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3 episodes with Ellsworth Kelly
2 episodes with Ellsworth Kelly
2 episodes with Ellsworth Kelly
4 episodes with Ellsworth Kelly
2 episodes with Ellsworth Kelly
2 episodes with Ellsworth Kelly
2 episodes with Ellsworth Kelly
2 episodes with Ellsworth Kelly
2 episodes with Ellsworth Kelly
Mandolyn Wilson Rosen is back on the podcast! This time, instead of a book we are talking about an artist documentary. The film is called "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. Come along with us as we enter a turbulently Still world. Find the film on Amazon ($2.99 SD) or for free on KanopyFind Mandolyn online at: https://mandolynwilsonrosen.com and on IG at @mandolyn_rosenLinks to the writings we mentioned:Clyfford Still's "An Open Letter to an Art Critic" on Artforumhttps://www.artforum.com/features/an-open-letter-to-an-art-critic-212151/David Levi Strauss for Brooklyn Rail "From Metaphysics to Invective"https://brooklynrail.org/2012/05/art/from-metaphysics-to-invective-art-criticism-as-if-it-still-matters/Seph Rodney for Hyperallergic "Hoping is Not Enough"https://hyperallergic.com/983414/hoping-is-not-enough/Artists mentioned: Matthew Barney, Jackson Pollock, Mark Rothko, Barnett Newman, Lois Dodd, Julian Schnabel, Mark Bradford, Julie Mehretu, Frank Stella, Ellsworth Kelly, Michelle GrabnerWriters mentioned: Seph Rodney, Paul Valéry, John Ruskin, Guillaume Apollinaire, John Ruskin, David Levi Strauss, Dore Ashton, Jerry Saltz, Ken Johnson, Clement Greenberg, Emily Dickinson's "'Hope' is the thing with feathers" Thank you, Mandy! Thank you, Listeners!Visit RuthAnn, a new artist-run gallery in Catskill, NY at @ruthanngallery and ruthanngallery.comAll music by Soundstripe----------------------------Pep Talks on IG: @peptalksforartistsPep Talks website: peptalksforartists.comAmy, your beloved host, on IG: @tallutsAmy's website: amytalluto.comPep Talks on Art Spiel as written essays: https://tinyurl.com/7k82vd8sBuyMeACoffee Donations always appreciated!
La Fondation Vuitton vous propose deux expositions. D'abord celle consacrée à Ellsworth Kelly avec «Formes et couleurs, 1949-2015 ». Elle comprend plus d'une centaine de ses peintures, sculptures, photographies et dessins abstraits. Kelly est connu pour ses œuvres monochromes aux formes géométriques. Mais la visite vaut surtout pour l'exposition « Matisse- l'Atelier rouge ». L"événement revient sur la genèse et l'histoire de ce tableau qui reconstitue son atelier d'Issy-les-Moulineaux. On découvre également les peintures, sculptures, et objectifs qu'il contient. Kelly et Matisse, une double exposition à découvrir jusqu'au 9 septembre Rendez-vous à la Fondation Vuitton dans le 16ème. Vous pouvez emprunter une navette gratuite depuis Charles de Gaule Etoile ou le métro les Sablons sur la ligne 1 L'entrée est prioritaire et gratuite pour les visiteurs en situation de handicap. Des visites en langue des signes sont aussi proposées.
A conversation with Jordan Schnitzer, the world's foremost collector of prints and multiples. In the conversation, we discuss Jordan's undeniable passion for art, his thoughts on collecting, and his unwavering support for arts programming. In particular, we delve into his support of a current exhibition at The Getty titled "First Came a Friendship: Sidney B. Felsen and the Artists at Gemini G.E.L."For over five decades, Gemini G.E.L Co-Founder Sidney B. Felsen has documented the vibrant life and creative processes at Gemini through his love of photography. This has resulted in an unmatched historical record of some of the most influential artists of the last sixty years, including Robert Rauschenberg, Claes Oldenburg, Ellsworth Kelly, Jasper Johns, Roy Lichtenstein, Frank Gehry and Julie Mehretu. Felsen's intimate photographs which capture the collaborations and friendships that have shaped Gemini's legacy, are on view at The Getty through July 7.https://www.getty.edu/research/exhibitions_events/exhibitions/sidney_b_felsen/index.htmlhttps://www.jordanschnitzer.org/https://schnitzercare.org/https://www.geminigel.com/
I Like Your Work: Conversations with Artists, Curators & Collectors
Marc Mitchell holds a M.F.A from Boston University. His work has been included in exhibitions at the Schneider Museum of Art, Southern Oregon University; University of Wisconsin, Madison; University of Alabama, Tuscaloosa; Florida Atlantic University Galleries, Boca Raton; TOPS Gallery, Memphis, TN; GRIN Gallery, Providence, RI; Laconia Gallery, Boston, MA; and others. Mitchell has been featured in publications such as the Boston Globe, Burnaway, and Number Inc; and was selected for New American Paintings in 2014, 2017, 2018, and 2020. Mitchell has been an Artist-in-Residence at the Banff Center for Arts & Creativity, Ucross Foundation, Vermont Studio Center, Hambidge Center for the Arts, Jentel Foundation, and Tides Institute/StudioWorks. In 2021, Mitchell was a Fellow at The American Academy in Rome. In addition to his studio practice, Mitchell has curated exhibitions that feature artists such as Tauba Auerbach (Diagonal Press), Mel Bochner, Matt Bollinger, Mark Bradford, Tara Donovan, Chie Fueki, Daniel Gordon, Sara Greenberger-Rafferty, Philip Guston, Josephine Halvorson, Trenton Doyle Hancock, Jenny Holzer, Rashid Johnson, Mary Reid Kelley, Ellsworth Kelly, Arnold Kemp, Allan McCollum, Kay Rosen, Erin Shirreff, Lorna Simpson, Jered Sprecher, Jessica Stockholder, Jason Stopa, Hank Willis Thomas, Carrie Mae Weems, Lawrence Weiner, Wendy White, Molly Zuckerman-Hartung, and many others. "I am influenced by many things—1980's guitars, VHS tapes, World War I battleships, sunrise/sunset gradients, moiré patterns, and more. Over the past 3 years, ‘notions of cycle' have played an increased role in the development of my paintings; and I'm curious how the avant-garde succeeds and fails within popular culture. Currently, I'm interested in how the landscape has been depicted throughout American culture. Whether it's Thomas Cole and Albert Bierstadt of the Hudson River School, Georgia O'Keeffe's monumental work at the Art Institute of Chicago, or an Instagram post of a sunset—each conveys a romanticized view of our world. The most recent paintings are an amalgamation of experiences that I've had within the American landscape; with each painting flowing freely between representation and abstraction." LINKS: www.mmitchellpainting.net www.instagram.com/methan18 Artist Shout Out: UARK Drawing --- https://www.uarkdrawing.com/ and @uarkdrawing UARK Painting --- https://www.uarkpainting.com/ and @uarkpaintning I Like Your Work Links: Check out our sponsor for this episode: The Sunlight Podcast: Hannah Cole, the artist/tax pro who sponsors I Like Your Work, has opened her program Money Bootcamp with a special discount for I Like Your Work listeners. Use the code LIKE to receive $100 off your Money Bootcamp purchase by Sunlight Tax. Join Money Bootcamp now by clicking this link: https://www.sunlighttax.com/moneybootcampsales and use the code LIKE. Chautauqua Visual Arts: https://art.chq.org/school/about-the-program/two-week-artist-residency/ 2-week residency https://art.chq.org/school/about-the-program/ 6-week residency Apply for Summer Open Call: Deadline May 15 Join the Works Membership ! https://theworksmembership.com/ Watch our Youtube channel: https://www.youtube.com/@ilikeyourworkpodcast Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram
This podcast features alumnus author David Grosz, class of 1993. David is editorial director and chief digital officer at Cahiers d'Art Institute, a publisher of catalogues raisonnés of leading twentieth and twenty-first century artists and architects, including Frank Gehry, Sam Gilliam, Robert Irwin, Ellsworth Kelly, Sol LeWitt, Agnes Martin, and Niki de Saint Phalle. David is a graduate of Yale University and received an MFA in creative writing from Brooklyn College. His debut novel is “Providence.”
Prudence Peiffer's first book, The Slip, is the never-before-told story of an obscure little street at the lower tip of Manhattan and the remarkable artists who got their start there. For just over a decade, from 1956 to 1967, a cluster of dilapidated former sail-making warehouses became the quiet epicenter of the art world. Coenties Slip, a dead-end street near the water, was home to a circle of wildly talented artists that included Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist, Lenore Tawney, Delphine Seyrig, and Jack Youngerman. As friends and inspirations to one another, they created a unique community of unbridled creative expression and experimentation, and the works they made at the Slip would go on to change the course of American art. Peiffer pays homage to these artists and the impact their work had on the direction of late 20th-century art and film. This remarkable biography questions the very concept of a “group” or “movement,” as it spotlights the Slip's eclectic mix of gender and sexual orientation, abstraction and Pop, experimental film, painting, and sculpture, assemblage and textile works. Despite Coenties Slip's obscurity, the entire history of Manhattan was inscribed into its cobblestones—it was one of the first streets and central markets of the new colony, built by enslaved people, with revolutionary meetings at the tavern just down Pearl Street; named by Herman Melville in Moby Dick and site of the boom and bust of the city's maritime industry; and, in the artists' own time, a development battleground for people like Jane Jacobs and Robert Moses. I caught up with Peiffer, in the Fall of 2023 where she unpacked this group portrait, one of my favorite books of the year. Listen to hear Prudence Peiffer discuss the history of Coenties Slip.
In s3e51, Platemark host Ann Shafer talks with Chris Santa Maria, artist and gallery director at Gemini G.E.L. at Joni Moisant Weyl. As director of the New York gallery, Chris is responsible for showcasing and selling the print output of the storied LA workshop to enable it to keep working with amazing artists and producing incredible editions. Chris and Ann touch on Gemini's history, the structure of the workshop, how artists get to work there, and Julie Mehretu, Julie Mehretu, and Julie Mehretu. They also talk about Chris' side hustle as an artist and his intricate paper collages. Josef Albers. White Line Square IV, 1966. 53.3 x 53.3 cm (21 x 21 in.). 2011. The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York; ©Gemini G.E.L. and the Artist. Chris Santa Maria wrangling prints at Gemini G.E.L. at Joni Moisant Weyl, New York. Sidney Felsen, co-founder of Gemini G.E.L. Photo by Alex Berliner. Gemini G.E.L. at Joni Moisant Weyl, 535 West 24th Street, third floor, New York. ©Gemini G.E.L., Los Angeles, California. Chris Santa Maria hanging Julie Mehretu's print at Art Basel Miami, 2019. Julie Mehretu's etching installed at the New York gallery, June 8–August 24, 2023. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Analia Saban working at Gemini workshop. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Robert Rauschenberg working on the limestone for Waves from the Stoned Moon series with Stanley Grinstein in the background. Photograph by Sidney B. Felsen, 1969. From the collection of Getty Research Institute. Jasper Johns deleting imagery from a lithography plate for Cicada, November 1981. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Richard Serra at work on his etchings and Paintstik compositions, November 1990. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Ellsworth Kelly (left) and NGA curator Mark Rosenthal at Gemini; Ellsworth canceling a print from the Portrait Series, February 1990. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Works by Richard Serra and Julie Mehretu at the IFPDA Print Fair, October 2023. ©Gemini G.E.L., Los Angeles, California. Joni Weyl and Sidney Felsen at the 2019 IFPDA Print Fair, New York. Tacita Dean at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Roy Lichtenstein at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at Gemini G.E.L.'s booth at the IFPDA Print Fair, October 2023. Tacita Dean. LA Magic Hour 1, 2021. Hand-drawn, multi-color blend lithograph. 29 7/8 x 29 7/8 in. (75.88 x 75.88 cm). ©Gemini G.E.L., Los Angeles, California. Chris Santa Maria. Field 31, 2023. Paper college on 4-ply ragboard. 10 x 10 in. Chris Santa Maria's studio. Chris Santa Maria's studio. Chris Santa Maria. President Trump, 2020. Paper collage. 72 x 72 in. Chris Santa Maria. No. 5, 2014. Paper collage on MDF. 58 x 60 in. in the window of Jim Kempner Fine Art, New York. Ellsworth Kelly. The River (state), 2003 and River II, 2005. Lithographs. Installed during the exhibition Ellsworth Kelly: The Rivers, October 25–December 8, 2007 at Gemini G.E.L. at Joni Moisant Weyl, New York. Julie Mehretu's etchings installed at the New York gallery, June 8–August 24, 2023. ©Gemini G.E.L., Los Angeles, California. Bruce Nauman in the curating room canceling a copperplate by drawing a sharp tool across it to destroy the image with assistance from William Padien, 1983. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Works by Ann Hamilton and Tacita Dean in the exhibition at the New York gallery, Selected Works by Gemini Artists. January 2–February 24, 2024. ©Gemini G.E.L., Los Angeles, California. Daniel Buren at Gemini workshop, August 1988. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. USEFUL LINKS Gemini G.E.L. at Joni Moisant Weyl. | (joniweyl.com) Gemini G.E.L. Graphic Editions Limited (geminigel.com) Chris Santa Maria Instagram accounts @chrisantamaria @geminigel @joniweyl
There's barely an oilcloth, mug or ironing board cover that hasn't been embellished with a nostalgic floral print from Cath Kidston. Because of the brand's ubiquity, it's easy to forget quite how influential it was when it appeared in the 1990s.What I love about Cath is that she's living proof you can be a wildly successful entrepreneur whilst also being a kind, gentle soul. Although her name's still above the door, she hasn't been involved with the Cath Kidston business for many years, so I was intrigued to find out what that feels like. She's now set up a bodycare brand called C. Atherley, which makes all of its products using scented geraniums. Despite her love of flowers, life hasn't always been a bed of David Austin roses for Cath and she talks very honestly about the personal grief she's suffered through her life. She has a great eye for interiors and we had this conversation at her kitchen table in London, with a surprisingly modern backdrop of Danish wood flooring and an Ellsworth Kelly artwork. Cath was very generous with her time and emotions and I'm really happy with how this episode has turned out. I hope you enjoy it.This episode was recorded in person at Cath Kidston's West London home.For more: Visit The Modern House website to see images of the spaces discussed in this episodeCheck out Cath Kidston's latest venture, C.AtherleyProduction: Hannah PhillipsEditing: Oscar CrawfordGraphic Design: Tom YoungMusic: FatherThis episode was sponsored by Vitsoe. Hosted on Acast. See acast.com/privacy for more information.
Mark Yang's colorful, incongruous arrays of anonymous limbs entangled together investigate the nuances of human interaction through a critical lens of art history. Morphing and distorting idealized figures into conglomerates of body parts, Yang's forms exhibit a sculptural quality, the result of the artist's thoughtful rendering of plane, dimension, and space. Reducing, dismantling, and reassembling their limbs almost to the point of abstraction with a variety of painterly techniques, Yang creates characteristically mysterious compositions that are not immediately forthcoming with their narrative plot. With a comprehensive set of art historical references, from the Baroque compositions of Peter Paul Rubens to the postwar abstractions of Ellsworth Kelly, Yang's anatomical abstractions have been praised for their complication of gender norms. Yang's ambiguous bodily arrangements rarely depict his figures' faces, prioritizing their bodies over their identities. Resisting homogenizing classifications, Yang calls attention to shifting cultural conceptions of masculinity between South Korea, where Yang was born, and the United States, where he was raised. Mark Yang, Kelly's Colors for a Larger Wall, 2023 oil on canvas 72 x 60 inches 182.9 x 152.4 cm Mark Yang, Life (3), 2023 oil on canvas 40 x 50 inches 101.6 x 127 cm Mark Yang, Seated and Standing Nude, 2023 oil on canvas 66 x 44 inches 167.6 x 111.8 cm
In the summer of 1944, a handpicked group of young GIs—including such future luminaries such as Bill Blass, Ellsworth Kelly, Arthur Singer, Victor Dowd, Art Kane, and Jack Masey—landed in France to conduct a secret mission. From Normandy to the Rhine, the 1,100 men of the 23rd Headquarters Special Troops, known as the Ghost Army, conjured up phony convoys, phantom divisions, and make-believe headquarters to fool the enemy about the strength and location of American units. Every move they made was top secret and their story was hushed up for decades after the war's end.The unit's official US Army history noted that “its complement was more theatri¬cal than military,” and “It was like a traveling road show that went up and down the front lines imperson¬ating the real fighting outfits.” They pulled off twenty-one differ¬ent deceptions and are credited with saving thousands of lives through stagecraft and sleight of hand. They threw themselves into their impersonations, sometimes setting up phony command posts and masquerading as generals. They frequently put themselves in danger, suffering casualties as a consequence. After holding Patton's line along the Moselle, they barely escaped capture by the Germans in the Battle of the Bulge, and in March 1945 they performed their most dazzling deception, misleading the Germans about where two American divi¬sions would cross the Rhine River.To explore the story of this forgotten subterfuge is today's guest, Rick Beyer, author of “The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery.” We look at how a traveling road show of artists wielding imagination, paint, and bravado saved thousands of American lives.
We meet artist Alexandria Tarver to discuss her current solo exhibition at Deli Gallery, New York. Tarver recontextualizes the traditional floral motif into a space between memory, idealization, and presence.Her process begins on a ritualistic evening walk around New York City. For Tarver, the night is a dynamic time oscillating between rest, dreams, and frenzy, often unleashing subconscious desires restrained during the day. It's a period when trouble happens, stars become visible, and the city, never at rest, mirrors the cycle akin to death. The variability of the city's nighttime sky, influenced by observation points, weather, and proximity to building lights, becomes a rich palette of colors, each night unique.On these walks the artist identifies potential subjects, often floral clusters, in an action akin to foraging. Tarver photographs the subject and then creates a preliminary composition in pencil on paper. The subject is finally rendered in oil on panel, employing techniques from various historical movements including post-impressionism, New England mid-century representationalism, and gestural abstraction. The primary layer, accompanied by lapis and cerulean blue ground, captures the electric color of twilight. The timeline varies, with some paintings taking weeks or even months. The vibrant blue of twilight oscillates against the flesh-tones of the central flower form—this blue sometimes deepening, sometimes shifting into an evening haze, sometimes sinking into purple-black depth, a depth halted by the ever-present electric glow of the skyline.Tarver finds profound meaning in the repetition and variations on a theme. As she explores the possibilities of painting, she grapples with the act of painting and its evolution over time and practice. The disciplined dedication to a subject or landscape, evident in artists like Maureen Gallace, Vija Celmins, and Jim Dine, is mirrored in Tarver's formal repetition, which becomes a grounding force that reflects the rhythm of day-to-day existence.In the paintings, flowers and markings are situated as acting figures within the particular, ever-variable, and intensely observed color field of the night sky as viewed from the concrete grounds of the city. Much like Ellsworth Kelly's plant drawings served as a device for him, the plant in Tarver's works acts as a stand-in, offering a guiding framework for her hand and a pathway to reflect on the long nights she has experienced. During a vulnerable period around 2013 and 2014, marked by the sickness and imminent mortality of Tarver's father, the practice of looking at flowers and creating paintings became a place of solace. This loyalty endures, providing a grounding force and a way to navigate through fear, pain, and sorrow.Alexandria Tarver (b. 1989) received a BFA from New York University in 2011. Recently her work has been included in group exhibitions at GRIMM Gallery, London (2023), Marinaro Gallery, NY (2023), Public Gallery, London (2022), UncleBrother, NY (2021), Arsenal Gallery, NY (2019), Et. Al. etc., San Francisco (2017), Danziger Gallery, NY (2016). Tarver also organized group shows Sentimental at Fitness Center for the Arts & Tactics in Brooklyn (2013) and #1 at The Hose in Brooklyn (2013). Tarver had her first solo exhibition with Deli Gallery in 2015. She lives and works in New York City.Follow @AlexandriaTarver on Instagram and @DeliGallery.Visit: https://deligallery.com/Alexandria-Tarver-New-Paintings-2024 Hosted on Acast. See acast.com/privacy for more information.
In this episode, I discuss author Rick Beyer his book "The Ghost Army of World War II". In the summer of 1944, a handpicked group of young GIs—artists, designers, architects, and sound engineers, including such future luminaries as Bill Blass, Ellsworth Kelly, Arthur Singer, Victor Dowd, Art Kane, and Jack Masey—landed in France to conduct a secret mission. From Normandy to the Rhine, the 1,100 men of the 23rd Headquarters Special Troops, known as the Ghost Army, conjured up phony convoys, phantom divisions, and make-believe headquarters to fool the enemy about the strength and location of American units. Every move they made was top secret, and their story was hushed up for decades after the war's end.Princeton Architectual Press
In the summer of 1944, a group of artists, visual designers and sound engineers--all of them GIs--began a series of secret operations in occupied France. Their mission: to deceive German forces about the location and size of U.S. military units, using a combination of inflatable vehicles, sound recordings, and “actors” posing as officers. The ranks of the “Ghost Army” included future stars of the worlds of art and design, including Ellsworth Kelly, Bill Blass, Arthur Singer, Victor Dowd, Art Kane, and Jack Masey. Journalist Rick Beyer has chronicled their ingenious exploits in a book and a documentary. December marks the 80th anniversary of the order that created the unit, which remained secret for decades. Shane Harris talked with Beyer about its creation, its success, and the ghost army's role in the storied history of intelligence deceptions. Among the works mentioned in this episode:The Ghost Army bookhttps://www.chroniclebooks.com/products/ghost-army-of-world-war-ii The Ghost Army documentary https://shop.pbs.org/WC3752.html The Ghost Army Legacy Project https://ghostarmy.org/ Smithsonian magazine feature https://www.smithsonianmag.com/history/how-the-ghost-army-of-wwii-used-art-to-deceive-the-nazis-180980336/ The National WWII Museum https://www.nationalww2museum.org/visit/exhibits/traveling-exhibits/ghost-army-combat-con-artists-world-war-ii Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.
In the summer of 1944, a group of artists, visual designers and sound engineers--all of them GIs--began a series of secret operations in occupied France. Their mission: to deceive German forces about the location and size of U.S. military units, using a combination of inflatable vehicles, sound recordings, and “actors” posing as officers. The ranks of the “Ghost Army” included future stars of the worlds of art and design, including Ellsworth Kelly, Bill Blass, Arthur Singer, Victor Dowd, Art Kane, and Jack Masey. Journalist Rick Beyer has chronicled their ingenious exploits in a book and a documentary. December marks the 80th anniversary of the order that created the unit, which remained secret for decades. Shane Harris talked with Beyer about its creation, its success, and the ghost army's role in the storied history of intelligence deceptions. Among the works mentioned in this episode:The Ghost Army bookhttps://www.chroniclebooks.com/products/ghost-army-of-world-war-ii The Ghost Army documentary https://shop.pbs.org/WC3752.html The Ghost Army Legacy Project https://ghostarmy.org/ Smithsonian magazine feature https://www.smithsonianmag.com/history/how-the-ghost-army-of-wwii-used-art-to-deceive-the-nazis-180980336/ The National WWII Museum https://www.nationalww2museum.org/visit/exhibits/traveling-exhibits/ghost-army-combat-con-artists-world-war-ii Hosted on Acast. See acast.com/privacy for more information.
In the summer of 1944, a handpicked group of young GIs—including such future luminaries as Bill Blass, Ellsworth Kelly, Arthur Singer, Victor Dowd, Art Kane, and Jack Masey—landed in France to conduct a secret mission. Armed with truckloads of inflatable tanks, a massive collection of sound-effects records, and more than a few tricks up their sleeves, their job was to create a traveling road show of deception on the battlefields of Europe. The Ghost Army of World War II describes a perfect example of a little-known, highly imaginative, and daring maneuver that helped open the way for the final drive to Nazi Germany. It is a riveting tale told through personal accounts and sketches along the way—ultimately, a story of success against great odds. Learn more during the TRAVEL ITCH RADIO Veterans Day special, Thursday Nov. 9 at 8p EST, when author Richard Beyer visits the show. Listen live on iTunes or BlogTalkRadio.com as Dan Schlossberg, a veteran himself, and co-host Maryellen Nugent Lee interview him live. You can also check out the archived show on the TRAVEL ITCH RADIO Facebook page. This will be show #529 in our 12th season.
Episode No. 624 features curator Leigh Arnold and artist Sarah Crowner. Arnold is the curator of "Groundswell: Women of Land Art," a survey of artists who have worked in the land that revises ossified male-centric histories at the Nasher Sculpture Center, Dallas. The exhibition provides a broad overview of themes, interests, and artworks that women created beginning in the 'usual' land art era, the 1960s and 1970s, and updates our understanding of land art to include not only work made in the most rural reaches of North America, but also work made and installed in and around urban and suburban centers. The exhibition is on view through January 7, 2024. An excellent catalogue was published by the Nasher and DelMonico Books. Bookshop and Amazon offer it for about $55. The Pulitzer Arts Foundation is presenting "Sarah Crowner: Around Orange," a presentation of site-specific artworks that engage with the Pulitzer's Tadao Ando building and Ellsworth Kelly, whose monumental sculpture Blue Black is on permanent view at the Pulitzer. The exhibition, which was curated by Stephanie Weissberg, is on view through February 4, 2024. Concurrently, The Hill Art Foundation, New York, is showing "The Sea, the Sky, a Window," an exhibition of site-specific works Crowner is presenting with sculptures and paintings from several private collections. The exhibition is on view through February 17, 2024. Instagram: Leigh Arnold, Sarah Crowner, Tyler Green.
In the 1950s and 60s, Coenties Slip—an obscure street on the lower tip of Manhattan overlooking the East River—was home to some of the most iconic artists in history, and who would define American Art during their time there: Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist, Delphine Seyrig, Lenore Tawney, and Jack Youngerman. As friends and inspirations to one another, these artists created a unique community for unbridled creative expression and experimentation. Prudence Peiffer is the kind of art historian who understands the importance of context and place, and her book, “The Slip: The New York City Street that Changed American Art Forever” provides the kind of rich context and human detail that textbooks could only dream of. She joined me to discuss the history of these artists, why we have such a hard time seeing artists as people, the friction between accessible artists and their inaccessible art, why watching Robert Indiana eat a mushroom for 39 minutes is actually totally beautiful, and what it means to authentically nudge art history towards inclusion. Prudence Peiffer is an art historian, writer, and editor, specializing in modern and contemporary art. She is Director of Content at MoMA, New York. She was a Senior Editor at Artforum magazine from 2012-2017, and Digital Content Director at David Zwirner in 2018. Her writing has appeared in the New York Times, New York Review of Books, Artforum, and Bookforum, among other publications. Her book, “The Slip: The New York City Street that Changed American Art Forever” has been longlisted for the National Book Award. See the images: https://bit.ly/3rOM7vE Music used: The Blue Dot Session, “Skyforager” Rufus Wainwright, “11:11” Support the show: www.patreon.com/lonelypalette
An earth-bound Blind Shovel, this one with ceramicist and fine artist, Kevin Umaña. We discuss artist residencies, Kansas City, Frank Stella and Ellsworth Kelly, his hybrid method of ceramics and painting, and much more."Known mostly for his abstract geometric paintings, Umaña recently expanded his practice to include ceramics. He is The Co-founder of the Ekru Project and in 2021, he completed his first solo exhibition, Wax And Wane with David Richard Gallery in New York. He has exhibited nationally and internationally with Sperone Westwater, NY. Dc Moore Gallery, NY. Praise Shadows Gallery, MA. Lvl 3 Gallery, Il. Sim Gallery, Reykjavik. Koppel Project Hive, London. In Live, Taipei. Bass & Reiner, SF. He's collaborated with Condé Nast, Wired Magazine, London College Of Music, and Slowdown Studio, and in 2017 created a permanent installation at the United Nations Headquarters in New York City. His work is in the collections of the United Nations, Fidelity Mutual Funds, Center For Book Arts, and Marin Museum Of Contemporary Art."Header image: Kevin Umaña, "This Idea of The Wall", 2021
Writer, editor, and art historian Prudence Peiffer joins Kate Wolf to speak about her first book, The Slip: The New York City Street That Changed American Art Forever. The book is a group biography of a collection of luminous American artists including Agnes Martin, Ellsworth Kelly, Robert Indiana, James Rosenquist and Jack Youngerman, as well as his wife, the French actress and filmmaker, Delphine Seyrig. From the late 1950s to the middle of the 1960s, all of them happened to live in the same place: a collection of former sail-making warehouses on Coenties Slip, a dead end street in one of the oldest sections of Manhattan, right next to the river. Rather than jostle their work into well-established art historical movements and categories, Peiffer's book asserts place as the generative frame from which to understand these artists and the connections and influence between them. Though the community was short-lived, their support of one another, the collective solitude they found, even their rivalry, takes shape as integral to their development, and at least one of the reasons that their work survives today. Also, Andrew Leland, author of The Country of the Blind, returns to recommend Darryl by Jackie Ess.
Writer, editor, and art historian Prudence Peiffer joins Kate Wolf to speak about her first book, The Slip: The New York City Street That Changed American Art Forever. The book is a group biography of a collection of luminous American artists including Agnes Martin, Ellsworth Kelly, Robert Indiana, James Rosenquist and Jack Youngerman, as well as his wife, the French actress and filmmaker, Delphine Seyrig. From the late 1950s to the middle of the 1960s, all of them happened to live in the same place: a collection of former sail-making warehouses on Coenties Slip, a dead end street in one of the oldest sections of Manhattan, right next to the river. Rather than jostle their work into well-established art historical movements and categories, Peiffer's book asserts place as the generative frame from which to understand these artists and the connections and influence between them. Though the community was short-lived, their support of one another, the collective solitude they found, even their rivalry, takes shape as integral to their development, and at least one of the reasons that their work survives today. Also, Andrew Leland, author of The Country of the Blind, returns to recommend Darryl by Jackie Ess.
Episode No. 613 features author Prudence Peiffer and museum director Timothy Potts. Peiffer is the author of "The Slip: The New York City Street That Changed American Art Forever." The book, out this week from Harper, is a group biography of seven artists -- Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist, Delphine Seyrig, Lenore Tawney, and Jack Youngerman -- who worked on Coenties Slip in the 1950s and '60s. Coenties Slip was a street that overlooked the East River in lower Manhattan. Peiffer's book argues for not only the importance of the artists themselves, but for where and how they worked as being important to the development of post-war art in New York. Peiffer is director of content at the Museum of Modern Art, New York. Amazon and Bookshop offer "The Slip" for $22-36. Potts discusses the J. Paul Getty Museum's co-acquisition (with the National Portrait Gallery, London) of Joshua Reynolds' Portrait of Mai (ca. 1776). The painting, among Reynolds' finest works, is on view at the National Portrait Gallery. The first presentation at the Getty will be in 2026.
The Nevada Museum of Art is currently showing an exhibition created by the World War 2 Museum in New Orleans called "Ghost Army: The Combat Con Artists of World War 2." The exhibit tells of the special unit in the war that was tasked with deception. Using inflatable fake tanks, pre-recorded radio chatter, and other illusions, they misled the German army about where troops were stationed. Several members of the unit went on to careers in art, including the painter Ellsworth Kelly and the fashion designer Bill Blass. To tell us about the exhibit and other current works at the Nevada Museum of Art, we welcomed NMA's Marketing and Communication Director Rebecca Eckland to the show. This episode of Renoites is the first in a series of shorter episodes, designed so that you can listen and learn without having to dedicate a full hour to the topic. Most "Renoites Shorts" episodes will only be 10-20 minutes long. If you have suggestions for episodes or topics, please let us know! Email conor@renoites.com and be sure to follow on Instagram at http://instagram.com/renoites as well! Renoites is a community focused and listener-funded project. Please consider supporting the show on Patreon. You can learn more at http://patreon.com/renoites Thanks for listening!
As It's Pablo-matic: Picasso According to Hannah Gadsby opens at the Brooklyn Museum, New York, we talk to Catherine Morris and Lisa Small, who have curated the show with the Australian comedian. Floods at the end of last month have caused widespread damage to heritage in the Italian region of Emilia Romagna; we speak to James Imam, our correspondent in Rome, to gauge the extent of the damage and explore the Italian government's response. And this week marks the centenary of the birth of the great US abstract painter Ellsworth Kelly. This episode's Work of the Week is Kelly's Spectrum IX (2014), one of a series of paintings based on a spectrum of colours made by Kelly across his seven-decade career. Yuri Stone, the assistant curator at Glenstone in Potomac, Maryland, US—where the piece is part of a retrospective of Kelly's work—tells us more.It's Pablo-matic: Picasso According to Hannah Gadsby is at the Brooklyn Museum, New York, until 24 September. Previous Picasso items on this podcast include a tour of Tate Modern's Picasso 1932 on 8 Mar 2018, and a look at his response to Old Masters on 3 June 2022.Ellsworth Kelly at 100 continues at the Glenstone, Potomac, Maryland, US, until March 2024; for more on the anniversary events visit ellsworthkelly.org/centennial Hosted on Acast. See acast.com/privacy for more information.
C'est à Nantes que j'ai rencontré Donald et Yoann, les fondateurs de l'Atelier Choque Le Goff. Comme beaucoup d'entre vous, je suis leur travail depuis longtemps. Et j'ai enfin osé leur demander de venir sur Graphic Matter. Du coup, j'ai posé vos questions et les miennes et j'ai creusé, insisté, reformulé pour bien comprendre comment Choque Le Goff produisait un travail aussi singulier. Donald et Yoann se sont prêtés au jeu avec simplicité et franchise. Ils l'ont fait comme ils travaillent, côte à côte, à quatre mains et à deux voix. On a parlé de leurs clients, des restos chinois, de l'équilibre entre des projets rémunérateurs et le travail pour des associations ou des toutes petites entreprises. J'ai été surprise quand ils ont expliqué qu'ils proposent une seule piste au client puis qu'elle s'enrichit des échanges, ou des fois complétement abandonnée. J'ai retenu aussi que les arts vivants leurs sont une source d'inspiration très forte, tout comme le psychédélisme de la contre culture américaine des 60' et 70', la musique ou soeur Mary Corita Kent, que je ne connaissais pas du tout et dont je vous encourage à regarder le travail. Et plein d'autres choses. Et comme ils me l'ont dit eux-mêmes, "venir travailler le matin, c'est comme une petite fête" alors rejoignez-nous, et bonne écoute. ➡️ @choquelegoff choquelegoff.com Les références et noms cité.e.s : - Victor Moscoso, dessinateur auteur comics - sœur Mary Corita Kent, artiste sérigraphiste - Ellsworth Kelly, artiste peintre -Typo cover : Gap Sans de Alexandre Liziard & Etienne Ozaray Découvrez les sons qu'écoutent les invité.e.s sur la playlist Graphic Matter Pour vous inscrire à la newsletter Graphic Matter, c'est ici ! Pour suivre les actualités du podcast sur instagram @graphicmatterpodcast On se retrouve toutes les deux semaines pour une nouvelle rencontre. Vous voulez m'encourager, me faire un retour, n'hésitez pas à laisser des étoiles et un commentaire, ça aide le podcast à se faire connaître. Merci ❤️ Conception, production, curation, graphisme : Louise Gomez Musique jingle : Gabriel Rousseau
Spencertown Academy Arts Center presents “Ellsworth Kelly Centennial: An Exhibition of Historic Posters.” The posters, which date from 1951 to 2018, are from the collection of the Ellsworth Kelly Studio.
We meet Arthur Lambert from the Estate of artist LARRY STANTON (1947-1984).Larry Stanton was a Manhattan-based portrait artist whose work was championed by David Hockney, Henry Geldzahler, Ellsworth Kelly and others. He was a gay man who lived in Greenwich Village in New York City. Stanton produced a significant body of work—mostly drawings and paintings—in the four years leading up to his death from AIDS-related complications. Stanton drew portraits of the young men he slept with, as well as his friends and family. Many of Stanton's subjects were other gay men who died in the 80s from AIDS, and his brightly colored faces sketched quickly in crayon and colored pencil stand as an archive of lives lost. Lambert inherited all of Stanton's work after he died.We discuss the new book, edited by Italian theatre director Fabio Cherstich and Stanton's lover Arthur Lambert titled Larry Stanton: Think of Me When It Thunders. A tribute to yet another artist that died before they could leave their mark and is the definitive publication on Stanton's art and life to date. It includes 139 artworks, many of them portraits of the boys he met on nightly outings, as well as friends and family and a large collection of self- portraits, plus previously unpublished archive imagery of Stanton's circle. With texts by Cherstich, Lambert, Hockney, Geldzahler, and more, it's part artbook, part personal history, a round-up of the faces and names that formed Stanton's world.Since meeting Cherstich, the two have founded the Estate of Larry Stanton to bring renewed attention to Stanton's art. A collection was recently on display at Daniel Cooney Gallery, while Acne Studios has presented an exhibition of works and objects featuring Stanton's drawings in Milan, Seoul, Tokyo and New York in Feb 2023.‘The portraitist is an observer of people; his attitudes and feelings will be reflected in his observations, and usually the interest in personality makes one study faces. Other aspects of personality show in the body—posture, ways of moving, etc.—but most is revealed in the face. People make their own faces, and Larry knew this instinctively'.—David Hockney'Larry Stanton lived and painted in Manhattan until he died of AIDS at the age of 37. In Greenwich Village, he was a familiar sight, starting his practice every day in the early afternoon, drinking coffee at the same spot while balancing his sketchbook and drawing someone who caught his eye. His studio developed into a gathering place for artists and writers and they became subjects for his portraits.In the late '70s and early '80s, NYC was a magnet for boys who were escaping from homes and places where being gay was not accepted. Many of these boys became models for Larry. His work provides a telling picture of faces from a segment of NYC life which shortly disappeared with the advent of AIDS, an epidemic that annihilated so many of these faces, including Larry's own.' This text was written by Visual AIDS.Follow @Larry_Stanton_Art and @DanielCooneyFineArtView the Acne Studios recent collaboration: https://www.acnestudios.com/eu/en/man/larry-stanton/ Hosted on Acast. See acast.com/privacy for more information.
Ellsworth Kelly is 92 years old and in an interview he said, apropos nothing, "I'd like to live for another 15 years." This sounds like a man who is not ready for the thing that is coming. Water of the week is a tropical flight of immunity-centered sparkling water: Acai Blueberry Immunity Support Sparkling Water from Sparkling Ice, Mango from SWAY+IMMUNITY, Pomelo CBD Sparkling Water from Lei Back.
Ukrainian troops escalate the counteroffensive in Kherson. Plus: political paralysis grips Iraq, a flick through today's papers and a look at a new Ellsworth Kelly exhibition in Austin, Texas.
Veronica Roberts - the new Executive Director of the Cantor Arts Center at Stanford!Veronica has had an incredible curatorial career. She was working the Blanton in Austin since 2013 as the curator of modern and contemporary art. At the Blanton, she put on a number of notable exhibitions: national touring displays of “Nina Katchadourian: Curiouser” and “Converging Lines: Eva Hesse and Sol LeWitt”; work uplifting Texan artists like Vincent Valdez and Donald Moffett; and a collaboration with the UT Austin's Black Studies program to bring Charles White's work on campus. Roberts also worked with Ellsworth Kelly to create “Austin,” a 2,715-square-foot stone chapel-sculpture with colored glass windows that opened in early 2018. Before the Blanton Museum, Roberts held curatorial positions at the Museum of Modern Art (MoMA) in New York, the Indianapolis Museum of Art and the Whitney Museum. She also served as Director of Research for the Sol LeWitt Wall Drawing Catalogue Raisonné. Roberts earned her master's from the University of California, Santa Barbara, and her bachelor's in art history from Williams College.
Eric Aho is an American artist whose paintings are equally concerned with the physical immensity and intimacy of the natural world as much as with an ever-evolving process of extract-ing spiritual experiences discovered within it. His energetic, gestural painting process uses lively marks and swaths of color to create richly applied paint that morphs between abstract expanses and the contours of nature. Aho's work develops primarily from his own experience and memories of the landscape. He references broadly and freely from the history of art—responding to a wide range of works from Poussin to Constable, and from Winslow Homer to Ellsworth Kelly to inform his compositions. Aho lives and works in Saxtons River, Vermont. Ice Out (Allagash), Oil on linen, 90x80, Photography © Rachel Portesi. Courtesy of DC Moore Gallery, New York Ice Cut (Violet, Kennebec), Oil on linen, 80x90, Photography © Rachel Portesi. Courtesy of DC Moore Gallery, New York
Twee grote, scherp gesneden vlakken, eentje blauw, de ander geel. Een soort rechtopstaand, gevouwen schilderij. Het is het beeld Yellow Blue van Ellsworth Kelly, deze zomer voor het eerst in Nederland te zien in de tuin van het Rijksmuseum. Wat maakt het zo fascinerend? Mag je een beeld als Yellow Blue zo maar overschilderen? En welke band had Amerikaan Kelly met Europa en Nederland in het bijzonder? Experts Carel Blotkamp en Ludo van Halem praten erover met Janine Abbring.Ellsworth Kelly (1923-2015) was een schilder, tekenaar en beeldhouwer uit de Verenigde Staten. In deze tuintentoonstelling staan zijn beelden centraal, die in nauw verband staan met zijn teken- en schilderwerk. Vaak gebruikte hij dezelfde vormen, op hetzelfde formaat, in zowel zijn schilderijen als zijn beelden.Kelly bestudeerde concrete voorwerpen en architectonische details in zijn directe omgeving. Hij ontleende omtrekken en vormen aan de werkelijkheid, die hij uitwerkte tot zuivere abstractie. Net als zijn schilderijen zijn de geschilderde oppervlakken van zijn beelden altijd neutraal, zonder een spoor van handmatige bewerking.Niet alleen Amerikaanse, ook Europese kunst beïnvloedde Kelly. Toen hij van 1948 tot 1954 in Frankrijk woonde, bezocht hij veel musea en ontmoette hij kunstenaars als Jean Arp en Constantin Brancusi. Door zijn liefdesrelatie met Geertjan Visser, broer van beeldhouwer Carel Visser, bezocht hij in die jaren ook Nederland waar hij kennismaakte met het werk van onder anderen Piet Mondriaan en Gerrit Rietveld.Ellsworth Kelly in de RijksmuseumtuinenDe tentoonstelling is samengesteld door gastconservator Alfred Pacquement in samenwerking met de Ellsworth Kelly Studio, Spencertown, New York. Gratis toegankelijk tot en met 24 oktober 2021.
Talk Art special episode supported by CAMPARI!! We meet emerging artist Ellie Tate to discuss her new artworks featured in CAMPARI'S #ArtWithoutWalls, the UK's largest outdoor gallery in Shoreditch! Open to the public and free of charge, this new exhibition runs from 14th - 27th June. The streets of Shoreditch have been transformed into a live art gallery; featuring projections of over 500 artwork from hundreds of emerging artists whose livelihoods have suffered due to the pandemic. We learn how the pandemic has impacted Ellie's work. We discuss colour and form, Kandinsky, Ellsworth Kelly, Carmen Herrera, Marina Adams, Georgia O'Keeffe, Patricia Treib and much more! You can purchase Ellie's artworks, as well as any of the #ArtWithoutWalls featured artworks, via the Affordable Art Fair's official website and also by using the scannable QR codes that are visible on the corner of the projected artwork. 100% of the proceeds will go back to the artists and help support the recovering arts industry. Follow @EllieTateArt and @CampariUK on Instagram to get the latest news and updates on this exiting exhibition. Follow @affordableartfairuk on Instagram. Visit #ArtWithoutWalls in Shoreditch from 14th- 27th June. To purchase Ellie's artwork and explore all the other incredible artists involved, head to the Affordable Art Fair website!!! See acast.com/privacy for privacy and opt-out information.
Dans le Paris artistique des années 1950, trois jeunes peintres américains, Ellsworth Kelly, Jack Youngerman et Ralph Coburn vont repousser les limites de l’art abstrait. Dans ce nouvel épisode de "Au cœur de l’histoire", Jean des Cars vous fait découvrir ce groupe d’artistes épris de liberté qui ont tout tenté pour renouveler la scène créative parisienne.
Art museum directors are caught up in competing travails, from financial shortfalls to racial reckoning to ill-advised deaccessioning. But talented curators across the U.S. are still managing to bring artistic talent to the fore, and Veronica Roberts, Curator of Modern and Contemporary Art at the Blanton Museum of Art, is among the museum field's most imaginative, capable, and humane. We retrace her steps at the leading museums in New York to her adopted state of Texas, with detours to artists' studios, including those of Ellsworth Kelly, Sol LeWitt, and Diedrick Brackens. And we touch on her use of Instagram to champion emerging artists as well as flora, fauna, and architecture.
Art museum directors are caught up in competing travails, from financial shortfalls to racial reckoning to ill-advised deaccessioning. But talented curators across the U.S. are still managing to bring artistic talent to the fore, and Veronica Roberts, Curator of Modern and Contemporary Art at the Blanton Museum of Art, is among the museum field’s most imaginative, capable, and humane. We retrace her steps at the leading museums in New York to her adopted state of Texas, with detours to artists’ studios, including those of Ellsworth Kelly, Sol LeWitt, and Diedrick Brackens. And we touch on her use of Instagram to champion emerging artists as well as flora, fauna, and architecture.
Pierre Bonnard, Ellsworth Kelly, Edward Hopper, Alice Neel, Al Held, and Hokusai: these are the artists whose late careers are discussed today by Tom and Sheila.
In this episode of Art on the Verge, independent curator and founder of Coplan Hurowitz Art Advisory, Sharon Coplan Hurowitz talks with Bryce Wolkowitz about her auction world experience at Sotheby's and Christie's, her exquisite projects with Ellsworth Kelly, Jasper Johns, John Baldessari, and Bruce Nauman. They discuss the shift in the idea of expertise, her passion for artist books and artist editions, the emergence of prints and multiples market, and where her love of fashion comes from.
“Martin Barré” au Centre Pompidou, Parisdu 14 octobre 2020 au 4 janvier 2021Extrait du communiqué de presse :Commissaire ;Michel Gauthier, conservateur au Musée national d'art moderne, collections contemporainesassisté de Rita Cusimano, attachée de conservation au Musée national d'art moderne.Considéré comme l'un des peintres abstraits les plus importants de la seconde moitié du 20e siècle, Martin Barré (1924-1993) fait l'objet d'une rétrospective-événement au Centre Pompidou. Cette exposition fait suite à celles consacrées aux artistes abstraits Pierre Soulages, Simon Hantaï, Jesus Rafaël Soto, François Morellet ou, dernièrement, Ellsworth Kelly.L'oeuvre de Martin Barré, radicale, est l'une des plus ambitieuses de son temps. La dernière grande exposition parisienne consacrée au peintre (1924-1993) fut celle du Jeu de Paume en 1993, essentiellement orientée sur sa production des années 1980. Elle faisait suite aux expositions des musées de Nantes, sa ville natale, en 1989, et du Musée d'art moderne de la ville de Paris en 1979.L'exposition — qui rassemble 66 peintures allant de 1955 à 1992, dont douze sur la vingtaine de toiles figurant dans la collection du Centre Pompidou — présente les grandes séquences de l'oeuvre et leur logique propre.Parallèlement, l'oeuvre L'Indissociable (1977-78), constituée de quatorze toiles, est montrée dans les espaces des collections, au niveau 4 du Musée.Elle n'a été exposée qu'une seule fois, en 1979, lors de l'exposition au Musée d'artmoderne de la ville de Paris.À partir du milieu des années 1950, Martin Barré inaugure la voie d'une abstraction singulière qui n'est ni informelle, ni géométrique. Sa peinture est vite remarquée comme l'une des plus ambitieuses du moment en cherchant davantage à révéler l'espace qu'à produire des formes. Dès 1958, le Guggenheim Museum le fait entrer dans sa collection. À cette fin, dès 1960, il fait de la ligne l'élément central de son langage. Tout d'abord tracée directement au tube sur la toile, puis à la bombe aérosol à partir de 1963 et jusqu'en 1967, la ligne possède une double vertu. Bien mieux qu'une forme, elle renvoie au geste qui l'a produite, qu'il s'agisse du mouvement de l'artiste ou de la force plus ou moins grande avec laquelle la peinture sort du tube ou de la bombe. À la différence d'une forme, la ligne n'occupe pas la surface du tableau, mais la transforme en espace sous l'effet de la trajectoire qu'elle y dessine.Après une interruption de quatre ans, occupée par un « épisode photo-conceptuel », Martin Barré reprend la peinture en 1972. Jusqu'en 1977, il réalise cinq séries avec lesquelles s'inverse la veine réductionniste des années 1960.Dans les années 1980, la figure, qu'avait éliminée la prédominance de la ligne durant les années 1960 et qui n'était qu'un effet collatéral du système dans les séries des années 1970, revient au premier plan. Avec la figure, c'est aussi la couleur qui s'affirme, et tout d'abord dans la série 80-81 aux subtiles couleurs pompéiennes, puis dans les ultimes séries, où sur des blancs très légèrement colorés, la figure et la couleur s'identifient l'une à l'autre. Durant cette période, la peinture de Martin Barré emprunte les voies de l'abstraction géométrique et réinstaure le traditionnel rapport figure/fond, qu'elle s'était efforcée de déjouer depuis toujours, sans toutefois engendrer une illusion de profondeur du champ pictural. Ces peintures s'offrent à une saisie immédiate et proposent une pure expérience de la beauté.Le catalogue de l'exposition est réalisé en partenariat avec le Mamco de Genève qui, en octobre 2019, a organisé une importante rétrospective Martin Barré. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.
Pac Pobric is a writer and the managing editor at Artnet News. From 2017–2018, he was an editor at the Metropolitan Museum of Art and oversaw its marquee digital publication, the Heilbrunn Timeline of Art History, a general-audience encyclopedia of the Met's collection. During his tenure, he worked with curators and researchers to publish essays on the museum's extensive collection of baseball cards; the life and work of Joan Miró; and the art of the Sufis, among many other subjects. A former contributor to the Village Voice, Pobric is also a longtime critic for the Brooklyn Rail and former journalist for The Art Newspaper, where he was previously the Exhibitions editor. He was also the editor of Matteau! Matteau!, an editorial project about the New York Rangers and the world of hockey. Pobric has written catalogue essays on Minimalism and its legacy for the Mnuchin gallery; Sean Scully’s recent work for Cheim & Read; and the many grand promises of New York City for Miles McEnery. He has an M.A. in Art History from Hunter College, where he studied with William C. Agee and wrote about Ellsworth Kelly’s years in New York. He lives in Spuyten Duyvil.
Creativity Is Problem Solving, with David duChemin A few months ago when we invited David duChemin to return as a PhotoActive guest to talk about his new book The Heart of the Photograph, we had no idea it would be at the disruptive beginning of a global pandemic. We talk with David about being creative in this new situation, and how creativity can translate into resiliency. Then we focus on his book, and the questions it raises for how we approach making and working with photographs. Guest: David duChemin (http://davidduchemin.com) Hosts: Jeff's website (https://jeffcarlson.com), Jeff's photos (https://jeffcarlson.com/portfolio/), Jeff on Instagram (http://instagram.com/jeffcarlson) Kirk's website (https://www.kirkville.com), Kirk's photos (https://photos.kirkville.com), Kirk on Instagram (https://instagram.com/mcelhearn) Subscribe to the PhotoActive Instagram account (http://instagram.com/photoactive_podcast/) Join the PhotoActive Facebook group (https://www.facebook.com/groups/photoactivecast/) Show Notes: (View show notes with images at PhotoActive.co (https://www.photoactive.co/home/episode-64-duchemin)) Rate and Review the PhotoActive Podcast! (https://itunes.apple.com/us/podcast/photoactive/id1391697658?mt=2) The Heart of the Photograph (https://www.theheartofthephotograph.com), David’s new book A Beautiful Anarchy podcast, Better Questions? episode (https://www.abeautifulanarchy.com/podcast/episode-020) Ellsworth Kelly, Photographs (https://aperture.org/shop/ellsworth-kelly-photographs/) Our Snapshots: Jeff: Exify app (https://exify-app.com/) Kirk: Time to step back and take a deep breath. Subscribe to the PhotoActive podcast newsletter at the bottom of any page at the PhotoActive web site (https://photoactive.co) to be notified of new episodes and be eligible for occasional giveaways. If you’ve already subscribed, you’re automatically entered. If you like the show, please subscribe in iTunes/Apple Podcasts (https://itunes.apple.com/us/podcast/photoactive/id1391697658?mt=2) or your favorite podcast app, and please rate the podcast. And don't forget to join the PhotoActive Facebook group (https://www.facebook.com/groups/photoactivecast/) to discuss the podcast, share your photos, and more. Disclosure: Sometimes we use affiliate links for products, in which we receive small commissions to help support PhotoActive. https://static1.squarespace.com/static/5b0d9e5ab40b9d7f7ff10b47/t/5e746d782358b804f398f476/1584688512081/heart-photograph-cover.jpg?format=750w
Jenny Odell is a multi-disciplinary artist and writer based in Oakland, California who teaches at Stanford University. She has been an artist-in-residence at such places as the San Francisco dump, Facebook, the Internet Archive, and the San Francisco Planning Department, and has exhibited her art all over the world. She is the author of: How To Do Nothing: Resisting The Attention Economy (Melville House Publishing 2019).Interview Date: 8/30/2019 Tags: MP3, Jenny Odell, technodeterminism, age of soylent, The Dump art installation, Recology San Francisco, David Hockney, A Bigger Exhibition, slow art, Ellsworth Kelly,Blue Green Black Red, attention, shallow attention, reactive attention, impatient attention, bird watching, sustained attention, ego-dissolving attention, angry tweet mob, crows, fear, anxiety, bioregion, loneliness, Robin Wall Kimmerer, Braiding Sweet Grass, Social Change/Politics, Art & Creativity, Philosophy, Technology, Money/Economics
Art critic Alastair Sooke, in the company of some of the leading creatives of our age, continues his deep dive into the stunning works in the Museum of Modern Art's collection, whilst exploring what it really means “to see” art. Today's edition features American operatic soprano, Renee Fleming. Winner of the National Medal of Arts and Fulbright Lifetime Achievement Medal winner, she is the only classical singer ever to have performed the U.S. National Anthem at the Super Bowl. Renee has chosen Ellsworth Kelly's 1951 work, Colors for a Large Wall - a collage of painted, multi-coloured squares. What is it about this work that hits Renee Fleming's high notes? Producer: Paul Kobrak Main Image: Ellsworth Kelly, Colors for a Large Wall, 1951. Oil on canvas, sixty-four panels, 7' 10 1/2" x 7' 10 1/2" (240 x 240 cm). Gift of the artist, The Museum of Modern Art, New York, 1067.1969.a-b. © 2019 Ellsworth Kelly
In an age where we are inundated by a seemingly endless scroll of images and living within an economy that demands an inordinate amount of our attention, it feels necessary to ask what is the value of doing nothing? It is much more evident now than ever before that social media platforms are another tool for advertisers and corporations to learn our desires through likes and clicks encouraging us to stay glued to our screens and monitors. In 2017, Bay Area-based artist Jenny Odell gave a talk at the annual EYEO festival titled “How to do Nothing,” which resulted in a book of the same name. I have been following Odell’s artistic practice and writing since she was in graduate student pursuing her MFA at the San Francisco Art Institute. With a background in literature and having taught Internet Art at Stanford University for several years, her wealth of knowledge related to networked culture to free things advertised on Instagram that aren’t actually free, she has an uncanny ability to craft a stories emblematic of our digital age. In this episode, The Value of Doing Nothing, I spoke with Odell about exercises in attention, space for refusal, bonding over our experience of an Ellsworth Kelly painting at the SF MOMA, and much more. The irony of Odell’s call to action, being that of doing nothing, leads us to the multitude of ways that stepping back from time to time enables and affords us the opportunity to learn how to observe the world around us, actively listen, and fastidiously mind the details we might normally overlook. -- Subscribe to Art Practical on iTunes to catch PRNT SCRN as soon as it publishes! Check us out on Instagram (@prnt_scrn_ap) and Twitter (@PRNTSCRN1). #APaudio.
The New Age of TV: Bringing the Look of Cinema to the Small Screen - Sight, Sound & Story: The Art of Cinematography 2018 Moderator: David Leitner (Director, Producer, and Cinematographer) Panelist: Robert McLachlan, ASC, CSC ("Game of Thrones," "Westworld," "Ray Donovan," "The Affair") Meet the Cinematographer who brought some of the most fantastical and gritty moments from "Game of Thrones" to life, Rob McLachlan ASC, CSC. Rob has directed one of the biggest budget episodes of television in history, "The Spoils of War" and one of the most viral moments of modern television "The Red Wedding." Here with David Leitner, Cinematographer of the critically acclaimed "Trembling Before G-d", serving as moderator, Rob dissects his most recent television work. Rob offers his generous insight into the choices behind his camerawork on "Ray Donovan," "WestWorld," and of course, "Game of Thrones." About Robert McLachlan, ASC, CSC: Robert was born in San Francisco. He became involved with photography and film at an early age thanks to an artistic father. Since then, Robert has moved on with unusual ease between television and theatrical films of all sizes. In the process, winning many awards and amassing hundreds of credits including close to 50 Theatrical and television movies; as well as over 550 episodes of Television that include "MacGyver" in the late ’80s and the groundbreaking, "Millennium" in the mid’90ss. Recently he shot what is regarded as the most famous episode of TV ever - best known as “The Red Wedding”, in addition to the biggest episode of TV ever made, "The Spoils of War." Both of these episodes are from the international phenomenon, "Game of Thrones." His other TV credits include "Westworld" for HBO and Showtime’s critically acclaimed, "Ray Donovan." Along the way, he has returned to wearing both Director and cinematographer hats on the movies "The Golden Compass" and "Dragonball Evolution" on their second units and more recently he has directed episodes of "Ray Donovan." About the Moderator: David Leitner is a director, producer, and Emmy-nominated DP (Chuck Close: Portrait in Progress), with over eighty credits in feature-length dramas and documentaries, including eight Sundance Film Festival premieres. These include his own Vienna is Different: 50 Years After the Anchluss, Alan Berliner’s Nobody’s Business, Sandi Dubowski’s Trembling Before G-d, the Oscar-nominated documentary For All Mankind, for which he spent nine months at NASA’s Johnson Space Center restoring original 16mm lunar footage, and Memories of Overdevelopment, a Cuban follow-up to 1968’s film classic, Memories of Underdevelopment. For over 25 years, as DP, he has photographed hour-long documentaries on iconic writers, artists, and architects for New York’s Checkerboard Film Foundation. Subjects include Brancusi, Picasso, James Salter, Joel Shapiro, Sir John Soane, Ellsworth Kelly, Milton Glaser, Daniel Libeskind, Dorothea Rockburne, Peter Eisenman, Roy Lichtenstein, Eric Fischl, Jeff Koons, Frank Stella, and Sol LeWitt. Leitner is also an author, columnist, motion picture technologist and industry consultant. From 1977-1985 he was Director of New Technology at DuArt Film & Video in New York, where he created innovations in optical printing, cine lens testing, film-to-tape transfer, and played a key role introducing Super 16 to the U.S. He is a Fellow of the Society of Motion Picture and Television Engineers. This year’s fourth annual Sight, Sound & Story: The Art of Cinematography event we'll go behind the lens to better understand the challenges and decisions made by top visual artists in the realm of narrative TV, documentary and feature films. Our event series is where we hope many pieces of the creative puzzle fit together - a familiar enclave for the exchange of ideas and a celebration of this unique collaborative process. For more information go to https://SightSoundandStory.com.
Catherine Craft is Curator at the Nasher Sculpture Center, Dallas and a scholar of Dada, Surrealism, Abstract Expressionism, and Neo-Dada. She is curator of the recent exhibition The Nature of Arp, the first North American museum survey of the artist Jean (Hans) Arp in three decades; she will also oversee that exhibition’s installation at the Peggy Guggenheim Collection in Venice, where it will open April 2019. Dr. Craft curated the Nasher’s 2015 touring retrospective Melvin Edwards: Five Decadesand, as with The Nature of Arp, was principal author of the accompanying publication. She was also a contributing author for Nasher exhibition catalogues on the artists Ann Veronica Janssens and Katharina Grosse; on Isamu Noguchi for Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso, 1943-1963; and Lara Almarcegui, Rachel Harrison, and Liz Larner for Nasher XChange: 10 Years. 10 Artists. 10 Sites. In 2017 she curated the group exhibition Paper into Sculpture, which examined contemporary artists who use paper as a sculptural material, and she has also worked on research and presentation of works from the Nasher’s permanent collection. Dr. Craft holds a B.A. in art history from Texas Christian University and an M.A. from the University of Virginia. She worked in the Department of Modern and Contemporary Art at the National Gallery of Art in Washington, D.C., where she worked on Robert Rauschenberg and Ellsworth Kelly exhibitions, before receiving her doctoral degree in art history from the University of Texas at Austin. She is the author of An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism(University of Chicago, 2012) and Robert Rauschenberg(Phaidon, 2013), as well numerous articles and reviews. She has presented talks at the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Museum of Modern Art, New York; the National Portrait Gallery, Washington, D.C.; and Yale University Art Gallery, New Haven. As a senior research fellow at the Metropolitan Museum of Art, she conceived and co-curated the 2011 exhibition Paper Trails: Selected Works from the Permanent Collection 1934-2001. She joined the Nasher Sculpture Center in 2011.
Catherine Craft is Curator at the Nasher Sculpture Center, Dallas and a scholar of Dada, Surrealism, Abstract Expressionism, and Neo-Dada. She is curator of the recent exhibition The Nature of Arp, the first North American museum survey of the artist Jean (Hans) Arp in three decades; she will also oversee that exhibition’s installation at the Peggy Guggenheim Collection in Venice, where it will open April 2019. Dr. Craft curated the Nasher’s 2015 touring retrospective Melvin Edwards: Five Decadesand, as with The Nature of Arp, was principal author of the accompanying publication. She was also a contributing author for Nasher exhibition catalogues on the artists Ann Veronica Janssens and Katharina Grosse; on Isamu Noguchi for Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso, 1943-1963; and Lara Almarcegui, Rachel Harrison, and Liz Larner for Nasher XChange: 10 Years. 10 Artists. 10 Sites. In 2017 she curated the group exhibition Paper into Sculpture, which examined contemporary artists who use paper as a sculptural material, and she has also worked on research and presentation of works from the Nasher’s permanent collection. Dr. Craft holds a B.A. in art history from Texas Christian University and an M.A. from the University of Virginia. She worked in the Department of Modern and Contemporary Art at the National Gallery of Art in Washington, D.C., where she worked on Robert Rauschenberg and Ellsworth Kelly exhibitions, before receiving her doctoral degree in art history from the University of Texas at Austin. She is the author of An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism(University of Chicago, 2012) and Robert Rauschenberg(Phaidon, 2013), as well numerous articles and reviews. She has presented talks at the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Museum of Modern Art, New York; the National Portrait Gallery, Washington, D.C.; and Yale University Art Gallery, New Haven. As a senior research fellow at the Metropolitan Museum of Art, she conceived and co-curated the 2011 exhibition Paper Trails: Selected Works from the Permanent Collection 1934-2001. She joined the Nasher Sculpture Center in 2011.
2020 presidential campaign logos, 50 Books | 50 Covers, the “creative” hustle, Ellsworth Kelly stamps, Olivia Colman in Flowers
Yve-Alain Bois, Professor of Art History, Institute for Advanced Study, Princeton UniversitySat, October 13, 2018As a young enlisted soldier in World War II, Ellsworth Kelly spent a brief spell in Paris. After the war, following two frustrating years at the School of the Museum of Fine Arts in Boston, he returned to the French capital for a longer period. Postwar Paris offered Kelly the chance to quickly master the pictorial language of modernism, and by age 26, he had already painted his first mature works. In June 1954, he moved back to the United States, embarking on a new stylistic mode involving curvaceous planes of solid color. During a 1964 trip to Paris for an exhibition of his recent works at the Galerie Maeght, Kelly realized the two suites of lithographs displayed in Line & Color: The Nature of Ellsworth Kelly. In this lecture, Bois explores how Kelly, enjoying this third visit to France, reconnected with aesthetic ideas from his long stay years earlier. Back in America, Kelly mined his sketchbooks from 1949–54 to momentarily say farewell to curves and return to polyptychs.Presented in conjunction with Line & Color: The Nature of Ellsworth Kelly.
Curatorial Associate Tom Norris discusses the exhibition, Line & Color: The Nature of Ellsworth Kelly, on view through October 29, 2018.
Rainey Knudson and Christina Rees discuss the new, $23 million Ellsworth Kelly artwork titled "Austin" on the campus of the University of Texas at Austin, and why on earth the people in charge don't want it to be called a chapel.
Rebecca and Ross continue their discussion on teaching. This episode focuses more on workshops, and the intense and highly focused personal interaction that takes place during a workshop. Ross and Rebecca clash over minimalism. During the discussion they shockingly confuse the work of one color field minimalist with another. The piece Ross was thinking of was "Red, Yellow, Blue II" by Ellsworth Kelly which can be seen at the Milwaukee Art Museum (http://collection.mam.org/details.php?id=8007), and not "Who's Afraid of Red, Yellow, and Blue IV" by Barnett Newman. It hangs at the Berlin Nationalgalerie and sadly, Ross has never seen it in person. ** The Messy Bulletin Board! ** James Scherbarth: James Edward Scherbarth will be at Peninsula School of Art in beautiful Door County, WI this June. Jim will be offering an introduction to Abstract Painting with Oil & Cold Wax Medium utilizing his Process-Purpose-Passion approach to meaningful abstract painting. The class is June 11 – 14, 2018. Complete details and registration are available through both Jim's website: www.jamesedwardscherbarth.com and the school's website : www.peninsulaschoolofart.org see their workshop page. Janice Mason Steeves: Learn the principles of cold wax medium in a workshop with renowned Canadian artist Janice Mason Steeves. Translating her mastery of technique, composition, and design into an accessible format, Mason Steeves helps students nurture and develop their own creative voice. She also accepts students for her online art mentoring program which offers honest, constructive, one-on-one feedback to help students and professional artists alike move their work forward. Learn more at http://janicemasonsteeves.com Ross Ticknor: Many of you have commented that you love Ross' voice. If you would like to hear more of his buttery smooth vocalizations, check out one of the audiobooks he has narrated. They are available on Amazaon, Audible, and iTunes. His favorite is "Headhunters From Outerspace" by Brett McCormick, a mind bending interdimensional sci-fi adventure set in Alvarado, Texas. Find it here: https://www.amazon.com/Headhunters-from-Outer-Space/dp/B06WWFTF86/ref=tmmaudswatch0?encoding=UTF8&qid=&sr=&dpID=51i4R-WHwEL&preST=SX342QL70_&dpSrc=detail
With more than 20 million users, Bumble is one of the biggest dating apps in the U.S. The company's head of brand, Alex Williamson, who was part of the founding team at Bumble when it launched in 2014, gives advice on improving your chances of finding love online. Ellsworth Kelly was a noted artist and sculptor who died last year, but the Blanton Museum of Art is about to unveil what might be his greatest work. Deputy director for curatorial affairs Carter E. Foster tells us what's so special about this freestanding building, which opens to the public on Feb. 18. Michael J. Ryan, a UT biology professor and author of "A Taste for the Beautiful," talked with Tolly about the role that excitement plays in animal behavior and what humans can learn from mating rituals in nature. Avocados are as weird as they are delicious. For this week’s Webb Report, we brought in Eric Webb to explain what he uncovered while writing about cancer research in the Rio Grande Valley. Toast picks: "Ted Radio Hour" episode, "Can We Trust the Numbers?" "Caroline: Little House, Revisited" from historical fiction writer Sarah Miller and the #timesup movement. More info: austin360.com/loveaustin360
- Latent Image - www.latentimage.us - Refinery 29 - www.refinery29.uk - Yale MFA - art.yale.edu/Photography - Peter Sutherland - www.petersutherland.tumblr.com - Nico Krijno - www.nicokrijno.com - Deli Gallery - www.deligallery.com - Alexandria Tarver - www.alexandriatarver.com - Trey Wright - www.treywright.net - Charlie Engman - USA takeover WB - www.wanderingbears.co.uk/usa-guest-contributors - Dominic Bell - Pokemon Go - www.pokemongo.com - Sean D Henry-Smith - www.seanhenrysmith.com - Athena Torri - www.athenatorri.com - Ellsworth Kelly - www.tate.org.uk/context-comment/video/tateshots-ellsworth-kelly Anna Jay - Instagram - www.instagram.com/annarosejay - Tumblr - www.annarosejay.tumblr.com -Twitter - www.twitter.com/annarosejay Max Marshall - Website - www.latentimage.us - Website - www.deligallery.com - Instagram - www.latentimage.us Max Marshall - Curator / Gallery Owner. Based in New York, Max works on a variety of projects, including long term photo blog Latent image, other notable accolades include the opening of Deli Gallery space, which showcases a host of exciting artists ranging from painting to photography. Anna Jay - Art Director Refinery29 Having studied photography at University, Anna has taken her visual skills to aid leading online platforms develop their visual identity. Currently Art Director at Refinery29 UK, Anna commissions out a range of different artists working in illustration, movie image and photography.
On today's episode of THE FOOD SEEN, after a decade working as a landscape designer, Ron Paprocki moved to Europe to study pastry at Elisabeth Knipping Schule in Kassel, Germany. After an apprenticeship and diploma, Paprocki moved to New York City, to man the dessert program for Gordon Ramsay at The London. Eventually, Paprocki joined the #1 Zagat rated and NYTimes 3-starred Gotham Bar and Grill. Aware the restaurant's legacy and location, he utilized the nearby Union Square Greenmarket to showcase the natural acidity of fresh fruit in contrast with his master chocolate work. Recently, Paprocki launched a confectionary line, called Gotham Chocolates, influenced by a trip to Schwyz, Switzerland to meet with the historic chocolate company, Felchlin. Paprocki's pastry arts draws from New York classics, as seen in his wrapper art inspired by The New York School of artists like Ellsworth Kelly and Frank Stella. This is a true story of old world meets New York.
“He was always about the particular. The completely particular. This particular shape, this particular form, this particular color…everything is completely unique and particular.” So says Yve-Alain Bois, art historian and professor of art history at the Institute for Advanced Study in Princeton, about the celebrated, late artist Ellsworth Kelly. In this conversation, Bois shares what … Continue reading "Yve-Alain Bois on Ellsworth Kelly"
Inspired by Mark's posting of a video of Ellsworth Kelly, now 92 years old, we went on talking about our childhoods and our understanding of art at that time. It was a great little video which I would recommend you watch. https://www.sfmoma.org/watch/ellsworth-kelly-explains-abstraction/
Conférence par Laurent Salomé, directeur scientifique de l'établissement public de la Réunion des musées nationaux Grand Palais. Fondé en 1935, le San Francisco Museum of Modern Art est aujourd’hui l’un des plus grands musées d’art moderne et contemporain du monde. Le Grand Palais accueille une sélection d’œuvres des artistes américains les plus emblématiques de la deuxième moitié du XXe siècle, représentés aussi bien dans le fonds du musée que dans l’extraordinaire collection constituée par Donald et Doris Fisher, les fondateurs de GAP. Les œuvres sont réunies en avant-première, annonçant la donation de la collection Fisher au musée où elle sera présentée après une importante extension. Alexander Calder, Chuck Close, Richard Diebenkorn, Ellsworth Kelly, Cy Twombly, Roy Lichtenstein, Agnes Martin ou Andy Warhol : chacun est représenté par un groupe d’œuvres majeures. L’art minimal est particulièrement à l’honneur avec Carl Andre, Sol LeWitt et Donald Judd.
Ellsworth Kelly: the gloriousness of color and form.
Ellsworth Kelly: the gloriousness of color and form.
Ellsworth Kelly: the gloriousness of color and form.
Ellsworth Kelly: the gloriousness of color and form.
Stainless steel sandblasted
Encuentros: Artistic Exchange between the U.S. and Latin America
Session 3: The Artist/Traveler. Speaker 1: Mary Kate O'Hare, associate curator of American art, Newark Museum."Unity in Art: Alejandro Otero and Ellsworth Kelly in Dialogue". Speaker 2: Laura Roulet, independent curator."Ana Mendieta as Cultural Connector with Cuba". Speaker 3: Sarah Montross, Ph.D. candidate, Institute of Fine Arts, New York University. "Atlas and Archive: Juan Downey's Video Trans Americas". Speaker 4: Karen Mary Davalos, chair & associate professor of Chicana/o studies, Loyola Marymount University. "Border Crossings: Chicana and Chicano Artists in Mexico".
Ellsworth Kelly, Untitled (EK 927), 2005, Commissioned in honor of Alice and Pamela Creighton, beloved daughters of Margaret Stuart Hunter, 2006 Bronze
Ancient and contemporary come together in a poetic embrace in this exploration two monumental works of artistic achievement, “The Chicago Panels” by contemporary American artist Ellsworth Kelly and the Parthenon Frieze from Ancient Greece. Explore more episodes, image galleries, credits, transcripts, and additional resources at http://ancientartpodcast.org. Connect at http://twitter.com/lucaslivingston and http://facebook.com/ancientartpodcast.
This exhibition celebrates an extraordinary array of newly acquired and promised gifts to the museum. It features nearly 100 works by European and American modern masters including Gustave Caillebotte, Edgar Degas, Hans Hofmann, Paul Klee, Ansel Adams, Milton Avery, Alexander Calder, Richard Diebenkorn, Elizabeth Murray, Robert Motherwell, Aaron Siskind, and David Smith, as well as living artists William Christenberry, Howard Hodgkin, Ellsworth Kelly, Sean Scully, and many others. The strength and variety of these gifts and acquisitions include some of the most significant developments in painting, photography, works on paper, and sculpture from the 19th to the 21st century.
This exhibition celebrates an extraordinary array of newly acquired and promised gifts to the museum. It features nearly 100 works by European and American modern masters including Gustave Caillebotte, Edgar Degas, Hans Hofmann, Paul Klee, Ansel Adams, Milton Avery, Alexander Calder, Richard Diebenkorn, Elizabeth Murray, Robert Motherwell, Aaron Siskind, and David Smith, as well as living artists William Christenberry, Howard Hodgkin, Ellsworth Kelly, Sean Scully, and many others. The strength and variety of these gifts and acquisitions include some of the most significant developments in painting, photography, works on paper, and sculpture from the 19th to the 21st century.
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