jazzbo Posted January 2, 2004 Report Posted January 2, 2004 I too am intrigued by Hindu/Tibetan etc. art. Quote
tonym Posted January 2, 2004 Report Posted January 2, 2004 Three of my favourites (artists not the actual works) in no particular order: Quote
7/4 Posted January 2, 2004 Report Posted January 2, 2004 Pollock: he's amazing. There's a room full of his stuff (or was) at the Modern Museum of Art. His work has to be experienced in person, because these things are huge and don't always translate to a web page or book. Quote
7/4 Posted January 2, 2004 Report Posted January 2, 2004 Three of my favourites (artists not the actual works) in no particular order: Who did this post dive painting? I wish I had time to keep up with the visual art world, I'm too busy balancing my time between the music world and my software biz. Heck...I'm playing with another musican Sat. afternoon for the first time since Aug. I don't even have time for music anymore! Quote
king ubu Posted January 2, 2004 Report Posted January 2, 2004 Gerhard Richter Marcel Duchamp, Nu descendant un Escalier no.2, Neuilly, Jan.1912 ubu Quote
king ubu Posted January 2, 2004 Report Posted January 2, 2004 J.F. Briswold, New-York, March 20, 1913 ubu Quote
WD45 Posted January 2, 2004 Report Posted January 2, 2004 I just discovered Jörn Gerstenberg. He did the artwork for the most recent Jan Jelinek/Triosk record. Quote
Jim R Posted January 2, 2004 Report Posted January 2, 2004 This is one that I fell in love with a few years ago while searching the Smithsonian website: Rupert D. Turnbull / Untitled / 1938 Quote
rockefeller center Posted January 3, 2004 Report Posted January 3, 2004 Fondation Vasarely, Aix en Provence, France Quote
7/4 Posted January 3, 2004 Report Posted January 3, 2004 J.F. Briswold, New-York, March 20, 1913 90 years later and it still hasn't changed too much! Quote
7/4 Posted January 3, 2004 Report Posted January 3, 2004 Marcel Duchamp, Nu descendant un Escalier no.2, Neuilly, Jan.1912 Not off topic, doesn't this also belong in the babe thread??? Quote
Bright Moments Posted January 3, 2004 Author Report Posted January 3, 2004 "Shiner" Rockwell B) Quote
maren Posted January 13, 2004 Report Posted January 13, 2004 (edited) Giorgio de Chirico Edited January 13, 2004 by maren Quote
maren Posted January 13, 2004 Report Posted January 13, 2004 (edited) Elizabeth Murray Edited January 13, 2004 by maren Quote
Jim Alfredson Posted January 13, 2004 Report Posted January 13, 2004 My wife and I love Andy Goldsworthy. How he creates some of these things, I'll never understand. He uses only materials found around the area he's creating in including wood, rocks, leaves, his own spit, thorns, etc. I enjoy the freedom of just using my hands and "found" tools--a sharp stone, the quill of a feather, thorns. I take the opportunities each day offers: if it is snowing, I work with snow, at leaf-fall it will be with leaves; a blown-over tree becomes a source of twigs and branches. I stop at a place or pick up a material because I feel that there is something to be discovered. Here is where I can learn. Looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. The energy and space around a material are as important as the energy and space within. The weatherÑrain, sun, snow, hail, mist, calmÑis that external space made visible. When I touch a rock, I am touching and working the space around it. It is not independent of its surroundings, and the way it sits tells how it came to be there. I want to get under the surface. When I work with a leaf, rock, stick, it is not just that material in itself, it is an opening into the processes of life within and around it. When I leave it, these processes continue. Movement, change, light, growth and decay are the lifeblood of nature, the energies that I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature. Quote
Jim Alfredson Posted January 13, 2004 Report Posted January 13, 2004 Chuck Close. Brilliant. You have to see one of his paintings in person to really understand the power of them. Quote
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