Artist Paths

Jonas Gerard - Asheville Painter

2011-02-04T04:38:00.000-08:00

Pieces of Harry

2011-02-04T04:33:00.000-08:00

Creating and Printing on Acrylic Skins with GOLDEN Acrylics and Digital ...

2011-02-03T10:15:00.000-08:00

painters Painting rauschenburg

2011-02-02T09:44:00.000-08:00

iconomaniacs.com : Robert Rauschenberg

2011-02-02T09:41:00.000-08:00

Robert Rauschenberg : Making It Big (Part 1/4)

2011-02-02T09:34:00.000-08:00

Robert Rauschenberg - Erased De Kooning

2011-02-02T09:32:00.000-08:00

Barbara Sher: My Mission is Saving Geniuses [with German translation]

2011-01-31T05:54:00.000-08:00

Happy Monday - Passion - Benjamin Zander on TED

2010-12-26T13:42:00.000-08:00

Brice Marden on "Cold Mountain 6 'Bridge'"

2010-12-07T11:53:00.000-08:00

BRICE MARDEN on Asian art

2010-12-07T11:37:00.000-08:00

Hans Hofmann

2010-02-14T11:30:00.001-08:00

Hans Hofmann, Circa 1950

2010-02-14T11:28:00.001-08:00

MoMA: Design and the Elastic Mind: Organic Design

2010-01-12T09:03:00.001-08:00

Learn more at http://www.moma.org/elastic...

Curator Paola Antonelli introduces the exhibition Design and the Elastic Mind and explains some of the major themes explored in the exhibition

Behind the Scenes: Tim Burton at MoMA

2010-01-12T08:51:00.001-08:00

On view November 22, 2009-April 26, 2010
For more information, please visit http://www.moma.org/timburton

All images courtesy of Tim Burton and © 2009 Tim Burton
Films stills courtesy of Photofest and the MoMA Film Stills Archive

Filmed by The People's DP Inc
Ed Roy, Carlos Germosen, Keenya Scott, Paul Reed
Edited by David Shuff
Music by Danny Elfman

Bauhaus Lab: Walking Tables and Wrestling Foals: A Hands-on Workshop and Musical Performance

2010-01-12T08:47:00.001-08:00

Bauhaus Lab is organized in conjunction with the exhibition Bauhaus 1919-1933: Workshops for Modernity.
For more information please visit http://www.moma.org/bauhaus.
Music: "Automachine Sterne" by Big Plastic Factory, courtesy of Darondo James-Bip Roberts Productions. More information available at http://www.bigplasticfactory.com.

Richard Bandler Interview by Ronald Amsler 4/4

2009-12-28T05:22:00.001-08:00

Richard Bandler Interview by Ronald Amsler 3/4

2009-12-28T05:15:00.001-08:00

Richard Bandler Interview by Ronald Amsler 2/4

2009-12-28T05:04:00.001-08:00

Richard Bandler Interview by Ronald Amsler 1/4

2009-12-28T04:57:00.001-08:00

Richard Bandler Interview by Ronald Amsler 1/4

Gerhard Richter. Drawings

2009-12-13T04:57:00.001-08:00

Dieter Schwarz from Kunstmuseum Winterthur talks about Gerhard Richter's drawings.

Tim Burton MoMA Spot

2009-11-16T05:29:00.001-08:00

On view at MoMA
November 22, 2009-April 26, 2010
For more information please visit http://www.moma.org/timburton
See behind the scenes of the creation of the animation:
http://bit.ly/1trJWI

Directed by Tim Burton
Produced by Mackinnon and Saunders
CGI Animation: Flix Facilities
Animation: Chris Tichborne
Lighting Camera: Martin Kelly
Music by Danny Elfman

Einstein: The Autism Connection

2009-11-08T04:56:00.001-08:00

Short film which looks at the evidence for Albert Einstein being on the autism spectrum. This possibility also highlights the strong positives that many people with autism can have. Too many films ...

Daniel Tammet at Late Show with David Letterman (27.04.2005)

2009-11-08T04:51:00.001-08:00

Microscopic Needle Art

2009-07-14T07:02:00.001-07:00

Roman Ondák discusses Performance 4, Measuring the Universe, at MoMA

2009-07-10T07:07:00.001-07:00

For more information, please visit http://www.moma.org/visit/calendar/ex...

Performance 4: Roman Ondák
June 24, 2009-September 14, 2009

Part of the Performance Exhibition Series

Music: "Libertad" by Iriarte and Pesoa, courtesy of the Free Music Archive. More information available at www.freemusicarchive.org.

Art:21 | Richard Tuttle

2009-07-09T07:00:00.001-07:00

Richard Tuttle commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his practice. He subverts the conventions of modernist sculptural practice and instead creates small, eccentrically playful objects in decidedly humble materials such as paper, rope, twigs, and bubble wrap. Tuttle also manipulates the space in which his objects exist, forcing viewers to reconsider and renegotiate the white-cube gallery space in relation to their own bodies.

Richard Tuttle is featured in the Season 3 episode "Structures" of the Art21 series "Art:21—Art in the Twenty-First Century".

Richard Tuttle at Dieu Donné - Part 2

2009-07-09T06:56:00.001-07:00

Abstract Expressionist Svein Koningen: first video

2009-06-10T07:22:00.001-07:00

Svein Koningen http://koningen.net : Norwegian born, Australian contemporary abstract artist based in Bruges, Belgium. Svein paints large paintings using vibrant colour and texture.
Visit the website: http://www.koningen.ne

Making the "Marriage Dance" Sculpture

2009-05-22T23:09:00.001-07:00

Gail Chavenelle of Chavenelle Studio Metalworks demonstrates the different steps in creating one of her one-piece metal sculptures. This sculpture is called "Marriage Dance". Gail is based out of ...

Gerhard Richter. 4900 Colours: Version II

2009-05-20T04:49:00.001-07:00

Gerhard Richter. 4900 Colours: Version II

Gerhard Richter. Large Abstracts

2009-05-20T04:32:00.001-07:00

Museum Ludwig, Cologne, Germany October 18, 2008 - February 01, 2009. View all paintings in the exhibition: http://www.gerhard-richter....

Gerhard Richter

2009-05-20T04:25:00.001-07:00

An interview with Gerhard Richter 2006

Gerhard Richter. Portraits (Part II)

2009-05-20T04:20:00.001-07:00

National Portrait Gallery, London, UK
February 26, 2009 - May 31, 2009.

Gerhard Richter. Portraits (Part I)

2009-05-20T04:09:00.001-07:00

National Portrait Gallery, London, UK
February 26, 2009 - May 31, 2009. View all paintings in this exhibition: http://www.gerhard-richter....

KETC | Living St. Louis | Tara Donovan

2009-05-20T03:46:00.001-07:00

From KETC, LIVING ST. LOUIS Producer Jim Kirchherr meets Tara Donovan during her visit to the St. Louis Art Museum. Donovan, a contemporary artist from New York, has two of her pieces are on display in the museum. She uses everyday items and consumer goods, such as plastic straws and cups, to create her towering sculptures that are creating quite a buzz in the art community.

CRCA Lunchtime Talk - Documenting Digital and New Media Art

2009-05-17T06:39:00.001-07:00

Digital and new media art has presented unexpected challenges in documenting performances. The complexity of the experience with components inserted live, from audio and video input, and from computer generated elements, along with spatial emphasis strains the videographer's attempt to render it into a conventional format.

Panel Members: Doug Ramsey and Alex Matthews from Calit2 have addressed these problems and been able to overcome some of these issues. Ramsey and Matthews produced the HD capture of a recent performance of Sanctuary, a percussion composition by Roger Reynolds, which was performed by Red Fish Blue Fish in the National Gallery of Art in Washington, D.C. This unusual setting for a musical performance and the complexity of the multimedia experience presented numerous obstacles they managed to overcome. The Calit2 team also recently captured the early-March performance of Kamza and Bar Kamza, by Music professor Shlomo Dubnov, and they are presently in production of a DVD of Stay the Hand, a multimedia dance performance given at Birch North Park Theater this month.

Todd Margolis, Technical Director of CRCA, is also an artist, educator and technologist and has extensive experience in the production of immersive and interactive media. These ephemeral media pose their own difficulties, yet Margolis has managed to produce effective documentations of them while retaining a good sense of the experiences. Currently he is a collaborator on the Atlas In Silico project, which premiered at SIGGRAPH 2007 festival and will be shown this year at the Ingenuity Festival as well as the LA Municipal Art Gallery. Some of his prior projects include Special Treatment, an immersive and interactive virtual reality installation based on the architecture of the Auschwitz II/Birkenau concentration camp and is inhabited by those latent memories; Immersagrams produced thru his collaboration with artn.com; and was a co-developer of the auto-stereoscopic barrier strip virtual reality display (Varrier). This discussion can be of great help to all artists/researchers, editors, photographers, sound and communications people and anyone who appreciates the creative talents of enhancing artistic expression with computer input and translating a performance or other event into a video/audio for wider distribution.

Keith Haring documentary part 1

2009-05-15T07:11:00.001-07:00

Download full movie on http://kurl.nl/?4EF4

Josiah McElheny presenting at MoMA

2009-05-15T05:45:00.001-07:00

Josiah McElheny presenting as part of the program "Artists and Models" on March 12, 2007 (edited for time).

For the exhibition Josiah McElheny presenting as part of the program "Artists and Models" on March 12, 2007 (edited for time).

For the exhibition Projects 84, artist Josiah McElheny created a sculptural installation of crystalline glass, metal, and colored light that drew upon the visionary schemes of Paul Scheerbart, the Berlin poet and novelist, and Bruno Taut, the uncrowned leader of the circle of revolutionary architects that emerged in Berlin after World War I. McElheny's model-scale landscape depicting two structures—an "Alpine Cathedral" and a "City-Crown"—was a critique of the utopian ideals embodied in twentieth-century modernism.

For more information on the exhibition, please visit: http://www.moma.org/exhibitions/exhib...

Audio of the program, including a presentation by Joshua Siegel, the curator of the exhibition, is available at: http://moma.org/visit_moma/audio/2007... _2007.html

© 2007 The Museum of Modern Art, New York
Images courtesy of Josiah McElheny

Inside New York's Art World: Robert Motherwell

2009-05-02T04:23:00.001-07:00

Interviewer: Barbaralee Diamonstein-Spielvogel Part of the Diamonstein-Spielvogel Video Archive in the Duke University Libraries:

Milton Glaser

2009-05-02T04:19:00.001-07:00

Milton Glaser -- born 26. 6. 1929 in New York, USA -- graphic designer, illustrator, teacher.

Talks Milton Glaser: How great design makes ideas new

2009-05-02T04:13:00.000-07:00

2009-04-30T04:26:00.000-07:00

Marcel Duchamp clip from The Shock of the New (1982)

2009-04-30T03:44:00.000-07:00

Marcel Duchamp Discusses His Work

Marcel Duchamp - In His Own Words (Part 2)

Marcel Duchamp - In His Own Words (Part 3)

2009-04-30T03:34:00.000-07:00

Oil on canvas. 89.5x 55.25 cm. The Philadelphia Museum of Art, Philadelphia, PA, USA.

Sonata 1911. Oil on canvas. 145 x 113 cm. The Philadelphia Museum of Art, Philadelphia, PA, USA.

Nude Descending a Staircase
Nude Descending a Staircase (No.2)/Nu descendant un Escalier. No.2. 1912. Oil on canvas 147.5 x 89 cm. The Philadelphia Museum of Art, Philadelphia, PA, USA. Inspired by the photographic motion studies of Eadweard Muybridge (left), Nude Descending a Staircase, No. 2, was painted by Duchamp in 1912. When it was first exhibited at the legendary Armory Show in New York (February 17-March 15, 1913), it caused an uproar which both outraged many people and made Duchamp famous in America. One critic called it "an explosion in a shingle factory."

Marcel Duchamp's

2009-04-30T03:26:00.000-07:00

Reinventing the wheelLove it or hate it, Marcel Duchamp's urinal revolutionised modern culture in 1917. Did the

The object in Tate Modern is white and shiny, cast in porcelain, its slender upper part curving outward as it descends to a receiving bowl - into which I urinate. It's just a brief walk from here in the fifth-floor men's loo to Marcel Duchamp's Fountain, an object sealed in a plastic display case on a plinth that is nevertheless almost identical to the receptacle into which I've just pissed. This museum treasure is no more or less than Duchamp described it to his sister in a letter of spring 1917: une pissotière en porcelaine. Duchamp warned against an attitude of "aesthetic delectation" that would transfigure his urinal into something artistic. Yet, as a visual form, it is bizarrely lovely, so white and incongruously ethereal, and as art it is ... well, there's a question already tripping me up. Is it art?

The eminent New Yorkers who ran the American Society of Independent Artists decided in April 1917 that it wasn't. The Independents congratulated themselves on championing all that was new and progressive in art, and to ensure openness to the new they agreed to the idea of one of their directors, Duchamp himself, that anyone who paid a $6 fee should be able to show in their inaugural exhibition. This meant that technically there were no grounds to refuse the mysterious R Mutt's last-minute entry of a men's urinal entitled Fountain - for he had paid his fee. An emergency meeting nevertheless rejected it.

The next month, a little magazine called The Blind Man, which was co-edited by Duchamp, defended Mr Mutt's Fountain: "Whether Mr Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view - and created a new thought for that object."

These words resonate as excitingly, provocatively, philosophically today as they did in the early 20th century. A vast proportion of 21st-century art traces its origins to these words, that pissotière. The editorial in The Blind Man - whose authorship Duchamp never formally acknowledged, any more than he officially owned up to being R Mutt - is actually more important than the urinal itself, which was not his first "readymade" work of art. Rather, it allowed him to make explicit an idea that until then was only a private musing. How did he come up with such a notion?

This, it seems to me, is the question no one asks about Duchamp. His big idea - that any ordinary "readymade" object can be chosen by the artist as a work of art - has sunk so deep into modern culture that he is imagined almost as a biblical prophet, a remote figure of authority. It's as if contemporary art history begins with him. Art is steeped in tradition - today, there is a tradition of the readymade - and to make a painting, a film, a photograph is to know you are contributing to a form that has been shaped and defined by predecessors. Even the most radical film is a film. But Duchamp did something for which there was no precedent. Love or hate the art that claims him as ancestor, you can't deny the originality of the thought itself, which I suspect was all that mattered to Duchamp. The readymade was a new concept of art, rather than just an ingenious and idle way of making it. No wonder that most serious discussions tend to assimilate it to philosophy, from Richard Wollheim's famous 1965 essay that took the urinal as a paradigm of "minimal art" to more recent ruminations on Duchamp and Kant's aesthetics. But I think we need to stick to the simple problem: how did anyone ever have such a wild idea?

With Tate Modern about to open an exhibition on Duchamp and his friendships with the brilliant playboy painter Francis Picabia and the subversive photographer Man Ray, let's try to imagine a time when no one dreamed of separating art from manual labour.

Duchamp grew up with art. He was born in 1887, the youngest son of a prosperous notary in Blainville, Normandy. Duchamp's grandfather had been an artist even as he prospered in business; there was art in the family and, as well as Marcel, two of his brothers and one of his sisters set their hearts on becoming artists. His brother Gaston was a painter who took the name Jacques Villon in homage to Villon the poet; another brother was Raymond Duchamp-Villon, the important cubist sculptor; his sister Suzanne also struggled to become a painter.

Young Marcel's early paintings were unpromising, ordinary enough to give ammunition to hostile critics who portray him as the original conceptualist fraud, a man who couldn't hack it on talent alone so discovered a wheeze to make "talent" seem unsophisticated. Yet such great painters as Piet Mondrian and Kasimir Malevich had equally weak starts. Like them, Duchamp eventually excelled as a painter, and it was his depiction of a body as a fluttering mechanism, Nude Descending a Staircase No 2 (1912), that made him famous in America when it was shown in the Armory show that popularised modern art in New York in 1913.

Duchamp settled in Paris in 1906 at a moment when decades of courageous experiment by French artists were about to ignite modernism. It was the year Cézanne died, the year Picasso finished his portrait of Gertrude Stein with a carved wooden mask for a face. Duchamp - six years younger than Picasso - was part of the generation who were influenced and inspired by this revolution. His two older brothers lived in the suburb of Paris that gave its name to the Puteaux group, the minor wing of the cubist movement.

Picasso and Georges Braque, the originators of cubism, were relearning the idea of painting with every new canvas. Their cubist paintings are to this day impossible to summarise or to explain away. The Puteaux cubists, by contrast, used shards and planes of fragmented colour to convey the drama of modern life in an easy-to-decode way. Jean Metzinger's 1913 painting The Cyclist, for instance, clearly and iconically portrays a cyclist hunched forward on his racing bike. It's a celebration of the modern world, of the clean-minded technology of the bicycle, and points immediately to the ideas that were in Duchamp's mind when he dreamed up his first "readymade" work of art - a spoked wheel suspended in a metal fork fixed to the seat of a wooden stool. It might be the eye of a cyclops, or an astronomical model, or a bizarre evocation of a nude. You can't help thinking it means something, but interpretation is vain. It just is. It simply stands there in its light-hearted, lovable glory.

Bicycle Wheel was recognised later by Duchamp as his first "readymade", though he hadn't yet come up with the term or finalised the idea. Nor did he think of exhibiting the piece. He just liked to have it in his studio: "To set the wheel turning was very soothing, very comforting, a sort of opening of avenues on other things than the material life of every day ... I enjoyed looking at it, just as I enjoy looking at the flames dancing in a fireplace."

This toy was a step into intellectual realms no one had entered before. And yet, it is so charmingly of its time, celebrating the very machine Metzinger praises in his cubist painting. The long thin spokes and unbending mount of Bicycle Wheel vividly evoke the Paris of 1913: look into those spokes and it's not hard to picture the iron lattices of the Eiffel Tower. A graceful modernity, optimistic and young, is balanced on that stool. And what of the stool itself? It might even make you think of Van Gogh's painting of his wooden chair. Perhaps the walk from Van Gogh's studio to Duchamp's is not so far.

The idea of the readymade seems to have something to do with the idea of the studio as a utopian refuge from the workaday world. In 19th- and early 20th-century France, this idea of the studio was fundamental to the new way of life of the avant garde. You can see it in Cézanne's early painting The Stove in the Studio, and read it in Zola's novel The Masterpiece - this sense of the studio as a hideout where the artist is free to explore non-bourgeois habits and dreams. Picasso's studio in the ramshackle Bateau-Lavoir was a workshop of cubist experiment: photographs of Picasso and other artists of this time in their studios, surrounded by African masks and their unexhibited paintings, depict magic worlds.

In the studio, sex, drink and drugs contributed to a hallucinatory focus on ordinary things that suddenly seemed fascinating. Duchamp's discovery of the readymade is deeply rooted in the cubist obsession with real, tangible, solid things that are close to hand. Picasso and Braque rediscovered one of the oldest and humblest painting genres: the still life. In a cubist masterpiece such as Picasso's Absinthe Glass, Bottle, Pipe and Musical Instruments On a Piano (1910-11), it is the immediate world of objects that is broken and shattered and strained for.

It was actually Picasso who first used found objects in art. In 1912 he stuck a piece of oilcloth, with a printed design imitating a caned chair-seat, on to a cubist canvas. Still Life with Chair Caning gave him and Braque a new weapon in their struggle to give art the force of reality. Duchamp's Bicycle Wheel is a cubist masterpiece, rivalling the complexity and resistance of Picasso's and Braque's art. It belongs recognisably to the Paris of that time, which is even more true of Duchamp's Bottle Dryer (or Bottle Rack) - a spiky metal tower widely used in France to dry used wine bottles.

Yet Duchamp didn't name these objects that he had in his Paris studio as "readymades" until later. Nor did he show them as "art". The "readymade", a word he only ever used in his second language, English, came about when he made the leap from one culture to another. It is an idea found in translation.

In 1915 Duchamp sailed for New York. He felt instantly liberated by America. "For a Frenchman, used to class distinctions, you had the feeling of what a real democracy could be," he later said. Learning a new language set his mind completely free of all influences, to achieve a simple, relaxed revolution quite unconnected with anything in the art of cubism.

In January 1916 he wrote to his sister Suzanne asking her to preserve what he now regarded as two important works left in Paris: "Now if you went up to my place you saw in my studio a bicycle wheel and a bottle rack. I had purchased this as a sculpture already made. And I have an idea concerning this and the bottle rack: Listen. Here in NY I bought some objects in the same vein and I treat them as 'readymade'. You know English well enough to understand the sense of 'readymade' that I gave these objects ..."

In 1915 he saw a pile of snow shovels with big square steel scoops lined up in a shop for the New York winter. He bought one and hung it from the ceiling of his studio. It was inscribed "In Advance of the Broken Arm, from Marcel Duchamp, 1915". This signature was a way of thinking about the readymade as art - it was not by, but "from" the artist. The object - which exists, like most of Duchamp's long-lost readymades, only in replica - is menacing, with its sharp metal edges and title prophesying injury. It is as uncomfortable as the bicycle wheel is likeable. Perhaps this is the art of it - that undeniable atmosphere.

A spikiness of feeling similarly clings to the steel comb that in February 1916 Duchamp inscribed "Three or four drops of height have nothing to do with savagery". In December 1916 he enclosed a hollow ball of twine inside two metal plates and asked his friend and patron Walter Arensberg to hide a small object inside without letting him see; it is called With Hidden Noise. This and the comb survive as originals.

All this was a private game, until in April 1917 Duchamp, Arensberg and the artist Joseph Stella visited the Mott ironworks in New York to purchase a porcelain urinal that would shock the worthies of the Manhattan art world and give Duchamp the opportunity to explain Mr Mutt's philosophy of art: "He CHOSE it ... and created a new thought for that object."

Their fight to raise themselves above the status of mere craftsman has led artists, since the 15th century, to seek to be seen as intellectuals. In the Renaissance, Leonardo da Vinci typified the artist as thinker. Duchamp identified with Leonardo, a fandom you might not guess from his infamous 1919 "rectified readymade", when he drew a moustache on the Mona Lisa. In all the years during which he was evolving the idea of the readymade, Duchamp was working on an immensely ambitious masterwork, The Bride Stripped Bare By Her Bachelors, Even, which involved elaborate research, starting in a Paris library with his reading treatises on perspective. Like Leonardo, he made copious, quasi-scientific notes, many of which he published in The Green Box.

Duchamp's idea of the readymade is the final, triumphant endgame in western art's long campaign to establish the intellectual status of the artist (Duchamp, who officially gave up art to play tournament chess, was an authority on endgames). In this, his predecessors are not just Leonardo, but Sir Joshua Reynolds and all those academicians who insisted that theirs was a mental calling.

And yet, he didn't just select any object and call it art. One of his notes in The Green Box reminds himself to limit his output of readymades. There are not that many. Something connects them all; their meaning and purpose are clear. They are all manufactured objects: he never named a landscape or a natural object as a work of art. He saw art not just anywhere in the stuff of everyday life, but specifically in the capitalist industrialised world. Anthropology was a passion of artists at the beginning of the 20th century, and photos of Duchamp's studio show totems of mass production. They find magic in the modern world, and their key is The Bride Stripped Bare By Her Bachelors, Even.

The great work he eventually abandoned as "definitively unfinished" in 1923 is an allegory of virtual desire in a machine world. It imagines two realms, defined by separate glass panels. In the upper panel is the "bride", like a Renaissance Madonna ascending to a paradise supported not by angels but by some kind of metallic insect. Below are the "malic moulds", bachelors who vainly send emanations up towards the object of their desires (or prayers). Duchamp's bachelor machines may be happy enough grinding chocolate, but they will never get the bride.

Richard Hamilton, one of Marcel Duchamp's most profound interpreters, made the copie conforme of The Bride Stripped Bare that is on permanent view at Tate Modern. In their preface to The White Box, an English edition of some of Duchamp's more abstruse notes, Hamilton and his co-translator, Ekke Bonk, compare Duchamp's masterpiece with the magazine Astounding Science Fiction - an idea that helps us understand the idea of the readymade. New York must have struck Duchamp as a spectacle from the future. From Otis elevators and skyscrapers to ultra-modern bathrooms and steel combs, "all the great modern things", as Andy Warhol was to call them, were already in place in America in 1915 while Europe was still struggling free of its ancien régimes. It must be this translation to the future that gave Duchamp his unparalleled intellectual freedom, an alienated liberation familiar to travellers. He sought the estrangement to which his readymades are eerie monuments.

There is not really any other art like his, despite his infamous "influence". He discovered something new; no one can discover it again. The cleverest artist of the 20th century played a great joke on history, for Duchamp, who sanctioned and signed replicas of his works and is the prophet of the simulacrum, is in truth inimitable.

· Duchamp, Man Ray, Picabia is at Tate Modern, London SE1, from February 21 to May 26. Details: 020-7887 8888; tate.org.uk

Art:21 - Art in the Twenty-First Century | Season 4 Trailer

2009-04-29T06:19:00.001-07:00

Art:21-Art in the Twenty-First Century is the only primetime national television series in the US to focus exclusively on contemporary art and artists. Through in-depth profiles and interviews, the series
reveals the inspiration, vision and techniques behind the creative works of some of today's most accomplished contemporary artists.

Art:21 | Kara Walker

2009-04-29T05:39:00.001-07:00

Kara Walker's work explores the raw intersection of race, gender, and sexuality through iconic, silhouetted figures. Walker unleashes the traditionally Victorian medium of the silhouette directly onto the walls of the gallery. In recent works, the Walker uses overhead projectors to throw light onto the walls and floor of the exhibition space, implicating the audience through their own shadows.

Kara Walker's is featured in the Season 2 episode "Stories" of the Art21 series "Art:21 -- Art in the Twenty-First Century".

A Painting in the Making

2009-04-29T05:11:00.001-07:00

A Painting in the Making

Martin Kippenberger: The Problem Perspective, on view at MoMA

2009-04-14T05:02:00.001-07:00

Human Mirror

2009-04-08T12:44:00.001-07:00

From http://www.ImprovEverywhere.com, 15 pairs of twins create a human mirror on a New York subway car.

Be sure to click "watch in high quality"!!!!

Edited by Matt Adams:
http://www.mattadamsapple.com/

Song by Tyler Walker:
http://myspace.com/tylerichiban

This is one of over 70 different missions Improv Everywhere has executed over the past six years in New York City. Others include Frozen Grand Central, the Best Buy uniform prank, and the famous U2 Rooftop Hoax, to name a few. Visit the website to see tons of photos and video of all of our work, including behind the scenes information on how this video was made.

http://www.improveverywhere.com

If you are interested in getting involved in New York you can sign the NY Agents List on the site. If you are interested in getting involved in your own town, join the Urban Prankster Network here: http://improveverywhere.ning.com

Be the first to find out about the next video we create by subscribing to our YouTube channel: http://youtube.com/subscription_cente...

RSS feed: http://www.improveverywhere.com/feed

You can also join our Facebook group:
http://www.new.facebook.com/pages/Imp...
Category: Comedy

Subway Art Gallery Opening

2009-04-08T12:38:00.001-07:00

From http://improveverywhere.com/, 50 Improv Everywhere agents create and art gallery opening on a subway platform.

Be sure to click "watch in high quality"!!!!

Edited by Matt Adams:
http://www.mattadamsapple.com/

Music by Erin Hall:
http://www.erinandhercello.com

This is one of over 80 different missions Improv Everywhere has executed over the past seven years in New York City. Others include Frozen Grand Central, the Best Buy uniform prank, and the famous U2 Rooftop Hoax, to name a few. Visit the website to see tons of photos and video of all of our work, including behind the scenes information on how this video was made.

http://www.improveverywhere.com

If you are interested in getting involved in New York you can sign the NY Agents List on the site. If you are interested in getting involved in your own town, join the Urban Prankster Network here: http://improveverywhere.ning.com

Be the first to find out about the next video we create by subscribing to our YouTube channel: http://youtube.com/subscription_cente...

RSS feed: http://www.improveverywhere.com/feed

You can also join our Facebook group:
http://www.new.facebook.com/pages/Imp...

We have a DVD for sale!
http://www.improveverywhere.com/dvd/
Category: Comedy

Tags: ImprovEverywhere Improv Everywhere Subway Platform NYC Art Gallery Opening funny prank

ARCO 08 International Art Fair

2009-04-08T12:29:00.001-07:00

Cairn_Song

2009-03-31T06:18:00.001-07:00

found footage project 2, using clips from Andy Goldsworthy documentary and a clip from a video found in my house mates vid collection. Music by Meredith Monk, "Boat Song"

River and Tides (extraits 2)

2009-03-31T06:16:00.001-07:00

A clip from the beautiful documentary on Andy Goldsworthy, "Rivers and Tides". If you enjoy this clip, please support his work by purchasing the dvd. In this clip he builds a sculpture out of driftwood and watches as the tide takes it out to sea. This is a good example of his wonderful work with time.

Rivers and Tides

2009-03-31T06:15:00.001-07:00

Ovation TV | Jackson Pollock

2009-03-05T17:04:00.001-08:00

This OVATION original documentary follows his life, beginning with his Depression-era days working for the WPA through the optimism and Cold War paranoia that laced the 1950s. Pollock's relationships with both Ernest Hemingway and Pablo Picasso are explored. Archival footage, including Hans Namuth's famous cinematic rendering of the artist at work, is coupled with archival photos of Pollock's time, when atom bombs stunned the world, Kerouac addressed the Beat Generation and jazz permeated the airwaves.

With a mission to "Make Life Creative," Ovation TV is a multiplatform network focused on entertaining, inspiring and engaging the artist in all of us by offering original and acquired programming focused on art, culture and personal creativity. The network is distributed via cable, satellite and telco, and is complemented with its popular broadband website (www.OvationTV.com).

Rothko

2009-03-05T16:49:00.001-08:00

Music by Daniel Giorgetti

Pollock painting (1950)

2009-03-05T16:39:00.001-08:00

It will work better using a SMALL SCREEN FORMAT. A fragment (going on a loop) of the film of Jackson Pollock painting - shot by Hans Namuth (1950) and released as "Jackson Pollock 51" (1951). Sound...

JACKSON POLLOCK

2009-03-05T16:38:00.001-08:00

l'histoire de l'artiste Jackson pollock

Jackson Pollock

2009-03-05T16:36:00.001-08:00

Chuck Close

2009-03-05T16:14:00.001-08:00

A discussion with Chuck Close, Vincent Katz, and Matthew von Unwerth about the film "Chuck Close," directed by Marion Cajori

Dan Perjovschi, WHAT HAPPENED TO US?, at MoMA (Part 2)

2009-03-02T05:08:00.001-08:00

In his first solo museum show in the United States, contemporary artist Dan Perjovschi creates site-specific wall drawings at The Museum of Modern Art, New York.

Perjovschi, who lives and works in Bucharest, Romania, makes witty and incisive social and political images in response to current events. His work has been featured in Biennials from Venice to Istanbul to Moscow.

Projects 85: Dan Perjovschi, WHAT HAPPENED TO US?, is on view at The Museum of Modern Art from May 2 through August 27, 2007.

For more information on the exhibition, please visit http://www.moma.org/exhibitions/exhib...

Color Field Exhibit

2009-02-21T14:28:00.003-08:00

The Color Field movement is a painting style from the 1950s characterized by large areas of color. A large cross-section was eecently on display in Washington

Ackland Art Museum: A glimpse of Circa 1958

2009-02-21T14:28:00.001-08:00

As the Ackland Art Museum celebrates it's 50th year, it hosts one of its most extensive exhibitions. Director Emily Kass discuses this exhibition that showcases contemporary art. Artists like Warhol, Yoko Ono and Kenneh Noland are showcased. Visit www.dailytarheel.com for the high-quality version of this video and more DTH coverage.

Art credits
Kenneth Noland, American, born 1924: That, 1958-59; oil on canvas, 83 x 83 inches. Collection of David Mirvish, Toronto. Art @ Kenneth Noland/Licensed by VAGA, New York, NY
Morris Louis, American, 1912 1962: Theta Beta, 1960; acrylic resin paint on canvas, 104 5/8 x 233 ½ inches. Ackland Art Museum, Gift of Marcella Louis Brenner. ©1993 Marcella Louis Brenner.
John Chamberlain, American, born 1927: Nutcracker, 1958; painted steel, 47 x 39 x 30 inches. Private Collection, courtesy Allan Stone Gallery, New York. © John Chamberlain /Artist Rights Society (ARS), New York
Yoko Ono: Painting to Hammer a Nail, 1961/1966; painted wood panel, nails, painted hammer, chain; 13 ¾ x 10 ½ x 4 ½ in. Realized according to the artist's instructions; with permission of the artist. © Yoko Ono

Morris Louis at Ameringer-Yohe, New York (April 2008)

2009-02-21T14:25:00.001-08:00

2009-02-21T14:18:00.000-08:00

link to video
Janis Goodman and Peter Winant discuss this exhibition which showcases abstract compositions by Washington, D.C. based artist Morris Louis. Morris' works feature a staining technique which is now known as "color field painting."
http://www.weta.org/video/individual/Morris+Louis+Now

Join Diane Upright on the opening day of the Morris Louis Now exhibition as she shares her perspectives on the artist.

2009-02-21T14:05:00.001-08:00

Morris LouisBuskin
(1959)

Morris Louis (Morris Louis Bernstein) was one of the talented U.S. abstract expressionist painters to emerge in the fifties. From 1929 to 1933, he studied at the Maryland Institute of Fine and Applied Arts on a scholarship, but left shortly before completing the program. He worked at various odd jobs to support himself while painting and in 1935 served as president of the Baltimore Artists’ Association. From 1936 to 1940, Louis lived in New York, where he worked in the easel division of the WPA Federal Art Project. During this period, he knew Arshile Gorky, David Alfaro Siqueiros, and Jack Tworkov. He also dropped his last name.
He returned to Baltimore in 1940 and taught privately. In 1948, he started to use Magna acrylic paints. In 1952, Louis moved to Washington, D.C. Living in Washington, D.C., somewhat apart from the New York scene and working almost in isolation, he and a group of artists that included Kenneth Noland were central to the development of Color Field painting. The basic point about Louis's work and that of other Color Field painters, in contrast to most of the other new approaches of the sixties, is that they continued a tradition of painting exemplified by Pollock, Newman, Still, Motherwell, and Reinhardt. All of these artists were concerned with the classic problems of pictorial space and the statement of the picture plane.In 1953, he and Noland visited Helen Frankenthaler’s New York studio, where they saw and were greatly impressed by her stain painting Mountains and Sea (1952). Upon their return to Washington, Louis and Noland together experimented with various techniques of paint application. Louis characteristically applied extremely runny paint to an unstretched canvas, allowing it to flow over the inclined surface in effects sometimes suggestive of translucent color veils. The importance of Frankenthaler's example in Louis's development of this technique has been noted. However, even more so than Frankenthaler, Louis eliminated the brush gesture, although the flat, thin pigment is at times modulated in billowing tonal waves. His "veil" paintings consist of bands of brilliant, curving color-shapes submerged in translucent washes through which they emerge principally at the edges. Although subdued, the resulting color is immensely rich, In another formula, the artist used long parallel strips of pure color arranged side by side in rainbow effects.
He destroyed many of the paintings in this show but resumed work on the Veils in 1958–59. These were followed by Florals and Columns (1960), Unfurleds (1960–61)—in which rivulets of more opaque, intense color flow from both sides of large white fields—and the Stripe paintings (1961–62). Louis died in Washington, D.C., on September 7, 1962. A memorial exhibition of his work was held at the Solomon R. Guggenheim Museum, New York, in 1963. Major Louis exhibitions were also organized by the Museum of Fine Arts, Boston, in 1967 and the National Collection of Fine Arts, Washington, D.C., in 1976.

2009-02-21T14:03:00.001-08:00

Morris Louis (1910-1962) Untitled magna on canvas 98¼ x 175 in. (250 x 444.8 cm.) Painted in 1959-1960

Morris Louis

2009-02-21T14:00:00.000-08:00

Morris Louis (1912-1962), American abstract painter, the main pioneer of color-stain, or color-field, painting. He was born Morris Louis Bernstein in Baltimore, Maryland, and studied painting at the Maryland Institute of Fine and Applied Arts in Baltimore from 1929 to 1933. Louis originally worked in a late cubist manner, but after visiting the studio of Helen Frankenthaler in 1953, he was heavily influenced by her method of painting without brushes—by staining raw canvas with poured acrylic paint. His Veil series (1954 and 1957-1960) uses thin washes of paint to create translucent curtains of color on the canvas; one example from this series is Tet (1958, Whitney Museum of American Art, New York City). In the summer of 1959 Louis began a number of experiments with this painting technique. In the series Florals, he used heavier paint in more haphazard bursts in Alephs, areas of pigment radiate out from the center. In Columns,Omegas, and Japanese Banners, large portions of the canvases remain unstained. These experiments resulted in the Unfurled series (1960-1961), in which thin brilliant streams of color flow across the lower corners of otherwise empty canvases, as in Beta Upsilon (1960, Smithsonian American Art Museum, Washington, D.C.). In his next series, the Stripe series (1961-1962), colored bands are juxtaposed vertically or horizontally; one example is Third Element (1962, Museum of Modern Art, New York).

2009-02-19T06:16:00.001-08:00

Sunflower 4. Original color etching, 1972. 50 signed and numbered impressions on Arches printed from 12 separate plates. Published in Paris in 1972 by Maeght Editeur. Image size: 240x620mm. .

Joan Mitchell

2009-02-19T06:06:00.000-08:00

Artiste Joan Mitchell
Titre La ligne de la rupture
Média oil on canvas
Taille 112 x 79 in. / 284,5 x 200,7 cm.
Année

1970 - 1971
Description

signéhuile sur toilePeint en 1970-71.
Divers

Signed
Vente de

Sotheby's Paris: Monday, May 26, 2008[Lot 15]Contemporary Art

Joan Mitchell was born in Chicago, Illinois in 1925 and died in a Paris suburb in 1992. Her expatriate years began in the late 1950s and continued uninterrupted until her passing in Vetheuil, France. She occupied a celebrated stature in the generation that succeeded Pollock and Rothko. She declined the theoreticism of her European counterparts, and remained throughout her career the empirical American, personally accountable for her memories and emotions. Her work is characterized in many developments from the 1950s to the early 90s shortly prior to her passing. She usually worked on multiple panels or large scale canvases - striving to attract a natural rather than constructed rhythm from the composition, a rhythm emanating from the expansiveness of the gesture or from the unrestrained use of color and the pervasive luminosity. The titles of her last paintings suggest the abstract valleys and empirical fields of her beloved French countryside. In speaking of Mitchell, others tell us of her physical materiality - how she exudes the visual sentiments of nature - the objectivity of her painting, devoid of anecdote or theater and in her own words "to convey the feeling of the dying sunflower." Joan Mitchell as an abstract expressionist composes with long curvilinear strokes or broad stains of color, contrasting warm and cool, often on unprimed canvases. Her perceptions enrich her work with a fascinating sense of the unfinished. Joan Mitchell demonstrated in painting just as in life, anything can happen.

How it feels to have a stroke

2009-02-12T05:42:00.001-08:00

http://www.ted.com Neuroanatomist Jill Bolte Taylor had an opportunity few brain scientists would wish for: One morning, she realized she was having a massive stroke. As it happened -- as she felt...

LIVING SKETCHBOOK ™ — Perspective in Action!

2009-02-11T08:07:00.001-08:00

This short movie demonstrates to what extent perspective plays a critical role in visual expression. In fact, there is practically no escaping it!

Drawing Upside Down

2009-02-11T08:01:00.001-08:00

Piece of the DVD
Drawing On The Right Side of the Brain

Art Series Episode5: Upside Down Drawing

2009-02-11T07:47:00.001-08:00

Today's episode teaches you how to draw upside down and force a cognitive shift from the left side of the brain to the right side. Since the drawing is upside down your left brain can't make sense of the drawing and so you're brain shifts to the right side to make sense of the drawing. This is an example from Betty Edward's book "Drawing on the Right Side of the Brain." which is out there in book stores for anyone interested in buying this book. This video is here merely to inform readers about the book that's all.

Sculpting Demo,by Philippe Faraut

2009-02-04T16:33:00.003-08:00

Claudio Setti - Sculpting Female

2009-02-04T16:33:00.001-08:00

The Nude Sculptures of Marton Varo

2009-02-04T16:31:00.001-08:00

A short documentary of Marton Varo's exquisite sculptures of the female nude.

work in progress - ballerina sculptures

2009-02-04T16:28:00.001-08:00

same clips from work in progress of modeling the series of ballerina sculptures

Symphony in Clay II

2009-02-04T16:27:00.001-08:00

Master sculptor Peter Rubino turns 250lbs of clay into a monumental bust of Beethoven in 20 minutes - choreographed to the 5th Symphony...unique performance and amazing to see live

Howard Hodgkin

2008-12-10T04:19:00.000-08:00

Artist
HODGKIN, SIR HOWARD
Title :STILL LIFE IN A RESTAURANT
Dimensions :92.7 X 118.1 CM
Media :OIL ON WOOD
Date :1976/79

2008-12-10T04:15:00.000-08:00

Moonlight 1998-99

Howard Hodgkin-Memories

2008-12-10T04:03:00.000-08:00

Memories1997 - 1999

Medium Oil on wood
Size 119.00 x 175.70 cm

Like most of Hodgkin's work, this painting refers to a particular place and to memories of a specific moment. Hodgkin paints from memory, often working on a picture over the course of several years. His sweeping brushstrokes are expressive, almost violent. Although the painting is abstract, there is a dark, cave-like area in the middle of the painting, towards which the 'figures' in red paint appear to be leaning. This gives the appearance of depth. Hodgkin often paints the frame, as is the case with this picture, making the painting like an object in itself.

Howard Hodgkin

2008-12-10T03:31:00.000-08:00

Howard Hodgkin. (British, born 1932). In the Museum of Modern Art. 1979. Four etchings, two with hand additions. Gift of Mr. and Mrs. Herbert D. Schimmel in honor of Riva Castleman. © 2008 Howard Hodgkin

2008-11-28T11:00:00.000-08:00

Braque's Synthetic Period:
Braque's works from the period 1917-20 are derived compositionally from synthetic cubism, the second phase of cubism, which began about 1914. Much flatter and more variegated in color, they include brightly dotted decorative passages. Around 1930-31, Braque moved to the coast of Normandy in France. As a result, he changed the subjects of his paintings; bathers, beach scenes, and seascapes were now his favorite themes. Stylistically, he became increasingly interested in ornamentation and patterned surfaces. During the late 1930s and early '40s, Braque was drawn to melancholy themes. From 1945, birds were a dominant subject. Braque's canvases done during the 1950s show a return to the brilliant colors of the Fauve period, as in the Louvre ceiling (1952-53) and the decoration for the villa at Saint Paul-de-Vence (1954). Active until the end of his life, Braque produced an oeuvre that includes sculpture, graphics, book illustration, and decorative art.

Braque's "Bottle and Fishes"

Georges Braque was the only artist ever to collaborate with Picasso as an equal. He admitted that they were "like climbers roped together, each pulling the other up". From 1907 they worked so closely together, exploring the planes and facets of the same subject matter, that some of their work appears almost identical. Although they developed their own natural autonomy as artists, they carried Cubism to another level that was brighter and more legible.

By 1929 however their innate differences were quite clear, for the two had long since parted ways. They had parted in 1914, for at the outbreak of WWI Braque entered the army as an infantry sergeant and served with distinction, being decorated twice in 1914 for bravery. In 1915 he suffered a serious head wound, which was followed by a trepanation, several months in the hospital, and a long period of convalescence at home at Sorgues. During this period he added to the sayings he had been in the habit of scribbling on the margins of drawings, and in 1917 he published a collection of these sayings called "Thoughts and Reflections on Painting."

New means, new subjects. . . . The aim is not to
reconstitute an anecdotal fact, but to constitute a
pictorial fact. . . . To work from nature is to
improvise. . . . The senses deform, the mind forms.
. . . I love the rule that corrects emotion.

Released from further military service, the artist rejoined the Cubist movement, which by then was in its synthetic phase. In 1917-18 he painted, partly under the influence of his friend Juan Gris, the geometric, strongly coloured, nearly abstract "Woman Musician" and some still lifes in a similar manner. Rapidly he moved away from geometry toward forms softened by looser drawing and freer brushwork. An example of the change is the 1919 "Still Life with Playing Cards." From this point onward his style ceased to evolve in the methodical way it had during the successive phases of Cubism; it became a series of personal variations on the stylistic heritage of the eventful years before WWI.

Worlds Youngest Solo Pianist and Vocalist... child Prodigy

2008-11-19T10:32:00.001-08:00

this is for fun

Alexandra Nechita - Art Prodigy

2008-11-19T10:30:00.001-08:00

From her website:
"Alexandra Nechita's first exhibit was a one-woman (child) show held at a Los Angeles-area public library when she was just eight years old. Her talent was instantly recognized as capacity crowds came to see the "petite Picasso" as the press had labeled her. She was immediately offered an exhibit at the prestigious (non-profit) Mary Paxon Gallery where the exhibit attracted the attention of legitimate art critics and the media who began telling the world about this rarest of child prodigies - an abstract cubist painter who had only recently turned nine years old. "

Joshua Johnson Child Prodigy Artist

2008-11-19T10:28:00.000-08:00

Joshua continues to fascinate art collectors by his artwork. At age 14 Josh's original oil paintings are of master quality.

ART WORLD BUZZING ABOUT TODDLER'S PAINTINGS

2008-11-19T10:27:00.001-08:00

Cameron Sky Villa: One-Year-Old Artist

2008-11-19T10:25:00.000-08:00

My son had his first art show when he was 20 months old. His first paintings were done when he was 18 months. These are the ones you see in the video. To see them in more detail, go to http://www.cameronvilla.com/
He may be the world's youngest abstract artist!

He's two now and having his 2nd show which one painting has already sold for $500. To see newspaper and TV coverage, go to:
http://www.cameronvilla.com

My Kid Could Paint That - 5 Year Old Artist - Movie Trailer

2008-11-19T10:20:00.000-08:00

Marla Olmstead

2008-11-19T10:19:00.000-08:00

Video publicado en su sitio web de como pinta el cuadro FearyMap.
if you understand this language please post translation in English

In the span of only a few months, 4-year-old Marla Olmstead rocketed from total obscurity into international renown -- and sold over $300,000 dollars worth of paintings. She was compared to Kandinsky and Pollock, and called "a budding Picasso." Inside Edition, The Jane Pauley Show, and NPR did pieces, and The Today Show and Good Morning America got in a bidding war over an appearance by the bashful toddler.

Michael Kimmelman on Art: Part 2 of 2

2008-11-19T10:17:00.000-08:00

Michael Kimmelman on Art: Part 1 of 2

2008-11-19T10:15:00.000-08:00

DADA-3

2008-11-19T08:05:00.001-08:00

By the dawn of World War II, many of the European Dadaists had fled or emigrated to the United States. Some died in death camps under Hitler, who persecuted the kind of "Degenerate art" that Dada represented. The movement became less active as post-World War II optimism led to new movements in art and literature.
Dada is a named influence and reference of various anti-art and political and cultural movements including the Lettrists and the Situationists. Category: News & Politics

DADA-2

2008-11-19T08:04:00.000-08:00

According to its proponents, Dada was not art - it was "anti-art". It was anti-art in the sense that Dadaists protested against the contemporary academic and cultured values of art. For everything that art stood for, Dada was to represent the opposite. Where art was concerned with aesthetics, Dada ignored aesthetics. If art were to have at least an implicit or latent message, Dada strove to have no meaning - interpretation of Dada is dependent entirely on the viewer. If art is to appeal to sensibilities, Dada is to offend. Ironically, Dada became an influential movement in modern art, a commentary on order and the carnage Dadaists believed it wreaked. Through their rejection of traditional culture and aesthetics they hoped to destroy them.
A reviewer from the American Art News stated at the time that "The Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man." Art historians have described Dada as being, in large part, "in reaction to what many of these artists saw as nothing more than an insane spectacle of collective homicide."
Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of the postwar economic and moral crisis, a savior, a monster, which would lay waste to everything in its path. It was a systematic work of destruction and demoralization...In the end it became nothing but an act of sacrilege."
While broad, the movement was unstable. By 1924 in Paris, Dada was melding into surrealism, and artists had gone on to other ideas and movements, including surrealism, social realism and other forms of modernism. Some theorists argue that Dada was actually the beginning of postmodern art.

DADA

2008-11-19T08:03:00.001-08:00

Brice Marden at S.F. Museum of Modern Art

2008-11-19T07:44:00.000-08:00

Brice Marden at S.F. Museum of Modern Art

Brice Marden was born October 15, 1938, in Bronxville,
New York. He attended Florida Southern College, Lakeland, from 1957 to 1958
and the Boston University School of Fine and Applied Arts from 1958 to 1961,
when he received his B.F.A. Degree. In the summer of 1961, he attended Yale
Norfolk Summer School of Music and Art in Norfolk, Connecticut, and went
on to enroll at the Yale University School of Art and Architecture, New
Haven, receiving an M.F.A. Degree in 1963.

It was at Yale that Brice Marden developed the formal strategies that
characterized his paintings of the following decades: a preoccupation
with rectangular formats and the repeated use of a muted, extremely individualized
palette. He has described his early works as highly emotional and subjective,
despite their apparent lack of referentially.

In the summer of 1963, Marden moved to New York with his wife, Pauline
Baez, whom he had married in 1960, and with whom he had a son, Nicholas.
They later divorced and he married Helen Harrington in 1969. Brice Marden
worked as a guard in 1963 and 1964 at the Jewish Museum, where he came
into contact with the work of Jasper Johns, an artist whom he studied
in depth and whose work furthered his interest in gridded compositions.

Brice Marden made his first monochromatic single-panel painting in the
winter of 1964. It was during this time that his first solo exhibition
was presented at the Wilcox Gallery, Swarthmore College, Swarthmore, Pennsylvania.
Marden spent the spring and summer of 1964 in Paris, where he was inspired
by the work of Alberto Giacometti. His first solo show in New York was
held at the Bykert Gallery in 1966, and in the fall of that year, he became
the general assistant to Robert Rauschenberg. In 1968, he began constructing
his paintings with multiple panels. From 1969 to 1974, he was a painting
instructor at the School of Visual Arts in New York.

To read more on Brice Marden please go to GuggenheimAND
MOMA

Hans Hofmann

2008-11-19T07:42:00.000-08:00

Hans Hofmann was born March 21, 1880, in Weissenburg, Bavaria. He was raised in Munich, where in 1898 he began to study at various art schools. The patronage of Philip Freudenberg, a Berlin art collector, enabled Hans Hofmann to live in Paris from 1904 to 1914. In Paris, he attended the Académie Colarossi and the Académie de la Grande Chaumière. At the outbreak of World War I, Hans Hofmann was in Munich; disqualified from military service due to a lung condition, he remained there and in 1915 opened an art school, which became highly successful. Hans Hofmann taught at the University of California at Berkeley during the summer of 1930. He returned to teach in California in 1931, and his first exhibition in the United States took place that summer at the California Palace of the Legion of Honor, San Francisco. In 1932, he closed his Munich school and decided to settle in the United States. Hans Hofmann first school in New York opened in 1933 and was succeeded in 1934 by the Hans Hofmann School of Fine Arts; in 1935, he established a summer school in Provincetown, Massachusetts.

After an extended period devoted to drawing, Hofmann returned to painting in 1935, combining Cubist structure, vivid color, and emphatic gesture. He became a United States citizen in 1941. The artist’s completely abstract works date from the 1940s. His first solo exhibition in New York took place at Peggy Guggenheim’s gallery, Art of This Century, in 1944. Hans Hofmann was an important influence upon younger artists. In 1958, he closed his schools to devote himself full-time to painting. Hofmann died February 17, 1966, in New York.