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Yoko Ono: One Woman Show, 1960–1971 at The Museum of Modern Art

May 20, 2015. New Post goes Up Every Wednesday


Yoko Ono with Standing Woman (1932) by Gaston Lachaise, The Museum of Modern Art Sculpture Garden, New York. c. 1960–61. Photograph by Minoru Niizuma © Minoru Niizuma/Courtesy Lenono Photo Archive, New York.

Yoko Ono with Standing Woman (1932) by Gaston Lachaise, The Museum of Modern Art Sculpture Garden, New York. c. 1960–61. Photograph by Minoru Niizuma © Minoru Niizuma/Courtesy Lenono Photo Archive, New York.

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Girl with a Pearl Earring, oil on canvas, 1665.

Girl with a Pearl Earring, oil on canvas, 1665.


Tim’s Vermeer is a documentary film showing Tim Jenison’s hypothesis: Vermeer might have created his paintings aided by an optical device, as Jenison demonstrates by recreating a Vermeer painting.

the music lesson

The Hockney–Falco Thesis

The Hockney–Falco thesis is a theory of art history, advanced by artist David Hockney and physicist Charles M. Falco. Both claimed that advances in realism and accuracy in the history of Western art since the Renaissance were primarily the result of optical aids such as the camera obscura, camera lucida, and curved mirrors, rather than solely due the development of artistic technique and skill. Nineteenth-century artists’ use of photography had been well documented.[1] In a 2001 book, Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, Hockney analyzed the work of the Old Masters and argued that the level of accuracy represented in their work is impossible to create by “eyeballing it”. Since then, Hockney and Falco have produced a number of publications on positive evidence of the use of optical aids, and the historical plausibility of such methods. The hypothesis led to a variety of conferences and heated discussions.http://en.wikipedia.org/wiki/Hockney%E2%80%93Falco_thesis

Philip Steadman

In 2001 Professor Philip Steadman (UCL Bartlett School of Graduate Studies and the UCL Energy Institute) published a book called Vermeer’s Camera, about the evidence for the great seventeenth-century Dutch painter using a camera obscura to make his pictures.

More: The Master of Light – Johannes Vermeer

H/T Mark Dziamba

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A Tour of the New Whitney with the Museum’s Curators

New Post Goes Up Every Wednesday     Second in a Series on the New Whitney

Re-Blogged from ARTSY EDITORIAL APR 23RD, 2015 10:00 AM
 Elisabeth Sherman Senior Curatorial Assistant | Sixth Floor Terrace 
Photo by Emily Johnston for Artsy.

“The gallery spaces allow us a level of flexibility that we had to some degree in Breuer, but that we’ll have much more of in the Piano building—the amount of column-free square footage that we have here is unprecedented. The way that everything was designed, from the ceiling grids to the flooring choices, allows us to really let artists run wild. Or, when they don’t want to, when it’s more traditional or quiet work, there are incredibly elegant, proportional spaces that respect that type of work, too. I’m particularly excited about the light, and the interaction between the galleries and the exterior, which really manifests itself in the terraces, and having this outdoor space, both for permanent sculptures and performances—and other more spontaneous activity.

Photos by Emily Johnston for Artsy.I’m working on an exhibition of the collection of Thea Westreich Wagner and Ethan Wagner, which will open this November on the sixth floor. Thea and Ethan are giving the museum around 500 works of art. They’re also giving the Pompidou in Paris about 300 works of art. Together with the Pompidou, we’re doing an exhibition and catalog documenting this gift, beginning with the very late ’70s and early ’80s—with important artists like Christopher Wool, Jeff Koons, Robert Gober,Cindy Sherman—and bringing real masterpieces into our collection. It continues up to this very moment and augments our collection of work from the 2000s in a way that really is transformative.”

Carter Foster Steven and Ann Ames Curator of Drawing | Seventh Floor Galleries 

Photo by Emily Johnston for Artsy.

“Although I’m not as directly involved in it as my colleague Jay Sanders, the theater is an amazing space. We’ve never had anything like it. I’m so excited to see the performances that will happen there. We also have a works-on-paper study center—which we’ve also never had before—which means that artists and qualified researchers can look at our print, drawing, and photography collection and have access to it for the first time ever, really, in an easy way. We can store about 80% of our works-on-paper collection, and I think we have a total of about 18,000.

We’re doing an exhibition on a Harlem Renaissance painter, named Archibald Motley, in October. He was working in the ’20s, ’30s, and ’40s especially—that was sort of his heyday—doing scenes of African American life in Chicago. Really fantastic, beautiful modernist paintings. That’s going to be on the eighth floor, in our skylit galleries. We’re very excited about that.”

Jay Sanders & Greta Hartenstein- Curator and Curator of Performance; Curatorial Assistant | Theater Projection Box, Fourth Floor

Photo by Emily Johnston for Artsy.
The first performance project that we’re doing is with the artist Yuji Agematsu. We commissioned him to take a portrait of the neighborhood and the changing site of the museum as it was built, as well as the Meatpacking district and the Highline and Hudson Yards area. So he walked around for over six months, starting last summer, taking photos of the street, of flowers, of the building, of fences, the water, but no people. His work will be displayed via 10 slide projectors throughout the space, mapping the city around us onto the theater. He’ll also create sound improvisations, so it will be performance too.” —Greta Hartenstein

Laura Phipps –  Senior Curatorial Assistant | Fifth Floor Galleries

Photo by Emily Johnston for Artsy.

“Seeing the first project that we’re doing with Mary Heilmann come to life really activates our imagination about what can be done with the outdoor spaces. It’s an exhibition with three components. The first is two large, bright pink vinyl panels, based on the geometry that Mary uses in her paintings, which have been installed on the side of the building. They echo the stairstep outline of the museum, which is an element that was already in Mary’s paintings. Then there are the chairs, which are also often a feature of Mary’s exhibitions, located on the terrace on the fifth floor. The other really exciting component is a film that she made in 1982, shot in this neighborhood and further south in TriBeCa. It’s the first time it has ever been seen. It is like a record of the neighborhood, and a record of how artists lived here—and the work Mary was doing at the time.

—Tess Thackara

Explore the Whitney Museum’s inaugural exhibition, “America is Hard to See,” on view May 1–Sep. 27, 2015. 

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France’s Prehistoric Chauvet Cave Opens


The replica of the Chauvet cave at Pont d’Arc is to open its doors. Photo: AFP
New Post Goes Up Every Wednesday

France’s prehistoric Chauvet cave opens

We have written about the spectacular Chauvet Cave in a prior post titled, “DID ABSTRACT ART EXIST 35,000 YEARS AGO? – THE CHAUVET CAVE.” Since its discovery in 1994, cave has been open only to researchers, staff, and invited guests. However, the Cave’s website has long featured a virtual tour of the Cave, and a video of its discovery by  Jean-Marie Chauvet, Eliette Brunel and Christian Hillaire. You can also see a feature- length film of the Cave, in 3D, made by Werner Herzog: The Cave of Forgotten Dreams,” and watch the Trailer here. Thus, a lot of use of the tools of the New Media to make the Art of the Cave accessible.Now, a replica of the entire cave has been opened to the public.chauvet artist working

However, now a replica of the entire cave has been opened on the site.

Technical Wizardry

Since this site is devoted to “Fine Art in the new Media, we’d like to focus on the technical and artistic skills that made this replica possible.

According to france.fr,

“The designers of the cave replica are working in close collaboration with the scientific team, the challenge being to reproduce the cave and its 8,500 m2 in a space restricted to just 3,500 m2, while at the same time maintaining the perception of the original volumes. This is made possible by a 3D technique developed using a high-precision scanner to generate a full-scale digital reproduction of the cave. The paintings will be reproduced on a shotcrete structure with resin coating using natural oxide pigments and Scots pine charcoal. And all the paintings will be done by experienced artists with a view to remaining as faithful as possible to the original spontaneity of the work.”

“Lion, cave bear, snow panther, mammoth, white rhinoceros, megaceros, bison, aurochs, ibex, stag… A seven-metre long panel of horses, a panel depicting a group of lionesses out hunting amidst a vast animal composition, naturalistic scenes in which two rhinoceroses do combat and a lioness spurns the advances of a male… Depicted over a distance of half a kilometre and occupying an area of 8,500 m2, the bestiary portrayed on the walls of the Chauvet Pont-d’Arc cave – containing 424 animals and 14 species – is principally made up of predatory animals, which is quite specific compared to other decorated caves which in the majority of cases are more recent.”


The Cave replica is also replete with horse art  A must see. And here you can see more images of the artists and technicians at work creating the replica.

H/T Mark Dziamba




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On April 15, 2104, the Library of Congress launched Archive of Recorded Poetry and LIterature, an online a selection of recordings from the Library’s Archive of Recorded Poetry and Literature, a series of audio recordings, dating back to 1943, of renowned poets writers reading from and discussing their work at the Library of Congress. The initial April 15, 2015, launch includes 50 recordings, and features poets such as Robert Frost, Gwendolyn Brooks, Elizabeth Bishop, Czeslaw Milosz, and Paul Muldoon. More recordings will be added on a monthly basis.

LOC poetry archive frost











Robert Frost tells Randall Jarrell of his desire to identify American antiquity — to feature in his poetry a woodchopper’s hut that looks “as old as Babylon.” The Robert Frost interview with Randall Jarrell is a long interview, but listen to the section beginning at 10:12 to get the essence of the poet.



New Post Goes Up Every Wednesday


Version Two

Verse 3 – The End:

“Now the halftime air was sweet perfume
While the sergeants played a marching tune
We all got up to dance
Oh, but we never got the chance …”

“American Pie” as transcribed by azlyrics.com.

Media: New and Old

Music, Poetry, Sound Recording, Visual Images, Digital, You Tube, and the creativity of the artists involved.

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Whitney                                                                                 Whitney Museum of American Art, February 2014. Photograph ©Nic Lehoux
New Post Goes Up Every Wednesday

The Whitney and the use of the New Media, Part 1

The new Whitney Museum of American Art is scheduled to open on May 1, 2015 in its new building designed by Renzo Piano.

However, through the use of the New Media, the new Whitney is already open to all. Yes, the building will see VIPs of the Art World, Artists, Fashion, and Museum’s at its May 1st Opening, but its Art is now available to everyone through the Whitney’s creative use of the tools of the New Media. While a lot of thought has gone into the planning and design of the new building for people to see its Art in a new setting, the Museum has given to same, if not more thought to those visiting the Museum virtually.

Explore the Whitney’s Collection Online

The Whitney’s collection contains some of the most significant and exciting work created by artists in the United States during the twentieth and twenty-first centuries. You can see it now, no need to wait for the Opening, get tickets, line up for admission, or be governed by opening and closing hours. The fact that the Whitney has made its collection available before the actual opening of the new building shows that the Museum has put the Art before the building, and has put accessibility to everyone ahead of the VIPs.

This is not a small thing, and demonstrates the Museum’s  commitment to making its Art Accessible to everyone.Usually one would say, “I can’t wait to go there,” or, more likely, “I wish I could go there,” when it may impossible for you to do so.

By putting the Art first, the Whitney has done a great service to removing the barriers of privilege and wealth to access to Art. As the Museum says,

“The Whitney’s collection online provides unprecedented access to over 21,000 works by more than 3,000 artists. These works in all mediums—painting, sculpture, drawing, printmaking, photography, film, video, installation, and new media—serve as a remarkable resource for understanding art history and the creative process of artists in the United States from 1900 to today. You are invited to explore the breadth and depth of a collection that has helped define what is innovative and influential in American art since the beginning of the twentieth century.”

Edward Hopper

Since there is so much art to see, we will use Edward Hopper as an example of the breadth and depth of the Whitney’s commitment to its mission of making Art accessible to everyone.  You can view some 3154 works by Edward Hopper, including the most iconic, and listen the Audio Tour, if you wish.


Edward Hopper

You may also view other Hopper Exhibitions held at the Museum, including one in May 2103 of ” Hopper Drawings,”

Edward Hopper (1882–1967), Study for Nighthawks, 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 × 15 in. (28.3 × 38.1 cm). Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange  2011.65

Edward Hopper (1882–1967), Study for Nighthawks, 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 × 15 in. (28.3 × 38.1 cm). Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange 2011.65

And his studies for paintings.

As the Museum says,

“Edward Hopper was an incredibly gifted draftsman, though he never intended his studies to be seen as works of art—he used them to try out ideas and refine content for paintings. Featured here are suites of drawn studies in the Whitney’s collection for some of Hopper’s most famous oils. The drawings show two distinct ways of working: in his words, drawing “from the fact” (painting from direct observation), and “improvising” (working from imagination). Taken together, the drawings and paintings reveal how Hopper synthesized precisely observed details or views into atmospheric scenes, transforming the mundane into the poetic.”

You can also watch a video of Hopper’s Studio and a Walking Tour of Hopper’s New York, including the sites of “Early Sunday Morning,” and “The Nighthawks.”

To Be Continued

This is Part 1 of a Series on the Whitney’s use of the New Media to make its Art Accessible to everyone. There is much more to come.




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