Photo By Gail
Abstract, geometric representations of colorful flowers from the rose and carnation families exemplify an interest in floral and decorative patterns in Beatriz Milhazes’ painting, The Carnation and The Rose (2000). The large circular flower in the background is inspired by the delicate lacelike designs of crochet cloths she saw in her grandmother’s home as a child.
Continue reading Modern Art Monday Presents: The Carnation and The Rose By Beatriz Milhazes
Photo By Gail
Writing about Alex Katz’s work, Frank O’Hara identified his wife Ada’s complex role in her husbands iconography: “the heads and figures of Ada give this beautiful woman, through his interest in schema, a role as abstract as that of Helen of Troy; she is a presence and at the same time a pictorial conceit of style.”
Continue reading Modern Art Monday Presents: Alex Katz, The Black Dress
Ellsworth Kelly’s Colors for a Large Wall, with Fan, at MoMA (All Photos By Gail)
Confession: I am obsessive about taking photographs of art that includes no people in the frame. To achieve this goal requires great patience. There is no telling how long you will need to wait for one or more endlessly dawdling, selfie-snapping, oblivious art fans to GTF out of your way so you can get the shot. It is a character-builder, for sure.
Continue reading More Spy Pics of People Looking at Art
Photo By Gail
For Me as Warhol in Drag with Scar (2010) Gillian Wearing combined elements from two famous photo shoots of artist Andy Warhol (1928 – 1987): a 1981image of the artist in drag by Christopher Makos, and a visceral 1968 shot by Richard Avedon of Warhol displaying the freshly healed wounds to his torso resulting from a recent attempt on his life
Continue reading Modern Art Monday Presents: Gillian Wearing, Me as Warhol in Drag with Scar
Photo By Gail
Located near the Champs–Élysées, the city’s fame tree-lined avenue, Jardin de Paris (1901) was the summer location of the historic dance hall Le Moulin Rouge. A young Pablo Picasso pursued commercial work to sustain a living and produced this design as a speculative bid. The venue’s Catalan manager, Josep Oller, however, did not purchase it. Both the imagery and the style recall that of the iconic Montmartre artist of the 1890s, Henri de Toulouse-Lautrec, whose work Picasso emulated. Continue reading Modern Art Monday Presents: Pablo Picasso, Jardin de Paris