until next week (i hope only until next week or i’ll implode). i’ve had a few visits to the studio, yet they yielded only a few scribbles which i won’t torture you with. hopefully soon i’ll return to a more consistent studio practice with samples.
in the meantime, here’s a link to mark bradford’s work at the san francisco museum of modern art
At the Davis Art Museum at Wellesley College is Radcliffe Bailey’s “Memory as Medicine” installation. quite extraordinary!!! breathtaking and deeply moving. i sat in the gallery for a long time immersing myself in this piece. truly moving. if ever it comes to your area … go! also this video is from the High Art Museum in Atlanta and they’ve many more vids about this show. i recommend having a look
radcliffe bailey ”memory as medicine” at the high art museum in atlanta
I am reminded every so often how lucky I am to live and work in this city. The center of everything, and certainly art. I work half the time in a building a block away from MOMA, a few blocks from the 57th St. galleries and across the street from Christie’s, just to name a few. Christie’s, for example is really one of the only places you can see a revolving show of the greatest art the public will rarely, if ever see. It’s the great auction house for incredible private collections from around the world.
I just had a two-person show down in Philadelphia at Tyler School of Art, but
I’m now back drawing to pay the bills. At any rate, I thought I’d post some more New York subway indi-gesteral drawings:
I ran over to MOMA ( the Museum of Modern Art, for all those neophytes) the other night and zipped right in with a membership card through the thousands of tourists and what seems like -every friday night at MOMA- a holiday weekend at JFK. I visited a great show from their Contemporary collection, and a mind-blowingly large retrospective of Henri Matisse. Among the intense range of his paintings and drawings from his years in Paris, Morocco and Nice were some monotypes which he obsessively did for several months in 1914. He made 70 that year, 10% of his lifetime total. The simple, rich, heavy, flat yet deep black with contours drawn to reveal stark white lines against said black were powerfully elegant.
I came home and played around with the black that I had drifted away from. Here is a figure I made using tools like a screwdriver, pencil, knife and razor blade. I’m also including a related but tonally very different image, one from a series made with india ink, pencil and letraset ink on paper.
Neverland 2, 2008,monotype, 14″ x 10″
Neverland 1, 2008, mixed media, ink, pencil, 11″ x 8″
The
Whitney
pulls an all nighter all week. 24-7. Give me the cot by the Koons.
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A Vienna museum, Klimt, and orgies. Yes, orgies. That’s all fine and fun but now I have that stupid movie stuck in my head.
The Newark Museum has an exhibition tracing abstract art in North and South America.
Joaquin Torres-Garcia’s “Locomotive With Constructive House” (1934)
It’s up unti May 23. Looks good, let’s go!
For the last two days, my wife and I have been in Springfield, Illinois, visiting with my mother in law. Coincidently, my lower, far-right molar, which has been agonizing me for some time now, reached its crescendo. I should point out that I don’t believe that visiting Mandi’s mom had anything to do with it; I actually am very close with my mother in law, and I enjoy spending time with her. However, there is a certain harmony about being in a rust belt capital, with excruciating tooth pain, and going to see an exhibit of a decimated people. It was like the figurative pain of the past and present (financial, emotional, physical) culminated in the back of my mouth by some invisible act of superstring knot-tying. So what else was there to do, but have that fucker pulled out, and bring a sense of calm back to mankind? And then write a poem about it? Read more »
Today on twitter, the San Francisco Moma’s official twitter persona posted:
Would any of you locals be interested in trying out a Live-Tweet SFMOMA walk-through? Maybe free admission? Ask your friends…
The response was apparently quite positive because they later followed up with:
What INCREDIBLE response to our Live-Tweet walk-through! How about a Thursday @ 5:30? Will this be the 1st museum-tweet group ever?
What a great idea! I wish I’d thought of something like that. Oh wait, I totally did!
I’m guessing their live group tweet session won’t be happening next Thursday just in time to steal my thunder during the Third Monthly First Thursday Art Crawl, so I won’t get too territorial here (also since I didn’t cover that museum, have a group doing it with me, or have more than 10 actual followers on Twitter, I probably can’t complain.)
Anyways, I’ll undoubtedly attend this event when they hold it, so I’ll keep you apprised of the situation.
My point is this: I am a visionary on the scale of… something relatively smallish.
-JD
The Wall Street Journal reviews the Philadelphia Museum of Art’s “Cézanne and Beyond,” and touches upon his role as a keystone in the development of 20th century modernism. If anybody is ever looking for an accessible place to begin studying the history of 20th century art, Cezanne is as good a place as any. Placing some of Picasso’s Analytic Cubist pieces or Matisse’s mature works next to some of Cezanne’s paintings and you can see how he is the missing link these two, who are themselves progenitors of innumerable movements and developments throughout the century.
This Saturday, April 4th is the opening for a group show of monotypes curated by the
Monotype Guild Of New England , an organization dedicated to the unique print, of which I have been a member for a few years. The guild boasts some very dedicated and talented printmakers. The show, Endless Possibilities , is at Lynn Arts, in Lynn, Massachussetts, and is one of several events being held throughout the Boston area in conjunction with the North American Print Biennial. So if anyone is in the neighborhood over the next month and likes free alcoholic grape drink and soft cheese-foods, check it out.
Tom Bennett
This is the monotype I have have represented in the exhibition:
Borias and Orythia (after Rubens), 2008, monotype, 16 x 20
O.k., so I’m posting late this week….In all earnestness, this is not going to be much of a post at all. I spent this last weekend in St. Louis, which is to be my new home, come May 1st. From all perspectives, this will be a good move, as it will allow my wife and I to save money, revolve around a smaller nucleus, have more space, do more things, etc.
Nonetheless, this post is centered around the photographs that I took while doing other things, this weekend. It is image heavy, so be forewarned… Read more »
eheheheheh
Remember this post about the fabulous Smith College bathrooms? and that time I mentioned the cute bathrooms at The Carle and supplied a link to pics? Well it appears I’m not the only one with a peculiar fascination for arty water closets.
I present without further ado, The Art Museum Toilet Museum Of Art. Now doesn’t that name just stumble awkwardly off the tongue and then take a minute to digest? Regardless, they’ve accrued quite an impressive collection of art museum toilet photos. Aaayunnnd they’re looking for more. They’ve already got shots of the Smith College commode d’arte, but I didn’t see any from The Carle. Perhaps I should submit something.
-Steph Gerolimatos
I mentioned the Eric Carle Museum of Picture Book Art yesterday in my post about The Very Hungry Caterpillar’s 40th anniversary. I’m sure many of you know that The Caterpillar book was just one of many, many wonderful children’s books by Mr. Carle. Other hits include but are not limited to “The Grouchy Ladybug”, “The Mixed Up Chameleon”, “Pancakes, Pancakes”, “Papa Please Get The Moon For Me”, “The Very Busy Spider”, “The Very Quiet Cricket”, “Draw Me A Star”… I could go on and on, and I’m tempted to, but I don’t really want to drive you away. Suffice it to say, Eric is an impressively prolific artist and picture book illustrator and writer. He clearly loves what he does, and if the sheer size of his professional portfolio isn’t enough to convince you of that, perhaps a visit to the museum that bears his name would do the trick. The Carle represents the physical manifestation of Eric’s longtime dream to elevate the public perception of picture book art to the level of high art. Something you may not know about the museum is that in Read more »
image and accompanying description borrowed from MOBA website
Lucy In the Field With Flowers
oil on canvas by Unknown
24″ x 30″
Acquired from trash in Boston
This single painting planted the seed that grew into MOBA. The motion, the chair, the sway of her breast, the subtle hues of the sky, the expression on her face — every detail combines to create this transcendent and compelling portrait, every detail cries out “masterpiece.”
No doubt you’ve all heard of MOBA--Museum of Bad Art. In fact, Read more »
all images borrowed from the Hallmark Museum of Contemporary Photography website
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| by Susan Bozic | by Josephine Sacabo | by Colin Finlay |
Last month, I saw three exhibits at the Hallmark Museum of Contemporary Photography in Turners Falls, Massachusetts. It was my first visit to the institution and I wasn’t familiar with any of the photographers so I didn’t know what to expect. Turners Falls is a tiny little town, and the few times I’ve been there, it didn’t seem to have a whole lot going on. Although cute and obviously ripe with possibility, it struck me as yet another sadly depressed former mill town. So I was happily surprised when both the space and the artwork were much more impressive than I’d imagined.
The museum is inconspicuously tucked into two separate buildings on opposite sides of the street. The one we entered first Read more »
So I was sitting at home toying with my microwave frozen dinner (don’t ask), pushing the little raviolis around my plate and looking for anything but the Superbowl to watch on TV, when I saw a commercial for an art museum. I’ve never seen a television commercial for an art museum before, have you? It was for the The New Britain Museum of American Art in New Britain, Connecticut. After I got over my initial “Am I really seeing what I think I am seeing” reaction I kind of thought it was a bold move, and effective since I live in Connecticut part time and had no idea it existed. Now not only do I know it’s there, I want to go check it out.
So has anyone else seen anything like this? They also openly advertise that they are happy to rent out the museum for weddings, parties, corporate events, and are even able to provide catering if you should need it. Is this the way small museums are going to be staying afloat in turbulent financial times? I don’t have any particular criticism about it, but I also don’t know if these are common practices.
What do you guys think?
-Toni “bunnie” Tiller
Due to its radically diminished endowment, Brandeis University is planning on selling off one of the world’s great collections of postwar art, the entire holdings of the Rose Art Museum.
From the Boston Globe: It will sell off a 6,000-object collection that includes work by such contemporary masters as Roy Lichtenstein, Andy Warhol, and Nam June Paik.
The move shocked local arts leaders and drew harsh criticism from the Association of College and University Museums and Galleries. Rose Art Museum director Michael Rush declined comment this evening, saying he had just learned of the decision.
Brandeis is also discussing a range of sweeping proposals to bridge a budget deficit that could be as high as $10 million, such as reducing the size of the faculty by 10 percent, increasing undergraduate enrollment by 12 percent to boost tuition revenue, and overhauling the undergraduate curriculum by eliminating individual academic programs in favor of larger, interdisciplinary divisions.
Other plans under consideration include requiring students to take one summer semester, allowing the university to expand its student body without overcrowding, and adding a business program. The changes would take place, at the earliest, in 2010.
“This is not a happy day in the history of Brandeis,” President Jehuda Reinharz said tonight. “The Rose is a jewel. But for the most part it’s a hidden jewel. It does not have great foot traffic and most of the great works we have, we are just not able to exhibit. We felt that, at this point given the recession and the financial crisis, we had no choice.”
Brandeis said the museum would be closed late this summer. It was founded in 1961; a new wing designed by celebrated architect Graham Gund was added in 2001.
Announcement of the closing came as Rush was searching for a chief curator. A leading expert on video art, he had arrived in 2005 with plans to expand the museum. He also launched a full scale analysis of the museum’s value by Christie’s auction house. Dennis Nealon, the university’s director of public relations, would not say how much the collection is worth.
Experts on university art collections said the move was unusual, but not unexpected.
“Clearly, what’s happening with Brandeis now is that they decided the easiest way is to look around the campus and find things that can be capitalized,” said David Robertson, a Northwestern University professor who is president of the Association of College and Univertsity Museums and Galleries. “It’s always art that goes first.”
But there is no precedent for selling an art collection of the Rose’s stature. Internationally recognized, the collection is strong in American art of the 1960s and 1970s and includes works by Willem de Kooning, Jasper Johns, Morris Louis, and Helen Frankenthaler.
“I’m in shock,” said Mark Bessire, the recently named director of the Portland Museum Of Art. “And this is definitely not the time to be selling paintings, anyway. The market is dropping. I’m just kind of sitting here sweating because I can’t imagine Brandeis would take that step.”
Hey, it may just well be more important to keep the college afloat than to keep the collection intact.
Tom Bennett
Agora Gallery - the proud sponsor of the Chelsea International Fine Art Competition, which offers contemporary artists the opportunity to show their original art at one the most acclaimed juried art shows in Chelsea, New York’s art galleries district.
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