Conceptual art and photography Sarah Charlesworth

Sarah Edwards Charlesworth (March 29, 1947 – June 25, 2013) was an American conceptual artist and photographer. She is considered part of The Pictures Generation, a loose-knit group of artists working in New York in the late 1970s and early 1980s, all of whom were concerned with how images shape our everyday lives and society as a whole.Charlesworth was born in East Orange, New Jersey. She received a Bachelor of Arts degree from Barnard College in 1969. Her undergraduate thesis project, a work of conceptual art devoid of text, was a 50-print study of the Solomon R. Guggenheim Museum. Prior to that she studied under Douglas Huebler at Bradford College. After completing her degree, she studied briefly under the photographer Lisette Model at The New School. After college, she worked as a freelance photographer and became active in downtown Manhattan art circles Charlesworth worked in photographic series, but stated in a 1990 interview that she had not really thought of herself as a photographer. She stated, rather, that she viewed her work as investigating questions about the world and her role in it, but realized as of that point that she had been investigating those questions through the medium of photography for the past twelve years.In 1975, Charlesworth and fellow conceptual artist Joseph Kosuth founded The Fox, a magazine dedicated to art theory, but the magazine only remained in publication until 1976.Along with Glenn O'Brien, Betsy Sussler, Liza Bear, and Michael McClard, she co-founded BOMB magazine in 1981.Charlesworth also created the cover art for the very first edition of BOMB magazine.Charlesworth worked in series, exploring one idea to its conclusion.For a series called Modern History (1977–79), she photographed, at actual size, the front pages of 29 American and Canadian newspapers and blanked out everything except for their photographs and mastheads. For Movie-Television-News-History (1979), a part of the series, Charlesworth selected a specific event — the shooting of American journalist Bill Stewart by the Nicaraguan National Guard — and presented it as it was reported on June 21, 1979, in 27 American newspapers. All images in the final work were printed at the same size as the original newspapers.

 

 

 

 

 

 

 

 

 

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Black and White photography Elio Ciol

Elio Ciol (born 1929) is an Italian photographer and publisher who was born in Casarsa della Delizia in Friuli-Venezia Giulia, the region where he has principally lived and worked. His father was a photographer who kept a studio in their hometown and Elio was fascinated by the technical aspects and worked in the darkroom as a boy. A formative experience was when, during the Nazi occupation, a German doctor brought in films with photographs of the countryside rather than of people, «photographs that I myself should have been able to do and which I had not done or even imagined.» He began practising photography at fifteen, worked full-time in the studio from nineteen, and spent an increasing amount of his free time taking photographs for his own interests. A trip to Assisi in 1951 made a great impression; Ciol subsequently spent much time there, taking many photographs.
Dissatisfied with the conventions demanded in Italian photographic contests, Ciol ambitiously entered contests abroad; in 1955 and 1956 he was encouraged by favorable mentions in the American magazine Popular Photography.

 

 

 

 

 

 

 

 

 

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Experimental art and performance Vito Acconci

Vito Hannibal Acconci (January 24, 1940 – April 27, 2017)was an American designer, landscape architect, performance and installation artist.
«Acconci began his career as a poet, editing 0 TO 9 with Bernadette Mayer in the late 1960s. In the late 1960s, Acconci transformed himself into a performance and video artist using his own body as a subject for photography, film, video, and performance. His performance and video work was marked heavily by confrontation and Situationism. In the mid 1970s, Acconci expanded his metier into the world of audio/visual installations.
One installation/performance piece from this period is Seedbed (January 15–29, 1971). In Seedbed Acconci lay hidden underneath a gallery-wide ramp installed at the Sonnabend Gallery, masturbating while vocalizing into a loudspeaker his fantasies about the visitors walking above him on the ramp.One motivation behind Seedbed was to involve the public in the work's production by creating a situation of reciprocal interchange between artist and viewer.
During the 1980s he invited viewers to create artwork by activating machinery that erected shelters and signs. He also turned to the creation of furniture and to prototypes of houses and gardens in the late 1980s. The artist also founded Acconci Studio in 1988 focusing on theoretical design and building. Acconci has designed the United Bamboo store in Tokyo in 2003 and collaborated on concept designs for interactive art vehicle Mister Artsee in 2006 among others.»

 

 

 

 

 

 

 

 

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Cole Weston Fine Art Photography

 «Cole Weston, born on January 30, 1919 in Los Angeles, was the fourth and youngest son of famed 20th Century photographer, Edward Henry Weston. Cole received his first camera, a 4 by 5 Autograflex, from his brother Brett in 1935. Cole graduated with a degree in theater arts from the Cornish School in Seattle in 1937 and then served in the Navy during World War II as a welder and photographer. After his discharge from the Navy in 1945 Cole worked for Life Magazine. In 1946 he moved to Carmel to assist his father Edward. During this time Eastman Kodak started sending their new color film, Kodachrome, for Edward to try out. Cole took this opportunity to experiment with this new medium and eventually became one of the world’s great masters of fine art color photography.In 1957 Cole began shooting his first color photographs of the magnificent Big Sur coast, Monterey Peninsula and central California. At this time he carried on his own portrait business while assisting his ailing father, who passed away in 1958. Edward had authorized Cole to print from Edward’s negatives after his death, so Cole continued printing Edward’s work while pursuing his own fine art photography.»

 

 

 

 

 

 

 

 

 

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Abstract painting Gilda Snowden

Gilda Snowden (1954 — 2014)was an African-American artist, educator and mentor from Detroit, Michigan.Snowden was born in Detroit in 1954. She attended Cass Technical High School with a focus on fashion design. Between 1972-1979 Snowden earned her earned her BFA in Advertising Design and Painting, MA in Painting, and MFA in Painting from Wayne State University. In 1985 she became a professor in Department of Fine Arts at the College for Creative Studies, Detroit. She was also gallery director of the Detroit Repertory Theatre prior to her death in 2014
Gilda Snowden's works are predominately abstracts that utilize vivid color. The city of Detroit sparked several bodies of work. Her Flora Urbana series features abstracted floral forms, in encaustic, inspired by the gardens now tended by Detroit citizens on plots where buildings once stood. City Album: Department of Railways 1929 is an example from a series of charcoal rubbings she made of the Detroit manhole covers she discovered riding though the city on her bicycle.
Snowden describes all of her works as autobiographical including an extensive series Self-Portrait of over one hundred self-portraits of the back of her head and shoulders. She has cited her experience of race, gender and fears she felt as a child as the inspiration for this series. She began again with the series after growing her hair out in the 2000s and using computer projections to help create her pieces. Monument [1988], found at the Detroit Institute of Arts, as «a chronicle of my family on their travels from Alabama to Detroit. We are all looking for something, all traveling from here to there.»

 

 

 

 

 

 

 

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Willi Baumeister - German abstract painter

Willi Baumeister (22 January 1889 – 31 August 1955) was a German painter, scenic designer, art professor, and typographer.Baumeister took part in his first exhibition in 1910, showing figurative works inspired by impressionism. His chief interest was even at this time already in cubism and Paul Cézanne, whose work remained important to him throughout his life. These influences of impressionism and cubism that shaped Baumeister’s early paintings played an essential role in his work until the end of the 1920s. On the one hand, his representational painting was increasingly reduced (abstracting and geometric) as it gained form and lost depth. Parallel to the paintings of his friend Oskar Schlemmer, Baumeister’s independent exploration of form and color emerged. Already around 1919, his teacher Adolf Hölzel wrote to him: «Out of all of us, you will be the one who will achieve the most.» Also worth noticing is that the idiosyncratic German path into modernism, expressionism, barely resonates at all in Baumeister’s work, even though he had met, for instance, Franz Marc earlier on, and was certainly acquainted with the works of the Brücke (Bridge) artists and those of the Blaue Reiter (Blue Rider).Towards the end of the 1920s, the shapes in Baumeister’s pictures grew softer. His paintings moved away from being oriented by the elementary shapes of the circle, triangle, and square towards organic forms. Although this development could also be observed concurrently in the work of other artists of his time, in Baumeister’s case, it was tied to his fascination for the prehistoric and archaic paintings. Baumeister intensely explored artifacts of early paintings and integrated this pictorial experience into his own painting. He identified the symbols, signs, and figures of cave painting as components of a valid archaic pictorial language that he used in his works. These included his increasing number of paintings in «oil on sand on canvas» that, in their materials, also approached the cave painting that Baumeister so admired (beg. ca. 1933). He himself collected examples of prehistoric findings, small sculptures, and tools, and occupied himself with cliff drawings that had been discovered in Rhodesia. This experience was undoubtedly important for Baumeister’s artistic disposition since he, evidently inspired by this rich store of prehistoric works, ultimately used extraordinarily reduced organic shapes for his «ideograms» (beg. ca. 1937). In these works he used a unique world of signs, which he saw as symbols for the laws of nature, their evolution, and human existence.


 

 

 

 

 

 

 

 

 

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Artist and photographer Erwin Blumenfeld

Erwin Blumenfeld (1897 – 1969)
«Erwin Blumenfeld was a German artist and photographer, best known for his contributions to the fashion industry between 1940s and 50s. He also employed fine art in photography and was a portraitist  as well. Moreover, he made collages and drawing in Dada style. Blumenfeld has been described as among the most influential and innovative photographers belonging to the 20th century. He was born in Berlin on 26 January 1897 to Jewish parents.Blumenfeld got his first camera in 1908, and with it he began photographing and developing. Although he had no formal education in this field, but he still thought of himself as a photographer.In 1913, he started off his career by doing an apprenticeship with Sclochauer and Moses. During the first world war, he was drafted a driver of ambulance in the army. In 1923, he established his own store specializing in handbags for ladies in Amsterdam. It was called, Fox Leather Company.
In 1932, Erwin Blumenfeld found a darkroom completely equipped, so he began photographing the female clientele of this store. The first exhibition of his work was at a local gallery of Carl van Lier. After three years, Photographie, a French journal published a photo by him in their issue.In 1936, his store went bankrupt and following this he went to Paris. The photographer was commissioned to make portraits of people who came from the art world, such as Henri Matisse and Georges Rouault. He did his first commercial project for Monsavon. During this time, he also took images of Cecil Beaton, Valeska Gert, Leonor Fini, François Mauriac, Yvette Guilbert, and Josephine Baker. Beaton was impressed by Blumenfeld and in 1937 got him into a contract with Vogue of France.»

 

 

 

 

 

 

 

 

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Martin Grandval - Digital Art

 

 

 

 

 

 

 

 

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Modern Art Giuseppe Ajmone

Giuseppe Ajmone (1923 — 2005) was a modern Italian painter.Ajmone was born in Carpignano Sesia, and moved to Milan to study at the Brera Academy in 1941, under Achille Funi and Carlo Carrà. In 1946, he signed on to a Manifesto del Realismo under the pseudonym of Oltre Guernica. He participated at an exhibition at the Galleria Bergamini of Milan and received an award at the First National Exhibition of Painting at Bellagio. In 1950, he participated at the 25th International exhibition at the Biennale of Venice. In 1951, he was awarded the Premio Senatore Borletti for young Italian painters.
He often exhibited abroad, including at the Biennale di San Paolo del Brasile in 1951 and 1959; in 1959 to the Biennale Internazionale di Tokyo; in 1955 and 1958, he exhibited at the Pittsburgh International Museum of Art; and as well as at Copenhagen, Dortmund, Nuremberg, and Buenos Aires.

 

 

 

 

 

 

 

 

 

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Martin Grandval - Digital Art

Buenos Aires — Brazil

 

 

 

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