Franz Kline: Lavender Rust (1957)
Exhibiting at 2012 Brussels Accessible Art Fair, September 21-23. For more information, please visit our website.
Abstract Artist: Theresa Paden Medium: Mixed Media Website: www.abstractsbytheresa.faso.com Theresa paints with energy, spontaneity, and emotion. resulting in pieces that arouse and captivate the…
acrylic
bato dugarzhapov
Last night I was explaining the black dog to two very articulate french friends with wide ranging interest in the arts. I can't explain the reason for, or the place from which the black dog comes but Keith Jarrett says that he tells his piano students that if they are going to play, they should play like its going to be the last time. That is what I try to think about - make the painting as if it is the last time. Hence I think, the black dog, because as he also says, it is NOT natural to (in his case) sit at a piano,bring no material,clear your mind completely of musical ideas and play something of lasting value. In my case trying to clear the mind of painterly ideas is mostly too much to achieve and that's when I feel that it should be the last time. But as my friend last night asked, then what? There will, in fact be a last time and not to have made the commitment to try will truly have been a waste. However, there is something in my head that nags at me - it is there and not there, a call to jump perhaps towards the next place. And I fear it ( I've looked at that word fear hard for a while now , in isolation a word can look strange) and the jumping is the very thing that I take clearing the mind (in Keith Jarrett's case) to mean. Every action, every mark made, is made because I know its history so finding a new mark or gesture is a jump to a place that I have not been before. It's a journey away from the comfortable but predictable architecture of marks. I was looking for examples of those who have jumped, or stumbled, amongst the plates of Phaidon's Book of Twentieth Century Art and these friends seized upon it and took it away with them as they had never seen it before. How, I wondered later, could they have missed it?
These abstract oil on canvas pieces are by artist Madeline Denaro. To see more of her work go to ArtNet.
Große Bilder für den Raum. und dann müssen alle drei großformatigen Acrylbilder es verpackt werden, was bei 34 grad sicher eine Herausforderung wird…….. Hier noch einmal einige Fotos der Entstehung der abstrakten Werke: Weiter Auftragswerke sehen sie hier, großformatig, besonders schön für moderne Räume und große Büros. Abstrakte Kunst ist auch für Unternehmen interessant, […]
Willem de Kooning, Palisade 1957
“More than Just Married” is an exhibition that displays the work of women abstract expressionist painters in the art world in a new and refreshing way. The paintings shown in this exhib…
Oil on canvas 130x97 cm June 2012
It’s not quite the end of summer but I have started seeing hints of leaves turning yellow and then red. I dread the day when it gets too cold to sit outside to paint so I try to take advantag…
6 Artworks by Eelco Maan, Saatchi Art Artist
Helen Frankenthaler (American, 1928-2011), Float, 1977. Acrylic on canvas, 60 x 48 in.
Explore lennon michalski's 163 photos on Flickr!
As a confirmed lover of everything grey, the Menil Collection down the street from the Rothko Chapel was like a dream come true. Even before we stepped inside the museum itself, everything around us was grey: the wooden bungalows in the tree lined street, and even the squirrels crowding around the door of the Twombly Gallery waiting for peanuts were grey grey grey. Renzo Piano’s building is grey, the carpet in the upstairs offices is grey and there is a surfeit of grey paintings on the walls. Of the many discoveries of the day in grey was an unknown (for me) Robert Rauschenberg painting: Gilder, from 1962. Gilder is painted in an interstitial period in Rauschenberg’s career: historically it sits between the works in a single color – black, white, and later, red – and the better known combines of the sixties and seventies. And, like most things in grey, this interstitial status is translated into stasis, disinterest, and on the way to something else, not of great significance in and of itself. Works such as Gilder have not attracted the attention of better known ones. perhaps for this reason. Of course, they haven’t, they are executed in grey. Gilder sits on a wall, appropriately, opposite Rauschenberg's flamboyant and loud Holiday Ruse (Night Shade), 1991, an enormous "acrylic and tarnishes on Aluminium", and one of Warhol’s grey screenprints, Little Race Riot, from 1962. Gilder’s place on the walls of the Menil reflects other aspects of its identity. Somewhere between painting and screenprint, Rauschenberg both paints and prints, as well as transfers photographs to canvas, and breaks the surface with his characteristic use of stencils and charcoal. The painting both looks back to the single color canvases because it is executed in a spectrum of greys, and it looks forward to the combines with its sense of collage, the introduction of the ordinary, newspapers, photographs, and other everyday objects onto the canvas – if only in two dimensional representation. As such, occuppying this interstice between painting and combine, the work references Rauschenberg’s increasing interest in media of reproduction, mass cultural objects, the identity of the nation (the common reference to the USA is here executed through a stencil on a postage stamp). At the same time, it is tentative, a tentativity we see best in the loose strokes of the brush, scattered around the canvas. There is a slather of light grey paint that covers the bottom half of the right hand side of the canvas, and numerous instances of four or five connected strokes of paint, as though he is testing out the color and how it looks, making a swatch of the paint. It is as though something is being worked out on this canvas, something is not yet finished, the artist still unsure of where he is going. I wonder if this is indeed a characteristic of Rauschenberg’s paintings in general? Before the combines that is? Certainly, this tentativity is in stark contrast to the certitude, the force and power of Jasper Johns’ Voice in the next room. Rauschenberg drifts onto and away from this canvas, he is sometimes present, at others, the painting dissolves, as though he has forgotten it. It is as though he has moved on to other things, another phase in his career.
Anthony Sorce.
John G. Hanlen Winter Thaw 1962
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Making a Living as an Artist Considering intellectual property, creatives are an endless source of potential wealth and prosperity. We o...
Oil and wax on archival paper 22"x30"
Explore nweez's 3911 photos on Flickr!
Explore nweez's 3911 photos on Flickr!
Element 3 is the piece of the cairn that was played with most. Depending on the day, it could be found leaning against the bottom, sunbathing on the very top or hiding in the middle. A few times, it even seemed that #3 was attempting an escape since it was found in the flower bed by the steps...a mere 6 or 7 feet from where the cairn lived. How it got there is still a mystery, but I suspect that little hands - aka one or both of my daughters - had something to do with it. The pointy impressions left in the cotton were a very pleasant surprise. I'm loath the wash this piece for fear of destroying them. Thanks to Fiona Dempster over at Paper Ponderings for telling me about her tree wrappings using rusted fabrics, this piece may just find a new life outside wrapped around something. Not quite sure what yet. Our mailbox maybe. Element 4 created a beautiful rusted pattern on the cotton. The next time this piece is wrapped, I'd like to see what can be done to get the connections to show. Or the holes for that matter. Maybe if this was the base of the cairn #2...
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Thistles Fred Cuming
