John Heartfield (born Helmut Herzfeld; 19 June 1891 – 26 April 1968) was an artist and a pioneer in the use of art as a political weapon. Some of his photomontages were anti-Nazi and anti-fascist statements. Heartfield also created book jackets for authors such as Upton Sinclair, as well as stage sets for such noted playwrights as Bertolt Brecht and Erwin Piscator.
Continue reading JOHN HEARTFIELD :: HURRAH DIE BUTTER IST ALLE, 1935
![[no title: No. 6] 1987 Per Kirkeby born 1938 Purchased 1989 http://www.tate.org.uk/art/work/P77301](https://i0.wp.com/theincubator.live/wp-content/uploads/2016/12/p77301_10.jpg?w=145&h=140&ssl=1 "[no title: No. 6] 1987 by Per Kirkeby born 1938")
Per Kirkeby (born 1 September 1938, in Copenhagen) is a Danish painter, poet, film maker and sculptor. By the time he completed a masters education in arctic geology at the University of Copenhagen in 1964, he was already part of the important experimental art school “eks-skolen” and worked primarily as a painter, sculptor, writer and a lithographic artist which he has pursued ever since. Influenced by his scientific roots as well as the gestural works of the Abstract Expressionists, Kirkeby creates expressive, heavily layered paintings, which can resemble geological strata, the Danish landscape, and even the female form. Continue reading PER KIRKEBY
Nick Cave (born 1959 in Fulton, Missouri, USA) is an American fabric sculptor, dancer, and performance artist. He is best known for his Soundsuits: wearable fabric sculptures that are bright, whimsical, and other-worldly. He also trained as a dancer with Alvin Ailey.
He resides in Chicago and is director of the graduate fashion program at School of the Art Institute of Chicago. Continue reading NICK CAVE :: SOUNDSUITS
A documentation of a live performance at New York University, Pryings is a graphic exploration of the physical and psychological dynamics of male/female interaction, a study in control, violation and resistance. The camera focuses tightly on Kathy Dillon’s face, as Acconci tries to pry open her closed eyes. Dillon resists, at times protecting her face or fighting to get away. Locked in a silent embrace, the couple’s struggle is violent, passionate; Acconci’s sadistic coercion is tinged with a sinister tenderness. The body is a vehicle for a literal enactment of the desire for and resistance against intimate contact.
Acconci writes, “The performer will not come to terms, she shuts herself off, inside the box (monitor), my attempt is to force her to face out, fit into the performer’s role, come out in the open.”
Aother great, short piece from the Ab Ex series, this one about Franz Kline’s materials a process. 4 min. From the MoMA archives.
Filmed by Plowshares Media
Images courtesy of The Franz Kline Estate; Kate Rothko Prizel & Christopher Rothko; Artists Rights Society (ARS), New York; and The Museum of Modern Art, New York
Music by Chris Parrello
Chris Parrello, Ian Young, Kevin Thomas, Ziv Ravitz
© 2010 The Museum of Modern Art
https://www.youtube.com/watch?v=m0KxWkXoCzo
interviewer unknown. In his characteristically stilted and uncooperative fashion Andy talks about his art, his films, his process and the Velvet Underground.
Barbaralee Diamonstein-Spielvogel hosts a fascinating and outspoken conversation with Robert Motherwell. From the Video Archive in the Duke University Libraries.
*A selected group of recent paintings (2016) from David Salle’s website.
27 years ago, in December 1989, Julian Schnabel showed a new series of paintings at The Pace Gallery which was coined by critic Thomas McEvilley as “The Fox Farm Paintings”. The paintings took a variety of shapes and forms but all were painted upon a deep, red velvet and incorporated the text: ”There is no place on this planet more horrible than a fox farm during pelting season.”
Below is a republished review of the show by Roberta Smith, for The New York Times:
Continue reading JULIAN SCHNABEL: FOX FARM PAINTINGS, Pace Gallery, December 1989
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