Process https://t.co/ZzmHjqOpmk pic.twitter.com/MTkN1v4uvL
— Paul Heaston (@paulheaston) March 26, 2022
Category Archives: Art
Watercolor Artists: Liam O’Farrell’s ‘London Views’
I like to get in front of my subjects “en plein air” if I can. Even in my allotment pictures (which are partly from imagination) the core elements are taken from real allotments. Working on site you get so much more from what you are trying to capture, I also get to chat to passersby who feed into my work with their rich stories and conversation. For me working purely in the studio would be like painting through a letter box.
In regards to perspective, the early part of my career was drawing and airbrushing full 3D cutaways of fighters and ships for the MoD so I know a fair bit about getting perspective right if I need to.
Accurate perspective however is all well and good, although in creative terms it can only deliver so much. I tend to adjust and push things about until it feels right. If that means geometric perspective is abandoned then that’s fine. It’s all about the overall impression.
Reviews: ‘The Week In Art’
We talk to Max Hollein, director of the Metropolitan Museum of Art, about the new plans for the museum’s wing of modern and contemporary art, including the appointment of the architect Frida Escobedo in place of David Chipperfield.
As The Art Newspaper is about to publish its annual museum attendance survey, showing that visitors are beginning slowly to return to museums after the height of the pandemic, we ask Hollein how the vision for the museum has changed following the events of the past two years. Plus, Aimee Dawson talks to the curator Sam Bardaouil about the exhibition Beirut and the Golden Sixties: A Manifesto of Fragility at the Gropius Bau in Berlin. And in this episode’s Work of the Week, as the Menil Collection in Houston, Texas, opens a major Meret Oppenheim survey, the show’s curator Natalie Dupecher discusses Oppenheim’s Surrealist object Ma gouvernante – My Nurse – Mein Kindermädchen (1936): a pair of white heels on a silver platter, trussed like a chicken.
The Art Newspaper’s visitor attendance survey is in the April print edition, and online next week at theartnewspaper.com, or on our app for iOS and Android, which you can get from the App Store or Google Play.
Beirut and the Golden Sixties: A Manifesto of Fragility, Gropius Bau, Berlin, until 12 June.
Meret Oppenheim: My Exhibition, Menil Collection, Houston, until 18 September; Museum of Modern Art, New York, 30 October-4 March 2023
Covers: The New Criterion Magazine – April 2022
Museum Tour: Pinault Collection In Paris (4K)
A major figure on the contemporary art scene, American sculptor Charles Ray (b. 1953) opens the cultural programme of the 2022, with an exhibition running until the spring.
Reviews: ‘The Week In Art’
Donatello in Florence, the Biennale of Sydney and Eduardo Navarro’s seed installation.
This week, as the Palazzo Strozzi and Museo Nazionale del Bargello in Florence present a survey of Donatello, one of the greatest of all Italian Renaissance masters, we talk to Arturo Galansino, the Strozzi’s Director General, and Paola D’Agostino, Director of the Bargello museum, about the show. The Biennale of Sydney in Australia has just opened, with the theme of rīvus, meaning stream in Latin. José Roca, the Biennale’s artistic director, and Alessandro Pelizzon, co-founder of the Global Alliance for the Rights of Nature, discuss the Biennale’s concept, bringing rivers and other “aqueous beings”, as Roca and his curatorial colleagues call them, into dialogue with artists, architects, designers, scientists, and communities. What does it mean if you grant rivers and other natural forms rights? And this episode’s Work of the Week also explores nature, ecology and the relationship between humans and natural phenomena. We speak to curator Bárbara Rodriguez Muñoz about The Photosynthetics, an installation by Eduardo Navarro in Rooted Beings, the latest exhibition at London’s Wellcome Collection.
Donatello: The Renaissance, Fondazione Palazzo Strozzi and the Museo Nazionale del Bargello in Florence, 19 March-31 July. Gemäldegalerie, Berlin, 2 September-8 January 2023. The Victoria and Albert Museum in London will stage its variation of the exhibition in 2023
The Biennale of Sydney: Rīvus continues until 13 June. And José and Alessandro will take part in a panel discussion on 10 May titled Reclaiming Rivers’ Rights. Find out more at biennaleofsydney.art
Rooted Beings, Wellcome Collection, London, 24 March-29 August
Art History: ‘Poussin And The Dance’ (The Getty)
“One of the hopes of this exhibition was really to try to enlist visitors’ bodily experience in their understanding of these works of art that can sometimes seem a little bit like they live entirely in our heads, a little bit intellectualized.”
Although Nicolas Poussin is widely regarded as the most influential painter of the 17th century—the father of French classicism—he is not as well-known as many of his contemporaries, such as Rembrandt, Rubens, and Caravaggio. This is due, in part, to Poussin’s austere painting style and erudite subject matter, which often came from Roman history or the Bible. As a result, his work can sometimes feel a bit cold or remote to today’s audiences.
But earlier in his career, Poussin was inspired by dance. His paintings of wild revelry, filled with dancing satyrs and nymphs, emerged as his signature genre from that time. Poussin and the Dance, organized by the Getty Museum and the National Gallery in London, is the first exhibition to explore the theme of dance in Poussin’s work. By supplementing his delightful dancing pictures with new dance films by Los Angeles–based choreographers—this unique exhibition invites viewers into the world of Poussin in a fresh, relatable way.
In this episode, Emily Beeny, curator in charge of European paintings at the Fine Arts Museums of San Francisco and curator of Poussin and the Dance, joins Sarah Cooper, public programs specialist at the Getty, to delve into Poussin’s process and love of dance.
The exhibition, which received generous support from the Leonetti/O’Connell Family Foundation and is sponsored by City National Bank, is on view at the Getty Center through May 8, 2022.
Views: Jennifer Packer – ‘The Eye Is Not Satisfied With Seeing’ (Whitney)
Join Jane Panetta, the Nancy and Fred Poses Curator and Director of the Collection, as she discusses key works from Jennifer Packer’s exhibition of paintings and drawings.
Jennifer Packer is an American painter living and working in New York City. In 2020, she won the Hermitage Greenfield Prize and the Rome Prize. Packer won the Rome Prize at the American Academy in Rome 2020-2021.
Jennifer Packer: The Eye Is Not Satisfied With Seeing was initiated by Serpentine and curated by Melissa Blanchflower, Curator, Exhibitions and Public Art with Natalia Grabowska, Assistant Curator. The presentation at the Whitney is organized by Rujeko Hockley, Arnhold Associate Curator, and Jane Panetta, Nancy and Fred Poses Curator and Director of the Collection, with Ambika Trasi, Curatorial Assistant.
Art: Rembrandt Drawings At The Morgan Library
Take a closer look at three touching, humanist drawings by Rembrandt (1606 –1669) in the Morgan’s collection. John Pierpont Morgan loved Rembrandt. He owned 500 prints by Rembrandt, and in 1909 acquired his first drawings by the artist. Today, the Morgan has about 23 drawings in the collection by Rembrandt. A master of the European Baroque, Rembrandt’s paintings are often of grand themes. In his drawings, there is an intimacy and affection that has endeared him to generations of viewers. Listen to Colin B. Bailey, Director of the Morgan, as he shares his perspective on Rembrandt’s facility, creativity, and mastery.
Artists: Thao Nguyen Phan – ‘My Reflections On The History Of Vietnam’ (Tate)
Step inside the studio of artist Thao Nguyen Phan and discover her mesmerising, poetic work. Through video, paintings and sculpture, Phan explores the historical and ecological issues facing her homeland Vietnam, while speaking to broader ideas around tradition, ideology, ritual and environmental change.
Her recent projects have expanded on ‘the beauty and suffering’ of the Mekong River, which runs through Tibet, China, Myanmar, Thailand, Laos and Cambodia before meeting the sea on the coast of Vietnam. Phan’s latest moving image work First Rain, Brise Soleil continues this exploration of the Mekong, proposing a new way of being that draws on indigenous knowledge and respect for the ecosystem.
You can see Phan’s artworks on display at Tate St Ives until 2 May 2022 https://www.tate.org.uk/whats-on/tate…
Boomers Daily 