Your Weekly Mixx! DAF’s Weekly Mixx is a selection of contemporary art and/or art related videos chosen from artist and gallery submissions and from our own search for new and interesting works. This week, we feature the work of Lisa Occhipinti, Aaron Kinnane, Claudio Fuente, Diane Cooper, Henrik Uldalen, Michal Lukasiewi, Crystal Wagner, and Felipe Foncueva.
Your Weekly Mixx! DAF’s Weekly Mixx is a selection of contemporary art and/or art related videos chosen from artist and gallery submissions and from our own search for new and interesting works. This week, we feature the work of Claudio Fuente, Coista Magarakis, Pastel, Hector Frank, Jaqueline Rush Lee, Aida Muluneh, Monique Orsini, Stéphane Halleux, and a video featuring the three-dimensional art objects of Chie Hitotsuyama whose works use the material of old newspapers that stopped serving their role as an information medium. She breathes artistic life and value into those newspapers and repurposes them into new shapes. (via Vimeo)
Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is primarily identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery lifted from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. (from the Roy Lichtenstein Foundation) For in-depth information about Lichtenstein’s life and works, visit the Roy Lichtenstein Foundation website.
The nine-minute video below, Roy Lichtenstein: Diagram of an Artist, from the TATE brings together archival footage of Lichtenstein. at home and at work in his studio, as well as interviews with his wife Dorothy and friend Frederic Tuten, to create an intimate portrait of the artist.
Image credit: Roy Lichtenstein, Left: In the Car – 1963 | Middle: Woman with Flowered Hat, 1963 | Right: Nurse, 1964 All images © Estate of Roy Lichtenstein
Born on October 25, 1881, in Málaga, Spain, Pablo Picasso (Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso) was a painter, sculptor, draughtsman, printmaker, decorative artist, and writer. “His revolutionary artistic accomplishments, including the co-founding of Cubism, brought him universal renown making him one of the best-known figures in 20th century art.”
The son of an academic painter, José Ruiz Blasco, Picasso began to draw at an early age. In 1895, the family moved to Barcelona where Picasso studied at La Lonja Academy of Fine Arts. Picasso’s first exhibition took place in Barcelona in 1900, and that fall he traveled to Paris for the first of several stays during the early years of the century. Picasso settled in Paris in April 1904, and his circle of friends included Guillaume Apollinaire, Max Jacob, Gertrude and Leo Stein, as well as two dealers, Ambroise Vollard and Berthe Weill.
Picasso’s work is generally categorized into commonly accepted periods:
Blue Period (1901-1904) – Picasso worked in a predominantly blue palette and his imagery focused on outcasts, beggars and invalided prostitutes. He also produced his first sculptures: a modeled figure, Seated Woman, and two bronze facial masks
Rose Period (1905-1907) – Picasso’s work was dominated by pink and flesh tints and by delicate drawing. These works were less monochromatic than those of the Blue Period. Harlequins, circus performers and clowns appear frequently in his work in this period.
Primitivism (1906-1908) – Picasso’s works made reference to forms of archaic art and made expressive use of distortion with subdued greys and earth colours and rhythmical repetitions and contrasts. Picasso made his first carved sculptures. The resistance of wood produced simplified forms similar to his paintings.
Analytic Cubism (1909-1912) – Picasso produced works where objects were deconstructed into their components. His images were increasingly transparent and difficult to interpret and characterized by a growing discontinuity of figurative fragments. From 1909, Georges Braque and Picasso worked closely together to develop Cubism. By 1911, their styles were extremely similar and during this time, it was virtually impossible to distinguish one from the other.
Synthetic Cubism (1912–1919) – In 1912, Picasso and Braque began to incorporate elements of collage into their paintings and to experiment with the papier collé (pasted paper) technique. “Both collage and papier collé offered a new method not only of suggesting space but also of replacing conventional forms of representation with fragments of images that function as signs. During two further phases of his development of papier collé in 1913, Picasso discovered that shapes could acquire other meanings or identities simply by their arrangement, without requiring a resemblance to naturalistic appearances. A single shape might wittily and equally convincingly stand for the side of a guitar or a human head.”
Classicism and Surrealism – From 1916-1922, Picasso collaborated on ballet and theatrical productions. He designed five complete ballet productions while still maintaining his career as a painter. During the 1920s, and with the continuing influence of Cubism, Picasso created a personal form of neo-classicism where his work showed a renewed interest in drawing and figural representation. From 1925 and into the 1930s, Picasso was involved to a certain degree with the Surrealists, and from the fall of 1931 he was especially interested in making sculpture. In 1932, with large exhibitions at the Galeries Georges Petit, Paris, and the Kunsthaus Zürich, and the publication of the first volume of Christian Zervos’s catalogue raisonné, Picasso’s fame increased greatly.
“By 1936 the Spanish Civil War had profoundly affected Picasso, the expression of which culminated in his 1937 painting Guernica. After the invasion of France by the Germans in 1940, Picasso continued to live in his Paris studio. Although monitored by the German authorities, he was still able to work and even to cast some sculpture in bronze.”
In 1944, Picasso became associated with the Communist Party. From August 1947 he made ceramics at the Madoura potteries in Vallauris, partly motivated by political concerns. He also produced a considerable number of bronze sculptures in the early 1950s, including some of his best-known works in the medium.
“Picasso’s final works were a mixture of styles, his means of expression in constant flux until the end of his life. Devoting his full energies to his work, Picasso became more daring, his works more colorful and expressive, and from 1968 through 1971 he produced a torrent of paintings and hundreds of copperplate etchings. At the time these works were dismissed by most as pornographic fantasies of an impotent old man or the slapdash works of an artist who was past his prime. Only later, after Picasso’s death, when the rest of the art world had moved on from abstract expressionism, did the critical community come to see that Picasso had already discovered neo-expressionism and was, as so often before, ahead of his time.”
Pablo Picasso died on April 8, 1973 at the age of 91. He was extremely prolific throughout his career. He produced approximately 50,000 artworks including 1,885 paintings; 1,228 sculptures; 2,880 ceramics, 12,000 drawings, thousands of prints, and numerous tapestries and rugs.
For a more in-depth biography of Picasso, see the source links below and be sure to visit the On-line Picasso Project – a non-profit project that catalogues an amazingly large number of Picasso’s works and a timeline of the artist’s life. The website contains over 16,000 catalogued artworks, over 6,000 notes, and thousands of commentaries, biographical entries, and archived news articles. (note, a login is now required to access this site)
Born on October 22, 1925, Robert Rauschenberg was an American painter, sculptor, printmaker, photographer and performance artist. While never fully part of any movement, he acted as an important bridge between Abstract Expressionism and Pop art and can be credited as one of the major influences in the return to favour of representational art in the USA. (via Tate)
In the video below, artist Harry Dodge, USC Professor of Art History, Megan R. Luke and MOCA Chief Curator Helen Molesworth discuss Robert Rauschenberg’s Combines produced in the mid-1950s to early 1960s. Combine is a term Rauschenberg invented to describe a series of works that combine aspects of painting and sculpture. Virtually eliminating all distinctions between these artistic categories, the Combines either hang on the wall or are freestanding. With the Combine series, Rauschenberg endowed new significance to ordinary objects by placing them in the context of art.
Your Weekly Mixx! DAF’s Weekly Mixx is a selection of contemporary art and/or art related videos chosen from artist and gallery submissions and from our own search for new and interesting works. This week, we feature the work of Steven Powers, Malcom T. Liepke, James Ettelson, Remy Soubanere, Sebas Velasco, Travis Collinson, Saba Ghole and Shilo Shiv Suleman, Hopare, and a short video by Will Farrell featuring Edourd Martinet’s whose “art will make you reimagine the insect world. The Frenchman’s sculptures are distinctly creepy, true to nature, and full of life. His medium is piles of bent metals and cast-off bits and pieces with shapes that appeal to him: bike parts, kitchen spatulas, trumpet parts, umbrella ribs—anything can be of use.” (via YouTube)
Your Weekly Mixx! DAF’s Weekly Mixx is a selection of contemporary art and/or art related videos chosen from artist and gallery submissions and from our own search for new and interesting works. This week, we feature the work of Kate MccGuire, Herakut, David Alexander, Gonzalo Garcia Calvo, Jessica Eve Rattner, Rick Berry, Sergey Kalinin, Zemer Peled and a video with Greg “Craola” Simkins painting his piece “When Life Give’s Lemons”.
Born on October 10, 1901 in Borgonovo, Switzerland, Alberto Giacometti was a sculptor, painter, draughtsman and printmaker. His father, Giovanni Giacometti, was a Post-Impressionist painter. From 1919 to 1920, Giacometti studied painting at the Ecole des Beaux-Arts, and sculpture and drawing at the Ecole des Arts et Métiers in Geneva. Between 1922 and 1927, he studied sculpture off and on in Paris under Emile-Antoine Bourdelle at the Académie de la Grande Chaumière. In 1927, Giacometti and his brother Diego, his lifelong companion and assistant, moved into a studio in Montparnasse, returning annually to Switzerland to visit family.
Giacometti made few noteworthy sculptures before 1925 when he turned to Cubism and was influenced by the works of Jacques Lipchitz and Henri Laurens. He was also influenced by African art which resulted in his first important sculptures, Man and Woman and Spoon Woman. “These totemic sculptures consist of radically simplified forms; their rigid frontality and use of male and female nudes as sexual types or symbols were to have long-lasting implications for Giacometti’s later work.”
Giacometti’s first period of significant creativity began in 1927 and over the next seven years, he created sculptures in a wide variety of styles. During this year, he exhibited his sculptures for the first time at the Salon des Tuileries in Paris and in Switzerland at the Galerie Aktuaryus in Zurich. In 1928, Giacometti met André Masson and from 1930 to 1935, he was a participant in the Surrealist circle. His first solo show took place in 1932 at the Galerie Pierre Colle, Paris and in 1934, he had a solo show at the Julien Levy Gallery in New York.
“Giacometti emerged as the Surrealists’ most innovative sculptor, extending the parameters of sculpture both conceptually and stylistically. In addition to modelling in plaster, he made constructed sculptures with varied and fragile materials, for example suspending elements such as plaster or glass in delicate structures of extremely thin wood and string. In nearly all his Surrealist sculptures, empty space plays an active role, both compositionally and psychologically.”
From 1930 to 1936 Giacometti participated in many exhibitions around the world, including Galerie Pierre, Paris, Museum of Modern Art, New York, New Burlington Galleries, London, and others in Brussels, Zurich and Copenhagen. However, in 1935 he rejected Surrealism to return to representational art based on study from life.
In the early 1940s, Giacometti became friends with Simone de Beauvoir, Pablo Picasso, and Jean-Paul Sartre. From 1942, Giacometti lived in Geneva, and associated with the publisher Albert Skira. In late 1945, he returned to Paris where he began his second period of intense creativity. His best-known post-war sculptures portray single or grouped figures, all startlingly skeletal in proportions and often mounted on large or heavy bases.
“Giacometti’s figures, with their seeming emaciation, anonymity and isolation in space, immediately struck a responsive chord in critics and collectors. His sculptures were perceived as appropriate metaphors for the human condition of post-war Europe: the horror of the concentration camps, displaced persons, destroyed lives. On a more philosophical level, critics also viewed Giacometti’s art as Existentialist, an interpretation introduced by Sartre in his two essays on Giacometti’s art.”
During this period, Giacometti drew constantly and painted regularly. “His drawing style consisted of rapidly executed, often continuous lines that swirl around, over, and through his subject, never quite defining it yet conveying a sense of its mass and mystery. The earliest post-war drawings have heavy reworkings, often obscuring facial features in an expressionist vortex of lines. Around 1954, he expanded his drawing scope. His pencil drawings of portraits, nudes, still-lifes and interiors from the mid-1950s display a fusion of power and delicacy, as lines interweave in geometrically structured traceries overlaid with darker smudgings and greyed shadows in a ceaselessly moving realm where nothing appears solid or stable.”
Giacometti’s post-war work brought him international acclaim. Between 1948 and 1958, he exhibited several times at the Pierre Matisse Gallery in New York and at Galerie Maeght in Paris. Museums acquired his work, and the Kunsthalle in Berne held a one-man show in 1954. In 1955, he had separate retrospectives at the Arts Council Gallery in London and the Solomon R. Guggenheim Museum in New York.
Public fame took up a great amount of Giacometti’s time in the last years of his life. Collectors, dealers, young artists, curators and the media flocked to his studio. He received the Sculpture Prize at the 1961 Carnegie International in Pittsburgh and the Grand Prize for Sculpture at the 1962 Venice Biennale. In 1965, exhibitions were held at the Tate Gallery, London, the Museum of Modern Art, New York, the Louisiana Museum, Humlebaek, Denmark, and the Stedelijk Museum, Amsterdam. That same year, he was awarded the Grand Prix National des Arts by the French government.
On January 11, 1966, Alberto Giacometti died of complications from pericarditis (heart disease) in Chur, Switzerland. His body was returned to his birthplace of Borgonovo, Swizterland where he was interred close to his parents.
Born on October 8, 1930, in Harlem, New York, Faith Ringgold is considered to be one of the most important living African American artists. Working in a variety of mediums including painting, sculpture, and performance, Ringgold is best known for her “story quilts” that combine narrative paintings with quilted borders and text.
Ringgold’s mother, a fashion designer and seamstress, nurtured her daughter’s creative abilities from a young age. Ringgold attended City College of New York where she earned a Bachelor’s degree in Fine Art and Education in 1955. She taught art in New York’s public schools from 1955 to 1973 and earned her Master’s degree in art in 1959. During this time, Ringgold also married and divorced jazz pianist Robert Earl Wallace with whom she had two daughters. In 1962, she was remarried to Burdette Ringgold.
Ringgold’s oil paintings and posters of the mid-to-late 1960s carried strong political messages and were supportive of the civil-rights movement. In 1970, she participated in a demonstration against the exclusion of black and women artists by New York’s Whitney Museum of American Art and the Museum of Modern Art. This resulted in the inclusion of Betye Saar and Barbara Chase-Riboud in the Whitney Sculpture Biennial, making them the first black women ever to exhibit at the Museum.
In the early 1970s, Ringgold abandoned traditional painting and began making unstretched acrylic paintings on canvas with soft cloth frames after viewing an exhibition of Tibetan art at the Rijk Museum in Amsterdam. During this time, Ringgold also began lecture tours and traveling exhibitions to colleges and universities around the United States. In 1973, she retired from teaching altogether to continue touring and create art full time.
In 1983, Ringgold began to combine images and handwritten text in her painted “story quilts,” which conveyed imaginative narratives. In 1984, a 20-year retrospective of her work was held at The Studio Museum in Harlem. That same year, Ringgold also became a professor at the University of California, San Diego, a position that she still holds today.
Over the course of her career, Ringgold has published 12 children’s books including the award winning “Tar Beach” which is based on her story quilt. As well, a book of her memoirs was published in 1995. She has exhibited in major museums in the U.S., Europe, South America, Asia, Africa, and the Middle East. Ringgold is in the permanent collections of numerous museums including the Studio Museum in Harlem, the Solomon R. Guggenheim Museum, The Metropolitan Museum of Art, and The Museum of Modern Art.
Retrospectives of Ringgold’s work have been held by Rutgers University, New Brunswick (1973), the Studio Museum in Harlem, New York (1984), and the Fine Arts Museum of Long Island, Hempstead (1990). Her work has been included in numerous exhibitions devoted to political art, women’s art, contemporary quilts, and African-American art, as well as in the Whitney Biennial (1985). Ringgold has received many honours, including the National Endowment for the Arts awards in sculpture (1978) and painting (1989), a John Simon Guggenheim Memorial Foundation Fellowship (1987), and fifteen honorary doctorates.
Ringgold currently lives and works in Englewood, New Jersey. To learn more, visit Faith Ringgold.com.
Your Weekly Mixx! DAF’s Weekly Mixx is a selection of contemporary artworks and/or art related videos chosen from artist and gallery submissions and from our own search for new and interesting works. This week, we feature the work of Michael Adamson, Bordalo II, Guennadi Kalinine, Christina Mrozik, Derick Melander, Molly Wood, Oleg Oprisco, Nicole Watt and a video on the installation “Narcissism : Dazzle room” by Shigeki Matsuyama. This installation is one of a series of dazzle camouflage themed works the artist has been creating since 2013.
Dazzle camouflage was a type of ship camouflage used during World War I. As its name suggests, it was meant to dazzle and confuse the human eye. In an era where radar technology did not exist, an enemy vessel’s range and heading needed to be visually identified for targeting. The complex black and white patterns painted on ships with dazzle camouflage made it difficult to ascertain whether a target was moving closer or farther away and prevented accurate firing.
The person in the room covered with dazzle camouflage uploads selfies to social media while surrounded by a larger self representing narcissism. In an era where much communication occurs over social media, metrics such as likes and follows fulfill our desire for recognition; however, the ease of which we can obtain validation from others leads to the growth of this desire, and we attempt to satiate it using our self-image or “larger self.” The boundary between self and self-image is unconsciously blurred by dazzle camouflage, and as a result, we ourselves cease to recognize our own boundaries. (via vimeo)