Choreographer Merce Cunningham discusses his methodology and how a vocabulary of movement fuels his way of thinking. Produced by Twin Cities Public Television in 1981
Category Archives: ART
MORRIS LOUIS, Washington Color School Abstraction/Color Field Painting, Pt2
Louis, Morris; Golden Age; National Museums Northern Ireland; http://www.artuk.org/artworks/golden-age-122405
VAV 1960 Morris Louis 1912-1962 Presented by Mr and Mrs H.J. Heinz II through the Friends of the Tate Gallery 1968 http://www.tate.org.uk/art/work/T01057
VAV 1960 Morris Louis 1912-1962 Presented by Mr and Mrs H.J. Heinz II through the Friends of the Tate Gallery 1968 http://www.tate.org.uk/art/work/T01057
Morris Louis Bernstein was one of the earliest exponents of what became known as Color Field painting in the 1950s. While he was living in Washington D.C. he, along with Kenneth Noland, Gene Davis, Tom Downing, Howard Mehring Anne Truitt and Hilda Thorpe and others, formed an art movement that is known today as the Washington Color School. Ultimately Morris would become one of the leading figures of Color Field painting along with his peers Kenneth Noland and Helen Frankenthaler and Jules Olitski. Continue reading MORRIS LOUIS, Washington Color School Abstraction/Color Field Painting, Pt2
LAURIE ANDERSON :: THE END OF THE WORLD, live
from the album “The Ugly One With The Jewels”, 1995
Vito Acconci, Photomatic Enunciation Piece (“Anything Goes”), 1969
“As Acconci’s art shifted from poetry to body-oriented performance in the late 1960s, he often incorporated photography as a means of returning his art to the page and of creating something that would last beyond the moment. This work, dubbed a “photomatic enunciation piece,” is a photo-booth strip showing five random flashes of the automatic camera as the artist sang Cole Porter’s 1934 song “Anything Goes” with exaggerated clarity. Merging performance, chance occurrence, conceptual art, and an assertively anti-art process, Acconci’s work is quintessentially of the 1960s.” –the Met
Andre Breton: African Mask, 1947-48.
POPPO SHIRAISHI, with Nocturnal Emissions, Newcastle, 1990
Hisatoshi “Poppo” Shiraishi came to NYC by way of Tokyo, then London in 1978. Poppo and his girlfriend Tsuya had met at fashion school in Tokyo during the early 70’s. After graduating Poppo and Tsuya had traveled to London, being captivated by the punk scene there at the time. Poppy began studying Butoh, the avant-garde dance form, and after some to and further travelling, he and Tsuya moved to New York City, attracted to the vibrance and excitement of the downtown scene. Continue reading POPPO SHIRAISHI, with Nocturnal Emissions, Newcastle, 1990
The Washington Color School, Pt1
The Washington Color School was a visual-art movement that was centered in Washington D.C. from the late 1950s to the late 1960s. The work was a form of abstraction that developed from color field painting, as exemplified by the work of Mark Rothko and Helen Frankenthaler. Continue reading The Washington Color School, Pt1
PATTI SMITH w/Patrick Wolf :: SWANS (homage to Artavazd Pelechian)
In 1970, Armenian filmmaker Artavazd Peleshyan directed Inhabitants, an ode to wildlife. Fascinated by this poetic work, Patti Smith composed a tribute to the filmmaker.
Live at Foundation Cartier, Paris, July 2014
Fred Frith with John Giorno and Pauline Oliver’s: Concert At The Foundation Cartier
Concert a la Fondation Cartier, Paris 2008
John McLaughlin: West Coast Hard-Edge Abstraction Pt5
February 21, 2016 Modern Art & Design Auction featuring Frank Lloyd Wright’s George D. Sturges Residence and property from The Estate of Jack Larson to benefit The Bridges/Larson Foundation, as well as a Richard Prince painting.
February 21, 2016 Modern Art & Design Auction featuring Frank Lloyd Wright’s George D. Sturges Residence and property from The Estate of Jack Larson to benefit The Bridges/Larson Foundation, as well as a Richard Prince painting.
Untitled, 12/11/03, 2:53 PM, 16C, 3450×4776 (600+0), 100%, AIA repro tone, 1/50 s, R58.9, G46.8, B59.3
John McLaughlin came to painting relatively late in life and was self-taught. While a few of his earliest paintings were still lives and landscapes, the remainder of McLaughlin’s work were abstracts. His work was characterized by simple and precise geometric forms, and from 1952 onwards, McLaughlin removed all curves from his work. A deep interest in Japan and Buddhist thought informed his strictly geometric paintings with what he termed “neutral structures.” Continue reading John McLaughlin: West Coast Hard-Edge Abstraction Pt5
The Incubator 