Art Stroll

Art Stroll: MoMA Collection Galleries

In December on a snowy afternoon my husband and I went to a member evening with Jazz and open galleries and I guess because it was snowing the museum was almost empty. It was a total treat to walk almost alone through the galleries. 

Funky!

Seeing this in an empty room …RARE

Swoon – This piece by Giuseppe Lignano, – Foladable 1 – 2016 – Laser Cut Cardboard with Inkjet print and Enamel Paint inspired me to those pieces.

Laura Owens, Untitled, 2013 – I love this so much -the stenciled newspaper – the thick impasto flowers .

More empty gallery bliss.

Gorgeous wood cut prints by Edvard Munch!

Picasso’s Ladies on their own

Egon Schiele, Nude with Violet Stockings and Black Hair (Akt mit violetten Strümpfen und schwarzem Haar)

Egon Schiele, Portrait of Gerti Schiele, 1909 – I love this and I love how you can see how influenced Schiele was in in his style by Gustav Klimt.

Vanessa Bell, Composition – 1914 Gouache, watercolor, and colored paper on cut-and-pasted paper

YESS – I really love that MoMA finally makes an effort to show more female artists

Sonia Delaunay-Terk, La Prose du Transsibérien et de la Petite Jehanne de France (Prose of the Trans-Siberian and of Little Joan of France) 1913

Delaunay-Terk and Cendrars transformed the traditional book format from a handheld volume that is read sequentially from page to page into an object that unfolds accordion-style—a dazzlingly colorful, nearly seven-foot-long sheet on which text and illustration can be apprehended all at once. While Cendrars’s poem appears on the right, in various typefaces and colors, Delaunay-Terk’s geometries cascade down the left, and the blank spaces around the text have been stenciled with color as well.

Sonia Delaunay-Terk , 1923 Tristan Tzara with Monocle

Florine Stettheimer, Euridice and the Snake – 1912 – Costume design – Oil, beads, and metal lace on canvas

Florine Stettheimer, Gorgette, 1912 – Costume design

Stettheimer wrote the libretto and designed the costumes for this unrealized ballet.

Florine Stettheimer, Family Portrait II, 1933

An artist, playwright, set designer, and poet, Stettheimer led a Manhattan salon where she entertained, exhibited her work, and shared her poems with her favored circle of artists. In Family Portrait, II, she combines images of herself, her sisters (who ran the salon with her), and her mother with symbolic elements wittily representing their individual personality traits. Among those she chose for herself are the RCA building (30 Rockefeller Center, known today as the GE Building) and Radio City Music Hall, each identifiable by the text the artist has inscribed on it. In focusing on her family, the painting typifies Stettheimer’s concern with the personal, which seems to have endlessly inspired her. Her attention to detail extended to choosing the frames that would best set off her vibrant paintings—in this case an unusual construction of white wicker.

Francis Stark, Chorus Line 2008 – Cut-and-pasted printed and colored papers on paper.

Baroness Elsa von Freytag-Loringhoven – 1923-1926 Dada Portrait of Bernice Abbott, Gouache, metallic paint, and tinted lacquer with varnish, metal foil, celluloid, fiberglass, glass beads, metal objects, cut-and-pasted painted paper, gesso and cloth on paperboard.

Fernand Legér, 1922 – costume desing for the ballet Skating Rink

People??? just kidding ;)

Joseph Cornell, Untitled (Bébé Marie) 1940s, Papered and painted wood box with painted corrugated cardboard bottom, containing doll in cloth dress and straw hat with cloth flowers, dried flowers and twigs, flecked with paint.

Rufino Tamayo, Animals 1941

Graham Sutherland, Thorn Head 1945 – Gouache, chalk and ink on paper on board

Janet Sobel, Milky Way 1945 – Enamel on Canvas

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Art Stroll: MoMA Betye Saar

During the holiday season my husband and I want to a MoMA evening with Jazz for members. There is nothing better than the word Jazz to get the man out – LOL- just kidding ;) I think because of some snow right before we went the museum was empty- it was awesome. We finally also saw the Betye Saar exhibition. Betye Saar is known for her assemblage and collage work. Saar explores both the realities of African-American oppression and the mysticism of symbols through the combination of everyday objects. “I’m the kind of person who recycles materials but I also recycle emotions and feelings,” the artist has explained. “And I had a great deal of anger about the segregation and the racism in this country.”

The Wounded Wilderness, 1962 – Etching with relief printing.

She became interested in printmaking when she was studying design. It became her segue from design to fine art.

In the Dell, 1960 – Etching.

Her pieces were fascinating!

The Quick & the Dead, 1964 – Etching and collagraph with hand addtions and embossing with stamped ink

Mystic Window for Leo, Assemblage, etching

Saar found this window and used images of the leo and sky charts as this is an important symbol for her. I loved this so much!

Black Girl’s Window, 1969, wooden window fram with paint, cut-and-pasted printed and painted papers, daguerreotype, lenticular print and plastic figurine.

A silhouette of her head with floating moons and stars; an etching (her own) of a lion, her birth sign; a tintype of a woman who could be her Irish grandmother; and, at the center, a novelty shop Halloween skeleton alluding to her father’s death when she was a child, a loss she says she still lives with.

“Even at the time, I knew it was autobiographical”, Saar said of her now -iconic assemblage Black Girl’s Window. “It is like a diary of my life”

Saars printing materials – it was so interesting to see those and then try to find them again in her various prints.

Phrenology Man Digs Sol y Luna1966, Etching with relief-printed found objects

“Phrenology, a pseudoscience that has been definitively debunked, links portions of the human brain to different character traits and capacities. It gained popularity in the nineteenth century and was cited by proponents of slavery and segregation as proof of the inferiority of African Americans. That a black woman adopted this motif in her work may seem subversive, but according to Saar, she was attracted to phrenology as a map of the unknown, in keeping with her interest in astrology and palmistry. Her own Phrenology Man, who appears in this print and several others, has the words “SEX” and “HATE” tumbling through his mind, together with animals, flowers, and astrological signs.”

The Phrenologer’s Window II, 1966 – Wooden Window frame with cut-and-pasted printed paper, acrylic paint, and found objects on board

“You can make art out of anything.” Betye Saar

The Palmist Window, 1967 wooden window frame with cut-and-pasted printed paper and fabric with charcoal and acrylic paint

Comments (1)

  • chrissie

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    loved this

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Art Stroll: Storm King

For my Birthday in July my husband surprised me with a trip to the Storm King Art Center in the Hudson Valley in New York State. It had been on my bucket list for a long time and gosh it was soooo cool!

There is something so beautiful to walk around in Nature and look at gigantic art which appears different from all kinds of angles and in different lights and seasons.

Storm King was founded and opened in the 60s and it is pretty massive.

“Storm King Art Center’s dramatic landscape includes farmed fields, natural woodlands, lawns, native grasses, wetlands, and water.”

Don’t be fooled by the cloudy and cool looking pictures – it was an extremely hot and humid day .

But it didn’t deter us from hiking around and enjoying everything.

Where every you turn around there is something to see- sometimes very colorful and prominent

Menashe Kadishman’s Suspended was one of my favorites – all you wonder is “how is this even balancing and holding up” . It was fun to see people interacting with the sculpture and walk underneath.

“Tomio Miki, who exhibited among a group of avant-garde, politically active artists in Tokyo in the late 1950s and early 1960s, settled in 1963 on the human ear as his primary sculptural subject for the next several years. He often depicted them individually, on a giant scale, as represented in the work at Storm King. Sometimes he combined ears with other elements, such as spoons or colored lights, or made series of them set in rows or in boxes. Miki spoke quixotically about his choice of the ear, saying that it originated in an “experience in a train, when, for no reason, I suddenly felt myself surrounded by hundreds of ears trying to assault me. This personal episode, however, wouldn’t be any precise answer to why I make ears. I can hardly say I chose the ear. More precisely, isn’t it that the ear chose me?”

Ursula von Rydingsvard’s For Paul—made of cedar wood

Alexander Calder , Black Flag, 1974

The museum hosted an exhibition of Mark Dion – Follies.

“The job of the artist,” he says, “is to go against the grain of dominant culture, to challenge perception and convention.”

Appropriating archaeological and other scientific methods of collecting, ordering, and exhibiting objects, Dion creates works that question the distinctions between “objective” (“rational”) scientific methods and “subjective” (“irrational”) influences.

One of my favorites- the next 3 works below by Louise Bourgeois – it is always such a treat to see her work in person.

“While typically black, Nevelson’s sculptures are occasionally white or gold; their monochromatic surfaces lend a sense of order and unity to the varied parts. Among Nevelson’s first gold-painted sculptures, Royal Tide I was included in the historic Art of Assemblage exhibition at New York’s Museum of Modern Art in 1961. Nevelson cited a religious resonance in the color gold, as well as a natural and spiritual connection to the sun. She was also interested in its timeless quality: “Gold has been the staple of the world for ages; it is universal.”

Sky Chapel No. 1, 1958-59

“Number Seventy-Two (The No March) is one of Louise Bourgeois’s most complex and politically charged works. This intricate sculpture—a floor work made from 1,200 individual cylindrical pieces of marble and travertine—was created in homage to a non-violent protest against the Vietnam War. Bourgeois also imbued the work with a more universal meaning, noting: “The No March also means accepting you’re almost nobody. You have to merge with thousands like you.”

Five Units Equal, 1956

Gorgeous fountain by Lynda Bengalis which resembles ocean waves lapping at the shore, slow-moving lava, or prehistoric creatures.

You can rent bikes and go out in the fields- which we should have done but we realized too late and walking in heat of 100F/38 C and in that sauna air wasn’t really our thing that day.

We made a promise to come back at one of the other , cooler seasons.

Alexander Liberman – Iliad and Adam

nearly seventy feet, Endless Column by Tal Streeter

A different view of Alexander Liberman’s Adonai -it is also in the very first picture. This sculpture was and is made out of gas storage tanks and the original sculpture deteriorated and was refabricated in 2000 after the artist had already died. I find it interesting – is it still his artwork? He knew it would deteriorate – should it been left as is?

It was such a cool way to celebrate my birthday- it is beautiful up there in NY – State anyway – so if you have never been and have a chance- go for it :)

Hope you enjoyed this outdoorsy – ArtStroll – until next time!

Comments (1)

  • Sue Clarke

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    I find The No March very moving. What a great birthday present. I tend to forget that New York is much more than just a big city.

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Art Stroll: New York Botanical Garden

A couple weeks ago Kim and I decided to take a little trip to the Botanical Garden in New York City to see the Roberto Burle Marx Exhibition. It was such a treat – even though going that far uptown is quite a hike.

One thing that the visit reminded me instantly of is what an amazing artist nature is and how inspirational it is to go to a Botanical Garden.

From Flowers that look like something from a fairy tale

To plants with leaves that look as if they were painted on.

We loved the Garden part of the Roberto Burle Marx exhibition a lot – gorgeous pattern on the pavement- beautiful plants with tons of patterns, texture and lines. As he said: “A garden is a complex of aesthetic and plastic intentions; and the plant is, to a landscape artist, not only a plant – rare, unusual, ordinary or doomed to disappearance – but it is also a color, a shape, a volume or an arabesque in itself”

Made me appreciate plants that I usually do not really think of wanting to have

Another amazing plant with awesome leaves! “One might think of a plant as a brush stroke, as a single stitch of embroidery; but one must never forget that it is a living thing. ” Roberto Burle Marx in a 1962 lecture.

Looking into the water in front of the fountain.

We also happened to come a day too early to see the “Corpse Plant” open.It rareley blooms and only for about 1-2 days. It was a coincidence that we went right when it was going to bloom as we had planned the trip for quite some while but it was cool to see this amazing plant right before it opened. We were spared of the insane smell it releases when it opens (hence the name) but fear not …the ride home at 94 F on the NYC subway probably was worse when the Corpse Flower smell hahahah ;)

This is some kind of ginger – isn’t this insanly cool? I love ginger and this makes me love it even more .

Let me sneak in another awesome plant …and nope we did not go into the Botanical Garden with a white paint brush LOL –

Water plants- where is the frog. I am always fascinated by water plants must be all the stories and fairy tales too.

Look at the color !!!

And these cacti – it is so funny to me that these delicate flowers are blooming out of this really prickly sturdy thing.

Palm tree pattern and texture

And a giant allium – I need one of those for our garden .

Inside the Library we found this beautiful glass on the floor

And then enjoyed some gorgeous paintings – the one above on fabric by Roberto Burle Marx.

I found it fascinating to look at his paintings after walking through the garden and seeing pictures of his gardens.

“If I do gardens, I don’t want to paint; if I do paintings I don’t want to do woodcuts; if I do prints from woodcuts, I don’t want to do lithography. Each specialty calls for its own technique and medium of expression…I will not do a painting that is a garden. Without a doubt painting and and all sorts of artistic issues have influenced my whole concept of art. I have always sought to avoid being restricted by formulas…” Roberto Burle Marx 1973

I love the shapes and colors and some of them look like gardens or landscape to me

Here is a tapestry by him – also pretty amazing.

Another favorite part of the exhibition was the interactive tile making – based on Marx’ tiles some tile post-its were provided along with different blue colored pencils.

After painting the visitors were encouraged to place them on the wall – it was so beautiful – and fun to see this post-it tile wall.

A wonderful exhibition with an awesome mixture of nature and art. If you have a chance to go – it was so worth the trip!

Comments (2)

  • Sue Clarke

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    Nat, I totally enjoyed this post this morning! Thanks.

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  • Jeanine Robb

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    These are gorgeous photos…beautiful exhibition! Thanks you.

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Art Stroll: Joan Miró at MoMA, NYC

A couple weeks Kim and I went to the city to see the Joan Miró exhibition at MoMA.

It was a real treat – and left me in a very good mood. It started out with these interesting still lifes from 1922-23

The one above is a still life with lamp, sliced tomato and an iron stand. I just love the way he painted the tomato – yes I am a weirdo LOL.

One of the striking things in the early work for me was seeing the colors but also the similarities to some work that I recently saw at the af Klint exhibition. Amazing!

The Hunter (Catalan Landscape) 1923

I always loved Miró’s quirky little shapes and pictographs – do you see the fish sticking it’s tongue to catch the mosquito?

This painting called Dutch Interior I from 1928 is based on this 17th century painting depicting a lute player in a domestic interior.

Miró had bought this postcard reproduction of the work by Hendrick Martensz Sorgh at the Rijksmuseum in Amsterdam and then mapped out his version below.

It makes me itch doing something fun like this as well :)

In a way some of his paintings are like painted collages.

“Birth of the World” 1925

Joan Miró said that The Birth of the World depicts “a sort of genesis”—the amorphous beginnings of life. To make this work, Miró poured, brushed, and flung paint on an unevenly primed canvas so that the paint soaked in some areas and rested on top in others. Atop this relatively uncontrolled application of paint, he added lines and shapes he had previously planned in studies. The bird or kite, shooting star, balloon, and figure with white head may all seem somehow familiar, yet their association is illogical.

Describing his method, Miró said, “Rather than setting out to paint something I began painting and as I paint the picture begins to assert itself, or suggest itself under my brush.… The first stage is free, unconscious. But, he continued, “The second stage is carefully calculated.”  The Birth of the World reflects this blend of spontaneity and deliberation.

This painting was way ahead of it’s time and received more love in the 50s when artists like Pollock and Frankenthaler would fling paint and wash raw canvases.

Relief Construction – 1930. Oil on wood, nails, staples, and metal on wood panel. In the summer of 1930 Miró moved away from painting to explore the possibilities of relief sculpture. Made from pieces of wood and metal that could easily have been found at a carpentry shop Relief Construction combines organic shapes. Miró identified the vertical metal spike as the neck and the head of the curved white toros like form. The red disk covered with sharp nails, he said was the sun.

how fun are those? I loved especially Miró’s book illustrations

Woman – Opera Singer- 1934 – Pastel and Pencil on flocked paper

“Painting” 1933 – do you see the cat?

Eyes – looking at you out of his paintings ….

and this and the next and actually EYES everywhere!

I love this one so much!!!

So striking with the red and black !

Interesting assemblage using rope.

Still life with a shoe – 1937 was kind of a shocker- I mean doesn’t that looks like something ultra modern and not from that time with the colors used?


And this sculpture- I mean seriously LOVE

It fascinated me how he very lightly used color – like a wash on the background and then painted so bold and with black and bold colors on the top.

Mirò said once in an interview: “I always have my feet on the ground and my eyes on the stars”

Another gorgeous sculpture.

Portrait of a Man in a Late Nineteenth-Century – Frame – 1950 – Oil on canvas – is one of my favorite paintings in MoMA’s permanent collection. According to Miró his childhood friend Joan Prats came upon an ostentatiously framed, pompous portrait by an unknown painter and sent it to him as a joke. The sitter’s pose and costume, his upturned gaze of inspiration, the devotional medal and ribbon on his table, and the rose garden outside his window typify the bourgeois taste and assuredness of the late 19th century. Within this orderly, rational and humorless world, Miró mischievously inserted his own creatures and signs. As if tot suggest the man’s puzzlement at this unexpected interruption , he punctuated his forehead with a small swirling form.

Hope you enjoyed this little Art Stroll. Kim and I did for sure and I cannot wait to head out to a museum soon again :)

Comments (2)

  • Joan

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    Thank you for sharing, awesome work. I like the Hunter and the one that has what i think looks like a tiger face.

    Reply

  • Pam Hansen

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    Thanks for sharing, I really enjoyed this.

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Art Stroll: Hilma af Klint at Guggenheim, NYC

Last week Kim and I went to the Guggenheim to see the Hilma af Klint (1862-1944) “Paintings for the Future” exhibition. I had been excited to see the exhibition for a couple months now and I wasn’t disappointed.

Klint radically started creating abstract paintings years before Kandinsky, Mondrian or other that are called the pioneers of abstraction would change their own artwork from representational content to abstract paintings.

The size and colors of her early paintings are just mesmerizing and such a happy delight to see – instant feel good right in front of those.

It also struck me how immensely feminine those paintings are.

The color schemes are still muted colors but light and the forms are round and free.

These ten earliest huge paintings of Klint go through the lifespan of humans from birth to old age.

Interestingly enough Klint kept most of her groundbreaking paintings private, because she was convinced that the world was not ready yet to understand her work. In her will she stipulated that a lot of her work was not be shown for twenty years following her death. Ultimately her abstract paintings remained all but unseen until 1986 – 80 years after she painted some of her most prolific abstract paintings in 1906.

The painting above is a sample of what would be seen mostly of her work. It is just so mind blowing. Given that abstract male painters several years later caused insane outrage about their work, she was probably right that as a female artist on top, people would have not understand her art at all.

It makes you rethink art history though – it messes with our perception of the timeline of abstract art and of the mainly male key figures of this movement as well.

In 1896 Klint held regular séances with four other women. She had begun attending séances as a teenager, using them as a way to contact her younger sister, who had died young. Spiritualism was a big thing back then and the group wanted to obtain a direct access to a higher order of knowledge.

Klint worked earlier as a biological illustrator and her scientifically styled diagrams and her esoteric experiences mixed in her paintings.

The swan represents the ethereal in many mythologies and religions and stands for completion in the alchemical tradition.

Klint often incorporated insights gleaned from color theory in her paintings. For Klint certain colors represented certain significances. Blue for example represents the female, yellow stands for male, green for the unity of the two.

In 1906 an otherworldly spiritual guide commissioned Klint to prepare a message to human kind and so she painted about 193 paintings containing the spirit of the world. Those paintings are known as the “Paintings for the Temple”

Not all of Klints work were kept secret by her. The Blue Books were a tool that Klint created to show trusted viewers her paintings. They contain black and white photos and next to them carefully rendered watercolor reproductions.

At the time she made those works, the art world was generally dismissive of work made by women and on top many critics did not take abstraction seriously.

“…in 1920, she made a series of small works that begins with a single circle, half black and half white, called “Starting Picture”—the world as a balanced duality, physical and material, dark and light.

Subsequent entries in the series offer similar circles, differently divided up between black and white: one divided into four alternating slices; one with black crescents framing a white center; etc. The titles suggest they are supposed to represent different graphs of the great spiritual traditions: “The Current Standpoint of the Mahatmas,” “The Jewish Standpoint at the Birth of Jesus,” “Buddha’s Standpoint in Worldly Life,” and so on.”

Klint made sketches for a spiraled building that would show her work ascending the spiral case to the heaven ….! “In many ways, the Guggenheim retrospective fulfills the artist’s long-buried dream.”

This was an uplifiting and thought provoking exhibition. Did I decipher her work? Nope …but …I was content and happy just looking at it and make me feel good. Nothing wrong with that …and hey …maybe that was the message all along ;)

Comments (4)

  • Sue Clarke

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    It is amazing to me how intense her colors are and yet they are light pastels in many paintings.
    I totally felt the different ages of the first grouping (even before you pointed it out).
    I want to look for a book about her life. Kline sounds like quite the woman and painter!
    Thanks Nat.

    Reply

    • Nathalie Kalbach

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      Thanks Sue for joining! Yeah I am also very intrigued about her life!

      Reply

  • ARHuelsenbeck

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    Nathalie, thank you for this fabulous article. You’ve educated me about an artist I didn’t know.

    Reply

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Art Stroll: Andy Warhol at the Whitney, NYC

Last week Kim and I took a day off and for our annual Christmas Party at the n*Studio we decided to go into the city to visit the Andy Warhol Exhibition at the Whitney and have a nice lunch afterwards. It was a wonderful day!

Warhol began his series of Flower paintings in 1964. He used an image of four hibiscus flowers from a magazine and, with the help of assistants, silkscreened it across more than five hundred individual canvases, methodically producing paintings in different sizes and seemingly endless color combinations.

“In the mid-1960s Warhol employed carpenters to construct numerous plywood boxes identical in size and shape to supermarket cartons. The finished sculptures were virtually indistinguishable from their cardboard supermarket counterparts. Warhol first exhibited these at the Stable Gallery in 1964, cramming the space with stacked boxes that recalled a cramped grocery warehouse. He invited collectors to buy them by the stack, and, though they did not sell well, the boxes caused controversy. In reference to his boxes, Warhol later said that he “wanted something ordinary,” and it was this mundane, commercial subject matter that infuriated the critics. The perfectly blank “machine-made” look of Warhol’s boxes contrasted sharply with the gestural brushstrokes of abstract expressionist paintings.”

Would you buy one? (if money was no obstacle)

Sorry- it was so crowded it was hard to take any pictures LOL – but this was too iconic to let it just go …

Loved seeing his gold leafed shoes – the detail are actually quite fascinating on those

Love his sketches the most

The early stages of his work and concepts.

I love seeing the early work that shows where things were going -stencils, marks, people, lines …

In embracing the image of the Coca-Cola bottle as fine art, Warhol opened up the possibility of linking the worlds of commercial and fine art.

Death and Desaster- depicting magazine and newspaper headlines in oversized images.

“Warhol’s depiction of Superman is based on a drawing by Kurt Schaffenberger from the comic Superman’s Girl Friend Lois Lane (April 1961). Warhol’s decision to use Superman as a subject may offer a biting commentary on the heroic machismo associated with Abstract Expressionist “action” painting, or a queer reading of the Man of Steel, or both. Warhol displayed Superman and four other paintings shortly after they were made in a window display at the Bonwit Teller department store (below), where he and many other artists produced window displays.”

“Warhol based this composition on a small advertisement for a plastic surgeon that ran in the National Enquirer in early April 1961, which he had enlarged and projected in order to trace it onto the surface of the canvas-a precursor to the silkscreen technique he pioneered the following year. The work was first exhibited in the window of Bonwit Teller, the Fifth-Avenue department store, in early April 1961 as part of a display that included five other early paintings by the artist.”

 

Loved this – I had just used this very same image in a class for image transfers and seeing this silk printed with a similar effect in a big size was quite cool.

Well – another iconic one

“Warhol was as captivated by the lives of the ordinary as he was the rich and famous. This work was created from the Newsweek article, “Two Tuna Sandwiches,” about two Detroit mothers, neighbors who ate tuna sandwiches while they watched their children play and, two days later, the women died. The two housewives died via poisoning from tainted tuna. It shows how harmless consumerism can lead to accidental death. Warhol explored the brief and tragic fame bestowed on people after violent and unexpected termination of life.”

“Warhol chose the image of Mao—then the Chairman of the Chinese Communist Party—after reading news coverage of President Richard Nixon’s trip to the People’s Republic of China in February 1972. An unprecedented act of Cold War diplomacy, Nixon’s trip marked the first visit by a sitting American president to the nation, which at the time was considered an enemy of the state.”

When I went to the Andy Warhol museum in Pittsburgh I was fascinated by the collaborative works Warhol made with Jean-Michel Basquiat. “According to Basquiat, Warhol would begin the paintings with “something very concrete, like a newspaper headline or product logo, and then I would sort of deface it.” Depending on the work, this process could continue for two or three rounds, until a balance was reached between Warhol’s hand-painted images and Basquiat’s abstract gestures, text, numbers, and pictographs. ”

“Unlike in his other portraits, Warhol did not name the subjects of this series. They were not, however, truly anonymous. Marsha P. Johnson (bottom right), for example, had been a key player in the Stonewall rebellion that sparked the struggle for LGBTQ rights and, like Wilhelmina Ross, was a member of the performance group the Hot Peaches. In recent years, research into the other sitters’ identities has allowed their names to be instated. Warhol’s portrait of Marsha P. Johnson captures the confidence, warmth, and charm that made her a beloved member of New York’s queer community. Johnson was a pioneering trans-rights activist: she participated in the 1969 Stonewall uprising and later, with her friend and fellow trans activist Sylvia Rivera, founded Street Transvestite Action Revolutionaries (STAR), a political organization that advocated for the rights of queer and trans people and sex workers, particularly those who were homeless or incarcerated.”

What are the symbols of a country? Thought provoking? Was he political?

 

“For a series of still lifes begun in 1975, Warhol worked with assistants to make theatrically lit studio photographs of a variety of objects, such as a skull or a hammer and sickle, positioning them to cast shadows so dramatic that they took on identities of their own. In the years that followed, he created a number of paintings based on these photographs. It was through these investigations into photography—a medium most commonly associated with accurate representation—that Warhol was able to make works that read more overtly as abstraction. Beginning in 1978, he made a radical shift and did away with the objects entirely, producing an expansive series of more than one hundred paintings focused only on shadows, which he titled just that: Shadows. In these works Warhol freed himself from his Pop subjects by experimenting with something close to pure abstraction. Yet he never completely divorced himself from his sources, maintaining his connection to the everyday world while still playing with the problem of how images generate meaning.”

 

I love what someone said that there is no “supreme court of art and he experimented with the boundaries of art is” It is a great exhibition – I would def. go again but in the new year and during the week again as it the museum was stuffed even early at 10am when we went.

I hope you enjoyed the is little Art Stroll! Hope to take you on another one soon :)

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Art Stroll: Kunsthalle Hamburg, Part 3

Here is part 3 of my long visit of the Kunsthalle Hamburg when I visited Germany last month.

Sonia Delaunay-Terk, Portrait of Tchouiko, 1908 – Oil on Canvas – I love the background the colors but especially how she painted the hands.

 

Adolf Erbslöh, Spring 1909 – oil on canvas

Love how the sky and the trees are mostly created with small little brush marks while the buildings and ground is differently painted.

Lyonel Feininger, Spring – 1936 – oil on canvas

Loved seeing this and Erbslöh painting close to each other since they had the same title – and depict houses but yet so different.

Lyonel Feininger, East Choir of Halle Cathedral, 1931- oil on Canvas

I love love love this earlier Feininger – it still has a feel of collage and architectural drawing to it which I like better than the more advanced cubist painting before.

Robert Delaunay, The Towers of Laon, 1912 – oil on canvas

 

Max Beckmann, The Bearing of the Cross, 1911 – Oil on Canvas

I am a huge Max Beckmann fan – and seeing a bigger collection of his work was a treat – see how different this work is to the next ones

Max Beckmann, Portrait of a Rumanian Woman – 1922 – oil on canvas

Max Beckmann, Large Still Live with Fish – 1927 – Oil on Canvas

Max Beckmann, Adam and Eve, 1936 – Coated Plaster

I love this …it is so symbolic to me especially right now with all the stuff going on in this country.

Max Beckmann, Girl with Yellow Cat (on grey), 1937 – oil on canvas

this makes me laugh – the cat is hilarious – the cat is also not yellow …love it :)

Max Beckmann, Prometheus (The Man Left Hanging), 1942 – oil on canvas

the title alone makes me laugh- poor Prometheus

Max Beckmann, Before the Ball (Two Women with a Cat) , 1949 – Oil on canvas

Def. didn’t improve on the cat…hahahah – I love it!

Edvard Munch – Girls on the Bridge – 1901 – oil on canvas

they were def. doing better when some of his other subjects on this bridge ;)

And that was it from the Kunsthalle- and btw- isn’t that a pretty cool bannister! Hope you enjoyed my Kunsthalle Art Stroll . You can find all the Art Strolls from around the world right here if you want to take a little Museum’s trip :)

Comments (2)

  • Sue Clarke

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    Such a variety of art work by Max Beckmann!
    I always like seeing the work you post/present after a museum visit Nat.
    I wondered about the women and cats myself…thanks Janene.
    East Choir of Halle Cathedral is my favorite by far. It just begs me to look at it again and again.

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  • Janene

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    They’re all fabulous in their own way, but I particularly liked Max Beckmann, Portrait of a Rumanian Woman and Adolf Erbslöh, Spring 1909.

    And what was up with Max Beckmann’s fascination with women and cats?? I had to know, so through the magic of the Inter-web, I found an article on the website “The Great Cat”: https://www.thegreatcat.org/the-cat-in-art-and-photos-2/cats-in-art-20th-century/max-beckmann-1843-1950-german/ Apparently Max thought women were similar to cats in promiscuity and domesticity. Meow!!

    =^._.^=

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Art Stroll: Kunsthalle Hamburg Part 2

Last month while going to Germany to teach a workshop I spent a day at the Hamburger Kunsthalle. I loved revisiting the Permanent Collection and see some of my favorites again :)

Max Ernst, Menschliche Figur (Human Figure)  1930 – oil on canvas

I love this painting the shapes the shadows and that you can see the human figure – it is funny and I often smile when I see Max Ernst work.

Max Ernst, Grätenblumen (fishbone flowers) – 1928 – oil on canvas

This is one of my favorite paintings ….like Ever :) Because I remember how excited I was the first time I saw it – the dimensions, the structure, the visual and actual texture and how I couldn’t wait to go home and replicate the look. It was early on in my adventures as a self taught artist and to this day I feel this painting is like a old friend sparking something in me. Yes …I never said I am not a weirdo – hahaha

Paul Klee, Der Goldfisch (The Goldfish), 1925 – Oil and watercolor on paper on cardboard

Another painting that excited me early on – the sgraffito the colors …when I walked into the gallery I almost yelled out “hey fishy” ..but then …the reserved Hamburgers are a bit more suspicious of people bursting out when maybe New Yorkers are – LOL

Paul Klee, Felsige Küste (Rocky Coast) – 1931 – oil on plywood

Love the usage of plywood and the little rectangles – actually it makes me want to do something with the same small pattern but different colors coming together to form a landscape …

btw – the glimpse out of the galleries into the main hall always is a treat :)

Hans Arp, Augen-Nase-Schnurrbart (Eyes, Nose and Moustache) after 1928 – oil on cardboard- artist’s frame

I love the cut shapes and the colors – and reading the title makes me laugh – another outburst tehehehe

Sophie Taeuber-Arp, Wehende Formen (Floating Forms) 1935 – Oil on canvas – artist’s canvas

Oskar Schlemmer, Treppenszene (Stairway scene) 1932 – Oil on fabric on plywood – artist’s frame

This painting makes me want to see the Bauhaus Stairway Painting of his from the same year hanging at MoMA in NYC together with this. Apparently- and I didn’t know this before writing this post – there is some controversy as to how the painting got to be at MoMA.

Ernst Ludwig Kirchner – Das Paar vor den Menschen (Two Against The World), 1924 – oil on canvas

I am always fascinated by Kirchner’s paintings- they glow , they are radiant and encapsulate you when you stand in front of them  it is a physical experience.

Ernst Ludwig Kirchner – Das Wohnzimmer (The Living Room) – 1923 – Oil on canvas, artist’s frame

Ernst Ludwig Kirchner, Gut Staberhof (Staberhof Countryseat), 1913  oil on canvas

Love this so much the colors, the shapes …swoon

Emil Nolde, Das Meer VI (The Sea VI), 1915 – oil on canvas

Emil Nolde, Schlepper auf der Elbe (Tugboat on the Elbe) – 1910 – oil on canvas

Max Pechstein, Am Seeufer (On the Banks fo the Lake), 1910

All those paintings make me want to use crazy acidic colors …maybe my love for those colors comes from those artists which I remember being fascinated by in art lessons in school.

Ernst Ludwig Kirchner, Maler und Modell (Painter and Model) – 1910- oil on canvas

Karl Schmidt-Rottluff, Das blaue Haus (The Blue House) . 1907 – Oil on canvas – artist’s frame

A gorgeous vibrant painting – with such a beautiful frame. The photo really doesn’t do this beautifully textured impasto painting justice but nonetheless I wanted to show it.

Lyonel Feininger, alte Lokomotive (Old American Locomotive), 1910-1924 – oil on canvas

Loving those figures and the background!

If you think I went home after this …Nope – I couldn’t say bye to Kunsthalle (probably the reason why after 5 years living in the U.S. I am still a member there- LOL.

Another part of this Art Stroll is coming soon- I hope you enjoyed this one.

Comments (2)

  • Sue Clarke

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    I just love Rocky Coast and would be happy to hang it in my living room if the museum no longer has room for it.

    Reply

    • Nathalie Kalbach

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      LOL- me too! Actually I will take any of those if they have no longer room for them hahahaha

      Reply

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