Month: June 2016

Far Wide Texas

Episode 34: One of the most significant artists of the 20th Century, Georgia O’Keeffe (1887-1986) was devoted to creating imagery that expressed what she called “the wideness and wonder of the world as I live in it.”  The Georgia O’Keeffe Museum, located in Santa Fe, New Mexico, offers insights not only into the artist’s paintings, but also her creative process and the light and landscape that inspired her.
Brooke talks to Dr. Cody Hartley, Director of Curatorial Affairs, about Georgia O’Keeffe’s Far Wide Texas, a collection of watercolors the artist created during the time she lived in Canyon, Texas (1916-1918). This was a period of radical innovation and marks O’Keeffe’s commitment to abstraction. Dr. Hartley explains how these paintings exemplify O’Keeffe’s refusal to be restrained by convention or to be defined by others.
In the words of O’Keeffe herself, “Take time to look…” And to listen.

Train at Night in the DesertTrain at Night in the Desert, 1916 Georgia O’Keeffe Watercolor on paper 11 7/8 x 8 7/8 (30.2 x 22.5) Amarillo Museum of Art. Purchased with funds from the National Endowment for the Arts, Amarillo Area Foundation,Amarillo Art Alliance, The Mary Ann Weymouth Campbell Foundation, Santa Fe Industries Foundation,and Mary Fain (AM.1982.1.4)© Amarillo Museum of Art

Blue Line, 1919

Blue Line, 1919 Georgia O’Keeffe Oil on canvas 20 1/8 x 17 1/8 (51.1 x 43.5) Georgia O’Keeffe Museum Gift of The Burnett Foundation and The Georgia O’Keeffe Foundation (1997.04.004) © Georgia O’Keeffe Museum

 

 

 

Nude Series VIII, 1917

Nude Series VIII, 1917 Georgia O’Keeffe Watercolor on paper 18 x 13 1/2 (45.7 x 34.3) Georgia O’Keeffe Museum Gift of The Burnett Foundation and The Georgia O’Keeffe Foundation (1997.04.011) © Georgia O’Keeffe Museum

Featured Image (at top of the page) Cody Hartley standing by Autumn Trees – The Maple, 1924. Oil on canvas, 36 x 30 in (91.4 x 76.2 cm). Georgia O’Keeffe Museum, Gift of The Burnett Foundation and Gerald and Kathleen Peters. © Georgia O’Keeffe Museum.

 

Dastan Gallery

Episode 35 : On this episode I talk with Hormoz Hematian of the Dastan Gallery….all the way in Iran! (He was visiting his family in Canada when we chatted.) I first read about Hormoz in an article describing some Iranian artists and curators’ efforts to bring the art scene back to its former glory.

 

7.MossavarNameh-GroupExhibition-Nov2015-Photoby AliZanjani

Fereydoun Ave_ References, Clues & Favorite thingsSO7A0290 low resIMG_2425_low Res5.MossavarNameh-GroupExhibition-Nov2015-Photoby AliZanjani2.DrawingofFarhadGavzan_MG_6368_MG_3478

All images used with permission.

Edvard Munch & the Sea

Episode 32  : Today I talk with Margaret Bullock, Curator of Collections and Special Exhibitions at the Tacoma Art Museum the Tacoma Art Museum about the Edvard Munch & the Sea exhibition, which goes until July 17th.

7 inch 500 dpi Munch_AngstEdvard Munch (1863-1944), Angst, 1896. Color lithograph, 16½ ×15ǩinches. Epstein FamilyCollection, EFC 061.0. Photo by Philip Charles. ©2016 Artists Rights Society (ARS), New York

7 inch 500 dpi Munch_OnTheWavesOfLoveEdvard Munch (1863-1944), On the Waves of Love, 1896. Lithograph, 12¼×16½ inches. Epstein Family Collection, EFC 073.0. Photo by Mark Gulezian. © 2016 Artists Rights Society (ARS), New York.

6 inch 500 dpi Attraction II_National Gallery of ArtEdvard Munch (1863-1944), Attraction II, 1896.Lithograph, 1911/ 16×25Ǫ inches (sheet). National Gallery of Art, Washington, Gift of the Epstein Family Collection, 2013, 2013.10.1. © 2016 ArtistsRights Society (ARS), New York.

72.12

72.12

Edvard Munch (1863-1944), Neutralia (Girls Picking Apples), 1915. Color lithograph, 22½ ×20 13/16 inches. Memorial Art Gallery of the University of Rochester: Marion Stratton Gould Fund, 72.12

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© 2016 Artists Rights Society (ARS),

Hero and Leander

Episode 33: Today I talk to Michelle Maigret. of The C24 Gallery in New York City. We talk about Carole Fuerman’s hyperrealist Hero & Leander’ exhibition. 

hero & leanderCarole Feuerman, Leda and the Swan, 2015, lacquer on resin 42 x 90 x 80 in (106.68 x 228.6 x 203.2 cm) http://www.c24gallery.com/exhibitions-detail/carole

FEUERMAN_CAROLE_DURGAMA(1000)

Carole Feuerman, DurgaMA, 2015, oil on bronze, 101 x 91 x 90 in (256.54 x 231.14 x 228.6 cm)

cihgf5yuoaacoms     CAROLE FEUERMAN, Monumental Quan, 2015, Painted bronze and stainless steel 67 x 60    x 43in. (170.2 x 152.4 x 109.2cm.)

All images used with permission

A Window on Paraskeva Clark

Episode 31  : Today I chat with Michelle Gewurtz, curator at the Ottawa Art Gallery about  A Window on Paraskeva Clark exhibition.

oag exhibit

A Window on Paraskeva Clark, curated by Michelle Gewurtz. Installation view, Ottawa Art Gallery, 2016. Photo: David Barbour

FAC1580Paraskeva Clark, Milford Bay Church, 1956, watercolour and graphite on paper, FAC1580. Firestone Collection of Canadian Art, The Ottawa Art Gallery: Donated to the City of Ottawa by the Ontario Heritage Foundation, 1974.

FAC1570

Paraskeva Clark, Working Drawing for Eaton’s Windows(detail), c. 1935, gouache, ink
and graphite on paper, FAC 1570 Firestone Collection of Canadian Art, Ottawa Art
Gallery: Donated to the City of Ottawa by the Ontario Heritage Foundation, 1974

public bathPhoto: David Barbour. Paraskeva Clark, Leningrad Memories–Public Bath /Souvenirs de Leningrad–Bain public, 1964. Oil on board /Huile sur panneau. Private Collection /Collection privée.

Clark revisited the public bath compositions thirty years later. It is the only instance
where she painted nudes, and her treatment of the women in this painting is reminiscent
 of work produced by European painters Suzanne Valadon and Paula Modersohn-Becker.
Clark was familiar with both of these women, having discussed their work in a lecture
she gave in St. Catharine’s in 1958 on the subject of women artists. In particular, she
praised Valadon for her still life compositions as well as her depictions of female bathers.
Like Valadon and Modersohn-Becker, who were both also regarded as unconventional
painters, Clark has outlined her figures. She has also emphasized the geometric aspects of
the bathhouse. Clark was known for including self-portraits in her work, and some have
speculated that the woman washing her feet in the right foreground is the artist herself.
FAC1252
Paraskeva Clark, Homage to a Soviet Film, Baltic Deputy, 1968. Oil and graphite on Masonite FAC 1252. Firestone Collection of Canadian Art, The Ottawa Art Gallery; Donated to the City of Ottawa by the Ontario Heritage Foundation, 1974
All images used with permission

Mary Margaret Myers

Episode 32: This is another “on-site” chat. Local artist, Mary Margaret Myers invites us to her home/studio to look at her beautiful paintings and  talk about her long career as an artist.

Window View

Window View,Painting by Mary Margret Myers,mmm,20″x22″, Abstract Painting, acrylic painting,

 

North_of_the_RiverNorth of the River, 18 x 24, Acrylic Painting

IntersectionIntersection, 22 x 20, Acrylic Painting

Grandfathers_HouseGrandfathers House, 24 x 18, Acrylic Painting

FestivalFestival, 24 x 18, Acrylic Painting

Clearing_in_The_WoodsClearing In The Woods,24 x 18, Acrylic Painting

 

 

Pulp

Episode 30: Today I talk to Elizabeth Carney the assistant curator at the Akron Art Museum about the Pulp exhibition which goes through July 31st.

artrev17-pulp-01

Pavel Banka, One Person Story, 1982

In popular culture, the word “pulp” is almost always followed by “fiction.” Director Quentin Tarantino’s landmark 1994 film by that name capitalized on the lurid plots that defined a genre of cheap publications popular in the first half of the 20th century. Pulp fiction, or pulp magazines, were printed on rough wood pulp paper and sold for a few cents per copy as entertainment for the masses.

 

 

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Ilse Bing, Sans Illusion, 1957

Today, cheap paper ephemera continues to be produced and distributed on a large scale—daily newspapers, glossy monthly magazines, weekly tabloids, advertising posters and billboards are just some examples of paper products meant to be seen, then discarded. Typically mundane, their content reflects aspects of the cultures they serve, and can offer a wealth of possibilities to artists who analyze those cultures with a critical eye.

 

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Gloria DeFilipps Brush,  Untitled (3208.1), from The Christina Suite, 1991

PULP also includes photographs in which paper ephemera offer aesthetic rather than critical possibilities, becoming material for abstracted compositions by Harry Callahan, Aaron Siskind and Louis Stettner, or playing a role in personal reflections and explorations in the photographs of Pavel Banka and Gloria DeFilipps Brush.

This exhibition is organized by the Akron Art Museum.

All images used with permission.

 

 

 

 

 

 

 

Beautiful Liars

Episode 29  : Today I talk with Molly Merson about the Beautiful Liars exhibition that she curated at the Proto Gallery in New Jersey.

BL 1

Imagination, n. A warehouse of facts, with poet and liar in joint ownership. Ambrose Bierce, The Devil’s Dictionary

 

BL 2

Memory is a battleground between imagination and facts. As historians of our own lives we appear inattentive and can barely distinguish between things that actually took place and those we’d like to believe were happening. And what about our memory of the events that we have not witnessed or lived through? Beautiful Liars delegates the job of recollecting the historical and mythological past to the artists: six women who, to paraphrase Robert Hughes, make us remember things they have not seen. The artworks in the exhibition employ a wide range of artistic forms and mediums to engage the viewer in their imaginary narratives. The stories told by the artists may not be entirely truthful, but they have a more important claim – the psychological and emotional veracity, the kind of truth that goes beyond the mere accuracy of facts, names and numbers.

BL 3

All images used with permission