As we are about to close out the year 2004, we are inundated with newspaper, magazine and Internet articles, as well as web logs stories like "The Year in Review, " or "The Best of," and of course its antithesis, "The Worst of." And that is all well and good although sometimes I don't want to be reminded of the year just concluding. I am too busy thinking about the upcoming year and the promise it holds.
In any case, this morning's New York Times web site featured a link on its front page called, 2004, The Year in Pictures." Because I am a sucker for photographs, I clicked on the link to see what images it held. I also knew that because it was the Times, the quality of the photos would be superb. And I was right. It is one of the finest collections of news photos ever assembled in one place.
As I clicked through the collection, I realized that in many cases, these photos went beyond news...they were art. After all what is art supposed to do? It is supposed to move you emotionally and allow you to see what the artist envisioned...and in the case of photography, without any words.
Simply put, the pictures are supposed to tell the whole story. But, the story can't be really told well without other artistic concepts coming into play, such as composition, depth and color, to name a few. And in most of these pictures, these elements are here.
Take the very first picture. It is of an Iraqi prisoner, sitting in the sand. His hands are tied behind him and a black shirt is pulled over his head. He is bending forward and on the sand next to him is a tiny pool of blood. But, what makes this photo really stunning is the shadow on the wall behind the prisoner of an American soldier holding his weapon. No words need be spoken here. All the emotional and artistic elements of the picture are in play. We see what the artist is trying to tell us and it grabs us emotionally. Now...that is art!
Not all the photos in this collection can be considered art, but there are some good ones (there are many non-art photos that will move you, such as the assisted suicide in Oregon). As an artist, I also like the shadow of the helicopter as it flies over some female sunbathers in Iraq. Or the clubhouse celebration of the Boston Red Sox, or the dog in the daffodils in Central Park, or the trees coming out of the water on a Brazilian lake. There is great art in and among this collection and I invite you to view it for yourself. Go to:
http://www.nytimes.com/packages/html/photo/20041227_YIP_FEATURE/blocker.html
Wednesday, December 29, 2004
Tuesday, December 28, 2004
Jeeves, Wooster and Winnie the Pooh
One of my favorite writers of all time is P.G. Wodehouse, the man who gave us so many memorable comedic characters as the airheaded, idle rich aristocrat Bertie Wooster and his unflappable butler Jeeves (only late in the series did we find out that his first name was Reginald).
But beneath the characters and the innocent world that Wodehouse created, lies some of the finest writing ever undertaken. His beautiful words flowed like warm honey over the our insatiable desire for more. His fellow British writer, Evelyn Waugh, called him the finest writer of English prose in the 20th century. I could not agree more.
His characters and stories poked great fun at the British aristocracy, all the while ignoring the realities of life like sex and World War I. They just didn't exist in his world. The only sickness his characters suffered was the occasional hangover.
So what does Wodehouse have to do with the great childhood favorite, Winnie the Pooh? Pooh's creator A.A. Milne and Wodehouse were friends for many years. That is until World War II and Wodehouse's naive broadcasts while a German prisoner broke them apart, never to reunite.
It is an interesting story and I recommend you read the recent article that appeared in the Boston Globe by James Parker. After that, I recommend you pick up a Wodehouse book and let the joy of his unforgettable world wrap you up for the hours to come.
Go to:
http://www.boston.com/news/globe/ideas/articles/2004/12/26/jeeves_vs_pooh?pg=full
But beneath the characters and the innocent world that Wodehouse created, lies some of the finest writing ever undertaken. His beautiful words flowed like warm honey over the our insatiable desire for more. His fellow British writer, Evelyn Waugh, called him the finest writer of English prose in the 20th century. I could not agree more.
His characters and stories poked great fun at the British aristocracy, all the while ignoring the realities of life like sex and World War I. They just didn't exist in his world. The only sickness his characters suffered was the occasional hangover.
So what does Wodehouse have to do with the great childhood favorite, Winnie the Pooh? Pooh's creator A.A. Milne and Wodehouse were friends for many years. That is until World War II and Wodehouse's naive broadcasts while a German prisoner broke them apart, never to reunite.
It is an interesting story and I recommend you read the recent article that appeared in the Boston Globe by James Parker. After that, I recommend you pick up a Wodehouse book and let the joy of his unforgettable world wrap you up for the hours to come.
Go to:
http://www.boston.com/news/globe/ideas/articles/2004/12/26/jeeves_vs_pooh?pg=full
Sunday, December 26, 2004
Buy a Shark, Be an Artist
Noted British art collector Charles Saatchi, who bought artist's Damien Hirst's fourteen-foot tiger shark floating in a tank of formaldehyde for $95,000 fourteen years ago, has been offered $12 million for the work. The deal is likely to be clinched "in the next few weeks," said a spokesman for Saatchi yesterday.
With the sale, Saatchi, who is the UK's biggest collector of contemporary art, will relinquish the most iconic work by a British artist in the late 20th century and the single most valuable asset in his collection. The destination of the shark is not known, but the spokesman confirmed that the offer had come from a client of the American art dealer Larry Gagosian, who is Hirst's agent in New York.
With the sale, Saatchi, who is the UK's biggest collector of contemporary art, will relinquish the most iconic work by a British artist in the late 20th century and the single most valuable asset in his collection. The destination of the shark is not known, but the spokesman confirmed that the offer had come from a client of the American art dealer Larry Gagosian, who is Hirst's agent in New York.
Mr Saatchi commissioned the work, called The Physical Impossibility of Death in the Mind of Someone Living, in 1991. Hirst used a shark bought in Australia for around $9,000. When it was first shown, at the Saatchi Gallery in St. John's Wood in 1992, Hirst immediately became a media sensation. If you would like to see it, go to:
http://dh.ryoshuu.com/art/1991physic.html
I can't say this is one of my favorites.
Friday, December 24, 2004
The Works of André Brasilier
Merry Christmas from my family to yours. I have two presents for you today:
The first is that I am not going to expound on anything today. I just want you to enjoy your Christmas Eve without having to listen to me.
My second gift to you is to share some of the paintings of French-born painter André Brasilier. He is a well-known gifted painter whose works have been shown all over the world. I am particularly fond of his paintings that include pianos in Parisian settings.
Click on the link below and enjoy his works. There are four web pages to view and you can click on any painting to enlarge it.
Merry Christmas.
http://www.artnet.com/artist/673241/Andre_Brasilier.html
The first is that I am not going to expound on anything today. I just want you to enjoy your Christmas Eve without having to listen to me.
My second gift to you is to share some of the paintings of French-born painter André Brasilier. He is a well-known gifted painter whose works have been shown all over the world. I am particularly fond of his paintings that include pianos in Parisian settings.
Click on the link below and enjoy his works. There are four web pages to view and you can click on any painting to enlarge it.
Merry Christmas.
http://www.artnet.com/artist/673241/Andre_Brasilier.html
Wednesday, December 22, 2004
Forbes Art Collector's Guide
Forbes magazine is publishing a "2005 Collectors Guide" in the forthcoming issue for the week of Dec. 27, 2004. "Collecting smart -- what's hot, what's not, and how to tell the difference," promise the cover lines. Here are some highlites:
The articles begins with a surprisingly frank story on a 20 year scheme by French art dealers Michel Giraud and Jacques de Vos to quietly corner the market on Art Deco furniture by little-known Lyonnaise master André Sornay, run up the prices at auction and now turn a tidy profit by selling the works at their new Manhattan gallery.
A profile of Mexican fruit-juice heir Eugenio López Alonso, founder of the celebrated (and well-fortified) La Colección Jumex in a slum outside Mexico City, reports that the "Pan-American playboy in a classic mold" has spent $12 million in the last four years supporting Latin American contemporary art, and in 1994 helped launch the successful career of Gabriel Orozco.
An article on Madison Avenue 19th-century painting dealer Mark Murray reveals that he finances his deals through limited partnerships with an elite circle of wealthy investors. Another piece that proved irresistible to Forbes focuses on the market for artworks made by the late rock musician Kurt Cobain.
The report on the contemporary art market, written by Forbes Collector newsletter editor Missy Sullivan, warns of "irrational exuberance" as it cites the art-market appreciation of Maurizio Cattelan's notorious wax statue of Paul John Paul II struck down by a meteor, which was bought by Geneva dealer Pierre Huber for $886,000 and "flipped" for $3 million at a Phillips, de Pury & Co. auction last month.
"Ultimately the economy will shift, people will start getting burned, and the whole thing will crash," said Tribeca supercollector Michael Hort, who reportedly was offered $600,000 for a Kai Althoff painting he bought for $10,000 four years ago.
You might want to pick up a copy.
The articles begins with a surprisingly frank story on a 20 year scheme by French art dealers Michel Giraud and Jacques de Vos to quietly corner the market on Art Deco furniture by little-known Lyonnaise master André Sornay, run up the prices at auction and now turn a tidy profit by selling the works at their new Manhattan gallery.
A profile of Mexican fruit-juice heir Eugenio López Alonso, founder of the celebrated (and well-fortified) La Colección Jumex in a slum outside Mexico City, reports that the "Pan-American playboy in a classic mold" has spent $12 million in the last four years supporting Latin American contemporary art, and in 1994 helped launch the successful career of Gabriel Orozco.
An article on Madison Avenue 19th-century painting dealer Mark Murray reveals that he finances his deals through limited partnerships with an elite circle of wealthy investors. Another piece that proved irresistible to Forbes focuses on the market for artworks made by the late rock musician Kurt Cobain.
The report on the contemporary art market, written by Forbes Collector newsletter editor Missy Sullivan, warns of "irrational exuberance" as it cites the art-market appreciation of Maurizio Cattelan's notorious wax statue of Paul John Paul II struck down by a meteor, which was bought by Geneva dealer Pierre Huber for $886,000 and "flipped" for $3 million at a Phillips, de Pury & Co. auction last month.
"Ultimately the economy will shift, people will start getting burned, and the whole thing will crash," said Tribeca supercollector Michael Hort, who reportedly was offered $600,000 for a Kai Althoff painting he bought for $10,000 four years ago.
You might want to pick up a copy.
Tuesday, December 21, 2004
Understanding the Pre-Raphaelites
These days, I am a strong proponent of what I call the "Ten Minute Seminar." What is that, you ask? It is my way of learning about a subject in a few moments rather than spending hours or days or weeks learning about it. You could also call it Minimalism vs Maximalism. (I would rather read a concisely written short story than War and Peace.)
I attribute this preferred method of learning to three things: First, well over 60% of my life is over...maybe more. So I want all my remaining time to be enjoyable and as well spent as possible. And there is so much left to do.
Second, so many books on just about any subject you can name could easily be squeezed into a few pages rather than hundreds. It seems books have to be bloated so they can charge higher prices. After all, who would pay $24.95 for a 10 page book?
Third, so many things I learned over the years are so buried in layers of other minutiae that I can't find them anymore. I use the 10 Minute Seminar to stimulate those long forgotten memories. If I want to learn more, I go buy the bloated book.
So it is with the Pre-Raphaelites. I learned about them many years ago, then forgot mostly everything but the name. This group of British painters were in vogue from about 1848 to the late 1860's . In short, they were fastidious painters of nature. Probably the best known of these painters was John Everett Millais.
Since I don't have a book on the Pre-Raphaelites, it was with great joy that I came upon an interesting article about them in the London Telegraph. The story, written by the Telegraph's art critic Richard Dormant earlier this year, is actually a review of a Pre-Raphaelite exhibition at the Tate Gallery in London. But, it spends far more time talking about the artists and how they worked. I found it fascinating and hope you do also.
Rather than have you log onto the Telegraph web site (which requires a lengthy registration process), I copied the web page to my web site. I also added links to the artist's names so you could see their work at artcyclopedia.com.
Enjoy.
I attribute this preferred method of learning to three things: First, well over 60% of my life is over...maybe more. So I want all my remaining time to be enjoyable and as well spent as possible. And there is so much left to do.
Second, so many books on just about any subject you can name could easily be squeezed into a few pages rather than hundreds. It seems books have to be bloated so they can charge higher prices. After all, who would pay $24.95 for a 10 page book?
Third, so many things I learned over the years are so buried in layers of other minutiae that I can't find them anymore. I use the 10 Minute Seminar to stimulate those long forgotten memories. If I want to learn more, I go buy the bloated book.
So it is with the Pre-Raphaelites. I learned about them many years ago, then forgot mostly everything but the name. This group of British painters were in vogue from about 1848 to the late 1860's . In short, they were fastidious painters of nature. Probably the best known of these painters was John Everett Millais.
Since I don't have a book on the Pre-Raphaelites, it was with great joy that I came upon an interesting article about them in the London Telegraph. The story, written by the Telegraph's art critic Richard Dormant earlier this year, is actually a review of a Pre-Raphaelite exhibition at the Tate Gallery in London. But, it spends far more time talking about the artists and how they worked. I found it fascinating and hope you do also.
Rather than have you log onto the Telegraph web site (which requires a lengthy registration process), I copied the web page to my web site. I also added links to the artist's names so you could see their work at artcyclopedia.com.
Enjoy.
Monday, December 20, 2004
Art in the Iraq War
New York painter Steve Mumford has been has been embedded with military units in hot spots like Baquba, Tikrit and Baghdad on and off since April 2003. As a result, he has produced a number of compelling sketches and paintings that give us a look at war in a different way.
Of course, artists have been involved in wars for generations as photography really didn't come into real usage until our Civil War. Even then, there were far more drawings made in the Civil War than photographs. I recall the story of one artist working for the New York Times who made sketches of the battle of Gettysburg while sitting by the grave of his son.
But, the rise of photography in war is offset by the decline of wartime paintings and sketches. Still, some of the sketches and paintings from 20th century wars are just as moving as the reality caught by the camera. And to show that artists did participate in a big way in the last century's wars, there are more than 15,000 paintings and sketches in the Imperial War Museum in London. One of the most moving is a 20 foot canvas called "Gassed" by one of my most favorite painters, John Singer Sargent.
Still, we tend to want our history to be displayed in photographs as they are real history unfolding before the camera's lens (that is, before the age of digital manipulation). Still, I think that Steve Mumford's work is important because he sees our current war through different eyes: those of the artist. And like all wars in the past, this one is different than any other war that preceded it.
To view a slide show of some of Mumford's work in Iraq, go to the following web site:
http://www.nytimes.com/slideshow/2004/12/12/arts/20041213_KINO_SLIDESHOW_1.html
Of course, artists have been involved in wars for generations as photography really didn't come into real usage until our Civil War. Even then, there were far more drawings made in the Civil War than photographs. I recall the story of one artist working for the New York Times who made sketches of the battle of Gettysburg while sitting by the grave of his son.
But, the rise of photography in war is offset by the decline of wartime paintings and sketches. Still, some of the sketches and paintings from 20th century wars are just as moving as the reality caught by the camera. And to show that artists did participate in a big way in the last century's wars, there are more than 15,000 paintings and sketches in the Imperial War Museum in London. One of the most moving is a 20 foot canvas called "Gassed" by one of my most favorite painters, John Singer Sargent.
Still, we tend to want our history to be displayed in photographs as they are real history unfolding before the camera's lens (that is, before the age of digital manipulation). Still, I think that Steve Mumford's work is important because he sees our current war through different eyes: those of the artist. And like all wars in the past, this one is different than any other war that preceded it.
To view a slide show of some of Mumford's work in Iraq, go to the following web site:
http://www.nytimes.com/slideshow/2004/12/12/arts/20041213_KINO_SLIDESHOW_1.html
Friday, December 17, 2004
New Tate Gallery Web Site
One of the foremost galleries in the world, the famous Tate Gallery in Great Britain, has revised and updated their web site. It could now possibly be the best art gallery web site on the Internet.
The Tate, as it is now called, consists of four galleries: Tate Britain (the original gallery located near Parliament in London contains the more classic works of art), Tate Modern (a fairly new gallery located on the other side of the Thames, specializes in more modern works), the Tate Liverpool (obviously located in Liverpool, England), and Tate St. Ives (located in St. Ives, Cornwall).
I would almost think they should call their web site the fifth gallery. It is amazing in its depth and scope. For instance, there are now 65,000 works of art available for viewing on the web site. There are also on-line art courses for adults as well as in-depth research facilities. I have signed up for a course in modern art and will write more about it when I complete the course.
I have visited the Tate Britain four times and enjoyed it immensely. I was drawn there originally because it houses the world's largest collection of the works of William Turner, one of my favorite painters. Upon his death, he bequeathed nearly 300 oil paintings and around 30,000 sketches and watercolors to the British people and they are housed in the Tate. But, the Tate collection now goes way beyond the works of Turner.
One could spend hours a day on this site and never see the same things twice. I recommend you take a look at this site and enjoy some of the fine paintings available on the site. Go to:
http://www.tate.org.uk/home/default.htm
The Tate, as it is now called, consists of four galleries: Tate Britain (the original gallery located near Parliament in London contains the more classic works of art), Tate Modern (a fairly new gallery located on the other side of the Thames, specializes in more modern works), the Tate Liverpool (obviously located in Liverpool, England), and Tate St. Ives (located in St. Ives, Cornwall).
I would almost think they should call their web site the fifth gallery. It is amazing in its depth and scope. For instance, there are now 65,000 works of art available for viewing on the web site. There are also on-line art courses for adults as well as in-depth research facilities. I have signed up for a course in modern art and will write more about it when I complete the course.
I have visited the Tate Britain four times and enjoyed it immensely. I was drawn there originally because it houses the world's largest collection of the works of William Turner, one of my favorite painters. Upon his death, he bequeathed nearly 300 oil paintings and around 30,000 sketches and watercolors to the British people and they are housed in the Tate. But, the Tate collection now goes way beyond the works of Turner.
One could spend hours a day on this site and never see the same things twice. I recommend you take a look at this site and enjoy some of the fine paintings available on the site. Go to:
http://www.tate.org.uk/home/default.htm
Thursday, December 16, 2004
Who Really Owns Art?
There were two interesting articles in Wednesday's New York Times art section. The first was a news story about a judge approving the Barnes' Foundation motion to move its fabulous art collection from its current location in an older building in the suburbs to a new museum in downtown Philadelphia. The famous collection includes 170 Renoirs, 55 Cézannes, and 20 Picassos.
The second was an opinion piece written by Times art critic Roberta Smith lauding the judge's decision and that the Barnes Foundation was wrong because they were too tied up with what Mr. Barnes wanted while ignoring the importance of the art and the need for more people to see it.
I was really struck by her last two paragraphs which said,
The second was an opinion piece written by Times art critic Roberta Smith lauding the judge's decision and that the Barnes Foundation was wrong because they were too tied up with what Mr. Barnes wanted while ignoring the importance of the art and the need for more people to see it.
I was really struck by her last two paragraphs which said,
"Once more we are reminded that no one really owns art, that all collectors are temporary custodians. And the greater the art, the less any one person, especially a dead one, can control its destiny.
In the end, art belongs to the people it inspires, the people who use it to understand themselves and the world better - and the people who use it to create more art, and the possibility of more inspiration."
I had never really given that concept any consideration, until now, that is. As a lover of fine art, I couldn't agree more with the statement. Art does belong to us all. And there have been many works of art that have influenced and inspired me in my works.
But, as an artist, I have a few questions about about when I loose control of my work. The obvious answer is when I die or when I sell one of my works. But there may be a few situations that fall through these cracks.
For instance, suppose my work is extremely popular and well thought of at the time of my death. And I have works that I never wanted shown because they didn't meet my standards. Do these works belong to the world because I am considered popular and collectible, even though it is against my wishes? (Of course, if I'm dead, I really don't care anymore.)
Its fun to think about and explore these ideas and I won't bore you with any more imaginary scenarios. The real point of all this was that I wanted to make you aware of Ms. Smith's concepts for your own information. Do you have any thoughts on her words? I would love to hear from you if you do.
Tuesday, December 14, 2004
Gallery Owner Admits to Selling Forged Paintings
The owner of a well-known New York art gallery has plead guilty to selling forgeries of paintings by Renoir, Chagall, Modigliani and Gaugin. Ely Sakhai, owner of New York's Exclusive Art gallery, faces several years in jail, must forfeit 11 original artworks and pay back $12.5 million.
For 15 years, he and his office manager bought authentic paintings then hired artists to make highly detailed copies. The forgeries were then sold to private buyers and galleries as authentic. The claim that these were authentic works was made possible by replicating markings on the backs of canvases, forged certificates of identity and frames made to look older.
The gallery made copies of works including Renoir's Jeune Femme S'Essuyant and Chagall's Les Maries au Bouquet de Fleurs, which were sold to galleries in Tokyo and Taipei.
Eventually, some of the originals were sold off. The fraud came to light after one painting was put on sale at two different auction houses twice in one month.
For 15 years, he and his office manager bought authentic paintings then hired artists to make highly detailed copies. The forgeries were then sold to private buyers and galleries as authentic. The claim that these were authentic works was made possible by replicating markings on the backs of canvases, forged certificates of identity and frames made to look older.
The gallery made copies of works including Renoir's Jeune Femme S'Essuyant and Chagall's Les Maries au Bouquet de Fleurs, which were sold to galleries in Tokyo and Taipei.
Eventually, some of the originals were sold off. The fraud came to light after one painting was put on sale at two different auction houses twice in one month.
Monday, December 13, 2004
J.R.'s One Man Show Continues
If you missed my one man show this last weekend, don't worry about it. Nature's Reflection has asked me if they could keep the show going until Christmas and I have agreed.
Nature's Reflection is located in beautiful downtown Ephrata right on Basin Street. I hope you will come by and see my works, including some of the new ones never seen before this show.
In case you can't, here are two of the four new ones that are on display.
http://www.corkrum.com/jim/lost_road_part_1.htm
http://www.corkrum.com/jim/lost_road_part_1.htm
Nature's Reflection is located in beautiful downtown Ephrata right on Basin Street. I hope you will come by and see my works, including some of the new ones never seen before this show.
In case you can't, here are two of the four new ones that are on display.
http://www.corkrum.com/jim/lost_road_part_1.htm
http://www.corkrum.com/jim/lost_road_part_1.htm
Sunday, December 12, 2004
De Kooning: An American Master
No, the title is not necessarily my opinion, but rather the title of a new book by Mark Stevens and Annalyn Swan. The book, which was several years in the writing, tells the story of mid 20th century American painter Willem de Kooning. Stevens, an art critic, and Swan a long time journalist of the art world, are very qualified to write the book...and their main conclusion is the title of the book.
While I am somewhat familiar with de Kooning, it has admittedly been a long time since I looked at his work. The recent release of this 750+ page book and its review in the New York Times (see link below), caused me to take some time this weekend to reaquaint myself with some of his work.
The Times review, as is normal, gives us some good highlights of de Kooning's life as detailed in the biography, which is always helpful when looking at an artist's paintings. He was born in Rotterdam, then later stowed away on a boat to America. Most of his artistic career was spent in New York City, specifically Greenwich Village. Knowing this and much more about him, just from the review, I browsed through some of his works online and in books. I felt I was better equipped to evaluate his works than in the past.
What I discovered was that de Kooning may indeed me an American Master. Many of his works come under the classification of ''Abstract-Expressionism," an expression he hated. Being a strong proponent of color in my own works, I was personally attracted to many of his works.
There is one line from the book that I think really described his technique: "He created thick, succulent swirls of paint that sometimes appeared almost geologically encrusted upon the canvas." Now that is good writing and also a very accurate description.
I think my favorite work of the paintings I reviewed this weekend is titled, "Composition" and was done in 1955. It currently hangs in the Guggenheim Hermitage Museum in Las Vegas.
I encourage you to read the Times review then look at some his paintings in the link listed below. I think you will find them very enjoyable.
http://www.nytimes.com/2004/12/12/books/review/12GROOMSL.html?
http://www.artcyclopedia.com/artists/de_kooning_willem.html
http://www.corkrum.com/blogs/dekooning_composition.htm
While I am somewhat familiar with de Kooning, it has admittedly been a long time since I looked at his work. The recent release of this 750+ page book and its review in the New York Times (see link below), caused me to take some time this weekend to reaquaint myself with some of his work.
The Times review, as is normal, gives us some good highlights of de Kooning's life as detailed in the biography, which is always helpful when looking at an artist's paintings. He was born in Rotterdam, then later stowed away on a boat to America. Most of his artistic career was spent in New York City, specifically Greenwich Village. Knowing this and much more about him, just from the review, I browsed through some of his works online and in books. I felt I was better equipped to evaluate his works than in the past.
What I discovered was that de Kooning may indeed me an American Master. Many of his works come under the classification of ''Abstract-Expressionism," an expression he hated. Being a strong proponent of color in my own works, I was personally attracted to many of his works.
There is one line from the book that I think really described his technique: "He created thick, succulent swirls of paint that sometimes appeared almost geologically encrusted upon the canvas." Now that is good writing and also a very accurate description.
I think my favorite work of the paintings I reviewed this weekend is titled, "Composition" and was done in 1955. It currently hangs in the Guggenheim Hermitage Museum in Las Vegas.
I encourage you to read the Times review then look at some his paintings in the link listed below. I think you will find them very enjoyable.
http://www.nytimes.com/2004/12/12/books/review/12GROOMSL.html?
http://www.artcyclopedia.com/artists/de_kooning_willem.html
http://www.corkrum.com/blogs/dekooning_composition.htm
Saturday, December 11, 2004
eBay Inspires New Art Exhibit
There is a new art show opening in Brooklyn, NY that features all kinds of art inspired by items you can find for sale on eBay. What????
It seems that the curator of the show, New York artist Megan Foster, became intrigued with the idea while she was working on one of her own paintings. She was creating a painting of kitchen cabinets that were overflowing with useless appliances. To obtain these items for models, she scoured the eBay web site. She wound up paying less than $10 for each item she purchased.
She liked the concept and her first painting so much she created a series of paintings on the same subject. This led her to the discovery that other artists were doing the same thing: using eBay to find props for their various works. To make a long story short, she eventually put together this new show, the theme of which is artwork inspired by searches on eBay or purchases on the site.
Another artist at the show, Sarah Sweeney, purchased 22,000 slides that document one family's history. She then used software to manipulate the pictures, creating "images of the family that could never exist in a traditional snapshot," according to a description of her work.
It seems that the curator of the show, New York artist Megan Foster, became intrigued with the idea while she was working on one of her own paintings. She was creating a painting of kitchen cabinets that were overflowing with useless appliances. To obtain these items for models, she scoured the eBay web site. She wound up paying less than $10 for each item she purchased.
She liked the concept and her first painting so much she created a series of paintings on the same subject. This led her to the discovery that other artists were doing the same thing: using eBay to find props for their various works. To make a long story short, she eventually put together this new show, the theme of which is artwork inspired by searches on eBay or purchases on the site.
Another artist at the show, Sarah Sweeney, purchased 22,000 slides that document one family's history. She then used software to manipulate the pictures, creating "images of the family that could never exist in a traditional snapshot," according to a description of her work.
In her piece "I Want a Girl," she fused together the brother and the sister of the family, creating a smiling child sitting on a pink chair in a pink room. However, the child has the upper body of a boy with the lower body of a girl.
The final twist to this art exhibit is that you cannot buy any of the art at the gallery. The only place to purchase the art featured in the show is...you guessed it...on eBay!
Thursday, December 09, 2004
The Impressionists - For Christmas
A couple of years ago, A&E television, producers of a long running series entitled, Biography, produced a different type of biography than their usual fare. For this show, the biography was about the group of artists we now call, The Impressionists.
It ran originally on two nights as it was over 3 hours long. I was fortunate to have seen it and had my Super VHS on so I could record it. It was an absolutely enthralling and captivating show. It focuses initially on the lives of the original Impressionistic painters: Monet, Renoir, Degas, Pissarro, and Morisot. But, there lives were intertwined with other great artists of their time such as Manet and many others.
This show explains how they fit into the art world of the later half of the 19th century and why their eventual emergence after years of struggle came to be known as the "the second French Revolution." Their paintings were such a radical departure from the popular art of their time. One of the many things I learned was although the Impressionists eventually gained some notoriety in France, it wasn't until their works were shown in America that their popularity soared.
This is an important era in art history and this production is greater or equal than any book ever written on the subject. I think almost anyone, including someone with no in-depth interest in art would find this show amazing.
But, what really stands out are the paintings. They are absolutely stunning in the way they are shown in the film. Obviously great pains were taken to get them on film in such an impressive way. In short, this film is a feast for your eyes.
A year or so ago, this film came out on two DVD's in a box set . The quality is even better than the original TV show. I have owned this DVD for nearly a year now and I can't count the number of times I have watched it. If you are stuck for a gift for someone, or you want a treat for yourself, consider this box set DVD.
I did some research and found it priced as low as $23.97, which has got to be the deal of the century for such a magnificent work. You can search yourself, but I found it for this price online at Deep Discount DVD, a reputable store where I have purchase before. And, there is no sales tax and shipping is free. Here is the link:
http://www.deepdiscountdvd.com/dvd.cfm?itemid=ANE070245
It ran originally on two nights as it was over 3 hours long. I was fortunate to have seen it and had my Super VHS on so I could record it. It was an absolutely enthralling and captivating show. It focuses initially on the lives of the original Impressionistic painters: Monet, Renoir, Degas, Pissarro, and Morisot. But, there lives were intertwined with other great artists of their time such as Manet and many others.
This show explains how they fit into the art world of the later half of the 19th century and why their eventual emergence after years of struggle came to be known as the "the second French Revolution." Their paintings were such a radical departure from the popular art of their time. One of the many things I learned was although the Impressionists eventually gained some notoriety in France, it wasn't until their works were shown in America that their popularity soared.
This is an important era in art history and this production is greater or equal than any book ever written on the subject. I think almost anyone, including someone with no in-depth interest in art would find this show amazing.
But, what really stands out are the paintings. They are absolutely stunning in the way they are shown in the film. Obviously great pains were taken to get them on film in such an impressive way. In short, this film is a feast for your eyes.
A year or so ago, this film came out on two DVD's in a box set . The quality is even better than the original TV show. I have owned this DVD for nearly a year now and I can't count the number of times I have watched it. If you are stuck for a gift for someone, or you want a treat for yourself, consider this box set DVD.
I did some research and found it priced as low as $23.97, which has got to be the deal of the century for such a magnificent work. You can search yourself, but I found it for this price online at Deep Discount DVD, a reputable store where I have purchase before. And, there is no sales tax and shipping is free. Here is the link:
http://www.deepdiscountdvd.com/dvd.cfm?itemid=ANE070245
Tuesday, December 07, 2004
Defining Yourself as an Artist - Part 1
Every artist eventually needs to find out who he or she is artistically and what he or she is trying to achieve as an artist. This may not seem all that difficult, but it is, and, to make matters worse, it is a long, ongoing project that changes all the time.
Let me explain a little bit about how it works, at least from my own experience.
When you start out, you just want to be creative and learn to express that creativity in some form. You have no illusions about being an artist. You just want to satisfy your craving for creativity.
First, you usually pick a media to try out, like photography, or oil paint, or watercolors, or acrylic, or any number of other artistic possibilities. That is your first step towards definition…I want to explore this media.
Then you start learning all you can about your craft and how to improve with every step you take. You start exploring various subjects like landscapes, or still life, or portraits, or abstraction. You find out what areas interest you the most. You are now tightening up your definition. And, as each step progresses, you find out if you have any talent in that area. If you think you do, you then strive to get better and better with each new work. And along the way, you learn more and more about the fine details of your craft and how to make it better.
You read about other artists or techniques, and then try some of them yourself. You experiment, adding new techniques on top of old ones. You learn new tricks that you never new existed.
You get better and better and people start commenting about your work. At this point you are well on your way to being…A CRAFTSMAN. You are not an artist yet. There is a big difference between the two. Being a true artist comes later, only after you feel some confidence as a craftsman.
(To be Continued)
Let me explain a little bit about how it works, at least from my own experience.
When you start out, you just want to be creative and learn to express that creativity in some form. You have no illusions about being an artist. You just want to satisfy your craving for creativity.
First, you usually pick a media to try out, like photography, or oil paint, or watercolors, or acrylic, or any number of other artistic possibilities. That is your first step towards definition…I want to explore this media.
Then you start learning all you can about your craft and how to improve with every step you take. You start exploring various subjects like landscapes, or still life, or portraits, or abstraction. You find out what areas interest you the most. You are now tightening up your definition. And, as each step progresses, you find out if you have any talent in that area. If you think you do, you then strive to get better and better with each new work. And along the way, you learn more and more about the fine details of your craft and how to make it better.
You read about other artists or techniques, and then try some of them yourself. You experiment, adding new techniques on top of old ones. You learn new tricks that you never new existed.
You get better and better and people start commenting about your work. At this point you are well on your way to being…A CRAFTSMAN. You are not an artist yet. There is a big difference between the two. Being a true artist comes later, only after you feel some confidence as a craftsman.
(To be Continued)
Monday, December 06, 2004
Quality Photographs for your Viewing Pleasure
My artistic background began in college when I studied photography. I became an instant convert to both the artistic and technical side of this media. So, one of my favorite things to do when I have some free time on my hands (or even when I don't) is to head for my favorite photographic web site and scan the latest high quality submissions.
The website is called Photo.net and has been around for years. If you involved in photography, you either already know about it, or you should. There is so much good information here that it boggles the mind. You can spend a lot of time learning about this fascinating craft.
But, for this blog, I want to focus on the portion of site they call "Photo Critique." On the opening page, in the center section very near the top of the web page, you will see it listed. The two top listings are, "Top Rated Photos" and "Rate Recent Photos." Mostly I just peruse the "Top Rated Photos," as these are works that have already be judged by many participants and have received the highest marks. So many of them are just absolutely stunning.
There are usually 12 photos per page, but there are several hundred available at any one time. If you find one you like, you can click on it and get a larger version of it on your screen. From that point, you can add your own comments or check out more works by this same artist.
If you feel like it, you can join Photo.net (it's free), then start rating other people's submissions under the "Rate Recent Photos" listing. I have done this occasionally and found it fun, although I did once get a nasty e-mail from one photographer whose work I rated rather low. After she lambasted me for my comments and dared me to show her some of mine, I directed her to my web site and to my article on "The Two Views of Art."
Irregardless, I love to go to this web site when possible to see what other artists are doing. The web site is at:
http://www.photo.net/
The website is called Photo.net and has been around for years. If you involved in photography, you either already know about it, or you should. There is so much good information here that it boggles the mind. You can spend a lot of time learning about this fascinating craft.
But, for this blog, I want to focus on the portion of site they call "Photo Critique." On the opening page, in the center section very near the top of the web page, you will see it listed. The two top listings are, "Top Rated Photos" and "Rate Recent Photos." Mostly I just peruse the "Top Rated Photos," as these are works that have already be judged by many participants and have received the highest marks. So many of them are just absolutely stunning.
There are usually 12 photos per page, but there are several hundred available at any one time. If you find one you like, you can click on it and get a larger version of it on your screen. From that point, you can add your own comments or check out more works by this same artist.
If you feel like it, you can join Photo.net (it's free), then start rating other people's submissions under the "Rate Recent Photos" listing. I have done this occasionally and found it fun, although I did once get a nasty e-mail from one photographer whose work I rated rather low. After she lambasted me for my comments and dared me to show her some of mine, I directed her to my web site and to my article on "The Two Views of Art."
Irregardless, I love to go to this web site when possible to see what other artists are doing. The web site is at:
http://www.photo.net/
Saturday, December 04, 2004
Talk About Art Appreciation!!
A few quick thoughts about last month's Christie's Art Auction:
The final tally of the auction was $128.2 million on 58 separate lots. That's cool. The big winner of the night was a Monet painting that was expected to sell in the $12-18 million range, but actually went for $20.2 million.
But another Monet painting was, in a sense, the biggest loser of the sale. It was estimated to go in the $2-3 million range, but only brought in $1.5 million. For the most part, however, works by well known painters fetched more than their estimated value.
But, one sale really stood out for me. A Joan Miro painting, estimated to sell for between $6-8 million, went for $11.8 million. Although the dollars definitely made an impression, it wasn't the best part of the story. The 1938 painting, titled, La caresse des étoiles, had never been exhibited before appearing at the auction. It had hung in a Manhattan apartment for all these many years.
And, even more astounding, was that the owner of the painting obtained the work by trading an overcoat for the painting with Miro's art dealer in Paris at the end of World War II! Now, that's a good deal.
The final tally of the auction was $128.2 million on 58 separate lots. That's cool. The big winner of the night was a Monet painting that was expected to sell in the $12-18 million range, but actually went for $20.2 million.
But another Monet painting was, in a sense, the biggest loser of the sale. It was estimated to go in the $2-3 million range, but only brought in $1.5 million. For the most part, however, works by well known painters fetched more than their estimated value.
But, one sale really stood out for me. A Joan Miro painting, estimated to sell for between $6-8 million, went for $11.8 million. Although the dollars definitely made an impression, it wasn't the best part of the story. The 1938 painting, titled, La caresse des étoiles, had never been exhibited before appearing at the auction. It had hung in a Manhattan apartment for all these many years.
And, even more astounding, was that the owner of the painting obtained the work by trading an overcoat for the painting with Miro's art dealer in Paris at the end of World War II! Now, that's a good deal.
Friday, December 03, 2004
Terry Southern Revisited
If you are in your 30's or even younger, you may not know the name of Terry Southern. Terry was one of the finest satirical writers of his generation, and although he passed away in 1995, some of his works are considered classics. As a screenwriter, he is most remember for writing Dr. Strangelove, the 60's satirical film about nuclear war. I also remember his wonderful film, The Loved One, about the high-end mortuary business in Los Angeles.
But thanks to a wonderful article in the Washington Post by Peter Carlson, I was reminded this week that Southern also wrote the novel, The Magic Christian. The book was made into a mediocre film (according to critics) starring Peter Sellers and Ringo Starr. While I never read the book, I secretly liked the film because it was so bizarre.
The story is about a zany multi-millionaire who spends his time seeing how people will degrade themselves for money. In the novel and the film, the main character builds a huge vat and fills it with a mixture of blood, urine and manure. On top of this nasty concoction, he floats thousands of hundred dollar bills (British Pounds in the film) while announcing to passersby that the money is free for the taking. Of course, several people overcome their nauseousness and dive in for the money.
The point of Mr. Carlson's excellent article is that in his story, Southern unknowingly predicted the rise of Reality TV. Several of these shows apparently have their participants humiliate themselves in increasingly horrific ways to achieve some goal. With every new show, the envelope for acceptable cheap thrills is pushed even further. Personally, I find this type of show not worth my time, and since so many reality shows plague our TV sets, our TV set is off far more than ever before.
For far more details, you need to read Carlson's excellent column at:
http://www.washingtonpost.com/ac2/wp-dyn/A44133-2004Nov11?
But thanks to a wonderful article in the Washington Post by Peter Carlson, I was reminded this week that Southern also wrote the novel, The Magic Christian. The book was made into a mediocre film (according to critics) starring Peter Sellers and Ringo Starr. While I never read the book, I secretly liked the film because it was so bizarre.
The story is about a zany multi-millionaire who spends his time seeing how people will degrade themselves for money. In the novel and the film, the main character builds a huge vat and fills it with a mixture of blood, urine and manure. On top of this nasty concoction, he floats thousands of hundred dollar bills (British Pounds in the film) while announcing to passersby that the money is free for the taking. Of course, several people overcome their nauseousness and dive in for the money.
The point of Mr. Carlson's excellent article is that in his story, Southern unknowingly predicted the rise of Reality TV. Several of these shows apparently have their participants humiliate themselves in increasingly horrific ways to achieve some goal. With every new show, the envelope for acceptable cheap thrills is pushed even further. Personally, I find this type of show not worth my time, and since so many reality shows plague our TV sets, our TV set is off far more than ever before.
For far more details, you need to read Carlson's excellent column at:
http://www.washingtonpost.com/ac2/wp-dyn/A44133-2004Nov11?
Thursday, December 02, 2004
King Tut is Coming!
26 years ago, King Tut took America by storm. Now, he is coming back, complete with all his entourage. The exhibition will open in June, 2005 in Los Angeles, then will make three other stops in America, including Ft Lauderdale, Chicago, and one other American city.
Along with the 55 items shown on the first tour, 81 additional items will be on display. The exhibition is most remembered for King Tutankhamen's gold coffin, diamond crown and throne, all of which will be back. King Tut was crowned at age 8, then died under mysterious circumstances at age 21 in the year 1325 BC. His tomb was discovered in 1922 and is still rated as one of the most important archeological finds in history.
In 1979, the King Tut Exhibition toured American museums and was a near sellout in every city. The Egyptian government allowed the exhibition to go back on the road in order to raise money for preservation of the artifacts. The tour opened earlier this year in Europe and is currently in Bonn, Germany.
Interestingly, the exhibition will not be seen at the Metropolitan Museum of Art in New York City, according to the New York Times, because of a disagreement between the parties.
Along with the 55 items shown on the first tour, 81 additional items will be on display. The exhibition is most remembered for King Tutankhamen's gold coffin, diamond crown and throne, all of which will be back. King Tut was crowned at age 8, then died under mysterious circumstances at age 21 in the year 1325 BC. His tomb was discovered in 1922 and is still rated as one of the most important archeological finds in history.
In 1979, the King Tut Exhibition toured American museums and was a near sellout in every city. The Egyptian government allowed the exhibition to go back on the road in order to raise money for preservation of the artifacts. The tour opened earlier this year in Europe and is currently in Bonn, Germany.
Interestingly, the exhibition will not be seen at the Metropolitan Museum of Art in New York City, according to the New York Times, because of a disagreement between the parties.
Arting in New York
If you love art and are heading for New York City in the near future, boy do we have a destination for you. Yes, be sure and visit all the major museums that the city has to offer, but also make time (at least a day or two) to walk the streets of Chelsea.
Located in western Manhattan, the approximately 170 block area features over 230 art galleries with more coming. The majority of the galleries are mom-and-pop operations that get to choose what works will be displayed. This gives you a wide variety of art to view, and you can do much of it right from the sidewalk without ever going inside.
To read more about this incredible area of New York City, I recommend you read this fabulous article about Chelsea's art galleries that recently appeared in the New York Times. Go to:
http://www.nytimes.com/2004/11/28/arts/design/28smit.html?th
Located in western Manhattan, the approximately 170 block area features over 230 art galleries with more coming. The majority of the galleries are mom-and-pop operations that get to choose what works will be displayed. This gives you a wide variety of art to view, and you can do much of it right from the sidewalk without ever going inside.
To read more about this incredible area of New York City, I recommend you read this fabulous article about Chelsea's art galleries that recently appeared in the New York Times. Go to:
http://www.nytimes.com/2004/11/28/arts/design/28smit.html?th
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