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
Between 1959 and 1960 Gego (Gertrude Goldschmidt) and her partner Gerd Leufert spent a year in the United States. While in Iowa Gego created this three-dimensional work, titled Sphere (1959). The sculpture epitomizes her investigation of “Lineus Paraleles“ (parallel lines). Continue reading Modern Art Monday Presents: Gego, Sphere
Nick Cave is an American artist, educator, and messenger working between the visual and performing arts through a wide range of mediums including sculpture, installation, and performance. Cave is well known for his Soundsuits, sculptural forms based on the scale of his body, initially created in direct response to the LA police beating of Rodney King in 1991. Soundsuits camouflage the body, masking and creating a second skin that conceals race, gender and class, forcing the viewer to look without judgement. They serve as a visual embodiment of social justice that represents both brutality and empowerment.
Continue reading Eye On Design: Soundsuit #2 China Plate By Nick Cave
Nick Cave‘s Hustle Coat (2021) appears as a simple double breasted, trench coat made out of cotton. Though the outside of the jacket is plain, Cave transforms its lining into something fantastic. Describing his vision for the garment, he said, “just imagine, necklaces, chains, watches, jewelry, stones, are all sewn by hand into the lining of this coat, making it appear to be this jewelbox.”
Continue reading Modern Art Monday Presents: Nick Cave, Hustle Coat
In this oil painting from 2021, Gillian Wearing expands on her Lockdown self-portraits by inserting herself into a 1877 painting by the French artist, Henri Fantin-Latour (1836 to 1904) entitled La Lecture (The Reading). The original painting depicts two women in a domestic setting, one of whom reads aloud from a book, while the other sits beside her listening. In her version, Wearing takes the place of the listener, but crops the image, shifting the focus from the act of reading to the relationship between the two figures. As in her Spiritual Family photographic series, Wearing assumes the identity of a historical figure, but here she plays the role of a subject rather than an artist. Carefully studying her female companion, she imagines herself in a time and place that limited women’s social lives to private spaces – not unlike those featured in Lockdown.
Photographed in the Guggenheim Museum in NYC.