so clear.

Like everything on the internet, you are unlikely to find factual roots to the arguments about government conspiracies and modern art. The mere idea of it is enough to bring blossom for the “I’m not a sheep” crowd, some of whom believe that a gold toilet owning former president is a morally good, honest hard-working man of the people.

The roots of this contention come from a 1973 article in Artforum magazine, where art critic Max Kozloff wrote about post-war American painting in the context of the Cold War, centering around Irving Sandler’s book, The Triumph of American Painting (1970). Kozloff takes on more than just abstract expressionism in his article but condemns the “Self-congratulatory mood”of Sandler’s book and goes on to suggest the rise of abstract expressionism was a “Benevolent form of propaganda”. Kozoloff treads a difficult line here, asserting that abstraction was genuinely important to American art but that its luminaries, “have acquired their present blue-chip status partly through elements in their work that affirm our most recognizable norms and mores.”

While there were rumblings of agreements around Kozloff’s article of broad concerns, it did not give birth to an actual conspiracy theory at the time. The real public apprehension of this idea seems to mostly come from articles written by historian Frances Stonor Saunders in support of her book, “The Cultural Cold War: The CIA and the World of Arts and Letters” (New York, New Press, 2000). (I have not read this 525 page book, only excerpts).

The gist of Ms. Saunders argument is a tantalizing, but mostly unsupported, labyrinthine maze of back door funding and novelistic cloak and dagger deals. According to Saunders, the Congress for Cultural Freedom (CCF), an anti-communist cultural organization founded in 1950, was behind the promotion of Abstract art as part of their effort to be opinion makers in the war against communism. In 1966 it was revealed that the CCF was funded by the CIA. Saunders says that the CCF financed a litany of art exhibitions including “The New American Painting” which toured Europe in the late 1950s. Some of this is true, but it’s difficult, if not impossible, to know the specifics.

Noted expert in abstract-expressionism, David Anfam said CIA presence was real. It was “a well-documented fact” that the CIA co-opted Abstract Expressionism in their propaganda war against Russia. “Even The New American Painting [exhibition] had some CIA funding behind it,” he says. But the reasons for this are not quite what the abstract art detractors might be looking for. After all, the CCF also funded the travel expenses for the Boston Symphony Orchestra and promoted Fodor’s travel guides. More than trying to pull the wool over anyone’s eyes, it was meant to showcase the freedom artists in the US. enjoyed. Or as Anfam goes on to say, “It’s a very shrewd and cynical strategy, because it showed that you could do whatever you liked in America.”

For what it’s worth, Saunders’s book was eviscerated in the Summer 2000 issue of Art Forum at the time of its publication. Robert Simon wrote:

“Saunders draws extensively on primary and secondary sources, focusing on the convoluted money trail as it twists through dummy corporations, front men, anonymous donors, and phony fund-raising events aimed at filling the CCF’s coffers. She makes lengthy forays into such topics as McCarthyism, the formation and operation of the CIA, the propaganda work of the Hollywood film industry, and New York cultural politics—from Partisan Review to MoMA to Abstract Expressionism. Yet what seems strangely absent from Saunders’s panoramic history, as if it were a minor detail or something too obvious to require discussion, is the cultural object itself: The complex specifics of the texts, exhibitions, intellectual gatherings, paintings, and performances of the culture war are largely left out of the story.”

Another problem with the book seems to be that Saunders is an historian but not an art historian. For me, I sensed an overtone of superiority in the tale she’s spinning and most assuredly from those that repeat its conclusion. The thinly veiled message of some is that if it were “Real art” it would not have had be part of this government subterfuge. The reality is very different. For one thing, most of us know it is simply not true that you can make people devoted to a type of art for 100 years that they would sensibly hate otherwise. Another issue is that it’s quite obvious none of the artists actually knew about any government interference if there was any. Pollock, Rothko, Gottlieb and Newmann were all either communists or anarchists. Hardly the group one would recruit the help the US government free the world of communism. Additionally, this narrow cold war timeline ignores a huge amount of abstract art that Jackson Pollock haters also revile and consider part of the same hijacking of high (Frankly, Greek, Roman, or Renaissance) culture. If you look at the highly abstract signature work of Piet Mondrian and observe the dates they were painted, you’ll see 1908, 1914, 1916. This is some of the art denigrated as a CIA PsyOP, 35 years before the CIA even thought about it. Modern art didn’t come from nowhere as many would have you believe to discredit its rise. There was Surrealism, Dada, Bauhaus, Russian futurism and a host of other movements that fueled it.

Generally, people like to argue. On the internet, “I don’t like this” is a weak statement that always must be replaced by “This is garbage” or my favorite, “This is fake.”

It’s hardly surprising that the more conservative factions of our society look for any government involvement in our lives to explain why things are not exactly as they wish them to be, given the (highly ironic) conservative government-blaming that blew up after Reagan. In addition, modern fascists have always had a love affair with the classical fantasy of Greece and Rome. Both Mussolini and Hitler used Greece and Rome as “Distant models” to address their uncertain national identity. The Nazis confiscated more than 5,000 works in German museums, presenting 650 of them in the Entartete Kunst (Degenerate Art, 1937) show to demonstrate the perverted nature of modern art. It featured artists including Marc Chagall, Max Ernst, Wassily Kandinsky, and Paul Klee, among others. The fear of art was real. It was the fear of ideas.

To a lot of people on the internet just the mentioning a “CIA program” is enough to get the cogs turning, but as with many things, the reality of CIA programs and government plots is often less than evidence of well planned coup.

The CIA reportedly spent 20 millions dollars on Operation Acoustic Kitty which intended to use cats to spy on the Kremlin and Soviet embassies. Microphones were planted on cats and plans were set in motion to get the cats to surreptitiously record important conversations. However, the CIA soon discovered that they were cats and not agreeable to any kind of regulation of their behavior.

As part of Operation Mongoose the CIA planned to undermine Castro's public image by putting thallium salts in his shoes, which would cause his beard to fall out, while he was on a trip outside Cuba. He was expected to leave his shoes outside his hotel room to be polished, at which point the salts would be administered. The plan was abandoned because Castro canceled the trip.

Regardless of your feelings on this subject or how much you believe abstract art benefited from government dollars, Saunders herself quotes in her book a CIA officer apparently involved in these “Long leash” influence operations. He says, “We wanted to unite all the people who were writers, who were musicians, who were artists, to demonstrate that the West and the United States was devoted to freedom of expression and to intellectual achievement, without any rigid barriers as to what you must write, and what you must say, and what you must do.” Hardly the Illuminati plot we were promised.

In 2016, Irving Sandler, author of the book that started Kozloff tirading in 1973, told Alastair Sooke of The Daily Telegraph, “There was absolutely no involvement of any government agency. I haven’t seen a single fact that indicates there was this kind of collusion. Surely, by now, something – anything – would have emerged. And isn’t it interesting that the federal government at the time considered Abstract Expressionism a Communist plot to undermine American society?”

This blog post contains information and quotes sourced from The Piper Played to Us All: Orchestrating the Cultural Cold War in the USA, Europe, and Latin America, Russell H. Bartley International Journal of Politics, Culture, and Society, Vol. 14, No. 3 (Spring, 2001), pp. 571-619 (49 pages) https://www.bbc.com/culture/article/20161004-was-modern-art-a-weapon-of-the-cia https://brill.com/view/journals/fasc/8/2/article-p127_127.xml?language=en https://www.guggenheim-bilbao.eus/en/learn/schools/teachers-guides/the-dark-side-of-classicism https://www.artforum.com/features/american-painting-during-the-cold-war-212902/ https://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html https://www.artforum.com/columns/frances-stonor-saunders-162391/ https://www.artforum.com/features/abstract-expressionism-weapon-of-the-cold-war-214234/ Mark Rothko and the Development of American Modernism 1938-1948 Jonathan Harris, Oxford Art Journal, Vol. 11, No. 1 (1988), pp. 40-50 (11 pages)

#mark rothko #markrothko #rothko #daily rothko #dailyrothko #abstract expressionism #modern art #abstraction #colorfield #ab ex #colorfield painting #mid century #CIA #pysop

389 notes · View notes

eternal3d2d · 5 months

Link

0 notes

chocolateheal · 6 years

Text

The Reasons Why We Love American Abstract Expressionism | american abstract expressionism

The Reasons Why We Love American Abstract Expressionism | american abstract expressionism – american abstract expressionism | Encouraged in order to my own blog site, in this particular time I will demonstrate in relation to keyword. And from now on, this is actually the first picture:

Female abstract expressionists get their due – american abstract expressionism | american abstract expressionism

Why not consider photograph previously mentioned? will be that amazing???. if you think maybe so, I’l l teach you some picture once again down below:

So, if you’d like to secure all of these awesome photos about (The Reasons Why We Love American Abstract Expressionism | american abstract expressionism), click on save link to save these pictures to your pc. They’re prepared for download, if you like and wish to grab it, simply click save badge on the article, and it will be directly saved in your home computer.} At last in order to gain unique and latest photo related to (The Reasons Why We Love American Abstract Expressionism | american abstract expressionism), please follow us on google plus or save this page, we try our best to offer you daily update with all new and fresh photos. Hope you like staying here. For some updates and recent information about (The Reasons Why We Love American Abstract Expressionism | american abstract expressionism) images, please kindly follow us on twitter, path, Instagram and google plus, or you mark this page on bookmark area, We attempt to present you up-date periodically with fresh and new pictures, enjoy your surfing, and find the best for you.

Here you are at our website, articleabove (The Reasons Why We Love American Abstract Expressionism | american abstract expressionism) published . Today we are excited to announce we have discovered an incrediblyinteresting topicto be pointed out, namely (The Reasons Why We Love American Abstract Expressionism | american abstract expressionism) Many individuals trying to find details about(The Reasons Why We Love American Abstract Expressionism | american abstract expressionism) and certainly one of them is you, is not it?

“Radio Signals #2” – american abstract expressionism | american abstract expressionism

Joe (Joseph) Stefanelli American Abstract Expressionist … – american abstract expressionism | american abstract expressionism

Albert Kotin (1907-1980) an early American abstract … – american abstract expressionism | american abstract expressionism

199s American Abstract Expressionism Painting For Sale at 19stdibs – american abstract expressionism | american abstract expressionism

action painting abstract expressionism – Ecosia – american abstract expressionism | american abstract expressionism

Abstract Expressionism – american abstract expressionism | american abstract expressionism

Q and Art: Abstract Expressionism | Smithsonian American Art Museum – american abstract expressionism | american abstract expressionism

A groundbreaking show to confront the gender bias in art … – american abstract expressionism | american abstract expressionism

American Abstract Expressionism Triumphs At The Guggenheim Bilbao … – american abstract expressionism | american abstract expressionism

“Where I Went In The Library” – american abstract expressionism | american abstract expressionism

Abstract Expressionist Art American Abstract Expressionism Painting … – american abstract expressionism | american abstract expressionism

Master of Abstract Expressionism | Edward Clark | ART | library deco – american abstract expressionism | american abstract expressionism

Lee Krasner was an influential American abstract expressionist … – american abstract expressionism | american abstract expressionism

George McNeil ~ Abstract expressionist painter | Tutt'Art … – american abstract expressionism | american abstract expressionism

What Is Abstract Expressionism? – Artsy – american abstract expressionism | american abstract expressionism

Ten Secrets About African American Abstract Expressionism That Has … – american abstract expressionism | american abstract expressionism

“Book Club” – american abstract expressionism | american abstract expressionism

Abstract Expressionism – Hardaway High Art Department – american abstract expressionism | american abstract expressionism

from WordPress https://americanartist.club/the-reasons-why-we-love-american-abstract-expressionism-american-abstract-expressionism/

#usa action artist #abstract expressionism american artistic triumph #african american abstract expre

0 notes

disuvero-declaration · 23 years

Photo

Article / “Declaration of Spirit: An Interview with Mark di Suvero,” Venice Magazine by William Turner / June 2001

As you walk toward Venice Beach past the end of Windward Avenue, Mark di Suvero's newly installed sculpture greets you with breathtaking suddenness. Out of the tangled cadence of slightly swaying palms, "Declaration" soars majestically above gentle explosions of fronds. As with much of di Suvero's work, massive steel beams converge in impossibly graceful balance, so that your awareness of staggering weight and size gives way to an exhilarating sense of space and possibility.

Mark di Suvero has installed this piece, in cooperation with LA Louver, to mark the occasion of the Venice Art Walk's 22 nd year in support of the Venice Family Clinic. Di Suvero's work couldn't be a more perfect choice. As long time friend Laddie John Dill said at the commemoration, "Mark has this incredible commitment to peace and the human spirit." That a work of such scale is conceived and implemented by a man with a broken back, who stands with support of twin canes, is remarkable testament to the triumph of that spirit.

Mark di Suvero was born in Shanghai in 1933 and came to San Francisco in 1941. Di Suvero's early work of the late fifties were often fabrications of found objects; tires, cable, rope, lumber and steel which he combined to create unusually graceful and delicate sculptures. A nearly fatal studio accident, in 1960, left di Suvero with a broken back and confined to a wheel chair for several years. Yet by the mid-sixties, di Suvero's work on large scale steel sculptures had resumed with greater ambition than ever.

It is impossible to stand before di Suvero's powerful, lyrically balanced sculptures without a sense of wonder at how they came into being. When I met di Suvero at the site for "Declaration" , he was wearing his characteristic hard hat and had just finished the installation with his small crew. The cranes and lifts surrounding the 60 foot high piece were no help in imagining how he did it. Yet after spending time with Mark di Suvero, you realize that with passion and energy all things are possible.

Venice: Let's talk about the piece you just installed, "Declaration" . I went earlier today and it was so big that that I didn't see it at first. I was looking down too low-

Mark di Suvero: Too low huh? Are you sure it wasn't the pollution that made it blend into the background?

Well the trees do have an interesting effect with it.

Peter [Goulds, owner of LA Louver Gallery] promised to paint it fluorescent orange, himself. I like the idea.

Put him to work.

Yes. Do you want to talk about the artists' of Venice that I've known?

Sure. Why don't we start with that.

Okay. There is Guy Dill, and Laddie John Dill. And I like to look at the beautiful pieces of Kenny Price that are here. Joe Goode, and people like that. They were all working when I was working in the city. It was when we were all awake and alive, some thirty years ago

Yeah, late sixties, early seventies?

Late sixties just up to seventy.

And you lived in the West Hollywood area?

West Hollywood, and then in Pasadena. Pasadena has changed completely. Of course thirty years ago, for Los Angeles, means a couple of generations ago. (Laughs) It is different now.

A lot of those artists- Larry Bell, Robert Irwin, De Wain Valentine, Billy Al Bengston-worked with materials like polyester and resin, pursuing ideas about light and space-

-They were the cutting edge, Finish / Fetish, the whole idea of abstract expressionism, or "A.E.". go on-

Did you have any flirtation with those materials or ideas? How did you see yourself fitting in artistically?

No. They kind of refused me. I was from New York, although we were all friends. They were supposedly of another type, and I didn't quite fit in. The work I was doing was too raw, or seemed raw. It seemed funky. It seemed direct, and that wasn't what they were doing. But they liked me, because there was that sense that we were all working together and had something.

Who were your early influences as an artist?

Early influences...well, how far back do you want me to go?

I'll let you decide.

I had to do a studio class today, for Otis, and I talked to them about the Venus of Willendorf and Brancusi as two different poles. As two different time sets. You look at the Venus of Willendorf and you look at Brancusi as really deep influences. People that I liked, of course were...what... you weren't born in the Fifties-

Fifty-three.

So that's about when I started. I started in about '55. I was in school. The people that I really looked at, at the time were people like Gonzales and Henry Moore, who was considered modern. There was Picasso, there was Brancusi, there were the Americans like, ah help me-

-David Smith -

Yeah, David Smith, those people.

When did you feel your work began to develop its current identity?

After I had my back broken, that's when I really was able to finally start welding, no longer working just with wood. I looked a lot at the Russian Constructivists, so by the time I came to L.A., I was working with heavy wood, large I-beams. I had already done pieces like "Maryann Moore" , which is now in the Mall in Washington D.C. So what they call my signature style, which is actually sculpture that is the right size and scale for working with a truck crane, had already been reached. Although I hadn't reached it to the level of this piece, "Declaration" .

Even your smaller works have a wonderful monumentality to them. If you look at them out of any context of scale, they could be huge.

I talked to Don Judd about that. We were talking about scale as this kind of internal reference. For me, the real struggle for sculpture since the very early sixties has to do with space. The people who really began that spatial exploration were Rodin with his "Burghers of Calais" . Not the one you have here in LA [at the LA County Museum], which is all wrong spatially, but the one where they are spread out and they look like they are lost and in lost directions. Then it goes into Giacometti, with his "Men in a Square" , where everybody looks like they have nothing to do with each other, they're going all in different ways. There is that sense of space and scale which is really completely different from the previous ideas- the monuments, the monoliths- where the space is enclosing. A lot of the people in L.A. when I was working here, did not have that. They were into Andy Warhol, and that Finish / Fetish stuff, and stuff like that. So I was a little bit out of it, and finally I had to leave. So it wasn't only because of Norton Simon-

What was your run-in with Norton Simon?

When I returned after the Vietnam War, Norton Simon said to me that I had to get my piece out of there, [the Pasadena Museum] and that they would pay for the crane to bring it down but they would not pay for the truck. So I had to pay for the truck back to my studio. The piece ended up back in my studio and later near a Phillip Johnson building.

That was right after Norton Simon took over the Pasadena Museum?

Yes. Then he destroyed it.

I know for a lot of you back then, the Pasadena Museum was a real seminal, supportive environment.

Exactly.

From everyone I've talked to, the Pasadena Museum had a huge impact on the development of an artistic sensibility in Los Angeles. It was really the beginning...

Yup! John Coplans was there and Barbara Haskell. Then Norton Simon came in, it had to do with their budget, and they lost it.

A big loss at the time, for LA artists.

What is there now, LACMA, right? There's the Contemporary [Museum of Contemporary Art] right? Then there's the Temporary Contemporary [Geffen Contemporary] -which has done so much, I think.

One of the Geffen's most impressive recent shows was the one for Richard Serra-

I didn't see it, but it also went to Bilbao and it was a big success in there.

You and Serra both work with massively large scale steel sculptures. Although they are clearly quite different in style, are you pursuing similar sculptural and spatial concerns?

There's a great deal of difference, although we grew up together. Same area, we had only one house between us. We grew up in the same neighborhood. No, I think Richard has had terrific influence, and although we work in the same material there are strong differences. I asked Dick Bellamy to show Nancy Graves, that's when they were together, but he showed Richard Serra. I think that Nancy Graves is in some ways so wild and explorative and Richard has a different psychological zone to him.

Let's talk about this piece for a minute. It has a feeling of celebration of life. But there's also something quite sexual about it-

Sensual or Sexual?

Well, perhaps sensual with a sexual twist?

Well, when I suggested bungie cords with a bed at the bottom, there were people who said that it wouldn't work in Venice, it would get worn out! (laughs).

In conceiving of "Declaration", was there any thought in terms of the theme of that particular piece? Did that have anything to do with commemorating the Venice Family Clinic?

No it didn't. I had built the piece and had already finished it. It was already in position when Peter [Goulds] first saw it. It's a heavy piece, for me but I think that it has that thing I aimed for.

What do you aim for?

I've been writing a book for the last thirty years and it has to do with the human perception of structure. The idea of symbolic structures in language, math, and art. Maybe it's going to get published. It has in it photos of a hundred pieces of sculptures that are more than five meters tall. The photos will say something about the sculpture and my choice of poetry will say something about my vision of structure in poetry, which is what I think is necessary to make a work glow.

So you see a parallel between the structural form of sculpture and the structural form of language and poetry?

I had to jam the book together to say it to you, but there's a dimension in there that you are correct in, but I wouldn't quite say it that way.

In terms of the massive scale of this piece, relative to the scale of the viewer, there is a sensation that is quite humbling. When you walk up to it, the piece becomes almost overwhelming in its size.

I would like to think not that it's humbling but that it expands your sense of possibility of spirit. After all, I realize that for the last 40 years that I've been handicapped, I'd like kids to feel, "Wow, if someone handicapped can do that, I sure can!". I like there to be a certain level of participation. Whether its in small pieces where there's touch and you have that sense of feel or with pieces with swinging beds, which work on your sense of balance. I've done these pieces where people walk right through the sculpture-

Which "Declaration" invites you to do.

Yes. That goes back some thirty odd years.

Upon seeing "Declaration", my first reaction was that I wished that there weren't palm trees behind it so that I could really see the stark contrast of the structure against the vast expanse of the ocean. But on further reflection, I like how something of that scale is initially lost in the trees and then suddenly erupts from the landscape behind it and towers against the sky.

You know there's an ecstatic poet named Rumey. Do you know his work?

I don't.

I dedicated a work to him years ago. It was shown in New York and at the Guggenheim in Venezia. It's in Kansas City now. He talks about ecstacy. Its a joining of the world with the world in a way that is, and should be, joyous and brilliant and colorful and all of it, all at once. Which is why I want Peter to paint that piece fluorescent orange. He should start from the top. He suggested a sable brush!

I heard him and I hope that he does because that will mean that it will be here for a lot longer than the four months that is planned.

I'm afraid it will get tagged more often - but that's OK too.

In spite of the fact that you say "Declaration" was not specifically created for the Venice Family Clinic, it seems like a great choice because it feels like such a life affirming piece.

Well, I would like it to be that. You know I told Peter when they demanded a building permit two days before it went up, that if he didn't get the permit then there was no show. I would not deliver the piece, although it was half loaded onto the trucks. But I still felt positive about it because of doing the lithographs (for the Venice Family Clinic), doing the posters and T-shirts, which I don't normally do. But I felt it was all going for a really righteous type of thinking. That Family Clinic is terrific. I think that Liz Forer and the people that work there and volunteer are the best part of America.

#mark di suvero #declaration #venice #venice beach #california #public art #los angeles #sculpture #public sculpture #mark di suvero declaration #installation #venice magazine

0 notes

alexej-jawlensky · 7 years

Link

Joan Mitchell (1926-1992) was one of the few women among the first-rank Abstract Expressionist painters. She outpaced all but a handful of her male mentors and counterparts, while only Lee Krasner stands as a possible rival among her female counterparts. Although well regarded by critics, fellow artists, and the general public, Mitchell's achievement has never received full recognition; her work has not been shown in New York for more than twenty-five years. This exquisitely illustrated volume and the exhibition that it accompanies restore the artist to her rightful place in the history of American painting. Spanning Mitchell's entire career, from early works of 1951 until the year of her death, The Paintings of Joan Mitchell includes a wealth of breathtaking paintings, both intimate and grand in scale, that reveal Mitchell's fierce dedication to her art and reflect both the struggles and the artistic triumphs she achieved with her distinctive vision of Abstract Expressionism. Jane Livingston draws on the artist's personal papers, including her journals and extensive correspondence, to provide an illuminating interpretation of the artist and her work. Linda Nochlin, who was a friend of Mitchell, discusses the artist's experience working in a field dominated by men. A third text by Whitney Curator Yvette Lee explores a distinctive and little-known suite of paintings entitled La Grande Vallée, created in 1983-84. Mounted with the full cooperation of the estate of Joan Mitchell, the exhibition contains many paintings rarely seen before--and in some cases never publicly exhibited. This book includes an exhibition history; an extensive artist bibliography of related monographs, reviews, and filmed interviews; and color plates and listing of all the works appearing in the exhibition.

View on Amazon

#expressionism #joanmitchell #artbook #amazon #paperback

10 notes · View notes

artist-kokoschka · 8 years

Photo

The Paintings of Joan Mitchell

View on Amazon

#artbook #joanmitchell #paperback #amazon #expressionism

13 notes · View notes

teethdollar47-blog · 5 years

Text

Professor Brad Evans published in the LA Review of Books

“You think my paintings are calm, like windows in some cathedral? You should look again. I’m the most violent of all the American painters. Behind those colors there hides the final cataclysm.” — Mark Rothko

As a critical theorist who works on aesthetics and who believes that the political is an art form, I am continually haunted by the relationship between violence and images. Is there anything left to say about this relationship, when the triumph of the spectacle seemingly denies any sustained reflection? While the figurative remained a dominant standard for representation until the post-war period, the nihilism of the times brought the very figure of the human as an aesthetic form into question. Humanity had to confront the violence of its own humanism. As Barnett Newman noted, “After the monstrosity of the war, what do we do? What is there to paint? We have to start all over again.” The emergence of abstract expressionism became synonymous with those artists who were so disillusioned by the violence of the human condition, consecrated and mobilized by aesthetic ideas of its perfectibility, they turned away from the figurative to ask still unanswered questions about what it means to be human. While disavowing any formal association with any movement, no artists better captured the early power of this aesthetic turn than Mark Rothko, whose immersive mindscapes are less about the Dante inspired journey into the flesh of the earth, than opening up wounds in time.

Rothko’s life (as is well documented) was full of personal tragedy, culminating in his suicide in 1970. It is perhaps no coincidence he was notably inspired by the great tragic dramatists, from Aeschylus after whom a number of his paintings are named, onto Shakespeare and Nietzsche. In an essay titled “Whenever one begins to speculate,” Rothko draws attention to the importance of Nietzsche and his The Birth of Tragedy. As he explained, “It left an indelible impression on my mind and has forever coloured the syntax of my own reflections in questions of the art. And if it be asked why an essay which deals with Greek tragedy should play such a large part in a painter’s life, I can only say that the basic concerns for life are no different from the artist, for the poet, or the musician.” Such concerns for Rothko were the complete opposite of being “academic” and studiously painting whatever with technical mastery: “It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academism. There is no such thing as good painting about nothing. We assert that only that subject matter is valid which is tragic and timeless.”

During a recent visit to the TATE modern, I spent most of the occasion in the Rothko room in the privileged company of an abstract artist. Featuring a series of nine large murals, the viewer is reminded by the curatorial instruction of the artists intention who attempted to do what Michelangelo managed at the Laurentian Library in Florence, which for the Rothko “achieved just the kind of feeling I’m after — he makes the viewers feel that they are trapped in a room where all the doors and windows are bricked up, so that all they can do is butt their heads forever against the wall.” One of the lesser populated rooms at the time (Rothko in fact shows the real limits and failures of the modern gallery, horded with tourists passing each exhibit, looking without seeing, having to get through to witness everything with no time to reflect), the dimly lit space, which hosts these large and yet very intimate portraits, creates an immersive experience full of tragedy, terror, violence and yet optimism. Confronted by these large blocks of red, black and maroon colours, in the tranquillity of this setting, slowly you are unsure whether you are entering into the scene or whether the canvas is surrounding you as the active witness or unassuming accomplice to their drama. Being open to this immersive experience, the obscurities of his multiple layers begin to appear and envelope, though not as paint applied onto canvas, but rather as if the colours themselves are emerging from behind the frame. Rothko manages to give depth and perspective, while turning these flat and fixed installations into something truly dynamic in all their tensions. Rothko in fact not only takes us on a journey into the intimate depths of the psychic life of power, he allows you to glimpse at the void as you enter into a different relationship that is lost between space and time.

The brilliance of Rothko is to show how the abstract is not “outer-worldly.” On the contrary it is to take a journey into the intimate depths of human existence. Art was, as he indicated, “an adventure into an unknown world, which can be explored only by those willing to take the risk.” This has always been the fundamental mistake those who critique the abstract in thought also continue to make in their assumptions. Of course, to ask questions regarding the emotional and sensorial qualities of humanity does require alternative conceptual insight and the formation of new grammatical interventions. The scientist armed with their surgical tools is fully capable of dissecting a body, telling you how it functions, but never truly how it feels. And we can often remember how the feeling strikes us, much more than technical procedure, which is really irrelevant to our lived and shared experience. Thus as Rothko shows, to say the abstract is esoteric is born of the greatest ignorance, set in place by all too reductive regimes of truth. Rothko paints a battlefield of the soul, where the intimate is expelled for all to see, where the beauty and pain are revealed as part of all that we are emotionally, politically and philosophically, and where the greater task we confront is to face the obscure beasts that dwell within all our bodies. As the artist himself explained: “it was not that the figure had been removed… but the symbols for the figure. These new shapes say… what the figures said.”

Rothko asks how the eyes perceive, in the radiating darkness of color, the unknown depths of the void. While from a distance, the portraits simply look like linear boxes neatly mapped out, upon closer inspection they appear more like indeterminable gates whose lines are far from limiting or fixed into place. You can imagine their points of entry disappearing at any given moment. The lines Rothko paints flow through the time of the composition. He knows the shadows of emptiness, the temporality of the exhausting gradient to possible nothingness. That the black may swallow up the red any moment, this is the impression; and yet nothing is determined, for in changing depths of the emotional field, filled with unknowable possibility, everything returns. Rothko paints the passion of wound. His canvases bear witness to the scar that is never healed, like the future life of a ghost witnessing its own demise, but yet to be destroyed. He knows the layers, the depths of pain, and the blood that seeps out despite the attempt to mask the violence. Rothko paints the history of humanity, its passion and pain, the slow unfolding of time, life broken apart through the continuous movements of its devastating contradictions. He demands intensive reflection, to have the time to feel every emotion, to short circuit the immediacy of sensation, to be able to feel anew beyond the frustrations of representational schematics and the demands for immediate communication and truth. These portraits are far from static; they are a whirlwind in time, which in the slowness of witnessing the slow re and de composition of color intensifies everything. Rothko is burning. And his flames light a passage into the void for all to enter.

The layering of Rothko’s compositions is truly astounding, and terrifying as a result. What he effectively achieves is to bring light to the disappeared pigmentations of existence. Of course, Rothko’s work is haunted by a silence. There is no other way to engage with their presence. And what lies beneath does threaten to vanish at any given moment as time passes over their almost invisible semblances. Though it’s sometimes difficult to tell if something is emerging or fading away. It’s all a matter of perception. And it is a question of bringing things into light. Still what remains is precisely everything. The layers of history appear in the faintest of defiant specks. There is no nihilistic triumph or victory march into the realm of pure denial. Unlike Goya, Rothko doesn’t surrender or willingly give over to the violence the power of his colours. What is abstract defeats the abstention! And yet still there is no lasting comfort, for the terror of Rothko behind the open terrors of the wound is to confront the simplicity of disappearance as it appears in all its visible manifestations. Yet while nothing is certain, such simplicity on the part of the artist should not be confused for the mediocre. It takes a sophisticated mastery to achieve a visual idea that looking at what remains possible can confronts the notion that things can simply vanish. That history overlays and seeps out, reveals as much as it denies. Such can only be achieved with attention to the historic process.

Rothko shows how the artist is not merely someone who documents history. His work is a form of transgressive witnessing, in which the viewer is accompanied into the void of humanity by the obscure presence of many other poets from history. Nietzsche seemed to fear the abyss insomuch as it was a journey one undertook in solitude and from which one could return truly scarred by the most monstrous disfigurements. Unlike Dante, it is true that Rothko’s gates require you to enter alone. Virgil is not there to hold your hand. The passage into the non-place demands the intensity of solitary reflection. But in the absence of the figurative, the solitude quickly evaporates as this opening or wound in time allows you to both connect with the intimacy of a shared existence and feel the force of those colours, which paint the imagination. But again, unlike Dante, the return doesn’t guarantee paradise. As I left the room I returned back into the adjacent space, which housed Claude Monet’s “Water lilies.” I couldn’t help but feel this was the most violent image I had ever seen — or that every image has the potential to be truly violent if we give to it a certain narrative and eviscerate the human.

So what can we take from Rothko in terms of rethinking the ongoing struggle against the forces of nihilism? The artist asks, as I chose to hear, two very clear questions: What does it mean to disappear a body, a memory or an idea? And why is art so important in affirming our humanity is response to the real force that threatens our existence – the nihilism of the void? Disappearance as Rothko shows is precisely the evisceration of the creative act. It is the denial of a life and a surrendering to violence such that what really disappears is the idea and vision that the world can be different. While it is tempting to see humanity here as a universal subject, total in its unity, which emerges from the realization it is some endangered form, Rothko reminds us that the opposite is true. Humanity lives and breathes through its creative expressions. It outlives the suffocations and forced disappearances, which can either occur through forced complicity or outright annihilation.

Rothko thus provides us with the aesthetic opening through which the world’s beauty and pain can be rethought. His work is the lightning storm that may just be capable of destroying those alters of sacrifice, if only we are truly able to resurrect what remains yet to be discovered about the abstract in thought. Rothko’s call as we might chose to listen is for a timeless poetic reverie — an all too human connection to the ineffable, which recognizing the violence and confronting the intolerable at least asks whether a different order for thinking the meaning of existence is possible. This demands a rethinking of the political imagination and its images of thought. Art as Rothko shows, has an eternal future in the affirmation of its expression. When you give yourself the task of painting with whatever grammatical tools the pain of humanity, he reminds us that you are tracing invisible wounds. Not that the canvas is you as a pure reflection of the world or that you are the canvas like some authentic representational piece in the human jigsaw. There is no canvas as such, only a marking on a surface revealing the wounds of time.

Rothko shows us what was invisible now appears in the lines and movements, the depth of colour not merely representative, but a deep field of sensation which opens onto the abyss of despair. This forces us to give over to an uncomfortable concession. We need to recognize that the violence is also immersive, for it allows no separation between its past and future. But this is not to be defeated. Neither is it to confront violence with a purer “non-violent violence” of whatever critical persuasion. Such orientations are after-all merely a resurrection of the sacrificial by another more considered name. It demands instead a willingness to confront the intolerable depths of human suffering to steer history in a different direction. This cannot be achieved in denial or through absolution. The pain of humanity needs to be felt. This is why the transgressive witness must take that leap into the void. There is no alternative. But what does it mean to truly feel the beauty and pain of all the worlds obscure beasts? How do we even begin to try and find tenderness in its savagery, while being alert to the brutalities of devastating angelic disfigurements? What is the angelic and the bestial — of heaven and hell — are after all of this life, this world. Obscured yet all too real, their ghostly presence fills the void, shape shifting yet appearing with uncertain clarity, from a time within time. But still the unsettling questions continue to appear: Does anybody really have the courage to go there? Who dares to venture into this non-place? And how might we return anew, without being defeated by the pessimism of what is witnessed and confronting there and after? We know that very few send back postcards from the void. It is more than uncertain. It is the unknown unknowns.

The politics of pessimism and the dialecticians of history are merely complicit here in the unfolding drama of a history that remains wedded to the sacrificial model. When Nietzsche says that we need art to prevent us from dying from the truth, he can be seen to be placing art in direct conflict with hope. It’s not that hope is too idealistic. Rather hope is all too pessimistic. It only finds reasons in the yet to come, forgetting the poetics of past and present. Art as Rothko testifies is the counter to such hope. It offers us a resistance in the present, drawing its energies from the past, while instigating an affirmative movement from the abstract to the real, which in the very act of creation positions itself against the pessimism of the defeated. Art thus reveals the tragedy of hope. Hope as a false promise, guided by visions of water lilies and gardens of Eden. It is the actualization of the affirmative conditions of reality that short-circuits the reductiveness of idealism, the living towards a possible future that never was except for now in its actualization. But we shouldn’t idealize ourselves here. Art can undoubtedly speak to the pessimism of humanity. It can also appear enslaved and defeated, as the motor of a history that merely objectifies and consumes the realms of all appearance. And yet even the most pessimistic of artists (worthy of the naming) evokes the pessimistic in the denial of any image of a future, which is foreclosed for all eternity. Its message continues to outlive the investiture of human denials. Art then is not the fire. It’s the air that gives rise to the dancing flame defiantly raging in the wind — the unknowable force that dissolves pessimism as it is mobilized towards the effacement of the image, towards the image yet to come in all its poetic and brutally honest abstract realism. Or to put it another way, what would it mean to do justice to thoughts, words and actions in the same way that Rothko does justice to the intimate aesthetic field of human sensations?

Header image: Mark Rothko, Four Darks in Red, 1958.

Source: http://blog.lareviewofbooks.org/essays/wounds-time-need-rothko-ever/

0 notes

josieowenchs · 6 years

Text

My essay: How does Helen Frankenthaler’s ‘Mountains and Sea’ (1952) relate to the context in which it was made?

Helen Frankenthaler’s piece ‘Mountains and Sea’ (1952) abstractly depicts a rocky landscape inspired by her trip to Cape Breton. Frankenthaler was as abstract expressionist artist, who used her own ‘Soak Stain’ technique to create two dimensionality to her work which later inspired Morris Louis and Kenneth Noland who used the same technique. Frankenthaler appears to rendered this piece with no intention to describe the subject but rather to lead with her subconscious mind, a key feature of the Abstract Expressionist movement inspired by Surrealism. Alfred H. Barr Jr said in the exhibition catalogue for ‘The New American Painting’ exhibition that Abstract Expressionists ‘do nothing deliberately in their work to make ‘communication’ easy’. (Unknown, 1958)

Irving Sandler said that Abstract Expressionism was a ‘Triumph of American painting’ (Auping, 1987 pg 10) and America’s most important contribution to the history of art as it began to challenge the European avant garde. It first made its appearance in New York in the 1940s after World War two and the depression. Some said the movement came about when large American art institutions like MoMa joined with the political interests of the CIA and critics like Clement Greenberg, and a series of exhibitions like the ‘The New American painting’ were introduced around Europe during the Cold War. (Florencio, 2016) At this time art was made for a purpose such as advertising or marketing, this was far from the objective of abstract expressionist art which aimed to step away from realism and achieve individual creative freedom.

Helen Frankenthaler influenced the Abstract Expressionist through her notorious ‘Soak Stain’ technique. This developed Colour Field Painting later used by artists Mark Rothko and Clyfford Still. Clement Greenberg named this new form of painting as ‘Post Painterly Abstraction’. (Auping, 1987 pg 11) The ‘Soak Stain’ technique involved pouring thinned down paint onto a unprimed canvas on the floor which stained the weave of the material (National Gallery of Art Podcast, 2016). In ‘Mountains and Sea’ the thinned paint has formed pools on the canvas where Frankenthaler has allowed it to form its own shape without her control, a classic feature of the movement. Frankenthaler embraced this new aesthetic saying ‘there are no rules. That is how art is born, how breakthroughs happen. Go against the rules or ignore the rules. That is what invention is about’ (Frankenthaler, unknown date). Subconscious mark making can be found in the use of biomorphic charcoal lines in ‘Mountain and Sea’ which respond to the organic landscape in Cape Breton. These lines do not appear to follow the curves of the pools of paint on the canvas and seem individual. This spontaneous form of line can also be found in early surrealist work by Joan Miro or Arshile Gorky.

These techniques gave a new look and feel to the surface of the canvas which birthed a radically new spontaneous aesthetic which was fundamental to the development of the movement and a step away from figurism. Similar to Jackson Pollock’s paintings, the subject of Frankenthaler’s work can barely be distinguished, she claimed that when painting she is ‘trying to get at something - I didn’t know what until it was manifest’ (Frankenthaler, unknown date). Similarly, Pollock said that when working on his paintings ‘it is only after a sort of ‘get acquainted’ period that I see what I have been about’ (Auping, 1987 pg 10). Here it can be seen that both artists use an approach to creating work which channels ‘philosophic painting’ and subconsciousness and rejects emotional, mythic or religious content (Tate, 2018). Therefore Frankenthaler’s use of line, form and process relates to the attitude at the time where work was created with no intention of aesthetic outcome.

Abstract Expressionism thrived in America after Franklin Roosevelt’s ‘New Deal’ which was a series of programs aimed to achieve prosperity for Americans. Government funds went towards employing artists who were struggling after the Depression. This was a major help for the development of the movement for male artists. However, women struggled to find opportunities to exhibit their work and they still received criticism from male members of the Cedar Bar and Eighth Street Club. Clement Greenberg supported the movement but still criticised Grace Hartigan after she included figures in her work, brandishing her as ‘not even a painter’ (Marter, 1997 pg 21) and in his essay on Abstract Expressionism written in 1955 he excluded the works of female artists (Anfam, 2016). However, in 1951 the development of the Ninth Street Show allowed some women to exhibit their work annually and in the historical context of the movement women such as Frankenthaler and Joan Mitchell came to the fore.

The abstract expressionist movement received a lot of criticism because it destroyed the conventions of painting, some critics even calling the mark making ‘primitive’. The mark making in ‘Mountains and Sea’ and other paintings by Frankenthaler could be viewed in this way. In 1942, critic Lincoln Kirstein wrote in Harper’s Magazine that painting ‘was now about shapes and strokes instead of figures and portraits’ (Pirollo, 2015). He also argued that ‘what painting lacks today is what bad painting always lacks: adequate intellectual capacity and manual skill’ (Pirollo, 2015). Alternatively, Greenberg hugly supported the movement, claiming that it represented the most ‘advanced’ form of Western art (Florencio, 2016). He believed that the European avant garde could not progress in the same way as the abstract expressionists because Europe was being hindered by tradition. Additionally, Harold Rosenberg coined the term ‘Action Painters’ for artists like Pollock and De Kooning who would splash the paint onto the canvas. He believed that the action of creating art should itself be considered a work of art and this process should be worthy of dialogue. Frankenthaler’s approach to creating a painting from placing her canvas on the floor to moving around its edges pouring the paint can be seen as an entirely creative action and process.

In conclusion Frankenthaler’s piece ‘Mountains and Sea’ reflects its context in many ways. The application of paint and charcoal is reminiscent of the spontaneous attitude to mark making that Abstract Expressionism boasted. Additionally, the performative nature of creating this painting relates to other ‘action painter’ artists at the time. This ties in with the idea that in New York in the 1950s, the purpose of painting was to express the abstract subconscious and as Robert Hobbs said create ‘an aura in their work that would take the viewers away from the contemplation of a painting as an object and evoke the mystery of being’ (Wesleyan University, 2018) and take the first steps away from the European traditional avant garde.

Bibliography:

Anfam, D, (2016) How Abstract Expressionism changed modern art RA Magazine [Online] Available at: https://www.royalacademy.org.uk/article/abstract-expressionism-beyond-the-image

Accessed: 29/10/2018

Auping, M, (1987) Abstract Expressionism Mishawaka, Harry N Abrams Inc

Accessed: 31/10/2018

Barr, Alfred H, (1958). The New American Painting [exhibition catalogue], The international council for the museum of modern art, New York

Accessed: 01/11/2018

Florencio, J, (2016) Abstract Expressionism: How New York overtook Europe to become the epicentre of Western art [Online] Available at: https://theconversation.com/abstract-expressionism-how-new-york-overtook-europe-to-become-the-epicentre-of-western-art-65820

Accessed: 29/10/2018

Marter, J, Chanzit, G, Hobbs, R, Landau, E Landauer, S (1997) Women in Abstract Expressionism Yale University Press

Accessed: 03/11/2018

Pirollo, N (2015) Abstracted an artists journey Unknown publisher

Accessed: 30/10/2018

Shaffer, J, (2018) Helen Frankenthaler artist overview and analysis [Online] Available at: https://www.theartstory.org/artist-frankenthaler-helen.htm

Accessed: 02/11/2018

Tate, (2018) Abstract Expressionism [Online] Available at: https://www.tate.org.uk/art/art-terms/a/abstract-expressionism

Accessed: 01/11/2018

Unknown author, (2016) Mountains and Sea, Frankenthaler [Podcast] Available at: https://www.nga.gov/audio-video/audio/collection-highlights-east-building-english/mountains-and-sea-frankenthaler.html

Accessed: 31/10/2018

Unknown author, (2017) Helen Frankenthaler Foundation [Online] Available at: http://www.frankenthalerfoundation.org/helen/biography

Accessed: 02/11/2018

Wesleyan University (2018) Reactions to the rise of Abstract Expressionism [Online] Available at: http://chum338.blogs.wesleyan.edu/reactions-to-the-rise-of-abstract-expressionism/

Accessed:29/10/2018

Image reference:

WikiArt (2018) Mountains and Sea (1952) Helen Frankenthaler, [Online] Available at: https://www.wikiart.org/en/helen-frankenthaler/mountains-and-sea-1962

Accessed: 29/10/2018

0 notes

auntiegilli · 7 years

Text

Thomas Dowdeswell pulls back the curtain on current, controversial issues with surreal political satire, challenging the viewer to confront, digest and empathise with multiple perspectives, both literally and theoretically. His work is engaging, detailed, each brush stoke has meaning, during the last year and a half his style has changed dramatically. I caught up with him to talk about influences on his work and how his work is developing.

At home Thomas was surrounded by art books from an early age. He says about them ‘They were predominantly the Impressionists, Modigliani, German Expressionism they are at least the main ones I remember. I think it must have filtered into my blood across the years and started to take shape when I was in my early twenties studying about the political climate post 911, the Vietnam War, Globalisation and the American body-politic. It has been a natural evolution since I started in my twenties and continues to change.’

I asked him about the influences on his work ‘Two that stand out are Kasimir Malevich’s The Knife Grinder 1912 which greatly influenced my interest in geometric organisation and colour balancing and Pieter Bruegel’s The Triumph of Death c 1562 which highlights the everlasting struggle between life and death and is at once terrifying and re-assuring. I am currently bingeing on Francis Bacon which is changing completely how I look at art and the cataclysmic events which unfold before us daily’

Earlier this year his work was in New York at the Art Expo. Maxwell Chapman from Steidel Fine Art said of his work: ‘Dowdeswell’s surrealist style creates a dreamscape atmosphere where he deliberately juxtaposes imagery of desperation and opulence, victimization and exploitation, in an attempt to explore the inequality of society through a flurry of abstraction and symbolism. When expressed through structural shapes, the form and energy is reminiscent of Futurist Umberto Boccioni’s Elasticity (1912). But sometimes that flurry takes a complete abstract form, reminding the viewer of Kandinsky’s Compositions (1913), and thus the longing for liberation. Moreover, Dowdeswell’s faceless, indistinguishable figures have an uncanny resemblance to Salvador Dali’s ‘creature’ in The Persistence of Memory (1931) reinforcing the obscure, dreamlike setting and reiterating the inescapable confusion of the human condition.’

His work will next appear at Flux in London later this year. He is showing the most recent of his ‘American Series’ paintings. Wailing Wall Blues Pt One and Wailing Wall Blues Pt Two. He says ‘The series essentially addresses the American/Mexican wall both realistically and hypothetically while also discussing our social prejudices, the dangers of bigotry, racism, sexism, ageism, econophobia, (I think this could be a brand new word!) a subconscious fear of both the rich, the poor, and the middling, as we judge others on unknown economic grounds) and the fear of unknown minorities which are for the most part completely unfounded but have generated an untold power over our social, interpersonal and intra-personal interactions.’

He will also be showing two smaller ‘Self Portraits. On the Edge of Something Special’ which combine photos mixed with abstract figurative explorations. He adds ‘I am also nearing completion my first major sculpture ‘From the Hijab to the Hoodie” which may or may not be ready in time. Wait and see.’

I am curious about his American series as it is very different to his previous work (Conspicuous Consumption above). He said ‘I spent a long time exploring the geometric organisation of a painting, balancing shape, detail, colour and line and felt I had explored most avenues or at least understood how to make a detailed narrative. I had lost some sense of spontaneity and began to crave a simpler methodology and way of approaching a painting. It has been a most liberating experience, inspiring to the point of obsession. I am a lot freer in my brush strokes and have experiment more with my palette introducing a great range of blues, greens, grey’s and pinks and have learned to be less concerned about mistakes or mis-representations instead enjoying how a piece of work has its own life force and exists at the end of my arm and direction. It is this guiding role which I think is the most central to how I make a piece of art. To be in control enough to begin and direct an idea but also to respect that I don’t have all the answers. Like everything it is about finding the right balance between liberation and control. Most important of all is to know when to stop-when a piece is finished. In that sense my relation to my work has shifted a lot in just the past 6-12 months and my output increased.’

You can next see Thomas’ work at FLUX Exhibition in Chelsea 12-16 July.

Thomas Dowdeswell on Social Media

Website Instagram Twitter Facebook Blog

Surrealist satirical artist Thomas Dowdeswell and his latest work Thomas Dowdeswell pulls back the curtain on current, controversial issues with surreal political satire, challenging the viewer to confront, digest and empathise with multiple perspectives, both literally and theoretically.

#Art #artist #fine art #Political #Satire #Surrealism #Thomas Dowdeswell

0 notes

nofomoartworld · 8 years

Text

Hyperallergic: Remembrances of Betty Blayton-Taylor, Studio Museum Co-Founder and Harlem Arts Activist

Betty Blayton-Taylor (photo © Adjua Mantebea)

On Sunday, October 2, 2016, in the Bronx, Betty Blayton-Taylor, an unsung figure in the art world, quietly transitioned into the spiritual cosmos she often conjured in her abstract metaphysical work. She was 79. I first met Betty sometime in late 2012 or early 2013. As curator of AARP New York’s first-ever art exhibition, Lasting Legacy: The Journey of YOU, I was tasked with finding artists who exemplified the campaign’s themes of discovering one’s unique talents, exploring new possibilities, and creating lasting legacies. After coming across Betty’s work and meeting her at her home, I knew I wanted her in the exhibition. She embraced me with such warmth — a local legend entrusting her work to the vision of a young, novice curator.

As part of my curatorial research, I wanted to get some insight into Betty’s background. Who was this energetic woman with a home full of art? It turned that out she was, and remains, a big deal. A native of Williamsburg, Virginia, Betty relocated to New York and graduated from Syracuse University in 1959 with a degree in fine arts. After a teaching stint on the island of St. Thomas, she moved to New York City and continued to hone her skills as an artist. It was at this time that she began to merge her interests in art and activism.

Betty became a founding member of the Studio Museum in Harlem and served on its board from 1965 to 1977. Her mission in co-founding the organization was to advance the careers of artists of African descent and to utilize institutional resources and the arts to serve the broader Harlem community.

In collaboration with Victor D’Amico, (director, department of education at the Museum of Modern Art) and Harlem School of the Arts, Betty established the Children’s Art Carnival, an arts education program designed to engage disadvantaged Harlem youth in the arts. (The program was an outgrowth of annual arts workshops held at MoMA from 1942 to 1969 under the same name.) A young Jean-Michel Basquiat was one of the Carnival’s students, and both legendary playwright and director George C. Wolfe and Afro-Caribbean dance icon Marie Brooks taught workshops there. Betty served as executive director from 1969 to 1998, and she remained heavily involved for many years thereafter. In addition, she was a co-founder and board member of Harlem Textile Works, an offshoot of the Children’s Art Carnival in 1984, which offered fabric design workshops, arts education, and job opportunities. Additionally, she served on the board of the Robert Blackburn Printmaking Workshop.

Betty Blayton-Taylor (photo © Adjua Mantebea)

As an artist, Betty had a productive career as a painter, printmaker, illustrator, and sculptor; her work can be seen in the public and private collections of the Metropolitan Museum of Art, the Studio Museum in Harlem, Fisk University, Spelman College, David Rockefeller, Reginald Lewis, Sidney Poitier, and more.

Despite such an illustrious career, her death went largely unnoticed by the mainstream art world, the press, and even some of the institutions and artists she helped build and elevate. Yet her impact reached across space, time, and spheres of influence. She was a groundbreaking force in helping to establish organizations that have advanced artists and communities. And she laid the foundation for much of this in the 1960s and 1970s, in an America polarized by race and gender politics.

Betty deserves to be remembered, honored, and celebrated. On November 19, a memorial service was held at SGI-USA, Culture Center and the Sugar Hill Children’s Museum of Art & Storytelling in New York City. Her work will be included in the exhibition Magnetic Fields: Expanding American Abstraction, 1960s to Today, curated by Erin Dziedzic and Melissa Messina, which will open at the Kemper Museum of Contemporary Art in Kansas City, Missouri, in June 2017. The Children’s Art Carnival is planning two exhibitions inspired by her work, and hopefully more commemorations are to come.

In the meantime, we called upon Lowery Stokes Sims, Marline A. Martin, Omo Misha, robin holder, and Thelma Golden to reminisce about Betty Blayton-Taylor: the artist, activist, friend, mentor, and all-around arts warrior.

Betty Blayton-Taylor, “Oversoul Protective Spirit” (2007), acrylic on canvas (courtesy of Betty Blayton-Taylor)

By Lowery Stokes Sims, independent curator and art historian:

I must have first met Betty in the early 1970s, soon after I started working at the Metropolitan Museum of Art. I became a fan and even served on the board of the Children’s Art Carnival from 1979 to 1982. I was committed to the organization’s dedication to bringing art to children, and in many ways my service on the board was an extension of my first job at the Metropolitan Museum in the Community Programs department. This was the vehicle through which the museum shared resources with the greater NYC arts communities and actualized verbiage about diversity and inclusion. Betty then went on to be a principle in the founding of the Harlem Textile Workshop, and we had a brief collaboration on a product for the store of the Studio Museum in Harlem that had been initiated shortly before I became director. While the product line was never launched, I still have a prototype of a scarf that is a mainstay in my wardrobe.

It is a truism that Betty was a strong artist for whom, like many of her peers — especially the women — her art took a backseat to her decision to work on behalf of the larger art community. She received a B.A. from Syracuse University, where she studied painting and illustration, the latter major an accommodation of parental concerns about her financial future. I also like the fact that due to a peculiarity of Jim Crow Laws, her native state of Virginia paid for her to attend Syracuse University rather than having her attend an in-state school. According to her profile on Wikipedia, Betty had to contend with professors who all wanted her to work like them, and she decided to find her own way of working. In the end, her work may be said to demonstrate a personal synthesis of abstract expressionism and color-field tendencies, demonstrating how her independence posed a potent resistance and personal triumph over racism and sexism in terms of expectations and assumptions about women of her generation with regard to their careers.

I remember Betty’s contagious sense of humor, her endless smile, and her generous laugh. She was always a joy to be around, even as she was maneuvering you to perform some needed task or provide a needed resource for one of the organizations she founded and loved.

Youth at the Children’s Art Carnival in front of a mural they created (image courtesy of Marline A. Martin)

By Marline A. Martin, Executive Director and Curator, Arts Horizons LeRoy Neiman Art Center; Executive Director, Children’s Art Carnival:

As told to Souleo

I first met Betty in 1997 as they were doing a search for the new executive director for the Children’s Art Carnival. I was one of the candidates and subsequently was appointed to the position. I served there from 1997 to 2010.

My first impression of Betty was that she was a hardworking woman. I remember when I received the appointment, saying, “I have big shoes to fill.” Betty’s scope was really wide. She had done a lot of work for the Carnival, brining it into Harlem where it served 5,000 to 10,000 youth per year. She was a champion of the arts.

Jean-Michel Basquiat was one of the Carnival students for a couple of years. He took some classes and was part of a group of young people who were experimenting with their artistry. One of the things I think he really received from the Carnival that made his art appealing was the joy of creativity that is ingrained within children. Instead of going the fine-art route of painting and drawing technique, he found a more expressive way of letting his childhood vision come through his art. I think an amazing thing about the Children’s Art Carnival was the philosophy that existed in terms of art education. For Betty it wasn’t just about technique. It was more about your spirit and how you add that into your work.

I remember stories she would tell me about some of the artists who came from different parts of the world to the Carnival. People would say anyone looking for work as an artist should go see Betty, because the Carnival became an incubator for emerging people like George C. Wolfe. When George first came to New York, he taught theater at the Carnival. Betty gave him one of his first art teaching jobs. Marie Brooks also taught dance at the Carnival. Whatever your art form was, Betty made it into a workshop. I don’t know if there’s an artist around who has been successful in their career and not touched or impacted by Betty Blayton-Taylor.

She will be truly missed, and she was truly loved.

Youth during an Open Studio Workshop at the Children’s Art Carnival (courtesy of Marline A. Martin)

By Omo Misha, Director, Children’s Art Carnival, Curator, and Artist

As told to Souleo

I started working at the Children’s Art Carnival in 2002 as a visual arts instructor, then I became the program manager, left for a few years, and I have since returned as director to help rebuild and rebrand the organization.

Although I worked for the Carnival, my real relationship with Betty began after I had left the Carnival administratively and begun to do more curatorial work. That’s when we got to know each other and when I got a perspective on Betty as an artist. I didn’t know her art before then. So for me as an artist, she has been a great inspiration.

When I think about Betty building and directing the Carnival while simultaneously forging a career as an artist, I realize that people in one sector might not have been as in tune with what she was doing in the other. For me, as someone who wears different hats, I find that really remarkable. I think that is something people should learn from and strive to emulate as an artist. I meet young artists who feel like if they do something else it will take away from their art. But I think all of these things add to your artistic value. I think Betty was an example of that.

At the core of her work as an artist, she was a very spiritual person. That was reflected in her art and the way she taught at the Carnival. She sought, through her own art, to create avenues for people to be more in touch with themselves spiritually. I think that’s why the artwork that came out of the Carnival was so dynamic. Even to this day, I see very few arts institutions that put out the caliber of work I saw coming out of the Carnival. And that is a result of Betty’s vision and her activism.

After I stepped away from the Carnival, I received a greater perspective on the organization. I realized how important this work was that she had done. I never got the sense that Betty thought what she was doing was radical and groundbreaking. She just did what came naturally to her. She came to New York as an artist seeking an artistic community, she found an opportunity to teach for the Museum of Modern Art, she discovered something in it that was inspirational, and she continued to build on that by bringing the Carnival to Harlem. I think she was just being Betty. She was strong and outspoken, sometimes to a fault. But it was that boisterous and lively creative spirit that allowed her to open doors.

Betty Blayton-Taylor, “Ancestors Bearing Light” (2007), acrylic on canvas, 30 inches round (courtesy of BettyBlayton.com)

By robin holder, visual artist:

As told to Souleo

I met Betty in 1978 when I was 26. I was working with the Robert Blackburn Printmaking Workshop as the coordinator and then the assistant director for the workshop. Bob never had enough money to pay anybody, so anytime he was short on funds he would send some of us up to the Carnival for Betty to give us part-time gigs. Betty was also a board member for the Workshop and did her prints there when she had the time.

After I went up to the Carnival one day, I began working there on and off as a teaching artist. I recall that she was always in dire straits financially with the organization because she was very idealistic and overextended herself. She would do things first and then see how she would finance it. Betty was always diligently writing grants and reports and projects. One day I went up to her little office on the third floor of the brownstone. She was really happy and said, “I got rid of our deficit.” I said, “That’s fantastic. How did you do it?” She picked up a pencil and said, “I just erased it.” I thought that was hysterical. She had such a good sense of humor.

I connected with Betty right away. We became friends largely because of a real commitment to and interest in the spiritual nature of life and how that can be reflected in artwork. At the same time, she had some serious personal problems, but regardless of that fact, she was able to stay focused. That’s what was so remarkable about Betty. There was always a real dynamic energy she was giving to the Carnival, one that, at times, you sensed she would have liked to direct to her own work as an artist.

A difficult thing that has to do with elitism in the art world is that community art is often regarded as “lesser than” the arts. Betty was the founder and director of a community-based African-American organization, and because of that I hope she is not sidelined in importance, [because she was] a genuinely gifted and hardworking abstract painter. Sometimes I wonder whether, if Betty had spent more of her life developing her work, and if there was more of a receptive art world to female African-American artists, she might have been more high profile.

The experimentation she did with transparent layering of shapes and color and circular canvases was quite important. She had this high skill level of being a painter with a very exploratory approach to the imagery that she developed. When I look at her work, I know it’s her work. She was able to create her own visual language, which is the work of somebody who has something to say and is an original.

Founding members and staff of the Studio Museum in Harlem, including Betty Blayton-Taylor, second from the right (courtesy of the Studio Museum in Harlem)

By Thelma Golden, Director and Chief Curator, the Studio Museum in Harlem:

Betty Blayton-Taylor was a singular artist, educator, activist, and advocate. The Studio Museum in Harlem is incredibly proud of her important role as a founder and longtime champion of our institution. Without question, her commitment to artists of African descent continues to animate nearly every aspect of our work, and it inspires my work as director every day.

As a founding board member of the Studio Museum in Harlem, Betty championed the museum before it even existed. She had a clear vision of the power and possibility of art and artists to impact a life, a neighborhood, a world. She served on the Studio Museum’s board from 1965 to 1977, during which — in addition to her membership on the executive committee as secretary — she advocated for both the ideals of the museum and the very real challenges of sustaining a fledgling nonprofit, work she knew well from co-founding and leading the Children’s Art Carnival.

When Betty articulated her initial vision — to create the kind of museum that could meaningfully serve her Harlem students in their own neighborhood — there was no precedent for an institution of this kind. As an educator, she was deeply committed to creating access for young people frequently discouraged from entering museums and visual arts institutions in New York City. And as an artist, she created works that have engaged and inspired audiences around the world, including here at the Studio Museum.

Betty not only opened doors, she built new doors — doors that, nearly 50 years later, remain permanently open in her students’ own backyard. She is sincerely missed, but her legacy will continue to guide our planning and preparation for the Studio Museum’s next half-century, and beyond.

The post Remembrances of Betty Blayton-Taylor, Studio Museum Co-Founder and Harlem Arts Activist appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2iVQtfM via IFTTT

#IFTTT #Hyperallergic

0 notes

chocolateheal · 6 years

Text

15 Outrageous Ideas For Your American Expressionism | american expressionism

15 Outrageous Ideas For Your American Expressionism | american expressionism – american expressionism | Allowed for you to my personal website, in this moment I am going to show you with regards to keyword. Now, this is the 1st impression:

PAINTING ACTION AND COLOR FIELDS – American Abstract Expressionism – american expressionism | american expressionism

What about graphic preceding? is that wonderful???. if you believe consequently, I’l d show you many image yet again under:

So, if you would like get all these amazing graphics regarding (15 Outrageous Ideas For Your American Expressionism | american expressionism), click on save icon to save these shots to your laptop. These are available for down load, if you appreciate and want to take it, click save symbol on the page, and it will be instantly down loaded to your laptop.} As a final point if you’d like to secure unique and the latest image related with (15 Outrageous Ideas For Your American Expressionism | american expressionism), please follow us on google plus or bookmark this blog, we try our best to provide daily up-date with all new and fresh shots. Hope you enjoy staying here. For many updates and latest news about (15 Outrageous Ideas For Your American Expressionism | american expressionism) shots, please kindly follow us on tweets, path, Instagram and google plus, or you mark this page on bookmark area, We attempt to provide you with up grade periodically with all new and fresh graphics, enjoy your browsing, and find the perfect for you.

Here you are at our site, contentabove (15 Outrageous Ideas For Your American Expressionism | american expressionism) published . At this time we are delighted to announce that we have found an incrediblyinteresting nicheto be discussed, that is (15 Outrageous Ideas For Your American Expressionism | american expressionism) Most people searching for information about(15 Outrageous Ideas For Your American Expressionism | american expressionism) and definitely one of them is you, is not it?

Arshile Gorky Agony | Art Blart – american expressionism | american expressionism

Joe (Joseph) Stefanelli American Abstract Expressionist – Artlyst – american expressionism | american expressionism

THE CRY Abstract Expressionism Canvas Painting Pop Art Acrylic Oil … – american expressionism | american expressionism

Exposition Art Blog: Norman W. Lewis – american expressionism | american expressionism

Abstract Expressionism (15s-Present): Art History – american expressionism | american expressionism

american-abstract-expressionism | Tumblr – american expressionism | american expressionism

Development of American Modernism: Abstract Expressionism, Pop Art … – american expressionism | american expressionism

Norman Lewis | ART Inspiration | Pinterest | Norman … – american expressionism | american expressionism

Abstract expressionism – Wikipedia – american expressionism | american expressionism

Women of Abstract Expressionism | Denver Art Museum – american expressionism | american expressionism

Abstract Expressionism | Art in London – american expressionism | american expressionism

American Expressionism – Pictures, posters, news and … – american expressionism | american expressionism

Art Movements Throughout History: Abstract Expressionism … – american expressionism | american expressionism

action painting abstract expressionism – Ecosia – american expressionism | american expressionism

from WordPress https://americanartist.club/15-outrageous-ideas-for-your-american-expressionism-american-expressionism/

#usa action artist #abstract expressionism american artistic triumph #american expressionism 1920s #a

0 notes

chocolateheal · 6 years

Text

Here’s Why You Should Attend Expressionism American | expressionism american

Here’s Why You Should Attend Expressionism American | expressionism american – expressionism american | Allowed for you to the website, with this moment I’ll provide you with concerning keyword. And after this, this is the first impression:

Abstract Expressionist Painting: History, Description – expressionism american | expressionism american

How about photograph over? is actually that amazing???. if you’re more dedicated and so, I’l t demonstrate a number of photograph yet again under:

So, if you desire to get all these wonderful shots about (Here’s Why You Should Attend Expressionism American | expressionism american), press save icon to store these graphics in your personal pc. These are prepared for save, if you like and want to obtain it, just click save logo in the post, and it’ll be instantly saved in your notebook computer.} Lastly if you desire to grab unique and latest image related with (Here’s Why You Should Attend Expressionism American | expressionism american), please follow us on google plus or bookmark this website, we try our best to offer you regular up-date with fresh and new photos. Hope you love keeping right here. For some up-dates and latest news about (Here’s Why You Should Attend Expressionism American | expressionism american) photos, please kindly follow us on tweets, path, Instagram and google plus, or you mark this page on book mark section, We try to give you up-date periodically with fresh and new pics, love your browsing, and find the right for you.

Thanks for visiting our website, contentabove (Here’s Why You Should Attend Expressionism American | expressionism american) published . Today we’re delighted to announce we have discovered an extremelyinteresting topicto be pointed out, that is (Here’s Why You Should Attend Expressionism American | expressionism american) Most people looking for details about(Here’s Why You Should Attend Expressionism American | expressionism american) and certainly one of these is you, is not it?

Exposition Art Blog: Norman W. Lewis – expressionism american | expressionism american

Two Decades of American Abstract Expressionism on View at MFAH … – expressionism american | expressionism american

American Abstract Expressionism | Tumblr – expressionism american | expressionism american

Joe (Joseph) Stefanelli American Abstract Expressionist – Artlyst – expressionism american | expressionism american

1000+ ideas about Abstract Expressionism on Pinterest … – expressionism american | expressionism american

Fallin Act Includin Mind-Bendin Absence – expressionism american | expressionism american

American Abstract Expressionism: Painting Action and Colorfields – expressionism american | expressionism american

Willem de Kooning (American; Abstract Expressionism, New … – expressionism american | expressionism american

25s American Abstract Expressionism Painting For Sale at 25stdibs – expressionism american | expressionism american

Performance Art Live – expressionism american | expressionism american

American Abstract Expressionism | Tumblr – expressionism american | expressionism american

Development of American Modernism: Abstract Expressionism, Pop Art … – expressionism american | expressionism american

Walasse Ting (25-25) 丁雄泉 Abstract Expressionism Pop Art … – expressionism american | expressionism american

Max Estenger: AMERICAN EXCEPTIONALISM: ABSTRACT EXPRESSIONIST NEW … – expressionism american | expressionism american

Q and Art: Abstract Expressionism | Smithsonian American Art Museum – expressionism american | expressionism american

An Expressive American 1950s Abstract Expressionist Oil … – expressionism american | expressionism american

Joe (Joseph) Stefanelli American Abstract Expressionist … – expressionism american | expressionism american

1940's American Abstract Expressionism Painting at 1stdibs – expressionism american | expressionism american

American Abstract Expressionism – in quotes of the involved artists … – expressionism american | expressionism american

Crystal Light – Purchase Contemporary Impressionism Prints by Erin … – expressionism american | expressionism american

american-abstract-expressionism | Tumblr – expressionism american | expressionism american

George McNeil ~ Abstract expressionist painter | Tutt'Art … – expressionism american | expressionism american

VTG American School Jack Sibley Abstract Expressionism Oil/Canvas … – expressionism american | expressionism american

David Park 大衛·柏加 (25-25) Neo-Expressionism American – YouTube – expressionism american | expressionism american

from WordPress https://americanartist.club/heres-why-you-should-attend-expressionism-american-expressionism-american/

#usa action artist #abstract expressionism american artistic triumph #american expressionism 1920s #a

0 notes

chocolateheal · 6 years

Text

Five Solid Evidences Attending Abstract American Expressionism Is Good For Your Career Development | abstract american expressionism

The bid you baddest from the dropdown will be your best bid amount.

All lots offered acquire a assets bulk that charge be met in adjustment for the assignment to sell.* If the bulk you baddest is greater than or according to the reserve, your bid will automatically accommodated the reserve. We will abide to bid on your account up to your best bid alone if there are aggressive bidders on the lot.

We will never beat your best bid amount, and you may accession it at any time.

If a bid is placed aural the aftermost bristles account of the auction, the end time will extend by an added bristles account acceptance for final bids.

*A assets bulk is the minimum amount the agent will acquire for the work. In adjustment for the lot to sell, the assets bulk charge be met. You will see a notification whether or not the accepted bid has met the reserve.

Five Solid Evidences Attending Abstract American Expressionism Is Good For Your Career Development | abstract american expressionism – abstract american expressionism | Allowed to be able to our blog, on this moment I will explain to you concerning keyword. And today, this is actually the initial image:

17 Best images about William de kooning on Pinterest … – abstract american expressionism | abstract american expressionism

Why not consider photograph above? is actually of which wonderful???. if you feel consequently, I’l l demonstrate some photograph yet again under:

So, if you want to receive all these great pics about (Five Solid Evidences Attending Abstract American Expressionism Is Good For Your Career Development | abstract american expressionism), press save icon to download the graphics for your computer. They’re ready for transfer, if you’d prefer and wish to have it, click save symbol in the article, and it will be instantly down loaded to your laptop.} At last if you wish to grab new and the latest image related with (Five Solid Evidences Attending Abstract American Expressionism Is Good For Your Career Development | abstract american expressionism), please follow us on google plus or bookmark the site, we try our best to present you daily up-date with fresh and new graphics. We do hope you like staying right here. For many up-dates and latest information about (Five Solid Evidences Attending Abstract American Expressionism Is Good For Your Career Development | abstract american expressionism) pics, please kindly follow us on twitter, path, Instagram and google plus, or you mark this page on book mark area, We try to provide you with up grade periodically with all new and fresh images, enjoy your browsing, and find the best for you.

Thanks for visiting our website, contentabove (Five Solid Evidences Attending Abstract American Expressionism Is Good For Your Career Development | abstract american expressionism) published . At this time we are delighted to announce we have found an extremelyinteresting contentto be discussed, that is (Five Solid Evidences Attending Abstract American Expressionism Is Good For Your Career Development | abstract american expressionism) Many individuals trying to find information about(Five Solid Evidences Attending Abstract American Expressionism Is Good For Your Career Development | abstract american expressionism) and certainly one of them is you, is not it?

askART – Abstract Expressionism Artists – Art Research – abstract american expressionism | abstract american expressionism

aimee: ABSTRACT EXPRESSIONISM – abstract american expressionism | abstract american expressionism

American Abstract Expressionist Painting – abstract american expressionism | abstract american expressionism

Juhi Bansal on Abstract Expressionism – abstract american expressionism | abstract american expressionism

18 Women of Abstract Expressionism to Know Now | artnet News – abstract american expressionism | abstract american expressionism

Hull Abstract 51 – abstract american expressionism | abstract american expressionism

The Impact of Abstract Expressionism – Smarthistory – abstract american expressionism | abstract american expressionism

Women of Abstract Expressionism | Denver Art Museum – abstract american expressionism | abstract american expressionism

George McNeil ~ Abstract expressionist painter | Tutt'Art … – abstract american expressionism | abstract american expressionism

Abstract Expressionism; The First Uniquely American Style. | A Husk … – abstract american expressionism | abstract american expressionism

Exposition Art Blog: Norman W. Lewis – abstract american expressionism | abstract american expressionism

Albert Kotin (18-18) an early American abstract expressionist – abstract american expressionism | abstract american expressionism

Q and Art: Abstract Expressionism | Smithsonian American Art Museum – abstract american expressionism | abstract american expressionism

Amazon.com: CHEBURASHKA Chris Riggs 18″ x 18″ colorful abstract … – abstract american expressionism | abstract american expressionism

WM | whitehot magazine of contemporary art | October 18, Abstract … – abstract american expressionism | abstract american expressionism

“Singing The Blues #2” – abstract american expressionism | abstract american expressionism

Master of Abstract Expressionism | Edward Clark | ART | library deco – abstract american expressionism | abstract american expressionism

from WordPress https://americanartist.club/five-solid-evidences-attending-abstract-american-expressionism-is-good-for-your-career-development-abstract-american-expressionism/

#usa action artist #abstract american expressionism #abstract expressionism american artistic triumph

0 notes

chocolateheal · 6 years

Text

Why Is Everyone Talking About Abstract Expressionism? | abstract expressionism

Saatchi Art: Very Large abstract expressionism painting … – abstract expressionism | abstract expressionism

Vikash Jha, a abreast artisan based in the Greater New York area, will appearance paintings from his best contempo alternation of works, ‘Introspection’, at Clio Art Fair 2019, 550 West 29th Street, from March 7 to March 10. Clio Art Fair is a absolute art fair in the United States curated from an all-embracing alternative of artists. The fair will affection several of Vikash’s contempo works from the alternation ‘Introspection’ absorption on the affections evoked back the artisan starts to attending inward. These affections ambit from joy, happiness, sadness, satisfaction, hopefulness, hopelessness, openness, shyness, and to all the altered shades in-between.

For added advice and admission, amuse go to: www.clioartfair.com

24 Beautiful Examples of Abstract Expressionism Art Works | General … – abstract expressionism | abstract expressionism

Born and brought up in eastern India, Vikash’s paintings are afflicted by the active colors and textures all-knowing in Indian cultural landscape, fabrics and daily-life. His paintings accept a flamboyant, ablaze yet absorbed style. Having lived in the U.S. for over a decade, his paintings present the western access of addition abutting with his inherent meditational and awkward charm. Skillful acceptance of adventurous besom and palette-knife strokes, appropriate use of alloyed mediums to actualize textures and visuals, and imaginatively acceptable use of ablaze and shuttle colors transforms Vikash’s abstruse paintings into joyful, animated and bent experiences.

“This alternation (Introspection) is acme of abounding such attentive imageries that I acquaintance and anticipate every time I abutting my eyes cerebration about my activity adventures in a acutely claimed way. It brings out a deluge of affections about consistently embodied and bidding in a absolute and ablaze way” – Vikash Jha

Modern Abstract Expressionism by Keren De Vreede (Painter … – abstract expressionism | abstract expressionism

Vikash was built-in in eastern India with all-encompassing cultural influence. The allure to the colors and adulation for painting came to him early-on in his life. The cultural access eventually aggressive him to alum in Accomplished Arts through a celebrated non-profit university affiliated program. Vikash additionally holds an MBA amount from a top academy in India and works in Financial Services industry. He has been a apprentice of accomplished arts all his activity and has experimented in assorted mediums – from baptize colors, acrylics and oil paints to charcoals, pastels and alloyed media throughout his apprentice and able activity that has taken him to New Delhi and the western accompaniment of Gujarat in India, Dubai in UAE and New York.

In contempo years his works accept been focused mostly on abstruse expressionism – with both avant-garde and post-modern/contemporary influences.

Abstract Expressionism – abstract expressionism | abstract expressionism

Vikash has fatigued afflatus from the greats such as Vincent Van Gogh, Henry Matisse, Pablo Picasso, Andy Warhol, Jackson Pollock, Willem De Kooning, James Rosenquist, and Robert Rauschenberg and the brand and abounding Indian greats like S.H.Raza and V.S.Gaitonde as he is growing as an artisan and developing different appearance and acuteness of his own.

His paintings accept been apparent at assorted celebrated galleries and locations in New York City and New Jersey and additionally at Sotheby’s New York as allotment of AD ART SHOW 2018.

Abstract Expressionism – abstract expressionism | abstract expressionism

To chase his art, amuse appointment – Instagram (AdvayaCreatives) and website www.VikashJha.com

Why Is Everyone Talking About Abstract Expressionism? | abstract expressionism – abstract expressionism | Allowed to my own weblog, with this moment We’ll demonstrate with regards to keyword. And from now on, this can be a 1st picture:

Abstract Expressionism – abstract expressionism | abstract expressionism

Think about photograph earlier mentioned? will be in which incredible???. if you’re more dedicated consequently, I’l d explain to you a number of photograph yet again below:

So, if you desire to have all of these fantastic pics about (Why Is Everyone Talking About Abstract Expressionism? | abstract expressionism), click on save button to download these graphics for your pc. These are all set for down load, if you want and want to obtain it, click save logo on the web page, and it’ll be immediately downloaded in your desktop computer.} Lastly if you desire to find new and the recent photo related to (Why Is Everyone Talking About Abstract Expressionism? | abstract expressionism), please follow us on google plus or bookmark this blog, we attempt our best to provide daily up-date with all new and fresh photos. We do hope you like keeping here. For some upgrades and recent information about (Why Is Everyone Talking About Abstract Expressionism? | abstract expressionism) graphics, please kindly follow us on twitter, path, Instagram and google plus, or you mark this page on bookmark section, We attempt to present you up grade periodically with all new and fresh pics, enjoy your searching, and find the best for you.

Thanks for visiting our website, contentabove (Why Is Everyone Talking About Abstract Expressionism? | abstract expressionism) published . At this time we’re excited to declare that we have discovered an incrediblyinteresting topicto be reviewed, that is (Why Is Everyone Talking About Abstract Expressionism? | abstract expressionism) Most people trying to find information about(Why Is Everyone Talking About Abstract Expressionism? | abstract expressionism) and of course one of them is you, is not it?

Abstract expressionism, an outpouring of emotions | Saturday Review … – abstract expressionism | abstract expressionism

Abstract Expressionism – abstract expressionism | abstract expressionism

Abstract expressionism – Wikipedia – abstract expressionism | abstract expressionism

Abstract Expressionism Art Contest – YouTube – abstract expressionism | abstract expressionism

THE CRY Abstract Expressionism Canvas Painting Pop Art Acrylic Oil … – abstract expressionism | abstract expressionism

Abstract Expressionist Painting by Jean Sampson; "Pushing … – abstract expressionism | abstract expressionism

Paint, Painting, Image, Design – abstract expressionism | abstract expressionism

24a Abstract Expressionism Digital Painting by Ricardos Creations – abstract expressionism | abstract expressionism

Abstract expressionism – Art Term | Tate – abstract expressionism | abstract expressionism

Abstract Expressionism Canvas Art | iCanvas – abstract expressionism | abstract expressionism

Paint, Painting, Image, Design – abstract expressionism | abstract expressionism

Abstract Expressionism – abstract expressionism | abstract expressionism

The Other Art History: The Gay, Lesbian, and Female Abstract … – abstract expressionism | abstract expressionism

Albert Irvin and Abstract Expressionism – RWA Bristol – abstract expressionism | abstract expressionism

Abstract Expressionist Collages (Tuesdays and Thursdays) | VisArts – abstract expressionism | abstract expressionism

Denver Art Museum Announces Major Show of Female Abstract … – abstract expressionism | abstract expressionism

Abstract Expressionist Artists You Need to Know | Buy the Best … – abstract expressionism | abstract expressionism

Abstract Expressionism – abstract expressionism | abstract expressionism

from WordPress https://americanartist.club/why-is-everyone-talking-about-abstract-expressionism-abstract-expressionism/

#usa action artist #abstract expressionism american artistic triumph #abstract expressionism art defi

0 notes

chocolateheal · 5 years

Text

The 28 Secrets That You Shouldn’t Know About The Ten Abstract Expressionists | the ten abstract expressionists

Wassily Kandinsky – German Expressionism – the ten abstract expressionists | the ten abstract expressionists

Abstract Expressionism: The View from the Top | by Richard Dorment … – the ten abstract expressionists | the ten abstract expressionists

Adolph Gottlieb (paintings, plastic arts, visual arts, fine arts … – the ten abstract expressionists | the ten abstract expressionists

28 Female Abstract Expressionists Who Are Not Helen Frankenthaler … – the ten abstract expressionists | the ten abstract expressionists

The Top 10 Abstract Expressionists on Artsy – Artsy – the ten abstract expressionists | the ten abstract expressionists

28 Female Abstract Expressionists Who Are Not Helen Frankenthaler … – the ten abstract expressionists | the ten abstract expressionists

The Top 10 Abstract Expressionists on Artsy – the ten abstract expressionists | the ten abstract expressionists

the triumph of american painting a history of abstract expressionism … – the ten abstract expressionists | the ten abstract expressionists

Hans Hofmann (1880-1966) | Untitled | 1940s, Paintings … – the ten abstract expressionists | the ten abstract expressionists

28 Women of Abstract Expressionism to Know Now | artnet News – the ten abstract expressionists | the ten abstract expressionists

Abstract Expressionism: The View from the Top | by Richard Dorment … – the ten abstract expressionists | the ten abstract expressionists

abstract expressionism, pop art, minimalism at University … – the ten abstract expressionists | the ten abstract expressionists

usa action artist | American Artist – the ten abstract expressionists | the ten abstract expressionists

Jawlensky, Alexei (1864-1941) – 1901 Maria II (Wallraf-Richartz-Museum, Cologne, Germany – the ten abstract expressionists | the ten abstract expressionists

28 Best Abstract expressionism and Tachism images | Abstract … – the ten abstract expressionists | the ten abstract expressionists

TAKE OUR PLACE IN THE WARM SUN: FRANZ KLINE!!! – the ten abstract expressionists | the ten abstract expressionists

Women of Abstract Expressionism | Art Talk | KCRW – the ten abstract expressionists | the ten abstract expressionists

Abstract Expressionism – The Art History Archive – the ten abstract expressionists | the ten abstract expressionists

commissioned work in progress, detail: “fallout”*, in reference to: “Castle Bravo”, “march 1, 1954, a day that will live in infamy for generations to come” to be completed by weekend* – the ten abstract expressionists | the ten abstract expressionists

Abstract Expressionist Artists You Need to Know | Buy the Best … – the ten abstract expressionists | the ten abstract expressionists

25+ best ideas about Abstract Expressionism on Pinterest … – the ten abstract expressionists | the ten abstract expressionists

Henry Asencio, 1972 | Abstract Realism painter | Tutt'Art … – the ten abstract expressionists | the ten abstract expressionists

Sprinkenhof – the ten abstract expressionists | the ten abstract expressionists

Harmony Painting by Minden Ten Eyck | Saatchi Art – the ten abstract expressionists | the ten abstract expressionists

Abstract Expressionism, a re-view and some comments (by June … – the ten abstract expressionists | the ten abstract expressionists

buy abstract expressionism art | American Artist – the ten abstract expressionists | the ten abstract expressionists

Abstract expressionism – Wikipedia – the ten abstract expressionists | the ten abstract expressionists

Abstract Expressionism – 28 Interesting Facts • artlistr – the ten abstract expressionists | the ten abstract expressionists

from WordPress https://americanartist.club/the-28-secrets-that-you-shouldnt-know-about-the-ten-abstract-expressionists-the-ten-abstract-expressionists/

#abstract artist #top ten abstract expressionists

0 notes