In the early 1960s, Robert Rauschenberg dedicated himself to a different kind of image-making, one that involved photographic transfer onto canvas. It was the birth of his celebrated series of Silkscreen Paintings which anticipated the post-modernist idea of appropriation, later one of the protagonist techniques of Pop art. What’s interesting is that in 1964, after he won the International Gran Premio for Painting at the Venice Biennale, the artist promptly phoned home to order that all of his remaining silkscreens be destroyed, to end the series.
Tag Archives: contemporary art
VITO ACCONCI:: PRYINGS, 1971 17 min.
1971, 17:10 min, b&w, sound
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.”
EL ANATSUI, GRAVITY AND GRACE, BROOKLYN MUSEUM, Feb,2013
GRAVITY & GRACE Monumental works by El Anatsui. Installation documentation June 2012.
Images from the Ghanaian artist’s exhibition, Gravity and Grace, at the Brooklyn Museum in 2013.
THE PAINTING TECHNIQUES OF FRANZ KLINE, AB EX NY, via MoMA 4 min
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
ROBERT MOTHERWELL, in conversation with Barbaralee Diamonstein-Spielvogel, 1979, 22 min.
Barbaralee Diamonstein-Spielvogel hosts a fascinating and outspoken conversation with Robert Motherwell. From the Video Archive in the Duke University Libraries.
DAVID SALLE: RECENT WORK , 2016
While I’m Gone, 2016 oil, acrylic, pencil, archival digital transfer and print on linen 60 x 84 inches
Waffles, 2016 oil, acrylic, charcoal and archival digital print on linen 60 x 84 inches
Magic Death Rays, 2016 oil, acrylic, charcoal and archival digital print adn transfer on linen 60 x 84 inches
Smoke Kools, 2014-2016 oil and acrylic with silkscreen and digital transfer prints on canvas and linen 67 x 92 inches
*A selected group of recent paintings (2016) from David Salle’s website.
MICHAELA EICHWALD
Born: Cologne, Germany, 1967
Lives and works: Berlin, Germany
“Michaela Eichwald’s alchemical paintings and sculpture are simultaneously hypnotizing and visceral—integrating the artist’s hand in a manner that is both base and instinctually human. Whether its pouring resin into paper bags or injecting cooked mussels and hair elastics, among other things, the difficulty in digesting these works is intentional. In her attempt to ignore art historical tropes, Eichwald’s work evokes Outsider art and disarms the audience’s desire for narrative. The romanticism of the German painting tradition, grounded by Dieter Roth and Gerhard Richter, also influences her output and links it to a figurative inclination. Linking object and image, Eichwald forces her audience to reconsider the facades of realism and artificiality.”-artspace.com/michaela-eichwald
JEAN-MICHEL BASQUIAT, Melting Point Of Ice, 1984
JULIAN SCHNABEL: FOX FARM PAINTINGS, Pace Gallery, December 1989
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
RICHARD DIEBENKORN:profile/interview, CBS Sunday Morning, December 27, 1988,
In this report for “Sunday Morning,” which originally aired on December 27, 1988, correspondent David Browning visited Diebenkorn’s studio in California’s Sonoma County, to discuss the artist’s “trial and error” approach; and New York’s Museum of Modern Art, where Diebenkorn was being celebrated by a one-man show of his drawings.
The Incubator 