Sometimes I come across a new artist with whom I am not familiar with and I think.
“How is this possible? Have I been Hiding in a Box?” Discovering the works of Howard Hodgkin was such a moment.
Really a powerful and colorful abstract artist. ”
“Hodgkin consistently stressed the self-sufficiency of the marks and formal structure of his work. The oblique and even mystificatory imagery, however, also entailed a defence of intimate values in expressing the most fugitive, human and vulnerable sensations.” Article provided by Grove Art Online www.groveart.com
Sir Gordon Howard Eliot Hodgkin CH CBE is a British painter and printmaker. His work is most often associated with abstraction. Wikipedia
Heart of Glass is a new arts commissioning project supporting work made with, for and about St.Helens, England people and place. We support artists and communities to make ambitious new work. BRAVO!
Address: Heart of Glass, Old Beecham’s Building, Water Street, St Helens, WA10 1PZ
St Helens is the next door neighbour of Liverpool and is easily reached by either car or train. Wow what a wonderful group supporting the arts.
“Dream” is a sculpture and a piece of public art by Jaume Plensa in Sutton, St Helens, Merseyside. Costing approximately £1.8m, it was funded through The Big Art Project in coordination with the Arts Council England, The Art Fund and Channel 4. Wikipedia
Today thank God I was not hiding in a box and was reminded to keep searching and learning about art. The miners for the Dream piece sought a forward-looking piece that would provide a beautiful, inspiring, contemplative space for generations to come.
In Jaume’s words, “Despite her wonderful vantage point and view, the girl’s eyes are closed, looking inward. This is in part my homage to the miners and their dream of light when underground.”
My Grammar is abstract. I just seem to relate to it better.
I like Franz Kline he seems to be more emotional and the paintings just leap off the wall. I like that. They are very gestural. Very muscular but refined. Wonderful brush work.
Franz Kline’s Black, White, and Gray
Notice how the dark edge at top holds the painting in and then the free strong brush strokes just simply work. Painting with the whole arm.
I love Barnett Newman and how he continued a specific style of painting. Wow to think that I was one when he painted the Onement I (1948). The painting’s title is an archaic derivation of the word “atonement,” meaning, “the state of being made into one.”
Newman used a vertical band to define the spatial structure of his work. This band, later dubbed a “zip,” became Newman’s signature mark.
Newman’s paintings were wonderful fields of color and were a break with the gestural abstraction of his peers. He Created ZIP- an approach that avoided painting’s conventional oppositions of figure and ground. He created an area or line of color he called a symbol, the “zip,” which might reach out and pull the viewer into the image.
Barnett Newman was an American artist. He is seen as one of the major figures in abstract expressionism and one of the foremost of the color field painters
I never knew before that he looked like a detective. I love his mustache.
I seem to stray all over the place. Like a lost dog sniffing my away along.
Nice article about Barnett Newman. The Art Story
“I hope that my painting has the impact of giving someone, as it did me, the feeling of his own totality, of his own separateness, of his own individuality.”
Newman shared the Abstract Expressionists‘ interests in myth and the primitive unconscious, but the huge fields of color and trademark “zips” in his pictures set him apart from the gestural abstraction of many of his peers. The response to his mature work, even from friends, was muted when he first exhibited it. It was not until later in his career that he began to receive acclaim, and he would subsequently become a touchstone for both Minimalists and a second generation of Color Field painters. Commenting on one of Newman’s exhibitions in 1959, criticThomas B. Hess wrote, “he changed in about a year’s time from an outcast or a crank into the father figure of two generations.”
Sometimes you come across a woman artist and you go “yeah!” good for her. She painted, she drew and she remained true to her art and her style.
“A leading figure in the feminist art movement of the 1960s, Nancy Spero explored female sexuality, suffering, and heroism, as well as the horrors of war, in gouache and ink works on paper. Spero drew from ancient mythologies and iconographies to produce her burlesque cast of pagan goddesses, Celtic fertility figures, and Amazon warriors, which she pulled from books on ancient art before manipulating and incorporating them into her own drawings and collages. Her well-known 1966–70 “War” series, produced during the Vietnam years, explored the atrocities of war, a subject Spero revisited in her later career with frieze-like drawings installed around the walls of galleries, depicting masses of screaming figures and helicopters overhead dropping human-shaped bombs. Her work Cri de Coeur (2005) portrays mourning women from ancient Egypt. “I am thinking about the women’s condition, showing victimage or celebratory sexuality in an exaggerated way,” she once said.” Artsy
“Everyone discusses my art and pretends to understand,
as if it were necessary to understand,
when it is simply
necessary to love.”
“Every child is an artist. The problem is how to remain an artist once we grow up.”
“People dwell inside their stories, the world is a story.”
Interesting site worth seeing> http://www.monsangelorum.net/?p=24208
If you find out who did this painting below. Please let me know.
One of my favorite Galleries in Atlanta the Bill Lowe Gallery always has dynamic and interesting work. This show fascinated me.
Bill Lowe Gallery “presents Primal Poetry, an examination of primitive forms, symbols, indigenous cultures and their enduring impact on the contemporary psyche. James Havard and Michel Meyer, much like the romantic poets of the late 13th century, approach painting with a strong belief in the senses and emotions, rather than reason and intellect. Both artists present an application of gestures and symbols imbued with lyrical, sublime, sometimes naive strokes in contrasting compositional density. These opposing senses of space lend themselves to a dialogue between the imitate and universal.”