Monday, April 30, 2012

Tuesday, April 24, 2012

Mark Grotjahn

Butterfly with Eyes 2008
Untitled 2004

Untitled (Full Color Butterfly 41.74), 2011 (this and above images via)

Agnes Martin


From 2002 "Art City" episode, "Simplicity":
I knew that I wanted to paint--not what everybody else paints--this world and nature. I knew that I wanted to paint abstract. The most obvious abstract emotion is happiness, so I painted a lot of paintings... about happiness. I paint about happiness, innocence & beauty. The feelings that we have that go beyond this world. That have no worldly cause.

A loving and lovely and honest review of a show that included one of Agnes Martin's last pieces.




Geometric utopia


Kazimir Malevich

"All past and recent painting before Suprematism (as sculpture, verbal art, music) has been subjugated by the shapes of nature, waiting to be liberated, to speak its own language, independent of reason, common sense, logic, philosophy, psychology, laws of causality, and technological changes." 
(Malevich in 'From Cubism to Suprematism', 1915, from Art of the 20th Century, ed. by Jean-Louis Ferrier and Yann Le Pichon, 1999)
"I have broken the blue boundary of color limits, come out into the white, besides me comrade-pilots swim in this infinity. I have established the semaphore of Suprematism. I have beaten the lining of the colored sky, torn it away and in the sack that formed itself, I have put color and knotted it. Swim! The free white sea lies before you."
* Kazimir Malevich, artist quotes on Suprematism, the Russian modern art style:‘Catalogue 10th State Exhibition’, Kasimir Malevich, Moscow, 1919; as quoted in ‘Autocritique, – essays on art and anti-art 1963 – 1987’, Barbara Rose, Weidenfeld & Nicholson, New York, 1988, p. 71 (Russian artist, famous for his writings theory and manifesto ‘From Cubism to Suprematism’ and ‘Cubo-Futurism’; biography facts at the bottom) 

Josef Albers "Homage to the Square" 1961
Josef Albers "Homage to the Square: Guarded" 1952

Josef Albers - Structural Constellation, c. 1950–60, drawing, photograph mounted as transparency.
Anni Albers "Black-White-Red" 1964 (cotton + silk)

Art Problems are problems of human relationship. Note that balance, proportion, harmony [and] coordination are tasks of our daily life, as are also activity, intensity, economy and unity. And learn that behavior results in form--and, reciprocally, form influences behavior.
(A quote by Josef Albers from The Josef and Anni Albers Foundation website) 

Buckminster Fuller:



R. Buckminster Fuller "Montreal Biosphere" 1967

“You never change things by fighting the existing reality.
To change something, build a new model that makes the existing model obsolete.” 
“I live on Earth at present, and I don’t know what I am. I know that I am not a category. I am not a thing — a noun. I seem to be a verb, an evolutionary process – an integral function of the universe.” 
“Everything you've learned in school as "obvious" becomes less and less obvious as you begin to study the universe. For example, there are no solids in the universe. There's not even a suggestion of a solid. There are no absolute continuums. There are no surfaces. There are no straight lines.”  R. Buckminster Fuller




Monday, April 23, 2012

Emma Kunz


More on But Does it Float?

“The time will come when my pictures will be understood,” said Kunz. “[They] are destined for the 21st century.”

Sunday, April 15, 2012

The Reality of Karel Appel

Amy Sillman



"Painting generally takes a long time to develop. It's a slow and private language. It's such a specific thing to do: you've only got a rectangle and some paint. There's nothing there except you and the paint. It's not so much that you're dealing with a big history; I try not to care too much about history when I'm painting, in some way you just ignore all that stuff. It's just that you are dealing with such limited means. A lot of painters don't really come into their own, I feel, until they've worked for ten years. But I love paint. I think painting is so fantastic. I want my work to be funny and beautiful and personal and complicated and psychological. I'm not an overly analytical person; I'll mix up colors, maybe a whole bunch of different greens, and I'll just start putting them down and then I'll look at it. That part is largely intuitive, and I don't always know where it comes from -- maybe from looking at stuff around me, everything from the sky to photographs." 

(excerpt from an interview with Amy Sillman, published in a book titled INSIDE THE STUDIO: Two Decades of Talks with Artists in New York, from Independent Curators International, 2004.)

Amy Sillman blue / rays, 2009 Oil on canvas 84 1/2 x 90 3/4 in



More at Sikkema Jenkins Co.

AB EX NY (MoMA videos on techniques and terms))

Introduction to exhibit:


Franz Kline:

Barnett Newman:

Mark Rothko:


Jackson Pollock:



Turpentine Burn:

Stain:

Palette Knife:

Viscosity:

Thursday, April 12, 2012

Technological explosions at the turn of last century


Claude Monet 1886

Paint tube: 1840
Telephone: 1876
Phonograph: 1877
Light bulb: 1879

Joseph Stella "Battle of Lights at Coney Island" 1914

Skyscraper: 1885

Georgia O'Keefe Skyscrapers 1920s

Kodak Camera: 1888
Gasoline-powered car: 1892 (Model T: 1908)

Luigi Russolo "Dynamism of an Automobile" 1912-13

Kinetoscope show (cinema): 1894

Giacomo Balla "Swifts" 1913

Airplane: 1903
Television: 1927