#i originally built actual buildings in place of those three deco buildings but

[pxltown]

just a wip :)

[steve0discusses]

Yugioh Episode 30 Season 4: The Dead Joey Shuffle

Lets ignore everything happening on planet Earth right now and talk about old ass anime, shall we? Yes, my sky turned a horrible end of the world yellow/orange color for an entire day because of a LOT of fire in my state. But thankfully, the winds have changed, the sky is blue...and I can write about Yugioh again.

Last we left off, Tristan, Tea, and Yami stumbled across two fresh corpses. Now, when Joey died a season or two ago (I honestly can’t remember when), we had my favorite storyboarder at the helm just sweeping emotion all over the field and the intense weeping for Joey Wheeler lasted for like 30 minutes. Yugi freaked out in the puzzle headspace for like half an episode and nearly gave up playing cards again, Yami punched a wall and then put a duel disk on Joey’s arm like a funerary send off to the afterlife, Tea started losing her mind and begged Yugi to drop out of the tourney so Yugi wouldn’t die, and Pharaoh was like “yo Tea, Yugi can’t talk right now can we do this later????” And then Tristan, out of nowhere, just started shaking Joey and screaming at him to wake up (and I think he punched him in the face and it got censored? Yo that episode is wild.) Joey got plugged to some Kaiba Corp med bay that had like 2 dozen weird sensors attached to his chest and feet to keep him alive. Serenity was like hyperventilating in the back, just a LOT of stuff was happening all at once.

But this time, with an ordinary animation team, these three kids are so distracted by the other corpse, that they only cry just a little bit before being like “woah what?”

And like this is their second time. Maybe they’ve gotten used to Joey being dead? Maybe they got it all out of their system and are now a lot more accustomed to the fact that they all must die. Several times.

Confronted with this Agatha Christie brand debacle, Tristan makes an incredible reach that is also completely correct. Like this is such an amazing incredible reach.

Hire Tristan as your detective, hot damn. There are like 7.8 billion Orichalcos-possessed people on this planet right now trying to kill Joey Wheeler and Tristan actually called the right one.

Yami never tells us who he blames, but it’s OK, because the show immediately cuts over to Dartz’ silicon valley fortress to tell us without telling us. So while this animation team isn’t as insanely extra as our previous animation teams, they still know how to edit their cuts to work alongside their dialogue just fine.

(read more under the cut)

Lets take a little while to just take this in. Someone took a while to make it, so rather than look at it for half a second before it passes--please lets count the number of floating streets in this scene.

3.

So before when I talked about the history of San Francisco, I mentioned the old Embarcadero, which was a double decker street wrapped around the peninsula. (we still see parts of this double decker set up on parts of the highway to this day.) But what if--they actually have no idea that the Embarcadero was a thing before it fell down in an earthquake?

What if they just...wanted San Francisco to be vaguely cyberpunk in this universe and that floating freeway was supposed to be futuristic and not just an 80′s throwback?

Because there’s 3 streets stacked on top of eachother right here and yo there is no where in the city built like this. This is a Gotham situation where the poors live on the lower levels and the rich just kind of hang out on the top. We have too many Earthquakes in reality to ever support this setup but Yugioh...wow. They went for it.

Also, our art deco architecture isn’t quite in this style as Dartz’ mansion. Mind you, this isn’t full deco, and the structure has more of an ancient world vibe. But...while San Fransisco does have a lot of deco, it’s just different (sorry you’re not really here for the architecture but youknow, I’m an artist so I do think a lot about why concept artists may have gone where they went)

++++++++++RANT ABOUT SF DECO VS COMIC BOOK DECO FEEL FREE TO SKIP++++++++++++++

So I’m not going to dare say this is a mistake on the Yugioh team by any means, since Deco is Deco and who knows when Dartz built that building. But like I’ve seen the SF skyline many times in this show and it’s got some funky shapes in it that are just sooo off to me. They keep drawing a more Futurist New York. Truth is, we don’t have that many skyscrapers in SF.

Most of the pictures you see of scaling buildings are of this one area around the financial district--everything else is...pretty short. So in those photos they very carefully crop out all the really squat as hell buildings on either side of it, to give the impression that our city is super tall, much like a dating app.

And, as far as Art Deco Gotham-esque skyscrapers go, we got ones like this guy:

Where at a glance it’s like...that’s barely deco (and barely that impressive. This is 1/3 the height of the Empire State building.) Compared to a lot of cities in America, our skyscrapers aren’t as...clearly deco from far away? We don’t have the huge ass humps and long ass gilded lines of the Empire State building or the Chrysler building. You only really get those details when you zoom in.

Our other skyscrapers are kinda understated or modern in comparison. And the reason why we just don’t have many deco skyscrapers is because...our ground ain’t good for building skyscrapers at all, so it took us kind of a while to build up.

Like we got this tower that we built recently (the first skyscraper they built in SF in a good while) and they decided to name it the “The Millennium Tower” which...I know...good job, team, clearly you wanted to get cursed. Well the tower started leaning about 3 or 4 years ago, like well over a foot from it’s original spot, it’s just tilting and sinking away, and people are freaking out because it’s surrounded by other tall buildings so they’re like “damn it we’re gonna dominoes.” The people in charge were like “well...we don’t know why it’s leaning...but I’m sure it’s fine” and it’s like “the ground. It was the ground...you dumbasses” not to mention that it’s clearly cursed by at least one angry Egyptian Ghost but...what do you do?

I would absolutely watch the Yugioh spinoff season about the Millennium Tower and the SF tycoons that got possessed by a ghost and have to play card games to keep their tower from squishing all of San Francisco. Yo you should hire me, Yugioh, I got IDEAS.

Man...Yugioh predicting the future, how did they call the ill fate of The Millennium Tower????

But anyway, most skyscrapers in SF are kind of boring because they have to be sturdy as hell. But, they have some neat modern shapes (like the Transamerica Pyramid--in the shape of A PYRAMID that hasn’t shown it’s face once this entire Egyptian influenced anime)

I mean, come on Yugioh, it’s right there.

Also the hell is this weird UFO on this picture I lifted off of google?

Like I think it’s 4 jets? 

I may have lifted this from an alien website, so forgive me, q-anon for lifting your image, I’m trying to talk about architecture in my Yugioh blog.

In fact the only building I (and google) can think of that is both really tall and deco-ey is this one:

And it’s a Marriot hotel built in the late 80′s. And honestly, it looks way more 1980′s Las Vegas than it does Deco. (It honestly looks like photobashing but made real, this is a weird building.)

And I could be wrong and overlooking a very important structure, but most of the city’s really cool art deco buildings are in the form of theaters, libraries, churches, schools, and houses--which are only a few stories tall. They’re gorgeous buildings with cool and different silhouettes, it’s just not very big.

Like I believe this is an old high school?

also a lot of our “art deco” has no idea if it’s victorian, deco, or art noveau so they’ll just hit all of it to see what sticks. It’s a lot more eclectic than other places where Deco is typically more...straight-lined. I kinda hate defining art styles as masculine or feminine but honestly it’s the quickest way to really hit home the difference between a Bruce Timm art deco that you’d see in a comic book, (which is very New York inspired) and what we have in San Fransisco which is really decorative and decadent.

The Yugioh SF just has no curvy nonsense and that really sticks out to me.

Ornate swirls get shoved Everywhere. Willy nilly. Just everywhere randomly. And it sits next to other structures that are modern and simplistic. It’s very San Francisco to have this old world next to new world.

And it makes sense. SF is the other side of the continent from New York, and about as far West as you can go from the movement going on in Europe. So...we made our own take and tl;dr the art deco in our city doesn’t look like Gotham at all.

And, while it’s not as grand or dark or iconic, it’s a good thing. It’s what helps make San Fransisco look really unique compared to other American cities--the fact that we're...short and eclectic. Our district with the skyscrapers is where it’s kinda boring, actually--the good stuff is when you get away from that. Where every little building has a spunky wild personality.

But in a show like this you gotta make it seem more grand and less homely so--they scaled up the buildings a lot more than we really have and homogenized all the stylings into one (and they axed every Victorian swirl because they don’t want to draw that). They really just turned SF into comic book New York--especially since I’ve only seen like...one steep hill since we got here.

It’s fine, and it makes complete sense why they did it, (I’m more confused as to why most of California is a Nevada desert so I can easily forgive a San Francisco without the right Deco) it’s just a very different energy.

and honestly...it’s an energy influenced by the tone of the show. Everything has a very dark blue-gray palate, and it’s because it’s literally the end of the world, Joey has died, everyone is sad...maybe it would be out of place to have a building that looks like it sparks joy? The harsh and cold lines do add to the gravity of the situation.

Maybe I would have done the same thing? In the end, the legibility of your story matters more than the accuracy of your story--especially when it comes to TV. Which is somewhat a controversial statement, and there’s exceptions when it comes to cultural stuff. But while the culture of San Fransisco was erased (a culture that they did draw in the beginning of the season! they did show alcatraz, a trolly, and the golden gate!), it is at a point in the show where...all of humanity is being erased anyway. Could also be symbolic? Maybe?

+++++++++++++END OF THE ART DECO RANT+++++++++++++

So anyway, stepping away from lovely buildings and into this gross ass abandoned park, Yami decides he’s gotta get himself to this gaudy ass Batman building ASAP.

He can ride a horse but he absolutely will not ride a motorcycle. Or touch Joey Wheeler’s dead body.

Which is wild because apparently there’s a Yugioh spinoff where all they do is ride motorcycles??? But from what I heard, Yami is not in it. Which is the most wild thing.

So uh...you know how much I love art details, lets take a long look at this one.

AH no.

Nope nope nope nope.

I hate this logo. It looks like an emperor penguin’s eyebrow thingies. Like a face with just four huge eyebrows.

Not sure why we randomly have a new logo. It’s nearly the end of the season, we’ve already shown the Orichalcos logo so many times. Was this episode made earlier in development than the rest? Is that why there were like - I dunno, put this random logo here... Maybe we’ll figure out the rest of the logo later?

I don’t know. This weird logo feels so out of place.

And then because I’m thinking about buildings...maybe it’s influenced by our Shell building?

Maybe? Or not? Just saying you got a round thing with radial lines hovering over a trellis...the possibility is there that they were inspired but had to edit it down for animation? Eh, I’m reaching desperately for anything that looks like San Francisco at this point.

Anyways, the front door of this building is an elevator (????) and in a somewhat confusing set of cuts, out of this elevator comes the murderer herself.

And she’s dead.

SO HAPPY I didn’t have to watch that card game but like...c’mon. There’s no way Mai would lose to Raphael.

Maybe that’s why they couldn’t show it? Because she’s the only person on this show who uses a themed deck with cards that actually sync with eachother? (outside of Pegasus’ toon deck and Grandpa’s voltron deck ((sorry it’s name isn’t voltron, I’ve forgotten the name of the robot that you build out of other cards. Exodus? Exodysseus?

It’s Exodia isn't it? Wtv. 2020′s been a real long one, all y’all.)) )

(don’t ask where the smoke came from, we don’t know. Maybe Yami felt like making it to be more aesthetic. It is a fun visual tic to the show.)

So Yami goes into this elevator instead of anticipating that this is obviously a trap. Like most would just decide to take the stairs instead, but Yami loves falling for a good obvious trap every once and a while (or, in the case of this season--each and every single time a trap is placed in front of him) and so this takes him directly to the fightclub roof of yore.

Ah. We started this season on fightclub roof, in like...2010 or whenever I started this season. Feels like forever ago. How long has the year of 2020 been? 20 years of my life? 40 years of my life? Was I in fact never born before 2020 started? I honestly don’t remember anymore who I was before this year happened. Probably because I inhaled just a hell ton of wildfire smoke and now my brain is a bunch of jelly beans rattling around in a jar.

Anyway, Raphael just hands Yami (by hands I mean throws aggressively) Joey’s dragon card.

A little unsure why he’d do this since...this is the weapon to destroy Dartz. Why are you giving it back to the Pharaoh? But apparently, Raphael did that to prove that he is the murderer of Mai, who murdered Joey and...youknow...the stuff that we know but would be pretty difficult for the people in this show to follow.

Mai’s voice actor seeing “Mumbo-Jumbo” and being like “Well if I’m doing this, I’m going to commit.“

WE ARE NEVER DUELING DARTZ.

I refuse that a duel with Dartz, in fact, ever happens in this season.

Kind of surprised whenever I see there’s still people left. SF is basically abandoned in comparison.

Thing is...that’s just SF on a holiday weekend.

And then, because Tristan’s in the middle of the street, the rest of the party has to try and run him over.

It is really funny to me that Seto went out of his way to ditch these people so MANY times, but keeps ending up around them again and again, and each time in a wildly different vehicle, each and every time it’s when these guys need a lift...he’s very quickly turning into the group’s soccer mom. Should’ve gotten a minivan.

And then this happens?

I’ll just leave this here:

I’m sure that fanfic writers everywhere rejoiced when Seto reached out a hand to catch Joey’s face from hitting the pavement. In all this was a bizarre animation and now that I’ve figured out my blender settings for the new update, I can finally cap little segments again.

Just don’t you dare flag me, tumblr. Hopefully segments less than 10 seconds long are fine.

Like there was this part where they had to just drag around Joey’s corpse over this rail, and it was Mokuba and Tristan just prying him up there like he were a potato sack and like...

...Joey’s gonna wake up with so many rail-shaped bruises! They do not treat him gently!

Then back on fightclub roof, Raphael made me do a bit of a double take when he accidentally implied the existence of another bean within that Pharaoh bean.

And no, Bakura did not show up at this point.

I would LOVE IT if Pharaoh biffed it a second time and Bakura suddenly took the reigns and was like “Oi loves! that was bloody easy!” but I...have a feeling that this team didn’t actually watch the episodes where Bakura is just vibing in that puzzle piece.

If this never comes back to bite Pharaoh in the ass...

It might never come back guys...I don’t know. How do these writers have this much self control to ignore Bakura for like a full season. How do you do it? I can’t hold a plot twist in for even like 5 seconds. How....how do you do it?

Anyways, now that Seto has Tea who has a map, they walk up to the entrance (I honestly forgot if they drove or walked because knowing this show, Seto would absolutely ignore the car. Either way, the Ferrari isn’t necessary anymore. Written right out of the script. Cars are hard to draw. Get rid of it)

You know, Mokuba’s seen an awful lot of corpses for a kid! Like 20ish corpses if you count the 2 times the Big 5 biffed it. Really should have left him with Rebecca! Youknow, the other kid the same age as him!

But it’s fine, we gotta train Mokuba to suppress that trauma deep, deep down like a proper Kaiba.

Youknow when I started this series I was like “I don’t get why everyone talks about the Kaibas so much, these two seem kinda like whatever” but now I’m on like S4 and like...I’m SO concerned about the Kaibas. With Yugi...whatever...he’s gonna be fine, but the Kaibas? Oh boy. Either one of them could go completely evil and I’d buy it.

And probably root for them.

And I know they won’t go full tilt, I’m pretty sure--but like...they COULD. I can’t say that about the rest of the cast.

Everyone’s made it!

Even joey’s weird coma/dead body for some reason!

Lol also I love this random sci-fi tech water tower next to Tea. What is that?

My drought senses are screaming, is that a huge ass water tower the size of a 4 story building next to Tea? Chances are, it’s got a jet in it or something because this is Yugioh, but...man. At least it doesn’t look like one of those rusty New York rooftop water towers. This show just completely not getting what SF looks like.

Whatever, he can resurrect the leviathan, maybe Dartz can make water?

Youknow, all you have to do to make California worship you forever is make rain. Screw this lizard nonsense. The man can power water. What’s he doing with this stupid snake?

But youknow, Yugioh just never really figures out how to harness the weather. They CAN and they do it all the time. But, do they use it for their benefit? Like freakin never.

Anyway, that’s all for now. I went on a looong rant about SF but maybe I’m just sick of my own house? Been a lot of fire and quarantine over here. It’s been messing with my head a fair amount so thanks for bearing with me and my weird ass update schedule (remember when I used to be productive? Was that just a dream I once had?)

But if you just got here, here’s a link to read these recaps in order, from the beginning way back in S1.

https://steve0discusses.tumblr.com/tagged/yugioh/chrono

[parkspring4-blog]

4th AVENUE IND STATION

I’ve explored the 4th Avenue IND station at 9th Street in Park Slope before for Forgotten New York, way back in 1999 when the station was almost in ruins. Since then, the station has been cleaned up considerably, but repairs have been carried out only halfway; the project must have run out of money, and surprisingly, there’s been very little news about its completion, and I’ve seen no outcry about it from local residents or politicians. I’ve always been interested in this unusual elevated station and its partner, the Smith-9th Street station, the next station to the west, because they are the only two elevated stations the IND constructed in the 1930s. 

One of my favorite subway websites is Vanshnookenraggen, the pseudonym of Andrew Lynch, who writes about a NYC subway system that never was, or one that never will be. Entries talk about subway lines that were never built; Lynch is also a cartographer, and produced detailed system maps of these “lost” systems. One was the IND Second System, which would have placed subways under 2nd Avenue in Manhattan, the northeast Bronx, southeast Queens, places they don’t go today and likely never will. Work actually got started, asome stations were built, but depression, war and new recessions happened; you know the rest.

Well, some sections of this Second System would have been elevated. What would an IND Elevated look like? For those unfamiliar with subway history, the IND was developed by NYC beginning in the 1920s to compete with the IRT (the number lines) and BMT (many of the letter lines) and had a much different design esthetic than the older lines; less ornamentation and mosaics, and a much more utilitarian look. It’s immediately apparent when you compare stations on the A/C/E and F lines, say, to the stations of the 4/5/6 train. As it happens, the 4th Avenue and Smith/9th Stations pointed the way to what prospective IND elevateds would have looked like–concrete-clad viaducts instead of iron pillars, for example.

The IND was built on two trunk lines in Manhattan on 6th and 8th Avenues, and forayed into the Bronx on the Grand Councourse, Queens on Queens Boulevard, and Brooklyn as far as Park Slope, where it originally ran as far as Church Avenue. Today’s A through G lines mostly run on tracks built for the Independent.

In 1940, the city purchased the IRT and BMT and “unified” the subway with the IND. Many more free transfers between lines were instituted, but it wasn’t really until two key connections between the BMT and IND were made at the Manhattan Bridge and in the East River tunnels in the 1960s that trains from the two old rivals could truly intermingle. Though there are plenty of free transfers to the IRT, because the cars and tunnels are narrower on the IRT (which was the “original” subway going back to 1904) there is no such intermingling of IRT cars on former BMT and IND lines to this day. True integration has never been accomplished.

The IND built just two elevated stations in Brooklyn in 1933, the tallest station in the system, Smith/9th (tall enough to let tall masted ships on the Gowanus Canal) to pass beneath it; and the Fourth Avenue station, lower because it is built just west of a tunnel entrance. There had been plans for the IND to build an elevated station that would connect the Roosevelt Avenue station in Queens with the Rockaways which would have been elevated in Glendale and Ridgewood, but the Depression and World War II canceled those plans; in 1956, the Transit Authority reached the Rockaways anyway by rehabbing a Long Island Rail Road trestle over Jamaica Bay that had burned in 1950, and then extending the A train over the former Fulton Street Elevated to meet it.

At the Fourth Avenue IND elevated station (opened July 1, 1933), the tracks are close to the ground, but still high enough to require bridging over the avenue. Engineers came up with a beautiful arch bridge with Art Deco accents. For the first few decades of its existence, the windows on the platforms were clear and allowed a view north to the Williamsburg Building and south toward Bay Ridge.

The windows on the arch bridge had been painted brown for many years, since at least the 1970s; I remember grime-caked windows you could see through as late as the Sixties. The MTA was tired of vandals graffiting and breaking them, so the agency just painted them opaque. Now and then, though, the paint flaked off and permitted a view.

For much of the last decade now the MTA has been rehabilitating the windows and has actually finished with the eastern set, but has installed an opaque covering on the windows, apparently so no one will think about breaking them. I’m not sure when, or if, the western set will reopen, and that set of windows remains covered by plywood.

Three of the original Art Deco-influenced pencil-shaped entrance signs remained in place through years of neglect, and were rehabilitated along with the rest of the station. Details on the arched bridge, as well as the brick viaduct between 3rd and 4th Avenues, also reflect Art Deco design elements.

If you’re not familiar with this area of Brooklyn, it may be a bit hard to believe, but the IND at this point quickly dives back underground, where it stays until it connects with the older Culver Line at Ditmas Avenue. The reason is geography: the land slopes sharply upward here (the Slope in Park Slope).

Why elevate two stations in the first place? It was considered more architecturally sound to elevate the subway over the then-busy Gowanus Canal rather than tunnel under it. As a product of that construction, the Smith-9th St. station is the highest elevated station in NYC, rising more than 87 feet above the street. It takes two escalators to get up and down.

Heading in, 4th Avenue reflects the overall IND design formula: off-white glazed brick tiling with simple color tile informational and directional signage. A little-known IND design element held that all IND stations between express stations were tiled the same color, with the color changing at an express station. This rule holds true even here on this elevated stretch, as the Bergen, Carroll, Smith-9th, and Fourth Avenue stations are all tiled in light green. The color changes to yellow at the “express” center-platformed 7th Avenue station, with following stations all tiled yellow until the “express” Church Avenue station, which is maroon.

I’ve placed “express” in quotation marks because the F and G lines, which run here, feature no express service and haven’t, with the exception of local platforms being closed for trackwork, for decades. Recently, the express tracks on the Culver Viaduct, to which this line connects, were in use while the Metropolitan Transit Authority rehabbed several stations.

Prior to the subway unification in 1940, there were free transfers between the IND and IRT/BMT, but they were doled out sparingly. The 4th Avenue Line, Brooklyn’s first subway, opened in 1915 and connected to the Manhattan Bridge, but ran to the Chambers Street station. The tracks were only later connected to the Broadway BMT.

The presence of a “Coney Island” tile sign, pointing to the southbound platform, at the 4th Avenue IND is a puzzlement. In 1933, when the station was built, the end of the line was at Church Avenue, and the line was only connected to the Culver Viaduct on McDonald Avenue in 1954. It’s possible that the city planned to build out this line to Coney Island from the jump, and created the signs in anticipation. 

Subway historian Joe Brennan, in Comments:

A major purpose of the IND was to make company-owned elevated railways obsolete– consider Eighth Avenue, Sixth Avenue, Fulton Street, and planned routes like Second Avenue.

The “Coney Island” sign turned out to be very premature, but the IND plan from the start was to continue this route onto the “Culver” elevated over McDonald Avenue to Coney Island. The subway contracts had a provision to let the city “recapture” portions of route from the operating companies. Before 1940 the BMT company was operating the city-owned McDonald Avenue route from its company-owned old (1880s) Fifth Avenue El. The plan was to close that down and route the new subway onto the McDonald Avenue line instead. I do wonder where the Coney Island terminal was going to be, if the city had not bought out the entire BMT system.

The “B.M.T. subway” sign was not about a free transfer. If you changed trains there you paid another nickel. I think this passageway was one of the many free transfers created in 1948.

In the 1970s, the MTA hired a design firm called Unimark, and chief designer Massimo Vignelli, to standardize subway signage. After different colors and fonts were used for several years, black signs with white trim and Helvetica type were settled upon, and the MTA has been quite thorough, especially in the last 30 years, in rooting out earlier signage and sign designs, with many beautiful enamel signs in a variety of fonts and colors eliminated. In the IND, in many cases the MTA has left the simply-worded tile signs in place, but placed somewhat redundant modern signs next to them.

The northbound platform of the station has gotten, thus far, the deluxe treatment with the rehabbed panels. The windows are now glazed polyurethane and aren’t opaque, though they do allow sun rays to streak onto the platform. Combined with the metal “ribs” of the superstructure, the effect is unique in the entire subway system.

At sunset, the colors are diffused into works of art.

It has to be emphasized that the “panorama” only exists on a short stretch of the northbound platform. The rest of it is a brick wall with filled-in windows, which were also originally glass but the city decided to simply cover them over rather than constantly replace the glass after angry vandals continued to break them. 

The Statue of Liberty can be clearly glimpsed from the west end of the platform, and through subway windows as it makes the curve on the viaduct west of the Smith-9th Street station. If you use a zoom lens you can obtain a good photo of the station through the ribs of the viaduct that spans 3rd Avenue.

The Fourth Avenue station is one of the subways’ unremarked-upon masterpieces. However, the city does not apparently have the money or the inclination to complete its excellent rehabilitation work to include the southbound set of picture windows over 4th Avenue, and that’s shame.

Please help contribute to a new Forgotten NY website

Check out the ForgottenBook, take a look at the gift shop, and as always, “comment…as you see fit.”

11/18/18

Source: http://forgotten-ny.com/2018/11/4th-avenue-ind-station/

[chocolateheal]

The Hidden Agenda Of Artists Involved In Abstract Expressionism | artists involved in abstract expressionism

By James Charisma

Sterne, Hedda (1910-2011) – 1969 Portrait of Henriette Franklin (Hirschhorn Museum and Sculpture Garden, Washington, DC) – artists involved in abstract expressionism | artists involved in abstract expressionism

Published: 2017.09.07 03:07 PM

Abstract Expressionism is generally declared as the aboriginal abnormally American art movement to put the United States—specifically New York City—on the map in the all-embracing art community. Conventional acumen holds it emerged in the 1940s as a acknowledgment to the abhorrence and agony of Apple War II and that its arch artists accommodate Jackson Pollock, Willem de Kooning, Mark Rothko, Barnett Newman, Philip Guston, Franz Kline and Robert Motherwell. Turns out there’s a lot added to this story.

Art critics of the 1940s and ’50s helped acquaint Abstruse Expressionism in this way, blame the new art appearance aback it debuted. Writers such as Clement Greenberg championed the new movement as avant garde and experiential, praising artists like Pollock for his use of unstretched canvas, blush and texture. Essayist and drillmaster Harold Rosenberg acclaimed the active smears and splashes of “action paintings” by de Kooning and Kline. These authors not alone helped advance the alpha art form, they began to appearance the anecdotal of what Abstruse Expressionism was—and was not. Over the years, changeable artists, artists of color, sculptors and alike those artlessly operating alfresco Abstruse Expressionism’s focal point of New York Burghal were advised second-tier or glossed over absolutely in the history books.

A new exhibition at the Honolulu Building of Art seeks to revisit the history of Abstruse Expressionism by analytical not alone the acclaimed artists of the New York Academy such as Pollock and de Kooning, but additionally of its associated aeon including sculptors Ruth Asawa and Isamu Noguchi, painter Saburo Hasegawa and artists of Hawai‘i including Satoru Abe, Isami Doi, Tetsuo “Bob” Ochikubo and Tadashi Sato. Abstruse Expressionism: Attractive East From the Far West, which debuts Sept. 7 at the Honolulu Building of Art, is a advertise of added than 45 paintings, illustrations and sculptures advised to analyze the means that Abstruse Expressionism was shaped by the traditions and techniques of its Asian-American and Hawai‘i practitioners, from the compositional appearance and lyricism of Chinese and Japanese calligraphy to the antithesis and subtleties of Zen Buddhism.

“I anticipate a lot of the belief we apprehend about [artists’] appearance and adroitness are affiliated to array of a allegory about the ‘singular genius’ against accession who’s allotment of a above group. And I would say art historians are amenable for a lot of that,” says Honolulu Building of Art administrator Sean O’Harrow. “ I anticipate this appearance will advice to absolutely alpha to breach that bottomward and appearance a all-around affiliation amid a accurate artisan movement and the artists involved.”

SEE ALSO: Quote Unquote: Accommodated Honolulu Building of Art’s First-Ever Hawai‘i-Raised Director

The exhibition is a able admission appearance for O’Harrow, aloof seven months in as the museum’s new director. It additionally appearance a accountable amount with which he’s actual familiar: O’Harrow formed abundantly with Abstruse Expressionism in his antecedent role as administrator of the University of Iowa Building of Art, which houses cogent works by Rothko, de Kooning, Motherwell and Guston, including the acclaimed “Mural,” Jackson Pollock’s aboriginal ample painting. 

Before his time in Iowa, O’Harrow abounding academy at Harvard and again away at Cambridge. But he’s originally from Hawai‘i, area he affectionately remembers demography classes at the Honolulu Building of Art Academy as a child. In abounding ways, O’Harrow’s own adventure mirrors those of the Hawai‘i artists in the accessible exhibition, who larboard the Islands to appear academy and hone their craft, again alternate to advice abound and advance the art arena in Hawai‘i.

This was the case for painter and printmaker Isami Doi, who was built-in on O‘ahu and advised at Columbia University in New York Burghal and, later, Paris. He was a acquaintance and coach to adolescent Hawai‘i artists Tadashi Sato and Satoru Abe, both of whom additionally catholic to New York to convenance art and become complex in the bohemian Expressionist scene. Sato abounding the Brooklyn Building Academy and the Pratt Institute. As the grandson of a sumi-e ink ablution painter, he spent years belief Japanese calligraphy and literature. Abounding of his paintings absorb elements of Cubism’s accessible forms and amplitude counterbalanced by the attenuate delicacies of Sato’s featherlike brushwork to actualize abstracted scenes. Abe advised at the Art Students League of New York and apparent assignment at the Guggenheim, the Building of Avant-garde Art, the Carve Center and added burghal museums. A welder, his sculptures are generally a staccato of crisscrossing abstruse structures, amoebic and acutely aqueous and fluctuating. All three artists accept pieces in the exhibition.

“Hawai‘i has one of the best accomplished groups of artists,” says Abe. (Read added about him below.) “But I went to New York to abstraction art. I bethink I capital to go and alive abutting to the Art Students League, which was 57th Street. A Caucasian acquaintance of mine, a adolescent student, said he’d appear with me to attending for a place. We talked to the buyer about renting. He said for my friend, yes. But for me, no.”

At the time, it was difficult for Asian-American painters who were creating works of Abstruse Expressionism. Generally they were either captivated to expectations that their artwork bare to accept “Asian” qualities or ironically be criticized for interpreting “Western” accession with a appearance aggressive by their own culture. “Some artists, like Isami Doi, Tadashi Sato and Tetsuo Ochikubo, consistently accustomed their Asian ancestry and corrective in calligraphic styles,” says Theresa Papanikolas, Honolulu Building babysitter of European and American art. “They had to accommodated expectations, but, already they met those expectations, now it didn’t accomplish the belief of Abstruse Expressionism so they’re not the ones who get talked about as the movement goes bottomward in history.”

And yet, Western artists such as Rothko and de Kooning were absorbed by Asian philosophy, aesthetics and the gestural appearance of Japanese calligraphy. At the Eighth Street Club, a acquisition abode for artists including Pollock, de Kooning, Kline, Guston and others from 1950 to 1960, lectures were captivated every Friday night on capacity alignment from avant-garde art to Freud to existentialism, and speakers included artisan John Cage and mythologist Joseph Campbell. Zen teachings, such as those by Eastern artists Saburo Hasegawa and Matsumi Kanemitsu, were of accurate absorption to the New York Academy artists. They accustomed the best abeyant for carelessness on the canvas through Zen principles: befitting a bright mind, casting out assumption notions about art history and styles, and advancement an close calm. These types of influences were larboard out of the boilerplate anecdotal about how Abstruse Expressionism developed.

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Papanikolas aboriginal conceptualized the exhibition in aboriginal 2015, advancing on the heels of Art Deco Hawai‘i, a 2014 exhibition she additionally curated focused on the Art Deco movement in the Hawaiian Islands from the 1920s to the ’40s. It advised adumbration depicting the Islands as “paradise” and assiduity a romanticized abstraction of Hawai‘i as alien and unspoiled, compared to works by Hawai‘i artists of the time, who acclimatized the Deco artful to actualize an aboriginal estimation of accession absorbed with an accurate faculty of abode in the Pacific.

“Art Deco Hawai‘i was an attack to see how art in Hawai‘i that was created in the 1920s and ’30s, afore Apple War II, played out in the civic scene, through the lens of Art Deco,” Papanikolas says. “After the exhibition, I started cerebration about the abutting affiliate of the story, attractive at Hawai‘i-born artists who grew up actuality and seeing how their assignment fits on the civic date in ambience of Abstruse Expressionism.”

In accession to assignment by Asian-American and Hawai‘i artists of the movement, this exhibition marks the aboriginal befalling for Hawai‘i art enthusiasts to appearance assignment by Jackson Pollock, Mark Rothko and Willem de Kooning, some never afore displayed in the Islands.

While critics of Abstruse Expressionism admired the accurate appearance and freedom of the art anatomy itself—it doesn’t crave an MFA to be able to accept or acknowledge the affect in the alive work—many of the best acute belief appear from abaft the scenes.

For example, Rothko struggled with creating art afterwards actuality diagnosed with a balmy aortic aneurysm in aboriginal 1968. Near the end of his life, affliction larboard him clumsy to acrylic the big paintings he acclimated to. He became balked and afterwards dead himself in 1970. A red painting he fabricated afterwards his aneurysm in 1968, “Untitled,” captures his all-overs and appears in the exhibition. “We apperceive now it was array of the alpha of a alley that was activity to advance to tragedy,” says O’Harrow. “This painting is from a moment in the history of his life.”

The exhibition’s Jackson Pollock painting is the “Portrait of H.M.” from 1945, created at a time aback the artisan was painting added allegorical styles. He hadn’t yet conceptualized the signature beat abode that he, as “Jack the Dripper,” would become accustomed for, but it’s analytical in his development as an artist. “[‘Portrait of H.M.’] is a account of his best friend, columnist Herbert Matter, and apparently the man who afflicted Pollock the best in agreement of art,” O’Harrow says. “It’s array of the missing link, the alpha aeon aback he’s developing his abstruse style.”

Beyond the acclaimed artists, the amount of this new exhibition is about affective above the accustomed fiction of Abstruse Expressionism to admit and embrace its above and added accurate heritage. Pollock was depicted as a “bad boy” in the art apple with his avant garde abode and apart style, but his assignment was advisedly planned out. Despite actuality an alcoholic, he didn’t acrylic drunk. He was additionally heavily afflicted by Native American beach paintings and added traditions from about the world.

“Sometimes it’s acquainted that, in Hawai‘i, things aren’t as acceptable or can’t attempt with what’s accident on the Mainland,” O’Harrow says. “And that’s not the case at all. Our bounded artists, who accept consistently formed at the accomplished level, can access the assize of art history. That’s important.”

Surf and Water Reflections, 1969‒70  |  Oil on canvas

Honolulu Building of Art, Allowance of The Contemporary Museum, Honolulu, 2011, and allowance of the Honolulu Advertiser Collection at Persis Corporation, 1974 (TCM.1974.1.239)

Reproduced by permission of Jan Shimamura

Woman as Landscape, 1954‒5  |  Oil on canvas

Collection of Barney Ebsworth

© 2017 The Willem de Kooning Foundation/ Artists Rights Society (ARS), New York

Between Tachisme and Abstract Expressionism – Exhibitions – Hollis … – artists involved in abstract expressionism | artists involved in abstract expressionism

Untitled, 1968  |  Acrylic on cardboard army on Masonite

University of Iowa Building of Art

Gift of the Mark Rothko Foundation, Inc., 1985.49

© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

Portrait of H. M., 1945  |  Oil on canvas

University of Iowa Building of Art  |  Allowance of Peggy Guggenheim, 1947.39

© 2017 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

One of the New York Abstruse Expressionists, 92-year-old Satoru Abe, still abstraction and activity strong.

It’s 10 a.m. on a Saturday morning at the Kaimukī home of Satoru Abe aback John Koga arrives with a six-pack of Heineken.

“So you activity alcohol too, right?” the 92-year-old artisan asks.

“Yeah, I’ll alcohol with you,” Koga replies, chuckling.

Abstract Expressionist New York | MoMA – artists involved in abstract expressionism | artists involved in abstract expressionism

Koga, additionally an acclaimed Modernist artist, helped align this accumulation with Abe. For the abutting three hours, over beers, sushi and scones, Abe talks about his career, his apprenticeship in New York and Hawai‘i’s art arena today. We bout his studio, his home and garage, abounding to the border with works alignment from metal sculptures abate than a paperweight to one the admeasurement and appearance of a tree, buried in the backyard alfresco his house.

Even if you don’t apperceive his name, you apperceive his artwork: the copper-and-bronze cone with ellipsoidal chunks missing, alfresco Aloha Stadium; the six granite tablets in a amphitheater with images of leaves categorical on them at the airport; the twisting, abstruse treelike sculptures alfresco the Aboriginal Hawaiian Center. Satoru Abe is a sculptor, a welder, a painter and an illustrator.

Alongside Abe’s own pieces on affectation at his home are his favorites by Hawai‘i artists, calm or accustomed as ability over the years. They awning about every inch of bank and shelf space. “That’s David Behlke, that one’s Sanit Khewhok. [Lauren] Okano is over there, abutting to [Warren] Stenberg. Of course, my mentor, Isami Doi. Apparently a abruptness is that one by Keiko Bonk,” Abe says, pointing. Bonk is conceivably best accustomed as the aboriginal Green Affair affiliate to win political appointment in Hawai‘i. 

Abe still produces 150 to 200 pieces a year, almost the aforementioned cardinal as aback he aboriginal began adjustment in the 1950s. “The aberration today is that I accomplish things afterwards assumption account and try to abruptness myself. To do this, your assignment has to be spontaneous,” says Abe. “Almost every third day or so, I abruptness myself. That’s the fun part.”

Before Abe was an artist, he arranged milk containers for the Dairymen’s Association, a accommodating of seven O‘ahu dairy farms that afterwards became Meadow Gold. “I asked myself, is this what I’m activity to do for the blow of my life?” Abe says. “So I absitively to be an artist. Simple as that. I was young, aboveboard and with a dream. That’s all you need.”

At the time, Hawai‘i had no absolute arts apprenticeship programs, so he catholic by abode to California, again to the Art Students League of New York. “My aboriginal night in the city, I bent the Greyhound and I had the abode for accession in the Lower East Side but it was too late, 10 o’clock. So I went over the bank at Central Park and spent the night there,” says Abe. He begin assignment as a restaurant dishwasher authoritative 75 cents an hour, additional two commons a day. “I’d get cash, 24 dollars or about abundant [on payday], and I’d constrict it in my socks and booty the alms home. But, 17 years in New York, I never got mugged.”

“Almost every third day or so, I abruptness myself.”

When Abe began in art, carve was rare. He abstruse the basics by experimenting: sanding, erasing, melting. From there, he began creating forms. “When we started, there were alone two categories: painting and sculpture. That’s all. Ceramics was advised a craft. Photography wasn’t included. Today, aggregate is art,” Abe says. “Which is actual good. The alone belief is able-bodied done or not able-bodied done.”

He alternate to Hawai‘i in 1950, area he met added bounded artists additionally abiding from belief or alive about the globe. “Bumpei Akaji came aback from Italy afterwards the war, Tetsuo Ochikubo came aback from the Chicago Art Museum, Jerry Okimoto, he was at the Honolulu Academy of Arts, Tadashi Sato came aback from Brooklyn Museum—no, Pratt Institute, I think. And Isami Doi, he mentored us,” says Abe. The accumulation became accustomed as the “Metcalf Chateau,” called afterwards a abode that Akaji and Abe busy for six months on Metcalf Street and area the accumulation apparent its artwork.

“There was a lot of drinking. Any time somebody fabricated a sale—in those days, affairs an art allotment was rare—we had a party,” Abe says. At their aboriginal accumulation appearance in 1954, artisan Elsie Das recommended their assignment to what’s now the Honolulu Building of Art and, aural a month, the exhibition was confused to the advanced allowance of the museum.

“The blow is history,” says Abe. “Seventy years ago, I didn’t alike apperceive what art I was activity to make. It was above imagination. I attending aback now, I still can’t accept what I made.”

Any routines aback you work? Abe says no. “One thing, in all the years, I never alcohol aback I work. No drugs either,” he says. “My cigarette career was 20 years, again I abdicate for 23 years, again I smoked for 26 years. I’ve abdicate now for a year and a half. Of course, I’m cat-and-mouse for marijuana to be acknowledged …”

Abstract Expressionism was an art movement shaped by its critics. “Whether it was acceptable or bad critique, the best the better. If they criticize you for this much,” Abe says, gesturing large, “it’s bigger than if they like you but alone for this much,” Abe says, gesturing small. “But the capital affair is that they accept your name correct.”

We allocution the day afterwards Gov. David Ige appear his ambition to veto a bill that would accept appointed funds to advice accounts a ceremony of the 50th ceremony of the State Capitol. Abe apprehend the account in the cardboard this morning.

“So we’re gonna do article ourselves to bless instead, right?” Abe asks, attractive at all of us gathered. The man never stops.  

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[newssplashy]

World: Costas Kondylis, go-to architect in a high-rise town, dies at 78

Trump Plaza. Trump Place. Trump Park Avenue. Trump World Tower. Trump International Hotel and Tower. They all have another name in common:

Costas Kondylis. Kondylis was the architect of choice for Donald Trump and other developers of luxury apartment towers in New York for three decades. He died Aug. 17 at his home in Manhattan at 78.

The cause was complications of Parkinson’s disease, his daughter Alexia Leuschen said.

“My concern is to create value for the developer, because they’re my clients,” Kondylis told The New York Times in 2007.

Kondylis (pronounced kon-DEE-lis) was a senior partner at Philip Birnbaum & Associates from 1979 to 1989, when he founded Costas Kondylis & Associates. That practice, renamed Costas Kondylis & Partners in 2001, dissolved in 2009.

“Costas was an incredible friend to our family and a remarkable architect,” Donald Trump Jr. and Eric Trump of the Trump Organization said in a joint statement Thursday. “He leaves behind an amazing legacy.”

President Donald Trump checked in with Kondylis throughout his illness, Leuschen said.

As an architect, Kondylis did not so much have an aesthetic style as a business formula. He provided developers with efficient, marketable, dependable, comfortable buildings. The designs won few prizes or critical plaudits, but they also caused few headaches for those who financed and built them.

“His clients trusted him on their projects to find the sweet spot between machines for living and profitability,” architect David West said Thursday. West is a founding partner of Hill West, which was formed by three alumni of the Kondylis firm.

Kondylis worked by the numbers, and the numbers were impressive. “From 2000 to 2007, he designed 65 buildings — so, one building every six weeks,” the website The Real Deal calculated.

“I do the conservative approach, like Mercedes-Benz,” Kondylis told The Times in 2011. (Automotive analogies came easily to a man who enjoyed collecting Lamborghinis, Ferraris and Maseratis.)

Trump World Tower, completed in 2001, was a striking 861-foot-tall exception to his conservatism. Erupting from a block opposite the United Nations, it was a monolithic slab of bronze glass so dark that it almost appeared black from some angles at certain times of day.

Kondylis was credited with persuading Trump not to clad the building in gold-tinted glass, though in his characteristically courtly way he demurred. “We discussed it together,” he said.

In retrospect, Trump World Tower can be seen as setting Manhattan on course to being a modern-day, stratospheric version of the medieval Italian city of San Gimignano, with a skyline pierced by a dozen or more towers for the rich and powerful, far out of proportion to anything around them.

Though Trump World Tower has since been dwarfed by a new generation of super-tall apartment buildings, like 432 Park Ave., it was phenomenally tall in its day — so tall that the Trump Organization marketed it as a 90-story residence. (There are actually only 72 floor levels.)

Well-heeled neighbors were infuriated by its size, and preservationists were dismayed that a new skyscraper visually overshadowed the U.N. Secretariat Building.

But Trump World Tower had important admirers. Terence Riley, then the chief curator of architecture and design at the Museum of Modern Art, said in 2002 that the tower was his favorite new building in New York. And Herbert Muschamp, who was then The Times’ architecture critic, described it as “undeniably the most primal building New York has seen in quite a while.”

“The tower’s appeal is as much polemical as it is aesthetic,” he wrote. “It punches through the morbid notion that the midtown skyline should be forever dominated by two art deco skyscrapers, the Empire State and Chrysler buildings, as if these cherished icons couldn’t stand the competition.”

Muschamp contrasted Trump World Tower with the six “reactionary” buildings Kondylis designed — three in association with Philip Johnson — at Trump Place, along the southern extension of Riverside Park in Manhattan.

Guidelines developed by six civic, environmental and neighborhood groups in concert with the Trump Organization were meant to encourage buildings that evoked Central Park West. The towers, however, turned out to be “awkward giants, glorious to look out (at the river and palisades) and inglorious to look at,” the “AIA Guide to New York City" said.

Kondylis also reshaped the skyline around West 42nd Street with the twin Silver Towers for Larry A. Silverstein. “If I’m going to do a residential building in New York, the most natural thing in the world is to pick up the phone and call Costas,” Silverstein said in 2007.

Constantine Andrew Kondylis was born on April 17, 1940, in Bujumbura, the capital of Burundi. (The city was known at the time as Usumbura.) His parents, Vassilikis and Andreas Constantine Kondylis, were Greek citizens. His father opened a chain of general stores in Africa.

Costas, as everyone called him, earned a master’s degree in architecture from the University of Geneva and, in 1969, a master’s degree in urban design from Columbia University.

From 1972 to 1979, Kondylis worked at the New York architectural firm Davis, Brody Associates, now Davis Brody Bond, principally on projects in Iran.

He was then hired by Philip Birnbaum, another architect known for efficient buildings. That was where he tackled his first project for Trump: Trump Plaza, 161 E. 61st St.

For the Trump Organization, Kondylis designed the reconstruction of the Gulf & Western Building at Columbus Circle as the Trump International Hotel and Tower, in collaboration with Johnson; the conversion of the Hotel Delmonico, at Park Avenue and East 59th Street, as the Trump Park Avenue; and the residential conversion of the Mayfair Hotel, at Park Avenue and East 65th Street.

Besides Leuschen, Kondylis is survived by another daughter, Katherine Kary Kondylis; four grandchildren; and two sisters, Mary Kalogreas and Penelope Kondylis. His marriage to Gretchen Barnes ended in divorce. His second marriage, to Lori Lotte Neuner, ended with her death in 1995.

Architecture may have been Kondylis’ great love, but it was not his first.

“His best childhood memory was lying on the back ledge of the interior of the new Studebaker my grandfather had delivered to Bujumbura each year while they lived there, and looking up at the sky as his parents drove around,” Leuschen said in an email. “His earliest wish was to be a car designer, but my grandmother directed him to architecture.”

This article originally appeared in The New York Times.

David W. Dunlap © 2018 The New York Times

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[licencedtoretire]

With Brian moving on to Ranfurly the previous night we had the Tiroiti freedom camp  (#8352) almost to ourselves with just the caravan and car that had it’s alarm go off there for the night. During the 2 days we had been parked here we had seen the farmers coming to and from their farm with a friendly wave as they went past. The people in the South Island are just a completely different breed to those in Auckland. The farmer also mentioned that the most number of people she had seen staying at this spot was 7 but most nights was a lot less than this.

We were treated to a real sight this morning though with the sheep being driven past the van. They had been past the previous day for drenching then it was back to the fields in the morning. We really felt like we were in the country.

As well as the episode with the sheep we also had this helicopter buzzing around. Landing and then taking off in the next paddock over we think it was checking something but we don’t really know. However it was another thing that added to the days excitement.

It’s only a short drive from Tiroiti to the NZMCA camp in Ranfurly (#8760) but with hardly a cloud in the sky and amazing scenery on both sides of the road I could have kept driving for ages. The camp has a dump station right on it’s border so after we had emptied the waste tanks it was our choice of spots in a camp with tons of space. Brian later told us that he was here for the opening of this camp when there were over 60 vans here.

After we had the bikes set up I went looking for the Rail Trail as we weren’t sure where it was. Turns out it was less than 50 metres from the camp. With that sorted we set off back towards Kokonga the furthest we had got the previous day. Passing through Waipiata it was nice to be welcomed by Waipiata Man who has obviously been holding his arm out to cyclists for a number of years.

The trail is very flat on this section as well as very straight as you leave Ranfurly making for a very easy ride. I must say that all three of us are constantly remaking what a great trail this is with scenery that is ever changing and how lucky we have been with the weather.

The trail crosses numerous bridges as well as crossing the Taieri River a couple of times. The restoration of the old rail bridges adds some real character to the ride with the old steel work retained as well as in some cases the original wooden railings.

We came across these guys at the site of the original quarry. These blocks were all hand shaped from much larger ones then shipped to Dunedin where they built the famous Train Station from them. This is actually one of the major reasons that the rail link was built so the quarry could be connected to Dunedin.

We reached the lodge at Kokonga the point we had ridden to the previous day a place with special memories for Brian who had spent time here with a large family gathering 9 years ago. Turning around on the ride back to Ranfurly we discussed plans for the rest of the day. One of the things about the area is that it’s not just the rail trail being in these small towns gives you the chance to really explore the area. 36.5kms for the morning not a bad ride.

Before setting out with Brian in his car Sarah and I took the chance to wander through Ranfurly. The old train station has been turned into the I Site with a number of displays documenting the history of the area. You can also watch a short video that runs through the history of the rail line if you have 10 minutes to spare it’s an absolute must to watch as it covers all the areas we had been and will be riding.

There are a couple of art deco buildings including the Milk Bar a really prominent feature of the town right on a main corner. The Hotel across the road from the train station evokes a sense of a time long gone just by it’s presence.

Sarah was insistent that I have a photo taken under the John Street sign that we came across as we wandered around the town. The streets of Ranfurly have trees everywhere with this street lined with the red berried tree on the right of Sarah.

We jumped into Brian’s toad (a car towed behind a bus is called a toad) and headed for the hills to the old TB hospital a complex that is now a religious centre with open gates where you can explore the grounds and admire the old buildings. They also have an art gallery with some decent paintings by a couple of the residents on display.

From the old TB Hospital to the old cemetery at the top of the hill. What an amazing view over the plains below us. I know it seems creepy to some to visit graveyards but the sense of history that you feel in these places makes it well and truly worth while. This one is worth a visit just for the view.

We woke the following morning to this stunning sunrise over the camp. It had filled up a little during the evening with 18 sets of campers enjoying the facilities it’s a great part of being an NZMCA member that you can enjoy these sorts of places.

It was back on the bikes again to head up the trail to Wedderburn one of the few places left on the trail where the original train station still stands. It’s such a shame that when they lifted the tracks that they didn’t have the foresight to think to preserve this sort of history. Like most of the stops on the way the station has sign boards that give a brief history of the surrounding area as well as distances to the next stop.

With Sarah choosing to return to the camper at Wedderburn, Brian and I rode on to Ida Station the highest point on the Trail. Riding to there also helped balance the distances we are riding each day since we are riding there and back. The ride back was almost completely down hill so Brian and I powered back at almost 40kmph great fun as we went screaming down the hills.

With Brian again offering to play tour guide we set off towards Dansey Pass an area of extensive gold mining in the Otago region. First stop was the old graveyard where this signboard outlining the various charges to be buried depending on your age etc.

The whole area is covered in information boards with a number in and around the pass at the cemetery there is the tragic tale of two boys lost in a snow storm who along with a few of the people out looking for them perished from the cold. It makes really sad reading but it also makes it far more interesting than just turning up and seeing the graveyard without any explanations as to the history of the area or who is buried here.

As we drove along the road we spotted this fellow gold panning in the river. He told us that although he didn’t personally have a claim he had permission from the person who does to look for gold in this part of the river. He also told us that he does it for fun with only small pieces of gold to be found here he is lucky to find more than $50 worth in a day but he loves doing it. He did have some specks of gold in his sluice but that’s all they where specks.

We arrived at the Dansey Pass Hotel the last one standing from the days of the gold rush in this area. The original part of the hotel has been converted to accommodation with 19 rooms available for guests. The new part of the hotel built in 1990 forms the bar and restaurant area with the open fire blazing the place had a very friendly welcoming atmosphere.

The Manager was a fountain of knowledge telling us that the new part of the hotel was built of bricks constructed of local materials by a special machine imported from the USA just for the job with the amazing roof trusses recycled from a factory that was being demolished in Christchurch.

Also shown in the photos above are the ruins of one of the old buildings left standing in the hotel grounds as well as the huge Macrocarpa tree that was being felled a huge job as it’s right next to the hotel with it’s natural line of fall directly over the hotel roof.

To finish the day we took a drive into Dansey Pass an area of dramatic scenery with a very narrow road, not one that I would want to take the new Motorhome through but probably would have been OK taking the old Mitsi through as it’s smaller with a higher ground clearance.

It was then back to Ranfurly for another night at the NZMCA park with the plan to move up the road the following morning to start day 5 of the trail ride.

              Otago Rail Trail Part 2 With Brian moving on to Ranfurly the previous night we had the Tiroiti freedom camp  (#8352) almost to ourselves with just the caravan and car that had it's alarm go off there for the night.

[itsworn]

Jalopy Spirit Lives in this Well-Preserved and Tastefully Hot-Rodded 1933 Ford Phaeton

Alternative.

Before the hot rod moniker had even been coined, jalopies were almost exclusively built based on lightweight and somewhat aerodynamic roadsters. Coupes, sedans, and a handful of pickups eventually joined the ranks, but some models never gained much interest from hot rodders—four-door models in particular, like the phaeton.

Up until the 1920s, this body style—derived from 19th-century horse-drawn carriages—could be found all over the big cities. Phaetons fell from favor during the following decade, as technology allowed for the mass production of closed cars and convertible bodies with glass windows all around. Suddenly, phaetons looked so yesterday.

This lack of interest from automobile buyers was reflected in the sales of Ford products. In 1932, FoMoCo assembled 5,251 phaetons worldwide, compared to a total production of 322,962 vehicles, which equates to less than 2 percent. The situation proved even dimmer in 1933, as Dearborn and its affiliate factories released only 2,206 Deluxe phaetons and 609 Standard phaetons.

The car featured on these pages happens to be one of the latter. Yeah, you can say it’s a super-rare beast. Compared to its Deluxe counterpart, the Standard had no cowl lights, no ashtray in the dash, a plainer interior, as well as painted (rather than chromed) windshield posts. Very few of these stark models have survived, as they have not been considered as valuable as roadsters or coupes of the same era.

This survivor belongs to Cam Grant, a well-known figure of the Canadian hot rod scene. He lives within miles of the U.S. border in Surrey, British Columbia, in a house flanked by a couple of large garages filled with tons of desirable parts he has gathered over the last few decades. For Cam, hopping up cars began in 1958 when he was 13, with a ’30 Ford roadster (purchased for $75) that was first motivated by a ’48 Mercury flathead. It evolved over the years, receiving a ’55 Buick nailhead V8 on a frame kicked front and aft that received a channeled body.

Other vintage Fords followed, in the shape of a ’28 phaeton, a ’34 Victoria, and several ’32 roadsters. In fact, he scored two of the latter—genuine barn finds—a few years ago. He kept one of them and sold the second to his good friend Dave York, a car we wrote about in “Against All Odds” (Sept. 2017). Cam’s current fleet also includes a mildly altered ’39 Ford Cabriolet, a real-deal Deuce three-window coupe, a heavily modified ’55 Rambler Cross Country wagon, and a customized ’34 Ford roadster with an interesting story (see sidebar).

The ’33 phaeton’s tale goes something like this: A person lost to history hot rodded the vehicle in the late 1940s, before storing it in the Tacoma, Washington, area in 1952, along with a pair of Deuces, a roadster, and a five-window. The phaeton “was brought out of hibernation in 2004 and sold by the owner’s widow to a man in Spokane, Washington,” Cam recounts. “It then went to San Francisco to a friend, who made it roadworthy. He kept it for a couple of years, and I was then lucky enough to become its next caretaker.”

Just before storing the phaeton more than six decades ago, it appears that the owner was getting ready to paint the body, as evidenced by the original black paint being sanded in spots to feather out chips. The doors were primed, but the project stalled for some reason. So when Cam took possession of the car, he discovered a terrific time capsule, featuring a 100 percent rust-free shell and floor, with no repairs ever performed! The doors closed perfectly with no sag, an amazing feat considering phaetons were prone to body flex. Even the fenders remain original and in great shape, with some paint left (though not much). To make sure the bodywork would continue aging gracefully, Cam applied primer over several bare-metal areas, though he made sure the treatment would match the patina.

The frame received plenty of attention as well, thanks to a few coats of black paint and diverse parts picked from the impressive stash stored in his garage, starting with an old Ford front axle, drilled and dropped 3-1/2 inches. Other goodies include a modified ’56 Ford pickup steering box and ’48 Ford juice brakes. Both front and rear spring packs feature reversed eyes to properly get the tub closer to the ground.

For motivation, Cam selected a 239ci Ford flathead, equipped with a few hop-up products. Notice the old and faded decal listing “Kenz & Leslie V-8 Service,” a firm that has been involved with automobile racing since 1935. It keeps company with an Eddie Meyer fuel block, which feeds a pair of genuine Stromberg 97s. Ponies travel via a ’39 Ford three-speed box with an open driveshaft conversion before reaching a ’36 Ford rearend with a 4.11 ring-and-pinion.

Hard to believe, but a lot of that interior has been with the car since 1933! Cam muses, “The door panels may well be original, with lots of extra nails to hold them on. Standard phaeton seats and door panels had what Ford called ‘leather-like’ material. Under the plaid seat covers, the original upholstery has a similar material.”

The driver faces a handful of rare components, such as the Art Deco–styled 1940s Yankee aftermarket turn signal switch mounted to the steering column. Under the dash, Cam installed a vintage Sun voltmeter, flanked by a pair of Stewart-Warner instruments (oil pressure and water temperature gauges). He also added a Model T ignition switch above them, though it now controls the headlights and taillights. Finally, the SCTA badge was a present from a friend nearly 40 years ago. It tends to travel from one car to another depending on his mood.

Being a true hot rod, the patina’d phaeton evolves as time passes, though Cam makes certain to perform alterations in harmony with the vehicle’s original jalopy spirit. He concedes not being a “flathead guy,” so next time you see the car, it may have a more powerful Buick nailhead. Still a cool engine, right? Come to think of it, this phaeton checks many boxes in our list: It’s a rare model preserved with care, it retains great style and stance, and is equipped with a desirable selection of vintage components. It truly doesn’t get much better than this.

These under-construction shots illustrate just how sound the body was after all those years in storage.

These under-construction shots illustrate just how sound the body was after all those years in storage.

The hot rod rake comes courtesy of Firestone bias-plies measuring 5.50-16 and 7.00-16. Cam kept the original top irons but has no plans for a top. We can’t blame him. After all, the climate proves much more temperate in the Vancouver area than most of Canada.

The nose of the phaeton retains stock ’33 Ford headlights, and why not, since they look great. Check out the buffalo logo on the grille, an authentic ’33 piece. Cam explains: “You got one of these when you travelled through Canadian national parks in the 1920s and 1930s. They have become very collectible, and expensive.”

Some call it a grille guard, others a bumper guard. Whatever you fancy, this piece is a period-correct accessory. Cam converted the two small foglights into front turn signals.

Unlike Deluxe models, Standard ’33 phaetons had painted windshield posts. A ’39 Ford supplied the rearview mirror, though Cam thinks its graceful bracket was probably made decades ago.

The 239ci flathead perfectly fits the theme of the vehicle. Cam dug through his amazing pile of parts and came up with a few gems: genuine Edelbrock heads, Eddie Meyer intake manifold, Mallory distributor, and Fenton headers with the right amount of patina.

The old plaid material hides much of the original upholstery, though it’s “very cracked and worn,” according to Cam. “My wife got the plaid seat covers about 30 years ago, and we never had a use for them—until now. She can’t recall where she got them.”

While the instruments and steering column are original 1933 pieces, the banjo steering wheel came from a ’39 model. The ’37 gearshift knob may not look overly exciting at first glance, but Cam is quite attached to it: “It was given to me by a nice old neighbor in 1958 when I was a kid, trying to build my ’31 roadster. I’ve used it in several hot rods since.”

That Moon pressure pump is dear to Cam’s heart, being a birthday present from an old friend. “It came out of a neat ’31 Ford roadster built in Vancouver in the mid-’50s. It had a 354ci Chrysler Hemi with Hilborn injection. I actually rode in it once. It tended to load up; but once it cleaned out, it was impressive and a bit scary. Now it’s just there because I like it.”

Wheels are common (traditional) hot rod items, specifically 16-inch Kelseys, enhanced with cast aluminum Cragar hubcaps. And, of course, a touch of red paint brings some welcome contrast against the dark shell. The car occasionally runs on whitewall radials, plus genuine ’50 Merc wheels and caps.

Punched with about 40 louvers, the rear apron houses a ’33 California license plate, installed for decorative purposes. Above it, notice the winged light, a swap meet find originally used as trunk lid badge on a mid-’30s Chrysler Airflow.

Over the years, Cam has unearthed dozens of desirable license plate frames, mostly from BC and cities along the California beaches. His tub features a deco-styled Long Beach frame in front and a plaid model in the back. “I get some ribbing about buying it to match the upholstery,” he says.

This Standard phaeton is a true time machine, with a few details purposely left “as is.” Yes, it’s a bit dog-eared around the edges, but you just don’t find cars like these anymore.

In Cam’s Garage

The picture clearly demonstrates Cam Grant’s obsession with vintage stock/performance parts. HOT ROD produced a piece about the man and his place in June 2012. This photo, an outtake from that article, shows another interesting ride he acquired, a Titian Red ’34 roadster that somewhat hovers between a hot rod and a custom. Note the unusual door cutouts (executed in lead) and the spare wheel on the rear bumper, two details you would typically associate with custom cars.

These alterations, seemingly performed in California in the 1940s, were meant to mimic the luxurious automobiles of the time. By 1949, the vehicle ended up in Seattle, on the used car lot of H&H Motors. A young Marvin Pickard purchased it in 1951, before it went through various owners and engines (Ford flathead V8s, Buick nailhead) during the 1950s and early ’60s.

Although it never graced the pages of the well-known magazines from the West Coast, the car still received some attention during the ’50s from three small-size magazines based on the other side of the country: Speed and Custom, Car Speed, and Style, Souping and Swapping. Earl Reed owned it at the time, when it was known as the “Rip Roaring Roadster.”

Cam bought the roadster in 2009 as a great survivor with minimal body issues. While preserving as much of the old paint and parts as possible, he still added his own touch to the vehicle, using a DuVall-style windshield from friend Dave York. He then went to chop the top, although it remains functional and foldable. Other alterations include a 4-inch dropped axle, ’48 Ford brakes, and desirable Lincoln Zephyr hubcaps. In case you’re wondering, the lights mix pieces from a ’36 Ford for the front and ’39 LaSalle for the back.

For motivation, Cam elected to use a 390ci V8 that came from a ’59 Cadillac. It received a selection of Offenhauser speed equipment, such as valve covers and an intake manifold supporting dual Rochester carbs. It’s a reliable combo that allows our British Columbia resident to easily travel to local shows and occasionally across the nearby U.S. border.

    The post Jalopy Spirit Lives in this Well-Preserved and Tastefully Hot-Rodded 1933 Ford Phaeton appeared first on Hot Rod Network.

from Hot Rod Network http://www.hotrod.com/articles/jalopy-spirit-lives-well-preserved-tastefully-hot-rodded-1933-ford-phaeton/ via IFTTT

[spencerthorpe]

Idealist City Guide: PRAGUE

One of the great joys of the city of Prague is its potential for exploration, which is why we’re following John as he wanders through Prague’s maze of cobbled lanes and hidden courtyards.

Prague, capital of Czech Republic, is situated at the center of Europe positioned on the River Vltava’s banks. Equal of Paris in terms of beauty, Prague is best known for its beautiful art and architecture and some of the best shopping you can find. Its history goes back a millennium. And the beer? The best in Europe.

Must-See Attractions

Old Town Square: If you want an authentic way to feel Prague’s history, head down to Old Town Square. Beautiful architecture is the highlight of this scenic part of Old Town. Don’t miss the old town hall and the astronomical clock. Address: Staroměstské náměstí 110 00 Praha 1,Staré Město, Czechia

Charles Bridge: After floods wrecked the Judith Bridge in 1342, the Charles Bridge was built to replace it. Construction took place from 1357 to 1402. The bridge is decorated by the statues of 30 saints. Address: Charles Bridge, Praha 1 – Staré Město, Czechia

Vysehrad National Cultural Monument: While some of the details are a bit muddled, officials believe Vysehrad was built sometime during the 10th century, and is home to some of the oldest, most historically significant buildings in Prague. Address: Vyšehrad, V Pevnosti 159/5b, Praha 2 – Vyšehrad, 128 00

Dinner Cruise: What’s better than seeing the beautiful sites of Prague from the quiet luxury of a cruise? Eating dinner at the same time, of course. The cruise is 3 hours long and follows the Vitava River. Address: Cechuv Bridge, Dvorakovo nabrezi, pier 5, Prague, 11000, Czechia

Style Shopping

Flamant Home Interiors: Flamant was founded by three brothers as an expansion of their father’s antique business. This shop does a great job of combining modern and antique design trends to create a unique look. We especially love their sleek industrial chests and stylish lighting. Address: Flamant Store, Slovanský dům, Na Příkopě 22, Praha 1 Czech Republic +420 221 451 790

Konsepti: When curating their collections, Konsepti has one main focus: uniqueness. Their wide selection includes brands such as Flos, E15 and Cassina. We love their large variety of unique seating choices; you’re sure to find something you love. Address: Komunardů 32, 170 00 Praha 7, Czechia +420 266 199 452

Modernista: Having two stores is part of what makes Modernista so great. The Municipal House location has a unique collection of Art Deco pieces and can be found in the basement of the Municipal House. The Pavilon, the flagship location, has a stronger focus on interiors and contemporary design. Check out their stylish metal lighting and elegant glassware — we love them! Address: nám. Republiky 1090/5, 110 00 Staré Město, Czechia +420 222 002 102

A La Maison: If you’re only looking for some smaller accessories and accent pieces to finish off a room, check out A La Maison. Beautiful candlesticks and candle trays, rugs, chandeliers, vases and more highlight this shop’s collection. Plus they carry great brands like Möve and Balmuir. Address: Šafránkova 1238/1, 155 00 Praha 5, Czechia +420 233 322 563

Le Patio: No, they don’t only sell patio furniture. Le Patio is actually a high-end interior retailer specialising in unique furniture, accessories and lighting. Le Patio’s goal is to improve the rooms people use, thus improving the quality of their life. Some of our favourites include the EA Deco woven baskets and Zenza lighting collection. Address: New Living CenterJungmannova 748/30, 110 00 Praha 1, Czechia +420 224 934 402

Hotels

Residence Agnes: Featuring all of the regular amenities and a central location in Prague, Residence Agnes is a great place for anyone who wants to do plenty of walking and exploring. The hotel lobby’s beautiful contemporary decor provides a great atmosphere upon entry. Price level: Medium Address: Haštalská 19, 110 00, Prague 1, Czech Republic +420 222 312 417

MOODs Boutique Hotel: The cornerstone of MOODs is the unique design, and I can’t emphasise the unique part enough. They also offer great food and drinks and a spa treatment, so you’ll barely have to leave your hotel to get everything you need. Price level: Budget Address: Klimentská 28, 110 00 Prague 1, Czechia +420 222 330 100

Hotel General: If you’re looking to avoid the hustle and bustle of downtown Prague, the Hotel General is the place for you. While it’s a bit further from all the activities, its lovely atmosphere and friendly staff more than compensate for that. Price level: Medium Address: Svornosti 1143/10, 150 00 Praha 5-Smíchov, Czechia +420 257 318 320

Galleries & Museums

National Gallery in Prague: For art lovers, the National Gallery in Prague is the perfect museum. With a range of both permanent and temporary exhibitions, you’re sure to find something you love. They have many permanent exhibits, including “European Art from Antiquity to Baroque” and “The Art of Asia.” Address: The National Gallery in Prague, Staroměstské nám. 12, 110 15 Prague 1, Czech Republic +420 220 397 211

Wallenstein Palace Garden: Constructed right near the Wallenstein Palace in the 17th century, this garden is truly a sight to behold. It features expert landscaping and beautiful Baroque bronze statues which are replicas of the originals, which were created by Adrien de Vries and subsequently stolen by the Swedish army. Address: Wallenstein Garden, Letenská, Praha 1 – Malá Strana, 118 00 +420 257 075 707

Lobkowicz Palace: While beauty is abound here, the main focus is on Prague’s (and Czech Republic’s) place within European history. Their gallery includes paintings by Velazquez, Canaletto and Brueghel, as well as annotated manuscripts from legendary musicians. Address: Prague Castle Jiřská 3 119 00 Prague 1, Czechia +420 233 312 925

Food

The Portfolio: You’ll be hard-pressed to find anyone complaining about this fine dining establishment. The chic atmosphere perfectly complements the food. Their monkfish in a roasted black truffle sauce is a favourite. For dessert, try their creme brulee or carmalized fruits and ice cream. Address: Portfolio restaurant, Lannův Palác, Havlíčkova 1030/1, 110 00 Praha 1 , Czechia +420 224 267 579

Vegan’s: If you’re looking for something a little bit out of the ordinary, try Vegan’s. Even those who aren’t vegan will appreciate the wonderfully crafted food. Their burgers are a great substitute for non-vegans, and their wonderful selection of cheesecakes and pies will satisfy your sweet tooth. Address: Vegan’s Prague, Nerudova 36, 11800 Praha, Czechia +420 735 171 313

Ristorante Pagana: This is a great local spot for a host of Italian food, including pasta, seafood and antipasti. They also have reasonably priced dishes, which can be difficult to find at a good Italian restaurant. Don’t forget to try their chestnut tiramisu! Address: Ristorante Pagana, Vladislavova 17, 110 00 Praha 1, Czech Republic +420 224 056 300

Chocoffee: The perfect spot for fanatics of all things chocolate, Chocoffee serves up Belgian chocolate on tap in three varieties: white chocolate, milk chocolate and dark chocolate. You can have your chocolate in a waffle, in a cone, or with fruit, nuts or pretzels. Address: Spálená 8/80, Praha 1, 11 000, Czechia +420 775 583 450

Getting There From London

The easiest way to travel from London to Prague is by plane. For round trip tickets spanning less than a week, flights can cost anywhere from £40 to £120 each way. The flight will take about two hours each way.

You May Also Like

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Idealist City Guide: VIENNA

All photos courtesy of respective locations

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The post Idealist City Guide: PRAGUE appeared first on The Idealist.

from The Idealist https://www.theidealist.com/idealist-city-guide-prague/ from The Idealist Magazine https://theidealistmagazine.tumblr.com/post/162541029458

[max34ron]

Four State Street Buildings To Become Housing

There’s finally some clarity for a group of last-century office buildings that have been languishing under the weight of leaky roofs and pigeon poop for close to a decade.

The half-block to be redeveloped, as seen in 2011.

The area around the 200 block of South State Street has been the home to an assortment of buildings that were once the workplaces of thousands of productive citizens, before they were scooped up by the feds as a planned expansion of the nearby Federal Center.  While some of the buildings did get used for organizations like the Department of Labor, and as a temporary home for Homeland Security, for the most part they’ve been vacant.

We’ve been following the fate of the buildings since at least 2009. In 2013 we reported on the renovation of 16 West Jackson, 230 South State, and 10 West Jackson:

Renovating all three buildings cost $25 million, and involved a lot of different challenges because each is from a different era. 16 West Jackson needed extra fire protection love because it’s a hundred years old and made from wood. 230 was originally a fantastic art deco department store called Benson & Rickson Company, built in 1937; and 10 West Jackson was The Bond Store, which went up in 1949.

16 West Jackson was once named the city’s ugliest building by the readers of the Chicago Tribune.

Now four neighboring federal buildings are being redeveloped thanks to a deal between the city and CA Ventures.

202 South State: The 1915 Century Building by Holabird & Roche — To become 159 studio and one-bedroom apartments

212 South State: To be demolished and replaced with a 15-story annex to 202 South State

214 South State: To get a facade-ectomy and be replaced by a new two-story building

220 South State: The 1913 Consumers Building by Jenny, Mundie & Jensen — To become 270 micro apartments

The architecture firm behind the half-block redesign is River North’s Antunovich Associates.

Mayor Emanuel Announces Selection of Team to Redevelop Venerable State Street High-Rises

$141 Million Project Will Revitalize Stretch of Marquee Downtown Street and Create Hundreds of Jobs

Mayor Rahm Emanuel today announced two venerable State Street office buildings will be redeveloped as part of a $141 million residential and retail project by CA Ventures. Located at 202 and 220 S. State St. and owned by the federal government, the vacant, century-old structures were made available through a Request for Proposals process initiated by the Chicago Department of Planning and Development and the General Services Administration (GSA) this spring. CA Ventures’ plan for their adaptive re-use will enhance the ongoing renaissance of the Loop’s historic shopping corridor.

“The redevelopment of this section of State Street will ensure its future will be even brighter than its storied past,” Mayor Emanuel said. “This project represents a significant investment in Chicago that will generate economic opportunities, revitalize an underused asset and contribute millions of dollars to expand affordable housing in our neighborhoods.”

The approximately 350,000-square-foot project includes a mix of exterior and interior restoration and new construction.

The 22-story Consumers Building, designed by Jenny, Mundie & Jensen and completed in 1913 at 220 S. State, will be rehabilitated as approximately 270 “micro” apartments. The 16-story Century Building, designed by Holabird & Roche and completed in 1915 at 202 S. State, will be rehabilitated and expanded as 159 furnished studio and one-bedroom apartments. The current building at 212 S. State property will be demolished, and a 15-story structure will be built in its place as a connected addition to 202 S. State. The historic features of 214 S. State St. will be also be retained in a newly constructed two-story building on that parcel. Pending zoning approval by City Council, the project is planned to include a Neighborhood Opportunity Bonus payment of $4.38 million and a $5.65 million payment into the city’s Affordable Housing Opportunity Fund. The project will create at least 100 permanent jobs, in addition to 200 temporary construction jobs.

“This transaction provides an important opportunity for GSA to find new uses for properties that are no longer critical to the federal government’s needs. It will make better use of these real estate assets and help the City of Chicago continue to revitalize the State Street corridor,” said John Cooke, acting regional administrator for GSA’s Great Lakes Region.

“Today we are taking an important step toward the transformation of this historic stretch of State Street,” Alderman Brendan Reilly said. “For the past 10 years, I’ve been a strong supporter of the adaptive re-use of historic buildings and I look forward to working with the new owners and local stakeholders to make this re-use project a success.”

CA Ventures’ proposal to acquire the buildings for $10.38 million would involve a simultaneous, three-way transaction involving the GSA and the City of Chicago. The offer price and sale terms, expected to be finalized this summer, require review and approval by the GSA and Chicago City Council.

CA Ventures includes developers J.J. Smith, Keith Giles and Joe Slezak., whose previous historic re-use projects include Chicago’s Old Colony, Gibbons-Steger, Crane and Roosevelt Hotel buildings. Architect for the project is Antunovich Associates.

“The historical significance of the properties at 202-220 South State Street is just one reason we are so excited to be selected to bring new residential options to this vibrant part of Chicago’s South Loop,” said JJ Smith, principal of CA Ventures. “Our firm is uniquely qualified to maintain the character of the neighborhood via this redevelopment. We successfully converted the Old Colony Building into modern apartments and transformed the Gibbons and Steger buildings into the Infinite Apartments just blocks away from the State Street site, both of which have ground floor retail as well. With this latest historic preservation project, we plan to remove and catalogue the storefront and upper-level façade elements of 214 South State Street in hopes of restoring the Art Deco accents for future reinstallation.”

CA Ventures has committed to a diverse hiring plan with a goal of exceeding the City’s participation requirements of 26 percent MBE and 6 percent WBE.

Listed on the National Register of Historic Places and located adjacent to the Dirksen United States Courthouse, the buildings were acquired by the federal government in 2007 as part of a planned federal center expansion that never materialized.

from Chicago Architecture https://www.chicagoarchitecture.org/2017/06/05/four-abandoned-south-state-street-buildings-to-become-housing/

[annamcnuff]

Chicago: The Windy City

Lady Luck is definitely a Chicagan. There’s no other explanation for the star spangled, once in a lifetime, right-place-right time, pick your jaw up off that flaw’ experiences that were bestowed upon me this week.

Heading in, I’ll admit I was a little nervous. Having not enjoyed the ‘big city thang’ in San Fran, I made a concerted effort not to hoist The Windy City up on a pedestal, instead shooing down like a naughty kitty caught tip-toeing along the kitchen surface; “Get down, Chicago, get down!” Well? I loved it. Phew.

A CASUAL START

When you’ve got a big city to explore, there’s no sense in diving right on into Downtown. Oh no no. You’ve got to savour the city flavour, get a feel for what it is to live in and around the big smoke before filling your lungs with it. So I began in Lake Forest - a suburb 30 miles North of the centre, on the shores of Lake Michigan. There I stayed for 2 nights with a wonderful family and visited a local school, to talk to a group of 4th graders who were learning about the 50 states (perfect eh?). Lake Forest is… lush. It’s is the kind of place where the Labradoodles are immaculately dressed and the kids hang out at Starbucks after school. Ain’t no Hubba Bubba for 16p in Starbucks kids (when I was a nipper….).

A FAMILY OF LEGENDS

I then scooted round the edge of the city and headed South West to meet a Mr John Vande Velde. For those of you not inclined to follow cycling, or sport at all for that matter, John is one of the original US cycling legends. In fact, he is the original. Competing on the track at the 68’ and 72’ Olympics, he was then the first US rider to turn pro in 1972. Pile on top of that that he managed to produce three kids (Christian, Madelaine and Ian) who have also represented the US in cycling, and it all gets a little silly.

Meeting John was like meeting an old friend - he was kind, welcoming and more importantly, a total dude. And so we just… hung out. Ate pizza, drank wine and put the world back in rightful order through the medium of chat. His passion for the sport is still as fiery as ever, and I could listen for hours to race-tales from an era where cyclists were even greater hard-nuts than they are today. Of course, my timing couldn’t have been better (see - lady luck 'in the house’). Vande Velde Junior, Christian, having just retired from 15 years as a pro, was on hand to pop over in the morning of my departure. And whaddya know - he’s a dude too. I’d like to have stayed for days at the Vande Velde gaff. In fact, I think I’d rather like to be adopted into the family, although only on the proviso that I didn’t have to give up mine. Joint custody, anyone?

THE REAL CHICAGO

When I finally made it into downtown, I met up with a sister from another mister, who’d flown in from NYC (she is actually a sister, sort of, it’s complicated). As evening fell we dashed straight to Millennium Park, and to the highlight of Chicago’s modern art - 'The Bean’. I’d been pre-warned this was a prime tourist spot, where out-of-towners amuse themselves by taking ludicrous shots of their grinning faces reflected in it’s shiny surface. Meh. I shan’t engage in such Lemming-esc behaviour, I thought. Fool. NEVER underestimate the power of The Bean. There’s something about seeing the city mirrored at odd angles in an oversized haricot, that’s simply irresistible. We spent a good 30 minutes giggling and snorting like school children, executing the obligatory array of inventive poses.

DEFYING GRAVITY

Like many great cities around the globe (*cough* London *cough*), Chicago has a river running through it. Who knew? I didn’t. But Chicago’s waterway has a dark secret - it used to run in the opposite direction. You what? My thoughts entirely. In a bid to rid Lake Michigan of waterborne diseases, like cholera, a few civil engineering bright sparks set about reversing the flow in 1887. It hurts my brain, trying to understand how they managed to pull off such a feat (you can hurt your brain too by reading about it here). In short - they built a canal, which allowed the river to drain away from the lake, rather than into it. Genius. And a major success. Apart from the residents in the now downstream St Louis of course - who received a flow of watery Chicago poop where there was no poop before. Love thy neighbour? Nothing says love like the gift of raw sewage.

HISTORIC CHICAGO

If you want to cement your love of Chicago, take the architectural boat tour. You’ll learn a ridiculous amount, and above all that Chicago is a city is steeped in history. In 1871, a 'great fire’ caused 6 square miles of destruction in Downtown. Bad news indeed, but like a grimy phoenix, and with the aid of famous architects from around the globe, a new Chicago rose from the flames. These architects flocked to the now blank city-canvas in a bid to leave their mark. They proceeded to fill the city with the most spectacular buildings, spanning a myriad of styles - The gothic Tribune tower, the Art Deco Merchandise Mart (my fave), The curvy groovy Marina city, The Wrigley building and by far the most famous - the 1,450ft Sears tower - once the tallest in the world.

But by far, and of course, my favourite trinkets of truth from the cruise were movie based:

Truth 1 - The Oscar statuettes are manufactured in Chicago (awesome). Truth 2 - Scenes from 'The Dark Knight’ were filmed at the old Post office.

I knew it! As we entered the city via the metro system that morning, on steel tracks above the streets, I’d turned to my friend and said “ This reminds me of Gotham city…. I feel like I’m heading towards Wayne Towers.” You just can’t keep a good movie buff down.

FINAL FLUKES

The night before I left town, I cashed in a birthday treat from my bro’s - dinner at The Sky Deck, in the Sears (now Willis) Tower. For some bizarre reason, no one else had booked dinner that night. So at a tourist attraction which gets 1.3 million visitors per year - we had the entire deck to ourselves. Talk about million dollar dinner dining. As I filled my face with Giordano’s famous Chicago style pizza (cheese first, then sauce) and sipped on root beer (why did we ever stop drinking root beer in the UK?), I felt I should be getting down on one knee and proposing to my mate.

After that, I thought Lady Luck was all out of tricks. Apparently not. As I left town, they happened to open a new section of the Lakeshore bike path. Cue cycling right into a media circus, an interview with a reporter from the Chicago Tribune and an easy ride out of town. Magic.

I’m now on the shores of Lake Erie, having made my way though Indiana, Michigan and on to Ohio. The weather is just about holding up and the riding is flat (ish) and beautiful. I’m going just as fast as I can, racking up big mile days before I hit the foothills of the Appalachian mountains and get slowed down significantly.

Illinois and Chicago snaps are now up on Flickr here, for your perusal and pleasure.

See you next week, kids :)

[chocolateheal]

Five Things You Should Do In Abstract Expressionism For Students | abstract expressionism for students

By James Charisma

Abstract Expressionism Reconsidered at Nassau County Museum of Art – abstract expressionism for students | abstract expressionism for students

Published: 2017.09.07 03:07 PM

Abstract Expressionism is generally declared as the aboriginal abnormally American art movement to put the United States—specifically New York City—on the map in the all-embracing art community. Conventional acumen holds it emerged in the 1940s as a acknowledgment to the abhorrence and agony of Apple War II and that its arch artists accommodate Jackson Pollock, Willem de Kooning, Mark Rothko, Barnett Newman, Philip Guston, Franz Kline and Robert Motherwell. Turns out there’s a lot added to this story.

Art critics of the 1940s and ’50s helped acquaint Abstruse Expressionism in this way, blame the new art appearance aback it debuted. Writers such as Clement Greenberg championed the new movement as avant garde and experiential, praising artists like Pollock for his use of unstretched canvas, blush and texture. Essayist and drillmaster Harold Rosenberg acclaimed the active smears and splashes of “action paintings” by de Kooning and Kline. These authors not alone helped advance the alpha art form, they began to appearance the anecdotal of what Abstruse Expressionism was—and was not. Over the years, changeable artists, artists of color, sculptors and alike those artlessly operating alfresco Abstruse Expressionism’s focal point of New York Burghal were advised second-tier or glossed over absolutely in the history books.

A new exhibition at the Honolulu Building of Art seeks to revisit the history of Abstruse Expressionism by analytical not alone the acclaimed artists of the New York Academy such as Pollock and de Kooning, but additionally of its associated aeon including sculptors Ruth Asawa and Isamu Noguchi, painter Saburo Hasegawa and artists of Hawai‘i including Satoru Abe, Isami Doi, Tetsuo “Bob” Ochikubo and Tadashi Sato. Abstruse Expressionism: Attractive East From the Far West, which debuts Sept. 7 at the Honolulu Building of Art, is a advertise of added than 45 paintings, illustrations and sculptures advised to analyze the means that Abstruse Expressionism was shaped by the traditions and techniques of its Asian-American and Hawai‘i practitioners, from the compositional appearance and lyricism of Chinese and Japanese calligraphy to the antithesis and subtleties of Zen Buddhism.

“I anticipate a lot of the belief we apprehend about [artists’] appearance and adroitness are affiliated to array of a allegory about the ‘singular genius’ against accession who’s allotment of a above group. And I would say art historians are amenable for a lot of that,” says Honolulu Building of Art administrator Sean O’Harrow. “ I anticipate this appearance will advice to absolutely alpha to breach that bottomward and appearance a all-around affiliation amid a accurate artisan movement and the artists involved.”

SEE ALSO: Quote Unquote: Accommodated Honolulu Building of Art’s First-Ever Hawai‘i-Raised Director

The exhibition is a able admission appearance for O’Harrow, aloof seven months in as the museum’s new director. It additionally appearance a accountable amount with which he’s actual familiar: O’Harrow formed abundantly with Abstruse Expressionism in his antecedent role as administrator of the University of Iowa Building of Art, which houses cogent works by Rothko, de Kooning, Motherwell and Guston, including the acclaimed “Mural,” Jackson Pollock’s aboriginal ample painting. 

Before his time in Iowa, O’Harrow abounding academy at Harvard and again away at Cambridge. But he’s originally from Hawai‘i, area he affectionately remembers demography classes at the Honolulu Building of Art Academy as a child. In abounding ways, O’Harrow’s own adventure mirrors those of the Hawai‘i artists in the accessible exhibition, who larboard the Islands to appear academy and hone their craft, again alternate to advice abound and advance the art arena in Hawai‘i.

This was the case for painter and printmaker Isami Doi, who was built-in on O‘ahu and advised at Columbia University in New York Burghal and, later, Paris. He was a acquaintance and coach to adolescent Hawai‘i artists Tadashi Sato and Satoru Abe, both of whom additionally catholic to New York to convenance art and become complex in the bohemian Expressionist scene. Sato abounding the Brooklyn Building Academy and the Pratt Institute. As the grandson of a sumi-e ink ablution painter, he spent years belief Japanese calligraphy and literature. Abounding of his paintings absorb elements of Cubism’s accessible forms and amplitude counterbalanced by the attenuate delicacies of Sato’s featherlike brushwork to actualize abstracted scenes. Abe advised at the Art Students League of New York and apparent assignment at the Guggenheim, the Building of Avant-garde Art, the Carve Center and added burghal museums. A welder, his sculptures are generally a staccato of crisscrossing abstruse structures, amoebic and acutely aqueous and fluctuating. All three artists accept pieces in the exhibition.

“Hawai‘i has one of the best accomplished groups of artists,” says Abe. (Read added about him below.) “But I went to New York to abstraction art. I bethink I capital to go and alive abutting to the Art Students League, which was 57th Street. A Caucasian acquaintance of mine, a adolescent student, said he’d appear with me to attending for a place. We talked to the buyer about renting. He said for my friend, yes. But for me, no.”

At the time, it was difficult for Asian-American painters who were creating works of Abstruse Expressionism. Generally they were either captivated to expectations that their artwork bare to accept “Asian” qualities or ironically be criticized for interpreting “Western” accession with a appearance aggressive by their own culture. “Some artists, like Isami Doi, Tadashi Sato and Tetsuo Ochikubo, consistently accustomed their Asian ancestry and corrective in calligraphic styles,” says Theresa Papanikolas, Honolulu Building babysitter of European and American art. “They had to accommodated expectations, but, already they met those expectations, now it didn’t accomplish the belief of Abstruse Expressionism so they’re not the ones who get talked about as the movement goes bottomward in history.”

And yet, Western artists such as Rothko and de Kooning were absorbed by Asian philosophy, aesthetics and the gestural appearance of Japanese calligraphy. At the Eighth Street Club, a acquisition abode for artists including Pollock, de Kooning, Kline, Guston and others from 1950 to 1960, lectures were captivated every Friday night on capacity alignment from avant-garde art to Freud to existentialism, and speakers included artisan John Cage and mythologist Joseph Campbell. Zen teachings, such as those by Eastern artists Saburo Hasegawa and Matsumi Kanemitsu, were of accurate absorption to the New York Academy artists. They accustomed the best abeyant for carelessness on the canvas through Zen principles: befitting a bright mind, casting out assumption notions about art history and styles, and advancement an close calm. These types of influences were larboard out of the boilerplate anecdotal about how Abstruse Expressionism developed.

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Papanikolas aboriginal conceptualized the exhibition in aboriginal 2015, advancing on the heels of Art Deco Hawai‘i, a 2014 exhibition she additionally curated focused on the Art Deco movement in the Hawaiian Islands from the 1920s to the ’40s. It advised adumbration depicting the Islands as “paradise” and assiduity a romanticized abstraction of Hawai‘i as alien and unspoiled, compared to works by Hawai‘i artists of the time, who acclimatized the Deco artful to actualize an aboriginal estimation of accession absorbed with an accurate faculty of abode in the Pacific.

“Art Deco Hawai‘i was an attack to see how art in Hawai‘i that was created in the 1920s and ’30s, afore Apple War II, played out in the civic scene, through the lens of Art Deco,” Papanikolas says. “After the exhibition, I started cerebration about the abutting affiliate of the story, attractive at Hawai‘i-born artists who grew up actuality and seeing how their assignment fits on the civic date in ambience of Abstruse Expressionism.”

In accession to assignment by Asian-American and Hawai‘i artists of the movement, this exhibition marks the aboriginal befalling for Hawai‘i art enthusiasts to appearance assignment by Jackson Pollock, Mark Rothko and Willem de Kooning, some never afore displayed in the Islands.

While critics of Abstruse Expressionism admired the accurate appearance and freedom of the art anatomy itself—it doesn’t crave an MFA to be able to accept or acknowledge the affect in the alive work—many of the best acute belief appear from abaft the scenes.

For example, Rothko struggled with creating art afterwards actuality diagnosed with a balmy aortic aneurysm in aboriginal 1968. Near the end of his life, affliction larboard him clumsy to acrylic the big paintings he acclimated to. He became balked and afterwards dead himself in 1970. A red painting he fabricated afterwards his aneurysm in 1968, “Untitled,” captures his all-overs and appears in the exhibition. “We apperceive now it was array of the alpha of a alley that was activity to advance to tragedy,” says O’Harrow. “This painting is from a moment in the history of his life.”

The exhibition’s Jackson Pollock painting is the “Portrait of H.M.” from 1945, created at a time aback the artisan was painting added allegorical styles. He hadn’t yet conceptualized the signature beat abode that he, as “Jack the Dripper,” would become accustomed for, but it’s analytical in his development as an artist. “[‘Portrait of H.M.’] is a account of his best friend, columnist Herbert Matter, and apparently the man who afflicted Pollock the best in agreement of art,” O’Harrow says. “It’s array of the missing link, the alpha aeon aback he’s developing his abstruse style.”

Beyond the acclaimed artists, the amount of this new exhibition is about affective above the accustomed fiction of Abstruse Expressionism to admit and embrace its above and added accurate heritage. Pollock was depicted as a “bad boy” in the art apple with his avant garde abode and apart style, but his assignment was advisedly planned out. Despite actuality an alcoholic, he didn’t acrylic drunk. He was additionally heavily afflicted by Native American beach paintings and added traditions from about the world.

“Sometimes it’s acquainted that, in Hawai‘i, things aren’t as acceptable or can’t attempt with what’s accident on the Mainland,” O’Harrow says. “And that’s not the case at all. Our bounded artists, who accept consistently formed at the accomplished level, can access the assize of art history. That’s important.”

Surf and Water Reflections, 1969‒70  |  Oil on canvas

Honolulu Building of Art, Allowance of The Contemporary Museum, Honolulu, 2011, and allowance of the Honolulu Advertiser Collection at Persis Corporation, 1974 (TCM.1974.1.239)

Reproduced by permission of Jan Shimamura

Woman as Landscape, 1954‒5  |  Oil on canvas

Collection of Barney Ebsworth

© 2017 The Willem de Kooning Foundation/ Artists Rights Society (ARS), New York

Andy Warhol Artist Fact Sheet for Kids | ART EDUCATION … – abstract expressionism for students | abstract expressionism for students

Untitled, 1968  |  Acrylic on cardboard army on Masonite

University of Iowa Building of Art

Gift of the Mark Rothko Foundation, Inc., 1985.49

© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

Portrait of H. M., 1945  |  Oil on canvas

University of Iowa Building of Art  |  Allowance of Peggy Guggenheim, 1947.39

© 2017 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

One of the New York Abstruse Expressionists, 92-year-old Satoru Abe, still abstraction and activity strong.

It’s 10 a.m. on a Saturday morning at the Kaimukī home of Satoru Abe aback John Koga arrives with a six-pack of Heineken.

“So you activity alcohol too, right?” the 92-year-old artisan asks.

“Yeah, I’ll alcohol with you,” Koga replies, chuckling.

My Wishes are Horses…: Abstract Expressionism & Mark Rothko – abstract expressionism for students | abstract expressionism for students

Koga, additionally an acclaimed Modernist artist, helped align this accumulation with Abe. For the abutting three hours, over beers, sushi and scones, Abe talks about his career, his apprenticeship in New York and Hawai‘i’s art arena today. We bout his studio, his home and garage, abounding to the border with works alignment from metal sculptures abate than a paperweight to one the admeasurement and appearance of a tree, buried in the backyard alfresco his house.

Even if you don’t apperceive his name, you apperceive his artwork: the copper-and-bronze cone with ellipsoidal chunks missing, alfresco Aloha Stadium; the six granite tablets in a amphitheater with images of leaves categorical on them at the airport; the twisting, abstruse treelike sculptures alfresco the Aboriginal Hawaiian Center. Satoru Abe is a sculptor, a welder, a painter and an illustrator.

Alongside Abe’s own pieces on affectation at his home are his favorites by Hawai‘i artists, calm or accustomed as ability over the years. They awning about every inch of bank and shelf space. “That’s David Behlke, that one’s Sanit Khewhok. [Lauren] Okano is over there, abutting to [Warren] Stenberg. Of course, my mentor, Isami Doi. Apparently a abruptness is that one by Keiko Bonk,” Abe says, pointing. Bonk is conceivably best accustomed as the aboriginal Green Affair affiliate to win political appointment in Hawai‘i. 

Abe still produces 150 to 200 pieces a year, almost the aforementioned cardinal as aback he aboriginal began adjustment in the 1950s. “The aberration today is that I accomplish things afterwards assumption account and try to abruptness myself. To do this, your assignment has to be spontaneous,” says Abe. “Almost every third day or so, I abruptness myself. That’s the fun part.”

Before Abe was an artist, he arranged milk containers for the Dairymen’s Association, a accommodating of seven O‘ahu dairy farms that afterwards became Meadow Gold. “I asked myself, is this what I’m activity to do for the blow of my life?” Abe says. “So I absitively to be an artist. Simple as that. I was young, aboveboard and with a dream. That’s all you need.”

At the time, Hawai‘i had no absolute arts apprenticeship programs, so he catholic by abode to California, again to the Art Students League of New York. “My aboriginal night in the city, I bent the Greyhound and I had the abode for accession in the Lower East Side but it was too late, 10 o’clock. So I went over the bank at Central Park and spent the night there,” says Abe. He begin assignment as a restaurant dishwasher authoritative 75 cents an hour, additional two commons a day. “I’d get cash, 24 dollars or about abundant [on payday], and I’d constrict it in my socks and booty the alms home. But, 17 years in New York, I never got mugged.”

“Almost every third day or so, I abruptness myself.”

When Abe began in art, carve was rare. He abstruse the basics by experimenting: sanding, erasing, melting. From there, he began creating forms. “When we started, there were alone two categories: painting and sculpture. That’s all. Ceramics was advised a craft. Photography wasn’t included. Today, aggregate is art,” Abe says. “Which is actual good. The alone belief is able-bodied done or not able-bodied done.”

He alternate to Hawai‘i in 1950, area he met added bounded artists additionally abiding from belief or alive about the globe. “Bumpei Akaji came aback from Italy afterwards the war, Tetsuo Ochikubo came aback from the Chicago Art Museum, Jerry Okimoto, he was at the Honolulu Academy of Arts, Tadashi Sato came aback from Brooklyn Museum—no, Pratt Institute, I think. And Isami Doi, he mentored us,” says Abe. The accumulation became accustomed as the “Metcalf Chateau,” called afterwards a abode that Akaji and Abe busy for six months on Metcalf Street and area the accumulation apparent its artwork.

“There was a lot of drinking. Any time somebody fabricated a sale—in those days, affairs an art allotment was rare—we had a party,” Abe says. At their aboriginal accumulation appearance in 1954, artisan Elsie Das recommended their assignment to what’s now the Honolulu Building of Art and, aural a month, the exhibition was confused to the advanced allowance of the museum.

“The blow is history,” says Abe. “Seventy years ago, I didn’t alike apperceive what art I was activity to make. It was above imagination. I attending aback now, I still can’t accept what I made.”

Any routines aback you work? Abe says no. “One thing, in all the years, I never alcohol aback I work. No drugs either,” he says. “My cigarette career was 20 years, again I abdicate for 23 years, again I smoked for 26 years. I’ve abdicate now for a year and a half. Of course, I’m cat-and-mouse for marijuana to be acknowledged …”

Abstract Expressionism was an art movement shaped by its critics. “Whether it was acceptable or bad critique, the best the better. If they criticize you for this much,” Abe says, gesturing large, “it’s bigger than if they like you but alone for this much,” Abe says, gesturing small. “But the capital affair is that they accept your name correct.”

We allocution the day afterwards Gov. David Ige appear his ambition to veto a bill that would accept appointed funds to advice accounts a ceremony of the 50th ceremony of the State Capitol. Abe apprehend the account in the cardboard this morning.

“So we’re gonna do article ourselves to bless instead, right?” Abe asks, attractive at all of us gathered. The man never stops.  

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Reasons Why Best Abstract Expressionist Artists Is Getting More Popular In The Past Decade | best abstract expressionist artists

By James Charisma

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Published: 2017.09.07 03:07 PM

Abstract Expressionism is generally declared as the aboriginal abnormally American art movement to put the United States—specifically New York City—on the map in the all-embracing art community. Conventional acumen holds it emerged in the 1940s as a acknowledgment to the abhorrence and agony of Apple War II and that its arch artists accommodate Jackson Pollock, Willem de Kooning, Mark Rothko, Barnett Newman, Philip Guston, Franz Kline and Robert Motherwell. Turns out there’s a lot added to this story.

Art critics of the 1940s and ’50s helped acquaint Abstruse Expressionism in this way, blame the new art appearance aback it debuted. Writers such as Clement Greenberg championed the new movement as avant garde and experiential, praising artists like Pollock for his use of unstretched canvas, blush and texture. Essayist and drillmaster Harold Rosenberg acclaimed the active smears and splashes of “action paintings” by de Kooning and Kline. These authors not alone helped advance the alpha art form, they began to appearance the anecdotal of what Abstruse Expressionism was—and was not. Over the years, changeable artists, artists of color, sculptors and alike those artlessly operating alfresco Abstruse Expressionism’s focal point of New York Burghal were advised second-tier or glossed over absolutely in the history books.

A new exhibition at the Honolulu Building of Art seeks to revisit the history of Abstruse Expressionism by analytical not alone the acclaimed artists of the New York Academy such as Pollock and de Kooning, but additionally of its associated aeon including sculptors Ruth Asawa and Isamu Noguchi, painter Saburo Hasegawa and artists of Hawai‘i including Satoru Abe, Isami Doi, Tetsuo “Bob” Ochikubo and Tadashi Sato. Abstruse Expressionism: Attractive East From the Far West, which debuts Sept. 7 at the Honolulu Building of Art, is a advertise of added than 45 paintings, illustrations and sculptures advised to analyze the means that Abstruse Expressionism was shaped by the traditions and techniques of its Asian-American and Hawai‘i practitioners, from the compositional appearance and lyricism of Chinese and Japanese calligraphy to the antithesis and subtleties of Zen Buddhism.

“I anticipate a lot of the belief we apprehend about [artists’] appearance and adroitness are affiliated to array of a allegory about the ‘singular genius’ against accession who’s allotment of a above group. And I would say art historians are amenable for a lot of that,” says Honolulu Building of Art administrator Sean O’Harrow. “ I anticipate this appearance will advice to absolutely alpha to breach that bottomward and appearance a all-around affiliation amid a accurate artisan movement and the artists involved.”

SEE ALSO: Quote Unquote: Accommodated Honolulu Building of Art’s First-Ever Hawai‘i-Raised Director

The exhibition is a able admission appearance for O’Harrow, aloof seven months in as the museum’s new director. It additionally appearance a accountable amount with which he’s actual familiar: O’Harrow formed abundantly with Abstruse Expressionism in his antecedent role as administrator of the University of Iowa Building of Art, which houses cogent works by Rothko, de Kooning, Motherwell and Guston, including the acclaimed “Mural,” Jackson Pollock’s aboriginal ample painting. 

Before his time in Iowa, O’Harrow abounding academy at Harvard and again away at Cambridge. But he’s originally from Hawai‘i, area he affectionately remembers demography classes at the Honolulu Building of Art Academy as a child. In abounding ways, O’Harrow’s own adventure mirrors those of the Hawai‘i artists in the accessible exhibition, who larboard the Islands to appear academy and hone their craft, again alternate to advice abound and advance the art arena in Hawai‘i.

This was the case for painter and printmaker Isami Doi, who was built-in on O‘ahu and advised at Columbia University in New York Burghal and, later, Paris. He was a acquaintance and coach to adolescent Hawai‘i artists Tadashi Sato and Satoru Abe, both of whom additionally catholic to New York to convenance art and become complex in the bohemian Expressionist scene. Sato abounding the Brooklyn Building Academy and the Pratt Institute. As the grandson of a sumi-e ink ablution painter, he spent years belief Japanese calligraphy and literature. Abounding of his paintings absorb elements of Cubism’s accessible forms and amplitude counterbalanced by the attenuate delicacies of Sato’s featherlike brushwork to actualize abstracted scenes. Abe advised at the Art Students League of New York and apparent assignment at the Guggenheim, the Building of Avant-garde Art, the Carve Center and added burghal museums. A welder, his sculptures are generally a staccato of crisscrossing abstruse structures, amoebic and acutely aqueous and fluctuating. All three artists accept pieces in the exhibition.

“Hawai‘i has one of the best accomplished groups of artists,” says Abe. (Read added about him below.) “But I went to New York to abstraction art. I bethink I capital to go and alive abutting to the Art Students League, which was 57th Street. A Caucasian acquaintance of mine, a adolescent student, said he’d appear with me to attending for a place. We talked to the buyer about renting. He said for my friend, yes. But for me, no.”

At the time, it was difficult for Asian-American painters who were creating works of Abstruse Expressionism. Generally they were either captivated to expectations that their artwork bare to accept “Asian” qualities or ironically be criticized for interpreting “Western” accession with a appearance aggressive by their own culture. “Some artists, like Isami Doi, Tadashi Sato and Tetsuo Ochikubo, consistently accustomed their Asian ancestry and corrective in calligraphic styles,” says Theresa Papanikolas, Honolulu Building babysitter of European and American art. “They had to accommodated expectations, but, already they met those expectations, now it didn’t accomplish the belief of Abstruse Expressionism so they’re not the ones who get talked about as the movement goes bottomward in history.”

And yet, Western artists such as Rothko and de Kooning were absorbed by Asian philosophy, aesthetics and the gestural appearance of Japanese calligraphy. At the Eighth Street Club, a acquisition abode for artists including Pollock, de Kooning, Kline, Guston and others from 1950 to 1960, lectures were captivated every Friday night on capacity alignment from avant-garde art to Freud to existentialism, and speakers included artisan John Cage and mythologist Joseph Campbell. Zen teachings, such as those by Eastern artists Saburo Hasegawa and Matsumi Kanemitsu, were of accurate absorption to the New York Academy artists. They accustomed the best abeyant for carelessness on the canvas through Zen principles: befitting a bright mind, casting out assumption notions about art history and styles, and advancement an close calm. These types of influences were larboard out of the boilerplate anecdotal about how Abstruse Expressionism developed.

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Papanikolas aboriginal conceptualized the exhibition in aboriginal 2015, advancing on the heels of Art Deco Hawai‘i, a 2014 exhibition she additionally curated focused on the Art Deco movement in the Hawaiian Islands from the 1920s to the ’40s. It advised adumbration depicting the Islands as “paradise” and assiduity a romanticized abstraction of Hawai‘i as alien and unspoiled, compared to works by Hawai‘i artists of the time, who acclimatized the Deco artful to actualize an aboriginal estimation of accession absorbed with an accurate faculty of abode in the Pacific.

“Art Deco Hawai‘i was an attack to see how art in Hawai‘i that was created in the 1920s and ’30s, afore Apple War II, played out in the civic scene, through the lens of Art Deco,” Papanikolas says. “After the exhibition, I started cerebration about the abutting affiliate of the story, attractive at Hawai‘i-born artists who grew up actuality and seeing how their assignment fits on the civic date in ambience of Abstruse Expressionism.”

In accession to assignment by Asian-American and Hawai‘i artists of the movement, this exhibition marks the aboriginal befalling for Hawai‘i art enthusiasts to appearance assignment by Jackson Pollock, Mark Rothko and Willem de Kooning, some never afore displayed in the Islands.

While critics of Abstruse Expressionism admired the accurate appearance and freedom of the art anatomy itself—it doesn’t crave an MFA to be able to accept or acknowledge the affect in the alive work—many of the best acute belief appear from abaft the scenes.

For example, Rothko struggled with creating art afterwards actuality diagnosed with a balmy aortic aneurysm in aboriginal 1968. Near the end of his life, affliction larboard him clumsy to acrylic the big paintings he acclimated to. He became balked and afterwards dead himself in 1970. A red painting he fabricated afterwards his aneurysm in 1968, “Untitled,” captures his all-overs and appears in the exhibition. “We apperceive now it was array of the alpha of a alley that was activity to advance to tragedy,” says O’Harrow. “This painting is from a moment in the history of his life.”

The exhibition’s Jackson Pollock painting is the “Portrait of H.M.” from 1945, created at a time aback the artisan was painting added allegorical styles. He hadn’t yet conceptualized the signature beat abode that he, as “Jack the Dripper,” would become accustomed for, but it’s analytical in his development as an artist. “[‘Portrait of H.M.’] is a account of his best friend, columnist Herbert Matter, and apparently the man who afflicted Pollock the best in agreement of art,” O’Harrow says. “It’s array of the missing link, the alpha aeon aback he’s developing his abstruse style.”

Beyond the acclaimed artists, the amount of this new exhibition is about affective above the accustomed fiction of Abstruse Expressionism to admit and embrace its above and added accurate heritage. Pollock was depicted as a “bad boy” in the art apple with his avant garde abode and apart style, but his assignment was advisedly planned out. Despite actuality an alcoholic, he didn’t acrylic drunk. He was additionally heavily afflicted by Native American beach paintings and added traditions from about the world.

“Sometimes it’s acquainted that, in Hawai‘i, things aren’t as acceptable or can’t attempt with what’s accident on the Mainland,” O’Harrow says. “And that’s not the case at all. Our bounded artists, who accept consistently formed at the accomplished level, can access the assize of art history. That’s important.”

Surf and Water Reflections, 1969‒70  |  Oil on canvas

Honolulu Building of Art, Allowance of The Contemporary Museum, Honolulu, 2011, and allowance of the Honolulu Advertiser Collection at Persis Corporation, 1974 (TCM.1974.1.239)

Reproduced by permission of Jan Shimamura

Woman as Landscape, 1954‒5  |  Oil on canvas

Collection of Barney Ebsworth

© 2017 The Willem de Kooning Foundation/ Artists Rights Society (ARS), New York

18 Female Abstract Expressionists Who Are Not Helen Frankenthaler … – best abstract expressionist artists | best abstract expressionist artists

Untitled, 1968  |  Acrylic on cardboard army on Masonite

University of Iowa Building of Art

Gift of the Mark Rothko Foundation, Inc., 1985.49

© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

Portrait of H. M., 1945  |  Oil on canvas

University of Iowa Building of Art  |  Allowance of Peggy Guggenheim, 1947.39

© 2017 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

One of the New York Abstruse Expressionists, 92-year-old Satoru Abe, still abstraction and activity strong.

It’s 10 a.m. on a Saturday morning at the Kaimukī home of Satoru Abe aback John Koga arrives with a six-pack of Heineken.

“So you activity alcohol too, right?” the 92-year-old artisan asks.

“Yeah, I’ll alcohol with you,” Koga replies, chuckling.

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Koga, additionally an acclaimed Modernist artist, helped align this accumulation with Abe. For the abutting three hours, over beers, sushi and scones, Abe talks about his career, his apprenticeship in New York and Hawai‘i’s art arena today. We bout his studio, his home and garage, abounding to the border with works alignment from metal sculptures abate than a paperweight to one the admeasurement and appearance of a tree, buried in the backyard alfresco his house.

Even if you don’t apperceive his name, you apperceive his artwork: the copper-and-bronze cone with ellipsoidal chunks missing, alfresco Aloha Stadium; the six granite tablets in a amphitheater with images of leaves categorical on them at the airport; the twisting, abstruse treelike sculptures alfresco the Aboriginal Hawaiian Center. Satoru Abe is a sculptor, a welder, a painter and an illustrator.

Alongside Abe’s own pieces on affectation at his home are his favorites by Hawai‘i artists, calm or accustomed as ability over the years. They awning about every inch of bank and shelf space. “That’s David Behlke, that one’s Sanit Khewhok. [Lauren] Okano is over there, abutting to [Warren] Stenberg. Of course, my mentor, Isami Doi. Apparently a abruptness is that one by Keiko Bonk,” Abe says, pointing. Bonk is conceivably best accustomed as the aboriginal Green Affair affiliate to win political appointment in Hawai‘i. 

Abe still produces 150 to 200 pieces a year, almost the aforementioned cardinal as aback he aboriginal began adjustment in the 1950s. “The aberration today is that I accomplish things afterwards assumption account and try to abruptness myself. To do this, your assignment has to be spontaneous,” says Abe. “Almost every third day or so, I abruptness myself. That’s the fun part.”

Before Abe was an artist, he arranged milk containers for the Dairymen’s Association, a accommodating of seven O‘ahu dairy farms that afterwards became Meadow Gold. “I asked myself, is this what I’m activity to do for the blow of my life?” Abe says. “So I absitively to be an artist. Simple as that. I was young, aboveboard and with a dream. That’s all you need.”

At the time, Hawai‘i had no absolute arts apprenticeship programs, so he catholic by abode to California, again to the Art Students League of New York. “My aboriginal night in the city, I bent the Greyhound and I had the abode for accession in the Lower East Side but it was too late, 10 o’clock. So I went over the bank at Central Park and spent the night there,” says Abe. He begin assignment as a restaurant dishwasher authoritative 75 cents an hour, additional two commons a day. “I’d get cash, 24 dollars or about abundant [on payday], and I’d constrict it in my socks and booty the alms home. But, 17 years in New York, I never got mugged.”

“Almost every third day or so, I abruptness myself.”

When Abe began in art, carve was rare. He abstruse the basics by experimenting: sanding, erasing, melting. From there, he began creating forms. “When we started, there were alone two categories: painting and sculpture. That’s all. Ceramics was advised a craft. Photography wasn’t included. Today, aggregate is art,” Abe says. “Which is actual good. The alone belief is able-bodied done or not able-bodied done.”

He alternate to Hawai‘i in 1950, area he met added bounded artists additionally abiding from belief or alive about the globe. “Bumpei Akaji came aback from Italy afterwards the war, Tetsuo Ochikubo came aback from the Chicago Art Museum, Jerry Okimoto, he was at the Honolulu Academy of Arts, Tadashi Sato came aback from Brooklyn Museum—no, Pratt Institute, I think. And Isami Doi, he mentored us,” says Abe. The accumulation became accustomed as the “Metcalf Chateau,” called afterwards a abode that Akaji and Abe busy for six months on Metcalf Street and area the accumulation apparent its artwork.

“There was a lot of drinking. Any time somebody fabricated a sale—in those days, affairs an art allotment was rare—we had a party,” Abe says. At their aboriginal accumulation appearance in 1954, artisan Elsie Das recommended their assignment to what’s now the Honolulu Building of Art and, aural a month, the exhibition was confused to the advanced allowance of the museum.

“The blow is history,” says Abe. “Seventy years ago, I didn’t alike apperceive what art I was activity to make. It was above imagination. I attending aback now, I still can’t accept what I made.”

Any routines aback you work? Abe says no. “One thing, in all the years, I never alcohol aback I work. No drugs either,” he says. “My cigarette career was 20 years, again I abdicate for 23 years, again I smoked for 26 years. I’ve abdicate now for a year and a half. Of course, I’m cat-and-mouse for marijuana to be acknowledged …”

Abstract Expressionism was an art movement shaped by its critics. “Whether it was acceptable or bad critique, the best the better. If they criticize you for this much,” Abe says, gesturing large, “it’s bigger than if they like you but alone for this much,” Abe says, gesturing small. “But the capital affair is that they accept your name correct.”

We allocution the day afterwards Gov. David Ige appear his ambition to veto a bill that would accept appointed funds to advice accounts a ceremony of the 50th ceremony of the State Capitol. Abe apprehend the account in the cardboard this morning.

“So we’re gonna do article ourselves to bless instead, right?” Abe asks, attractive at all of us gathered. The man never stops.  

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By James Charisma

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Published: 2017.09.07 03:07 PM

Abstract Expressionism is generally declared as the aboriginal abnormally American art movement to put the United States—specifically New York City—on the map in the all-embracing art community. Conventional acumen holds it emerged in the 1940s as a acknowledgment to the abhorrence and agony of Apple War II and that its arch artists accommodate Jackson Pollock, Willem de Kooning, Mark Rothko, Barnett Newman, Philip Guston, Franz Kline and Robert Motherwell. Turns out there’s a lot added to this story.

Art critics of the 1940s and ’50s helped acquaint Abstruse Expressionism in this way, blame the new art appearance aback it debuted. Writers such as Clement Greenberg championed the new movement as avant garde and experiential, praising artists like Pollock for his use of unstretched canvas, blush and texture. Essayist and drillmaster Harold Rosenberg acclaimed the active smears and splashes of “action paintings” by de Kooning and Kline. These authors not alone helped advance the alpha art form, they began to appearance the anecdotal of what Abstruse Expressionism was—and was not. Over the years, changeable artists, artists of color, sculptors and alike those artlessly operating alfresco Abstruse Expressionism’s focal point of New York Burghal were advised second-tier or glossed over absolutely in the history books.

A new exhibition at the Honolulu Building of Art seeks to revisit the history of Abstruse Expressionism by analytical not alone the acclaimed artists of the New York Academy such as Pollock and de Kooning, but additionally of its associated aeon including sculptors Ruth Asawa and Isamu Noguchi, painter Saburo Hasegawa and artists of Hawai‘i including Satoru Abe, Isami Doi, Tetsuo “Bob” Ochikubo and Tadashi Sato. Abstruse Expressionism: Attractive East From the Far West, which debuts Sept. 7 at the Honolulu Building of Art, is a advertise of added than 45 paintings, illustrations and sculptures advised to analyze the means that Abstruse Expressionism was shaped by the traditions and techniques of its Asian-American and Hawai‘i practitioners, from the compositional appearance and lyricism of Chinese and Japanese calligraphy to the antithesis and subtleties of Zen Buddhism.

“I anticipate a lot of the belief we apprehend about [artists’] appearance and adroitness are affiliated to array of a allegory about the ‘singular genius’ against accession who’s allotment of a above group. And I would say art historians are amenable for a lot of that,” says Honolulu Building of Art administrator Sean O’Harrow. “ I anticipate this appearance will advice to absolutely alpha to breach that bottomward and appearance a all-around affiliation amid a accurate artisan movement and the artists involved.”

SEE ALSO: Quote Unquote: Accommodated Honolulu Building of Art’s First-Ever Hawai‘i-Raised Director

The exhibition is a able admission appearance for O’Harrow, aloof seven months in as the museum’s new director. It additionally appearance a accountable amount with which he’s actual familiar: O’Harrow formed abundantly with Abstruse Expressionism in his antecedent role as administrator of the University of Iowa Building of Art, which houses cogent works by Rothko, de Kooning, Motherwell and Guston, including the acclaimed “Mural,” Jackson Pollock’s aboriginal ample painting. 

Before his time in Iowa, O’Harrow abounding academy at Harvard and again away at Cambridge. But he’s originally from Hawai‘i, area he affectionately remembers demography classes at the Honolulu Building of Art Academy as a child. In abounding ways, O’Harrow’s own adventure mirrors those of the Hawai‘i artists in the accessible exhibition, who larboard the Islands to appear academy and hone their craft, again alternate to advice abound and advance the art arena in Hawai‘i.

This was the case for painter and printmaker Isami Doi, who was built-in on O‘ahu and advised at Columbia University in New York Burghal and, later, Paris. He was a acquaintance and coach to adolescent Hawai‘i artists Tadashi Sato and Satoru Abe, both of whom additionally catholic to New York to convenance art and become complex in the bohemian Expressionist scene. Sato abounding the Brooklyn Building Academy and the Pratt Institute. As the grandson of a sumi-e ink ablution painter, he spent years belief Japanese calligraphy and literature. Abounding of his paintings absorb elements of Cubism’s accessible forms and amplitude counterbalanced by the attenuate delicacies of Sato’s featherlike brushwork to actualize abstracted scenes. Abe advised at the Art Students League of New York and apparent assignment at the Guggenheim, the Building of Avant-garde Art, the Carve Center and added burghal museums. A welder, his sculptures are generally a staccato of crisscrossing abstruse structures, amoebic and acutely aqueous and fluctuating. All three artists accept pieces in the exhibition.

“Hawai‘i has one of the best accomplished groups of artists,” says Abe. (Read added about him below.) “But I went to New York to abstraction art. I bethink I capital to go and alive abutting to the Art Students League, which was 57th Street. A Caucasian acquaintance of mine, a adolescent student, said he’d appear with me to attending for a place. We talked to the buyer about renting. He said for my friend, yes. But for me, no.”

At the time, it was difficult for Asian-American painters who were creating works of Abstruse Expressionism. Generally they were either captivated to expectations that their artwork bare to accept “Asian” qualities or ironically be criticized for interpreting “Western” accession with a appearance aggressive by their own culture. “Some artists, like Isami Doi, Tadashi Sato and Tetsuo Ochikubo, consistently accustomed their Asian ancestry and corrective in calligraphic styles,” says Theresa Papanikolas, Honolulu Building babysitter of European and American art. “They had to accommodated expectations, but, already they met those expectations, now it didn’t accomplish the belief of Abstruse Expressionism so they’re not the ones who get talked about as the movement goes bottomward in history.”

And yet, Western artists such as Rothko and de Kooning were absorbed by Asian philosophy, aesthetics and the gestural appearance of Japanese calligraphy. At the Eighth Street Club, a acquisition abode for artists including Pollock, de Kooning, Kline, Guston and others from 1950 to 1960, lectures were captivated every Friday night on capacity alignment from avant-garde art to Freud to existentialism, and speakers included artisan John Cage and mythologist Joseph Campbell. Zen teachings, such as those by Eastern artists Saburo Hasegawa and Matsumi Kanemitsu, were of accurate absorption to the New York Academy artists. They accustomed the best abeyant for carelessness on the canvas through Zen principles: befitting a bright mind, casting out assumption notions about art history and styles, and advancement an close calm. These types of influences were larboard out of the boilerplate anecdotal about how Abstruse Expressionism developed.

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Papanikolas aboriginal conceptualized the exhibition in aboriginal 2015, advancing on the heels of Art Deco Hawai‘i, a 2014 exhibition she additionally curated focused on the Art Deco movement in the Hawaiian Islands from the 1920s to the ’40s. It advised adumbration depicting the Islands as “paradise” and assiduity a romanticized abstraction of Hawai‘i as alien and unspoiled, compared to works by Hawai‘i artists of the time, who acclimatized the Deco artful to actualize an aboriginal estimation of accession absorbed with an accurate faculty of abode in the Pacific.

“Art Deco Hawai‘i was an attack to see how art in Hawai‘i that was created in the 1920s and ’30s, afore Apple War II, played out in the civic scene, through the lens of Art Deco,” Papanikolas says. “After the exhibition, I started cerebration about the abutting affiliate of the story, attractive at Hawai‘i-born artists who grew up actuality and seeing how their assignment fits on the civic date in ambience of Abstruse Expressionism.”

In accession to assignment by Asian-American and Hawai‘i artists of the movement, this exhibition marks the aboriginal befalling for Hawai‘i art enthusiasts to appearance assignment by Jackson Pollock, Mark Rothko and Willem de Kooning, some never afore displayed in the Islands.

While critics of Abstruse Expressionism admired the accurate appearance and freedom of the art anatomy itself—it doesn’t crave an MFA to be able to accept or acknowledge the affect in the alive work—many of the best acute belief appear from abaft the scenes.

For example, Rothko struggled with creating art afterwards actuality diagnosed with a balmy aortic aneurysm in aboriginal 1968. Near the end of his life, affliction larboard him clumsy to acrylic the big paintings he acclimated to. He became balked and afterwards dead himself in 1970. A red painting he fabricated afterwards his aneurysm in 1968, “Untitled,” captures his all-overs and appears in the exhibition. “We apperceive now it was array of the alpha of a alley that was activity to advance to tragedy,” says O’Harrow. “This painting is from a moment in the history of his life.”

The exhibition’s Jackson Pollock painting is the “Portrait of H.M.” from 1945, created at a time aback the artisan was painting added allegorical styles. He hadn’t yet conceptualized the signature beat abode that he, as “Jack the Dripper,” would become accustomed for, but it’s analytical in his development as an artist. “[‘Portrait of H.M.’] is a account of his best friend, columnist Herbert Matter, and apparently the man who afflicted Pollock the best in agreement of art,” O’Harrow says. “It’s array of the missing link, the alpha aeon aback he’s developing his abstruse style.”

Beyond the acclaimed artists, the amount of this new exhibition is about affective above the accustomed fiction of Abstruse Expressionism to admit and embrace its above and added accurate heritage. Pollock was depicted as a “bad boy” in the art apple with his avant garde abode and apart style, but his assignment was advisedly planned out. Despite actuality an alcoholic, he didn’t acrylic drunk. He was additionally heavily afflicted by Native American beach paintings and added traditions from about the world.

“Sometimes it’s acquainted that, in Hawai‘i, things aren’t as acceptable or can’t attempt with what’s accident on the Mainland,” O’Harrow says. “And that’s not the case at all. Our bounded artists, who accept consistently formed at the accomplished level, can access the assize of art history. That’s important.”

Surf and Water Reflections, 1969‒70  |  Oil on canvas

Honolulu Building of Art, Allowance of The Contemporary Museum, Honolulu, 2011, and allowance of the Honolulu Advertiser Collection at Persis Corporation, 1974 (TCM.1974.1.239)

Reproduced by permission of Jan Shimamura

Woman as Landscape, 1954‒5  |  Oil on canvas

Collection of Barney Ebsworth

© 2017 The Willem de Kooning Foundation/ Artists Rights Society (ARS), New York

Graffitied Abstract Expressionism | Lazinc – abstract expressionism art examples | abstract expressionism art examples

Untitled, 1968  |  Acrylic on cardboard army on Masonite

University of Iowa Building of Art

Gift of the Mark Rothko Foundation, Inc., 1985.49

© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

Portrait of H. M., 1945  |  Oil on canvas

University of Iowa Building of Art  |  Allowance of Peggy Guggenheim, 1947.39

© 2017 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

One of the New York Abstruse Expressionists, 92-year-old Satoru Abe, still abstraction and activity strong.

It’s 10 a.m. on a Saturday morning at the Kaimukī home of Satoru Abe aback John Koga arrives with a six-pack of Heineken.

“So you activity alcohol too, right?” the 92-year-old artisan asks.

“Yeah, I’ll alcohol with you,” Koga replies, chuckling.

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Koga, additionally an acclaimed Modernist artist, helped align this accumulation with Abe. For the abutting three hours, over beers, sushi and scones, Abe talks about his career, his apprenticeship in New York and Hawai‘i’s art arena today. We bout his studio, his home and garage, abounding to the border with works alignment from metal sculptures abate than a paperweight to one the admeasurement and appearance of a tree, buried in the backyard alfresco his house.

Even if you don’t apperceive his name, you apperceive his artwork: the copper-and-bronze cone with ellipsoidal chunks missing, alfresco Aloha Stadium; the six granite tablets in a amphitheater with images of leaves categorical on them at the airport; the twisting, abstruse treelike sculptures alfresco the Aboriginal Hawaiian Center. Satoru Abe is a sculptor, a welder, a painter and an illustrator.

Alongside Abe’s own pieces on affectation at his home are his favorites by Hawai‘i artists, calm or accustomed as ability over the years. They awning about every inch of bank and shelf space. “That’s David Behlke, that one’s Sanit Khewhok. [Lauren] Okano is over there, abutting to [Warren] Stenberg. Of course, my mentor, Isami Doi. Apparently a abruptness is that one by Keiko Bonk,” Abe says, pointing. Bonk is conceivably best accustomed as the aboriginal Green Affair affiliate to win political appointment in Hawai‘i. 

Abe still produces 150 to 200 pieces a year, almost the aforementioned cardinal as aback he aboriginal began adjustment in the 1950s. “The aberration today is that I accomplish things afterwards assumption account and try to abruptness myself. To do this, your assignment has to be spontaneous,” says Abe. “Almost every third day or so, I abruptness myself. That’s the fun part.”

Before Abe was an artist, he arranged milk containers for the Dairymen’s Association, a accommodating of seven O‘ahu dairy farms that afterwards became Meadow Gold. “I asked myself, is this what I’m activity to do for the blow of my life?” Abe says. “So I absitively to be an artist. Simple as that. I was young, aboveboard and with a dream. That’s all you need.”

At the time, Hawai‘i had no absolute arts apprenticeship programs, so he catholic by abode to California, again to the Art Students League of New York. “My aboriginal night in the city, I bent the Greyhound and I had the abode for accession in the Lower East Side but it was too late, 10 o’clock. So I went over the bank at Central Park and spent the night there,” says Abe. He begin assignment as a restaurant dishwasher authoritative 75 cents an hour, additional two commons a day. “I’d get cash, 24 dollars or about abundant [on payday], and I’d constrict it in my socks and booty the alms home. But, 17 years in New York, I never got mugged.”

“Almost every third day or so, I abruptness myself.”

When Abe began in art, carve was rare. He abstruse the basics by experimenting: sanding, erasing, melting. From there, he began creating forms. “When we started, there were alone two categories: painting and sculpture. That’s all. Ceramics was advised a craft. Photography wasn’t included. Today, aggregate is art,” Abe says. “Which is actual good. The alone belief is able-bodied done or not able-bodied done.”

He alternate to Hawai‘i in 1950, area he met added bounded artists additionally abiding from belief or alive about the globe. “Bumpei Akaji came aback from Italy afterwards the war, Tetsuo Ochikubo came aback from the Chicago Art Museum, Jerry Okimoto, he was at the Honolulu Academy of Arts, Tadashi Sato came aback from Brooklyn Museum—no, Pratt Institute, I think. And Isami Doi, he mentored us,” says Abe. The accumulation became accustomed as the “Metcalf Chateau,” called afterwards a abode that Akaji and Abe busy for six months on Metcalf Street and area the accumulation apparent its artwork.

“There was a lot of drinking. Any time somebody fabricated a sale—in those days, affairs an art allotment was rare—we had a party,” Abe says. At their aboriginal accumulation appearance in 1954, artisan Elsie Das recommended their assignment to what’s now the Honolulu Building of Art and, aural a month, the exhibition was confused to the advanced allowance of the museum.

“The blow is history,” says Abe. “Seventy years ago, I didn’t alike apperceive what art I was activity to make. It was above imagination. I attending aback now, I still can’t accept what I made.”

Any routines aback you work? Abe says no. “One thing, in all the years, I never alcohol aback I work. No drugs either,” he says. “My cigarette career was 20 years, again I abdicate for 23 years, again I smoked for 26 years. I’ve abdicate now for a year and a half. Of course, I’m cat-and-mouse for marijuana to be acknowledged …”

Abstract Expressionism was an art movement shaped by its critics. “Whether it was acceptable or bad critique, the best the better. If they criticize you for this much,” Abe says, gesturing large, “it’s bigger than if they like you but alone for this much,” Abe says, gesturing small. “But the capital affair is that they accept your name correct.”

We allocution the day afterwards Gov. David Ige appear his ambition to veto a bill that would accept appointed funds to advice accounts a ceremony of the 50th ceremony of the State Capitol. Abe apprehend the account in the cardboard this morning.

“So we’re gonna do article ourselves to bless instead, right?” Abe asks, attractive at all of us gathered. The man never stops.  

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By James Charisma

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Published: 2017.09.07 03:07 PM

Abstract Expressionism is generally declared as the aboriginal abnormally American art movement to put the United States—specifically New York City—on the map in the all-embracing art community. Conventional acumen holds it emerged in the 1940s as a acknowledgment to the abhorrence and agony of Apple War II and that its arch artists accommodate Jackson Pollock, Willem de Kooning, Mark Rothko, Barnett Newman, Philip Guston, Franz Kline and Robert Motherwell. Turns out there’s a lot added to this story.

Art critics of the 1940s and ’50s helped acquaint Abstruse Expressionism in this way, blame the new art appearance aback it debuted. Writers such as Clement Greenberg championed the new movement as avant garde and experiential, praising artists like Pollock for his use of unstretched canvas, blush and texture. Essayist and drillmaster Harold Rosenberg acclaimed the active smears and splashes of “action paintings” by de Kooning and Kline. These authors not alone helped advance the alpha art form, they began to appearance the anecdotal of what Abstruse Expressionism was—and was not. Over the years, changeable artists, artists of color, sculptors and alike those artlessly operating alfresco Abstruse Expressionism’s focal point of New York Burghal were advised second-tier or glossed over absolutely in the history books.

A new exhibition at the Honolulu Building of Art seeks to revisit the history of Abstruse Expressionism by analytical not alone the acclaimed artists of the New York Academy such as Pollock and de Kooning, but additionally of its associated aeon including sculptors Ruth Asawa and Isamu Noguchi, painter Saburo Hasegawa and artists of Hawai‘i including Satoru Abe, Isami Doi, Tetsuo “Bob” Ochikubo and Tadashi Sato. Abstruse Expressionism: Attractive East From the Far West, which debuts Sept. 7 at the Honolulu Building of Art, is a advertise of added than 45 paintings, illustrations and sculptures advised to analyze the means that Abstruse Expressionism was shaped by the traditions and techniques of its Asian-American and Hawai‘i practitioners, from the compositional appearance and lyricism of Chinese and Japanese calligraphy to the antithesis and subtleties of Zen Buddhism.

“I anticipate a lot of the belief we apprehend about [artists’] appearance and adroitness are affiliated to array of a allegory about the ‘singular genius’ against accession who’s allotment of a above group. And I would say art historians are amenable for a lot of that,” says Honolulu Building of Art administrator Sean O’Harrow. “ I anticipate this appearance will advice to absolutely alpha to breach that bottomward and appearance a all-around affiliation amid a accurate artisan movement and the artists involved.”

SEE ALSO: Quote Unquote: Accommodated Honolulu Building of Art’s First-Ever Hawai‘i-Raised Director

The exhibition is a able admission appearance for O’Harrow, aloof seven months in as the museum’s new director. It additionally appearance a accountable amount with which he’s actual familiar: O’Harrow formed abundantly with Abstruse Expressionism in his antecedent role as administrator of the University of Iowa Building of Art, which houses cogent works by Rothko, de Kooning, Motherwell and Guston, including the acclaimed “Mural,” Jackson Pollock’s aboriginal ample painting. 

Before his time in Iowa, O’Harrow abounding academy at Harvard and again away at Cambridge. But he’s originally from Hawai‘i, area he affectionately remembers demography classes at the Honolulu Building of Art Academy as a child. In abounding ways, O’Harrow’s own adventure mirrors those of the Hawai‘i artists in the accessible exhibition, who larboard the Islands to appear academy and hone their craft, again alternate to advice abound and advance the art arena in Hawai‘i.

This was the case for painter and printmaker Isami Doi, who was built-in on O‘ahu and advised at Columbia University in New York Burghal and, later, Paris. He was a acquaintance and coach to adolescent Hawai‘i artists Tadashi Sato and Satoru Abe, both of whom additionally catholic to New York to convenance art and become complex in the bohemian Expressionist scene. Sato abounding the Brooklyn Building Academy and the Pratt Institute. As the grandson of a sumi-e ink ablution painter, he spent years belief Japanese calligraphy and literature. Abounding of his paintings absorb elements of Cubism’s accessible forms and amplitude counterbalanced by the attenuate delicacies of Sato’s featherlike brushwork to actualize abstracted scenes. Abe advised at the Art Students League of New York and apparent assignment at the Guggenheim, the Building of Avant-garde Art, the Carve Center and added burghal museums. A welder, his sculptures are generally a staccato of crisscrossing abstruse structures, amoebic and acutely aqueous and fluctuating. All three artists accept pieces in the exhibition.

“Hawai‘i has one of the best accomplished groups of artists,” says Abe. (Read added about him below.) “But I went to New York to abstraction art. I bethink I capital to go and alive abutting to the Art Students League, which was 57th Street. A Caucasian acquaintance of mine, a adolescent student, said he’d appear with me to attending for a place. We talked to the buyer about renting. He said for my friend, yes. But for me, no.”

At the time, it was difficult for Asian-American painters who were creating works of Abstruse Expressionism. Generally they were either captivated to expectations that their artwork bare to accept “Asian” qualities or ironically be criticized for interpreting “Western” accession with a appearance aggressive by their own culture. “Some artists, like Isami Doi, Tadashi Sato and Tetsuo Ochikubo, consistently accustomed their Asian ancestry and corrective in calligraphic styles,” says Theresa Papanikolas, Honolulu Building babysitter of European and American art. “They had to accommodated expectations, but, already they met those expectations, now it didn’t accomplish the belief of Abstruse Expressionism so they’re not the ones who get talked about as the movement goes bottomward in history.”

And yet, Western artists such as Rothko and de Kooning were absorbed by Asian philosophy, aesthetics and the gestural appearance of Japanese calligraphy. At the Eighth Street Club, a acquisition abode for artists including Pollock, de Kooning, Kline, Guston and others from 1950 to 1960, lectures were captivated every Friday night on capacity alignment from avant-garde art to Freud to existentialism, and speakers included artisan John Cage and mythologist Joseph Campbell. Zen teachings, such as those by Eastern artists Saburo Hasegawa and Matsumi Kanemitsu, were of accurate absorption to the New York Academy artists. They accustomed the best abeyant for carelessness on the canvas through Zen principles: befitting a bright mind, casting out assumption notions about art history and styles, and advancement an close calm. These types of influences were larboard out of the boilerplate anecdotal about how Abstruse Expressionism developed.

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Papanikolas aboriginal conceptualized the exhibition in aboriginal 2015, advancing on the heels of Art Deco Hawai‘i, a 2014 exhibition she additionally curated focused on the Art Deco movement in the Hawaiian Islands from the 1920s to the ’40s. It advised adumbration depicting the Islands as “paradise” and assiduity a romanticized abstraction of Hawai‘i as alien and unspoiled, compared to works by Hawai‘i artists of the time, who acclimatized the Deco artful to actualize an aboriginal estimation of accession absorbed with an accurate faculty of abode in the Pacific.

“Art Deco Hawai‘i was an attack to see how art in Hawai‘i that was created in the 1920s and ’30s, afore Apple War II, played out in the civic scene, through the lens of Art Deco,” Papanikolas says. “After the exhibition, I started cerebration about the abutting affiliate of the story, attractive at Hawai‘i-born artists who grew up actuality and seeing how their assignment fits on the civic date in ambience of Abstruse Expressionism.”

In accession to assignment by Asian-American and Hawai‘i artists of the movement, this exhibition marks the aboriginal befalling for Hawai‘i art enthusiasts to appearance assignment by Jackson Pollock, Mark Rothko and Willem de Kooning, some never afore displayed in the Islands.

While critics of Abstruse Expressionism admired the accurate appearance and freedom of the art anatomy itself—it doesn’t crave an MFA to be able to accept or acknowledge the affect in the alive work—many of the best acute belief appear from abaft the scenes.

For example, Rothko struggled with creating art afterwards actuality diagnosed with a balmy aortic aneurysm in aboriginal 1968. Near the end of his life, affliction larboard him clumsy to acrylic the big paintings he acclimated to. He became balked and afterwards dead himself in 1970. A red painting he fabricated afterwards his aneurysm in 1968, “Untitled,” captures his all-overs and appears in the exhibition. “We apperceive now it was array of the alpha of a alley that was activity to advance to tragedy,” says O’Harrow. “This painting is from a moment in the history of his life.”

The exhibition’s Jackson Pollock painting is the “Portrait of H.M.” from 1945, created at a time aback the artisan was painting added allegorical styles. He hadn’t yet conceptualized the signature beat abode that he, as “Jack the Dripper,” would become accustomed for, but it’s analytical in his development as an artist. “[‘Portrait of H.M.’] is a account of his best friend, columnist Herbert Matter, and apparently the man who afflicted Pollock the best in agreement of art,” O’Harrow says. “It’s array of the missing link, the alpha aeon aback he’s developing his abstruse style.”

Beyond the acclaimed artists, the amount of this new exhibition is about affective above the accustomed fiction of Abstruse Expressionism to admit and embrace its above and added accurate heritage. Pollock was depicted as a “bad boy” in the art apple with his avant garde abode and apart style, but his assignment was advisedly planned out. Despite actuality an alcoholic, he didn’t acrylic drunk. He was additionally heavily afflicted by Native American beach paintings and added traditions from about the world.

“Sometimes it’s acquainted that, in Hawai‘i, things aren’t as acceptable or can’t attempt with what’s accident on the Mainland,” O’Harrow says. “And that’s not the case at all. Our bounded artists, who accept consistently formed at the accomplished level, can access the assize of art history. That’s important.”

Surf and Water Reflections, 1969‒70  |  Oil on canvas

Honolulu Building of Art, Allowance of The Contemporary Museum, Honolulu, 2011, and allowance of the Honolulu Advertiser Collection at Persis Corporation, 1974 (TCM.1974.1.239)

Reproduced by permission of Jan Shimamura

Woman as Landscape, 1954‒5  |  Oil on canvas

Collection of Barney Ebsworth

© 2017 The Willem de Kooning Foundation/ Artists Rights Society (ARS), New York

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Untitled, 1968  |  Acrylic on cardboard army on Masonite

University of Iowa Building of Art

Gift of the Mark Rothko Foundation, Inc., 1985.49

© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

Portrait of H. M., 1945  |  Oil on canvas

University of Iowa Building of Art  |  Allowance of Peggy Guggenheim, 1947.39

© 2017 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

One of the New York Abstruse Expressionists, 92-year-old Satoru Abe, still abstraction and activity strong.

It’s 10 a.m. on a Saturday morning at the Kaimukī home of Satoru Abe aback John Koga arrives with a six-pack of Heineken.

“So you activity alcohol too, right?” the 92-year-old artisan asks.

“Yeah, I’ll alcohol with you,” Koga replies, chuckling.

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Koga, additionally an acclaimed Modernist artist, helped align this accumulation with Abe. For the abutting three hours, over beers, sushi and scones, Abe talks about his career, his apprenticeship in New York and Hawai‘i’s art arena today. We bout his studio, his home and garage, abounding to the border with works alignment from metal sculptures abate than a paperweight to one the admeasurement and appearance of a tree, buried in the backyard alfresco his house.

Even if you don’t apperceive his name, you apperceive his artwork: the copper-and-bronze cone with ellipsoidal chunks missing, alfresco Aloha Stadium; the six granite tablets in a amphitheater with images of leaves categorical on them at the airport; the twisting, abstruse treelike sculptures alfresco the Aboriginal Hawaiian Center. Satoru Abe is a sculptor, a welder, a painter and an illustrator.

Alongside Abe’s own pieces on affectation at his home are his favorites by Hawai‘i artists, calm or accustomed as ability over the years. They awning about every inch of bank and shelf space. “That’s David Behlke, that one’s Sanit Khewhok. [Lauren] Okano is over there, abutting to [Warren] Stenberg. Of course, my mentor, Isami Doi. Apparently a abruptness is that one by Keiko Bonk,” Abe says, pointing. Bonk is conceivably best accustomed as the aboriginal Green Affair affiliate to win political appointment in Hawai‘i. 

Abe still produces 150 to 200 pieces a year, almost the aforementioned cardinal as aback he aboriginal began adjustment in the 1950s. “The aberration today is that I accomplish things afterwards assumption account and try to abruptness myself. To do this, your assignment has to be spontaneous,” says Abe. “Almost every third day or so, I abruptness myself. That’s the fun part.”

Before Abe was an artist, he arranged milk containers for the Dairymen’s Association, a accommodating of seven O‘ahu dairy farms that afterwards became Meadow Gold. “I asked myself, is this what I’m activity to do for the blow of my life?” Abe says. “So I absitively to be an artist. Simple as that. I was young, aboveboard and with a dream. That’s all you need.”

At the time, Hawai‘i had no absolute arts apprenticeship programs, so he catholic by abode to California, again to the Art Students League of New York. “My aboriginal night in the city, I bent the Greyhound and I had the abode for accession in the Lower East Side but it was too late, 10 o’clock. So I went over the bank at Central Park and spent the night there,” says Abe. He begin assignment as a restaurant dishwasher authoritative 75 cents an hour, additional two commons a day. “I’d get cash, 24 dollars or about abundant [on payday], and I’d constrict it in my socks and booty the alms home. But, 17 years in New York, I never got mugged.”

“Almost every third day or so, I abruptness myself.”

When Abe began in art, carve was rare. He abstruse the basics by experimenting: sanding, erasing, melting. From there, he began creating forms. “When we started, there were alone two categories: painting and sculpture. That’s all. Ceramics was advised a craft. Photography wasn’t included. Today, aggregate is art,” Abe says. “Which is actual good. The alone belief is able-bodied done or not able-bodied done.”

He alternate to Hawai‘i in 1950, area he met added bounded artists additionally abiding from belief or alive about the globe. “Bumpei Akaji came aback from Italy afterwards the war, Tetsuo Ochikubo came aback from the Chicago Art Museum, Jerry Okimoto, he was at the Honolulu Academy of Arts, Tadashi Sato came aback from Brooklyn Museum—no, Pratt Institute, I think. And Isami Doi, he mentored us,” says Abe. The accumulation became accustomed as the “Metcalf Chateau,” called afterwards a abode that Akaji and Abe busy for six months on Metcalf Street and area the accumulation apparent its artwork.

“There was a lot of drinking. Any time somebody fabricated a sale—in those days, affairs an art allotment was rare—we had a party,” Abe says. At their aboriginal accumulation appearance in 1954, artisan Elsie Das recommended their assignment to what’s now the Honolulu Building of Art and, aural a month, the exhibition was confused to the advanced allowance of the museum.

“The blow is history,” says Abe. “Seventy years ago, I didn’t alike apperceive what art I was activity to make. It was above imagination. I attending aback now, I still can’t accept what I made.”

Any routines aback you work? Abe says no. “One thing, in all the years, I never alcohol aback I work. No drugs either,” he says. “My cigarette career was 20 years, again I abdicate for 23 years, again I smoked for 26 years. I’ve abdicate now for a year and a half. Of course, I’m cat-and-mouse for marijuana to be acknowledged …”

Abstract Expressionism was an art movement shaped by its critics. “Whether it was acceptable or bad critique, the best the better. If they criticize you for this much,” Abe says, gesturing large, “it’s bigger than if they like you but alone for this much,” Abe says, gesturing small. “But the capital affair is that they accept your name correct.”

We allocution the day afterwards Gov. David Ige appear his ambition to veto a bill that would accept appointed funds to advice accounts a ceremony of the 50th ceremony of the State Capitol. Abe apprehend the account in the cardboard this morning.

“So we’re gonna do article ourselves to bless instead, right?” Abe asks, attractive at all of us gathered. The man never stops.  

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Published: 2017.09.07 03:07 PM

Abstract Expressionism is generally declared as the aboriginal abnormally American art movement to put the United States—specifically New York City—on the map in the all-embracing art community. Conventional acumen holds it emerged in the 1940s as a acknowledgment to the abhorrence and agony of Apple War II and that its arch artists accommodate Jackson Pollock, Willem de Kooning, Mark Rothko, Barnett Newman, Philip Guston, Franz Kline and Robert Motherwell. Turns out there’s a lot added to this story.

Art critics of the 1940s and ’50s helped acquaint Abstruse Expressionism in this way, blame the new art appearance aback it debuted. Writers such as Clement Greenberg championed the new movement as avant garde and experiential, praising artists like Pollock for his use of unstretched canvas, blush and texture. Essayist and drillmaster Harold Rosenberg acclaimed the active smears and splashes of “action paintings” by de Kooning and Kline. These authors not alone helped advance the alpha art form, they began to appearance the anecdotal of what Abstruse Expressionism was—and was not. Over the years, changeable artists, artists of color, sculptors and alike those artlessly operating alfresco Abstruse Expressionism’s focal point of New York Burghal were advised second-tier or glossed over absolutely in the history books.

A new exhibition at the Honolulu Building of Art seeks to revisit the history of Abstruse Expressionism by analytical not alone the acclaimed artists of the New York Academy such as Pollock and de Kooning, but additionally of its associated aeon including sculptors Ruth Asawa and Isamu Noguchi, painter Saburo Hasegawa and artists of Hawai‘i including Satoru Abe, Isami Doi, Tetsuo “Bob” Ochikubo and Tadashi Sato. Abstruse Expressionism: Attractive East From the Far West, which debuts Sept. 7 at the Honolulu Building of Art, is a advertise of added than 45 paintings, illustrations and sculptures advised to analyze the means that Abstruse Expressionism was shaped by the traditions and techniques of its Asian-American and Hawai‘i practitioners, from the compositional appearance and lyricism of Chinese and Japanese calligraphy to the antithesis and subtleties of Zen Buddhism.

“I anticipate a lot of the belief we apprehend about [artists’] appearance and adroitness are affiliated to array of a allegory about the ‘singular genius’ against accession who’s allotment of a above group. And I would say art historians are amenable for a lot of that,” says Honolulu Building of Art administrator Sean O’Harrow. “ I anticipate this appearance will advice to absolutely alpha to breach that bottomward and appearance a all-around affiliation amid a accurate artisan movement and the artists involved.”

SEE ALSO: Quote Unquote: Accommodated Honolulu Building of Art’s First-Ever Hawai‘i-Raised Director

The exhibition is a able admission appearance for O’Harrow, aloof seven months in as the museum’s new director. It additionally appearance a accountable amount with which he’s actual familiar: O’Harrow formed abundantly with Abstruse Expressionism in his antecedent role as administrator of the University of Iowa Building of Art, which houses cogent works by Rothko, de Kooning, Motherwell and Guston, including the acclaimed “Mural,” Jackson Pollock’s aboriginal ample painting. 

Before his time in Iowa, O’Harrow abounding academy at Harvard and again away at Cambridge. But he’s originally from Hawai‘i, area he affectionately remembers demography classes at the Honolulu Building of Art Academy as a child. In abounding ways, O’Harrow’s own adventure mirrors those of the Hawai‘i artists in the accessible exhibition, who larboard the Islands to appear academy and hone their craft, again alternate to advice abound and advance the art arena in Hawai‘i.

This was the case for painter and printmaker Isami Doi, who was built-in on O‘ahu and advised at Columbia University in New York Burghal and, later, Paris. He was a acquaintance and coach to adolescent Hawai‘i artists Tadashi Sato and Satoru Abe, both of whom additionally catholic to New York to convenance art and become complex in the bohemian Expressionist scene. Sato abounding the Brooklyn Building Academy and the Pratt Institute. As the grandson of a sumi-e ink ablution painter, he spent years belief Japanese calligraphy and literature. Abounding of his paintings absorb elements of Cubism’s accessible forms and amplitude counterbalanced by the attenuate delicacies of Sato’s featherlike brushwork to actualize abstracted scenes. Abe advised at the Art Students League of New York and apparent assignment at the Guggenheim, the Building of Avant-garde Art, the Carve Center and added burghal museums. A welder, his sculptures are generally a staccato of crisscrossing abstruse structures, amoebic and acutely aqueous and fluctuating. All three artists accept pieces in the exhibition.

“Hawai‘i has one of the best accomplished groups of artists,” says Abe. (Read added about him below.) “But I went to New York to abstraction art. I bethink I capital to go and alive abutting to the Art Students League, which was 57th Street. A Caucasian acquaintance of mine, a adolescent student, said he’d appear with me to attending for a place. We talked to the buyer about renting. He said for my friend, yes. But for me, no.”

At the time, it was difficult for Asian-American painters who were creating works of Abstruse Expressionism. Generally they were either captivated to expectations that their artwork bare to accept “Asian” qualities or ironically be criticized for interpreting “Western” accession with a appearance aggressive by their own culture. “Some artists, like Isami Doi, Tadashi Sato and Tetsuo Ochikubo, consistently accustomed their Asian ancestry and corrective in calligraphic styles,” says Theresa Papanikolas, Honolulu Building babysitter of European and American art. “They had to accommodated expectations, but, already they met those expectations, now it didn’t accomplish the belief of Abstruse Expressionism so they’re not the ones who get talked about as the movement goes bottomward in history.”

And yet, Western artists such as Rothko and de Kooning were absorbed by Asian philosophy, aesthetics and the gestural appearance of Japanese calligraphy. At the Eighth Street Club, a acquisition abode for artists including Pollock, de Kooning, Kline, Guston and others from 1950 to 1960, lectures were captivated every Friday night on capacity alignment from avant-garde art to Freud to existentialism, and speakers included artisan John Cage and mythologist Joseph Campbell. Zen teachings, such as those by Eastern artists Saburo Hasegawa and Matsumi Kanemitsu, were of accurate absorption to the New York Academy artists. They accustomed the best abeyant for carelessness on the canvas through Zen principles: befitting a bright mind, casting out assumption notions about art history and styles, and advancement an close calm. These types of influences were larboard out of the boilerplate anecdotal about how Abstruse Expressionism developed.

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Papanikolas aboriginal conceptualized the exhibition in aboriginal 2015, advancing on the heels of Art Deco Hawai‘i, a 2014 exhibition she additionally curated focused on the Art Deco movement in the Hawaiian Islands from the 1920s to the ’40s. It advised adumbration depicting the Islands as “paradise” and assiduity a romanticized abstraction of Hawai‘i as alien and unspoiled, compared to works by Hawai‘i artists of the time, who acclimatized the Deco artful to actualize an aboriginal estimation of accession absorbed with an accurate faculty of abode in the Pacific.

“Art Deco Hawai‘i was an attack to see how art in Hawai‘i that was created in the 1920s and ’30s, afore Apple War II, played out in the civic scene, through the lens of Art Deco,” Papanikolas says. “After the exhibition, I started cerebration about the abutting affiliate of the story, attractive at Hawai‘i-born artists who grew up actuality and seeing how their assignment fits on the civic date in ambience of Abstruse Expressionism.”

In accession to assignment by Asian-American and Hawai‘i artists of the movement, this exhibition marks the aboriginal befalling for Hawai‘i art enthusiasts to appearance assignment by Jackson Pollock, Mark Rothko and Willem de Kooning, some never afore displayed in the Islands.

While critics of Abstruse Expressionism admired the accurate appearance and freedom of the art anatomy itself—it doesn’t crave an MFA to be able to accept or acknowledge the affect in the alive work—many of the best acute belief appear from abaft the scenes.

For example, Rothko struggled with creating art afterwards actuality diagnosed with a balmy aortic aneurysm in aboriginal 1968. Near the end of his life, affliction larboard him clumsy to acrylic the big paintings he acclimated to. He became balked and afterwards dead himself in 1970. A red painting he fabricated afterwards his aneurysm in 1968, “Untitled,” captures his all-overs and appears in the exhibition. “We apperceive now it was array of the alpha of a alley that was activity to advance to tragedy,” says O’Harrow. “This painting is from a moment in the history of his life.”

The exhibition’s Jackson Pollock painting is the “Portrait of H.M.” from 1945, created at a time aback the artisan was painting added allegorical styles. He hadn’t yet conceptualized the signature beat abode that he, as “Jack the Dripper,” would become accustomed for, but it’s analytical in his development as an artist. “[‘Portrait of H.M.’] is a account of his best friend, columnist Herbert Matter, and apparently the man who afflicted Pollock the best in agreement of art,” O’Harrow says. “It’s array of the missing link, the alpha aeon aback he’s developing his abstruse style.”

Beyond the acclaimed artists, the amount of this new exhibition is about affective above the accustomed fiction of Abstruse Expressionism to admit and embrace its above and added accurate heritage. Pollock was depicted as a “bad boy” in the art apple with his avant garde abode and apart style, but his assignment was advisedly planned out. Despite actuality an alcoholic, he didn’t acrylic drunk. He was additionally heavily afflicted by Native American beach paintings and added traditions from about the world.

“Sometimes it’s acquainted that, in Hawai‘i, things aren’t as acceptable or can’t attempt with what’s accident on the Mainland,” O’Harrow says. “And that’s not the case at all. Our bounded artists, who accept consistently formed at the accomplished level, can access the assize of art history. That’s important.”

Surf and Water Reflections, 1969‒70  |  Oil on canvas

Honolulu Building of Art, Allowance of The Contemporary Museum, Honolulu, 2011, and allowance of the Honolulu Advertiser Collection at Persis Corporation, 1974 (TCM.1974.1.239)

Reproduced by permission of Jan Shimamura

Woman as Landscape, 1954‒5  |  Oil on canvas

Collection of Barney Ebsworth

© 2017 The Willem de Kooning Foundation/ Artists Rights Society (ARS), New York

Abstract Expressionism – Art Exhibition That Brings the Creative … – abstract expressionism art style | abstract expressionism art style

Untitled, 1968  |  Acrylic on cardboard army on Masonite

University of Iowa Building of Art

Gift of the Mark Rothko Foundation, Inc., 1985.49

© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

Portrait of H. M., 1945  |  Oil on canvas

University of Iowa Building of Art  |  Allowance of Peggy Guggenheim, 1947.39

© 2017 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

One of the New York Abstruse Expressionists, 92-year-old Satoru Abe, still abstraction and activity strong.

It’s 10 a.m. on a Saturday morning at the Kaimukī home of Satoru Abe aback John Koga arrives with a six-pack of Heineken.

“So you activity alcohol too, right?” the 92-year-old artisan asks.

“Yeah, I’ll alcohol with you,” Koga replies, chuckling.

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Koga, additionally an acclaimed Modernist artist, helped align this accumulation with Abe. For the abutting three hours, over beers, sushi and scones, Abe talks about his career, his apprenticeship in New York and Hawai‘i’s art arena today. We bout his studio, his home and garage, abounding to the border with works alignment from metal sculptures abate than a paperweight to one the admeasurement and appearance of a tree, buried in the backyard alfresco his house.

Even if you don’t apperceive his name, you apperceive his artwork: the copper-and-bronze cone with ellipsoidal chunks missing, alfresco Aloha Stadium; the six granite tablets in a amphitheater with images of leaves categorical on them at the airport; the twisting, abstruse treelike sculptures alfresco the Aboriginal Hawaiian Center. Satoru Abe is a sculptor, a welder, a painter and an illustrator.

Alongside Abe’s own pieces on affectation at his home are his favorites by Hawai‘i artists, calm or accustomed as ability over the years. They awning about every inch of bank and shelf space. “That’s David Behlke, that one’s Sanit Khewhok. [Lauren] Okano is over there, abutting to [Warren] Stenberg. Of course, my mentor, Isami Doi. Apparently a abruptness is that one by Keiko Bonk,” Abe says, pointing. Bonk is conceivably best accustomed as the aboriginal Green Affair affiliate to win political appointment in Hawai‘i. 

Abe still produces 150 to 200 pieces a year, almost the aforementioned cardinal as aback he aboriginal began adjustment in the 1950s. “The aberration today is that I accomplish things afterwards assumption account and try to abruptness myself. To do this, your assignment has to be spontaneous,” says Abe. “Almost every third day or so, I abruptness myself. That’s the fun part.”

Before Abe was an artist, he arranged milk containers for the Dairymen’s Association, a accommodating of seven O‘ahu dairy farms that afterwards became Meadow Gold. “I asked myself, is this what I’m activity to do for the blow of my life?” Abe says. “So I absitively to be an artist. Simple as that. I was young, aboveboard and with a dream. That’s all you need.”

At the time, Hawai‘i had no absolute arts apprenticeship programs, so he catholic by abode to California, again to the Art Students League of New York. “My aboriginal night in the city, I bent the Greyhound and I had the abode for accession in the Lower East Side but it was too late, 10 o’clock. So I went over the bank at Central Park and spent the night there,” says Abe. He begin assignment as a restaurant dishwasher authoritative 75 cents an hour, additional two commons a day. “I’d get cash, 24 dollars or about abundant [on payday], and I’d constrict it in my socks and booty the alms home. But, 17 years in New York, I never got mugged.”

“Almost every third day or so, I abruptness myself.”

When Abe began in art, carve was rare. He abstruse the basics by experimenting: sanding, erasing, melting. From there, he began creating forms. “When we started, there were alone two categories: painting and sculpture. That’s all. Ceramics was advised a craft. Photography wasn’t included. Today, aggregate is art,” Abe says. “Which is actual good. The alone belief is able-bodied done or not able-bodied done.”

He alternate to Hawai‘i in 1950, area he met added bounded artists additionally abiding from belief or alive about the globe. “Bumpei Akaji came aback from Italy afterwards the war, Tetsuo Ochikubo came aback from the Chicago Art Museum, Jerry Okimoto, he was at the Honolulu Academy of Arts, Tadashi Sato came aback from Brooklyn Museum—no, Pratt Institute, I think. And Isami Doi, he mentored us,” says Abe. The accumulation became accustomed as the “Metcalf Chateau,” called afterwards a abode that Akaji and Abe busy for six months on Metcalf Street and area the accumulation apparent its artwork.

“There was a lot of drinking. Any time somebody fabricated a sale—in those days, affairs an art allotment was rare—we had a party,” Abe says. At their aboriginal accumulation appearance in 1954, artisan Elsie Das recommended their assignment to what’s now the Honolulu Building of Art and, aural a month, the exhibition was confused to the advanced allowance of the museum.

“The blow is history,” says Abe. “Seventy years ago, I didn’t alike apperceive what art I was activity to make. It was above imagination. I attending aback now, I still can’t accept what I made.”

Any routines aback you work? Abe says no. “One thing, in all the years, I never alcohol aback I work. No drugs either,” he says. “My cigarette career was 20 years, again I abdicate for 23 years, again I smoked for 26 years. I’ve abdicate now for a year and a half. Of course, I’m cat-and-mouse for marijuana to be acknowledged …”

Abstract Expressionism was an art movement shaped by its critics. “Whether it was acceptable or bad critique, the best the better. If they criticize you for this much,” Abe says, gesturing large, “it’s bigger than if they like you but alone for this much,” Abe says, gesturing small. “But the capital affair is that they accept your name correct.”

We allocution the day afterwards Gov. David Ige appear his ambition to veto a bill that would accept appointed funds to advice accounts a ceremony of the 50th ceremony of the State Capitol. Abe apprehend the account in the cardboard this morning.

“So we’re gonna do article ourselves to bless instead, right?” Abe asks, attractive at all of us gathered. The man never stops.  

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Published: 2017.09.07 03:07 PM

Abstract Expressionism is generally declared as the aboriginal abnormally American art movement to put the United States—specifically New York City—on the map in the all-embracing art community. Conventional acumen holds it emerged in the 1940s as a acknowledgment to the abhorrence and agony of Apple War II and that its arch artists accommodate Jackson Pollock, Willem de Kooning, Mark Rothko, Barnett Newman, Philip Guston, Franz Kline and Robert Motherwell. Turns out there’s a lot added to this story.

Art critics of the 1940s and ’50s helped acquaint Abstruse Expressionism in this way, blame the new art appearance aback it debuted. Writers such as Clement Greenberg championed the new movement as avant garde and experiential, praising artists like Pollock for his use of unstretched canvas, blush and texture. Essayist and drillmaster Harold Rosenberg acclaimed the active smears and splashes of “action paintings” by de Kooning and Kline. These authors not alone helped advance the alpha art form, they began to appearance the anecdotal of what Abstruse Expressionism was—and was not. Over the years, changeable artists, artists of color, sculptors and alike those artlessly operating alfresco Abstruse Expressionism’s focal point of New York Burghal were advised second-tier or glossed over absolutely in the history books.

A new exhibition at the Honolulu Building of Art seeks to revisit the history of Abstruse Expressionism by analytical not alone the acclaimed artists of the New York Academy such as Pollock and de Kooning, but additionally of its associated aeon including sculptors Ruth Asawa and Isamu Noguchi, painter Saburo Hasegawa and artists of Hawai‘i including Satoru Abe, Isami Doi, Tetsuo “Bob” Ochikubo and Tadashi Sato. Abstruse Expressionism: Attractive East From the Far West, which debuts Sept. 7 at the Honolulu Building of Art, is a advertise of added than 45 paintings, illustrations and sculptures advised to analyze the means that Abstruse Expressionism was shaped by the traditions and techniques of its Asian-American and Hawai‘i practitioners, from the compositional appearance and lyricism of Chinese and Japanese calligraphy to the antithesis and subtleties of Zen Buddhism.

“I anticipate a lot of the belief we apprehend about [artists’] appearance and adroitness are affiliated to array of a allegory about the ‘singular genius’ against accession who’s allotment of a above group. And I would say art historians are amenable for a lot of that,” says Honolulu Building of Art administrator Sean O’Harrow. “ I anticipate this appearance will advice to absolutely alpha to breach that bottomward and appearance a all-around affiliation amid a accurate artisan movement and the artists involved.”

SEE ALSO: Quote Unquote: Accommodated Honolulu Building of Art’s First-Ever Hawai‘i-Raised Director

The exhibition is a able admission appearance for O’Harrow, aloof seven months in as the museum’s new director. It additionally appearance a accountable amount with which he’s actual familiar: O’Harrow formed abundantly with Abstruse Expressionism in his antecedent role as administrator of the University of Iowa Building of Art, which houses cogent works by Rothko, de Kooning, Motherwell and Guston, including the acclaimed “Mural,” Jackson Pollock’s aboriginal ample painting. 

Before his time in Iowa, O’Harrow abounding academy at Harvard and again away at Cambridge. But he’s originally from Hawai‘i, area he affectionately remembers demography classes at the Honolulu Building of Art Academy as a child. In abounding ways, O’Harrow’s own adventure mirrors those of the Hawai‘i artists in the accessible exhibition, who larboard the Islands to appear academy and hone their craft, again alternate to advice abound and advance the art arena in Hawai‘i.

This was the case for painter and printmaker Isami Doi, who was built-in on O‘ahu and advised at Columbia University in New York Burghal and, later, Paris. He was a acquaintance and coach to adolescent Hawai‘i artists Tadashi Sato and Satoru Abe, both of whom additionally catholic to New York to convenance art and become complex in the bohemian Expressionist scene. Sato abounding the Brooklyn Building Academy and the Pratt Institute. As the grandson of a sumi-e ink ablution painter, he spent years belief Japanese calligraphy and literature. Abounding of his paintings absorb elements of Cubism’s accessible forms and amplitude counterbalanced by the attenuate delicacies of Sato’s featherlike brushwork to actualize abstracted scenes. Abe advised at the Art Students League of New York and apparent assignment at the Guggenheim, the Building of Avant-garde Art, the Carve Center and added burghal museums. A welder, his sculptures are generally a staccato of crisscrossing abstruse structures, amoebic and acutely aqueous and fluctuating. All three artists accept pieces in the exhibition.

“Hawai‘i has one of the best accomplished groups of artists,” says Abe. (Read added about him below.) “But I went to New York to abstraction art. I bethink I capital to go and alive abutting to the Art Students League, which was 57th Street. A Caucasian acquaintance of mine, a adolescent student, said he’d appear with me to attending for a place. We talked to the buyer about renting. He said for my friend, yes. But for me, no.”

At the time, it was difficult for Asian-American painters who were creating works of Abstruse Expressionism. Generally they were either captivated to expectations that their artwork bare to accept “Asian” qualities or ironically be criticized for interpreting “Western” accession with a appearance aggressive by their own culture. “Some artists, like Isami Doi, Tadashi Sato and Tetsuo Ochikubo, consistently accustomed their Asian ancestry and corrective in calligraphic styles,” says Theresa Papanikolas, Honolulu Building babysitter of European and American art. “They had to accommodated expectations, but, already they met those expectations, now it didn’t accomplish the belief of Abstruse Expressionism so they’re not the ones who get talked about as the movement goes bottomward in history.”

And yet, Western artists such as Rothko and de Kooning were absorbed by Asian philosophy, aesthetics and the gestural appearance of Japanese calligraphy. At the Eighth Street Club, a acquisition abode for artists including Pollock, de Kooning, Kline, Guston and others from 1950 to 1960, lectures were captivated every Friday night on capacity alignment from avant-garde art to Freud to existentialism, and speakers included artisan John Cage and mythologist Joseph Campbell. Zen teachings, such as those by Eastern artists Saburo Hasegawa and Matsumi Kanemitsu, were of accurate absorption to the New York Academy artists. They accustomed the best abeyant for carelessness on the canvas through Zen principles: befitting a bright mind, casting out assumption notions about art history and styles, and advancement an close calm. These types of influences were larboard out of the boilerplate anecdotal about how Abstruse Expressionism developed.

2222/2222 – American Art before WW22 & Post War American Art(Abstract … – history of abstract expressionism | history of abstract expressionism

Papanikolas aboriginal conceptualized the exhibition in aboriginal 2015, advancing on the heels of Art Deco Hawai‘i, a 2014 exhibition she additionally curated focused on the Art Deco movement in the Hawaiian Islands from the 1920s to the ’40s. It advised adumbration depicting the Islands as “paradise” and assiduity a romanticized abstraction of Hawai‘i as alien and unspoiled, compared to works by Hawai‘i artists of the time, who acclimatized the Deco artful to actualize an aboriginal estimation of accession absorbed with an accurate faculty of abode in the Pacific.

“Art Deco Hawai‘i was an attack to see how art in Hawai‘i that was created in the 1920s and ’30s, afore Apple War II, played out in the civic scene, through the lens of Art Deco,” Papanikolas says. “After the exhibition, I started cerebration about the abutting affiliate of the story, attractive at Hawai‘i-born artists who grew up actuality and seeing how their assignment fits on the civic date in ambience of Abstruse Expressionism.”

In accession to assignment by Asian-American and Hawai‘i artists of the movement, this exhibition marks the aboriginal befalling for Hawai‘i art enthusiasts to appearance assignment by Jackson Pollock, Mark Rothko and Willem de Kooning, some never afore displayed in the Islands.

While critics of Abstruse Expressionism admired the accurate appearance and freedom of the art anatomy itself—it doesn’t crave an MFA to be able to accept or acknowledge the affect in the alive work—many of the best acute belief appear from abaft the scenes.

For example, Rothko struggled with creating art afterwards actuality diagnosed with a balmy aortic aneurysm in aboriginal 1968. Near the end of his life, affliction larboard him clumsy to acrylic the big paintings he acclimated to. He became balked and afterwards dead himself in 1970. A red painting he fabricated afterwards his aneurysm in 1968, “Untitled,” captures his all-overs and appears in the exhibition. “We apperceive now it was array of the alpha of a alley that was activity to advance to tragedy,” says O’Harrow. “This painting is from a moment in the history of his life.”

The exhibition’s Jackson Pollock painting is the “Portrait of H.M.” from 1945, created at a time aback the artisan was painting added allegorical styles. He hadn’t yet conceptualized the signature beat abode that he, as “Jack the Dripper,” would become accustomed for, but it’s analytical in his development as an artist. “[‘Portrait of H.M.’] is a account of his best friend, columnist Herbert Matter, and apparently the man who afflicted Pollock the best in agreement of art,” O’Harrow says. “It’s array of the missing link, the alpha aeon aback he’s developing his abstruse style.”

Beyond the acclaimed artists, the amount of this new exhibition is about affective above the accustomed fiction of Abstruse Expressionism to admit and embrace its above and added accurate heritage. Pollock was depicted as a “bad boy” in the art apple with his avant garde abode and apart style, but his assignment was advisedly planned out. Despite actuality an alcoholic, he didn’t acrylic drunk. He was additionally heavily afflicted by Native American beach paintings and added traditions from about the world.

“Sometimes it’s acquainted that, in Hawai‘i, things aren’t as acceptable or can’t attempt with what’s accident on the Mainland,” O’Harrow says. “And that’s not the case at all. Our bounded artists, who accept consistently formed at the accomplished level, can access the assize of art history. That’s important.”

Surf and Water Reflections, 1969‒70  |  Oil on canvas

Honolulu Building of Art, Allowance of The Contemporary Museum, Honolulu, 2011, and allowance of the Honolulu Advertiser Collection at Persis Corporation, 1974 (TCM.1974.1.239)

Reproduced by permission of Jan Shimamura

Woman as Landscape, 1954‒5  |  Oil on canvas

Collection of Barney Ebsworth

© 2017 The Willem de Kooning Foundation/ Artists Rights Society (ARS), New York

Art History News: Abstract Expressionism – history of abstract expressionism | history of abstract expressionism

Untitled, 1968  |  Acrylic on cardboard army on Masonite

University of Iowa Building of Art

Gift of the Mark Rothko Foundation, Inc., 1985.49

© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

Portrait of H. M., 1945  |  Oil on canvas

University of Iowa Building of Art  |  Allowance of Peggy Guggenheim, 1947.39

© 2017 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

Reproduced with permission from The University of Iowa

One of the New York Abstruse Expressionists, 92-year-old Satoru Abe, still abstraction and activity strong.

It’s 10 a.m. on a Saturday morning at the Kaimukī home of Satoru Abe aback John Koga arrives with a six-pack of Heineken.

“So you activity alcohol too, right?” the 92-year-old artisan asks.

“Yeah, I’ll alcohol with you,” Koga replies, chuckling.

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Koga, additionally an acclaimed Modernist artist, helped align this accumulation with Abe. For the abutting three hours, over beers, sushi and scones, Abe talks about his career, his apprenticeship in New York and Hawai‘i’s art arena today. We bout his studio, his home and garage, abounding to the border with works alignment from metal sculptures abate than a paperweight to one the admeasurement and appearance of a tree, buried in the backyard alfresco his house.

Even if you don’t apperceive his name, you apperceive his artwork: the copper-and-bronze cone with ellipsoidal chunks missing, alfresco Aloha Stadium; the six granite tablets in a amphitheater with images of leaves categorical on them at the airport; the twisting, abstruse treelike sculptures alfresco the Aboriginal Hawaiian Center. Satoru Abe is a sculptor, a welder, a painter and an illustrator.

Alongside Abe’s own pieces on affectation at his home are his favorites by Hawai‘i artists, calm or accustomed as ability over the years. They awning about every inch of bank and shelf space. “That’s David Behlke, that one’s Sanit Khewhok. [Lauren] Okano is over there, abutting to [Warren] Stenberg. Of course, my mentor, Isami Doi. Apparently a abruptness is that one by Keiko Bonk,” Abe says, pointing. Bonk is conceivably best accustomed as the aboriginal Green Affair affiliate to win political appointment in Hawai‘i. 

Abe still produces 150 to 200 pieces a year, almost the aforementioned cardinal as aback he aboriginal began adjustment in the 1950s. “The aberration today is that I accomplish things afterwards assumption account and try to abruptness myself. To do this, your assignment has to be spontaneous,” says Abe. “Almost every third day or so, I abruptness myself. That’s the fun part.”

Before Abe was an artist, he arranged milk containers for the Dairymen’s Association, a accommodating of seven O‘ahu dairy farms that afterwards became Meadow Gold. “I asked myself, is this what I’m activity to do for the blow of my life?” Abe says. “So I absitively to be an artist. Simple as that. I was young, aboveboard and with a dream. That’s all you need.”

At the time, Hawai‘i had no absolute arts apprenticeship programs, so he catholic by abode to California, again to the Art Students League of New York. “My aboriginal night in the city, I bent the Greyhound and I had the abode for accession in the Lower East Side but it was too late, 10 o’clock. So I went over the bank at Central Park and spent the night there,” says Abe. He begin assignment as a restaurant dishwasher authoritative 75 cents an hour, additional two commons a day. “I’d get cash, 24 dollars or about abundant [on payday], and I’d constrict it in my socks and booty the alms home. But, 17 years in New York, I never got mugged.”

“Almost every third day or so, I abruptness myself.”

When Abe began in art, carve was rare. He abstruse the basics by experimenting: sanding, erasing, melting. From there, he began creating forms. “When we started, there were alone two categories: painting and sculpture. That’s all. Ceramics was advised a craft. Photography wasn’t included. Today, aggregate is art,” Abe says. “Which is actual good. The alone belief is able-bodied done or not able-bodied done.”

He alternate to Hawai‘i in 1950, area he met added bounded artists additionally abiding from belief or alive about the globe. “Bumpei Akaji came aback from Italy afterwards the war, Tetsuo Ochikubo came aback from the Chicago Art Museum, Jerry Okimoto, he was at the Honolulu Academy of Arts, Tadashi Sato came aback from Brooklyn Museum—no, Pratt Institute, I think. And Isami Doi, he mentored us,” says Abe. The accumulation became accustomed as the “Metcalf Chateau,” called afterwards a abode that Akaji and Abe busy for six months on Metcalf Street and area the accumulation apparent its artwork.

“There was a lot of drinking. Any time somebody fabricated a sale—in those days, affairs an art allotment was rare—we had a party,” Abe says. At their aboriginal accumulation appearance in 1954, artisan Elsie Das recommended their assignment to what’s now the Honolulu Building of Art and, aural a month, the exhibition was confused to the advanced allowance of the museum.

“The blow is history,” says Abe. “Seventy years ago, I didn’t alike apperceive what art I was activity to make. It was above imagination. I attending aback now, I still can’t accept what I made.”

Any routines aback you work? Abe says no. “One thing, in all the years, I never alcohol aback I work. No drugs either,” he says. “My cigarette career was 20 years, again I abdicate for 23 years, again I smoked for 26 years. I’ve abdicate now for a year and a half. Of course, I’m cat-and-mouse for marijuana to be acknowledged …”

Abstract Expressionism was an art movement shaped by its critics. “Whether it was acceptable or bad critique, the best the better. If they criticize you for this much,” Abe says, gesturing large, “it’s bigger than if they like you but alone for this much,” Abe says, gesturing small. “But the capital affair is that they accept your name correct.”

We allocution the day afterwards Gov. David Ige appear his ambition to veto a bill that would accept appointed funds to advice accounts a ceremony of the 50th ceremony of the State Capitol. Abe apprehend the account in the cardboard this morning.

“So we’re gonna do article ourselves to bless instead, right?” Abe asks, attractive at all of us gathered. The man never stops.  

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