Root of the Problem: This blog features some of my work in addition to visual research and articles I am reading. There will also be an occasional project with my students to look at.
Friday, February 25, 2011
Sir Ken Robinson
Sir Ken Robinson (born Liverpool, 4 March 1950) is an author, speaker and international advisor on education in the arts to government, non-profits, education and arts bodies. He was Director of The Arts in Schools Project (1985–89), Professor of Arts Education at the University of Warwick (1989–2001) and was knighted in 2003 for services to education.
http://sirkenrobinson.com/skr/who
Saturday, February 19, 2011
The Exhibition: The Parallax View
Lehmann Maupin announces The Parallax View, an exhibition of significant works exploring observation as conflict, curated by Manual E. Gonzalez. On view 10 February – 19 March, 2011, the Chelsea exhibition features works by Teresita Fernández, Dan Flavin, Gego, Mary Heilmann, Eva Hesse, Robert Irwin, Agnes Martin, Robert Morris, Bruce Nauman, and Robert Smithson, all acclaimed artists who confront traditional notions of space, light and the nature of observation.
Grounded in the idea of a parallax, defined as “the apparent displacement of an observed object due to a change in the position of the observer,” this exhibition brings together stylistically disparate artists linked by the tension and romance between rigorous geometry and expressive chaos. The Parallax View explores the idea of observation as conflict: conflict between mind and object; analysis and fleeting insight; continuity and fragmentation; object and artifact; inner and outer.
The minimalist works by Dan Flavin and Robert Irwin provide narratives about light and landscape. Agnes Martin and Mary Heilmann suggest both the vastness and intimacy of nature, yet another source of conflict, but free of nostalgia or sentimentality. Bruce Nauman, Robert Morris and Teresita Fernández define perception, the physical and temporal relationships that a viewer encounters in relation to an artwork, setting the stage for interpreting a parallax as a prism that reflects the many facets of obse
rvation as conflict. Eva Hesse and Gego take a playfully minimalist approach to liberate sculpture from its traditional restraints, and straddle the line between figuration and abstraction.
Taken as a whole, the exhibition is a complex spatial proposition on the relationship between seeing and experience, an abridged history within the shifting paradigms that ushered art towards the present century.
Grounded in the idea of a parallax, defined as “the apparent displacement of an observed object due to a change in the position of the observer,” this exhibition brings together stylistically disparate artists linked by the tension and romance between rigorous geometry and expressive chaos. The Parallax View explores the idea of observation as conflict: conflict between mind and object; analysis and fleeting insight; continuity and fragmentation; object and artifact; inner and outer.
The minimalist works by Dan Flavin and Robert Irwin provide narratives about light and landscape. Agnes Martin and Mary Heilmann suggest both the vastness and intimacy of nature, yet another source of conflict, but free of nostalgia or sentimentality. Bruce Nauman, Robert Morris and Teresita Fernández define perception, the physical and temporal relationships that a viewer encounters in relation to an artwork, setting the stage for interpreting a parallax as a prism that reflects the many facets of obse
rvation as conflict. Eva Hesse and Gego take a playfully minimalist approach to liberate sculpture from its traditional restraints, and straddle the line between figuration and abstraction. Taken as a whole, the exhibition is a complex spatial proposition on the relationship between seeing and experience, an abridged history within the shifting paradigms that ushered art towards the present century.
TERESITA FERNÁNDEZ Untitled Installation view at Lehmann Maupin, New York, 1997 wood, scrim, mirror, pencil 120 x 120 x 9 inches 304.8 x 304.8 x 22.9 cm LM5225
Tuesday, February 8, 2011
Artist: Nancy Grossman
Road to Life
Artwork Details
Dimensions:
I. 17 7/8 x 25 in. (45.4 x 63.5 cm); S. 19 3/4 x 26 1/8 in. (50.2 x 66.4 cm)
Medium: Lithograph
Creation Date: 1975
Artist: John Currin
Blond Angle
Dimensions: diam.: 16 in.
Medium: oil on canvas
Creation Date: 2001
On View
At Indianapolis Museum of Art
Friday, February 4, 2011
MOVING SENDAK’S WALL
Maurice Sendak painted this mural in the New York apartment of his friends the Chertoffs. The family donated the mural (and plaster) to the Rosenbach Museum and Library in Philadelphia; through April, the public can watch repairs in progress.Maurice Sendak has almost never applied his signature toothy creatures to walls, but in 1961 he gave a mural to friends, Lionel and Roslyn Chertoff, on Central Park West in New York. In their apartment, he spent months filling a bedroom wall with costumed children leading birds and circus animals. He inscribed the names of the Chertoffs’ children, Larry and Nina, on a parasol wound around a lion’s tail.
Three years ago the family donated the mural to the Rosenbach Museum and Library in Philadelphia, which owns about 10,000 of Mr. Sendak’s works. The Chertoff painting, still attached to 1,000 pounds of Manhattan plaster, has been mounted on an aluminum-reinforced wall at the museum’s Sendak gallery.
Through April, the public can watch repairs in progress for two hours on Wednesdays (about 1 to 2 p.m. and 6 to 7 p.m.). Milner & Carr Conservation will patch cracks, remove patches of whitewash and fill in lost details. Mr. Sendak is scheduled to complete the work.
“We’re hoping there’s some tiny little thing that he’ll add a flourish to, maybe one little blade of missing grass,” said Catherine L. Myers, a senior conservator at Milner & Carr.
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