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MosesPresley
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Molly thanks for the Schwitters. I haven't seen his later work before.
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MosesPresley
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David Smith
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MosesPresley
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Whoops, wrong Smith.
David Smith
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molly bloom
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Lundenwic
Oct 2001
time: 15:34
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quote:
Originally posted by MosesPresley
Molly thanks for the Schwitters. I haven't seen his later work before. |
I think you get Antiques Roadshow on BBC America, don't you ?
In one series, a woman showed up with a portrait of herself as a little girl that Schwitters had painted when he was a refugee from the Nazis over here.
It was a lovely, delicate charming portrait, completely unlike the Dadaist/Surrealist collages or his Merzbau constructions, but I liked it very much.
Here's a link for where he spent his final years:
http://fp.armitt.plus.com/kurt_schwitters.htm
I'm also indebted to this site:
www.artchive.com
and of course the Tate Gallery's list of artists, painters and sculptors.
I hadn't realised fully, until participating in this thread, how in contrast to the U.S. 's explosion of talents in painting, both Abstract, Pop and Neorealist and Minimalist, how strong the Continental Europeans and British were in sculpture, especially in the post-war reconstruction period.
All of my examples, except for the Tom Phillips extract from 'A Humument', are dated from the proscribed twenty year period, so I'm quite pleased.
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molly bloom
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Lundenwic
Oct 2001
time: 15:34
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quote:
Originally posted by MosesPresley
I have a couple of questions for you since you seem to love art. Who do you think are some of the leading artists of the last, say 10 or 15 years?
It seems to me that the art world, especially concerning painting is completely schizophrenic and possibly lost. There hasn't been a significant school of thought to emerge since the 70's. Is painting dead?
Sculpture on the other hand seems to be getting stronger, espeially since sculptors started using fiberglass resins. |
Good question.
Let me ponder awhile, and I'll get back to you tomorrow on that score.
(Briefly- I can't stand much of late 20th Century conceptual art. If I had concepts that embarrassing, I wouldn't share them...)
Last edited by molly bloom on 07-09-2005 at 20:26
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molly bloom
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Lundenwic
Oct 2001
time: 15:34
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quote:
Originally posted by SpencerH
Ah, you've restored my faith. |
Even with the Tate's store of paintings and sculptures there are still copyright problems with some of the holdings, so no images were available.
It's very frustrating, especially with the constraints of the twenty year period L.O.T.M. laid down, and the rules regarding residency- thus Europe from 45-65 gets Hockney, but other Europeans who emigrated earlier we lose out on, and R.B. Kitaj is somewhere in between too, an American who worked partly in the U.K., went back to the U.S., and so on.
That's why I left off Niki de Saint-Phalle for Europe, for instance.
The dates of artists' deaths had to be addressed too- so Schwitters just made it. It's been a thoroughly enjoyable thread for me.
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lord of the mark
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FUKCOV - Former United Kingdom Colony of Virginia
Dec 2000
time: 00:34
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quote:
Originally posted by molly bloom
Even with the Tate's store of paintings and sculptures there are still copyright problems with some of the holdings, so no images were available.
It's very frustrating, especially with the constraints of the twenty year period L.O.T.M. laid down, and the rules regarding residency- thus Europe from 45-65 gets Hockney, but other Europeans who emigrated earlier we lose out on, and R.B. Kitaj is somewhere in between too, an American who worked partly in the U.K., went back to the U.S., and so on.
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Yes, well, i sort of set it up to give the US the best possible chance 
AS for emigres, they are of course central to postwar US high culture. Im trying to think of a rumble that centers on say, social thought and psychology, that would pit just european emigres in the US against some other substantial "team". For kicks, Id like to do just european emigres resident in New York after the war. Hell, Id love to see what the faculty of the New School for Social Research looked like in 1950.
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molly bloom
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Lundenwic
Oct 2001
time: 15:34
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quote:
Originally posted by MosesPresley
Is painting dead?
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Apparently Charles Saatchi thinks not:
quote:
The Saatchi Gallery
Current Exhibition
The Triumph of Painting
Part 1:
Martin Kippenberger
Peter Doig
Marlene Dumas
Luc Tuymans
Jörg Immendorff
Hermann Nitsch
Part 2:
July 5th 2005 - October 30th 2005
Albert Oehlen
Thomas Scheibitz
Wilhelm Sasnal
Kai Althoff
Dirk Skreber
Franz Ackermann
Part 3:
November 4th 2005 - February 5th 2006
Matthias Weischer
Eberhard Havekost
Dexter Dalwood
Dana Schutz
Michael Raedecker
Inka Essenhigh
Part 4:
February 10th 2006 - May 7th 2006
Daniel Richter
Stefan Kürten
Lothar Hempel
Jonathan Meese
Andy Collins
Wangechi Mutu
Tal R
Amy Sillman
Ena Swansea
Jules De Balincourt
Part 5:
May 12th 2006 - September 5th 2006
David Thorpe
Cecily Brown
Hernan Bas
Christoph Ruckhäberle
Till Gerhard
Joanne Greenbaum
Lucy McKenzie
Barnaby Furnas
Johannes Wohnseifer
Tilo Baumgartel
Muntean & Rosenblum
Part 6:
September 12th 2006 - April 12th 2007
New Young Artists
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http://www.saatchi-gallery.co.uk/gallery/intro.htm
Because of his deep pockets, prestigious gallery space and high public profile, he can affect the careers of modern artists in the same way that the late nineteenth, early twentieth century dealers and connoisseurs did- the Steins, Kahnweiler, and so on:
quote:
"The reason why some artists end up hyped everywhere and others ignored has nothing to do with talent, and everything to do with marketing," said Colin Wiggins, an artist and deputy education director at the National Gallery, who will open the exhibition.
The background of some on both sides of the river is surprisingly similar.
Stella Vine was a teenage runaway, and took up painting after jobs including acting, waitressing - and, to tabloid glee, stripping. In the past month she sold two provocatively topical canvases to Saatchi, and her world changed. One was of Princess Diana, and another of a schoolgirl image of Rachel Whitear, the heroin addict found dead; both figures stream blood at the mouth. Vine got £600 each.
Yesterday, yawning from painting all night - an imaginary image of Belle de Jour, the blogger call girl - Vine was content with the bargain, though her pictures bought Saatchi publicity beyond price.
"It was my friend in the gallery who made me put £600 on them, I was going to charge £100. It's better to have attention than not, if you believe in your work."
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http://www.guardian.co.uk/arts/news...1175865,00.html
On the other hand, however much I may question his taste or ability to mainpulate or set the art market, at least he's buying and selling paintings and keeping some artists in work- whether they end up the equivalent of Bouguereau or Tissot or Alfred Munnings, or Edouard Manet or Degas, is another matter:
quote:
It is worth saying that he wouldn't matter so much if there were other collectors in this country with as much financial clout as he has. There are many in Europe and the US. Some are extremely serious, collecting in depth and forming coherent collections, while, equally, there are some who make even Saatchi look a model of rectitude. Saatchi buys, he sells, he puts the art he buys - and himself - in the spotlight of the media. He's a self-admitted show-off, more PT Barnum than Svengali. His effect on the British situation is an unavoidable and continuing subject, and one can't ignore the context. |
http://www.guardian.co.uk/arts/feat...1175610,00.html
Stella Vine has made a name for herself with some not particularly skillful paintings of dead people, including Diana, Princess of Wales. George Michael has bought her most recent succes de scandale...
Stella Vine's latest Diana:
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MosesPresley
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Robert Rauschenberg
Retroactive 1964
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05-09-2005 17:54
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