Since all of my paintings—almost every single one except for the figure paintings—are done from memory, I rely specifically on the memory of working in restaurants, or of visiting farms on which I worked as a young person. I try to recall the look and feel and love of what I have experienced.
At ninety-nine, Wayne Thiebaud—one of America’s greatest painters, and certainly its premier painter of food—is still going strong. This is Thiebaud’s ninth cover for the magazine, and it riffs on one of his previous paintings, an image of a turkey that he started in 2009. A sharp viewer might pick out the added details and embellishments, but more striking, perhaps, are the Thiebaud hallmarks that remain the same: soft light, clear color, a blue shadow pooling around a plate. We recently called Thiebaud at his home, in Sacramento, to talk about his work.
The artist incorporates an array of art historical scenes such as John Martin’s English-Romantic apocalypses and Edouard Manet’s Luncheon on the Grass with ubiquitous imagery sourced from the Internet. The highly rendered areas in her paintings resemble a cascade of Google image search results where cellphone photos of skylines and gardens slide past gestural marks.
Shulamit Nazarian is pleased to present Strange Little Beast, a solo exhibition of new works by Los Angeles-based painter Annie Lapin. This will be the artist’s first solo exhibition with the gallery.
Annie Lapin’s paintings call attention to the human desire for meaning making–our effort to create order out of chaos. In Strange Little Beast, Lapin’s paintings use her interest in art history, perception, and the materiality of painting itself to examine the role of digital technology and narrative building in our contemporary moment.
The Denver Art Museum will celebrate famed French Impressionist Claude Monet’s birthday on November 14, 2019, in conjunction with the exhibition Claude Monet: The Truth of Nature. The DAM will celebrate the artist’s 179th birthday with cake, the launch of the DAM’s first-ever podcast titled Beyond Monet, the reveal of a Monet-inspired painting by local artist Ashley Joon, a special Art & About program dedicated to Monet’s birthday, and a surprise Monet-themed gift bag for one lucky visitor.
Born in Paris on November 14, 1840, Claude Monet was a prolific painter and founder of the French Impressionist movement, bridging the gap between the artistic movements of the 19th century and the modernized art world of the 20th century. Monet lived a long life and had an extensive artistic career that spanned nearly 70 years. In the Monet exhibition, visitors can see more than 120 works by Monet, including the first painting Monet ever exhibited when he was just 18 years old, along with some of his very last paintings.
Original Music and Sound Design: Ambrose Yu
Executive Producer: Soo-Jeong Kang
Senior Producer: Yara Bishara
Senior Editor: Brian Redondo
Producer: Sara Joe Wolansky
Audio Engineer: Jill Du Boff
“I was recently commissioned by The New Yorker to direct, design, and animate a pilot series of three animated visual essays.
“I know there’s a spiritual aspect to everybody’s life, whether they want to cop to it or not,” he said at one point. “It’s there, you can feel it in people—there’s some recognition that there is a reality that they cannot penetrate but which influences their mood and activity. So that’s operating. . . . Sometimes it’s just, like, ‘You are losing too much weight, Leonard. You’re dying, but you don’t have to coöperate enthusiastically with the process.’ Force yourself to have a sandwich.”
Leonard Cohen (1934 – 2016)
The first film features the great Leonard Cohen as he reflects on death and preparing for the end. The initial interview, by David Remnick, was recorded at Cohen’s home in Los Angeles a month before he passed away.”
Two-time Rock and Roll Hall of Fame inductee Graham Nash has hits aplenty spanning his nearly six-decade career. But the 77-year-old singer-songwriter recently chose to perform a special run of shows featuring his lesser-known first two solo albums in their entirety, which together describe a crucial chapter in his personal and artistic life. Tom Casciato recently spoke to Nash to learn more.
We conclude that Pollock avoided the appearance of the hydrodynamic instabilities, contrary to what was argued by previous studies. Pollock selected the physical properties of the paint to prevent filament fragmentation before deposition, and applied it while moving his hand sufficiently fast and at certain heights to avoid fluid filaments from coiling into themselves. An understanding of the physical conditions at which these patterns were created is important to further art research and it can be used as a tool in the authentication of paintings.
Considered one of the most prominent American painters of the 20th century, the life and work of Jackson Pollock have been the subject of books, movies, and documentaries [1–3]. His paintings can be broadly categorized as being abstract-expressionist. Although his painting style evolved during his sometimes tormented life, the so-called ‘dripping’ technique is certainly the most widely recognized both by experts and the general public.
Jackson Pollock described the technique himself . In summary, Pollock would lay a canvas horizontally and pour paint on top of it, in a controlled manner. To regulate the flow of paint, he either used an instrument (a stick, knife or a brush), poured it directly from a can and in some instances he also used a syringe. Viscous fluid filaments were produced and laid over the canvas while ‘rhythmically moving’ around it. It is believed that Pollock developed this technique strongly influenced by an experimental painting workshop, organized in New York by Mexican muralist David Alfaro Siqueiros in 1936 . Interestingly, Siqueiros himself also developed the ‘accidental painting’ technique during this workshop, which was recently analyzed by Zetina et al. .
Fradon’s elaborate drawings were generous masterpieces of compressed fun. One carefully detailed illustration, published in 1987, depicts a chauffeured convertible making its way up a manicured, tree-lined drive, toward an extravagant hilltop mansion. The self-satisfied owner, seated in the rear seat, says to his companion, “It’s my one indulgence.”
Dana Fradon, a New Yorker cartoonist who died on October 3rd, at the age of ninety-seven, was the last of the magazine’s legendary artists who were brought to its pages by Harold Ross. Fradon, starting in 1948, contributed almost fourteen hundred finely honed drawings of mirth and satire. The surprising stories and frozen moments in his work entertained and delighted readers for decades.