Podcasts about Milton Avery

In this episode of "The Truth in This Art" podcast, host Rob Lee interviews self-taught painter Esteban Whiteside. They discuss Esteban's journey as an artist, his influences, and his unique approach to merging street art and politics. Esteban shares his experiences with activism through his artwork and offers advice for aspiring artists who want to use their work to make a statement. Tune in for an inspiring conversation at the intersection of arts, culture, and community.

Hablamos sobre una pareja de pintores que fueron clave para la creación del expresionismo abstracto norteamericano (con permiso de la CIA). Estos artistas han sido clave en la historia del arte del s.XX y en la actualidad tienen una influencia fundamental sobre muchos pintores contemporáneos. Recuerda que puedes ver este vídeo en mi canal de Youtube (Malasombra). Puedes contactar conmigo a través del formulario de mi página web donde también encontrarás mis redes sociales: www.alejandroacosta.es

In this episode Gary Mansfield speaks to Elizabeth Power (@ElizabethPowerArt )Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a colour palette rich in coral pinks, forest greens and cool blues.Drawing inspiration from colourists such as Matisse, Hockney, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level.Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area.For more information on the work of Elizabeth Power go tohttps://elizabeth-power.com/To Support this podcast from as little as £3 per month: www.patreon/ministryofartsFor full line up of confirmed artists go to https://www.ministryofarts.orgEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Hosted on Acast. See acast.com/privacy for more information.

SEASON 16!!! We meet LEGENDARY artist Nicolas Party!!!! We discuss his major new solo show Cascade, Nicolas Party's third exhibition with Xavier Hufkens. A stunning group of new works, including pastels, cabinets and oil-on-copper paintings. Large tripartite pastels and smaller cabinet paintings point to a new trajectory, both formal and technical, that has opened up in his practice. Mastering the all but forgotten art of painting on copper, Party's paintings are as luminous as their historical counterparts. A group of single arched pastels and oil-on-copper paintings echo the shape of the cabinet's central panels.Born in Lausanne in 1980, Party is a figurative painter who has achieved critical admiration for his familiar yet unsettling landscapes, portraits, and still lifes that simultaneously celebrate and challenge conventions of representational painting. His works are primarily created in soft pastel, an idiosyncratic choice of medium in the 21st-century, and one that allows for exceptional degrees of intensity and fluidity in his depictions of objects both natural and manmade. Transforming these objects into abstracted, biomorphic shapes, Party suggests deeper connections and meanings. His unique visual language has coalesced in a universe of fantastical characters and motifs where perspective is heightened and skewed to uncanny effect.In addition to paintings, Party creates public murals, pietra dura, ceramics, installation works, and sculptures, including painted busts and body parts that allude to the famous fragments of ancient Greece and Rome. His brightly-colored androgynous figures vary in scale from the handheld to the monumental, and are displayed on tromp l'oeil marble plinths of differing heights that upend conventional perspective. Party's early interest in graffiti and murals—his projects in this arena have included major commissions for the Dallas Museum of Art and the Hammer Museum in Los Angeles—has led to a particular approach to the installation and presentation of his work. He routinely deploys color and makes architectural interventions in exhibition spaces in order to construct enveloping experiences for the viewer.The artist's childhood in Switzerland imprinted upon him an early fascination with landscape and the natural world, and the influence of his native country places Party firmly within the trajectory of central European landscape painting. Points of reference in his work include celebrated 19th-century Swiss artists Félix Vallotton, Ferdinand Hodler, and to Hans Emmenegger. One can also find within his works a 21st-century synthesis of the sorts of impulses and ideas that fueled the Renaissance and late 19th-century, early 20th-century figurative painting, the compositional strategies of Rosalba Carriera and Rachel Ruysch, and the visions of such self-taught artists as Louis Eilshemius and Milton Avery.Based in New York, Party studied at the Lausanne School of Art in Switzerland before receiving his MFA from Glasgow School of Art in Scotland.Follow @NicolasParty on Instagram and @XavierHufkensView his new exhibition at https://www.xavierhufkens.com/exhibitions/nicolas-party Hosted on Acast. See acast.com/privacy for more information.

We meet artist Aubrey Levinthal from her studio in Philadelphia!!!Softly-rendered portraits by Aubrey Levinthal explore contemporary psychology. In the works, figures go about familiar daily routines - eating, sleeping and daydreaming. The artist is inspired by a range of modernist painters, from portraitist Alice Neel to collagist Romare Bearden and modernist David Hockney. Her intentionally muted palette of predominantly grey tones is created by layering light washes of oil paint onto panels, and then scraping them down with a blade. This technique renders the skin of her characters as almost translucent - either emerging from, or dissolving into, their surfaces.Much of Levinthal's recent work relates to the COVID-19 pandemic. The loneliness and claustrophobia of social isolation is told through melancholic facial expressions and slumped postures. Recurring motifs, such as browning bananas and unfinished meals, allude to the passing of time, while irregularities in proportion and perspective engage the ways in which a home becomes strange when you spend all your time within it. These details embody the crux of Levinthal's practice - how we inhabit spaces, and how they inhabit us.Levinthal's paintings focus on her own daily interiority and the quotidian, mostly situated in the home. More recently, Levinthal reflects on ones' relationship to the outside world and moves the psychology away from the isolated self to a more unknown drifting space. The paintings are infused with more daylight, colour has become brighter, and the figures are larger. Shared environments, such as neighborhood coffee shops, yoga studios, hospitals, hotels and pools are fraught with nuanced tension and personal connection. Levinthal heightens the psychological space between observing and knowing. The paintings explore a sense of insecurity, self-reflection and curiosity in collective spaces. In Bagel Line (2022), a group of friends situated outside a bagel shop huddle closely together in winter coats. Their expressions range from anxious to annoyed to eager highlighting ones' own duality. The artist projects an interior life onto these strangers: a barista, a person standing in line, a blue-haired teenager at a take-out counter, or a shopper in a clothing store. Within the paintings, objects take on abstract shapes and act as barriers. In Crab Shack (2022), two brown paper bags give the impression of a wall in front of a pensive young woman. Levinthal draws inspiration from the Renassiance period to Modernists such as, Mary Fedden (1915-2012), Milton Avery (1885-1965) and Fairfield Porter (1907-1975). Levinthal's tenderly observed paintings illuminate the strangeness of daily interiority and introspection. In Yoga Mat (2022), the viewer is confronted with a lone woman in a yoga pose. The figure also doubles as an ancient sculpture, most evident in the shapes used and the manner in which the feet are depicted, as if resembling stone. This painting was directly inspired by the Egyptian sculpture titled Statue of Sitepehu (1479-1458 BCE), which is part of the permanent collection at the Penn Museum, Philadelphia. The artist lives and works in Philadelphia, PA and is represented by Monya Rowe Gallery, NY.Follow @AubreyLevinthal on Instagram and their official website https://aubreylevinthal.com/ Follow their gallery: @Monya_Rowe_GalleryAubrey's new work is included in group show 'Close' at GRIMM Gallery curated by Talk Art co-host Russell Tovey from 4th March - 6th April, 2023 2 Bourdon Street, London (UK). Hosted on Acast. See acast.com/privacy for more information.

Episode No. 550 of The Modern Art Notes Podcast features historian and author Glenda Elizabeth Gilmore and curator Edith Devaney. Gilmore is the author of "Romare Bearden in the Homeland of His Imagination," which was just published by the University of North Carolina Press. The book examines how Bearden's address of his native South -- he was born and was initially raised in the Charlotte, NC area before his family was effectively forced to leave the South -- was informed by the vagaries of memory and even imagination. Gilmore is the Peter V. & C. Vann Woodward Professor Emerita of History at Yale University. Her previous books include "Gender and Jim Crow: Women and the Politics of White Supremacy in North Carolina, 1896-1920," and "Defying Dixie: The Radical Roots of Civil Rights, 1919-1950." Indiebound and Amazon offer "Bearden" for $26-40. Devaney discusses “Milton Avery,” a survey of the artist's career now at the Wadsworth Atheneum in Hartford. The exhibition debuted at the Modern Art Museum of Fort Worth and is in Hartford through June 5. The exhibition features about 70 paintings Avery made between the 1910s and the mid-1960s and emphasizes Avery's interest in color. It's on view at the Wadsworth through June 5. “Avery” was co-organized by the Royal Academy, London, the Wadsworth and MAMFW. Its catalogue was published by the Royal Academy. Indiebound and Amazon offer it for about $45.

Episode No. 528 features artist Mitch Epstein and curator Edith Devaney. Steidl has just published Epstein's newest book "Property Rights." Featuring 197 pictures across 288 pages, "Property Rights" examines the relationship between the United States, land and the impact of the American nation on the people who live here. The book was edited by Susan Bell and includes texts by both Epstein and Bell. Indiebound and Amazon offer it for about $75. Epstein has published 15 books including "In India," "American Power," and "Family Business." Devaney discusses "Milton Avery," a survey of the artist's career at the Modern Art Museum of Fort Worth. The exhibition features about 70 paintings Avery made between the 1910s and the mid-1960s and emphasizes Avery's interest in color. It's on view at MAMFW through January 30. "Avery" was co-organized by the Royal Academy, London, the Wadsworth Atheneum and MAMFW. Its catalogue was published by the Royal Academy. Indiebound and Amazon offer it for about $45.

Hosted by David Green of The Cultural Alliance Of Fairfield County. Meet Robert Wolterstorff, appointed The Susan E. Lynch Executive Director and Chief Executive Officer of Greenwich’s Bruce Museum in June 2019, just as this venerable art and science museum begins a $60 million complete overhaul that will more than double its floorspace adding education and community spaces and significantly expanding its space for permanent and temporary installations of art, science, and natural history exhibitions. Wolterstorff is an art and architectural historian (MA from Williams, PhD from Princeton) with a passion for both Victorian design and contemporary art. He has a history of successful turnarounds of institutions – most notably the Victoria Mansion in Portland, Maine, (1998-2010) and Bennington Museum, Vermont (2012-2019), where he radically increased attendance through groundbreaking exhibitions (Milton Avery’s Vermont, Grandma Moses: American Modern) and created the Bennington Modernism Gallery to highlight the achievements of the circle of now-famous abstract painters and sculptors associated with Bennington in the 1960s: Helen Frankenthaler, Kenneth Noland, Jules Olitski, Larry Poons, David Smith, Tony Smith, and Sir Anthony Caro. Hear about his career trajectory and what he will bring to “The New Bruce”

Joanna Fink is the Director of Alpha Gallery, a highly successful gallery in Boston, MA that focuses on contemporary painting and works on paper. Alpha represents incredible painters such as Susanna Coffey and William Bailey, exhibits emerging talent in the annual New Talent Show, and holds special shows of master artists such as Pablo Picasso, Fairfield Porter, Max Beckmann, Arnulf Rainer, Arthur Dove, John Marin, as well as Milton Avery, whose estate Alpha represents.   Alpha hits a sweet spot of showing powerhouse painters while supporting emerging artists and giving viewers work that speaks to their exhibiting artists' history. This is why Alpha has such a strong program and why I personally love to return to this space whenever I am in Boston.   In this interview, Joanna and I talk about her background growing up in an artist family, studying art, and the path that led her to become Director of Alpha Gallery in Boston, MA. Art mingles with family and audience as we discuss studio visits and exhibitions Joanna has curated.   Alpha Gallery was founded in 1967 with a mission to present museum-quality contemporary art as well as modern master prints and American masters of the 20th century and is a founding member of the Boston Art Dealers Association.  

Russell & Robert meet leading documentary and fashion photographer Jamie Hawkesworth. We discuss Milton Avery, forensic photography, the power of natural light, a dedication to analogue cameras, taking Kate Moss’ portrait in India and documenting landscapes of Antarctica. We learn about Jamie’s early project 'Preston Bus Station' and explore his later collaborations with JW Anderson for Loewe and exhibitions at The Hepworth Wakefield and Huis Marseille, Amsterdam; the latter showing a mix of his personal as well as his commercial photography. Jamie reveals his admiration for photographers William Christenberry, Jem Southam & William Eggleston and for land artist Michael Heizer - who invited Jamie to take his portrait in the Nevada desert at Heizer’s mythical, monumental, as-yet-unseen 'City' (an ongoing land artwork that began in 1972 and will finally be publicly opened in 2020). See acast.com/privacy for privacy and opt-out information.

American Artist Milton Avery (1893-1965)

This exhibition celebrates an extraordinary array of newly acquired and promised gifts to the museum. It features nearly 100 works by European and American modern masters including Gustave Caillebotte, Edgar Degas, Hans Hofmann, Paul Klee, Ansel Adams, Milton Avery, Alexander Calder, Richard Diebenkorn, Elizabeth Murray, Robert Motherwell, Aaron Siskind, and David Smith, as well as living artists William Christenberry, Howard Hodgkin, Ellsworth Kelly, Sean Scully, and many others. The strength and variety of these gifts and acquisitions include some of the most significant developments in painting, photography, works on paper, and sculpture from the 19th to the 21st century.

This exhibition celebrates an extraordinary array of newly acquired and promised gifts to the museum. It features nearly 100 works by European and American modern masters including Gustave Caillebotte, Edgar Degas, Hans Hofmann, Paul Klee, Ansel Adams, Milton Avery, Alexander Calder, Richard Diebenkorn, Elizabeth Murray, Robert Motherwell, Aaron Siskind, and David Smith, as well as living artists William Christenberry, Howard Hodgkin, Ellsworth Kelly, Sean Scully, and many others. The strength and variety of these gifts and acquisitions include some of the most significant developments in painting, photography, works on paper, and sculpture from the 19th to the 21st century.

"Hasta el 15 de julio está abierta en la Fundación Juan March, en Madrid, la exposición de Adolph Gottlieb (Nueva York 1903-1974), considerado como uno de los pioneros del expresionismo abstracto nacido en Nueva York a comienzos de la década de 1950. Ofrece esta retrospectiva 35 obras realizadas entre 1929 y 1971 por este pintor, que fue compañero de generación y amigo de Milton Avery, Mark Rothko y John Graham. En junio de 1943, Gottlieb y Rothko redactaron una carta publicada en el New York Times, que constituyó la primera declaración formal sobre los objetivos e intereses de los expresionistas abstractos.La exposición -que se exhibe por primera vez en Europa- ha sido organizada por la Adolph and Esther Gottlieb Foundation, de Nueva York, de donde proceden las obras. Tras ofrecerse en Madrid, en la Fundación Juan March, la muestra viajará al Museo Von der Heydt, de Wuppertal (Alemania). Antes de llegar a Madrid, se ha expuesto en el Instituto Valenciano de Arte Moderno (IVAM) de Valencia.Las obras presentan diversas técnicas (óleo, acrílico, esmalte o técnica mixta) y soportes (lienzo, cartón prensado, lino o arpillera), aunque son en su mayoría óleos sobre lienzo. Algunas de ellas son de gran formato y están compuestas por varios paneles. Presentó la exposición, el pasado 11 de mayo, Sanford Hirsch, director de la Adolph and Esther Gottlieb Foundation, quien es el comisario de la misma y autor del texto que recoge el catálogo."Más información de este acto