Showing posts with label postmodernism. Show all posts
Showing posts with label postmodernism. Show all posts

Wednesday, October 30, 2019

Drapery Explorations by Artists - Renaissance to the Present

Daniele da Volterra
Drapery Studies
ca. 1530-35
drawing
Minneapolis Institute of Art

Ferraù Fenzoni
Drapery Study - Seated Youth
ca. 1590-1600
drawing
Minneapolis Institute of Art

Domenico Fetti
Study of Drapery
before 1624
drawing
Minneapolis Institute of Art

The Guinea Pig and the Green Balloon

I approached the luminous stranger who came to me
from darkness in a gown of lettuce leaves, in a velvet

cloak of green that appeared at first another piece of dark,
but pulled apart into the glow-sphere that danced

in swaying steps, the lucent majesty that slipped toward me
from the reigning silence black above my cage.

Oh extravagant – and were my teeth too sharp to greet
or sharp enough?  I do not understand now what was meant

to happen and what was a mistake – but know the bursting,
the sickening snap of ecstasy wrenched back to the body

and the green gown flung in crippled circles traced
like diagrams of wasting moons above my head – or portals

to another world, I thought, but as I thought, the shriek
dissolved, the body crumpled from the air and landed

on its side beneath the salt lick. All night I tended
the wasted skin and careful, brought it water,

alfalfa, made a bed of cedar chips and tried to gather
molecules of breath that floated from the plant shelf.

When I remembered morning, I began to cry, began to pray
for night to stay until the green took shape again

and if that shape were gone, I prayed for night
to stay, to be held in the same forever-dark

in which I first looked up and saw the gentle body,
and saw the graceful swaying of the stranger coming

as if for me – now I do not know – but then,
as if for me, and all my loneliness gone.

– Oni Buchanan (2003)

Jan de Bisschop
Standing Draped Man
before 1671
drawing
Minneapolis Institute of Art

Adriaen van de Velde
Standing Male Figure - Drapery Study
before 1672
drawing
Minneapolis Institute of Art

A.J. Defehrt
Dessein - Draped Figures
(illustration page from Diderot's Encyclopédie)
ca. 1762-77
etching with engraving
Art Institute of Chicago

attributed to François Boucher
Draped Woman, Half-Length
before 1770
drawing
Art Institute of Chicago

Albert Joseph Moore
Study for A Garden
ca, 1869
drawing
Art Institute of Chicago

Elliott & Fry
Portrait of Miss Constance MacDonald Gilchrist
1877
albumen print - cabinet card
Art Institute of Chicago

Edward Burne-Jones
Draped Male Figure
ca. 1888-91
drawing
Art Institute of Chicago

Yousuf Karsh
Ruth Draper
1936
gelatin silver print
Art Institute of Chicago

Henry Moore
Group of Draped Standing Figures
1942
drawing
Art Institute of Chicago

James Welling
Green Drapes 1
2000
C-print
Art Institute of Chicago

James Welling
Green Drapes 2 
2000
C-print
Art Institute of Chicago

James Welling
Green Drapes 3
2000
C-print
Art Institute of Chicago

Tuesday, October 29, 2019

Modern People on Film (1970-2011)

Jonas Dovydenas
Bystanders at a Funeral Procession
ca. 1970
C-print
Art Institute of Chicago

Joel Sternfeld
Great Salt Lake, Utah
1979
C-print
Art Institute of Chicago

Joel Sternfeld
A Blind Man in his Garden, Homer, Alaska
1984
C-print
Art Institute of Chicago

Thomas Struth
The Restorers at San Lorenzo Maggiore, Naples
1988
C-print
Art Institute of Chicago

Richard Misrach
White Man Contemplating Pyramids
1989
C-print
Art Institute of Chicago

The Distance of the Dead

How distant in a moment are the dead!
     Round Mamre's Cave, four thousand years ago,
A long procession up from Egypt led,
     Closed mourning, like a sable cloud of woe.
     Loud was the grief, and round about it a throe
Passed from it into nature – passed and fled!
And now, even where the Patriarch's hoar head
     In the cold gloom lay drift-like, none may know.
All of those mourners died too, and at last
     Fell like dim shadows from the world away:
How far back in the dawn of Time they passed
     Into the mortal mystery of decay –
     And yet the Loved One who but died to-day,
Is sundered from us by a gulf as vast!
   
– Charles Harper (1813-1868)

Thomas Struth
The Uffizi I, Florence
1989
C-print
Art Institute of Chicago

Thomas Struth
Art Institute of Chicago II, Chicago
1990
C-print
Art Institute of Chicago

Wolfgang Tillmans
Andy on Baker Street
1993
C-print
Art Institute of Chicago

Jonas Dovydenas
Vilnius, Lithuania, Prisoner on Death Row
1996
gelatin silver print
Art Institute of Chicago

Wolfgang Tillmans
Bernhard Willhelm looking back
2001
C-print
Art Institute of Chicago

Alec Soth
Lenny, Minneapolis, Minnesota
2002
C-print
Art Institute of Chicago

Joel Sternfeld
Tolstoy Farm, Davenport, Washington
2004
C-print
Art Institute of Chicago

Thomas Struth
The Felsenfeld/Gold Family, Philadelphia
2007
C-print
Art Institute of Chicago

Wolfgang Tillmans
Collum
2011
inkjet print
Art Institute of Chicago

Wednesday, December 5, 2018

Modern Posters (and other poster-like graphics)

Edward McKnight Kauffer
Godstone
(for London Underground)
1915
lithograph
Cooper Hewitt, Smithsonian Design Museum

Edward McKnight Kauffer
London History at the London Museum
(for London Underground)
1922
lithograph
Cooper Hewitt, Smithsonian Design Museum

Anonymous Swiss printmaker
St. Moritz
ca. 1930
lithograph
Museum of Fine Arts, Boston

Georgi Vladimirovich Kibardin
Let's build a Fleet of Dirigibles in Lenin's Name
1931
lithograph
Museum of Fine Arts, Boston

Revolutionaries, 1929

Twelve years on, the beard that Lenin wore
Still sharpens revolutionary chins
To dagger-points held ready for the war
In which the outgunned proletarians
Will triumph thanks to these, their generals,
Whose rounded shoulders and round glasses say
That sedentary intellectuals
Raised in the bosom of the bourgeoisie
Can also learn to work – if not with hands,
Then with the liberated consciousness
That shrinks from nothing since it understands
What's coming has to come. The monuments
To which the future genuflects will bear
These faces, so intelligently stern,
Under whose revolutionary stare
Everything that is burnable must burn.

– Adam Kirsch (published in Poetry, 2013)

Robert Motherwell
Robert Motherwell (Gallerie der Spiegel, Cologne)
1962
exhibition poster
Philadelphia Museum of Art

Ian Hamilton Finlay
Poster Poem (Le Circus)
1964
screenprint
Tate Gallery

from The Circus

I remember when I wrote The Circus
I was living in Paris, or rather we were living in Paris
Janice, Frank was alive, the Whitney Museum
Was still on 8th Street, or was it still something else?
Fernand Léger lived in our building
Well it wasn't really our building it was the building we lived in
Next to a Grand Guignol troupe who made a lot of noise
So that one day I yelled through a hole in the wall
Of our apartment I don't know why there was a hole there
Shut up! And the voice came back to me saying something
I don't know what. Once I saw Léger walk out of the building
I think. Stanley Kunitz came to dinner. I wrote The Circus
In two tries, the first getting most of the first stanza;
That fall I also wrote an opera libretto called Louisa or Matilda.
Jean-Claude came to dinner. He said (about "cocktail sauce")
It should be good on something but not on these (oysters).
By that time I think I had already written The Circus . . .

– Kenneth Koch (published in The New York Review of Books, 1974)

Richard Hamilton
Photo-collage of snapshots of the Beatles (recto)
(poster included in The White Album)
1968
photo-lithograph
British Museum

Richard Hamilton
Photo-collage of snapshots of the Beatles (verso)
(poster included in The White Album)
1968
photo-lithograph
British Museum

Jenny Holzer
Inflammatory Essay
(exactly 100 words in 20 lines)
1979-82
lithograph
Tate Gallery

Jenny Holzer
Inflammatory Essays
(each has exactly 100 words in 20 lines)
1979-82
lithograph
Tate Gallery

Guerrilla Girls
It's Even Worse in Europe
1986
screenprint
Tate Gallery

from Trans-Europe-Express

Now nothing is born and dies anymore, in Europe.
The night trains run as in a
dark mushroom bed, immutable. We are awakened
by a metallic voice that announces: next stop in . . .

– Giuseppe Conte, translated by Lawrence Venuti (published in Poetry, 1989)

Richard Long
Watershed
1992
digital print
Tate Gallery

Julian Opie
Gary, popstar
1998-99
screenprint
Tate Gallery

David Shrigley
Untitled
2004
drawing
Tate Gallery

Thursday, October 18, 2018

Post-Millennial and Two-Dimensional (Tate Gallery)

Virginia Chihota
The Constant Search for Self
2013
monoprint, oil stick and ink on paper
Tate Gallery

Lynette Yiadom-Boakye
10pm Saturday
2012
oil paint on canvas
Tate Gallery

Lucy McKenzie
Side Entrance
2011
oil paint on canvas
Tate Gallery

Tala Madani
A with Wagon
2010
oil paint on panel
Tate Gallery

A Term

At the last minute a word is waiting
not heard that way before and not to be
repeated or ever be remembered
one that always had been a household word
used in speaking of the ordinary
everyday recurrences of living
not newly chosen or long considered
or a matter for comment afterward
who would ever have thought it was the one
saying itself from the beginning through
all its uses and circumstances to
utter at last that meaning of its own
for which it had long been the only word
though it seems now that any word would do

– W.S. Merwin, from The Pupil (Knopf, 2001)

Cathy Wilkes
Daddy Resting
2009
oil paint on canvas
Tate Gallery

Gary Hume
Red Barn Door
2008
enamel paint on aluminum
Tate Gallery

Robert Mangold
Column Structure II
2006
acrylic paint on canvas
Tate Gallery

Gillian Carnegie
Thirteen
2006
oil paint on board
Tate Gallery

Gerhard Richter
Abstract Painting (Skin) (887-3)
2004
oil paint on canvas
Tate Gallery

Sigmar Polke
Untitled (Triptych)
2002
polyester resin and acrylic paint on fabric
Tate Gallery

A Penitence

The joints within you
still won't dance.
Why the intense outcome?

Diamonds for every budget
customize tattered spaces.
It's nothing more, nor less,
than a seeming apocalypse:
air filled with air.

Someone will come along
to take care of you,
polish the millions of you
talking slang, happy as a zoo.
And it was so nice,
these leg warmers,
or a casual fugue.

Someday it will be as it is remembered.
Hurry, interesting life.

– John Ashbery, from Planisphere (Ecco, 2009)

Paul Feiler
Janicon LXII
2002
oil paint on canvas
Tate Gallery

Howard Hodgkin
Seafood
2001
etching, aquatint and carborundum on paper
Tate Gallery

Howard Hodgkin
Tears Idle Tears
2001
etching, aquatint and carborundum on paper
Tate Gallery

Jock McFadyen
Purfleet: from Dracula's Garden
2001
oil paint on canvas
Tate Gallery