Tag Archive | artist

Modern Art Monday Presents: Remedios Varo, The Juggler (The Magician)

Remedios Varo The Juggler By Gail Worley
Photo By Gail

In Remedios Varo’s The Juggler (The Magician) 1956, the titular juggler (or magician) stands on a platform of a carnivalesque cart filled with fantastical objects and animals.  He performs before seemingly identical figures robed in a single gray cloak. To produce this composition, Varo worked in the manner of early Renaissance masters; she transposed preparatory drawings onto a a gesso-primed panel which had been scratched to give it texture. She also deployed decalomania, a technique favored by the Surrealists in which materials such as paper or aluminum foil are pressed onto wet paint to transfer a pattern that may be embellished. Its atmospheric effects can be seen in the magician’s garments and in the background trees.

Photographed in the Museum of Modern Art in NYC.

Shai Dahan’s Red Dala Horse Mural on Broome Street

Shai Dahan Red Dala Horse By Gail Worley
All Photos By Gail

It’s been months since we had a lovely, sunny weekend day in Manhattan where I wasn’t also otherwise occupied with a trade show or a museum visit, or some other plan that was going to keep me indoors all day. But this past weekend we enjoyed enough good outdoor weather to venture out on an Urban Art Safari, and that’s just what I did!

Shai Dahan Red Dala Horse By Gail Worley

As I turned onto Broome Street, walking west near the corner of Forsyth, I spotted this fantastic, Bright Red Horse which towers up five stories of a six story mixed-use building. A bit of Googling revealed that the artist, Shai Dahan (whose name is clearly visible at the top right corner of the mural) painted the horse in October of 2019 as a gift to NYC, his former home. Dahan currently lives in Sweden.

Shai Dahan Red Dala Horse By Gail Worley

This particular Red Horse is modeled after the Dala Horse of Sweden.

Shai Dahan Red Dala Horse By Gail Worley

You can read more about the artist and this fantastic Red Horse in a Q&A with Brooklyn Street Art located at This Link.

Modern Art Monday Presents: Maria Freire, Untitled (1954)

Maria Freire Untitled 1954 By Gail Worley
Photo By Gail

“At the start of the fifties, Uruguayan artist Maria Freire (19172015) recalled, “I abandoned figuration for the perspective of the imagination, anxious to create a new space.” To develop her own style of abstraction, she initially experimented with sculpture, creating virtual volumes through a single, dynamic line. Complex spatial effects also characterize her abstract paintings, such as this Untitled piece from 1954. Though free of perspective, Freire’s painted interwoven forms seem to recede, even dance, in an ambiguous space in tension with the painting’s flat surface.

Photographed in the Museum of Modern Art in NYC.

Modern Art Monday Presents: Joseph Cornell, Taglioni’s Jewel Casket

Joseph Cornell Taglionis Jewel Casket By Gail Worley
All Photos By Gail

The first of dozens of boxes Joseph Cornell made in honor of famous ballerinas, Taglioni’s Jewel Casket (year) pays homage to Marie Taglioni, an acclaimed 19th-century Italian dancer. According to legend, Taglioni kept an imitation ice cube in her jewelry box to commemorate dancing in the snow at the behest of a Russian highwayman (a traveling thief). The box is infused with erotic undertones — both in the tactile nature of the materials (glass cubes, velvet, and a rhinestone necklace purchased at a Woolworth’s dime store in New York) and in the incident itself, in which Taglioni reportedly performed on an animal skin placed across the snowy road.

Joseph Cornell Taglionis Jewel Casket Photo By Gail Worley

Although he spent his entire artistic career living and working in Queens, New York, Cornell drew inspiration from the European art he saw at the Julien Levy Gallery — the first in the United States to exhibit Surrealist work — and he often inspired the European Surrealists in turn. In a press release for a 1939 exhibition of Cornell’s work at the Levy Gallery, Salvador Dalí heralded it as “the only truly Surrealist work to be found in America.”

Joseph Cornell Taglionis Jewel Casket By Gail Worley

Photographed in the Museum of Modern Art in New York City.

Modern Art Monday Presents: John Kane, Self Portrait

John Kane Self Portrait
Photo By Gail

While Self Portrait (1929) realistically depicts John Kane’s body in his late sixties — detailing his veins, chest hair and wrinkles — it is also an object of decorative display, with a frame painted around the canvas edges and arches defining the figure’s head. Rendered in muted colors, the bare-chested artist faces his viewers against a stark background, recalling classic self-portraits and images of Christ. Kane explained, “Chiefly, I am impressed with the works of the old masters. These I cannot study enough.” Working by day as a laborer, Kane could not attend formal art classes, but he devoted much of his spare time to studying and practical painting.

Photographed in the Museum of Modern Art in NYC.

Modern Art Monday Presents: Yellow Quadrangle By Rhod Rothfuss

Yellow Quadrangle
Photo By Gail

“A painting should be something that begins and ends in itself,” Rhod Rothfuss wrote.  With this cut-out frame, the artist put his principle into practice: in Yellow Quadrangle (Cuadrilongo Amarillo, 1955) the slender yellow rectangle on the left juts out, and the support takes on the shape of the painting itself . While his work was indebted to that of Joaquin Torres-Garcia and to European abstract artists such as Mondrian, Tothfuss was also influenced by vernacular practices. The alkyd resin present in this work was also used by the artist to create floats for carnival parades in his native Montevideo.

Photographed in the Museum of Modern Art in NYC.

Rose III By Isa Genzken

Rose III By Isa Genzken
All Photos By Gail

It’s so hard to see all of the beautiful things there are to seen NYC; especially when you don’t even know what you’re missing. It can take going just a few blocks out of your way by complete accident to discover a breathtaking work of public art that’s already been in that location for a year or more. And you never would have seen it if you didn’t have to get a new iPhone battery at the Apple Store located in the Oculus mall adjacent to the World Trade Center. These were the circumstances that brought me face-to-face with German artist Isa Genzken’s monumental sculpture, Rose III, which was erected in lower Manhattan’s Zuccotti Park in September of 2018.

Rose III By Isa Genzken

Standing at a height of 26-feet, Rose III is forged from painted steel and is on long-term loan to Brookfield Properties, which owns the park. Genzken, who is known for capturing the fragility and impermanence of roses in her public sculptures, rendered a Yellow Rose that was based on an actual rose she picked and developed for production, in Switzerland.

Rose III By Isa Genzken

Ric Clark, senior managing partner and chairman of Brookfield Properties, has praised Genzken’s sculpture as being a “captivating addition to Zuccotti Park and the landscape of lower Manhattan.” It certainly is a fantastic subject to photograph with the nearly endless perspectives and dramatic backdrops created by the panorama of high-rise buildings surrounding the park.

Rose III By Isa Genzken

It’s completely surreal. Manhattan’s iconic skyline is said to have inspired Genzken’s work, as many of her sculptures stand tall and narrow. Some of her other notable works have been installed throughout Manhattan. One that I am very familiar with, Rose II (2007) is installed at the Museum of Modern Art, where it is part of the museum’s Abby Aldrich Rockefeller Sculpture Garden.

Rose III By Isa Genzken

“The Rose is both an homage to a city that Genzken knows and loves, and a strong statement for unity and equality that every passer-by in this city of millions can enjoy,” said Laura Hoptman, a curator who organized the installation of Rose II at MoMA. “It is a simultaneously a reflection of the empathy of the artist as well as the humanity of its spectators. Like all great art is.”

Rose III By Isa Genzken

Modern Art Monday Presents: Francis Bacon, Painting

Painting By Francis Bacon
Photo By Gail

Created in the aftermath of World War II, Painting (1946) is likely a veiled portrait of Neville Chamberlain, the British prime minister who often carried an umbrella and has gone down in history for his policy of accommodation of the Nazi regime. His dark suit is punctuated by a bright yellow boutonniere, yet his bared teeth and concealed gaze suggest brutality. This sense of menace is accentuated by the cow carcasses suspended behind him. The drawn window shades evoke those found in a widely circulated photograph of Hitler’s bunker, an image that Francis Bacon included in mulipleworks. Bacon claimed that this work was an accident; he had originally set out to paint a bird descending onto a field.

Photographed in the Museum of Modern Art in NYC.

Modern Art Monday Presents: Jacques Villegle, 122 Rue Du Temple

122 Rue Du Temple
Photo By Gail

122 Rue Du Temple is the Paris address from which artist Jacques Villegle detached many of the movie posters and political notices that he used to make this work in 1968. After tearing fragments of the original images, he pasted these passages of color, text, and image into a chance composition. Many of the fliers used here announced the city’s May 1968 student and worker demonstrations, and the artist considered the people who had posted them to be his collaborators, understanding their use of advertising billboards as a precursor for his process.

Photographed in the Museum of Modern Art in NYC

John Mosler’s First Large Scale Sculpture Decusatio Now On View Outside The Norwood Club!

Decusation by John Mosler
All Photos By Gail

Brooklyn-based artist John Mosler’s first large-scale outdoor sculpture, Decusatio – meaning Intersection in Latin – is now installed on the terrace at Norwood, the historic townhouse and private members club at 241 West 14th Street. The figurative work was informed by its 14th Street location which, for many, has come to serve as a delineation point between uptown and downtown.

Placed on the balcony, Decusatio is hard to miss; rising over eight feet tall, and painted in a vibrant yellow hue. The work offers a conceptual framework that is intended to respect and enhance the Club and its history, while simultaneously connecting to the location, activity and history in the surrounding area.

Decusation Sculpture

Decusatio’s placement required innovative technical and engineering applications by the artist to ensure it was light enough to be easily placed on a metal balcony, while also durable enough to withstand the outdoor elements.  Mosler offers, “The figurative over tone and the bright yellow color is intended to capture the intersection of humanity and the vibrant human interaction in the surrounding physical environment.”

Decusation Close Up

Martin Kesselman, color influencer and owner of INCOLOUR, worked with Mosler on finding the right hue. “Yellow tends to be perceived in many different ways, more so than other colors,” he explains. “We wanted to stay clear of a frosty cast, one that may veer green. Natural exterior light can play some trickery, so we had to walk that warm and cool fine line.”

Norwood Club Exterior

About Norwood:

The Andrew Norwood House is an elegant urban residence designed in a transitional style which combines Greek revival and italianate features. A remarkably preserved slice of early Victorian architecture and lifestyle – both inside and out; the House is listed on both the National Register of Historic Places and the New York City Landmarks Preservation Commission.In 2007 Alan Linn opened Norwood Club, a bustling five-story club with more than 1,100 members ranging from 21 to 80 years old. Its ranks include architects, artists, fashion designers, musicians, media moguls, and art collectors.

Decusation at Night