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.
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.
This holiday season, Hugo Boss joins forces with artist Jeremyville on a new capsule collection and campaign. Sleek Boss design collides with playful Jeremyville artwork in a limited-edition collection, featuring a cityscape inhabited by a unique cast of characters. Jeremyville’s adorable abstract characters — most notably the artist’s iconic Pink Bunny — also infiltrate the store’s front window and interior displays.
Photographed at The Shops at Columbus Circle in the Time Warner Center in Manhattan, New York City.
Dorothy Iannone is a Berlin-based artist whose works focus on eroticism and the female sexual experience. Inspired by Egyptian frescoes, Byzantine mosaics, and ancient fertility statues, Iannone depicts the act of lovemaking not as an act of taboo, but rather as an act of spiritual union and transcendence. While now commonly lauded as transgressive and radical, her work, which often portrays her love affair with the late artist Dieter Roth, has been subject to frequent censorship since the 1960s. Iannone and Roth began creating work side-by-side after Iannone moved to Europe in 1967, and the two artists influenced each other’s works greatly for almost a decade. Overlooked for much of her career, Iannone’s magnetic and highly influential work finally began to receive widespread recognition in the late 2000s.
For the High Line, Iannone created a new, large-scale mural installation featuring three colorful Statues of Liberty. Between them runs the words, “I Lift My Lamp Beside the Golden Door,” which is the final line from Emma Lazarus’s poem The New Colossus, the ode to the freedom promised by immigration to America engraved on a bronze plaque mounted inside the statue at Liberty Island. Iannone’s piece was conceived before the recent months of upheaval in the United States around immigration, an already contested topic; these recent debates have raised the Statue of Liberty anew as a symbol of the openness of New York City and the United States to those seeking asylum, freedom, or simply a better life. Iannone’s vibrant Liberties bring a bit of joy to an often exhausting and demoralizing political debate.
Dorothy Iannone’s I Lift My Lamp Beside the Golden Door Will Be On Display on the High Line at 22nd Street Through March 2019.