Tag Archives: art history

The Armory Show

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Every March, like the migration of strange Monarch butterflies, artists, galleries, collectors, critics and curators from across the globe make New York their destination during Armory Arts Week. From March 7-10, 2013, stationed at the Chelsea Piers 92 & 94 overlooking the Hudson, a hangar’s worth of creativity bustles in the largest NYC art fair. The fair has changed locations since its inaugural 1913 debut – from the East Side to Chicago to the Cincinnati Art Museum to Amherst College – ultimately that its coming back to its roots. The piers at the Armory Show, now designated as Contemporary and Modern, are devoted to showcasing the most important, notorious, and emerging artworks of the 20th and 21st centuries.
Erica and Max

My friends Max and Erica enjoy a Pain au chocolat, muffin, Diet Coke and Coffee in the VIP Lounge fitted by Roche Bobois.

The Armory Show 2013The Armory Show 2013

The Hudson River on the West Side of the island was once central to to the city’s trade and transportation infrastructure. With the success of the auto industry, American’s reliance on waterways diminished and all-but-halted. Businesses at the piers closed down and many structures were left to decay. The desolate, vacuous spaces could be dangerous territory but also offered temporary homes to various artist projects, the most illustrious, perhaps, being Gordon Matta-Clark’s iconic Day’s End on Pier 52 in 1974.

The Armory Show 2013

The Armory Show 2013

The Armory Show 2013

Samsøn Projects of Boston had a booth arrayed with bongs, Carl Sagan and retail price tag fastener, featuring the works of Todd Pavlisko. 

The Armory Show 2013

The Armory Show 2013

Peter Liversidge, Ingelby Gallery London.

Peter Liversidge’s presented by Ingelby Gallery, London. Etc, 2011, neon.  Remember the seen from The King and I? Etcetera, Etcetera, Etcetera!

The Armory Show 2013
The Armory Show 2013 Destined to be a new Penguin ClassicLove Kicked Me Down (Where I Belong) by Harland Miller. 

The Armory Show 2013

The “Day’s End” Champagne Bar at the Armory Show Contemporary section. Little did you know that this Pommery Champagne bar is steeped in art history. The special light-bulb sculpture Day’s End, 2013, is site-specific installation by Peter Liversidge that references an eponymous work by Gordon Matta-Clarke on pier 52 from 1974-75; and Marcel Duchamp & Ulf Linde – Posterity Will Have a Word to Say, a special tribute to the 100th anniversary of the 1913 Armory Show, curated by Jan Åman. Drink up.

Cary Leibowitz Cary Leibowitz Cary Leibowitz

Cary Leibowitz’s  installation from Invisible Exports was a little too on-the-nose with its pessimistic yet honest take on pie charts, cliches and children’s rhymes.

Kevin-Harman_ForeverKevin Harman, Forever, 2012, mirror, carved oak frames, padlock 137 x 88 x 26 cm. INGLEBY GALLERY.

James-Hugonin-Binary-Rhythm-III-2011James Hugging, Binary Rhythm (III), 2012, oil and wax on wood, 189.5 x 169 cm.  INGLEBY GALLERY.

The Armory Show 2013

Brian Calvin, Can With A Landscape (Robin), 2009.  The otherworldly, martian quality of the artist’s portraits is ominous. Alex Katz’s influence on Calvin seems obviously delightful.

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David Hockney – An Artist’s Dwelling (12)

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I was going to name the post “Tonsil Hockney” but am often told that I like puns a little too much. David Hockney was born on July 9, 1937, in Bradford, England. He is a renown painter, draughtsman, printmaker, stage designer and photographer. As an important contributor to the Pop art movement of the sixties, he is noted as one of the most influential British artists of the 20th century. His subjects range from portraiture to still life and from a style of representation to abstraction.  His aesthetic is clean yet flat. The paintings and prints are minimal, simple compositions in honest bright colors similar to the brightness of Picasso (a role model of the artist). Let’s delve into some interior design within his 1984 canvases, shall we?

David Hockney, Tyler Dining Room 1984 © David Hockney 2010

Tyler Dining Room, 1984  © David Hockney 2010 via Tate Modern

David Hockney Art Meets Interior Design

Shop by the Numbers: 1 / 2 / 3 / 4 / 5 / 67 / 8

Pembroke Studio with Blue Chairs and Lamp 1984 by David Hockney born 1937

Pembroke Studio with Blue Chairs and Lamp 1984 © David Hockney 2010 via Tate Modern 
David Hockney Art Meets Interior Design
Shop by the Numbers: 1 / 2 / 3 / 4 / 5 / 6 / 7 / 8
Keren / The Walkup

First Impression(ism)

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Impressionism is a 19th-century art movement that originated with a group of Paris-based artists that included Claude Monet, Camille Pissarro, Berthe Morisot, Mary Cassatt, Alfred Sisley and Pierre-Auguste Renoir. The movement was extremely radical for the time period and received harsh opposition from the galleries, judges, and overall art community in France. There are about 7,856 things I would love to elucidate and discuss about the movement but for now let’s stick with the general oeuvre of an impressionist paining:

  • Open composition (meaning not constrained to the rectangle of the canvas, leaving the impression that the image is “open” or somehow unfinished)
  • Tiny, thin and visible brushstrokes (these vary depending on artist’s technique)
  • A huge focus on an accurate portrayal of how light changes color and reflects off surfaces
  • Movement painted on canvas as it is pot rayed by the human eye (think about a slow shutter speed on your camera and how it produces a blurring effect)
  • Unusual angles and points of view
  • Daily, every day occurrences (this is in stark opposition to the then contemporary and in fashion painting of still lifes, portraits, allegories, and important historical scenes)

I have often wanted to live inside the soft, bright, floral yet hazy world of an impressionist painting, so here I will try using home goods to recreate a composition’s color array. 

 Mary Cassatt, Lydia Leaning on Her Arms (in a theatre box), 1879

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Camille Pissarro, Hay Harvest at Éragny,1901, National Gallery of Canada, Ottawa,Ontario

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Claude Monet, Woman with a Parasol, (Camille and Jean Monet), 1875, National Gallery of Art, Washington, D.C.

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Pierre-Auguste Renoir, Julie Manet with cat, 1887, Musée d’Orsay

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Before the industrial revolution it was extremely hard to paint outside, a technique also known as “en plain air”. This is due to the fact that artists needed to mix their paints indoors by grinding powders, oils, and other chemicals themselves. With the first creation of pre-made paints in tubes (resembling  toothpaste tubes) artists were able to travel freely outside painting from the easel. Imagine this new freedom!

It is hard to believe that this style of painting was once so controversial and contentious that the paintings were rejected by several art schools and critics. People would GASP at the canvases. Today the manner of the impressionist hand, and the idea of painting freely, permeates our culture. The word impressionism as coined by Louis Leroy, a 19th century artist, playwright, journalist, and art critic, was originally meant to be a scathing and satiric review, ” Impression—I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it … and what freedom, what ease of workmanship! Wallpaper in its embryonic state is more finished than that seascape.” Instead of taking the term as an insult, the artists of the group decided to adopt it to call themselves “impressionists” and the  rest, as they say, is history. An inspiring and “impressing” story, no?

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