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Archive for November, 2014

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Another new acquisition–another triumph in their collection of 20th C. American art–at the Nelson Atkins, Charles White’s “Goodnight Irene”, 1952, oil on canvas, 47″x24″. More Charles White.

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Titian, “Ecce Homo”

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A beautiful late Titian from the St. Louis Museum of Art.  This painting taught me so much about paint.  Every inch of it telegraphs that it’s a scene made out of paint, nothing is more real or true than the paint itself and the painter using it push forth a story and a feeling.  At that same time, not a single brushstroke, smear or wipe feels stylized in any way.  I love this one so much.

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Lisa Sanditz, “Color Farm”, 2010, acrylic on canvas, 70″x90″

There’s an interview with Lisa Sanditz over at Painting Is Dead. via Painter’s Table.  Here’s a great Sanditz quote to get you to head over there: ”

I think the emphasis has been more of the commercialized landscape, the built environment. My interest came from growing up in the suburbs and seeing and feeling the emptiness and problems with the way that the landscape is structured through highways and streets and cars and big box stores. The first paintings I did outside of grad school were dealing with that and I’ve been dealing with that more or less over the last few years. And I think those spaces reflect a lot about how we organize ourselves and how we move around and how we value or don’t value the landscape itself.  And also exploring different ways to use landscapes as entry points to make paintings, whether that’s the desert or oceanside or expansive Midwest. Not as much urban landscape, maybe because it’s harder for me to paint buildings that don’t look totally weird, or maybe being from the Midwest and being used to more open spaces, not urban spaces.”

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A not-famous-enough painting by Balthus, from the Indianapolis Museum of Art, “Le Bouquet des roses sur la fenetre”, 1958, oil on canvas, 52 3/4″ x 51 1/2″.

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Matt Ballou on Neoteric Art

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Matt Ballou has a great essay on painting as part of Neoteric Art’s “What Is Painting?” project. “Paintings offer some sort of embodied proof that intangible things are real.  This last assertion is for me the main reason I continue to make paintings…”  Head over there to read it.

More Matt Ballou.

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Megan Marlatt

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Megan Marlatt

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This 2013 interview with Ellen Dissanayake is a great read, definitely approachable and makes me–old and cranky as I am– think about looking at/making/talking about art in a different way.  Her identification of what she calls 5 “proto-aesthetic operations” that all art (visual, performing and otherwise) uses has changed my thinking a few times over.  As has her discussion of art as a form cooperation.  Great stuff.

Dissanayake–for those that don’t know–is the author of several books that explore art-making from an evolutionary standpoint, such as Homo Aestheticus, What is Art For? and Art and Intimacy.  She makes the word “special” cool again, really.

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