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CAN YOU REALLY CUT-UP FINE ART? RIJKSSTUDO by Rikjs Museum, Amsterdam

August 24, 2016. New Posts For July and August go up bi-weekly on Wednesdays by Jack Dziamba.

                                                                                                       CHECK IT OUT

Vacation Edition:

                                                                                             FINE ART in the NEW MEDIA
Rijksstudio is a great example of the use of New Media tools for Fine Art, and fulfills the mission of a museum to make art available to everyone, everywhere. In Rijksstudio, you can cut, paste, copy, and combine priceless works of art to make your own Studio Piece. The instructions are clear, simply stated , and easy to use.

Rikjsstudio enables you to search the collection through a number of filters such as Relevance, Type of Work, Chronology,  and Artists A-Z to create your own Masterpiece.

YOU CAN DO SOME FANTASTIC THINGS WITH RIJKSSTUDIO

    

MORE: Rijksstudio on Pinterest

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FINE ART IN THE NEW MEDIA – WILL THIS BE THE ART OF THE 21st CENTURY?

August  10, 2016, by Jack Dziamba. New Posts for July and August go up bi-weekly  every Wednesday.

 

ART IN THE 21st CENTURY*

Below is a summary of Art in the 20th Century, with a timeline of the major developments from 1900 to 1945. It is not too early to look for what may become known as  the Art of the 21st century of which Cubism may well have been that of the 20th century.

While the 21st century, thus far, has been in the death throes of the 20th century, in every aspect of life, the new century may be emerging from this death-like grip to develop into something of its own, and yet unknown. The art of Robert Wilson may well come to identify not only the point where the 21st century began, but hopefully what will be a major art movement of the new century.

Will Robert Wilson’s Video Portraits become one of the outstanding art forms of the 21st Century? It takes creativity, devices of the new media, and elements of concentration and contemplation which are missing from modern life. The 21st century may well be when mankind halts its hurtling toward destruction.

To test this theory, see if you can sit through, concentrate and absorb the video portrait of Winona Ryder above, and those of Brad Pitt and Johnny Depp below. See if these videos, especially the one of Winona Ryder with its mesmerizing music, do not introduce a new rhythm of tranquility, rather than chaos, into your own life.

See more of Robert Wilson’s video Portraits of  Johnny Depp and  Brad Pitt

ROBERT WILSON, IN BRIEF

Robert Wilson and Lady GagaLady Gaga at the Louvre at the Paris Galerie Thaddaeus Ropac7 rue de Belleyme 75003 Paris. More about the video with Lady Gaga  at *wallpaper. Robert Wilson is also Guest Curator at the Louvre. Here, Robert Wilson Wilson speaks on his work as director and designer in 2010 at the Centre Pompidou, where he explained and demonstrated the power of his austere style.

Dissent Industries, which collaborated with Wilson on his Video Portraits, says, “By incorporating a multitude of creative elements; lighting, costume, make up, choreography, gesture, text, voice, set design, and narrative – the video portraits act as a complete synthesis of all the media in the realm of Wilson’s art making.”

You may also enjoy this video on the Robert Wilson/Philip Glass Opera, “Einstein at the Beach.”

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ART IN THE 20th CENTURY

20th  Century Art Movements With Timelines by Shanna11, in HubPages.com.

20th Century Art

Before you read the Wikipedia summary, read these excellent Monographs on Movements in  20th Century Art Before World War II, and After World War II , by Mark Hudleson, Associate Professor of Art History at Palomer College.

Wikipedia

20th-century art and what it became known as — modern art — really began with modernism in the late 19th century. Nineteenth-century movements of Post-Impressionism (Les Nabis), Art Nouveau and Symbolism led to the first twentieth-century art movements of Fauvism in France and Die Brücke (“The Bridge”) in Germany. Fauvism in Paris introduced heightened non-representational colour into figurative painting. Die Brücke strove for emotional Expressionism. Another German group was Der Blaue Reiter (“The Blue Rider”), led by Kandinsky in Munich, who associated the blue rider image with a spiritual non-figurative mystical art of the future. Kandinsky, Kupka, R. Delaunay and Picabia were pioneers of abstract (or non-representational) art. Cubism, generated by Picasso, Braque, Metzinger, Gleizes and others rejected the plastic norms of the Renaissance by introducing multiple perspectives into a two-dimensional image. Futurism incorporated the depiction of movement and machine age imagery. Dadaism, with its most notable exponents, Marcel Duchamp, who rejected conventional art styles altogether by exhibiting found objects, notably a urinal, and too Francis Picabia, with his Portraits Mécaniques.

Subsequent initiatives towards the end of the century involved a paring down of the material of art through Minimalism, and a shift toward non-visual components with Conceptual art, where the idea, not necessarily the made object, was seen as the art. The last decade of the century saw a fusion of earlier ideas in work by Jeff Koons, who made large sculptures from kitsch subjects, and in the UK, the Young British Artists, where Conceptual Art, Dada and Pop Art ideas led to Damien Hirst‘s exhibition of a shark in formaldehyde in a vitrine.

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Picasso – Muses – Beauty – Love – Passion

July 27, 2016. New Posts for July and August Go Up Bi- Weekly, by Jack Dziamba
Pablo Picasso, 'Femme au collier jaune', 1946, Private collection © Succession Picasso / 2016, ProLitteris, Zurich

Pablo Picasso, ‘Femme au collier jaune’, 1946, Private collection © Succession Picasso / 2016, ProLitteris, Zurich

MUSE – A Woman Who Inspires a Creative Artist.*  “The relationship between artist and muse is intuitive, private, visceral, complex.”**

PICASSO AND HIS MUSES

“The Vancouver Art Gallery opened the most significant exhibition of works by Pablo Picasso in Western Canada …  Featuring over 60 works including paintings, works on paper and sculptures, Picasso: The Artist and His Muses takes the visitor on a journey through the lives and personalities of six women, Fernande Olivier, Olga Khokhlova, MarieThérèse Walter, Dora Maar, Françoise Gilot and Jacqueline Roque, who were all major figures in Picasso’s personal life and strongly influenced the development of his art. This exhibition is created by Art Centre Basel, curated by Katharina Beisiegel and produced in collaboration with the Vancouver Art Gallery. “

‘“With this exhibition we seek to look beyond Picasso and put a spotlight on the women that heralded the many transformations in his art. These unconventional women often followed their own artistic pursuits and in a form of creative osmosis inspired Picasso intellectually and artistically. Through important works from many international collections this exhibition sheds light on the complex historical and personal narratives that shaped Picasso’s work by focusing on his six most important muses,”’ said Katharina Beisiegel, Deputy Director, Art Centre Basel.” ((Source: Art Daily).

PROFILES of THREE

Images by Picasso inspired by these women may readily be see at  artcentrebasel and The Vancouver Art Gallery, producers of the exhibition.

However, since the focus  is Picasso’s Muses, we would like to show and describe these women as they really were. By looking at each of them, one can readily see that the relationship between artist and muse is intuitive, private, visceral, and complex.

These women, strong, sensous, beautiful, and smart, could be muses for any artist, even now, and the images produced by their inspiration and passion would indeed be intuitive, private, visceral, complex, and unique.

Marie-Thérèse Walter

Marie-Therese Walter - When Marie met Picasso she was 17, he 45. Although Picasso took many lovers, his friends report that Marie-Therese was always his obsession and his idea of ideal beauty and love.

Marie-Therese Walter – When Marie met Picasso she was 17, he 45. Although Picasso took many lovers, his friends report that Marie-Therese was always his obsession and his idea of ideal beauty and love.

“In 1927, Picasso met Marie-Thérèse Walter (1909–1977), who is the subject of the third section of the exhibition. During many years of her relationship with Picasso, Walter kept her personal life a secret. Her rich inner world is known to us mainly through Picasso’s representations of her. His colourful palette and serene imagery are telling of Walter’s bright personality and athletic zest for life. By the end of the 1920s, Picasso drew upon Surrealist imagery in his works, creating distorted and non-naturalistic images of Walter such as Female Bather with Raised Arms (1929).

His incredible ability to adapt the human form and include elements of Classical and African art is paramount in works such as Femme couchée lisant (1939). In 1935, Walter and Picasso celebrated the birth of their daughter Maya, though this happiness was dampened by the outbreak of the Spanish Civil War in 1936.”

 

 

Dora Marr

Picasso e e sue passioni Palazzo Bellisomi Vistarino Pavia-16

Dora Marr- Picasso e e sue passioni Palazzo Bellisomi Vistarino Pavia 16

“The brilliant Surrealist photographer Dora Maar (1907–1997) is central to the fourth section of the exhibition. Maar attended art and photography schools in Paris and became a commercial photographer who took avantgarde and photo-documentary pictures in her spare time. Politically and artistically engaged, she was an active member of the Surrealist movement and participated in socialist groups. Through their mutual acquaintance, the poet Paul Éluard, she met Picasso around 1935–36.

Maar’s expressive reaction is  captured in Picasso’s Weeping Woman (1937), a motif that is also used in his tremendous mural Guernica (1937), painted in response to the Spanish Civil War. Maar documented the making of Guernica and contributed to its painting as well, and the two collaborated together throughout 1936–37. With the outbreak of World War II in 1939, the difficulties of life are evident in the sombre palettes and fractured planes of Picasso’s portraits of Maar, such as the eloquent Tête de femme (1943). Maar presented her work in exhibitions in Paris in the 40s and 50s, and continued making work and writing poetry throughout her life.”

Françoise Gilot

Françoise Gilot - Picasso, Robert Doisneau

Françoise Gilot – Picasso, Robert Doisneau

 

“In 1943, Picasso met art student and painter Françoise Gilot (b. 1921), the same year as her first exhibition in Paris. Gilot was introduced to art at an early age, and during the 1940s she was associated with the Modernist school of Paris. Picasso captured her likeness in a series of evolving styles, as seen in a rich display of lithographs presented in Gilot’s section of the exhibition.

His 1946 oil on canvas Femme au collier jaune is a luminous portrait showing his strength as a painter. After World War II, Picasso’s and Gilot’s lives were marked by a comfortable period with the birth of their two children; Claude and Paloma (1950) is a stunning panel capturing this idyllic period of family life.

Throughout the 1950s Gilot exhibited in Paris, and eventually turned to writing, publishing the best-selling Life with Picasso in 1964 and in 2015 co-authored About Women: Conversations between a Writer and a Painter. She continues to paint daily.”

(Source. all quotes, Art Daily.)

 

 Picasso and His Muses - Exhibition Catalogue

                                Picasso and His Muses – Exhibition Catalogue

 

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* Greek mythology. Daughters of Zeus and Mnemosyne. nine sister goddesses, each of whom was regarded as the protectress of a different art or science.  Homer, begins both The Iliad and The Odyssey with an invocation of his Muse. (Source: Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014).
** “How Creative Artists Court the Muse,” Dinitia Smith, NYT, June 30, 1996
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DADA 100

July 13, 2016. New Post Goes Up Bi-Weekly on Wednesday  for July and August, by Jack Dziamba
Hannah Höch "Ohne Titel (Aus einem ethnographischen Museum)," 1930 Museum für Kunst und Gewerbe Hamburg

Hannah Höch “Ohne Titel (Aus einem ethnographischen Museum),” 1930, Museum für Kunst und Gewerbe Hamburg

Dada is not Non-Sense 

“The Dada movement was a protest against the barbarism of World War I, the bourgeois interests that Dada adherents believed inspired the war, and what they believed was an oppressive intellectual rigidity in both art and everyday society. ”  

“Dada’s purpose was “to create “… shorn of intelligible words, music devoid of melodies and statements in which the message was cannibalized by the absurdity of the language” as “a protest against a European civilization hellbent on war.” Source: New York Times, Corinna da Fonseca-Wollheim, “Dada Was Born 100 Years Ago. So What?” July 8, 2016.

“So intent were members of Dada on opposing all norms of bourgeois culture that the group was barely in favor of itself: “Dada is anti-Dada,” they often cried. The group’s founding in the Cabaret Voltaire in Zürich was appropriate: the Cabaret was named after the eighteenth century French satirist, Voltaire, whose novella Candide mocked the idiocies of his society. As Hugo Ball, one of the founders of both the Cabaret and Dada wrote, “‘This is our Candide against the times.”‘ (Source: theartstory)

Dada – A Brief History

“Dada was an artistic and literary movement that began in Zürich, Switzerland. It arose as a reaction to World War I and the nationalism that many thought had led to the war. Influenced by other avant-garde movements – Cubism, Futurism, Constructivism, and Expressionism – its output was wildly diverse, ranging from performance art to poetry, photography, sculpture, painting, and collage. Dada’s aesthetic, marked by its mockery of materialistic and nationalistic attitudes, proved a powerful influence on artists in many cities, including Berlin, Hanover, Paris, New York, and Cologne, all of which generated their own groups. ” (Source: theartstory)

 The Merce Cunningham Dance Company during a dress rehearsal in 2001 for the choreographer’s “Interscape.” Credit Ruth Fremson/The New York Times

The Merce Cunningham Dance Company during a dress rehearsal in 2001 for the choreographer’s “Interscape.” Credit Ruth Fremson/The New York Times

Dada in All Its Forms
To experience the breadth of the Dada Movement, take a look at the links the categories below:

Jean (Hans) Arp, Marcel Duchamp, Max Ernst, George Grosz, John Heartfield, Hannah Höch, Francis Picabia, Man Ray, Kurt Schwitters, Sophie Taeuber.(Source: wikipedia)

More

Marcel Duchamp 1968 BBC interview (for a brief introduction to Duchamp and his work, View up to 3:14 )

H/T Open Culture

 

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Summer Reading – 100,000 Free Art History Texts Now Available Online from the Getty Research Portal

June 29, 2016. Summer Posts: By-weekly posts on Wednesdays for July and August , by Jack Dziamba

Paul Klee-Getty-Portal

Paul Klee-Getty-Portal

Paradise

‘“I have always imagined that Paradise will be a kind of library,”’ Jorge Luis Borges famously wrote. Were he alive today, he might well regard the internet as becoming more paradisiacal all the time, at least in the sense that it keeps not just generating new texts, but absorbing existing ones and making them available free to readers.”

“And while his well-known story ‘“The Library of Babel”’ envisions a magical or extremely high-tech library containing all possible texts … recent additions to the vast library of the internet have done him one better by incorporating not just pages of letters, but intricately designed and lavishly illustrated art texts as well. ” (Source: Open Culture.)  Indeed,

“Malraux’s longest-running project was the ‘“Imaginary Museum”’ (‘“le Musee imaginaire”’)… His “museum without walls,” as he described it, was a montage of photographs of art from all around the globe and throughout history, stretching from Roman sculptures to Impressionist painting.”‘ (Source: ArtInfo)

Paradise Regained

“The Getty Research Portal, which has just, for its fourth anniversary, unveiled a new design and a total volume count surpassing 100,000. “In assembling a virtual corpus of digitized texts on art, architecture, material culture, and related fields… More than twenty institutions now share their collections at the Getty Research Portal: recent joiners include the Art Institute of Chicago’s Ryerson and Burnham Libraries, the Bibliotheca Hertziana-Max Planck Institute for Art History in Rome, the Herzog August Bibliothek in Wolfenbüttel, the Menil Library Collection in Houston, the Solomon R. Guggenheim Museum Library and Archives in New York, and the Warburg Institute Library in London.”  The Getty Research Portal is also in discussions with art libraries and institutions in India, Iran, and Japan. (Source: Open Culture)

Paradise – A Day at the Beach

Just Look at the pictures …

 

 

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The Horse in the New Media – “Neil Latham: American Thoroughbred.”

June 15, 2016. New post goes up each Wednesday, by Jack Dziamba

Screen Shot 2016-06-15 at 4.35.00 PM                           Image Credit: Neil Latham

“American Thoroughbred” – Fine Art in the New Media

This blog is devoted to the Book and Fine Art in the New Media, and how the new media tools are used by publishers, museums,and galleries to achieve the objective of making Art accessible to everyone, everywhere. One example is the Google Art Project, a world-wide collection of major works of art, which meets this objective in an excellent, simple, and clean way.

This week’s post considers  “Neil Latham: American Thoroughbred” exhibition. Until July 30, 2016, the Steven Kasher Gallery in New York is presenting “Neil Latham: American Thoroughbred” in conjunction with the publication of Latham’s monograph American Thoroughbred (Twin Palms, 2016).  Pictures include those of Triple Crown winner American Pharaoh, Zenyatta, AP Indy, Rachel Alexandra, and many others.

The Horse in Art

Portraying the Horse, and individual horse’s spirit and personality, has always been a major consideration of the artist, from the Chauvet Cave paintings done some 35,000 years ago (below, left), to the present, as exemplified by the “American Thoroughbred ” series by Neil Latham (below, right).

Chauvet Horses. Photo courtesy of the French Ministry of Culture and Communication.

Chauvet Horses. Photo courtesy of the French Ministry of Culture and Communication.

Fillies. 2013-16. From the series “American Thoroughbred.” CreditCourtesy of Neil Latham and Steven Kasher Gallery, New York.

Fillies. 2013-16. From the series “American Thoroughbred.” Photo courtesy of Neil Latham and Steven Kasher Gallery, New York.

 

 

 

 

 

 

 


The "American Thoroughbred"

“The pictures stem from a drive that Latham took into horse country north of New York City in 2013. He had taken time out to clear his head after his mother’s passing. “’I remember the instant it happened. I saw the muscular shoulder of a horse standing by a fence,  Latham said. “I stopped breathing. I hit the brakes and stared.”’ (Source: horsetalk.co.nz)

"American Thoroughbred. " Photo courtesy of Steve Kasher Gallery

“American Thoroughbred. ” Photo courtesy of Steve Kasher Gallery

 “The images are studied portraits of these animals, graphic and architectural, each one carefully planned and sketched out in advance. Traveling with a portable studio, he photographed the horses on a black backdrop, 20 feet tall by 36 feet wide, which was rotated 10 degrees every fifteen minutes to maintain the perfect angle to the sun. He decided to use only natural lighting and chose to shoot on film with medium and large-format cameras. ‘“To portray true essence, the image has to be truthful. I used film because it can’t be manipulated like digital photography. Film also gives a softness and subtlety that enhanced the emotional connection.”’ (Source: Style of Sport.)

‘“When I got back to the darkroom, I got very excited,”’ said Latham, a native of Warwickshire, England, who now lives and works in New York City as a commercial photographer.

“I realized I wanted to really understand the essence of the Thoroughbred. What is the underlying, indispensable quality of this horse?”’ Source: Blodhorse, “Quest for Excellence,” by Eric Mitchell.)

Fine Art in the New Media
 The Gallery Exhibition in New York has more than 25 large-scale black and white photographs. While only 16 of them may be seen on the Gallery’s website, the the quality of the images, and the images themselves, are stunning.  (For an even more stunning presentation of the images, in a larger format, check out those on  Monovisions.)
The example below is one of the additional features also on the website, which provides the viewer with a good sense of who the artist is,  his objective, and how he did it, without the necessity of reading extensive, and wordy wall tags, which can take up most of a gallery viewer’s time.
Another important feature is that there are no crowds, no distractions. The online viewer may concentrate solely on the images, studying them, and going back to them as may times as he/she wishes, whether the viewer is in Africa, Asia, wherever – thus the viewer , via an internet connection, has access to these images from anywhere in the world without regard to geography, wealth or status.
This may seem an obvious point, but just imagine yourself as a child in Africa with a love for horses …
 Screen Shot 2016-06-15 at 3.15.35 PM

 


			
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Download 336 Issues of the Avant-Garde Magazine The Storm (1910-1932), Featuring the Work of Kandinsky, Klee, Moholy-Nagy & More

June 8, 2016. New Post Goes Up Every Wednesday, by Jack Dziamba
Der Strum, Walden Herwarth "Expressionismus, Futurismus, Kubismus 1924."

Der Strum, Walden Herwarth “Expressionismus, Futurismus, Kubismus 1924.”

 Whither the Book?

While e-book publishing remains in a static state and the sale and use of e-readers has declined, the  “Old New Media” of the internet has makes available, for free, an immense trove of both Literature and Art which we have written about in a number of prior posts. An outstanding example  is the ability to download 336 issues of the  Avant-Garde Magazine, The Storm (Der Sturm).

Avant-Garde?

“The avant-garde (from French, “advance guard” or “vanguard”, literally “fore-guard”) are people or works that are experimental or innovative, particularly with respect to art, culture, and politics.”

“The avant-garde pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. Many artists have aligned themselves with the avant-garde movement and still continue to do so, tracing a history from Dada through the Situationists to postmodern artists such as the Language poets around 1981.”  (Source: Wikpedia)

 Avant-Garde Magazine, The Storm (1910-1932)

Download 336 Issues of the Avant-Garde Magazine The Storm (1910-1932). 

Der Strum, Kassak Lajos MA,"Buch Gedichte 923."

Der Strum, Kassak Lajos MA,”Buch Gedichte 1923.”

Der Strum

“Der Strum was a magazine covering the expressionism movement founded in Berlin in 1910 by Herwarth Walden. It ran weekly until monthly in 1914, and became a quarterly in 1924 until it ceased publication in 1932.” (Source: MonoskopMonoskop defines itself as “a wiki for collaborative studies of the arts, media and humanities”. )

Avante-Guard Cover Designs

“You can also see some of the inspired cover designs Der Sturm used over its decades of publication. “The magazine became well known for the inclusion of woodcuts and linocuts,” writes the Guggenheim, “including works by Guggenheim collection artists Marc Chagall,Vasily KandinskyPaul KleeOscar Kokoschka,  Franz MarcLászló Moholy-Nagy, and others.”

Avante-Guard Graphic Designs

Monoskop “features several of Der Sturm’s graphic designs by Moholy-Nagy, such as the cover above, … Monoskop also provides a good deal of historical context for the magazine and the gallery it fostered, Galerie Der Sturm, “started by Walden to celebrate its 100th edition, in 1912.”  Source: Open Culture.)

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