Chris and I go on a lengthy art gallery hop through Chelsea, and I’d have to say this was our favorite pit-stop: David Zwirner Gallery, a stellar power house.
We had to gulp down our cappuccinos.
So happy to see works I’ve never seen before in person from artist like Max Ernst and Rene Magritte. I have a particular attachment to the Dada and Surrealist movements.
Siren-like beauties– very much like the Valentino SS 2015 Campaign. I’d say almost identical in interpretation. I’m not sure about the strength of Leonor Fini’s other works, but my goodness, to have this in my home:
Leonor Fini
Things that make my childlike soul go hop!:
Amazing mastery of painting, and the chemistry between the movement of the waves vs. the wood like whorls of the levitating mass:
Of Romania, Constantin Brancusi, born in 1876, sculpted, painted, and photographed throughout the duration of his artistic career. He is considered by some as the father of modern sculpture.
Brancusi worked primarily with 4 mediums in his sculpting practice: limestone, casted bronze, wood, and marble to construct highly symbolic forms of the things grounded by reality.
His works are true emblems of visual reduction.
On view at The Museum of Modern Art until February 18, 2019 although you won’t be missing out on much as I believe most if not all the works are part of MoMA’s private collection. 🙂
So much experimentation and fun in the 70s and 80s, I wish I was a part of it:
Customized Matchbooks for Club 57’s 1983 Matchbook Show
Complement these visuals with the 1967 track of ze Vegetables by The Beach Boys.
PSA*** Let me just say MoMA’s current exhibits are amazing (Specifically, three). This is a good month to go. I won’t spoil it for you, but there are some new, reckoning art for you to see.
Running through April 1 at The Museum of Modern Art.
Complement these visuals with the 1967 track of ze Vegetables by The Beach Boys.
Up until college, I had grown up with an appreciation for fine art thanks to my parents, but it was never really something I had sought out on my own.
I knew enough “art” to maintain my sense of weird, self-righteous adolescent pride in being cultured and artsy. My interest was driven by nothing else really of nobler substance.
At 18, I moved to New York for college, and I enrolled in an art crit class on a whim during freshman year: the Art of Now course at New York University.
Fast forward to 2013, when I studied abroad in Shanghai. I decided to take on a heavier workload of art classes and immersed myself in contemporary and Asian art. I don’t remember much of the art I saw in detail, but this period of time would leave an indelible mark on me, and it was a catalyst for my passion.
Hu Jieming, Casual Status, 1992
I returned, enrolled in some more art classes.. a studio class in drawing.
During my time as a student, I had more time in the afternoons and between classes to do other things (doing nothing, meeting friends at cafes or for lunch in the West Village, chilling near fountains – damn life from 18-22 was so sweet) and I began exploring gallery spaces and art exhibitions everywhere! pretty intensely.
A pic I snapped years ago on another trip to Pace Gallery.
I started taking random things at home: scissors, a tableweight, a pepper from the kitchen, a rose and draw.
So newly inspired I was by the intricate beauty in all things that held form, line, and shape.
I was falling in love with art then.
I began to accumulate a larger inventory of the things I liked and disliked, formulate stronger opinions backed by a latticework of thoughts and experiences built thanks to the plenitude of art I’ve seen in the years which have since passed post- college.
For example, I prefer minimalism and modernism. I like French impressionism, and abstract expressionism.
Gustav Klimt and Egon Schiele works are so luscious and rich. Contemporary movements like pop surrealism, otherwise knowns as “Lowbrow” art are so cool.
Mark Ryden, the father of Pop-Surrealism
I don’t find a lot of photography art to be impressive, but I’m okay with that. Installations with various forms of media are sometimes a hit or miss for me. I like contemporary art, but I’m not particularly fond of Jeff Koons (active from 1977 – ) or Damien Hirst (1988 – , or Jean-Michel Basquiat (1976 – ). But I do love me my Toyin Ojih Odutola (2008 – , Osamu Yokonami, and Chad Wys (2011 – ) :
Toyin Ojih Odutola, Above all else make it look effortless, 2012. Pen ink, marker, and varnish on paper.Chad Wys, Sculpture with a Spectrum 2, 2014. Collage on paper.
It’s 2018 and I love art more than ever.
I move and live every week, drinking in all the things I see, from the daily visuals of life to the more curated representations of art at institutions.
And the more I do that, the more I understand this:
Art is an instrument that instructs the way we see and live our lives. Our lives, in turn, are ripe, breeding grounds for art: new expressions and new manifestos… and who’s to say that the act of life and breathing aren’t art in themselves.
They are synonymous with one another– and I cannot see the difference.
Formally trained in religious sculpture, Italian artist Gehard Demetz has progressed to become one of the most talented artists of our century. He wields his art technique and experience to create works, many with children as subject, that explore the dichotomies and marriages of contradiction… between that which is evocative and whimsical – provocative and contemporary. His sculptures often carry an energy verging on the socio-political.
He relies on mediums like wood and bronze and certainly knows how to make dry wood come alive.
These are my favorite works of Demetz throughout his career as a sculptor:
Our climate is in flux, the Great Barrier Reef is at risk (“in danger!” says Karlie), and New York is experiencing a true Four Seasons.
While concerns over climate change is becoming a veritable thing this season, spring to me sometimes just feels like… spring, and I’m left feeling giddy.
For those that are with me! Here’s some beauty to herald in our months of bloom with:
