Will LACMA's reputation suffer from Broad's change of heart? - Los Angeles TimesEli Broad's decision to withdraw his donation has serious implications for LACMA's future.
By Christopher Knight, Los Angeles Times Staff Writer
January 11, 2008
The news this week that billionaire art collector Eli Broad has decided not to give any of his 2,000-piece collection to the Los Angeles County Museum of Art, where a building bearing his name will open with great fanfare next month, was sort of like hearing that a terminal patient died. You know in your heart it's coming, but expectation does nothing to minimize being nonplused when it does.
Friday, January 11, 2008
Tuesday, August 14, 2007
Wednesday, August 8, 2007
Tuesday, June 19, 2007
Thursday, June 7, 2007
Sunday, June 3, 2007
White House Establishes "Rapid Response" Team To Counter Internet Blogs - Politics on The Huffington Post
White House Establishes "Rapid Response" Team To Counter Internet Blogs - Politics on The Huffington Post: "White House Establishes 'Rapid Response' Team To Counter Internet Blogs"
Friday, June 1, 2007
Saturday, May 12, 2007
Color Wheel - Use and Definitions
Color Wheel - Use and Definitions: "TERMS TO KNOW
Hue: Another name for color
Tint: Color + White
Tone: Color + Grey
Shade: Color + Black
Value: The lightness or darkness of a color."
Hue: Another name for color
Tint: Color + White
Tone: Color + Grey
Shade: Color + Black
Value: The lightness or darkness of a color."
Saturday, May 5, 2007
Monday, April 30, 2007
Journey from 'Nebraska' - The New York Review of Books
Journey from 'Nebraska' - The New York Review of Books
In Brice Marden's fifteen-foot-long horizontal frieze The Muses a skein of muted green, gray, white, and blue paint loops across a field of light celadon green. Painted between 1991 and 1993, The Muses evokes a procession of the nine daughters of Zeus as it might have been carved on the pediment of a Greek temple—except that Marden doesn't depict the divinities, he conjures up their aura. As the eye tries to follow the intersecting tendrils of alternately transparent and opaque paint, nine vertical columns somehow emerge from the ground while at the same time remaining embedded in it.
For an instant the goddesses are luminously present, but more as immanence than as solid forms, semitransparent shapes flickering against the light, perhaps (given the overall impression of green) in an olive grove, just as they might have materialized to the ancient Greeks. But the moment you sense their presence, the Muses disappear, receding back into the "landscape" to become swirls and eddies of paint on a flat plane, mere material. Then we remember that the mother of the Muses is Memory, and the gift they give to mankind is artistic inspiration, something that can arise and evaporate in the twinkling of an eye, and which is beyond human control.
How fitting that this ethereal work was painted by Marden, an artist whose precarious gift is his ability to synthesize experience (of music, landscape, loves, places, and memories) in two-dimensional abstract paintings of astonishing beauty. He established his reputation in the mid-1960s as a painter of severe monochromatic rectangles in a medium composed of beeswax, turpentine, and oil paint applied with a brush and then smoothed with a spatula and knife. Human in scale and irradiated by his ultrarefined color sense, his earliest paintings rejected illusion, line, volume, space, and depth while at the same time minimizing texture, brushwork, and tonal range. The flat surface of these paintings is closed, the picture plane as impenetrable as a locked door. How an artist who restricted his canvases to the basic elements of shape, light, and color developed over the next forty years into the one who painted The Muses is one of the great stories of American art in our time, and it is being told in a full-scale retrospective with fifty-six paintings and more than fifty drawings at the Museum of Modern of Art.
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In Brice Marden's fifteen-foot-long horizontal frieze The Muses a skein of muted green, gray, white, and blue paint loops across a field of light celadon green. Painted between 1991 and 1993, The Muses evokes a procession of the nine daughters of Zeus as it might have been carved on the pediment of a Greek temple—except that Marden doesn't depict the divinities, he conjures up their aura. As the eye tries to follow the intersecting tendrils of alternately transparent and opaque paint, nine vertical columns somehow emerge from the ground while at the same time remaining embedded in it.
For an instant the goddesses are luminously present, but more as immanence than as solid forms, semitransparent shapes flickering against the light, perhaps (given the overall impression of green) in an olive grove, just as they might have materialized to the ancient Greeks. But the moment you sense their presence, the Muses disappear, receding back into the "landscape" to become swirls and eddies of paint on a flat plane, mere material. Then we remember that the mother of the Muses is Memory, and the gift they give to mankind is artistic inspiration, something that can arise and evaporate in the twinkling of an eye, and which is beyond human control.
How fitting that this ethereal work was painted by Marden, an artist whose precarious gift is his ability to synthesize experience (of music, landscape, loves, places, and memories) in two-dimensional abstract paintings of astonishing beauty. He established his reputation in the mid-1960s as a painter of severe monochromatic rectangles in a medium composed of beeswax, turpentine, and oil paint applied with a brush and then smoothed with a spatula and knife. Human in scale and irradiated by his ultrarefined color sense, his earliest paintings rejected illusion, line, volume, space, and depth while at the same time minimizing texture, brushwork, and tonal range. The flat surface of these paintings is closed, the picture plane as impenetrable as a locked door. How an artist who restricted his canvases to the basic elements of shape, light, and color developed over the next forty years into the one who painted The Muses is one of the great stories of American art in our time, and it is being told in a full-scale retrospective with fifty-six paintings and more than fifty drawings at the Museum of Modern of Art.
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Monday, April 23, 2007
Color Wheel Pro: Classic Color Schemes
Color Wheel Pro: Classic Color Schemes
Examples of Monochromatic, Analogous and Complementary color schemes.
Examples of Monochromatic, Analogous and Complementary color schemes.
Sunday, April 22, 2007
Friday, April 20, 2007
Saturday, April 14, 2007
Sunday, March 18, 2007
Saturday, March 17, 2007
eBay: abstract by j .kugler three piece set oil painting (item 280093836430 end time Mar-19-07 08:23:14 PDT)
eBay: abstract by j .kugler three piece set oil painting (item 280093836430 end time Mar-19-07 08:23:14 PDT): "this is an abstract by j.kugler three piece set one piece is a 20x24 and the two other pieces are 12x24.this one has great deep colors greens purple black white burgandy blue .all these colors combine in this set of pictures make them rich looking . what a great piece of art .great piece to add to any room or collection. any questions just email me thanks for looking have fun bidding.............pictures come ready to framed,can be framed for an extra charge"
I have a J Kugler similar to this in my collection.
Mine is a single canvas rather than 3.
Tuesday, March 13, 2007
Sunday, March 11, 2007
Thursday, March 8, 2007
CityNews: Man Draws Elaborate Works Of Art On Dirty Car Windows
"Tuesday March 6, 2007
He's made a likeness of the Mona Lisa.
There's a portrait of Albert Einstein.
He's even recreated that infamous picture of dogs playing poker.
You've seen knock-offs of those before. So what's the big deal about Scott Wade's art? It's his canvas.
The San Marcos, Texas graphics interface designer paints his masterpieces in a place where they're guaranteed not to last for posterity - the dirty windows on his Mini Cooper. Tuesday March 6, 2007
He's made a likeness of the Mona Lisa.
There's a portrait of Albert Einstein.
He's even recreated that infamous picture of dogs playing poker.
You've seen knock-offs of those before. So what's the big deal about Scott Wade's art? It's his canvas.
The San Marcos, Texas graphics interface designer paints his masterpieces in a place where they're guaranteed not to last for posterity - the dirty windows on his Mini Cooper. "
Tuesday, March 6, 2007
Saturday, March 3, 2007
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Spielberg Unknowingly Bought Stolen Art
"LOS ANGELES — Norman Rockwell paintings often resonate because of their depictions of everyday life, but the life of one of his paintings has been anything but mundane.
'Russian Schoolroom,' a Rockwell painting stolen from a gallery in the St. Louis suburb of Clayton, Mo., more than three decades ago, was found in Oscar-winning filmmaker Steven Spielberg's art collection, the FBI announced Friday.
Spielberg purchased the painting in 1989 from a legitimate dealer and didn't know it was stolen until his staff spotted its image last week on an FBI Web site listing stolen works of art, the bureau said in a statement."
more....
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I will be posting ARTicles and such and your evaluation is welcome...
Or, should I say "our" blog.
I will be posting ARTicles and such and your evaluation is welcome...
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