Hilma af Klint (1862 – 1944) was a Swedish artist and mystic whose paintings were among the first abstract art. af Klint often incorporated insights gleaned from color theory in her paintings, while endowing colors with unique symbolic significances. In The Dove(1915), a group that depicts the creation of matter from light, she used a combination that reoccurs in much of her work: blue and yellow. In the artist’s symbolic vocabulary, blue represents the female, and yellow stands for the male. Though the gendering of these colors was was specific to af Klint, that belief that these two colors represent an essential dichotomy likely derived from Johannn Wolfgang von Geothe’sTheory of Colors (1810), a book found in af Klint’s library.
In Goethe’s theory, colors are made by the mixture of flight and shadow, with blue emerging from the darkness and yellow from the dulling of light; green was their harmonious union. Geothe further claimed that colors were associated with human qualities, aligning blue with baseness and gloom, and yellow with goodness. Though af Klint frequently began groups with this color pairing, the works regularly give way to a spectrum of color
Photographed in the Guggenheim Museum as Part of the Exhibit, Hilma af Klint: Paintings for the Future, On View Through April 23rd, 2019.
Euro-American traditions of landscape art tend to work differently from those of Native peoples, often picturing the land from afar as a space to behold. James Doolin (1932 – 2002) carefully studied the landscape to create Bridges (1989), spending a week at the off-ramp from the 110 Freeway to Interstate 5 in Los Angeles. Using principles that originated in European painting, Doolin designed an expansive vista in which a vast space is seen from a single vantage point. The small figure in the foreground — intended as a stand-in for the artist or viewer — also appears in many traditional landscape paintings. By applying these motifs to 20th Century Los Angeles, Doolin refers to the power of historical images in shaping our modern experience of place.
Photographed in the Autry Museum of the American West in Los Angeles.
Over the course of a career that stretched from the 1920s to the 1980s, Alice Neel painted portraits of hundreds of friends, family members, lovers, artists art historians, writers, and political activists, believing that “people are the greatest and profoundest key to an era.” Seeking to express psychology above absolute physical likeness, she often used exaggerated colors and expressive brushstrokes and eliminated extraneous details in order to capture the inner lives of her subjects.
Neel was a longtime supporter of leftist causes. In the painting of Pat Whalen (1935), she depicts the Communist activist and union organizer for the longshoremen of Baltimore as a paragon of social justice. Whalen’s creased face and expression — along with a copy of the Daily Worker, the official newspaper of the Communist Party USA, resting beneath his large, clenched — suggest both a noble archetype of the blue-collar worker and an all-consuming commitment to the working man’s cause.
Paying attention all the time is an interesting way to go through life, but you never know what you might find lurking inside of a derelict Fire Alarm Box. This painted plaster cast of a smiling face and hands is the work of street artist Gregos, who really gets around. You can see additional examples of Gregos‘ artworks which were also spotted by me in downtown Manhattan at This Link!
Photographed on the Southwest Corner of 18th Street and 6th Avenue (Across the Street from the Container Store) in Manhattan.
Wayne Thiebaud’s interest in investigating the properties of each medium lead him to create a series of works of the same subject using different techniques. In the pictured watercolor of Nine Jelly Apples (1964) he used a wide range of pink and purple hues to suggest the luminous surface of the confection. In the black ink version, he relied instead on the vivid dark and light contrast to emphasize shininess. In the pencil version, however, the exacting precision suggests the brittle surface of hardened sugar.
If you haven’t yet discovered the coolest hotel in downtown NYC — also know as the citizenM Hotel located at 185 Bowery — then you need to head over there and have a cocktail or three in their immersive, in-house Museum of Street Art (MOSA). Intended as a tribute to the late, great 5 Pointz, 20 artists were commissioned to create the artworks that line the walls of hotel’s lobby/cafe, extending across 21 stories of the 300-room hotel’s stairwell, and even out into the public plaza in the front of the building, which is where I spotted this Hot Pink Mannequin Torso covered with names of famous cosmopolitan cities. I don’t know whose work this is , but maybe he or she will see this post and claim credit for this fun and provocative piece!
Magnet TV (1965) is an early example of Nam June Paik’s“Prepared Televisions,” works in which he altered the television’s image or its physical casing. This work consists of a seventeen-inch, black and white set with an industrial-size magnet resting on top of it. The magnetic field interferes with the television’s reception of electronic signals, distorting the picture into an abstract form that changes when the magnet is moved.
Paik’s radical action undermines the seemingly inviolable power of broadcast television by transforming the TV set into sculpture, one whose moving image is created by chance, and can be manipulated at will. Through his alteration of the television image, Paik challenged the notion of the art object as a self-contained entity and established a process of instant feedback, whereby the viewer’s actions have a direct effect on the form and meaning of the work.
Photographed in The Whitney Museum of American Art in NYC.