1. Henri Matisse, les voies de l'abstraction


    from Anne Steinberg-Viéville / Added

    17 Plays / / 0 Comments

    Matisse s'est toujours défendu d'être un abstrait, mais les peintres de l'école de New York l'ont reconnu comme un maitre. Pourquoi ?

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      from ERIC MINH SWENSON / Added

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      A Film by Eric Minh Swenson. Music by Gardner Chamber Orchestra. Leslie Sacks Contemporary presents an exhibition of editions by two icons of New York Abstract Expressionism, Helen Frankenthaler and Robert Motherwell. The exhibition spans four decades of print-work by the once married couple. In the 1950's, legendary art critic Clement Greenberg introduced Helen Frankenthaler to the New York School of artists, such as Hans Hofmann, Jackson Pollock and Willem de Kooning. Extremely talented but much younger than this group, Frankenthaler went on to become one of the most prominent artists in the second generation of Abstract Expressionism. Best known for her style of stain painting, Helen Frankenthaler's obsession to push her creative limits led her to printmaking. She created her first prints in 1961 at renowned atelier Universal Limited Art Editions (ULAE) in West Islip, Long Island. While Frankenthaler created her first woodcuts such as East and Beyond, 1973 at ULAE, in 1976 she began to collaborate with master printer Kenneth Tyler of Tyler Graphics, Mt. Kisco, New York. It was there that she began her sustained investigation into the woodcut medium. Frankenthaler worked with Japanese artisan wood carver Yasuyuki Shibata who was trained in the 17th century technique of Ukiyo-e woodcut. Frankenthaler's Ukiyo-e woodcuts would become her most sought after editions as they successfully achieved the painterly resonance she relentlessly pursued through the medium. This exhibition features several such Ukiyo-e woodcuts including Tales of Genji VI, 1998 and the large-scale Book of Clouds, 2007. Married in 1958 (until 1971), it was at Helen Frankenthaler's suggestion that Robert Motherwell also began to work with ULAE creating his first lithograph in 1961. He too would go on to produce experimental prints with Kenneth Tyler, such as Three Figures, 1989. Motherwell would go one to create over 500 editions in his lifetime. The artist was so dedicated to printmaking that he purchased a printing press for his own studio, allowing for unobserved exploration of his most iconic themes; the Elegy, the Open and the Gesture. Motherwell often created prints in series, among them the Africa Suite, 1970, the Summer Light Series, 1973, French Revolution Bicentennial Suite, 1988. Many of Motherwell's prints stumped conventional definitions of editions as he very regularly included collage elements to these works made in multiples. This defiance was characteristic of Motherwell and his approach to making art in any medium. Countless artists would later adopt this method of incorporating unique collage and hand elements into their editions. Robert Motherwell is often considered the most intellectual of the Abstract Expressionist group; the titles of his works allude to famous poets, artists, musicians, filmmakers and scholars, who piqued his interest, such as Mask (for Ingmar Bergman), 1989. Leslie Sacks Contemporary proudly represents the editions of Robert Motherwell's estate, the Dedalus Foundation. For more info on Eric Minh Swenson or project inquiries visit his website: www.thuvanarts.com ART FILM SERIES: www.thuvanarts.com/take1

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      • Robert Motherwell: Early Collages


        from FFC - Show On Show / Added

        189 Plays / / 0 Comments

        Susan Davidson, Senior Curator at the Solomon R. Guggenheim Museum (New York) and Curator of Robert Motherwell: Early Collages discusses the influence of Peggy Guggenheim on Motherwell's choice to work in collage. From May 26 to September 8, 2013, the Peggy Guggenheim Collection in Venice presents Robert Motherwell: Early Collages, the first exhibition to extensively chronicle Motherwell's artistic beginnings through the lens of his revelatory encounter with the papier collé technique, which he described in 1944 as “the greatest of our [art] discoveries.”

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          from ERIC MINH SWENSON / Added

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          Leslie Sacks Fine Art is exhibiting at Art Platform 2012 in the historic Barker Hangar at Santa Monica Airport (3021 Airport Ave, SantaMonica, CA 90405). Art Platform has successfully established itself as the premier international art fair on the West Coast for modern and contemporary art. The Leslie Sacks installation includes works by RobertChapman, Richard Diebenkorn, Cheryl Ekstrom and JD Hansen, Sam Francis, Shane Guffogg, David Hockney, Jasper Johns, Minjung Kim, Henri Matisse, Robert Motherwell, Pablo Picasso, and Hiro Yamagata. Leslie Sacks Fine Art is in booth #418 in the old Barker Hangar; immediately to your left as you walk through the entrance. Contact Lee Spiro, Director (lee@lesliesacks.com) or Diana McNeill, Consultant (diana@lesliesacks.com) with any questions. For more info on Eric Minh Swenson or project inquiries visit his website :www.thuvanarts.com ART SERIES: www.thuvanarts.com/take1 MUSIC VIDEOS: www.thuvanarts.com/musicvideos

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            from ERIC MINH SWENSON / Added

            354 Plays / / 0 Comments

            Film by Eric Minh Swenson. Music composed by Brett Banducci. Curated by Lee Spiro. ROBERT MOTHERWELL: Elegies, Gestures and Opens Artist's statements about these bodies of work are as quoted in Robert Motherwell, Marcelin Pleynet, Edition Daniel Papierski, Paris 1989. March 10 - April 21, 2012 ELEGIES Lament for Ignacio Sánchez Mejías (Last stanza) At five in the afternoon. Ah, that fatal five in the afternoon! It was five by all the clocks! It was five in the shade of the afternoon! ~Federico García Lorca The force of Lorca's poem and its resonance are far beyond the death of a matador, but perhaps not beyond the death of Spain. I 'meant' the word 'elegy' in the title. I was twenty-one in 1936, when the Spanish Civil War began. And, I love the 'Spanish Black' that Rafel Alberti writes of and which some years later I illustrated in a 'livre de peintre, A la pintura,' to his poem. The Spanish Civil War was even more to my generation than Vietnam was to be thirty years later to its generation, and should never be forgot, even though 'la guerre est finie.' R.M. GESTURES The 'Je t'aime Series' was, among other things, a gesture of anger at the increasing tendency toward decorative surface in the development of American avant-garde painting in the mid-1950s, and a manifesto for a return to what the ancient Chinese called 'The Spirit of the Brush.' There is even an ancient Chinese treatise on painting called (to my eternal reassurance) 'The Battle Formations of the Brush.' When Rothko first saw these paintings he loved them. He understood that they were an assertion that I can love, a desperate assertion, though they are often interpreted as being love songs or serenades. R.M. OPENS One day I had a vertical canvas about seven by four feet; I had decided not to use its white ground, and had painted it flat yellow ochre. By studio chance, leaning against it was a smaller canvas with its backside showing - the wooden stretchers - and in looking at the wooden chassis of the smaller rectangle against the larger one, the two together struck me as having a beautiful proportion... So I picked up a piece of charcoal and just outlined the smaller canvas on the larger one. At the time, I had the notion of either putting imagery outside the smaller space or within it. One day it occurred to me that it really didn't need imagery, that it was a picture in itself, a lovely painted surface plane, beautiful, if minimally, divided which is what drawing is. The image association was 'an opening', and as I made more, the series came to be called the 'Open Series,' for eighty-two reasons; cf. the Random House Unabridged Dictionary entry, 'open.' R.M. For more info on Eric Minh Swenson or project inquiries visit his website :www.thuvanarts.com ART SERIES: www.thuvanarts.com/take1 MUSIC VIDEOS: www.thuvanarts.com/musicvideos Additional music credit: Michael Matsuno, flute, Stella Cho, violoncello

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            • Exhibition Peter Geerts Artcentre 'De Twee Wezen'


              from Peter Geerts / Added

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              This is an video impression from the exhibition with artwork by the dutch abstract painter Peter Geerts at Kunstencentrum 'De Twee Wezen' Enkhuizen 2010 Holland , The Netherlands Ein Video abstracter malerei von de Niederlandische kuenstler Peter Geerts in kunstlerhaus De Twee Wezen in Enkhuizen 2010 Niederlanden Een impressie van een tentoonstelling van Peter Geerts in Kunstencentrum De Twee Wezen te Enkhuizen in 2010 Holland Nederland ( Door de bezuinigingen is het helaas na 20 jaar tentoonstellingen van hoog niveau inmiddels opgeheven. Bedankt Jaap en Ko ) ( More then 20 years this was an exellent gallery! Due to the cultural cutbacks in Holland artcentre 'De Twee Wezen' doesn't excist anymore. Thank you Jaap en Ko for your wonderfull support to Dutch Art and Artists ) More: http://www.petergeerts.nl

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              • Peter Geerts paintings selection 2006-2010


                from Peter Geerts / Added

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                Interview STUDIO CRITICAL http://www.studiocritical.blogspot.nl/2012/08/peter-geerts.html Quote: 'Geerts strives to represent different levels of perception in static paintings you see in a glance viewability. His painters adventure in wich emotions, memories, but also see and hear, processed incorporated into basic visual elements such as color, shape, line, proportion, light and space. In the tension between what is painted and what colors, shapes, and gesture causes it involves the viewer. On the mezzanine is a deliciously fragrant oilpainting from the series Monologue Interieur. It is one of the most solid compositions in the exhibition. Like no other it reflects the construction in his search for pure painting. The work is a visual response to his painterly questions as the right balance between the emotional gesture and the rational constructive elements. But the colors and their contrasts are, so understated and quiet, at the right place in the composition. So the viewer thinks, this is as it should be and not otherwise.' Credits: Lida Bonnema, art critic, 2010 Noord Hollands Dagblad - - In 2006 an artist monograph, 25 years painting, is presented Peter J. Geerts, Schilderijen 1981-2006, 'Op zoek naar een synthetisch concretisme' / 'Searching for synthetic contretism'. - www.petergeerts.nl

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                • INKSPHERE


                  from Pascal Melcer / Added

                  4,033 Plays / / 3 Comments

                  Die interaktive Installation INKSPHERE ist in Anlehnung an den Malstil des Action-Painting-Künstlers Robert Motherwell enstanden. Der Malstil Motherwells wird mit der drehenden Leinwand von Alfons Schilling vereint. Anders als Schilling in den sechziger Jahren sind wir heute in der Lage die Grundidee der Geste in die dritte Dimension zu übertragen. Die runde Leinwand wird zur einer von innen betrachteten Kugelform. Als Malwerkzeug genügt heute wie auch früher die bloße Hand. So wird der Akteur auf spielerische Art inspiriert seinen eigenen Gestus zu erforschen und zusammen mit anderen in einer gemeinsamen Sphere zu gestalten. Team DMI: Pascal Melcer www.pascal-melcer.ch, Felix Riedel www.felixriedel.de Team Informatik: Jason Wilmans, Christian Hüning, Malte Eckhoff Technik: Kinect, Unity, Photoshop Musik: Joasihno «Please go back I will» Ein Kooperationsprojekt der Departments Design und Informatik HAW Hamburg SoSe 2011. computationalspaces.org/projekte/action-painting _________________________________________________________________________________________________________ kinecthacks.net/inksphere-a-unity3d-kinect-interactive-art-installation/ kinecthacks.com/kinect-inksphere/ robotikka.com/4559/gadgets/kinect/inksphere/ http://www.designmadeingermany.de/2011/15348/ http://www.frequency.com/video/inksphere/11528260 http://www.esferabit.com/2011/07/kinect-inksphere/ http://truthdaredoubledare.com/journal/cinekid/ http://www.cinekid.nl/nl/festivalprogram/entry/5442#en http://cc2m.de/page/2

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                  • NewCa.com: 2011 AGO: Abstract Expressionist New York


                    from New Canadian / Added

                    275 Plays / / 0 Comments

                    Jackson Pollock. Mark Rothko. Robert Motherwell. Joan Mitchell. Franz Kline. Lee Krasner. Willem de Kooning. These are just a few of the legendary 20th-century artists whose artwork is now on view at the Art Gallery of Ontario (AGO) in an unprecedented international exclusive. Abstract Expressionist New York: Masterpieces from The Museum of Modern Art.

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                    • Second Independent Project


                      from Susan Grissom / Added

                      18 Plays / / 0 Comments

                      This video is about making a piece of art, inspired by Mother Motherwell's Elegy to the Spanish Republic.

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