Podcasts about Joan Mitchell

For the 36th episode of "Reading the Art World," host Megan Fox Kelly speaks with Sarah Roberts, curator of the landmark exhibition "Amy Sherald: American Sublime," and editor of the accompanying catalog published by Yale University Press in association with the San Francisco Museum of Modern Art.Roberts discusses Sherald's revolutionary portraiture approach — from her distinctive gray-scale skin tones that shift focus to her subjects' interior lives, to her deliberate use of clothing and settings as narrative devices. She shares insights on the "American sublime" concept in Sherald's work and her curatorial decisions integrating the iconic Michelle Obama and Breonna Taylor portraits within the larger context of the artist's practice.This episode is essential listening for anyone interested in contemporary portraiture, the evolution of American figurative painting, and how art can challenge conventional narratives about representation and identity. Roberts' insights reveal why Sherald's quiet yet radical artistic vision offers a powerful reimagining of who deserves to be seen and celebrated in American art history.ABOUT THE AUTHOR Sarah Roberts is Senior Director of Curatorial Affairs at the Joan Mitchell Foundation where she oversees the Foundation's Artwork and Archival Collections and the Joan Mitchell Catalogue Raisonné project. Since 2004, she has served in progressive leadership roles in the Department of Painting and Sculpture at the SFMOMA, and since 2020 as Andrew W. Mellon Curator and Head of Painting and Sculpture. A specialist in post-war American art, Roberts has organized significant exhibitions including major presentations of Robert Rauschenberg, Louise Bourgeois, Frank Bowling, and co-curated the Joan Mitchell retrospective that traveled internationally. Roberts holds degrees from the University of Texas at Austin and Brown University, and has contributed to numerous publications on contemporary art.ABOUT THE EXHIBITION"Amy Sherald: American Sublime" is now on view at the Whitney Museum of American Art in New York through August 3, 2025, following its run at SFMOMA. The exhibition will travel to the National Portrait Gallery in Washington, D.C. (September 19, 2025 – February 22, 2026).PURCHASE THE BOOK https://yalebooks.yale.edu/book/9780300279382/amy-sherald/ SUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

Ne Zha 2, lʹhistoire du petit garçon qui fait exploser le box office chinois. Exit from the cuckooʹs nest, lʹhistoire du court métrage suisse qui rafle tous les prix. Joan Mitchell, lʹhistoire dʹune star de lʹart abstrait américain qui aurait eu 100 ans aujourdʹhui.

When starting out, many artists (myself included), struggle to understand how to elevate their work. They often wonder if they need to add more or change their style to make something beautiful happen.  However, the secret isn't in adding MORE, but in utilizing LESS. We're talking about negative space! But it's not a dirty word — it just means the empty space surrounding the subject of an artwork. And it's crucial for creating focus, depth, and complexity in your art.  If you feel like your work is missing something, negative space may be the most POSITIVE step you have taken yet.   Make sure to subscribe to this podcast so you don't miss a thing! And don't forget to come hang with me on Instagram @jodie_king_ Interested in being a guest on a future episode of Honest Art? Email me at amy@jodieking.com! Resources mentioned: Learn more about the Color Course for Rebels 101 & 102: https://www.jodiekingart.com/ccfr    The Dance by Henry Matisse: https://www.henrimatisse.org/the-dance.jsp  First Creatures by Helen Frankenthaler: https://www.artsy.net/artwork/helen-frankenthaler-first-creatures-1  The Story of Art Without Men by Katy Hessel: https://amzn.to/42O0uQK  12 Hawks at 3 O'Clock by Joan Mitchell: https://www.joanmitchellfoundation.org/joan-mitchell/artwork/0170-12-hawks-at-3-oclock  The Mona Lisa by Leonardo Da Vinci: https://www.britannica.com/topic/Mona-Lisa-painting  Pedal to the Metal by Jodie King: https://shop.jodieking.com/collections/available-paintings/products/pedal-to-the-metal  Annie. The Rebel. by Jodie King: https://shop.jodieking.com/collections/the-rebel-series/products/annie-the-rebel  Abe. The Rebel. by Jodie King:  https://shop.jodieking.com/collections/the-rebel-series/products/abe-the-rebel  Subscribe to my Patreon for as little as $1 a month and get access to additional art career resources: patreon.com/honestartpodcast  How are you liking the Honest Art Podcast? Leave us a review on your favorite podcast platform and let us know!     Watch this full episode on my YouTube channel: https://www.youtube.com/channel/UC64Vn6NF5BfiwLNTSb_VnDA  For a full list of show notes and links, check out my blog: www.jodieking.com/podcast    

Brenda Cirioni is an accomplished artist known for her vibrant, mixed-media creations. Originally from Rhode Island and now based in Massachusetts, Brenda's artistic journey began early, exhibiting at the Wickford Art Festival at just eight years old. A graduate of the Museum of Fine Arts, Boston, Brenda's work reflects her deep connection to nature and her intuitive creative process. Her acclaimed Continuum series explores growth and transformation through sculptural, textured pieces incorporating materials like dried flowers, resin, and paint. Inspired by art luminaries such as Van Gogh and Joan Mitchell, Brenda's studio practice emphasizes resilience and the joy of experimentation. Join our conversation with Brenda Cirioni today on Radio Maine.

Ep.221 Shinique Smith. Known for her monumental fabric sculptures and abstract paintings of calligraphy and collage, Smith's personal histories and belongings intertwine with thoughts of the vast nature of ‘things' that we consume, cherish, gift, and discard and how these objects resonate on intimate and social scales. Over the last twenty years, Smith has gleaned visual poetry from textiles and explored concepts of ritual using breath, bunding and mark-making as tools toward abstraction. Her layered works range from palm-sized bundled microcosms to monolithic bales to massive chaotic paintings that contain vibrant and carefully collected mementos from her life. Smith's practice operates at the convergence of consumption and spiritual sanctuary, balancing forces and revealing connections across space and time, race, gender, and place to suggest the possibility of new worlds. Born in Baltimore, MD, currently residing in Los Angeles, California, Smith has received awards and prizes from Joan Mitchell, the Tiffany Foundation, Anonymous Was a Woman and the American Academy of Arts and Letters among others. Her work has gained attention through her participation in celebrated biennials and group exhibitions including the 13th Bienal de Cuenca and 8th Busan Biennale; Frequency at the Studio Museum in Harlem, 30 Americans organized by the Rubell Family Collection, UnMonumental at the New Museum and Hauser + Wirth LA's Revolution in the Making. Smith's work has also been exhibited and collected by other prestigious institutions such as the Baltimore Museum of Art; Brooklyn Museum of Art; California African American Museum, Denver Art Museum, the Frist, Indianapolis Museum of Art at Newfields, Los Angeles County Museum of Art, Minneapolis Art Institute, MOMA PS1, Museum of Fine Arts, Boston, Musée d'art contemporain de Montréal, Nerman Museum of Contemporary Art, SCAD, the Ringling Museum of Art, the Whitney and the Guggenheim. Photo credit: Courtesy of the artist Artist https://www.shiniquesmith.com/ moniquemeloche https://www.moniquemeloche.com/artists/207-shinique-smith/biography/ https://www.moniquemeloche.com/exhibitions/218-collage-culture/press_release_text/ The Phillips Collection https://www.phillipscollection.org/event/2024-07-06-multiplicity The Ringling Museum https://www.ringling.org/event/shinique-smith-parade/ SRQ https://www.srqmagazine.com/srq-daily/2023-12-01/23073_The-Ringling-Presents-Shinique-Smith-Parade Hyperallergic https://hyperallergic.com/552240/meet-las-art-community-sharing-inspiration-with-people-of-color-has-always-been-a-priority-for-shinique-smith/ Centure for Maine Contemporary Art https://cmcanow.org/event/shinique-smith-continuous-poem/ Newfields https://discovernewfields.org/Shinique-Smith-Torque Guggenheim https://www.guggenheim.org/exhibition/by-way-of-material-and-motion-in-the-guggenheim-collection Kemper Museum of Contemporary Art https://www.kemperart.org/program/artist-talk-shinique-smith Products | For Freedoms https://checkout.forfreedoms.com/products/by-the-light-2024 ICASF https://www.icasf.org/exhibitions/16-the-poetics-of-dimensions See Great Art https://www.seegreatart.art/shinique-smith-artworks-displayed-with-european-masterpieces-at-ringling-museum/ Visit Indy https://www.visitindy.com/event/shinique-smith-torque/158358/ Guild Hall https://www.guildhall.org/events/ring-the-alarm-a-conversation-with-shinique-smith-renee-cox/ AWARE https://awarewomenartists.com/en/artiste/shinique-smith/ Flora Animalia https://floraanimalia.com/blogs/news/shinique-smith?srsltid=AfmBOorqjJTBqroKRSW96gcOjCXK374pQUKNseNnhQ1A0rZNtRrOdoaj

Remembering the great Audrey Flack (1931–2024). Earlier this year, I interviewed Flack over a series of interviews before she passed away on 28 June 2024. Audrey was a force, and I hope you enjoy listening to her powerful and moving words. If you want to learn more, I highly recommend her memoir: With Darkness Came Stars: A Memoir (https://www.psupress.org/books/titles/978-0-271-09674-2.html) -- I couldn't be more excited to say that my guest on the GWA Podcast is the esteemed American artist, sculptor, photo-realist painter, and native New Yorker, Audrey Flack. Hailed for her sculptures of divine goddesses and Biblical characters; her paintings evocative of Old Masters that explore the historic subjects but with pop imagery; and abstract canvases, made in the 1940s and 50s, filled with swathes of movement, colour, and vigour – Audrey Flack, has been at the forefront of the art world. Brought up in New York City, Flack studied at Cooper Union and then Yale, where she was one of the only women and was taught under Josef Albers – in the early 1950s Flack found herself amongst the burgeoning downtown art scene, where she frequented the Abstract Expressionist haunt, the Cedar Bar, and hung out with her friends who included Lee Krasner, Joan Mitchell, Grace Hartigan. Audrey Flack knew them all. At the onset of Pop, she turned to photorealist painting, capturing in it distinctively feminist subjects, such as traditional objects associated with femininity and beauty, and then it was to sculpting female archetypes, taking back ancient-old stories steeped in misogynism, and reworking them for a 20th and 21st century audience. Whilst she paints and sculpts – and is in the collections of museums such as the Met and MoMA, – Audrey also takes the role of lead vocals and banjo with her band “Audrey Flack and the History of Art Band”, where she centres her songs around female injustice, the most recent being about the French sculptor, Camille Claudel. At 93 years old, you can often find her wearing t-shirts emblazoned with slogans such as Feminist AF, posing in front of her large-scale works, and wearing sunglasses inside. Flack has written it all down in a memoir – With Darkness Came Stars, one of the most moving, extraordinary books I've ever read. Not just for her artistic insights and incredible first-hand analogies of those who she knew in the 20th Century New York artworld, but, for writing, in such genuine words, the truth of what it's like being a mother, a mother and an artist, and a mother to an autistic child. I was moved to tears a number of times. It made me realise, so acutely, how women and mothers have been treated with such injustice, yet had so much resilience to fight for their voice, their art, their children, and their path. I couldn't recommend it highly enough. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

This week discuss abstract expressionist Joan Mitchell and fill you in on what's going on in both shops. Thanks for listening.Don't forget to subscribe to our new YouTube channel Today's Craftsmen https://www.youtube.com/@TodaysCraftsmenMerch:The American Craftsman Podcast: https://amzn.to/482ttkaGreene Street Joinery: https://amzn.to/3Zfk5phToday's Craftsmen: https://amzn.to/3R5DRl8Check Out Our Sponsors!Visit Häfele at www.hafele.comVisit Ridge Carbide at www.ridgecarbidetool.comSupport us on Patreon!https://www.patreon.com/Greene_st_joinery

Notes on Joan Mitchell Livingston, Jane, et al. Joan Mitchell. Whitney Museum of American Art, 2002. https://yalebooks.yale.edu/book/9780300093996/joan-mitchell/ Albers, Patricia, et al. Joan Mitchell: Lady Painter: A Life. Alfred A. Knopf, 2011. https://www.penguinrandomhouse.com/books/203572/joan-mitchell-by-patricia-albers/ Bernstock, Judith E. Joan Mitchell. Hudson Hills Press, 1988. https://www.hudsonhills.com/book/joan-mitchell/ Mitchell, Joan, and Yves Michaud. Joan Mitchell: New Paintings. Robert Miller Gallery, 1991. https://www.robertmillergallery.com/joan-mitchell-new-paintings-1991/ Shiff, Richard, et al. Joan Mitchell: I carry my landscapes around with me. David Zwirner Books, 2019. https://davidzwirnerbooks.com/product/joan-mitchell-i-carry-my-landscapes-around-me Find out more at https://three-minute-modernist.pinecast.co

Welcome back to ARTMATTERS: The Podcast for Artists. On today's episode I get a whirlwind tour of the techniques, recipes and studio practices, of the spectacular Cianne Fragione. This conversation will be a two-parter, and will be concluded next episode. Today, in part one, we discuss making your own paints, why lead white is such a fantastic color, chaos vs organization, Cianne's warm-up books, adhesives, “the shake test”, prepping surfaces, rhythm, paper, and the joy of destruction. Cianne also speaks extensively on the making of her massive 24-part painting entitled Heaven and Earth are Dressed in Their Summer Wear, completed in 2012.Cianne Fragione was born in 1952 and currently lives and works in Washington D.C. She has developed her process-oriented work over five decades, crossing boundaries between abstract painting and sculpture, object, and image. She has exhibited extensively in solo and group exhibitions at national and international venues and has been the recipient of many awards, fellowships, and residencies, including the Milton and Sally Avery Arts Fellowship and The Legacy Project sponsored by the Joan Mitchell Foundation to name just a few. Enjoy the episode!P.S. Cianne and I discuss multiple artworks in her studio which were included in the studio visit photo collection and can be found as a free post on my Patreon page. So feel free to click here and you can look while you listen:)About Cianne Fragione:Cianne Fragione b. 1952 (Hartford, CT)  Cianne Fragione, a Washington D.C., D.C.-based artist, has developed process-oriented work for five decades, crossing boundaries between abstract painting and sculpture, object, and image. She has exhibited extensively in solo and group exhibitions at national and international venues including, Isole: A Voyage Among My Dreams (2024-25) St. Mary's College Museum of Art, Moraga, CA; traveling exhibitions, Pocket Full of Promise: Cecelia Coker Bell Gallery, Coker College, Hartsville, SC, and Anne Wright Wilson Gallery, Georgetown College, KY; Wiregrass Museum Biennial 24, Dothan, AL.; Arts-In-Embassies, Geneva, Switzerland; Anya and Andrew Shiva Gallery, New York, NY; American University Museum, Washington, D.C.; Regis College Fine art Center, Weston, MA; John D. Calandra Italian American Institute of Queens College, CUNY, New York, NY; Associazione di Museo D'Arte Contemporaneo Italiano, Catanzaro, Italy;  a ten-year retrospective at Harmony Hall Regional Center, Washington, MD;  the University of Scranton Art Museum, Scranton, PA; The Textile Museum, Washington, D.C.; Art in Embassies, Sofia, Bulgaria, and Vilnius, Lithuania; Elizabeth Foundation, New York, NY; Indianapolis Art Center, IN; San Francisco Museum of Modern Art Gallery, CA; and Gallery Neptune & Brown, Washington, D.C. Her works are held in public collections, recent acquisitions; the Baltimore Museum of Art MD; and DC Commission Art Bank Collection (also in 2017), Art-In-Embassies Permanent Collection, Guadalajara, Mexico, US State Department; as well as St. Mary's College Museum of Art, CA; Italian American Museum, D.C; Department of Special Collections, Cecil H. Green Library, Stanford University, CA; and Comune di Monasterace, Calabria, IT; among others and private collections. Fragione has been the recipient of awards, fellowships, and residencies, Art Omi receiving the Milton and Sally Avery Arts Fellowship; The Legacy Project (Saving the Legacy) sponsored by Joan Mitchell Foundation; Studio dei Nipoti artist residency, Monasterace, Italy; Soaring Gardens, Laceyville, PA; Spoleto Study Aboard in Spoleto, Italy; and an Artist-in-Institution grants, project of the California Arts Council. Sacramento CA. She was nominated for the Joan Mitchell

Récemment, j'ai eu l'occasion de me rendre à divers événements en lien avec la saison impressionniste, organisés par la Médiathèque Jean Lévy à Lille.  En effet, en célébration des 150 ans de l'impressionnisme, 178 œuvres du musée d'Orsay ont parcourue la France pour rencontrer le public.  Il faut savoir que le Palais des Beaux-Arts de Lille propose une étape incontournable avec l'exposition "Monet à Vétheuil : Les saisons d'une vie", dédiée à Claude Monet, l'un des fondateurs de l'impressionnisme. Cette exposition a pour but de mettre en lumière deux périodes marquantes de la carrière de Monet à Vétheuil, un village du Val-d'Oise où il a résidé. Et puis en écho à cette exposition, trois œuvres monumentales de Joan Mitchell, peintre américaine installée à Vétheuil, sont également présentées. L'occasion de se rendre compte que son univers pictural vibrant et gestuel complète parfaitement les œuvres de Monet, offrant une perspective unique sur ce lieu chargé d'histoire. L'exposition est à découvrir jusqu'au 23 septembre.  À travers cet épisode, je compte partager avec vous les événements proposés par la médiathèque Jean Levy.  Je vous propose donc de vivre une visite guidée de l'exposition "Monet à Vétheuil : Les saisons d'une vie". Nous écouterons également des textes partagés par les bibliothécaires, des textes qui résonnant avec les œuvres de Monet et Mitchell, ainsi que des extraits écrits lors d'un atelier d'écriture que j'ai eu le plaisir d'animer et enfin je vous proposerai d'écouter les impressionnantes des 3 coups l'oeuvre pour leur toute première représentation théâtrale.  Bonne écoute ! Pour aller plus loin : Visiter l'exposition "Monet à Vétheuil : Les saisons d'une vie" Se renseigner sur le programme de la médiathèque de Lille Suivre Les 3 coups l'oeuvre N'hésitez pas à partager et commenter !! ♥ ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ et ⁠⁠⁠⁠Facebook⁠⁠⁠⁠ ⁠⁠⁠⁠ART au féminin le site⁠⁠⁠⁠ ⁠⁠⁠⁠Soutenir ART au féminin ⁠⁠⁠⁠

"Sunflowers" von Joan Mitchell verkaufte Zwirner für 20 Millionen Dollar, ein Gerhard Richter brachte 6 Millionen: Die Art Basel bleibt die wichtigste Kunstmesse der Welt. 285 Gallerien aus 40 Ländern wetteifern um Aufmerksamkeit und Sammler. Wheeler, Claudia www.deutschlandfunkkultur.de, Fazit

For our first Conversation of Lent, Jason is joined by Joan Mitchell to discuss scripture reading, her passion for it, and why we should be passionate too! ==============Join us for service every Sunday at 10:30am (CST).If you said "Yes" to Jesus today, let us know at www.redeemermn.org/nextstepsWe would love to hear how God is transforming your life through this ministry!  Tell us your story by emailing bethechurch@redeemermn.org! If you need prayer, let us know at www.redeemermn.org/prayerIf you would like to support Redeemer financially you can give online at www.redeemermn.org/giveFor more information about Redeemer Church, visit www.redeemermn.org===============FOLLOW Redeemer:Instagram: https://www.instagram.com/redeemermn_churchFacebook: https://www.facebook.com/redeemermnSupport the show

Have you ever stood before a work of art, lost in its abstract forms, and felt a story unfolding within you? This episode takes you on a journey into the world of Cy Twombly, where art speaks in hushed tones of history, mythology, and a quest for essence. As we navigate through the intimate chambers of Twombly's mind, we begin to unravel the tapestry of ideas and emotions that his work provokes, from the echoes of his American roots to the whispers of ancient Rome that permeated his life after 1957.Join us as we share candid moments of personal discovery, where my appreciation for the textured and the imperfect collides with Twombly's layered canvases. The discussion traverses the artist's reluctance to offer context, leaving us to wander in the lush mystery of his expression, and challenges us to embrace the silent stories his pieces tell. With each brushstroke and scribble, Twombly invites us into a dialogue, a conversation that thrives in the spaces he claims through his art, leaving a resonance that lingers long after the gallery lights dim.As we wrap up, we reflect on the profound connections we forge with art, be it through cherished heirlooms or the fleeting moments we share with it in a museum. Discovering art becomes akin to a treasure hunt, where the thrill lies in both the anticipation and the unexpected joys. Whether you're whispering to a Twombly or nodding silently to a Joan Mitchell, this episode is an ode to the conversations we hold with art, the questions we ask, and the answers we find within ourselves. So come along, bring your voice to our exchange, and let's explore the narrative that awaits in the next gallery.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Show Notes:1:00 overview of thesis topic3:00 2018 music video at the Louvre by Beyoncé and Jay Z 3:55 Advertising campaign by Louis Vuitton that featured Joan Mitchell paintings6:00 2020 Uffizi promotional campaign to promote Botticelli exhibition7:25 Uffizi's TikTok account posting with Dua Lipa 8:10 criticism of Uffizi campaigns9:20 Approaches by EU and UK11:20 Influencer marketing14:35 EU Directive30:10 Italian approach 33:00 liability under Italian case law and consumer code35:30 historical events that caused Gallo's choice on research and thesis37:00 Emily Gould38:20 Alan Robertshaw 43:15 risks and contractual issue with fees46:20 Gould47:45 Gallo on InstaGram disclosure Please share your comments and/or questions at stephanie@warfareofartandlaw.comTo hear more episodes, please visit Warfare of Art and Law podcast's website.Music by Toulme.To view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com. Thanks so much for listening!© Stephanie Drawdy [2024]

Ep.172 features Leslie Smith. He lives and works in Madison, Wisconsin. | He was a 2022 Joan Mitchell Foundation Fellow and earned a BFA at the Maryland Institute College of Art and an MFA at the Yale School of Art. | Smith's interests lie in our conscious effort to alter personal perception. | Recent works explore Abstraction's inherent personal and political properties as they relate to broadening notions of Black representation, with a mindset that it's possible to present a new interpretation of contemporary abstraction. His work can be found in the permanent collections of the High Museum of Art, Atlanta; the Virginia Museum of Fine Art, Richmond; the Birmingham Museum of Art; the Abroms-Engel Institute for the Visual Arts, Birmingham; and the FRAC Auvergne, France. Smith is a Full Professor of Painting and Drawing at the University of Wisconsin-Madison. Photo by Jim Escalante Artist http://www.lesliesmith3.com/ Chart Gallery https://chart-gallery.com/exhibitions/49-leslie-smith-iii-reaching-for-something-high/ Joan Mitchell 2022 https://www.joanmitchellfoundation.org/leslie-smith-iii Joan Mitchell 2023 https://www.joanmitchellfoundation.org/journal/in-the-studio-leslie-smith-iii University Wisconsin–Madison https://art.wisc.edu/2022/09/23/leslie-smith-iii-wins-joan-mitchell-fellowship/ Two Coats of Paint https://twocoatsofpaint.com/2023/10/leslie-smith-iii-poignantly-off-balance.html Maus Contemporary https://mauscontemporary.com/artists/leslie-smith-iii/ Art Daily https://artdaily.com/news/162053/-Leslie-Smith-III--Reaching-for-Something-High--solo-exhibition-opening-at-CHART- Art New City https://art.newcity.com/2021/01/08/abstracting-lived-experience-a-review-of-leslie-smith-iii-at-hawthorn-contemporary/ M+B Photo https://www.mbphoto.com/artworks/17654/ Wide Walls https://www.widewalls.ch/maus-contemporary-expo-chicago-2019-leslie-smith-iii-interview/ Wikipedia https://en.wikipedia.org/wiki/Leslie_Smith_III

Julien Gardair portrait by Catherine Talese Julien Gardair is a French artist based in New York City since 2007. His cutout paintings, installations, sculptures, and works on paper are known for their adherence to strict sustainable systems. Gardair's art frequently incorporates a blend of languages and stories, creating a diverse and multilayered visual experience. Julien Gardair's recent paintings reveal his innovative approach to art.  Drawing inspiration from the Supports/Surfaces movement in France and the Pattern/Decoration movement in the United States, Gardair's art is a fusion of materiality and pattern, along with the structural constraints of Minimalism. These multi-faceted pieces are a synthesis of vibrant paintings and textile works and are created by employing techniques like folding, cutting, and stitching. His work challenges the viewer's perception of materiality. His sustainable approach ensures that no parts of the paintings are discarded, nodding to the global potential of restoration and upcycling. He holds an MFA from the École Nationale Supérieure d'Arts de Paris Cergy and his work has been shown throughout Europe and the United States.  Notably, he was included in La couleur toujours recommencée, the first exhibition of the re-vamped Musée Fabre in Montpellier along with Joan Mitchell, Sam Francis, Shirley Jaffe, Peter Soriano and others.  He has had solo exhibitions at Galerie Jean Fournier, Paris, Musée d'Art Moderne de Céret and Bric Arts, Brooklyn.  He was commissioned by the New York MTA Arts & Design to create a permanent installation for the 18th Avenue and Kings Highway stations in Brooklyn. The Mobilier National also commissioned him to design a Savonnerie carpet on display at the Elysée Palace. The exhibition  Julien Gardair / Melanie Vote: Concurrence, offers an intimate exploration of works by both artists, who beyond their individual artistic pursuits, share a bond as a married couple. The show, presented by Garvey|Simon takes place at DFN Projects, 16 East 79th Street until November 3rd, 2023, Monday to Friday from 11 am to 4 pm. Julien Gardair, Ascension, 2023, 16x12in, Acrylic on canvas, folded, cut, stitched, and stretched over wooden stretchers. Julien Gardair, Wide open, 2023, 16x12in, Acrylic on canvas, folded, cut, stitched, and stretched over wooden stretchers. Left: Julien Gardair, Zaouji, 2023, 16x12in, Acrylic on reclaimed pants and canvas, folded, cut, stitched, and stretched over wooden stretchers. Center: Melanie Vote, Flamboyan, 2023, 16 x 12, oil on paper on wood. Right: Julien Gardair, Striped, 2023, 16x12in, Acrylic on reclaimed t-shirt and canvas, folded, cut, stitched and stretched over wooden stretchers.

In the second part of their conversation, Ann Shafer and  printer/publisher Phil Sanders continue talking about the state of the printmaking ecosystem.    They talk about why supporting artists is important even if you don't like what they are doing, why that new Julie Mehretu set of etchings costs $250K, the imminent brain drain among our elder printers, and the importance of art and creativity to humanity's survival. Cynthia Bringle (American, born 1939). Blue Covered Jar with Fish. Ceramic. 21 inches tall. Rembrandt (Dutch, 1606–1669). The Three Trees, 1643. Etching, engraving, and drypoint. Plate: 8 3/8 x 10 15/16 in. (21.3 x 27.8 cm.); sheet: 8 3/8 x 11 1/8 in. (21.3 x 28.3 cm.). Metropolitan Museum of Art, New York. Pablo Picasso (Spanish, 1881–1973). Woman with Bangs, 1902. Oil on canvas. 61.3 x 51.4 cm. Baltimore Museum of Art, Baltimore, MD. Joan Mitchell (American, 1925–1992). Bracket, 1989. Oil on canvas. 102 1/2 x 181 7/8 in. (260.35 x 461.96 cm.). San Francisco Museum of Modern Art, San Francisco, CA. ©Estate of Joan Mitchell. Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA. Phil Sanders giving tour of the booth of Kingsland Editions at the Baltimore Fine Art Print Fair, 2023. Still from Stanley Kubrick's 2001: A Space Odyssey.   USEFUL LINKS PS Marlowe https://psmarlowe.com/ Phil's IG @phil_sanders_studio Phil's FB https://www.facebook.com/phil.sanders.printmaking

In s3e36, Platemark host Ann Shafer speaks with printer/publisher and author Phil Sanders about the state of the ecosystem. Phil has a finger in nearly every pie in the ecosystem, so after a Platemark listener wrote in to ask about breaking into the publishing end of things, Ann turned to Phil.    They talk about the history of print publishing after the print boom quieted down in the 1980s, why the prices of prints are in need of revision, and how to read a Joan Mitchell painting, among many other things. Their conversation stretches well past two hours and so Ann split it into two episodes.  Phil Sanders. Prints and Their Makers. Hudson, NY: Princeton Architectural Press, 2021. Sara Sanders (American, born 1979). Ballinglen Wildflowers 1-11, 2022. Watercolor monotype. 11 ¾ x 8 ¾ in. (30 x 22.2 cm.). Published by PS Marlowe, Asheville, NC. Jasper Johns (American, born 1930). False Start I, 1962. 11-color lithograph. Plate: 44.5 × 35 cm. (17 9/16 × 13 13/16 in.); sheet: 76 × 56.7 cm. (29 15/16 × 22 3/8 in.). Published by Universal Limited Art Editions, Bayshore, NY. Jasper Johns (American, born 1930). False Start II, 1962. Color lithograph. Plate: 44.5 × 35 cm. (17 9/16 × 13 13/16 in.); sheet: 76 × 56.7 cm. (29 15/16 × 22 3/8 in.). Published by Universal Limited Art Editions, Bayshore, NY. Jasper Johns (American, born 1930). Bushbaby, 2004. Intaglio in 10 colors. Sheet: 43 x 30 in. (109.22 x 76.2 cm.). Published by Universal Limited Art Editions, Bayshore, NY. Amy Cutler (American, 1974). Cake Toss, 2004. 10-color lithograph. 21 3/4 x 24 in. (55.25 x 60.96 cm.). Published by Universal Limited Art Editions, Bayshore, NY. Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA. USEFUL LINKS PS Marlowe https://psmarlowe.com/ Phil's IG @phil_sanders_studio Phil's FB https://www.facebook.com/phil.sanders.printmaking

durée : 01:24:59 - Les Nuits de France Culture - par : Albane Penaranda - Une vie, une ouvre - Joan Mitchell, peintre de la vitalité furieuse (1ère diffusion : 08/09/1994) Par Catherine Serre - Avec Philippe Piguet, Yves Michaud (philosophe), Philippe Dagen (critique d'art), Jacques Bouzerand (critique d'art), Véronique Buttin (reporter à l'AFP), Pierre Schneider (écrivain et critique d'art), Jean Fournier (directeur de la Galerie Fournier à Paris) et des visiteurs de l'exposition 'Joan Mitchell' au musée du Jeu de Paume - Lectures Rebecca Pauly et Valère Bertrand - Réalisation Jean-Claude Loiseau

The new definition of painterly success just might be having Elisabeth Condon describe your painting. It's truly that satisfying. Elisabeth is back on the pod to describe a painting, and it's a fascinating one: "Untitled" 1968-69 from the Edge Painting series by Sam Francis. Come along as Elisabeth takes us not only through the painting itself, but also through Sam Francis' life and influences: namely that of his beloved Japan. The concept of "ma" or the potential of emptiness, Asian ink painting, and Francis' unique anti-New York gentle lyricism all factor in to make this talk a riveting deep dive into this Californian-born, second-generation Abstract Expressionist artist. See an image of the painting here: https://tinyurl.com/2c487tpr (photo by Christopher Knight/LA Times) and https://tinyurl.com/ms8uxyj2 (photo by Elisabeth Condon) See Sam Francis at LACMA: ⁠"Sam Francis and Japan: Emptiness Overflowing"⁠ is up at LACMA in Los Angeles thru July 16, 2023 More about Sam Francis: https://samfrancisfoundation.org/ Find Elisabeth Condon online: https://www.elisabethcondon.com/ and on IG: @elisabethcondon Check out her work in person at The Golden Foundation in New Berlin, NY in "Made in Paint" (thru Aug 2023) and her mural-sized work at the Judy Genshaft Honors College Building at the University of South Florida (permanent). She is also now preparing for a solo show in December 2023 at Emerson Dorsch Gallery in Miami. Other writers and artists mentioned: Paul Jenkins, Joan Mitchell, Helen Frankenthaler, Morris Lewis, David Hinton (Chinese Art Scholar), Frida Kahlo, Arshile Gorky, Jackson Pollock, Marc Rothko, Pablo Picasso, Jean Miro, Paul Klee, David Park. Fernand Leger, Shirley Jaffe, Jean-Paul Riopelle, Georges DuThuit, Joan Mitchell, Ed Clark, Tachisme Abstraction Lyrique Movement, Jean Dubuffet, Wols, Norman Bluhm, Sherman Lee (Chinese Art Scholar), Sesshū (Sumi-e Master), Moby Dick by Herman Melville, Lee Ufan, Brice Marden, Monoha Group of Hawaii, Kiki Kokolvic, William Wilson (LA Times writer), Cecily Brown, Jackson Pollock, Steve DiBenedetto, Philip Guston, Nihonga Painting, Lisa Beck, Andrea Belag, Matthew Richie, Richard E. Speer (Art writer), Yoshiaki Tono Materials mentioned: Magna Paint, Hoechst Dispersions, Flashe, Guerra Paint Amy's show during Upstate Art Weekend: "Appearances" at the Strange Untried Project Space July 22-23, 11-6pm, More info: https://www.strangeuntried.com/ and on IG: @strange_untried And the Cut Me Up Magazine collage exhibition at the Albany International Airport through Dec 2023. ---------------------------- Pep Talks on IG: ⁠⁠⁠@peptalksforartists⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠ Amy's website: ⁠⁠⁠https://www.amytalluto.com/⁠⁠⁠ Amy on IG: ⁠⁠⁠@talluts⁠⁠⁠ ⁠⁠⁠BuyMeACoffee⁠⁠⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Episode 50 is a conversation with artist Audrey Phillips. We learn more about Audrey and her beautiful acrylic paintings and her incredible journey through life that included both dark and light, tragedy and triumph. Audrey received her Bachelor of Fine Art from the University of Florida. Audrey has exhibited in solo and group shows in Florida, where she currently lives, Georgia, North Carolina, Minnesota, Michigan, California, Texas, New Mexico and New York. Her work is can be found in corporate and private collection in the United States and internationally. In 2019, 54 of her paintings were acquired by the University of Tampa for permanent installation in their newly renovated Southard Family Building. Audrey states, "My art practice started quite by accident—a collision of tragedy and creative healing. In 2000, I started painting faces that were somewhat representational but mostly raw, darkly expressive and strangely abstracted. This work sprang forth from a deep loss. In my search to heal, my newly formed art practice became a visual healing process. After this ten-year journey, I started painting abstractly. This abstract work allowed me to tap into the internal energy I had learned to access through my yoga and meditation practice that also started in the year 2000," in an interview for Arts on Douglas. Audrey's paintings are expressive, bold and large, with beautiful colors and gestural mark making. Nature is her primary springboard and she often works in diptychs or two panels that symbolize the duality of life, the yin and yang, the light and dark. Her influences of artists are Joan Mitchell, Cecily Brown, and Willem de Kooning. Audrey teaches week-long workshops throughout the country. Her teaching style includes sharing her lifestyle with students. This includes the practice of meditation combined with full sessions of painting. The students work large in spacious studios in venues that have those types of facilities. This year she is teaching at Beverly Todd's Santa Fe Artist Getaway (you can hear more about this venue in our episode 46 with Beverly) and Paint Space NOLA in New Orleans. She accepts students after doing a portfolio review to make sure it is a good fit for intermediate to advanced painters. Check out the show notes for information on enrolling. Many thanks to Audrey for sharing her story with us. This episode is a powerful testament to the power of art in regards to healing and uplifting your life. Here are links with more information on Audrey. Audrey Phillips Website Interview with Audrey by Arts on Douglas, a gallery in New Smyrna Beach, Florida Article in Growing Bolder on Audrey Phillips (page 30) Audrey's workshop at Santa Fe Getaway Dates: September 25-30. Audrey's workshop at Paint Space NOLA Dates: November 6-11.

THIS WEEK on the GWA Podcast, we interview the acclaimed novelist, essayist and author of 18 books, SIRI HUSTVEDT! From memoir to poetry, non-fiction to fiction, Hustvedt's writing has touched on the topics of psychoanalysis, philosophy, neuroscience, literature, and art. Long-listed for the Booker Prize and winner of the Los Angeles Times Book Prize for Fiction, Hustvedt's The Blazing World is a provocative novel about an artist, Harriet Burden, who after years of being ignored attempts to reveal the misogyny in art by asking three male friends to exhibit her work under their name. It is of course a triumph, and other bestsellers include What I Loved and The Summer Without Men. Born in Northfield, Minnesota to a Norwegian mother and an American father, and based in NYC since 1978, it wasn't until 1995 that Hustvedt began writing about art. Since then, her art writing oeuvre has expanded enormously with numerous books and essays published to acclaim – which often focus on the fate of female artists in history, the biases of history making, and discuss the likes of Louise Bourgeois, Alice Neel, Adrian Piper, Lee Krasner, Betye Saar, Joan Mitchell, Dora Maar, among others – which I can't wait to get into later on in this episode… Hustvedt's writing is both eye-opening and groundbreaking. She has questioned how we measure greatness, if art has a gender, the effect of art and literature existing in our memory and the future of fiction. She has looked at the masculine traits of the mind and the female traits of emotion, the domestic vs the intellectual, and analysed how historians have not just told the narrative of art, but the narrative of the world. She has asked why absence is so prevalent and explored how women have reconfigured the body after years of what she calls ‘fictive' spaces… I love her writing and it's allowed me to unlock elements (and see things differently) in books, art, and more that exist in my memory. Favourite books include A Woman Looking at Men Looking At Women: Essays on Art, Sex and the Mind and, more recently, Mothers, Fathers and Others – which is part memoir, part psychological study. So I couldn't be more delighted to have her on the podcast today. Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Mikaela Carmichael Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ THIS EPISODE IS GENEROUSLY SUPPORTED BY OCULA: https://ocula.com/

Daniel Neofetou's Rereading Abstract Expressionism, Clement Greenberg and the Cold War (Bloomsbury, 2021) rereads Clement Greenberg's account of Abstract Expressionism through Adorno and Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how the movement opposes the ends to which it was deployed in efforts of U.S. imperialism during the Cold War. With reference not only to the most famous artists of the movement, but also female and non-white figures whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world which would do justice to them. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Daniel Neofetou's Rereading Abstract Expressionism, Clement Greenberg and the Cold War (Bloomsbury, 2021) rereads Clement Greenberg's account of Abstract Expressionism through Adorno and Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how the movement opposes the ends to which it was deployed in efforts of U.S. imperialism during the Cold War. With reference not only to the most famous artists of the movement, but also female and non-white figures whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world which would do justice to them. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Daniel Neofetou's Rereading Abstract Expressionism, Clement Greenberg and the Cold War (Bloomsbury, 2021) rereads Clement Greenberg's account of Abstract Expressionism through Adorno and Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how the movement opposes the ends to which it was deployed in efforts of U.S. imperialism during the Cold War. With reference not only to the most famous artists of the movement, but also female and non-white figures whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world which would do justice to them. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Daniel Neofetou's Rereading Abstract Expressionism, Clement Greenberg and the Cold War (Bloomsbury, 2021) rereads Clement Greenberg's account of Abstract Expressionism through Adorno and Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how the movement opposes the ends to which it was deployed in efforts of U.S. imperialism during the Cold War. With reference not only to the most famous artists of the movement, but also female and non-white figures whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world which would do justice to them. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Manon Gignoux, artiste plasticienne, est l'invitée du 13ème épisode de Femmes artistes / Artistes femmes.  Installées dans son atelier à Paris 20ème, nous avons parlé du jardin à sa fenêtre, des fleurs qui poussent entre les grilles, de la montagne et des fleurs fanées, de la robe de sa grand-mère, de la beauté d'une peau qui flétrit. Nous avons cheminé le long de son parcours d'artiste, immobile et dansant, jalonné de rencontres : des professeurs de l'école des Beaux-Arts, aux inconnus croisés, imaginés, à travers les vêtements qu'elle a trouvé. De cette disponibilité naturelle à l'émerveillement qui l'a conduite vers la réalisation picturale. La lumière s'est invitée dans cet épisode, celle de la grande verrière de son atelier, celle des silences qui ont parcouru nos échanges, celle de ses oeuvres qu'elle avait étalé au sol. L'épure de ses aquarelles, l'éclat de ses noirs, le jour de ses blancs, et la nuit de ses vêtements. Cet épisode est une ode au vivant, à cette disposition qui invite à la surprise et à l'émerveillement. Pendant cet entretien, nous avons aussi évoqué : Les artistes qui inspirent son travail  Fabienne Verdier, Chaïm Soutine, Joan Mitchell, Paul Cézanne, Paul Morandi, Lee Ufan, Claude Monet, etc. Références littéraires  S'émerveiller, Belinda Cannone Expositions à venir  Du 23 au 26 mars 2023 : Drawing Now Art Fair, Carreau du Temple - avec la galerie quand les fleurs nous sauvent. Du 29 juin au 1er juillet : Exposition des lauréat.e.s 2022 des bourses des Amis des Beaux-Arts à la chapelle des Beaux Arts de Paris. Et une exposition les 2 dernières semaines de juin à Annecy avec la Blossom Art Agency Oeuvre décrite en intro de l'épisode Anémones et corsage bleu breton, aquarelle sur papier 76 x 56 cm Le site internet de Manon Gignoux http://manongignoux.com et sa page Instagram @manongignoux Rendez-vous sur la page instagram du podcast @artistesfemmeslepodcast. Femmes artistes / Artistes femmes est un podcast entièrement indépendant créé et produit par Ada Kafel. Ada Kafel est artiste peintre et maman d'un petit garçon de 5 ans. On peut voir son travail sur son site internet https://www.adakafel.com/ ou sa page instagram @a_felka. Musique d'introduction : Leonie Pernet, Butterfly feat. Malik Djoudi Musique de fin : J'aime les gens qui doutent. Anne Sylvestre. Archives de l'INA 

A conversation with Masterworks Founder and CEO Scott Lynn. In 2017, Lynn founded Masterworks after seeing an opportunity to securitize fine art as an asset class and thus providing the common Wall Street investor access to blue chip art. Today, Masterworks is the world's largest buyer of art acquiring seven-to-eight-figure paintings from the likes of Joan Mitchell, Picasso and Basquiat almost daily to meet the demand of its nearly one million users. https://www.masterworks.comhttps://www.instagram.com/masterworks.io/

In this episode, the first page of three books will be read:Uncommon Measure: A Journey Through Music, Performance, and the Science of Time by Natalie HodgesNinth Street Women, Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art by Mary GabrielPOPS: A Life of Louis Armstrong by Terry Teachout

Samira Abbassy was born in Ahwaz, Iran in 1965 and moved to Lon-don, UK as a child. After graduating from Canterbury College of Art, she began showing in London. She moved to New York in 1998, where she helped to set up the Eliza-beth Foundation for the Arts, and the EFA Studio Center. Her work has been included in shows at the Metropolitan and the British Museum, and is in private and public collections worldwide, including: the Metropolitan Museum, British Museum, the British Government Art Collection, the Grey Art Gallery at NYU, the Burger Collection, the Donald Rubin collection (Rubin Museum, NY), the Farjaam Collection, Dubai, the Los Angeles County Museum and the Afkhami Collection. Her work is currently on view at CANDICE MADEY Gallery. During Abbassy's thirty year career, her work has been the subject of twenty gallery solo shows in London, Dubai and New York. Her fellowships include: Yaddo fellowship in 2006 and 2022, and Sal-tonstall in 2017. She has been awarded two NYFA awards in 2007 and 2018, a Joan Mitchell award in 2010 and a Pollock-Krasner in 2014. Abbassy was also nominated for the Anonymous Was a Woman award in 2018. In 2019 her work was included in the 26th Venice Biennial presented by Heist gallery London. Abbassy has also worked as an educator in many educational institutions in the UK and the USA, some of which are: Hunter college, Penn State and the University of Virginia, where she was the artists in Residence in April 2012. Samira Abbassy Anastasis, 2021 Oil on birch panel 44 x 33 1/2 inches 111.8 x 85.1 cm, photo by Jeanette May. Samira Abbassy Reincarnated Fears, 2016 Oil on birch panel 48 x 36 inches 121.9 x 91.4 cm, photo by Jeanette May. Samira Abbassy Love & Ammunition II , 2014 Oil on birch panel 48 x 36 inches 121.9 x 91.4 cm, photo by Jeanette May.

Charlotte Barrault, artiste peintre, est l'invitée du 12ème épisode de Femmes artistes / Artistes femmes. Première invitée de ce podcast, en février 2020, elle inaugure aujourd'hui une série d'épisodes autour de la thématique « Peindre les fleurs ». Installées dans son atelier à Paris 19ème, nous avons parlé de l'évolution de son parcours artistique, de sa passion pour les fleurs, de leur intrusion dans sa vie de femme et d'artiste, et du travail intérieur qu'elles ont suscité, en même temps que les doutes et réflexions autour du travail d'artiste. On découvre comment son œuvre a évolué progressivement d'émotions esthétiques pures et de recherche de justesse, à une expression plus intime et sensible, usant des fleurs comme d'un prétexte, de la spiritualité comme guide, et du mouvement sorore, induit par Le Cercle de l'Art, comme d'un soutien précieux dans son cheminement artistique. Cet épisode est une ode au cycle de la nature, à la beauté, au grand tout.  Les artistes qui inspirent son travail  Gaël Davrinche, Odilon Redon, Georgia O'Keefe, Joan Mitchell, Claude Monet, Henri Fantin-Latour, Manon Gignoux Les références littéraires Parler aux fleurs de l'artiste Etel Adnan L'interaction des couleurs de Josef Albers Peindre au corps à corps, Estelle Zhong Mengual Les projets en cours Participation à la saison 2 du Cercle de l'Art en tant que marraine et artiste participante Oeuvre décrite en intro de l'épisode :  Les dahlias rouges, diptyque, peinture sur toile. Le site internet de Charlotte Barrault : www.charlottebarrault.com et sa page Instagram  @charlottebarrault À retrouver également, sur Le Paon, deux cours de peinture à l'huile autour de la thématique des fleurs : www.le-paon.com Rendez-vous sur la page instagram du podcast @artistesfemmeslepodcast. Femmes artistes / Artistes femmes est un podcast entièrement indépendant créé et produit par Ada Kafel. Ada Kafel est artiste peintre et maman d'un petit garçon de 5 ans. On peut voir son travail sur son site internet https://www.adakafel.com/ ou sa page instagram @a_felka. Musique d'introduction : Leonie Pernet, Butterfly feat. Malik Djoudi Voix : Niki de Saint-Phalle, Annette Messager, Patti Smith Musique de fin : Hanna Rani, live from Studio S2. Artiste pianiste polonaise. La video du live est visible sur YouTube. 

Historiquement Vôtre réunit 3 personnages inspirés par Claude Monet : la peintre américaine Joan Mitchell dont le lien avec Monet semble évident mais qu'elle ne disait pas vraiment, même si elle a fini, comme lui, par peindre les paysages fleuris de Giverny. Puis le critique d'art et écrivain Octave Mirbeau qui, lui, a côtoyé Claude Monet en vrai et est devenu ami avec le peintre qui lui a inspiré de jolies lettres aussi. Et la star du film d'animation japonais connu pour sa Princesse Mononoké, son voisin Totoro et ses voyages de Chihiro, que Monet a inspiré dans ses dessins : Hayao Miyazaki.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Joan Mitchell. 

Historiquement Vôtre réunit 3 personnages inspirés par Claude Monet : la peintre américaine Joan Mitchell dont le lien avec Monet semble évident mais qu'elle ne disait pas vraiment, même si elle a fini, comme lui, par peindre les paysages fleuris de Giverny. Puis le critique d'art et écrivain Octave Mirbeau qui, lui, a côtoyé Claude Monet en vrai et est devenu ami avec le peintre qui lui a inspiré de jolies lettres aussi. Et la star du film d'animation japonais connu pour sa Princesse Mononoké, son voisin Totoro et ses voyages de Chihiro, que Monet a inspiré dans ses dessins : Hayao Miyazaki.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Joan Mitchell. 

Historiquement Vôtre réunit 3 personnages inspirés par Claude Monet : la peintre américaine Joan Mitchell dont le lien avec Monet semble évident mais qu'elle ne disait pas vraiment, même si elle a fini, comme lui, par peindre les paysages fleuris de Giverny. Puis le critique d'art et écrivain Octave Mirbeau qui, lui, a côtoyé Claude Monet en vrai et est devenu ami avec le peintre qui lui a inspiré de jolies lettres aussi. Et la star du film d'animation japonais connu pour sa Princesse Mononoké, son voisin Totoro et ses voyages de Chihiro, que Monet a inspiré dans ses dessins : Hayao Miyazaki.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Joan Mitchell. 

Historiquement Vôtre réunit 3 personnages inspirés par Claude Monet : la peintre américaine Joan Mitchell dont le lien avec Monet semble évident mais qu'elle ne disait pas vraiment, même si elle a fini, comme lui, par peindre les paysages fleuris de Giverny. Puis le critique d'art et écrivain Octave Mirbeau qui, lui, a côtoyé Claude Monet en vrai et est devenu ami avec le peintre qui lui a inspiré de jolies lettres aussi. Et la star du film d'animation japonais connu pour sa Princesse Mononoké, son voisin Totoro et ses voyages de Chihiro, que Monet a inspiré dans ses dessins : Hayao Miyazaki.

durée : 01:24:59 - Les Nuits de France Culture - par : Albane Penaranda -

LiveArt's George O'Dell and Sophie Coco discuss the mood in the market. George is just back from Paris Plus, the new Art Basel fair in Paris. He gives his impressions on the difference between the Paris and London markets. Can the two fairs survive side-by-side as they have for years or will one win out? Sophie and George also assess the Fondation Louis Vuitton Monet Mitchell show that brings together late works by both artists who lived in similar landscapes outside Paris but at different times. How does the pairing of two giants from different eras influence collectors? And what about the Joan Mitchell retrospective also on view at the same time? Finally, with so much interest in women abstract painters, in general, and such market curiosity surrounding the work of Alice Baber, in particular, Sophie talks through the decision tree collectors must consider when seeking out the next hot name.

This week's tips are brought to you buy New York city auction houses. It's going to be a busy fall in the art auction world.   Paul Allen's Art Collection Headed to Auction  The late Microsoft co-founder Paul Allen, was an avid art collector and it's all going to auction. It's valued at 1 billion dollars.  What can you get? One of my favorites is Gustav Klimpt's Birch Trees. It inspired me for more than one of my collage musical tree paintings.   You could also grab Georgia O'Keeffe's White rose and works from Agnes Martin and Louise Bourgeois.   There doesn't seem to be a recession when it comes to major collectors. This is expected to sell for the highest ever in art-auction history.   Grace Hartigan and the Ninth Street Women  Her work received new attention when it was part of an exhibit in Denver. She was also featured in the book Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art.  Elaine and Willem de Kooning   Elaine de Kooning was an accomplished landscape and portrait artist active in the Abstract Expressionist movement of the mid-twentieth century.  I knew about Willem and Elaine de Kooning, but I wasn't aware that they had such a turbulent history. The couple had what was later called an open marriage; they both were casual about sex and about each other's affairs. They separated for years to reunite again later in life.   Elaine's art reflected the turbulence similar to today's world of conflict and uncertainty. You can find out more about her influences in the book Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art.  Check out other books on my book club list here.   MoMA Plans to Auction off $70 Million in Art This Fall  The proceeds are going to be used for digital art and to create a streaming channel. The museum has a wait and see approach to NFT's but many others are all in. Check out my interview about this topic and how some artists are benefitting from the trend.   How Blake Jamieson Makes Money Selling NFTs  Art World Weekend Edition  Did you know that my book Artprenuer is available for pre-sale? I've got the best bonus' for those who purchase early including a trip to NYC for a coaching session with me. Don't miss out. Grab the book and the bonuses here.  

This week: Georgina Adam joins Ben Luke to discuss the intriguing story of the bankrupt entrepreneur and art collector, the museum scholar and a host of Old Master paintings given new attributions. We talk to Suzanne Pagé, the curator of Monet-Mitchell, an exhibition bringing together the Impressionist Claude Monet and the post-war American abstract painter Joan Mitchell, at the Fondation Louis Vuitton in Paris. And this episode's Work of the Week is a 1583 painting of Elizabeth I of England, known as the Sieve Portrait, which is one of the highlights of the Metropolitan Museum of Art in New York's exhibition The Tudors: Art and Majesty in Renaissance England. The show's curators, Elizabeth Cleland and Adam Eaker, tell us about this richly layered picture.Monet-Mitchell, Joan Mitchell retrospective, Fondation Louis Vuitton, Paris, until 27 February 2023. Joan Mitchell: Paintings, 1979-85, David Zwirner, New York, 3 November-17 December.The Tudors: Art and Majesty in Renaissance England, Metropolitan Museum of Art, New York, 10 October-8 January 2023 Hosted on Acast. See acast.com/privacy for more information.

Bill Scott was never looking to be an artist, it was like many other things - just in front of him. Following what was in front of him took him after art school to Paris where he had a chance encounter with Joan Mitchell that became a fruitful but complicated relationship. Bill's paintings are like himself:  they are meant to be seen from a distance and up close. His solo exhibition " I Stood There Once" is at Hollis Taggart gallery from September 8th - October 8th.See www.instagram.com/i_know_strange_people/ for images and comments.

So want to buy a Picasso? No, it's too expensive? Want to buy a teensy-weensy, tiny little microscopic flack of a Picasso? That sounds better, doesn't it? Believe it or not, that kind of sales pitch is actually gaining traction in a big way. In the wild world of fractional art sales, where massive new startup companies are buying up the bluest of blue chip art, think Basquiat, Joan Mitchell and Ed Ruscha, and selling what are essentially shares in these pieces to speculative investors. It's rapidly becoming a big business. But what you do you actually get if you buy a share in a painting, how does it work and what is it really worth? Artnet News, Senior Reporter, Katya Kazakina, author of the incredible Art Detective column joins this episode to talk about her new in-depth report on fractional art funds for the spring edition of the Artnet News Pro Intelligence Report, which just dropped last week.

Eva Avenue is an abstract expressionist painter in the East Village, NYC. She has mainly made a living as an editor and writer at newspapers and online publications. She has been publishing an art zine since 2009 called The Nightly Noodle Monthly, produces her own art shows, and is currently working on her debut film project The Art Show Movie. She is co-writing the soundtrack with friends and working a full-time job at The Art Students League of New York. Her dream is to have a storefront studio and bar in Manhattan where she can paint big paintings and have art parties with artist talks as a cultural beacon for voices in the city. Timestamp 3:06 Growing up with artist parents in Europe 4:30 Moving to Florida, getting an arts education, and starting out as an artist 6:51 The power of visualization, enabling access, and making things happen 9:32 Inheriting her late father's unfinished paintings and documenting their journey through film 11:09 Riding out the pandemic 13:37 Lessons learnt from living the artist life 14:17 Creating visions, illustrating dreams, and transforming them into reality 18:37 Dealing with self-criticism 19:28 The dynamic, evolving painting process and its unexpected surprises 20:50 Frank O'Cain, abstract expressionism, and why they matter 22:28 Future plans, visions, and dreams 25:29 Daily routines, support networks, and handling saboteurs in life 27:06 Detours and delays in realizing a vision are necessary for growth 28:53 How seeking clarity can help avoid pitfalls and identify unseen opportunities Social Media Website: evaavenue.com Instagram: @evaavenue Facebook: Eva Avenue Studio and Spoiled Horse Racer YouTube: https://www.youtube.com/c/EvaAvenueStudio TikTok: @eva.avenue Follow Patti Dobrowolski - Instagram https://www.instagram.com/upyourcreativegenius/ Follow Patti Dobrowolski - Linkedin https://www.linkedin.com/in/patti-dobrowolski-532368/ Up Your Creative Genius - https://www.upyourcreativegenius.com/  Patti Dobrowolski 00:03 Hello, superstars! Welcome to the Up Your Creative Genius Podcast, where you will gain insight and tips to stomp on the accelerator and blast off to transform your business and your life. I'm your host, Patti Dobrowolski. And if this is your first time tuning in, then strap in - because this is serious rocket fuel. Each week I interview fellow creative geniuses to help you learn how easy it is to Up Your Creative Genius in any part of your life. Patti Dobrowolski 00:39 Hey, everybody, it's Patti Dobrowolski. Okay, this is gonna be fun because we were already cracking each other up. Eva Avenue is my guest today. She's an abstract expressionist painter living in the East Village of New York City, our favorite city in the world. Well, next to Paris, I just want to say. Now listen, she made her living as an editor and writer at newspapers and online magazines. And since 2009, she's got her own nightly noodle monthly art zine magazine that she posted. It's incredible. So right now she's working for the Art Students League in New York City, and she's working on her first film - The Art Show Movie. She's getting up walking around right now. I don't know what she's doing. But she produces her own shows in any city - she can get one because she's incredible. And her big dream is to have a storefront - I love this big dream because I always walk by storefronts thinking, "Yes, that's the place I'll be", but she always wants to have a storefront, you know, that's got a bar in it, and a place where people can meet, filled with big paintings, and art shows, and interesting conversations - to be a beacon for people and voices in this city. Please welcome: Eva Avenue. Whoo! Hey, welcome to the show - so nice to have you here. Eva Avenue 02:04 So nice to be here. I had gotten up ‘cause someone was calling me during your fantastic intro. And so, yeah, there you go. Patti Dobrowolski 02:11 I love that, that's okay - because that's how we are. We're all casual in here. And so, I don't know, where are you? Are you in New York City right now? Eva Avenue 02:18 I'm in New York right now. And yeah. Patti Dobrowolski 02:20 Because every so often, like, I'll see a post from her. And then she's in St. Pete, Florida. And then she's in Albuquerque, New Mexico. And then you'll see her, you know, on Instagram doing these amazing paintings that I'm always like, I want to buy that one. I want to buy that one, and that one, and that one. And so, when you see her artwork, you're gonna feel exactly the same way, because it's really beautiful and it really expresses who we are right now. You really are a "right now" kind of person. Eva Avenue 02:49 Thank you. Yeah, I feel like that. Patti Dobrowolski 02:51 Yeah, well, and somebody said about you, you're the most "artist" artist that they know. And I believe that I feel that way too. So tell us a little bit about yourself, so people can get to know you. Where'd you grow up, and how did you become an artist? Or how did that evolve? Eva Avenue 03:06 Right? So my proclivity to be an artist kind of came about naturally because I lived many different beautiful places. And both my parents were painters growing up, and so it was just not even a hard thing to slip into doing. Not even on purpose. So I was born in Amsterdam, in an attic, my mom was going to painting school there, my dad had sawed all the legs off the furniture to make this like Amsterdam attic child friendly...and so on the ground it was very Zen. It was very painter-studio and- Patti Dobrowolski 03:38 -kind of the experience. Yeah, I love that. I like that. Eva Avenue 03:44 And so then...right, we went to Portugal. I was like a year and a half so we moved there where my father was from and, right, so just a lot of painting, a lot of - again that sort of bohemian lifestyle - and, you know, no reason for it, that's just that's just what they did. You know, it wasn't explained to me, "Eva, you know, art is important", or you know, this is what we're doing, it's just what was there. And so by the time we left, my mom left and we came to Florida. I really had this culture shock with these perfectly manicured lawns, I had to wear clothes outside, it was like really bizarre. So, right. I don't know, I felt, yeah, it was a little jarring, and I don't want to say like I threw myself into some sort of creative thing, but I do- Patti Dobrowolski 03:46 - You probably were like, Oh my God, where am I? Who am I? How to I find myself? How do I calm myself down? Eva Avenue 04:30 - And so I remember, I might just, but for some reason, my first thought was like, "Can you get me piano lessons?" I asked. My mom was like, I want to take piano. I remember someone mentioning, on our way, like leaving Portugal, I was playing some sort of, you know, these metal keys and someone said: "She's really good," and I thought, "I am really good." (laughs) Like yeah, this sounds like a succession of correct notes. And I thought that was fun and so, right. So I, yeah. So living in Florida, taking piano lessons, you know, just writing poetry, drawing - you know, that was sort of what I did well at and in school. And, you know, there was, you know, not some sort of family thing where, you know, it was weird to want to be an artist, even though there's- Patti Dobrowolski 05:03 No, because your parents were artists, I don't think I knew that about you. That's fantastic. Eva Avenue 05:21 Yeah! Patti Dobrowolski 05:22 So you were allowed to express yourself in any way you wanted to. Eva Avenue 05:26 I was, right. And so I just kept doing that. And then I enrolled to an Art High School, and I got more training. And so the - you know, the underbelly of that is being financially illiterate, and not really having a sense of how certain real world processes work. Yes. So, you know, I ended up with student debt, going to school, you know, I got a full ride to MICA - the Maryland Institute College of Art, it was my first choice, but they didn't have a full scholarship. So I went to New Mexico, and my mom really wanted me to go to school, you know - on my own, I might have just painted and seen what could happen that way and ended up in the city like that. But you know what - it worked out. I learned how to write well, and I did make a living off of what I went to college for, which was, you know, editing and writing and sort of arts journalism, because I thought: you know, what, if you're gonna make it on your own, you have to know how to write, you have to know- Patti Dobrowolski 05:52 Yeah. Eva Avenue 05:53 -talk to people, and you know, it's just like, a good skill to have. So yeah, I kind of was just gathering all these things and taking um, you know, music composition, and African dance, and ballet, and French and like, comedy writing, and I just had a really great time in college. So, yeah, I kind of just by miracle of sheer will have been able to sustain the life I've been living my whole life with, you know, pockets of hardship, or a little something, it feels like a detour. But in the end, you realize it wasn't- Patti Dobrowolski 06:49 Yes, yes. Eva Avenue 06:51 Right. And so but a big part of what I've done is visualization. And I have always understood - before I met you - that there was this kind of, yeah, there was like a currency beyond economics, that could be like, you know, brought up- Patti Dobrowolski 07:05 Access. Eva Avenue 07:06 Yeah, there's something else you can access and activate, even if you don't have money. And sometimes you- and I think the people that discover this are the people that have to find another way to make that thing happen, right? Patti Dobrowolski 07:15 That's right, that's right. Eva Avenue 07:16 You have to discover like, you know, what's the, you know, where's the book of spells, and everyone's looking for their own book of spells? And so Patti, you're a big- Right, you're a big, yeah, spell chapter when I found you. It was, it was pretty great. Anyway, so here I am on your podcast. This is so- Patti Dobrowolski 07:16 I love it. Well, one of the things that I wonder about- so, when you grew up with a couple of parents who are painters, you know, were they critical about your painting at all? Did they give you feedback about it? Did they let you just express yourself? Or how did they encourage you, or not? I'm curious, like, I don't know, if my parents were painters, or illustrators, if I would have ever drawn, you know, I might have been worried about how the picture looked. Eva Avenue 07:59 So my mom would give tips when I asked, or if she felt moved to point out, you know, how to do a simple trick to achieve a visual effect, but she did not really sit me down and like give me art lessons. I always kind of had them - the supplies were there and she would like, you know, she would drag me into her, you know, anatomy class for the portrait sections. And I would say, I was just always immersed in it, I'd go to these art shows. And so, yeah, usually if I asked, but I think she was just happy I was doing it. So she wasn't trying to crowd me. And then my dad was just, you know, one of those critical, you know, hard to please. You know, it's why she left - I went back again in Portugal in 18 to see him again, I remember his friends coming to visit, and I could see him being visibly annoyed when they would joke that I was better than him - but I don't know how much. I was like I really wanted to do - He like set up this canvas. This was in the south of Portugal. And he was like - in Portuguese, he didn't speak English - he's like, show me, you know, show me what you can do. So I made this beautiful painting. And I made it with some green in there, because I remember he would say that like, green's a hard color to paint - but it was mostly blue and yellow. I remember chopping up the green to blue and yellow to its pure states because those two make green and so, yeah, it was like this beach in this desert. And these people like carrying these gourds and - so but I just remember it annoying him that I was better. Patti Dobrowolski 09:30 - that you were better. Yeah, that you were better. Eva Avenue 09:32 But not necessarily better. But because he made really beautiful work that tourists love, like, he's like the moon on the water and the thing, but right, maybe that was more absurd. Maybe he wasn't so...imaginative. Maybe they were out of his imagination, I don't know. But the funny thing is, so this art show movie I'm making - which is in lieu of a solo abstract show I was going to have but COVID shut it down - so, I'm making this movie instead, and my sister in Portugal just sent four paintings over that my dad had made - you know, he died in 2006. And, they're for me to finish, they're like, unfinished. Patti Dobrowolski 10:02 Wow. Eva Avenue 10:03 It's all, it's kind of beautiful. And so I, I still haven't picked them up because A) it's intense for me and B) I want to film going over there and getting them. Patti Dobrowolski 10:12 Yeah, as part of this movie. Eva Avenue 10:13 Yeah. And then the movie will culminate in an actual physical art show. And so I would like to have those paintings in there that my dad did, that I finished - one of them. I don't think I will, I think I'll just leave it as it is - but yeah, it's- Patti Dobrowolski 10:24 Wow, that is so great. So when we met, and then COVID happened - or maybe we met during COVID, I can't remember - but, what I do know is that you started to make this movie, The Art Show Movie. And I can't wait for that. Because the way that your brain works is just incredible. I mean, you are always piecing together new ideas, and they're just exploding. And so, for you to have that vision of what it will be, and then also, you're really a big, ginormous risk taker. I think, as an artist, I mean, you'll just move to a city and then you're just going to do it. you're going to figure out how it's going to go. And so tell me, you were recently in Albuquerque, what were you doing there? Eva Avenue 11:09 I was riding out the pandemic and painting for the show I had gotten. So I, initially when I got this show - and it was right before the pandemic it was finalized, and around the time I met you, although I had known your work beforehand. So yeah, I wanted to paint anyway. The pandemic hit, my work went remote. And suddenly I could go out west, where I used to live and work on these large paintings because it's hard to paint and a little like- Patti Dobrowolski 11:34 Yeah, in a studio apartment or one bedroom apartment, right? Eva Avenue 11:38 Which, which I'm back in the city, but whatever. But I have so much space- Patti Dobrowolski 11:42 When you get that big storefront space, right? Spread out, and the big paintings - I can't wait. Eva Avenue 11:49 Yeah, that's the dream, which is you know, back in the day, you see this beautiful pictures of these abstract expressionists in the 40s and 50s here in New York, and they had all these, these big warehouse spaces, because they're- Patti Dobrowolski 11:57 Even in the 70s. I mean, even if you look at those, you know, you can see this space in that movie. And I'm thinking, no, yeah, that's- Eva Avenue 12:06 - It's not like that scrappy city as much anymore. You really have to have money to buy it. And so thank God, I married someone with good credit. So I couldn't- I was thinking because before last time I moved here, I even had a snake in my room. And it was just like, like, Man, this is a lot. So but yeah, that's what I found your videos when I was looking- Patti Dobrowolski 12:21 Yeah, well, when you went to New Mexico, and then you just painted for the show itself, and created all the work. How many paintings did you do for the show? Eva Avenue 12:33 I have, like, I guess about 10. And I'm currently working on more because the longer this movie is taking, the higher my standards are, and the bigger my dreams for how this looks. So- Patti Dobrowolski 12:48 - That's okay. I was just asking you about how many paintings, but I was curious about how many paintings are in a typical show, like the one you did in New Mexico? How many were in that show? Eva Avenue 12:59 So I've had shows in New Mexico, there is not a show that I didn't- Patti Dobrowolski 13:02 Okay, so you went there to create the movie. Ah, I get it, I get it. Eva Avenue 13:06 I brought them with me to New York - I still have the work, I'm still working on the show. And so I mean, I've sent them like a large number of like, smaller abstract ones. And I'm now working on it. It's not abstract, but I meant to make it abstract. Now, I accidentally have this portrait of Fran Lebowitz and Dr. Dre because they're both ruthless and the baby's called Ruthless. Patti Dobrowolski 13:24 Fantastic. I love that. Yeah. I love that now. And then, what, how do you make money? Do you sell your artwork? Can you do it specifically with that now? Or how do you make a living as an artist really? What have you learned? Eva Avenue 13:37 I - Yeah, I've learned that it is such hard work. It's just really hard work unless you get lucky but, I mean, it's either hard work and then you know, nothing - or it's hard work and then you get lucky. So, we're gonna slow climb - you know, there's many ways to go about it, but yeah, I do work jobs. It's so, right now the financials of what I do is more hobby status because I get - I'd make sporadic sales because I'm not so concentrated on it. But, I do work at the Art Students League of New York, which is, like, if I can't be at the Yale School of Painting - Patti Dobrowolski 14:12 I was gonna say like, that is like the most incredible place to be, right? Eva Avenue 14:17 So basically every artist from New York and from outside of New York who had to use a, you know, as a way to study in the States went through there. Everyone, except Andy Warhol - but his nephew did go there. You know, we got Paula, we got Georgia O'Keeffe. I mean, just everyone went through there. And so to be in those walls, to be there, you know - with access to the teachers, being able to take classes there, just meeting all these New Yorkers and just being able to talk with my artistically minded coworkers. It's, I feel like I'm in a nucleus, like a little nucleus, like I just knew everybody. And so, right in there's people I want to interview for the show and I'm thinking like, how can I, you know, use the League for part of this movie? So yeah, the paintings are getting bigger, the dreams getting bigger. You know, I'm working on a soundtrack for it. And it's, you know, so much visualization went into this, I can't even - I thought I'd be like, you know, talking about sort of all these little points, but then, you know, I just want to tell you what happened. And it's like getting into how I even brought all this stuff about. But, I mean, everything has been a drawing. Like, I made a vision board about moving to Manhattan, which is just so hard. It was so expensive, and it's just the, but the COVID pricing made it happen. And so- Patti Dobrowolski 15:24 So you were able to- so you drew it in a picture. Eva Avenue 15:27 Yeah, all the cool stuff I make happen, I drew in a picture, visualized it, or I made a collage for it. And yes, just either - and either like how you say, you know, your brain guesses its way to an outcome, it'll either be like that, or the picture will solidify the thing in my mind so I don't give up on it. Like when I get this art show, and it was in Ireland and I was coming up with a lot of like, obstacles, but it was that drawing I made that I learned from you, that just counts like, I have like, no, I'm not gonna let that drawing down. I'm not gonna let that vision down. And it just works so well. Patti Dobrowolski 15:58 Yeah, well, I think as an artist, you know, you already understand the power of the visual, and that the visual just unfolds for you, and the painting evolves. And so, I don't know what your process as an artist is. And so, maybe you can speak to that. But what I do know is that, when you have that picture, you said it solidified it, and it made it so that you wanted it to happen. And those things - that's part of that magical energy you were talking about earlier. And your parents did it, right? And your mom moved from Portugal to the US, right? To Florida and did that. And part of that is, you know, trust and will and grit, and going forward with the vision of you as an artist, right? Eva Avenue 16:45 That's right. And so, yup, the fact that we're bringing this up, I'm thinking about something I wanted to tell you I read in Jensen's History of Art. It's this like, tome of just the world's history of art, starting with cave paintings. And I read something and I immediately thought of you because it talks about the Lascaux cave paintings. So they're hidden away, they're not accessible by some casual intruder at the mouth of the cave, but they are put back because of the the ritual involved in the power. And so they would make these realistic, you know, big game animals as a part of a magic ritual to ensure a successful hunt. Now, so when the climate started to warm up a bit, and they start to head north, the animals start to head north, they shift from like, ensuring a killing of a hunt to literally drawing these paintings, these animals in the cave, and trying to get as realistic as possible, because they think they're now bringing them like into existence. They are making more animals, they're not drawing a distinction between an image and reality. To them, it's kind of the same. And I'm like, that's literally what Patti was talking about. And it's just like this. It's just amazing to see this thread from the dawn of, of humanity, like, and it's, you know, you can repackage it, but it's kind of the same approach. Patti Dobrowolski 16:47 Yeah, it is. Well, and I think people don't- they underestimate the power of drawing something, you know, and the fact that it's part of your DNA. It's your heritage, that you were some time - and you know, if you believe in, you know, evolution, you evolved from that. So somewhere in your cellular structure is a portion of you that can draw, if you can get the critic out of the way, right, right, then it's much more powerful. How did you learn to get your critic out of the way? What do you do when you start to feel critical about what you're doing? Eva Avenue 18:37 I remember in high school feeling very insecure and weird and self-conscious. And then I remember having this sort of breakthrough moment where I realized everyone felt that way. Like, people are too busy thinking about themselves and their shortcomings to maybe judge me. And if they aren't, then I don't know. Maybe they're a little bit like, oh, snaky, and I don't need them around. (laughs) So, I don't know, from there, I kind of just relaxed and you know, I remember appreciating when other people would mess up in front of the public eye, because I remember not judging them. I just remember feeling more relaxed within myself. And so I thought, you know, what, if you're messing up, like, just, that's fine. And so yeah, I just really haven't worried about how I look too much in public with uh- Patti Dobrowolski 19:23 Well, well, and also with your art, you know, that's part of it. Is that you? Eva Avenue 19:27 It's a big part. Patti Dobrowolski 19:28 Yeah, you evolve. Do you evolve within the painting itself, the process within itself? Or do you have a set idea of what you're going to paint and you sketch it out with a pencil? And then you go from there, but then does it evolve? If that's the case, how does it - how do you approach it? Eva Avenue 19:44 It evolves even if you have it sketched out. So, much like the drawings I do for visualization, and I started keep coming back to it, but that is what you're about. And so yeah, I've noticed that like with visualization, drawings, or posters, it doesn't always come out exactly how you put it, whether it's like one specific picture, like many things like- so there's always this sort of margin of, you know, the unexpected outcome of what your dream ends up looking like. There's the unexpected outcome of what the painting ends up looking like, and it's always kind of a surprise. And it's always a little, yeah, it's, it's kind of fun. Because I mean, if you are just trying to recreate what you see, and you succeed at that, then that's fine. And that's great. And there's a market for it. But I just feel like it's a little bit more exciting. It's a little bit more rock and roll to just sort of like- Patti Dobrowolski 20:33 - let it evolve and let it be what it is, I think. And then do you have, you know, other painters? I know you do probably at the Art League, but do you have any other painters in your life or other artists that really influence you and impact you? Who are your role models in a way? Eva Avenue 20:50 My role models are... Patti Dobrowolski 20:54 Or who do you / are you interested in right now that you think, oh, that is so cool, what they're doing - like that? Eva Avenue 21:01 Frank O'Cain - who I'm taking a class from right now - comes from this lineage that started the school of abstract expressionism in New York, and like, and the lineage goes back to Europe. So when you're somewhere in the country, and you think you're making an abstract painting, and you're thinking that you're just expressing a thing, you might not realize there's this very solid, like, coming about and process of thinking that made abstract expressionism possible. I mean, it's such a thing. And it's like a pearl of an oyster of a lot of discussion, a lot of turf wars. And the CIA, actually, at one point, was helping fund these art shows by the Abstract Expressionists because it seemed like an anti-Russian thing to invest in - because it was about, like, free thought. And it was like- Patti Dobrowolski 21:49 Oh, wow, doesn't that sound just so like the CIA? That is so crazy, wow! Eva Avenue 21:55 It is. And so you think it's these shapes on a canvas - and you just learned it's so much more. I mean, it's a national identity that, yeah, I mean, it's a lot. So yeah, I'm currently getting more kind of serious when it comes to abstract work that is more like committing to a form of committing something as solid beyond just expressing something that I think is a good composition, which is part of it. But yeah, so I'm really nerding out on the, yeah, growing as an abstract artist- Patti Dobrowolski 22:22 No, I like that, actually. It's interesting. I think that because if you're not an artist, you don't understand sometimes where you see people do a painting, and you think, hmm where they get that? Or where they get that idea, or how did they, especially an abstract expressionist painter, is a very unique stream of painting, right? It's not a realism. It's just such a free form, in and of itself. And so even if it has people in it, and things in it, it really is the composition is about that. And so - that freedom, and I could see why the CIA would want to study that and follow that. But it seems like a non sequitur to me, you know, like, that's not the right word, but it just doesn't seem to match up. Eva Avenue 22:24 It's surprising, yeah, information. Patti Dobrowolski 22:28 Yeah. And when you when you think about yourself, and what you want to do, like when you envision the future, what's on your future map now? Where do you see yourself? Is part of it the storefront studio, where you got these big paintings and stuff like that, but what else? Eva Avenue 23:26 Yeah. Well, so I see myself in like a high collaborative editorial place where people come to me for creative collaboration - if they want a certain, like, vibe on a photo shoot. I do like to get out and do these, like extracurricular sort of projects, which I do. Patti Dobrowolski 23:46 -You do all these weird things, yes you do. Eva Avenue 23:48 - But then yeah, I do want to have like a - Patti Dobrowolski 23:50 Give an example of one when you say that, so people know what extracurricular activities, what would that be? Like you standing in front, interviewing people - what is it? Eva Avenue 24:00 I would love to play Joan Mitchell - the abstract painter, in Amy Sherman-Palladino's upcoming project - she's supposedly doing you know, she did Marvelous Mrs. Maisel. She's turning Ninth Street women about these abstract expressionists, the women there into this film and I'm like, how cool would that be, right? Or how cool it'd be if Wes Anderson called me up and was like, you know, we want to give this like, the Eva vibe on like, the backdrops - like can you help with the backdrops or like, to be in just one of his films is like an artist character. Like, I feel like I, yes, just- Patti Dobrowolski 24:34 Yes, yes, you definitely could do that. What I love about this - and so if anybody out there knows this person, I want you to connect her to them - because this is how the universe works. You just put it out there. So we're going to just see if we can manifest that because, you know, what's fascinating to me about what you do and who you are, is - you're always wacky, you're just doing some wild things. Even when you were coming through Denver, we didn't know each other at all. She shows up in these hot pants in my house, I've got these contractors, they're like, just totally scoping her. They can't like, take their eyes off of her. I'm like, get back to work. And we're just having this chat. And it's fantastic. You know, I mean, you really are an artist artist. You really are. And so I'm curious, when you - what's your day look like, from start to finish? What's it look like, a typical day? Eva Avenue 25:29 Well, when I wake up, I check on Zelenskyy. Is he still alive? How's he doing? I make coffee. I take the train to work. I'm there all day, I come home, where I just either, you know, work on one of my projects, or, you know, pass out or have dinner with my husband, who I also met through drawings that I did using your method. So good. And then- Patti Dobrowolski 25:56 Well, when he's such an - he's an artist himself, so you know, I mean, he's just an incredible person. Eva Avenue 26:02 Yeah, no, yeah. I mean, if - I'd heard, you know, to be successful, you need to have a supportive partner. Like, that's one of the things for success. And I was like, well, I really don't have that ever. What I really have are saboteurs of my life, who come and suck me dry and then are so rude. (laughs) Like, it's just like, yeah, I need to like really solidify my foundation so I can operate on a higher kind of plane where I'm not constantly having to like pick myself up again, which was, you know, sort of another like underbelly- Patti Dobrowolski 26:32 Well, and you drew a picture with him in it. That was how we met - is that you watched that TED video, you drew a picture of your husband, then somehow you contacted me to tell me that what you had drawn showed up in your real life. Your husband. Eva Avenue 26:47 Yes. Patti Dobrowolski 26:47 You married him. And it hadn't been that long that you were married to him that you contacted me. Eva Avenue 26:52 Yeah, yeah, it took a year. And I remember you saying in the TED Talk, like, "Oh it'll take about a year", and it took a year. And I was just like, that is a genius. What is happening? So anyway, yeah. So- Patti Dobrowolski 27:02 it just lodged in there. And then you took it as truth, that's all. Eva Avenue 27:06 Yeah. So since then, some things will take less than a year, some things will take more for you. Like I did this drawing like two years ago to like, clear my student loans. It's now been two years, but some take longer. So I'm still going through that. But yeah, so then the weekends, that's when I like, have time to work on my projects. So I'm either, yeah, painting or reading or, you know, playing guitar, my little honeycomb comb...tome...HoneyTone amp - and it's very cute, I love it. Yeah, but this full time job is new. So usually, when I would have that job, where I was working from, like remotely doing social media for coffee, I could just - I was traveling, I was staying with friends. I was like, creating artist residences for me. And so this is, yeah, I love the job. I love where I'm at. And I hope to eventually go back to a place where I do have more time. Yeah. Patti Dobrowolski 27:53 And what's true is that, you know, you said earlier, you said, you know, sometimes you move forward in this trajectory of getting your vision, and then sometimes you kind of have a detour. And to me, this is like the change Genie detour card, right? That in the weather that you might encounter in your life, you got a detour. However, this was an essential detour for you as an artist. And so I'm fascinated by that, because that tells me you're on the right track to stepping into even more into your greatness, and being seen and known for the beautiful work that you do. Because, honestly, people, it's beautiful. You know, there are painters, and she's just incredible - so, you have to check out her work. Now, tell me, Eva, if you were going to give advice to anybody about how they could pivot, how they get through, you know, and the highs and lows of what their experience is, what would you say? What are your tips? Eva Avenue 28:53 I'd say, do whatever you can to get really clear. That's a great basis, like and I mean, like, if you just noticed that maybe you are really stuck on something or it just, you know, physically or mentally or emotionally, I think it's really good to be clear, because then you do have the space to, yeah, go forward on these pivots. But when you're clear, you also can pay more attention to hunches. You know, you can recognize a wave, you know, you're like a surfer, you want you want to hop a wave, right? So if you're too scared, if you're sitting on the beach, like oh my god, I don't, like I can't tell the wave like, so you got to recognize these waves. And like, so just a quick example - I really wanted to work remotely. That was so important to me. I mean, that's really a dream, right? Patti Dobrowolski 29:39 Yeah. Eva Avenue 29:40 And I did not have a remote job. And I just got this like idea in my head, I don't know why, I just thought - there's this coffee shop called Janeiro's in St. Pete, and she wasn't doing very well. And I was like, I'm just gonna offer to do a mural, a very, very big mural. And i'm not gonna ask for money and I'm just gonna do it, and it was completely irrational. Why would I, I don't know, but I offered it, she gave it to me. One year later, you know, after I made that drawing, okay, so I did that like half year later, I moved to New York, I do that drawing that you had done, that the, my husband- Patti Dobrowolski 30:09 -Draw your Future with your husband, yeah- Eva Avenue 30:11 Right. And so, like a year, and then I eventually moved back to St. Pete to make this album. And it was that painting I had done of the coffee farmers in this coffee shop, where an interview I had - someone had set up for me, like just called me out of the blue like, hey, like they need this social media person. And so I met her like down the road from where that mural was. And at the end, I said, Hey, I want to show you something. And she goes in, and she sees this depiction of literally - literally, what is the core brand message of the company, right? Like, like Fairtrade, like pro-farmer, and I have these farmers, it's very uplifting, and she was like, what - I mean, that's a pretty big sign like, hire this girl, right? So you just have to like, you have to- Patti Dobrowolski 30:51 Follow your hunch, yeah. Eva Avenue 30:52 You have to follow it, you have to do something to start driving it forward. So yeah, you have to- Patti Dobrowolski 30:58 That's interesting - drive it forward to move it. Eva Avenue 31:01 Yeah, you have to drive the thing forward. So even if it's not landing an interview, if it's just like, yeah, putting a picture up, or you know, just getting an outfit that you would wear in this sort of situation - just doing something to start to shift your life toward that. And you have to, you know, kind of keep it like a big vision, because it's not going to happen immediately all the time. But, you know, sometimes you feel like you might be deserving of that because you see social media, and everyone's got so easy on social media, why can't you have it too easy too? But it's not. It's not. Patti Dobrowolski 31:28 Yeah, no, I love that. It's really not true. I think that, you know, look at how old I am, it's still not true. Sometimes it's not true, you really have to work - you have to. And we talked just briefly about grit, how grit is essential to you moving yourself forward. So you have a big picture vision of where you want to go, and then you pay attention to your hunches about what you should do, and then you do that. And then later, you see: maybe a year later, you see the link between the two things and what has happened. And you know, I think everybody - I don't know about you, but I think everybody's cycle of manifestation is very different. But, you can accelerate things, and you can inspire yourself by having that picture - and that is the whole point of it. There's no other reason to be doing it, except that it fills you with dopamine, you know, it makes you feel high, like you're capable and confident - you're suddenly you know, super person, you "There you go! You're gonna be able to do it", and you get your cape on, and then you go out and you do these weird things - and they all link up at the end. And so, you know, I think when I think about you, and just, you're growing up now that I know that and now you're at the Art League, you know, and that you're constantly learning and trying to do different things and stretch yourself. These two are other ways that tips of how you can be bigger in the world. Because it's not about you getting to the end result, I think people think, you know, it's all about making it, whatever making it looks like and trust me, every moment is making it. And I know that from watching you, because every moment you appreciate whatever it is - and you post that appreciation, so we can see it. And it's not always pretty, it's not always perfect - but it is appreciating the moment. And so, thank you for that. Eva Avenue 33:32 Thank you for that. That's, I guess I do do that - I feel so connected. Yeah. (laughs) Patti Dobrowolski 33:38 Well, that's fantastic. Well, I can't wait to have you back. Eva Avenue 33:41 I can't wait to come back! Patti Dobrowolski 33:42 After we've learned - whatever the, I mean, like in a year, I want you to come back on this very day in a year so that we could see what happened from here and to see whether you get in that movie or not - I don't care. I think you should! Eva Avenue 33:55 Yes! Patti Dobrowolski 33:56 I'm saying it's gonna happen. Eva Avenue 33:57 Whoo! Then I pay off my student loans, let's see what happens, in what year. Patti Dobrowolski 34:01 That's right. Will you be in that movie? Will they ask you to do the backdrops? Who cares? Will you be an artist? In that, that set of that - that would be fantastic. And will your movie be complete? I'm sure it will. So, I love you so much, and thank you for spending time with everybody. Oh gosh, thanks for being- Eva Avenue 34:17 I love you too, so much. Thank you for having me on this podcast. It's always good to see you and I'm happy that I could share my story with everyone. Yeah, Patti Dobrowolski 34:24 Me too. Thanks again. Alright everybody, you know the drill - you definitely want to connect with Eva Avenue. You want to follow her, you want to see her beautiful paintings and then you want to buy one, and then you want to go on with your day and take some of her tips and apply them. And then, you know, forward this to your friends if you liked the podcast, and send us a note just to tell us what you thought was incredible about this experience. So, I can't wait to see you again! And so until next time, Up Your Creative Genius and I mean it - I mean it. Patti Dobrowolski 35:00 Thanks so much for listening today. Be sure to DM me on Instagram your feedback or takeaways from today's episode on Up Your Creative Genius. Then join me next week for more rocket fuel. Remember, you are the superstar of your universe and the world needs what you have to bring - so get busy! Get out, and Up Your Creative Genius. And no matter where you are in the universe, here's some big love from yours truly, Patti Dobrowolski and the Up Your Creative Genius podcast. That's a wrap!

Joan Mitchell at the Baltimore Museum of Art.  Sheila, Tom, and Peter discuss Abstract Expressionism.

For the seventh episode of "Reading the Art World," host Megan Fox Kelly speaks with Sarah Roberts and Katy Siegel about their new book, “Joan Mitchell,” which accompanies the retrospective they co-curated. The exhibition, "Joan Mitchell," opened at the San Francisco Museum of Modern Art in September 2021 and ran there through January 17 of this year, and it opened on March 6 at the Baltimore Museum of Art, continuing through August 14. The book was published by SFMOMA in association with Yale University Press, New Haven and London."Reading the Art World"  is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications.Megan Fox Kelly is an art advisor and President of the Association of Professional Art Advisors who works with collectors, estates and foundations. For more information, visit www.meganfoxkelly.com"Joan Mitchell," by Sarah Roberts and Katy Siegel, can be purchased at https://yalebooks.yale.edu/book/9780300247275/joan-mitchellTo learn more about the Joan Mitchell Foundation, go to www.joanmitchellfoundation.orgMusic composed by Bob Golden.

Why haven't we been talking about JLo more here? Well, we're about to remedy that—and fill ya in on more, more, more design trends that are speaking to us right now.   The women artist biographies/books Claire will be picking up include Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five PaAnne Truittinters and the Movement by Mary Gabriel, Daybook: The Journal of an Artist by Anne Truitt, and Everything She Touched: The Life of Ruth Asawa by Marilyn Chase.   If you're also looking to do a JLo deep-dive, we recommend reading How to Fake It in Hollywood by Ava Wilder, Funny You Should Ask by Elissa Sussman, the story of the full-page ad Ben took out back when, Vulture's Peoria, Illinois, analysis re: Marry Me, and this GQ article about THE dress. Also, listen to Just Like Us: The Tabloids that Changed America hosted by Clare Malone and watch the music video that Ben made to “On My Way To You” for Jen for Valentine's Day.   In the home-design realm, some inspiration comes from two incredible New Orleans hotels, Hotel St. Vincent and Hotel Peter and Paul.    Fellow lovers of yellow furniture should bask in Billy Cotton space for Grace Morton, Sophie Ashby's giant yellow velvet couch, and this kid's room.    If you're thinking of doing some furniture-painting on your own (inspiration: Matilda Goad's London home!), see Erin Boyle of Reading My Tea Leaves make-over a dresser on IG and read her guides for refreshing trim and kitchen cabinets.    Wood paneling—SO COOL. See: Sound View Hotel, ​​Les Arcs ski resort, Jane Hallworth for Tinder co-founder Sean Rad and his Wife Lizzie Grover Rad, and Wall for Apricots.    On the Swedish tile stove front, we love painter Mary Nelson Sinclair's dining room, Victor Hugo's fireplace, Lindholm Kakelugnar, and this explainer from Messy Nessy Chic.   Your favorite niche JLo stories need an audience! Share ‘em at 833-632-5463, podcast@athingortwohq.com, or @athingortwohq.   So many more recs coming at you with a Secret Menu membership!   Get professional counseling with BetterHelp and take 10% off your first month with our link. Download Best Fiends—it's free!—on the App Store or Google Play. Grow hair that's thicker and healthier with Nutrafol. Your first month's subscription is $15 off with the code ATHINGORTWO. Help those muscles chill: Try Theragun for 30 days. YAY.   Produced by Dear Media  

Was genau ist eigentlich der Impressionismus und warum gilt Claude Monet als dessen wichtigster Vertreter? Ist seine Kunst eigentlich harmlos oder radikal? Oder wie gelang es ihm, gleich zwei Revolutionen in die Malerei einzuführen? Das sind die Fragen im neuesten Podcast "Augen zu". Es gibt Maler, die sind so berühmt, dass am Ende niemand mehr genau weiß, warum. Claude Monet ist ein solcher Fall, 1840 geboren und erst 1926 im biblischen Alter von 86 Jahren gestorben. Man verbindet ihn mit Mohnblumenfeldern, mit flackerndem Malstil, mit riesigen Seerosenbildern – überall finden sich inzwischen seine Motive, auf Postern, auf Taschen und auf Kühlschrankmagneten. Monet ist zum Inbegriff des Impressionismus geworden – aber warum? Davon erzählen Florian Illies und Giovanni di Lorenzo in der neuesten Folge von "Augen zu", dem Podcast von ZEIT und ZEIT ONLINE. Schon als Schüler machte Monet durch seine hinreißenden Karikaturen auf sich aufmerksam, dann nahm ihn Eugène Boudin unter seine Fittiche, der große Maler des Meeres der Normandie, und bei ihm lernte er den Blick in den Himmel, er malte die Luft und er malte die Wolken. Dann ging Monet nach Paris, wo jener Mann, dessen Name manchmal mit seinem verwechselt wird, gerade für Furore sorgte: Manet. Und während Eduard Manet mit seinen Figurenbildern, dem "Frühstück im Freien" und seinem riesigen provozierenden Akt der "Olympia" für Aufruhr sorgte, wollte Monet das Gleiche mit seinen Landschaften erreichen, er setzte sich mit allen Sinnen dem Licht und der Natur aus. Manet wie Monet wurden vom offiziellen Salon ausgeschlossen und so zeigten sie 1874 in der ersten Impressionistenausstellung ihre malerischen Revolutionen. In der Ausstellung hing Monets hingeblinzelte Ansicht des Hafens von Le Havre im morgendlichen Dämmerlicht, die er "Le Havre, Impression, Sonnenaufgang" nannte. Und so gab sein Bildtitel einer ganzen Kunstbewegung den Namen. Worum ging es den "Impressionisten"? Sie glaubten nicht mehr daran, dass es eine Abbildung der Wirklichkeit gibt, die gültig ist, sondern hatten in der Natur erkannt, dass das Licht jeden Gegenstand verändert, dass er zu verschiedenen Tageszeiten ganz unterschiedliche Farben und Ausdrucksformen annehmen konnte. Es gibt keine Wahrheit mehr, es gibt nur noch Versionen – das ist Monets erste bahnbrechende Neuerung, darum malt er einen Heuschober zu den verschiedenen Tageszeiten und dann die Kathedrale von Rouen, er suchte, zeitgleich mit Marcel Proust, nach einer künstlerischen Form, die verstreichende Zeit zu malen. Diese Serienbilder Monets sind die wahren Vorboten von Andy Warhols legendäre Pop-Art-Serien von Marilyn Monroe. Der junge Monet raste rastlos dem Licht und dem Zufall hinterher, der Monet der mittleren Jahre versuchte, den flüchtigen Erscheinungen der Natur in seiner Malerei Dauer zu verleihen. Der späte Monet aber lässt die Natur und die Kunst zu einem vegetativen Kontinuum verschmelzen. In den aus Japan importierten Seerosen, für die er große Teiche anlegte, entdeckte Monet dann, als um ihn herum längst der Expressionismus und die Moderne tobte, sein wichtigstes Motiv, das er obsessiv in Malerei umsetzte, in riesigen Formaten. Die auf dem Wasser schwimmenden Seerosen verewigte er in lilagrünen Farbwelten, die in ihrer All-over-Struktur nichts weniger vorwegnehmen als die Großformate der amerikanischen Abstraktion nach 1945. Auf den meterlangen Farbseen Monets haben dann Jackson Pollock, Mark Rothko und Joan Mitchell ihre Boote in die Zukunft gesetzt. Monets Ruhm also beruht darauf, dass wir ihm mit seinen Serien und mit seinen Seerosenbildern, in denen sich das Auge verliert, zwei zentrale Revolutionen des Sehens im 19. und 20. Jahrhunderts verdanken. Sie erreichen den Podcast mit Anregungen und Fragen über die E-Mail-Adresse augenzu@zeit.de.