100 years! a full century since Marcel Duchamp's urinal titled 'Fountain 'was first exhibited... How did the 'Ready Made' change the artworld, ? How does it continue to influence artist today? Is it time to move on? | #MarcelDuchamp#ReadyMade#Dada#1917#ArtHistory
Teeth are not considered to be bones of the skull. The bones of the skull are divided into two main groups: the bones of the cranium, and the bones of the face. Eight bones make up the cranium, and 14 bones make up the facial skeleton, but the teeth are not considered to be bones of the skull. Soft Enamel Pin Inspired by "The Ambassadors" by Hans Holbein the Younger. 0.78" x 1.3" Available now at pinmuseum.org (Link in Bio) 📷 @yikes.buddy
The man is not, as it is commonly thought, wearing a turban, but a chaperon with the ends that normally hang down tied up over the top, which would be a sensible precaution if it was worn whilst painting. Soft Enamel Pin Inspired by "Portrait of a Man in a Red Turban" by Jan Van Eyck. 1.3" x 1.4" Available now at pinmuseum.org (Link in Bio) 📷 @yikes.buddy
Contrary to popular belief, "Wheat Field with Crows" (fig. 1) was not Van Gogh's final work. In fact, the painting is now dated to around July 10 1890, fully two weeks before the artist's death. According to his brother-in-law Andries Bonger, Van Gogh spent his last day of painting in the forest, where he executed a scene "full of sun and life." This final painting is therefore most likely "Tree Roots" (fig. 2) a remarkable work not only for its probable distinction as the last, but also for its radical abstraction. Van Gogh focused his view so tightly on the gnarled old roots—eliminating the sky, the ground, even the tree itself—that the shapes and colors lose connection with reality, evoking a distant, deeper world.
Both "Wheat Field with Crows" and "Tree Roots" are now part of the collection of the Van Gogh Museum, Amsterdam.
"I regard criticism as an art, and if in this country [US] and in this age it is practiced with honesty, it is no more remunerative than the work of an avant-garde artist. If you think it is so easy to be a critic, so difficult to be a poet or a painter or film experimenter, may I suggest you try both? You may discover why there are so few critics, so many poets." – Pauline Kael #quote#artquote#paulinekael#womeninart#art#arthistory
Sol LeWitt, Floor piece no. 1 (Cube structure based on nine modules), 1976, painted wood, 111 x 111 x 111 cm, Museum Boijmans van Beuningen, Rotterdam.
Sol LeWitt, 1928-2007, was a leading figure of Minimalism and a pioneer of Conceptual art. Redefining art production by exploring ideas rather than conventional aesthetics, he distilled art to its essentials. LeWitt’s early practice was based on a desire to move away from what he perceived as the emotional excesses of the Abstract Expressionist movement. He looked instead to the post-Cubist European ‘grandfathers’, such as the Russian and German Constructivists of the 1910s and 20s. His search for a non-expressionistic means of making forms, which could bypass the subjective, led him to geometry and quasi-logical systems. Using the cube as a “grammatical device,” LeWitt’s work is characterized by serialization, repetition, and the principle of elementary progression through addition or subtraction, exemplified by his iconic open-grid geometric structures. LeWitt began making these structures in the mid-1960s. At the same time he formulated a serial approach to art making in which the progression or development of a structure was preset by an initial determining idea. Initially painted black, by the late 60s his open-grid structures were universally painted white. They were constructed either from wood or of enamel on aluminium. Others were made of steel. Although the progressions or permutations of LeWitt’s modular forms appear logical, he has emphasised the intuitive nature of his process. In his famous self-defining Paragraphs on Conceptual Art the artist laid out various means by which he aimed to avoid the subjective in his work. He wrote: "When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless." #sollewitt#lewitt#historyofart#arthistory#historiadelarte#kunstgeschichte#histoiredelart#storiadellarte
A page from Nie Chongyi's (聶崇儀) 'Sanli tu' 《三禮圖》 ('Illustrations to the Ritual Classics') completed in 961 that illustrates and describes the Grand Fur Robe (大裘) and the Dynastic Sacrificial Dress and Cap (袞冕). A 1676 edition from the 'Commentaries to the Classics from the Hall of the Free Mind' j(通志堂經解) is on view 3/24/17 - 7/30/17 at the Bard Graduate Center Gallery (@bardgradcenter) at 18 W. 86th Street, New York as part of 'Design by the Book: Chinese Ritual Objects and the Sanli tu'.
From the exhibition page: "Completed in 961 by Nie Chongyi (fl. 948–96oldest extant illustrated study of classical Chinese artifacts from musical instruments, maps, and court insignia to sacrificial jades, ceremonial dress, and mourning and funerary paraphernalia. It brings to light the significance of this long overlooked book, which served as a guide both to the material culture of the Classics and to the design of Confucian ritual paraphernalia in postclassical, imperial China. The exhibition also addresses themes that go beyond the book itself, including Confucian ritual as a means to legitimate the monarchy, the birth of antiquarian scholarship in the late eleventh and early twelfth centuries, Emperor Huizong’s ritual reforms, and the role of the art market in driving the reproduction of artifacts illustrated in the book."
What an incredible night of QUEER and DRAW! Every Tuesday we hold space in our gallery to create together and we held one of our first nights of discussion, creation and coming together as an LGBT community in Tulum! Let's keep this energy going! Are you coming to our next Drink n Draw event?
Recommended by @matt.hansel
The first comprehensive book on the technique of glazing, written by Michael Wilcox, has been published by the School of Color.
The methods of the Old Masters made available for today's artist. Early Masters such as Rembrandt applied multiple layers of transparent paint to produce the deep, glowing hues and darks which typified their work; darks which seethed with hidden colour. The range of rich colours employed by these earlier painters gave a mysterious depth and intensity to their work, a richness and luminosity which only the glazing technique could give. The aim of this book is to equip today’s artist with the technique of glazing developed by the Masters. Lessons from the past brought fully up to date, this book will enable the reader to achieve similar colour effects. Your work will improve dramatically.
308 pages in full colour.
Joy Davis saw Benjamin Spalding’s work in Portland, Maine at Maine College of Art back in June during the Costume Society of America symposium. He is a Puerto Rican American artist born in NYC who mostly works with sculpture. He received his MFA from MECA after spending nearly a decade in Berlin. Joy was drawn to the dress, or at least how the idea of garments were used in his work. Thoughts?