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Judith H. Dobrzynski on Culture

Artists

How To Talk About Francis Bacon

I love the occasional feature in Hyperallergic called “How To Talk About Art.” Today the online magazine takes up Francis Bacon, in honor of the coming sale at Christie’s of Bacon’s Three Studies of Lucian Freud (below), in an amusing piece by Cat Weaver.

Excerpts:

…you won’t have to LEARN much in order to talk about Bacon. He really has been boiled down to a pastiche of sensitive artist tropes. That’s because there really isn’t that much to say. The man did talk a lot, but he mostly repeated the same things. Life is full of horrors, and he was just painting it like it is.

…he liked “rough trade” and had a disastrous love affair with a dangerous fellow named (no kidding) George Dyer who committed suicide in 1971, leaving the already macabre Bacon just a little more “death obsessed” than usual…

…you can call Bacon an existentialist. Even though prose writers have to go a little deep in order to win the existentialist title, painters need only be postwar and have a veneer gritty enough for “the human condition” to stick to…. For Bacon that would be screaming popes, vaguely abstract sides of beef, twisted and blurred faces, and nightmare concoctions of teeth, necks, and talons, usually against an empty background or in a cage of sorts….

…There’s one very key word to remember when talking about Lucian Freud: TRUTH. Even though the man made every human he ever painted look like a rotten tuber, you are supposed to keep a perfectly sober face while proclaiming that his works were “truthful.”

Bacon-Freud-Christies

There’s more on the site.

We’ll see what the painting brings on Nov. 12. It’s an “estimate on request” at Christie’s but Hyperallergic says the figure is $85 million.

Photo Credit: Courtesy of Christie’s via Hyperallergic

 

Pollock: It’s Even More In the Details

The Museum of Modern Art recently finished conservation work on three paintings by Jackson Pollock, and in the process discovered new details in each that show that “The life of the pictures is in the details.” That’s the kicker quote from Jim Coddington, the museum’s chief conservator, taken from an online article in ARTnews.

The story, Fresh Prints: MoMA Washes Pollock’s Hands, discusses work on Number 1A, 1948,  One: Number 31, 1950, and Echo: Number 25, 1951– and, as it turned out, a different discovery was made in each.

blog10_handprint1In Number 1A,

…he applied paint to his palms and pressed them on the surface. Pollock also used his hands to lightly smear color across the painting. He worked some sections with a brush. He dragged pigment directly from a tube to create ribbons of impasto. In between, he dripped and poured paint on the canvas….They were always visible in the top right portion of the canvas [at right] and various other points throughout. With the soot and grime gone, they take a more dominant role, showing how the artist used his own body as a tool to mark his newly horizontal canvases. Now more than ever, the work evokes the walls of a prehistoric cave…

In One: Number 31, 

…they saw how Pollock paid careful attention to small sections of the canvas, with deliberate application of paint, resin, and turpentine. The small marks were clearly calculated—subtle movements at odds with the typical image of the action painter engaged in a rhythmic ritual dance…

And in Echo: Number 25, 

…They knew from recollections of Lee Krasner, Pollock’s widow, that he had squeezed the bulb of a turkey baster to spread enamel paint on the picture. But now they understood better how he used this kitchen tool. The lines represent the points where the baster touched the surface of the picture—suggesting a process more akin to drawing, and even less like a ritual dance.

ARTnews refers readers to posts about the project on MoMA’s blog, calling them “riveting.” I’ve read a few — they are indeed fascinating.

Photo Credit: Courtesy of MoMA

 

“Artist to Artist” – New Short Film Series

Sikander_PhotoI’ve mentioned Art21 here before; it’s the nonprofit that makes videos about artists. Its television series, “Art in the Twenty-First Century” won a Peabody Award, and it has other offerings, too.

This week Art21 introduces something new:

A series of short-format documentaries highlights leading contemporary visual artists in conversation with their peers, discussing the inspirations and ideas that drive their processes. The films have a distinctive format: each film follows a single artist/host as she engages with other artists in a shared art exhibition setting, exploring cultural events from the artists’ perspectives, a rare viewpoint.

diana_headshot_0It’s called Artist to Artist, and the first films feature artist Shahzia Sikander (top) at last spring’s Sharjah biennial, where she talks with artists David Claerbout, Thilo Frank, Lucia Koch, Ahmed Mater, Ernesto Neto, and Wael Shawky, and at the Instanbul biennial last month. There, she talks with Karamustafa, Diego Bianchi, Basim Magdy, Rietveld Landscape, and Hito Steyerl.

In what’s billed as the second film, Diana Al-Hadid (bottom) goes to the Venice Biennale, which began last June and is still on, conversing with artists ranging from Kimsooja (Korean Pavilion) to Jesper Just (Denmark Pavilion) to Ai Weiwei (Sant’Antonin Church).

Both narrators say they enjoyed hearing how other artists worked out problems.

When it debuts on Thursday, you can watch Artist to Artist online at art21.org/ArtistToArtist, as well as on YouTube and Vimeo. If you click on that link now, you’ll get a preview. .

 

What Conclusions Can We Draw From ArtPrize?

This weekend, ArtPrize in Grand Rapids, Mich., awarded $560,000 in cash to the artists of 16 installations — the end of a 19-day competitive event in which the public visited artworks spread around the city, and voted on those they liked best. 49,078 people voted, casting  446,850 votes — they chose the 10 public awards, 10 artists who together won $360,000. An eight-person panel of art professionals decided six juried award winners totaling $200,000.

Here are the two winners, tops in each contest:

Sleeping Bear Dune Lakeshore

 

 

 

 

 

 

 

 

 

 

 

Bunga-Ecosystem

 

 

 

 

 

 

 

 

 

 

 

It’s pretty easy to tell which won the public award and which the professionals’ award, isn’t it? The top, a landscape art quilt called Sleeping Bear Dune Lakeshore by Ann Loveless won the first, and the bottom — one scene from Ecosystem, a site-specific, architectural intervention by Carlos Bunga, pleased the pros.

It happens every year, and ArtPrize has been going since 2009. It’s great, in a way, but it also throws the chasm between the public and the pros into high relief. I wasn’t there, so I can’t comment on these pieces in particular, but it seems to me that there’s work to do on visual literacy — or else the professionals are going to be proven wrong by history.

The public awarded nine other awards — Anni Crouter of Flint, Mich. for Polar Expressed, three separate 48” by 72” polar bear paintings, got $75,000 and Andy Sacksteder, who made  UPLifitng, a bronze sculpture depicting two dancers, will receive $50,000,

And $10,000 each, to:

  • Paul Baliker, Palm Coast, Fl., Dancing with Mother Nature
  • Jason Gamrath, Seattle, Wa., Botanica Exotica a Monumental Collection of the Rare beautiful
  • Benjamin Gazsi, Morgantown, West Va., Earth Giant
  • Robin Protz, New Hartford, Conn., Myth-or-Logic
  • Fraser Smith, St. Pete Beach, Fl., Finding Beauty in Bad Things: Porcelain Vine
  • Michael Gard, SanFrancisco, Ca.,Taking Flight
  • Nick Jakubiak, Battle Creek, Mich., Tired Pandas

Pictures of those entries are here.

The other juried award winners, who each received $20,000, are

  • Kyle Staver, New York, N.Y., Europa and the Flying Fish
  • Cooley / Lewis, Chattanooga, Tenn., Through the Skies for You
  • Shahzia Sikander, New York, N.Y. The Last Post
  • Urban Space J.D. Urban, Brooklyn, N.Y., united.states : an everydaypeople project
  • Greg Bokor, Beverly, Mass., Erase 

Congrats to all.

Photo Credits: Courtesty of ArtPrize

 

 

 

Books To Get The Pictures Out

kipniss_cover1Too busy yesterday to post here, I missed the opportunity to provide advanced notice of a reception last night for a new and seemingly worthy non-profit called The Artist Book Foundation. The party (fundraiser or friendraiser, it’s not clear — probably both) was held at Luhring Augustine gallery in Chelsea, and the other hosts were Friedman Benda, Paula Cooper, Marian Goodman and Jack Tilton. Pretty prominent names. So what is the new foundation, a 501(c) 3 that is just barely on Guidestar (which is to say little information but the name, address and year governing its existence)?

Its mission statement says:

The Artist Book Foundation creates, shares, and preserves books about artists that offer the richest visual presentations and most informed narratives of artists’ lives and work. Committed to artists, the Foundation believes that such books, like the artwork that inspires them, serve as a vital source of knowledge and culture for current and future generations.

castlecover2-272x300A short video, posted on Vimeo, explains a bit more, but basically these are not books made by artists, but rather books documenting art and artists, primarily catalogues raisonne and monographs. The first crop, this fall, includes the catalogue raisonne of Wendell Castle, a monogaph on Robert Kipness, and Speaking of Furniture: Conversations With 14 Modern Masters.

This online booklet, 28 pages, explains a bit more and says that the foundation will donate 10% of each print run to public, art and university libraries in the U.S.

One of the founders, and now publisher, is Leslie Pell van Breen, a former publisher at Hudson Hills Press.

 

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About Judith H. Dobrzynski

Now an independent journalist, I've worked as a reporter in the culture and business sections of The New York Times, and been the editor of the Sunday business section and deputy business editor there as well as a senior editor of Business Week and the managing editor of CNBC, the cable TV

About Real Clear Arts

This blog is about culture in America as seen through my lens, which is informed and colored by years of reporting not only on the arts and humanities, but also on business, philanthropy, science, government and other subjects. I may break news, but more likely I will comment, provide

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