All Things Art & Photography
God Speed Lou Reed…Have not felt like this since Hendrix and Lennon left us. The music in Heaven just got a little better.
“The measure of his influence and importance dwarfs the news item, the obituary, the tribute. He is everywhere”.
via Sasha Frere-Jones remembers Lou Reed : The New Yorker.
Deborah Turbeville, who almost single-handedly turned fashion photography from a clean, well-lighted thing into something dark, brooding and suffused with sensual strangeness, died on Thursday in Manhattan. She was 81…
via NY-Times article
One of my all time favorite living painters; Mark Tansey is a thinking man’s artist. Never too serious (yet very serious at the same time). He’s always adding just the right amount of humor to his work yet somehow manages to comment on the entire history of Philosophy and the language of pictures and representation. He is also one incredible draftsman… Check out Amy Scott’s nice little breakdown of his work for her students here. Great books on his work here.
Picasso & Braque
Robbe–Grillet Cleansing Every Object in Sight
If there were a painting about the theory of painting, or simply about theory, it might look something like Mark Tansey’s work. He takes art history, philosophy, critical theory, and key terms and buzzwords as the subject and content of his art. A pantheon of twentieth-century thinkers and artists appear as actors in the theaters of his paintings….
Via The Walker Art Center
“I think it’s my job to try to push sculpture forward, to keep it moving, keep it alive,” Anthony Caro told The Observer of London in 1999. “And you don’t keep it alive just by doing what you can do; you keep it alive by trying to do things which are difficult.”
Robert Lazarinini makes visually skewed tour de force sculpture that as drawings on paper (with a computer) are quite easy to do. Making them at 1:1 in the actual materials is a monumental accomplishment. It took him 2 years to make his breakthrough masterpiece Violin. His last Exhibition at Marlborough looks incredible.
After toying with a process of altering form in a more handmade fashion — “free-form, biomorphic distortions and manipulating molds” — Lazzarini turned to the computer as a means to subject objects to strictly mathematically determined alterations. He began with violin, which occupied him from 1995 to 1997 (a period that also included employment in Jeff Koons’s studio, with mold-making and finishing among his responsibilities). Lazzarini’s violin is based on a 1693 Stradivarius instrument in the Met’s collection. “That was the first object in which I eliminated material translation,” he says of the straightforwardly titled work, which is made of flame maple wood, ebony, and bone, all materials found in the actual instrument. “It was a 1:1 scale, a compound mathematical distortion, and there was a figure/ground relationship,” Lazzarini sums up. “It was the fulfillment of a lot of formal and conceptual concerns in this one sculpture.”
via In the Studio With Robert Lazzarini, Master of Sculptural Illusions | BLOUIN ARTINFO.
