Born in New York to German American musicians, Lyonel Charles Feininger (1871 – 1956) travelled to Germany in 1887, and remained in Europe for several years to study art. While in Paris, he encountered Cubism and embraced its rationality and abstraction of form and space. “Cubism is a synthesis,” the painter explained, “but it may be degraded into mechanism. My Cubism is visionary, not physical.”
Feininger most famously applied his visionary style to architectural subjects that resonated with metaphysical meaning, especially churches. Here, the artist depicts the village church of Lehnstedt(1917) and its wooded environs with his characteristic crystalline and refracted forms.
Photographed in the Metropolitan Museum of Art in NYC.
Kanye West is a person who embodies everything that is pathetic and sad about pop culture. The fact that he is married to a Kardashian sister and worships Dump makes him even more repugnant to me. I don’t really see how he has fans, but there is no accounting for taste. This mural by street artist Sac Six portrays West as Saint Sebastian.The mural is excellent, but Kanye is a pathetic loser whose only talent is for shameless self promotion. Yawn City. Please stop making this man famous.
By depicting a young maiden meeting the personification of death, Austrian painter Marianne Stokes (1855 – 1927) was drawing on medieval and Renaissance prototypes. Stokes cast a genderless angel as Death. The angel’s lantern and outstretched hand, its wing that enfolds the girl, and the newly fallen blossoms that litter the bedroom floor give this depiction of a girl’s imminent passing its poignant, quiet horror.
Photographed as Part of The Exhibit Women Artists In Paris, on View Through September 3rd, 2018 at The Clark Institute, Located in Williamstown, Massachusetts.
Philadelphia has no shortage of impressive public artworks and engaging street art scattered all over the city, and it’s fun to spend a day just wandering the different neighborhoods and checking it all out if you happen be visiting. Most notably, the city is also home to four large-scale public sculptures by legendary Pop artist Claes Oldenburg — more than any other city in the world. I happened to walk by one of those iconic Oldenburg works — a 51-foot high Paint Brush sculpture entitled Paint Torch, and its accompanying 6-foot Red Paint Blob located just below it on the sidewalk — when was in Philly on a recent weekend. Paint Torch was installed on the Pennsylvania Academy of the Fine Arts (PAFA) Lenfest Plaza on August 20th, 2011.
Paint Torch Can be Viewed Up Close at 118-128 N. Broad Street, just across the Street from the Pennsylvania Convention Center in Philadelphia.
Nicole Eisenman (b. 1965) paints the human figure — including friends, and literary or historical figures — narrative scenes and allegories. She often touches on the topics of queer identity, feminism, and the complexities of family and friends. Her style is intimate and tender, yet infused with wry humor. Seder (2010) presents a familiar holiday scene rendered with comic aplomb. The perspective of the viewer (and artist) is from the head of the table, the best vantage point to witness the tensions gathered around the traditional Passover ceremony; children and adults are both attentive and bored, with expressions ranging from grotesque and distorted to charming and affectionate.
In line with other surrealist artists’ engagements with the ready-made, Wilhelm Freddie’sobjets-mannequins, such as Sex-Paralysappeal (1936, shown here as a 1961 artist’s copy) were scandalous in their day for their explicit references to sex. With a prominently painted penis, both the 1936 and 1961 versions of this work were confiscated by the Danish authorities soon after they were exhibited.
In Sex-Paralysappeal, Freddie transforms the classical bust into a surrealist object by treating it like a mannequin head and adorning it with various accessories. Placing the head inside an incomplete picture frame, he indicates the desire for the image to become dimensional, more lifelike. The work’s composite title vacillates between sex appeal and paralysis, amplifying the incongruity of its constituent elements.
Photographed in The Met Breuer as Part of the Exhibit, Like Life: Sculpture Color and The Body.