“Painting Abstraction: new elements in abstract painting” by Bob Nickas.

Oregon College of Art and Craft Library:

 “Painting Abstraction: new elements in abstract painting” by Bob Nickas.

 Featured Artist: Michelle Ross

She is well known for her contemporary abstract paintings, which “[traverse] the history of abstraction, design, decoration and the love of language” (here). Her work has been likened to Mondrian, Hans Hoffman, Giorgio Morandi, Agnes Martin, Mary Heilman, and Robert Mangold. Ryan Pierce has stated that “Ross’ paintings are firmly grounded in the tropes and traditions of modernism,” they are “refreshingly free of the gimmicks that crowd a lot of abstraction these days,” and they “link the classical and the modern with grace and reverence, leaving plenty of open space for whatever happens next” (from a 2007 review on PORT).

More images of her recent work can be seen on the Elizabeth Leach Gallery website.

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 “Painting Abstraction: new elements in abstract painting” by Bob Nickas.

For this week’s library pick, we have selected a title that showcases many of Michelle Ross’ contemporaries and other artists pushing the limits of abstract painting. The book is Painting Abstraction: new elements in abstract painting by Bob Nickas.

After a prefatory essay on the “persistence of abstraction,” the book is broken up into six parts: “hybrid pictures,” “Rhythm and Opticality,” “Color and Structure,” “Found/Eccentric Abstraction,” “Form, Space, and Scale,” and “the Act of Painting.” About a dozen or more artists have been selected for each section and a short text describes how each particularly addresses some issue related to that section’s theme.

For example, Nickas asks “Is the hand of an artist more visible to us when drawing and line are central to her paintings?” (139). He then demonstrates how this question can be answered in the “affirmative” by a close investigation on the work of Allison Miller. Several large, full-color reproductions of her work follow in order to illustrate his point.

Painting Abstraction is an authoritative compilation that addresses the key issues in the field of abstract painting from the last five years and profiles 80 different contemporary abstract artists including Mark Grotjahn and Amy Sillman. Bob Nickas work is an excellent balance of research, critical analysis, and, what all great art books so often have: art, art, and more art.

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British pre-Raphaelite barn owl painting discovery

British pre-Raphaelite barn owl painting discovered
William James Webbe (fl.1853-1878), The White Owl, 'Alone and warming his five wits, The white owl in the belfry sits,' signed with monogram and dated '1856' (lower left), oil on board, 17¾ x 10 3/8 in. (45 x 26.3 cm.) © Christie’s Images Limited 2012

From the Huffington Post:

Attic Owl Painting Sells For Nearly $1 Million At Christie’s Victorian Art Sale (PHOTO)

Posted: 12/17/2012 12:31 pm EST  |  Updated: 12/17/2012 12:31 pm EST

Everyone dreams of finding that one priceless item hiding in the corners of a dust-ridden attic. One UK teacher recently experienced the joy of rescuing such a forgotten antique, all thanks to an old owl painting that turned out to be worth nearly a million dollars.

Jane Cordery, an art teacher in Hampshire, discovered the detailed bird portrait in her attic after attempting to clean the space for a plumber. She’d never seen the ornate owl, but the painting’s intricate brushwork caught her eye and she decided to e-mail a photograph of the find to Christie’s auction house. According to the Daily Mail, One look at the owl and art expert Brandon Lindberg knew that that the work was worth much more than anyone suspected.

The auction house determined that the painting, titled “The White Owl,” was created by pre-Raphaelite artist William James Webbe, and experts valued the work at £70,000 ($113,449). Beyond the British masterpiece’s hefty price tag, it was also revealed that the UK’s Royal Society had exhibited the owl in the mid 19th century, exposing the piece to leading art critic, John Ruskin, who described it as “a careful study” with excellent brown wings.

The attic artwork hit Christie’s auction block last week, far outselling its estimated price — the winning bid was £589,250 ($951,050). Cordery maintains that she had never even seen the painting before her impromptu winter cleaning, while her partner, James Ravenscroft, remembers receiving the work as a present from his mother. “It’s a complete shock,” Cordery told the Daily Pioneer after the sale. “We were not imagining that in our wildest dreams.”

The owl depicted in the painting is a barn owl.

The motto of the painting is inspired by this poem by Alfred Lord Tennyson.

Related articles

Re-posted from (dearkitty1.wordpress.com) who nominated this blog for 2012 Best Blog!

Thank You. I am honored by this wonderful blogger! Of course I don't have all six stars, but as you can see by the re-post above why am so appreciative.

Thank You. I am honored by this wonderful blogger! Of course I don’t have all six stars, but as you can see by the re-post above why am so appreciative.

JOHN LENNON – “GIMME SOME TRUTH”

Tigergrove Now Joined With Flattr.Com

Flattr is the worlds first social micro-payment system

The idea had already been initiated in 2007, but the first release was in 2010 due to typical geeky laziness.

Flattr was founded to help people share money, not just content. Before Flattr, the only reasonable way to donate has been to use Paypal or other systems to send money to people. The threshold for this is quite high. People would just ignore the option to send donations if it wasn’t for a really important cause. Sending just a small sum has always been a pain in the ass. Who would ever even login to a payment system just to donate €0.01? And €10 was just too high for just one blog entry we liked…

Flattr solves this issue. When you’re registered to flattr, you pay a small monthly fee. You set the amount yourself. At the end of the month, that fee is divided between all the things you flattered. You’re always logged in to the account. That means that giving someone some flattr-love is just a button away. And you should! Clicking one more button doesn’t add to your fee, it just divides the fee between more people! Flattr tries to encourage people to share. Not only pieces of content, but also some money to support the people who created them. With love!

Flattr has no different user types. We know that everybody that create also uses other content. And vice versa. We make no difference between people.

Flattr can be used as a complement to accepting donations. Or to having advertising on your blog. Or to help getting small donations you never get for your open source software.

To Start A Flattr Account And Donate Click On: Flattr.Com

Breakfeast…

Originally posted on exceedingsky:

The artist Nathan Shields is a master of the pancake craft. He creates amazingly detailed pancakeimages depicting human organs,Star Wars characters,buildings of the world, marine invertebrates and more

Organ Pancakes

 

Marine Invertebrates

Star Wars Characters

 

Buildings of the world

 

Insects Pancakes

 

Mathematical constants

 

Mythological Beasts

 

Dog breeds

 

Fractal Pancakes

 

Tropic Pancakes

View original

Cy Twombly, 1928-2011 American Artist Who Scribbled a Unique Path by Michael Stravato

cy twombly.

cy twombly. (Photo credit: Jjjjanic)

Cy Twombly

Cy Twombly with his painting “1994 Untitled (Say Goodbye Catullus, to the Shores of Asia Minor),” at the Menil Collection in Houston in 2005.

Cy Twombly’s Gagosian GalleryCy Twombly’s “Untitled” from 2007. He once described his work as “more like I’m having an experience than making a picture.”   

Cy Twombly, whose spare childlike scribbles and poetic engagement with antiquity left him stubbornly out of step with the movements of postwar American art even as he became one of the era’s most important painters, died in Rome Tuesday. He was 83.

The cause was not immediately known, although Mr. Twombly had suffered from cancer. His death was announced by the Gagosian Gallery, which represents his work.
Cy Twombly in 2005.Michael Stravato for The New York TimesCy Twombly in 2005.

In a career that slyly subverted Abstract Expressionism, toyed briefly with Minimalism, seemed barely to acknowledge Pop Art and anticipated some of the concerns of Conceptualism, Mr. Twombly was a divisive artist almost from the start. The curator Kirk Varnedoe, on the occasion of a 1994 retrospective at the Museum of Modern Art, wrote that his work was “influential among artists, discomfiting to many critics and truculently difficult not just for a broad public, but for sophisticated initiates of postwar art as well.” The critic Robert Hughes called him “the Third Man, a shadowy figure, beside that vivid duumvirate of his friends Jasper Johns and Robert Rauschenberg.”

Mr. Twombly’s decision to settle permanently in southern Italy in 1957 as the art world shifted decisively in the other direction, from Europe to New York, was only the most symbolic of his idiosyncrasies. He avoided publicity throughout his life and mostly ignored his critics, who questioned constantly whether his work deserved a place at the forefront of 20th-century abstraction, though he lived long enough to see it arrive there. It didn’t help that his paintings, because of their surface complexity and whirlwinds of tiny detail – scratches, erasures, drips, penciled fragments of Italian and classical verse amid scrawled phalluses and buttocks – lost much of their power in reproduction.

But Mr. Twombly, a tall, rangy Virginian who once practiced drawing in the dark to make his lines less purposeful, steadfastly followed his own program and looked to his own muses: often literary ones like Catullus, Rumi, Pound and Rilke. He seemed to welcome the privacy that came with unpopularity.

“I had my freedom and that was nice,” he said in a rare interview, with Nicholas Serota, the director of the Tate, before a 2008 survey of his career at the Tate Modern.

The critical low point probably came after a 1964 exhibition at the Leo Castelli Gallery in New York that was widely panned. The artist and writer Donald Judd, who was hostile toward painting in general, was especially damning even so, calling the show a fiasco. “There are a few drips and splatters and an occasional pencil line,” he wrote in a review. “There isn’t anything to these paintings.”

But by the 1980s, with the rise of neo-Expressionism, a generation of younger artists like Jean-Michel Basquiat found inspiration in Mr. Twombly’s skittery bathroom-graffiti scrawl. Coupled with rising interest in European artists whose work shared unexpected ground with Mr. Twombly’s, like that of Joseph Beuys, the new-found attention brought him a kind of critical favor he had never enjoyed. And by the next decade he was highly sought after not only by European museums and collectors, who had discovered his work early on, but also by those back in his homeland who had not known what to make of him two decades before.

In 1989 the Philadelphia Museum of Art opened permanent rooms dedicated to his monumental 10-painting cycle, “Fifty Days at Iliam,” based on Alexander Pope’s translation of the “Iliad.” (Mr. Twombly said that he had purposely misspelled “Ilium,” a Latin name for Troy, with an “a,” to refer to Achilles.) That same year, Mr. Twombly’s work passed the million-dollar mark at auction. In 1995 the Menil Collection in Houston opened a new gallery dedicated to his work, designed by Renzo Piano after a plan by Mr. Twombly himself. Despite this growing acceptance, Mr. Varnedoe still felt it necessary to include an essay in the Modern’s newsletter at the time of the retrospective, titled “Your Kid Could Not Do This, and Other Reflections on Cy Twombly.”

In the only written statement that Mr. Twombly ever made about his work, a short essay in an Italian art journal in 1957, he tried to make clear that his intentions were not subversive but elementally human. Each line he made, he said, was “the actual experience” of making the line, adding: “It does not illustrate. It is the sensation of its own realization.” Years later he described this more plainly. “It’s more like I’m having an experience than making a picture.” The process stood in stark contrast to the detached, effete image that often clung to Mr. Twombly. After completing a work, in a kind of ecstatic state, it was as if the painting existed and he barely did anymore: “I usually have to go to bed for a couple of days.”

The New York Times:Cy Twombly, 1928-2011 American Artist Who Scribbled a Unique Path by  Michael Stravato        

artblart

“As a tribute to the recently deceased artist, the Centre for Fine Arts is turning the spotlight on a less familiar aspect of his oeuvre. The exhibition includes more than 100 dryprint Polaroid photographs (selected by Twombly himself), along with a selection of other works by Twombly and a film portrait by Tacita Dean.

Cy Twombly (who was born in Lexington in 1928 and died in Rome in 2011) was one of the most important US artists of his generation. He made his name with large-scale abstract paintings whose free form and spontaneous dynamism recall calligraphy and graffiti. In his work Twombly often referred to the myths of Classical Greek and Roman Antiquity, to literature and to art history.

The exhibition focuses on a less familiar aspect of Twombly’s oeuvre: his photographic work. The photographs are an addition to the artist’s creative world and throw new light on it. At the request of the publishers Schirmer/Mosel, Twombly selected more than 100 never previously published Polaroid photographs for a catalogue that was published just before his death on 5 July 2011. This selection is the subject of a travelling exhibition that has already been seen in Germany at the Museum Brandhorst (in Munich) and the Museum für Gegenwartskunst (in Siegen). At the Centre for Fine Arts the exhibition is being expanded, in collaboration with Dr. Hubertus von Amelunxen, who wrote an essay for the Twombly catalogue and who has made a selection for BOZAR of drawings and paintings by Twombly that reveal in greater depth the interplay of lines and light in his work. In addition, the exhibition is complemented by the screening of Tacita Dean’s intimate film portrait “Edwin Parker” (which takes its name from Twombly’s official given names).

Twombly and photography

Twombly took up photography back in his student days in the 1950s and continued to take photographs throughout his career. It was only in the 1990s, however, that he went public with his photographic work in gallery exhibitions and publications.

All the photographs in the exhibition were taken with a Polaroid camera, enlarged, printed using a special kind of dryprint, and reproduced in limited editions. This procedure, developed by Twombly himself, gives the photographs a hazy glow and a coarse grain. Twombly further reinforced this impression of blurring by playing with light and shade, by overexposure and sophisticated colour saturation, and by employing extreme close-ups. The lack of definition gives his photographs a certain indefinable quality and a poetic dimension. Our attention is no longer drawn to the subject, but to the texture of the picture. In a certain sense, Twombly operates like the pictorialists: his photographs look almost like paintings in which light is captured in brushstrokes.

The subjects of his Polaroid photographs are extremely diverse. There are traditional still lifes with tulips, lemon leaves, and angel trumpets, alongside photographs of temples and atmospheric landscapes. Twombly surprises the viewer with intimate images of everyday objects such as his slippers, a detail from a painting, his brushes, a snapshot of his studio, etc.

The photographs are fascinating because they throw new light on Twombly’s creative spirit and visual language. These intangible, fragile images are permeated by the same themes that inspired the artist’s paintings, drawings, sculptures, and graphic art. The atmospheric colours and diffuse motifs of his photographs are an unexpected addition to his creative universe. Twombly’s oeuvre, moreover, is all about light – and is photography not the medium of light par excellence?

expert from http://artblart.com/2012/04/22/exhibition-cy-twombly-photographs-1951-2010-at-the-centre-for-fine-arts-brussels/

Ohio by Crosby, Stills, Nash and Young