Posts Tagged ‘ painting ’
The Cyclops (detail), 1914, by Odilon Redon (1840–1916); Peter Horee/Alamy Stock Photo.
If we really wanted to kill the monster, we would give it what it wants.
Source: Monstering | Monsters | Issues | The Hedgehog Review
Credit…Museum Ludwig
Credit…Charlie Rubin for The New York Times
Credit…Charlie Rubin for The New York Times
Lavinia Fontana, “Mars and Venus” (ca. 1595), oil on canvas, Madrid, Fundación Casa de Alba
At a time when women were seen as incapable of serious creative or intellectual activity, Sofonisba Anguissola and Lavinia Fontana gained international renown for their exceptional bodies of work.
Source: A Tale of Two Pioneering Women Painters in Renaissance Italy
While it is the convention to think of paint as a material that covers a surface, I think when it comes to Marden’s work, we might do well to think of it as a means to expose inchoate feelings marked by a tender sense of beauty and longing, and to document an extraordinarily resilient sensitivity to the thrumming pain, terror, and loneliness of being human. – John Yau
Bacon and the Mind: Art, Neuroscience and Psychology book cover (all images courtesy the Estate of Francis Bacon)The five essays in Bacon and the Mind: Art, Neuroscience and Psychology call us to grapple with an artist whose life and work were anything but simple.
Acacia No. 2, oil on panel, 24 x 24 inches, 2017
HARTFORD OPEN STUDIO/ PACKER STUDIO #314
November 3 and 4
11-5pm
New Work on view!
Kathi Packer is a contemporary artist in Hartford, CT
detail Jesus and John post Restoration (Rabatti & Domingie)
The 21-foot canvas, created by self-taught artist and nun Plautilla Nelli, is now on view in Florence . . .
Hypha – Spitzenkörper – 2017 – 2018
This work investigates a variety of experimental processes, visual forms, and critical ideas that examine the development of the Anthropocene, Biomimetics, and the role of community in catalyzing innovative social and political change.
My drawing process explores several organizations of microbiotas, mycelium (Hypha – Spitzenkörper), and concepts such as the Wood Wide Web. The complexity and inter-connectivity of microfungal forms extending their threads to all life through a dense web of symbiotic relationships. In forests, its synergetic mycorrhiza transfers nutrients from plant to plant and creates a network of informational chemistry beneficial to the whole ecosystem. The potential of these natural forms is apparent in their horizontal design of co-operation and collective functionality; an intercellular matrix that could be extended to the human sphere.
Drawing connects me to unconscious processes that allow for the development of new ideas; a site for research, meditation, dissemination, and a lab for exploring the resonance of form. Layers of visual information materialize as traces of the process itself by generating random visual possibilities and increasing surface dynamics. The multilayered film is often unstable, and is left open to unpredictable possibilities. As a result, the subject is often erased by the buildup of material and the application of new mark making.
This process enables me to explore areas of perception outside my immediate experience, while conceptually expanding my connection to surrounding environmental issues. – Jorge Costa
Source: Painting — JORGE COSTA
“Piero Manzoni. Materials of his Time” at Hauser & Wirth New York, 22nd Street (2019), installation view, photo: Thomas Barratt, © Fondazione Piero Manzoni, Milan, (courtesy the artist and Hauser & Wirth)
Manzoni’s work can be viewed as slight and Herculean, tragic and buoyant, mystical and materialist, minimal and baroque.
