I first became aware of Sue Coes’ artwork in the 80’s. Her expressionistic paintings, illustrations and drawings seemed to be omnipresent in the world of downtown Manhattan. I’d seen posters and placards affixed to buildings on the walls of lower east side buildings, her illustrations on the covers of RAW and X magazine. Her highly political themes pointed to the issues of animal cruelty, factory farming, meat-packing, apartheid, sweat-shops, prisons and AIDS with a dark, expressionistic style, reminiscent of Grosz, Dix , Goya and Soutine. Continue reading SUE COE : The Melding of Art and Political Activism
Artist Carolee Schneeman began work on her film Fuses in 1964, eventually finishing it 1967. Her performance piece, Meat Joy had been performed in Paris and NYC at the Judson Church the same year, along with her constructions Native Beauties (1962–64), Music Box Music (1964), Pharaoh’s Daughter (1966) and Her Letter to Lou Andreas Salome (1965). Continue reading Carolee Schneemann :: Fuses (1967) film/video, 22 min.
Lorser Feitelson, along with his wife Helen Lundeberg, were pioneers of what was to become known as Hard-Edge abstraction in the late 1940s into the 50’s. Lorser, along with his peers and fellow artists, Karl Benjamin, Frederick Hammersley and John McLaughlin were featured in the landmark exhibition, Four Abstract Classicists at the San Francisco Museum of Art in 1959. Jules Langsner, critic, psychiatrist and organizer of the exhibition coined the term “hard-edge” in his essay for the exhibition’s catalogue:
“Abstract Classicist painting is hard-edged painting. Forms are finite, flat, rimmed by a hard clean edge. These forms are not intended to evoke in the spectator any recollections of specific shapes he may have encountered in some other connection. They are autonomous shapes, sufficient unto themselves as shapes.” Continue reading Lorser Feitelson, West Coast Hard-Edge Abstraction, Pt4
On January 27, 1965, composer Steve Reich premiered his piece It’s Gonna Rain in San Francisco. The piece consists of the manipulation of a taped recording of Brother Walter, a charismatic Pentecostal preacher in Union Square. Brother Walter’s fire and brimstone sermon begins to mutate into echoes of itself forming a constantly changing, pulsing canon made of human speech woven into an interlocking rhythm. Continue reading Steve Reich :: It’s Gonna Rain
Yukata Takanishi (Feb 6, 1935, Shinjuku, Tokyo).
- •first camera:Canon IVSb 35 mm rangefinder.
- •first exhibition: work from his series “Somethin’ Else”, in Ginza Garō, May 1960
- •commercial photographer, Nippon Design Center, 1961-70
- •member of the collective that produced Provoke magazine, 1968-69
West Coast (Los Angeles) painter Helen Lundeberg (1908-1999) turned to abstraction in the 1950’s after having spent the two previous decades working in social realist and post-surrealist styles of imagemaking. Her precise compositions with their restricted palettes hovered between abstraction and figuration, but always remained rooted in reality, referring to still lifes, landscapes, planetary forms and architecture.
“I was interested both in the pattern and the three-dimensional illusion created by these very flat geometric forms. At first I confined myself to angles and straight lines. Then I got a little tired of that and began getting some curves.” -Helen Lundeberg
Helen Lundeberg’s paintings have been exhibited widely in prominent museums, including the J. Paul Getty Museum in Los Angeles, Whitney Museum of American Art in New York, the San Francisco Museum of Modern Art, the Brooklyn Museum, Los Angeles County Museum of Art, Nora Eccles Harrison Museum of Art at Utah State University and the National Museum of American Art in Washington D.C. Her work was most recently included in the J. Paul Getty Museum’s Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950–1970, and in the Los Angeles County Museum of Art exhibition titled In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States.–wikipedia