Podcasts about ad reinhardt

This is Part 2 of Mandolyn Wilson Rosen and my review of "Lifeline: Clyfford Still" 2019 directed by Dennis Scholl. It's a juicy art bio tell-all with a crusty curmudgeon as its talented but embittered subject. Don't forget to listen to Part 1 too! Find the film on Amazon ($2.99 SD) or for free on ⁠Kanopy⁠ Find Mandolyn online at: ⁠https://mandolynwilsonrosen.com⁠ and on IG at ⁠@mandolyn_rosen⁠ Artists mentioned: Philip Guston, Barnett Newman, Jackson Pollock, Willem DeKooning, Frank Stella, Donald Judd, Paul Cezanne, Ad Reinhardt, Mark Rothko, Thomas Hart Benton, Art Problems Podcast Thank you, Mandy! Thank you, Listeners! Visit RuthAnn, a new artist-run gallery in Catskill, NY at @ruthanngallery and ruthanngallery.com All music by Soundstripe ---------------------------- Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Pep Talks website: ⁠⁠⁠⁠⁠⁠⁠peptalksforartists.com⁠⁠⁠⁠⁠⁠⁠ Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amy's website: ⁠⁠⁠⁠⁠⁠⁠amytalluto.com⁠⁠⁠⁠⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

“Anna-Eva Bergman” Voyage vers l'intérieurau Musée d'Art moderne de Parisdu 31 mars au 16 juillet 2023Interview de Hélène Leroy, conservatrice, responsable des collections du MAM et commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 30 mars 2023, durée 22'09.© FranceFineArt.https://francefineart.com/2023/03/31/3414_anna-eva-bergman_musee-d-art-moderne-de-paris/Communiqué de presse Commissariat :Hélène Leroy, conservatrice, responsable des collectionsLe Musée d'Art Moderne de Paris présente la première grande rétrospective consacrée à l'artiste norvégienne Anna-Eva Bergman (1909-1987), figure-clé de la peinture de l'après-guerre, artiste libre et visionnaire, dont l'oeuvre plastique, caractérisée par l'emploi de la feuille d'or ou d'argent, est une puissante célébration de la beauté de la nature, des paysages du Nord et de la Méditerranée.Exposée dans le monde entier de son vivant (notamment au Musée d'Art Moderne de Paris en 1977 mais aussi en Italie, Allemagne ou en Norvège), Anna-Eva Bergman reste cependant insuffisamment reconnue en Europe. Son oeuvre au langage pictural singulier, fondé sur un vocabulaire de formes pures, demande aujourd'hui à être reconsidéré plus largement dans le champ de l'histoire de l'art aux côtés du travail d'autres grandes artistes femmes comme Hilma af Klint, Georgia O'Keeffe ou encore Sonia Delaunay qui ont été ses contemporaines. L'exposition Anna-Eva Bergman, Voyage vers l'intérieur apporte un éclairage décisif dans la redécouverte de cette artiste majeure en proposant un panorama de toute sa production. Composée de plus de 200 oeuvres, l'exposition fait suite à la rétrospective consacrée en octobre 2019 par le MAM à Hans Hartung, qui fut aussi l'époux de l'artiste.À cette occasion, le musée présente N°2-1964 Stèle, acquise du vivant de Bergman ainsi que la centaine d'oeuvres provenant du don exceptionnel consenti par la Fondation Hartung- Bergman au MAM en 2017. Cet ensemble est complété par des photographies, dessins et documents d'archives dont de nombreux inédits, provenant des collections de la Fondation à Antibes.Un catalogue édité aux éditions Paris Musées sous la direction d'Hélène Leroy rassemble des essais de spécialistes français et norvégiens. Les auteurs détaillent notamment la richesse des techniques plastiques abordées par Bergman et l'usage très spécifique d'un matériau devenu sa signature : la feuille de métal (or, argent, aluminium, étain, cuivre, plomb, bismuth). Différents essais s'attachent, en outre, à creuser le rapport d'Anna-Eva Bergman au dessin et à la caricature, à l'architecture, son emploi du nombre d'or, ainsi que la réception et l'exposition de son oeuvre après-guerre, sa relation aux grands maîtres du passé et à ses contemporains comme Barnett Newman, Ad Reinhardt ou Mark Rothko.#ExpoBergman Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Season 14 continues with VERY special episode with one of our all-time ART WORLD ICONS!!!! We meet the legendary gallerist MAUREEN PALEY. Inspiration to many of today's international contemporary galleries, Maureen was in fact the reason our co-host Robert Diament became inspired to change careers to work full-time in a gallery!We discover how she began her gallery programme in 1984 in a Victorian terraced house in London's East End. Initially named Interim Art, the gallery changed its name to Maureen Paley in 2004 as a celebration of its 20th anniversary. Since September 1999 the gallery has been situated in Bethnal Green, and in September 2020 relocated to Three Colts Lane. In July 2017 Maureen Paley opened a second space in Hove called Morena di Luna. In October 2020 a third space was opened in Shoreditch, London called Studio M. From its inception, the gallery's aim has remained consistent: to promote great and innovative artists in all media.-Maureen Paley was one of the first to present contemporary art in London's East End and has been a pioneer of the current scene, promoting and showing a diverse range of international artists. Gallery artists include Turner Prize winners Lawrence Abu Hamdan, 2019; Wolfgang Tillmans, 2000 and Gillian Wearing, 1997 as well as Turner Prize nominees Rebecca Warren, 2006; Liam Gillick, 2002; Jane and Louise Wilson, 1999 and Hannah Collins, 1993. Represented artists also include AA Bronson, Felipe Baeza, Tom Burr, Michaela Eichwald, Morgan Fisher, General Idea, Anne Hardy, Peter Hujar, Michael Krebber, Paulo Nimer Pjota, Olivia Plender, Stephen Prina, Maaike Schoorel, Hannah Starkey, Chioma Ebinama, Oscar Tuazon, and James Welling.Maureen Paley, the gallery's founder and director, was born in New York, studied at Sarah Lawrence College, and graduated from Brown University before coming to the UK in 1977 where she completed her Masters at The Royal College of Art from 1978–80.Together with running the gallery, Maureen Paley has also curated a number of large-scale public exhibitions. In 1994 she organised an exhibition of works by Felix Gonzales Torres, Joseph Kosuth and Ad Reinhardt at the Camden Arts Centre. In 1995 Wall to Wall was presented for the Arts Council GB National Touring Exhibitions and appeared at the Serpentine Gallery, London, Southampton City Art Gallery and Leeds City Art Gallery showing wall drawings by international artists including Daniel Buren, Michael Craig-Martin, Douglas Gordon, Barbara Kruger, Sol Lewitt, and Lawrence Weiner. Maureen Paley also selected an exhibition of work by young British artists in 1996 called The Cauldron featuring Christine Borland, Angela Bulloch, Jake & Dinos Chapman, Steven Pippin, Georgina Starr and Gillian Wearing for the Henry Moore Sculpture Trust which was installed in their Studio space in Dean Clough, Halifax.Follow @MaureenPaley on Instagram. Visit the gallery's official website at https://www.maureenpaley.com/Maureen Paley are exhibiting at Frieze London art fair next week in Regent's Park, Stand C9, 12th-16th October 2022. See works from her booth at Frieze's website: https://viewingroom.frieze.com/viewing-room/1750 Hosted on Acast. See acast.com/privacy for more information.

Versione audio: Nell'ambito dell'Espressionismo astratto americano, accanto ai pittori dell'Action Painting, alcuni artisti, in un processo di sublimazione della fantasia, si indirizzarono verso un genere di pittura astratta molto controllata, calibrata, logica e analitica: una sorta di astrazione sedimentata e contemplativa, espressa attraverso grandi superfici quasi monocrome o solcate da poche linee rigorose. Si possono […] L'articolo I Black Paintings di Ad Reinhardt proviene da Arte Svelata.

A few selections from the writings of the 20th C. Abstract Painter,  AD REINHARDT.  

Although considered one of Kurt Vonnegut's minor works, 1987's BLUEBEARD is an interesting novel that covers some fresh territory for the author. It follows the life and work of Rabo Karabekian, the son of Armenian immigrants who flee to California after the Armenian genocide. Starting as a highly realistic, technically proficient painter, Karabekian shifts his aesthetics to Abstract Expressionism, and, after “failing” as an artist, becomes a collector with one magnum opus left inside of him, which is tucked away under padlock in his barn. This is a work of modern Expressionism which a pseudonymous writer, Circe Berman, tries to wriggle out of him, a work which touches upon Kurt Vonnegut's own experiences at war.   BLUEBEARD tackles the questions of art and meaning, aesthetic preference, and masculine / feminine conceptions of history in ways both similar and not to Kurt Vonnegut's more well-known works.   You can also watch this conversation on our YouTube channel: https://youtu.be/mMNcCdj6XOM Subscribe to the ArtiFact podcast on Spotify: https://spoti.fi/3xw2M4D Apple Podcasts: https://apple.co/3wLpqEV Google Podcasts: https://bit.ly/3dSQXxJ Amazon Music: https://amzn.to/2SVJIxB Podbean: https://bit.ly/3yzLuUo iHeartRadio: https://ihr.fm/3AK942L   ArtiFact #24: Kurt Vonnegut's “Bluebeard” | Ethan Pinch, Alex Sheremet   Timestamps:   0:18 – introduction; where does Bluebeard fit among Kurt Vonnegut's other novels; its writerly vs. painterly qualities; why Ethan thinks it's the best novel ‘about' painting that he's ever read, as well as one of Vonnegut's best; Alex on his own ‘writerly' narrative biases when he approaches the visual arts; the pitfalls of ekphrastic poetry; cultural criticism masquerading as art criticism   14:00 – why Bluebeard is a “conflicted” work, and has complex things to say about Abstract Expressionism; the self-destructive streak in AbEx painters; Kurt Vonnegut's empathetic treatment of their work vs. the existentialism within AbEx   21:32 – Alex's love/hate relationship with Abstract Expressionism; conspiracy theories around AbEx going back a century; why non-narrative art or claims to non/anti-narrative are not logically tenable; Ethan's skepticism of (and grudging respect for) Clement Greenberg   34:20 – Kurt Vonnegut's introductory note to Bluebeard; can it be read as both praise and critique of Abstract Expressionism?; would Kurt Vonnegut say something similar about his own work, or literature that he respects?; AbEx machismo & Kurt Vonnegut's response to it   45:18 – Ad Reinhardt's cartoons on the history of visual art; abstraction vs. ‘the tangible' in elements such as brush-strokes; a story about a poor Winslow Homer reproduction; Rabo Karabekian's strange comment about the deaths of his AbEx friends – is he offering an implicit critique of their lack of purpose?; art and art-adjacent financials   01:03:00 – setting Bluebeard in its diegetic & historical contexts; photorealism-adjacent commentary in Bluebeard; the importance of Dan Gregory's ‘forgery' of a ruble; why Dan Gregory, not Rabo Karabekian, is the true Bluebeard of Kurt Vonnegut's title   01:18:20 – Alex's criticism (and praise) of Bluebeard's writing; how Kurt Vonnegut recapitulates his views on art by way of his own structural and aesthetic decisions within the book; comparing these decisions to earlier texts; Dan Gregory, Circe Berman, and the “Jesus” metric; Circe Berman's own character arc; what can we make of her “kitsch” aesthetic, as well as her deeper artistic critiques of Abstract Expressionism & beyond?   01:52:12 – on the nature of storytelling; Alex doubts that Ad Reinhardt offer a valid response to critiques of AbEx; on the nature of meaning   02:14:45 – Alex and Ethan debate the use of Rabo Karabekian in Kurt Vonnegut's Breakfast of Champions; how Kurt Vonnegut critiques Abstract Expressionism by crafting pro-narrative, technical prose; assessing Karabekian's version of The Temptation of St. Anthony; how abstract values pervade life; on “oblique” criticism, and why James Baldwin did it so well in The Devil Finds Work; a story of Clement Greenberg's aesthetic strategies in real life; art and the ego; Kurt Vonnegut as realist   2:50:20 – the ending to Bluebeard; the ‘feminine history' in the text, as reflected in Rabo Karabekian's final painting, “Now It's The Women's Turn”; the idea of women re-creating the world into something better; what of Circe Berman's own strategy for survival, and how it complicates Kurt Vonnegut's other observations?; Sateen Dura-Luxe & other tropes   3:05:12 – how cultural & historical context generates artistic currents: hyper-competition in the arts in ancient Greece; spiritual undertones of Giotto's “perfect circle”; commercialization via Dan Gregory's need to replicate the ruble; why Ethan is skeptical of both capitalism as well as material / anticapitalist analyses of both life and art   Video thumbnail © Joel Parrish: https://poeticimport.com   Ethan Pinch's YT channel: https://www.youtube.com/user/AnthropomorphicHorse Read the latest from the automachination universe: https://www.automachination.com Read Alex's (archived) essays: https://alexsheremet.com   Tags: #KurtVonnegut, #Bluebeard, #AbstractExpressionism

La obra del surrealista belga René Magritte y del artista abstracto norteamericano Ad Reinhardt protagoniza este nuevo podcast, en el que descubrimos qué une y qué distancia a ambos pintores, cuyo trabajo se expone actualmente en el Museo Nacional Thyssen-Bornemisza y en la Fundación Juan March, respectivamente. Nos acompañan Manuel Fontán, director de Museos y Exposiciones de la Fundación Juan March, y Guillermo Solana, director artístico del Museo Thyssen.

Thank you as always for listening. Please subscribe to the show on Apple Podcasts, Spotify, or Stitcher.Follow us on Instagram and Twitter at @ArtRoomOnLeft or email the show at ArtRoomOnLeft@gmail.comIntro and Outro music provided by the extremely talented Dana T, this song is titled 'NSA'. 

Conversación entre Manuel Fontán del Junco –comisario de la muestra– y la galerista y coleccionista de arte alemana Helga de Alvear, moderada por el periodista y escritor Ramón González Férriz, acerca de la exposición Ad Reinhardt. "El arte es el arte y todo lo demás es todo lo demás" (2021-2022, Fundación Juan March), desde el 15 de octubre de 2021 al 16 de enero de 2022.Más información de este acto

La exposición explicada: Acerca de la exposición Ad Reinhardt: "El arte es el arte y todo lo demás es todo lo demás". Manuel Fontán del Junco y Helga de Alvear en diálogo con Ramón González Férriz. Conversación entre Manuel Fontán del Junco –comisario de la muestra– y la galerista y coleccionista de arte alemana Helga de Alvear, moderada por el periodista y escritor Ramón González Férriz, acerca de la exposición Ad Reinhardt. "El arte es el arte y todo lo demás es todo lo demás" (2021-2022, Fundación Juan March), desde el 15 de octubre de 2021 al 16 de enero de 2022. Explore en canal.march.es el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Javier Gomá, director de la Fundación Juan March, Lynn Zelevansky, comisaria invitada y Manuel Fontán del Junco, director de Museos y Exposiciones presentan la exposición Ad Reinhardt: “El arte es el arte y todo lo demás es todo lo demás”  en el marco de su concierto inaugural. Ad Reinhardt (1913-1967) es considerado uno de los precursores del minimalismo y del arte conceptual, sus obras y escritos han ejercido una gran influencia en algunas de las figuras más notables asociadas a esas tendencias. Su obra plástica discurre por un camino muy particular dentro de la gran tendencia de la abstracción del siglo XX y desemboca en una renuncia radical a toda referencia externa. De forma paralela a su actividad pictórica, destaca su labor como profesor, ilustrador, ensayista y autor de textos y viñetas sobre historia y crítica de arte, artistas e instituciones vinculadas al arte.Más información de este acto

Concierto Extraordinario: El jazz de Reinhardt. Concierto inaugural de la exposición "Ad Reinhardt: El arte es el arte y todo lo demás es todo lo demás". . Conocido sobre todo por sus pinturas “negras”, Ad Reinhardt (1913-1967) fue un pionero del expresionismo abstracto norteamericano. Artista multidisciplinar −destacó como escritor e ilustrador−, desarrolló una intensa actividad que le llevaría a acuñar su frase más conocida: “el arte es arte y todo lo demás es todo lo demás”. Esta provocadora afirmación sirve de título a la exposición que se aproxima a distintas facetas de este creador, cuyos gustos musicales quedan reflejados en el programa de este concierto extraordinario. Explore en www.march.es/conferencias/anteriores el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Wer hat von wem gelernt in der Kunstgeschichte? Kann man die Einflüsse sehen? Wer wurde als Autodidakt*in berühmt? Welche Rolle spielten Institutionen wie das Bauhaus und das Black Mountain College? Wie war die Lehre an einer Kunstakademie früher strukturiert und wie läuft sie heute ab? Wie schafft man es, an einer Akademie angenommen zu werden? Und kann man Kunst überhaupt lernen?

El minimalismo es una corriente artística que sólo utiliza elementos mínimos y básicos. Por extensión, en el lenguaje cotidiano, se asocia el minimalismo a todo aquello que ha sido reducido a lo esencial y que no presenta ningún elemento sobrante o accesorio. El minimalismo también tiene su reflejo en una filosofía o forma de vida que propone dedicarse a lo importante y descartar todo lo innecesario como camino para alcanzar la realización personal. Existen diversos movimientos artísticos relacionados con el minimalismo que tratan de reducir todo a la mínima expresión. El arte, la arquitectura y la decoración. El término «minimal» fue utilizado por primera vez por Richard Wollheim en 1965 para referirse a las pinturas de Ad Reinhardt  y a otros objetos de muy alto contenido intelectual pero de bajo contenido de manufactura.   El minimalismo deja fuera toda emoción. Es pura contemplación intelectual y objetiva, algo que llama la atención teniendo en cuenta el contexto político y social de cuando nacen en los años 60. El minimalismo es, por así decirlo, como una performance. De alguna manera somo nosotros los espectadores los que hacemos la obra. Esto lo explican los propios artistas minimalistas al afirmar que estas esculturas sólo funcionan con público. Si no hay nadie, quedan desactivadas.   El minimalismo se basa en influir en el espacio que lo rodea y sobre todo, influir en quien está en este espacio. Esta característica es propia de la escultura, sin embargo los minimalistas utilizaron con mucho cuidado la palabra «escultura». No querían saber nada del ilusionismo que conlleva el concepto, pues la escultura es, ni más ni menos, transformar una materia prima para convertirla en otra cosa. El material es clave para esta gente, mostrar simple y llanamente «el objeto». Son obras rigurosas, muy precisas, como materiales industriales. El artista minimal no esculpe, no suda, no le salen callos en las manos de tallar material. El artista minimal presenta su «propuesta» (esta si es una palabra que les gustaba) y es otro quien hace la pieza final. Incluso eliminan todo rastro de su huella, de autoría. El minimalismo es, como toda forma de arte, un intento de poner un poco de orden en un mundo caótico.Es el último movimiento de la modernidad.       // Enlaces   https://medium.com/@alexandrafoto/why-did-steve-jobs-live-in-an-empty-box-29992ae7ef9f minimalist FAQs What Is Minimalism?     // Notas de contacto Twitch Applelianos Oficial Nueva Cuenta de ApplelianosPod en Twiiter Cuenta «Dormida» de Applelianos Grupo privado del podcast Applelianos en Telegram. Grupo Telegram HomePod & Homekit

El minimalismo es una corriente artística que sólo utiliza elementos mínimos y básicos. Por extensión, en el lenguaje cotidiano, se asocia el minimalismo a todo aquello que ha sido reducido a lo esencial y que no presenta ningún elemento sobrante o accesorio. El minimalismo también tiene su reflejo en una filosofía o forma de vida que propone dedicarse a lo importante y descartar todo lo innecesario como camino para alcanzar la realización personal. Existen diversos movimientos artísticos relacionados con el minimalismo que tratan de reducir todo a la mínima expresión. El arte, la arquitectura y la decoración. El término «minimal» fue utilizado por primera vez por Richard Wollheim en 1965 para referirse a las pinturas de Ad Reinhardt  y a otros objetos de muy alto contenido intelectual pero de bajo contenido de manufactura.   El minimalismo deja fuera toda emoción. Es pura contemplación intelectual y objetiva, algo que llama la atención teniendo en cuenta el contexto político y social de cuando nacen en los años 60. El minimalismo es, por así decirlo, como una performance. De alguna manera somo nosotros los espectadores los que hacemos la obra. Esto lo explican los propios artistas minimalistas al afirmar que estas esculturas sólo funcionan con público. Si no hay nadie, quedan desactivadas.   El minimalismo se basa en influir en el espacio que lo rodea y sobre todo, influir en quien está en este espacio. Esta característica es propia de la escultura, sin embargo los minimalistas utilizaron con mucho cuidado la palabra «escultura». No querían saber nada del ilusionismo que conlleva el concepto, pues la escultura es, ni más ni menos, transformar una materia prima para convertirla en otra cosa. El material es clave para esta gente, mostrar simple y llanamente «el objeto». Son obras rigurosas, muy precisas, como materiales industriales. El artista minimal no esculpe, no suda, no le salen callos en las manos de tallar material. El artista minimal presenta su «propuesta» (esta si es una palabra que les gustaba) y es otro quien hace la pieza final. Incluso eliminan todo rastro de su huella, de autoría. El minimalismo es, como toda forma de arte, un intento de poner un poco de orden en un mundo caótico.Es el último movimiento de la modernidad.       // Enlaces   https://medium.com/@alexandrafoto/why-did-steve-jobs-live-in-an-empty-box-29992ae7ef9f minimalist FAQs What Is Minimalism?     // Notas de contacto Twitch Applelianos Oficial Nueva Cuenta de ApplelianosPod en Twiiter Cuenta «Dormida» de Applelianos Grupo privado del podcast Applelianos en Telegram. Grupo Telegram HomePod & Homekit

A View of Ad Reinhard's Abstract Painting Sherry Goodman, BAMPFA Director of Education Sherry provides a personal view of the museum's monumental all-black painting by Ad Reinhardt (1913-67), including her experience looking at it together with UC Berkeley students and its relevance for the current time. Ad Reinhardt Abstract Painting, 1960-1965 60 x 60 1/4 in. University of California, Berkeley Art Museum and Pacific Film Archive; Gift of Ad Reinhardt

In this extended episode Dr Laura-Jane Foley meets the highly acclaimed actor Russell Tovey. Russell chooses ‘Night Fishing in Antibes’ (1939) by Spanish artist Pablo Picasso (1881 – 1973) and explains how a real-life encounter with the artwork had a profound effect on him. In this wide-ranging and engaging chat, which also covers Russell’s love of animation, Ad Reinhardt, the Young British Artists and how he has built his own art collection, Russell reveals some truly fascinating art world anecdotes. Describing the art world as magical and his “secret garden”, Russell’s exuberant love of art shines through in this must-listen episode. To comment on the show please write to @laurajanefoley on Twitter and use the hashtag #MyFavouriteWorkOfArt Presented and produced by Dr Laura-Jane FoleyRecorded and edited at Wisebuddah, LondonTitle Music - 'Blue' from Colours by Dimitri Scarlato See acast.com/privacy for privacy and opt-out information.

Put your headphones on and make sure that lady next to ya aint looking because on this week's episode we dish on the worst plane movies to watch, hieroglyphic memes, and the mystical mech shauman. Every week we venture into the vast internet and pull out interesting little tidbits for you to check out. Here's your weekly dose of "It Came from the Internet": Larry Charles’ Dangerous World of Comedy: link Pastry Chef Attempts To Make Gourmet Skittles : link How to paint like Ad Reinhardt: link

“I have been really inspired by Ad Reinhardt's 'Abstract Painting' from 1963 which depicts nine very subtle shades of black. At first glance, the viewer sees a flat black canvas. Over time, the viewer notices the subtle tone differences - one is more red, another blue, one slightly green. The viewer wonders: which is the true black? That concept has resonated with me when I contemplate the subtleties in silence.”

The Spanish Civil War of 1936-39 inspired artists, writers and filmmakers at home and abroad to make work in support of the struggle against fascism and, in some cases, to fight for the Spanish Republic. This week, Juliet talks to writer/translator Lara Alonso Corona about the various reactions to the war, General Franco's victory and consolidation of fascist power in Spain, from before the conflict began in July 1936 to the present. SELECTED REFERENCES Rafael Alberti - https://www.theguardian.com/news/1999/oct/29/guardianobituaries W. H. AUDEN, Spain 1937 - https://sites.google.com/a/upr.edu/modernpoetry/Student-Blogs/ivan-andres-rodriguez/spainbywhauden Azorin (José Martínez Ruiz) - https://en.wikipedia.org/wiki/José_Martínez_Ruiz José Bergamín - https://en.wikipedia.org/wiki/José_Bergamín Blockade (dir. William Dieterle, 1938) - https://www.timeout.com/london/film/blockade Luisa Carnés - http://www.newspanishbooks.com/author/luisa-carnes Luis Cernuda - https://en.wikipedia.org/wiki/Luis_Cernuda Cyril Connolly Salvador Dalí The Devil's Backbone (dir. Guillermo del Toro, 2001) - http://wickedhorror.com/features/devils-backbone-pans-laybrinth-and-why-guillermo-del-toro-is-fixated-on-the-spanish-civil-war España 1936 (dir. Luis Buñuel, 1937) - https://www.imdb.com/title/tt0028838 Federico García Lorca - https://www.theguardian.com/culture/2015/apr/23/federico-garcia-lorca-spanish-poet-killed-orders-spanish-civil-war Ramón Gómez de la Serna - https://www.classicspanishbooks.com/20th-cent-ramon-de-la-serna.html Luis de Góngora - https://en.wikipedia.org/wiki/Luis_de_Góngora Francisco Goya The Guernica Tree (dir. Fernando Arrabal, 1975) - http://filmepidemic.blogspot.com/2008/03/guernica-tree-arrabal-1975.html Dan Hancox on the Valley of the Fallen: https://amuse.vice.com/en_us/article/wj3p3y/valley-of-the-fallen-spain-fascism ERNEST HEMINGWAY, For Whom the Bell Tolls (1940) Miguel Hernández - https://www.poetryfoundation.org/poets/miguel-hernandez Langston Hughes Ispanya (dir. Esfir Shub, 1939) - https://www.youtube.com/watch?v=BgGqYueTEnQ Land and Freedom (dir. Ken Loach, 1995) Ramiro de Maetzu - https://en.wikipedia.org/wiki/Ramiro_de_Maeztu Marujo Mallo - https://en.wikipedia.org/wiki/Maruja_Mallo ANDRÉ MALRAUX, L'Espoir (1937) FILIPPO TOMMASO MARINETTI, 'Founding and Manifesto of the Futurists' (1909) Mientras dure la guerra (dir. Alejandro Amenábar, 2019) - https://cineuropa.org/en/newsdetail/355061 Joan Miró, 'Aidez l'Espagne' and 'The Reaper' (1937) - https://www.tate.org.uk/context-comment/articles/hymn-freedom JOSÉ ORTEGA Y GASSET, The Dehumanisation of Art (1927) - https://brooklynrail.org/special/AD_REINHARDT/artists-on-ad/the-dehumanization-of-art-jose-ortega-y-gasset-and-ad-reinhardt GEORGE ORWELL, Homage to Catalonia (1938) - https://www.jacobinmag.com/2017/05/george-orwell-spain-barcelona-may-days Panic movement - https://en.wikipedia.org/wiki/Panic_Movement Pan's Labyrinth (dir. Guillermo del Toro, 2006) Octavio Paz Roland Penrose - https://www.tate.org.uk/art/artists/sir-roland-penrose-1755 Pablo Picasso, 'Guernica' (1937) - https://www.pablopicasso.org/guernica.jsp Revista de Occidente (journal) - https://www.britannica.com/topic/Revista-de-Occidente Spanish Earth (dir. Joris Ivens, 1937) - http://www.openculture.com/2012/06/ithe_spanish_earthi_written_and_narrated_by_ernest_hemingway.html Stephen Spender José Val del Omar - http://www.valdelomar.com/home.php?lang=en Miguel de Unamuno - https://www.classicspanishbooks.com/20th-cent-unamuno.html Ramón del Valle-Inclán - https://www.classicspanishbooks.com/20th-cent-valleinclan.html Viva la muerte (dir. Fernando Arrabal, 1971) - https://www.nytimes.com/1971/10/26/archives/screen-arrabals-viva-la-muerte.html Maria Zambrano - http://www.metropolism.com/en/features/33449_who_is_mar_a_zambrano

Transcript -- In the 1940’s and 50’s, New York was becoming a centre of art. But the art world in New York was surprisingly small. Professor Michael Corris gives you a tour.

In the 1940’s and 50’s, New York was becoming a centre of art. But the art world in New York was surprisingly small. Professor Michael Corris gives you a tour.

Transcript -- Bringing the New York art-scene of the 1950’s and 60’s to life: Professor Michael Corris and artist Lawrence Weiner in conversation.

Bringing the New York art-scene of the 1950’s and 60’s to life: Professor Michael Corris and artist Lawrence Weiner in conversation.

Transcript -- Bringing the New York art-scene of the 1950’s and 60’s to life: Professor Michael Corris and artist Lawrence Weiner in conversation.

Bringing the New York art-scene of the 1950’s and 60’s to life: Professor Michael Corris and artist Lawrence Weiner in conversation.

Transcript -- In the 1940’s and 50’s, New York was becoming a centre of art. But the art world in New York was surprisingly small. Professor Michael Corris gives you a tour.

In the 1940’s and 50’s, New York was becoming a centre of art. But the art world in New York was surprisingly small. Professor Michael Corris gives you a tour.

Transcript -- Bringing the New York art-scene of the 1950’s and 60’s to life: Professor Michael Corris and artist Lawrence Weiner in conversation.

Bringing the New York art-scene of the 1950’s and 60’s to life: Professor Michael Corris and artist Lawrence Weiner in conversation.

Transcript -- In the 1940’s and 50’s, New York was becoming a centre of art. But the art world in New York was surprisingly small. Professor Michael Corris gives you a tour.

In the 1940’s and 50’s, New York was becoming a centre of art. But the art world in New York was surprisingly small. Professor Michael Corris gives you a tour.

Michael Mercil and students from the Department of Art Embodied Knowledge Ensemble and Volunteer Corps read selected Art Manifestos both historical and contemporary:How to write a Manifesto by Nicole Debrabandere, What is Art For? by Tom Marioni, Instructions for reading an Srt Manifesto (in public and aloud) by Paula Gaetano Adi, Karawane by Hugo Ball (1916), No Manifesto by Yvonne Rainer (1965) The Advantage of Being a Woman Artist by Guerilla Girls, Statement by the International Faction of Constructivists (1922), 15 Lines of Words on Art Statement by Ad Reinhardt, The Future of Music - Credo by John Cage (1937), Manifesto by Group BMPT, Bruce Nauman, Does Money Manipulate Art? by The Art Workers Coalition (1969).

Go behind the scenes at the Guggenheim's "Imageless" exhibit, where one of Ad Reinhardt's black paintings gets some major laser restoration treatment. Multimedia: Slideshow