Ceramic art Karen Karnes

«Karen Karnes (November 17, 1925 – July 12, 2016) was an American ceramist, best known for her earth toned stoneware ceramics. She was born in 1925 in New York City, where she attended art schools for children. Her garment worker parents were Russian and Polish Jewish immigrants, and the family lived in the Bronx Coops. Karen was influenced in many ways by her parents' communist philosophies, and has professed respect for working in small communities.
In 1967, Karnes first experimented with salt-firing at a workshop at the Penland School of Crafts.Karnes' more recent work deal with contemporary vessels, which are given different attention to design than her original pottery. She still today makes many traditionally functional forms. Today Karen primarily fills her kilns with more contemporary forms, but she continues to produce casseroles, teapots, cups and bowls.
Another of her most well-known forms is the cut-lid jar, a form she first made at a workshop with Paulus Berensohn. Karnes continued to experiment with this form from the late 1960s until she stopped throwing.
Karen decided to live the rest of her life on a farm, working with clay and using old firing practices such as wood and salt firing. In 1998, her house and studio burned to the ground because of a kiln fire.With the help of donations from a large pottery sale, Karen rebuilt her country house and studio. She received a Graduate Fellowship from Alfred University, and more recently won a gold medal for the consummate craftsmanship from The American Craft Council.Her work is displayed in numerous galleries and permanent collections worldwide»

 

 

 

 

 

 

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Anne Truitt - Precursor of Minimalism

 The sculptures that made her significant to the development of Minimalism were aggressively plain and painted structures, often large. Fabricated from wood and painted with monochromatic layers of acrylic, they often resemble sleek, rectangular columns or pillars. Truitt produces in scale drawings of her structures that are then produced by a cabinetmaker. The structures are weighed to the ground and are often hollow, allowing the wood to breathe in changing temperatures. She applies gesso to prime the wood and then up to 40 coats of acrylic paint, alternating brushstrokes between horizontal and vertical directions and sanding between layers. The artist sought to remove any trace of her brush, sanding down each layer of paint between applications and creating perfectly finished planes of colour.The layers of paint build up a surface with tangible depth. Additionally, the palpable surface of paint convey Truitt's ever-present sense of geography in the alternating vertical and horizontal paint strokes that mirror the latitude and longitude of an environment. Her process combined «the immediacy of intuition, the remove of prefabrication, and the intimacy of laborious handwork.»  The recessional platform under her sculpture raised them just enough off the ground that they appeared to float on a thin line of shadow. The boundary between sculpture and ground, between gravity and verticality, was made illusory. This formal ambivalence is mirrored by her insistence that color itself, for instance, contained a psychological vibration which when purified, as it is on a work of art, isolates the event it refers to as a thing rather than a feeling. The event becomes a work of art, a visual sensation delivered by color. The Arundel series of paintings, begun in 1973, features barely visible graphite lines and accumulations of white paint on white surfaces. In the custard-color Ice Blink (1989), a tiny sliver of red at the bottom of the painting is enough to set up perspectival depth, as is a single bar of purple at the bottom of the otherwise sky-blue Memory (1981). Begun around 2001, the Piths, canvases with deliberately frayed edges and covered in thick black strokes of paint, indicate Truitt’s interest in forms that blur the lines between two and three dimensions.

 

 

 

 

 

 

 

 

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Aluminium art Denis Young

«Denis Young, born in 1971 in Eindhoven, is a certified screen-printer by profession. Becoming fascinated by abstract and figurative art at an early age, has enjoyed painting, drawing and air-brushing ever since.
Denis started in 1997 at the Art Academy of Arendonk (Belgium), where he specialized in painting with oil based paint and the use of thick paintbrushes. These techniques allowed for the development of more expressionistic and abstract works. After attending the Art Academie, Denis developed his own idea to create unique works of art through the combination of experimental screen-printing, painting and edited aluminium.
Especialy in the portaits one can observe the daring and intricate play between the use of contrast and texture (relief) of the aluminium, where the consciously leaving out the eyes, and the creation of wrinkles and skinlines shroud each art piece with a certain mystique.
The use of texture and relief of the aluminium in combination with the creative use of lightning ensure the unique and daring character of each individual art piece, and is a process from which Denis, as an artist, enjoys great (personal) satisfaction.»

 

 

 

 

 

 

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Australian Aboriginal Art Makinti Napanangka

Makinti Napanangka (c. 1930 – 9 January 2011) was a Pintupi-speaking Indigenous Australian artist from Australia's Western Desert region. She was referred to posthumously as Kumentje.The term Kumentje was used instead of her personal name as it is customary among many indigenous communities not to refer to the deceased by their original given name for some time after their death. She lived in the communities of Haasts Bluff, Papunya, and later at Kintore, about 50 kilometres (31 mi) north-east of the Lake MacDonald region where she was born, on the border of the Northern Territory and Western Australia.
Makinti Napanangka began painting Contemporary Indigenous Australian art at Kintore in the mid-1990s, encouraged by a community art project. Interest in her work developed quickly, and she is now represented in most significant Australian public art galleries, including the National Gallery of Australia. A finalist in the 2003 Clemenger Contemporary Art Award, Makinti won the National Aboriginal & Torres Strait Islander Art Award in 2008. Her work was shown in the major indigenous art exhibition Papunya Tula: Genesis and Genius, at the Art Gallery of New South Wales.

 

 

 

 

 

 

 

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Lyrical abstraction Gary Hudson

Gary Hudson 1936-2009
«Gary Hudson, Artist-Painter Born, 1936 Auburn, New York Master of Fine Arts, Yale School of Art and Architecture, 1966.
Gary Hudson is best known as a „Lyrical Abstractionist“. His work is on collections at the Whitney Museum of American Art, New York, NY and San Diego Museum of Art, San Diego, CA, The Georgia Museum, Athens, GA among many others. He exhibited in group exhibits along side artists such as Franz Kline, Robert Motherwell, Al Held… Gary Hudson was also a visiting artist and instructor at many respected school in the USA and abroad… from Yale, University of California, Pratt to Victoria and Albert College of Art in Melbourne Australia.»

 

 

 

 

 

 

 

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Bram Bogart - Avant-garde visual art

Bram Bogart (July 12, 1921 – May 2, 2012) was a Dutch born Belgian expressionist painter most closely associated with the COBRA group.Abraham van den Boogaart was born in Delft, the Netherlands, the son of Abraham van den Boogaart, a blacksmith. He attended a technical school, and trained for a career as a decorator, while taking a correspondence class in drawingFollowing his education Bogart took a job with an advertising concern in Rotterdam. Subsequent to World War Two the then twenty-five-year-old painter settled in Paris, France where he was among the founders of Art Informel. At first he experimented with cubism and figurative drawing, depicting flowers, still life and self-portraits. In the 1950s he began to concentrate on working with impasto. With thick layers of boldly applied and colourful paint, he developed an expressionist style which became more abstract with time.
In 1961 he and his later to be wife Leni permanently relocated to Belgium and in 1969 he became a Belgian citizen. Here he began to experiment with a more three-dimensional medium, a mix of mortar, siccative, powdered chalk, varnish, and raw pigment, applied to large, heavy wooden backing structures.

 

 

 

 

 

 

 

 

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André Cottavoz - Landscape painting

André Cottavoz (French, 1922–2012)
«André Cottavoz was born on July 22nd, 1922, in Saint Marcellin in Isère, first child of the young Marguerite (she is hardly 18 years old then) and of her husband Paul Cottavoz. André, called « Doudou » by his grandmother (nickname that he will assume all his life) expresses his passion for painting as soon as he is a teenager. Indeed, he is 14 when his mother surprises him copying a landscape from the « Illustration » gazette. Practicing herself watercolour, she encourages him in this way, buys colors to him and takes him to paint in the nature with her.She gives him a precious advice which he will never forget: « Paint what you like, a bridge, a tree, a reflection on the water and forget the rest. » He also benefits from Michel Gaudet’s advice, a friend of Renoir living in the area, and regularly works « sur le motif » (from nature) with him, to the great displeasure of his father opposed to a future career as an artist.

 

 

 

 

 

 

 

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Herbert Rösler

Herbert Rösler (June 15, 1924 – November 11, 2006) was a German artist, writer and designer. He worked as a painter, graphic designer, sculptor, developed models for futuristic architecture, designed clothes, furniture and handcrafted jewelry. Furthermore, he is also known as founder of the Christian work- and housing-community Gruppe 91 (Group 91), their beliefs and lifestyle have similarities to the Jesus movement. Rösler was the creative and spiritual guidance for this community from their beginning in 1968 to the date of his passing in 2006.Artworks of Rösler are on permanent display in the exhibition hall G91-Bau in Tübingen. Besides their cultural engagement, Rösler and his group were also committed to many social projects

 

   

 

 

 

 

 

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Conceptual art Chen Zhen

Chen Zhen (1955 – 13 December 2000) was a Chinese-French conceptual artist known for his large-scale sculptures and installations such as La Danse de la fontaine émergente in Paris. He is recognized as one of the most important Chinese artists since the 1990s.
Born in Shanghai and educated in Shanghai and Paris, Chen suffered from autoimmune hemolytic anemia and died at age 45. He was the brother of Chen Zhu, a vice chairman of the National People's Congress of China.
Although his career was cut short by disease, Chen had achieved international fame by the time he died. His mature work, created in the last decade of his life, explored «synergy» between different cultural and political environments. He is also known for using furniture and antique Chinese materials in his constructions. His large-scale works, exploring the topics of health and homeland, were well received globally. He held more than 30 solo shows in Europe, Asia, and America. After his death, memorial exhibitions were held at the Institute of Contemporary Art in Boston,MoMA PS1 in New York City, as well as in Greece and Italy.
Despite his fame abroad, as of 2015 there have been only two solo exhibitions of his works in his native Shanghai. The first was held at the Shanghai Art Museum in 2006, and the second at the Rockbund Art Museum (2015). The latter was curated by Hou Hanru, artistic director of the MAXXI in Rome

 

 

 

 

 

 

 

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Painter and poet Jean Raine

«Jean Raine (1927-1986) has come to painting from the literary and cinema worlds. Essentially a poet, Raine’s paintings are an extension of his poetry. Intellectually he shares the sensibilities of the surrealists, although his paintings do not seem to reflect that interest. Raine’s visual sense is, rather, tempered by the european group of action painters who had organised as COBRA, although Raine matured as a painter after COBRA had already disbanded.
Raine’s affinity for the COBRA group is apparent in a similar feeling for a synthesis of the arts, as well as in the execution of his work, which is in the exuberant style so familiar from the work of COBRA painters. These are strong differences, however, between Raine’s work and that of other COBRA painters; in contrast to Alechinsky, Raine’s work is more consistently tied to a readable imagery; in contrast to Jorn, Raine’s imagery is more direct in presenting figures rather than simply suggestions of figures. Because of the references in the titles, of course, there is a somewhat blurred distinction between what we only see and what we already know....»

 

 

 

 

 

 

 

 

 

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