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07 October 2022

Art Blogs Art Blogs
  • Bortolami Plans Vegas Show, Judd Foundation Sues Over Damaged Sculpture, and More: Morning Links for October 7, 2022
    07 October 2022

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    The Headlines

    ON THE MARKET. In November, Christie’s will offer a ca. 1480s Sandro Botticelli painting of the Virgin Mary from the collection of the late Paul Allen with an estimate above $40 million, Angelica Villareports in ARTnews . It is the latest marquee Allen lot to be detailed by the house, which announced this summer that it had won the opportunity to sell $1 billion in art from his collection. If eight figures is out of your price range, a small cotton tablecloth with “food and drink stains, autographs and several ‘acid-inspired doodles’ and portraits by the [The Beatles] and Joan Baez” is being offered by Bonhams with a top estimate of $25,000, the Los Angeles Times reports. The piece was created during a dinner for the band’s final paid concert, in 1966, and might look nice next to one of those dirty tablecloth pieces Reena Spaulings made in the mid-2000s.

    UNDERGROUND (AND UNDERWATER) FINDS. Researchers excavating a Shang dynasty site in Zhengzhou, China, have found a 3,400-year-old burial with rare gold pieces that may have been placed atop the faces of the dead, the South China Morning Post reports. Off the coast of Western Australia, divers have located a Finnish ship that went missing in a cyclone in 1911. And in the United Kingdom, a new film, The Lost King, looks at the 2012 discovery of the remains of King Richard III beneath a car park in Leicester, and BBC News reports that officials at the University of Leicester, which conducted the dig, are displeased about how its academics are portrayed.

    The Digest

    The Judd Foundation has sued Kukje Gallery (of Seoul and Busan, South Korea) and Tina Kim Gallery (of New York), alleging that a Donald Judd sculpture was damaged with fingerprints while consigned to them. So far, no one has commented. [The Daily Beast via Artnet News]

    New York dealer Stefania Bortolami is bringing her roving Artist/City venture to Las Vegas, staging a show with artists Jonas WoodKoichi Sato, and Susumu Kamijo in a onetime Greyhound bus station. [Vanity Fair]

    Amateur detectives are working to locate artifacts looted from Asian nations, communicating on Facebook and searching through online databases. It “still feel that we are scratching the surface,” one said. “That’s what keeps us going. We are like the Avengers.” [The Christian Science Monitor]

    Artist Abbas Zahedi—the latest Frieze Artist Award winner, who has turned “chip shops and bus stops into art,” and who is about to open a show at London’s Belmacz gallery—got the profile treatment in the Financial Times in advance of Frieze London’s opening next week. [FT]

    Elephant, the British art magazine that has been running since 2009, is set to shutter at the end of the month. Its publisher, the art-supply distributor Colart, has withdrawn funding. A company rep said that the firm is “in conversation with several parties about taking over the magazine.” [The Art Newspaper]

    The inaugural edition of the four-times-delayed Art SG fair is on tap for Singapore in January with more than 150 exhibitors. Citing the high turnout of the wealthy at the F1 race in the city-state last weekend, August Hatecke of UBS (the fair’s lead sponsor), said, “Singapore’s status in the world has changed.” [The Straits Times]

    The Kicker

    FAST FASHION. Speaking of F1 racing, driver Lewis Hamilton and artist Takashi Murakami have teamed up on a limited-edition clothing collection that includes shirts and a hoodie, Hypebeast reports. Prices top out at $200. Hamilton recently did a studio visit with Murakami, and the artist wrote on Instagram that Hamilton’s “presence generated this sense of enfolding distance that he must keep within himself; I had never felt anything like it before, and it made a warm feeling well up in me. I couldn’t help asking him whether he’s ever encountered the divine.” Talk about a good studio visit![@takashipom/Instagram]

  • Paul Allen’s Botticelli to Sell for $40 M. at Christie’s
    07 October 2022

    A Sandro Botticelli painting of the Virgin Mary that was once owned by the late Microsoft cofounder Paul Allen will be auctioned Christie’s this November. The house expects that it will fetch more than $40 million, making it one of the most expensive works from Allen’s estate to head to sale.

    In late August, the auction house made waves when it announced plans to sell $1 billion in art held by Allen. Among the works headed to sale are pieces by Claude Monet, George Seurat, Jasper Johns, and Paul Cézanne. The sale proceeds will go toward philanthropic causes Allen established prior to his death in 2018 at the age of 65.

    “This is an image that defines the popular notion of Botticelli as an artist,” Christie’s London-based Old Masters specialist Andrew Fletcher told ARTnews, describing the painting as “imposing and intimate.”

    Measuring at 24 inches in diameter, Botticelli produced the painting, titled Madonna of the Magnificat, in the late 1480s, at a time when his studio was thriving. Experts at Christie’s believe the panel was most likely commissioned by a well-off patron who intended to display it in a private residence for devotional purposes. A similar example by the Italian painter belongs to the Uffizi Galleries in Florence.

    The work has been in Allen’s private collection since 1999, when he acquired it privately for an undisclosed price.

    Madonna of the Magnificat has been widely shown in museum exhibitions. It last appeared in the 2020 exhibition “Flesh and Blood: Italian Masterpieces from at the Seattle Museum of Art.” Before it entered his collection, the painting was shown at London’s National Gallery on long-term loan from 1960 to 1978.

    When they resurface on the market, Botticelli paintings can generate large sums. In 2020, Portrait of a Young Man Holding a Roundel sold from the collection of the late Sheldon Solow at Sotheby’s for a record-setting $92 million. This past January, Botticelli’s Man of Sorrows (ca. 1500), a portrait of Christ wearing a crown of thorns, sold for $45.5 million.

    If Madonna of the Magnificat reaches its estimate, it will be among the top three works by the artist to sell at auction.

    According to Fletcher, the amount of significant works by Botticelli still held privately “are tiny in number.”

    The Botticelli will appear alongside pieces by Seurat and Van Gogh that are estimated to sell for more than $100 million.

    The Allen sale, Fletcher remarked, is poised to be a significant one for the Old Masters market. “Botticelli is rubbing shoulders with the titans of 19th- and 20th-century art,” he said. “It’s putting him and his work in front of collectors who may not ordinarily have had their attention drawn in that direction.”

  • 5 Fantastic Fall Landscape Lesson Ideas With Artist Connections
    07 October 2022

    Autumn may bring the end of a growing season, cooler temperatures, and even changing leaves. No matter what fall brings where you live, you may be looking for some ideas to keep the creative juices flowing in your classroom. Rules and procedures are being practiced, introductions are out of the way, and you and your students are ready to dive into artmaking.

    Landscapes are an excellent choice for this time of year for many reasons. Some of us are able to draw natural inspiration from the changing season. Even if the seasonal changes are not as drastic where you live, landscapes are still a wonderful choice. Because landscapes are very organic, young emerging artists can make stunning landscapes that look like real landscapes without much artistic skill. Landscapes can give students the opportunity to practice perspective, texture, space, detail, color, and more! You can approach them through a lens of realism or imagination. Even toss in some art history to expose students to artists who love landscapes.

    Let’s get inspired by nature and look at five fall landscape projects.

    For landscape lessons aligned to all 50 states’ visual art standards, including NCAS, FLEX Curriculum has you covered. FLEX includes thousands of lesson plans, resources, videos, assessments, and artist bios. Filter and search so you can find exactly what you need. To find out how to get your district or school to provide FLEX, fill out this quick contact form.

    Get started with these FLEX Collections that focus on landscapes:

    1. Nighttime Landscape Drawings

    This project uses simple materials to create a nighttime landscape. You will need black construction paper and your choice of drawing materials, such as colored pencils, chalk, or oil pastels. Students draw things they see at night using white or yellow colored pencils.

    Thomas Cole’s painting titled Moonlight is an exemplary choice to reference for this project. It displays interesting symbols, including the moon, stars, and people needing light to see. This work of art also shows objects in deep tones and shadows.

    2. Wax/Oil Resist Landscapes

    A classic but fun technique, wax or oil resist lends itself perfectly to little artists and landscape creation. For this lesson, you will need tagboard, pencils, watercolors, brushes, water, and either crayons (wax) or oil pastels (oil). Deciding whether to use crayons or oil pastels for the resist will depend on the materials you have on hand and the age of your students. Younger students (typically third grade and under) may struggle to press the crayon hard enough for the wax to “resist” the watercolor paint, making oil pastels a better choice.

    Students sketch autumn elements in their landscape. Color in all objects, landscape features, people, animals, etc., except the background! Remind students to press really hard with their crayons or oil pastels. Add a layer of translucent watercolors on top to fill in the background.

    Rosa Bonheur has a lot of versatile works that make her a wonderful candidate to connect with wax/oil resist paintings. Bonheur typically displays farm animals under vast skies and landforms, which is something your students may wish to achieve in their pieces.

    3. Textured Landscapes

    Share an artist that uses texture in their work, such as Thomas Moran or Albert Bierstadt. List autumn objects and their textures. Demonstrate how to create those textures with repeated lines and shapes. Highlight the different parts of a landscape, such as how objects in the foreground show clearly defined texture and detail, while objects in the midground show slightly less, and those in the background show little to none.

    This project can be approached using oil pastels or paint. If using oil pastels, you will need paper, pencils, oil pastels, and toothpicks. If using paint, you will need tagboard, pencils, acrylic paint, plastic knives, plastic forks, or palette knives. In either case, the goal is for artists to create a landscape and add texture by etching into the surface of the medium. Encourage experimentation and exploration!

    4. Warm and Cool Photo Landscape Drawings

    This is an interesting activity that involves backward design in the creative process. You will need paper, pencils, magazines or photo clippings, scissors, glue, and colored pencils. Students cut out an image or two they like that is less than half a page in size and glue it on their base paper. Draw a fall scene that incorporates their images(s).

    Discuss warm and cool colors and introduce Claude Monet or Berthe Morisot. Use colored pencils to add color. Encourage them to match the colors to their image(s) and focus on warm or cool colors for a seamless, unified artwork.

    5. Collage Landscapes

    Much like the Textured Landscapes activity above, a collaged landscape can teach depth and perspective. Katsushika Hokusai is not a collage artist. However, he makes use of flat shapes and layers in his work. A similar approach can be applied to this project. You will need white paper, assorted scrap or construction papers, scissors, glue, pencils, crayons, colored pencils, and markers.

    Demonstrate how to cut or tear and then layer papers. Start with the background, place the midground on top, then add the foreground last. Students add fall-inspired fine details with crayons, colored pencils, and markers. Ensure that smaller details are farther away and larger details are closer to the viewer.

    Landscapes are so much fun to explore! They are also a subject matter all students can find success with because they are organic and forgiving. Landscapes can use many techniques, and there are endless art history connections you can incorporate. Give one (or more!) of these landscape ideas a try, and check out FLEX Curriculum for more detailed lesson plans. Each lesson plan includes key objectives, teaching strategies, standards alignment, step-by-step instructions, resources, assessments, and more. Embrace autumn in your art room and get students excited for the change of seasons!

    Who is your favorite landscape artist to share with your students?

    What does a typical fall landscape look like where you live and teach?

    The post 5 Fantastic Fall Landscape Lesson Ideas With Artist Connections appeared first on The Art of Education University.

  • Don’t Lose Your Voice
    07 October 2022
    Photo by Al Parrish.

    When I finally got the honor of being Frank Klausz’s editor, I was curious as to what sort of manuscript he would turn in. I was curious because I had read almost everything out there with Klausz’s byline on it.

    Some of his stories sounded just like he talks. With his Hungarian accent, his pacing and his refreshing bluntness intact. Other stories sounded like Klausz had just graduated from the Iowa Writers’ Workshop.

    The manuscript arrived by mail. It was two pages, hand-typed and single-spaced. The text immediately brought a smile to my face because it was pure Klausz. Graceful but firm. No adverbs or complex sentence structures.

    I handed it to a junior editor to input the text and clean up any errant typos. A few hours later, he showed up at my desk with an unsure look on his face.

    “This manuscript needs a lot of work,” he said. “I might not get it back to you for a couple days.”

    Seriously? Two typewritten pages? It should be done before you head home.

    “The sentences are just so weird,” he said. “I basically need to rewrite the whole thing so it makes sense.”

    You want to rewrite Klausz? So he makes sense? Just type it in, and I’ll do the edit.

    I barely changed a word of the manuscript, and I was done with the story before I went home that night.

    When it comes to editing, I try to take the lightest hand possible. The goal is to preserve the writer’s voice and even amplify it by removing redundant words and phrases that slow things down.

    This is not always possible. Some people simply cannot write in a straight line. The text is circular, like a mandala. And every point they make has three digressions. Or they suffer from explaining things in minute detail for the first half of the manuscript. And then run out of patience for the second (3,000 words on stock prep. And then “…simply build all the doors and drawers. Add your favorite finish. The end”).

    I send these writers a copy of “On Writing Well” by William Zinsser (used copies are $1) and ask them to follow this book like it was a holy text.

    My approach isn’t the dominant one in woodworking publishing. Most editors try to make the writer’s text as easy to digest as possible – thinking they are doing a service to the reader. What they have really done is taken a Cuban sandwich and reduced it to Zwieback.

    Though it makes me crazy, I know that some readers appreciate this sort of editing. 

    When I first met the editors of Woodsmith magazine, I was excited to talk to them about their editorial process. They managed to convey immense amounts of information into a small space. Plus they didn’t take advertisements (back in the day). And they had an immensely loyal subscriber base – the most loyal, in fact.

    The Woodsmith editors were really nice and open about how they worked. One of the junior editors then remarked: “Well, first you have to learn to speak Don.”

    What?

    The founder of Woodsmith, Don Peschke, is a bit of a legend in woodworking publishing (ask him about his hot tub). And when new editors came on board they had to learn to write like Don Peschke wrote. So that the entire magazine sounded like Don Peschke.

    Oh, so that’s why they didn’t have bylines on their stories.

    I totally get their approach. You want to do everything you can to help the reader digest complex technical information. Removing a language barrier is one way to do it.

    But not me. I think of visiting Frank Klausz in his shop one time when he was railing against some video he had seen on sharpening.

    “I would not sell that,” he exclaimed, “to a monkey.”

    I feel certain Don Peschke never said that.

    — Christopher Schwarz

  • Mr Doodle Painted Every Inch of His 12-Room House in Kent, England
    07 October 2022
    Is it an installation? One art piece? And if so, is it the largest drawing we have ever seen? It's hard to say at this point, because the audacity, patience, persistence that Sam Cox, aka Mr. Doodle, had to have to paint every inch of his 12-room home in Kent, England over the course of a few years, is, well, hard to understand or pindown. But maybe that is the point. Cox proclaimed on this IG, simply "I just doodled my house!," and that seems to be just about right. 
  • Ripple Effect: An Interview with Dan and Jan (Dan Lam and Jan Kaláb)
    07 October 2022
    Ripple Effect brings together two artists who use color and unearthly yet organic shapes as the basis of their work. Dan Lam and Jan Kaláb, both on view at Hashimoto Contemporary in LA starting on October 9, 2022, capture what the gallery notes as "the tension between moments through color, form and texture." In conversation ahead of their show, both Dan and Jan discuss their new bodies of work, unexpected influences and what they like in the others' work. 
  • McEvoy Arts Goes In Depth with "Color Code"
    07 October 2022
    McEvoy Arts’ fifth anniversary exhibition Color Code celebrates color and its vibrant expressions in the arts. Modern and contemporary artworks from the McEvoy Family Collection join four new commissions by Bay Area artists Sadie Barnette, Angela Hennessy, Clare Rojas, and Zio Ziegler to showcase how we bring color into our lives.
  • IN TIME: Scott Albrecht Compiles Works from 2017–2021 in New Book
    07 October 2022
    "My criteria for what I choose to make the work about isn’t as defined, except that I view the pieces as an artifact of my time, so I try to make work of ideas or experiences that I would want to preserve," Scott Albrecht told us in 2020 at the height of the global lockdown. "A lot of the work is inspired by specific things but the distillation that takes shape tends to focus more on the emotion of that time rather than the act itself." 
  • All About Holes by Shozo Shimamoto
    07 October 2022
    Title of Artwork: "Holes" Artwork by Shozo Shimamoto Year Created 1953 Summary of Holes

    Shozo Shimamoto wrote a letter to Tate on July 16, 2002, in which he discussed how he came up with the idea for Holes, 1953, while "playing around with a hole punch" in his workshop in Nishinomiya City, Japan.

    At the time, the artist was producing a number of pieces all titled similarly (see, for instance, Holes, 1954, Tate T07897).

    For this, we used a hole punch to create perforations in foil candy wrappers, which we then adhered to a piece of plywood that had been painted black. Finally, we rubbed a thin layer of black ink over the entire thing.

    Information Citations:

    En.wikipedia.org, https://en.wikipedia.org/.

  • Maryam Eisler: If Only Walls Could Talk
    07 October 2022

    Maryam Eisler: If Only Walls Could Talk
    2-24 November 2022
    Alon Zakaim Fine Art
    27 Cork St
    London
    W1S 3NG

    Alon Zakaim Fine Art, 27 Cork Street, is proud to present a solo exhibition ‘If Only These Walls Could Talk’ – a new body of work from London-based Persian artist Maryam Eisler, shot at the fabled Hôtel Nord-Pinus in Arles (2-24 November 2022).

    Photographed at the legendary hostelry amid the ghostly presence of Picasso, Cocteau, Callas, Chaplin, Hemingway, and Van Gogh, Eisler’s work explores the masculine and feminine tensions that the city has seen and lived over centuries.

    Maryam Eisler

    Oh, but for the joys of meandering through corridors and spaces once trodden by the greats of art, culture, music, entertainment and literature. If only the walls in these unpretentious spaces could talk!

    What would they say of the Nord-Pinus? – Maryam Eisler

    If Only Walls Could Talk

    During her stay at the hotel in 2021 between lockdowns, Eisler was drawn in particular to Suite 10 – the location of Helmut Newton’s iconic 1973 Vogue shoot with Charlotte Rampling. Not in replication or imitation, but rather to explore and to expand on the subject of ‘La Femme’ in the Now. Eisler continues in her new series to pursue definitions of the various facets of the ‘Sublime Feminine’ – a consistent exploration of the artist into sensuality and the female gaze.

    Maryam Eisler – Autant En Emporte Le Vent

    We see mythical beauty captured through the prism of historical richness of Le Nord-Pinus in a magical dance between light and shade. At once, the female form is both echoed in the curling ironwork, and contrasted against geometric floor tiles and vertical frames. Sensual yet strong, seductive yet unattainable, these women project an idea of an uncompromising femininity and a vibrant beauty.

    Suite 10 at the Hôtel Nord-Pinus was also the place where celebrated bullfighters, such as Luis Miguel Dominguín, greeted their adoring crowds from the balcony railings, and this series also pays reverence to a sport that has captivated generations of artists, poets, and writers, including Picasso, whose lifelong passion for bulls is well-documented in his work.

    Maryam Eisler-La-Lionne

    Of all the works in the series ‘If Only These Walls Could Talk’, three are set in the arena; as the dominant colour, red is symbolic on many levels, as an evocation of passion and danger. The matador stands strong as a masculine force; however, in place of the bull, Eisler’s female muses have returned, defiantly spirited, beautiful, and completely unapologetic about their passion, sensuality, and strength. The accompanying publication ‘If Only These Walls Could Talk,’, which includes a foreword by Brandei Estes, Sotheby’s Director, Head of Photographs, EMEA, will be available to coincide with the exhibition.

    https://www.instagram.com/maryameisler/

    ©2022 Maryam Eisler

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