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Posts from the “Painting” Category

Martha Cooper & Henry Chalfant: Subway Art

Posted on August 29, 2016

Photo: “Midg” with yellow school bus, 1982. © Martha Cooper

Photo: “Midg” with yellow school bus, 1982. © Martha Cooper

 

During the early 1970s, graffiti made it way to the trains of New York, spreading across the city like a virus and capturing the imagination of a new generation of artists in every borough. Sneaking into the yards and walking through the tunnels in the dead of night, graffiti writers were on a mission like no one had seen before—or has seen since. Fame. Recognition. Renown. In the city that never sleeps, Kings were crowned.

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But as quick as it came, it disappeared. Were it not for the photographs, there would be nothing left. Fortunately writers and artists share that same compulsion to document and to collect. As fate would have it, Martha Cooper and Henry Chalfant had both been documenting the same scene at the same time from distinctive vantage points.

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Read the Full Story at Crave Online

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Photo: Blade, 1980. © Henry Chalfant

Photo: Blade, 1980. © Henry Chalfant

Categories: 1970s, 1980s, Art, Books, Bronx, Brooklyn, Crave, Graffiti, Manhattan, Painting, Photography

On the Verge of Insanity: Van Gogh and His Illness

Posted on July 29, 2016

Artwork: Emile Schuffenecker, Man with a Pipe (after Van Gogh's Self-Portrait), ca. 1892-1900, chalk on paper, Van Gogh Museum, Amsterdam (Vincent van Gogh Stichting)

Artwork: Emile Schuffenecker, Man with a Pipe (after Van Gogh’s Self-Portrait), ca. 1892-1900, chalk on paper, Van Gogh Museum, Amsterdam (Vincent van Gogh Stichting)

“Art is to console those who are broken by life,” Vincent van Gogh observed—but in the end it wasn’t enough to keep the great artist alive. Van Gogh died at the age of 37 of a self-inflicted gunshot wound to the chest. He did a poor job of it, as a rib protected his internal organs from injury. The bullet is thought to have lodged near his spine, without hitting it. The day was July 27, 1990.

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After shooting himself, Van Gogh walked back to the Auberge Ravoux, in Auvers-sur-Oise, France, a popular destination for artists of the time, where he had been staying since May 1890. He moved there to be closer to his doctor, trying to find his way back into the world after experiencing an acute psychotic episode while living in Arles.

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The story of Van Gogh’s ear continues to this very day, as the story of the woman he gave it to has finally been revealed. Eighteen-year old Gabrielle Berlatier was a farmer’s daughter living in a nearby village who was attacked by a rabid dog on January 8, 1888. The attack was so devastating, the wound had to be cauterized by a red-hot iron, leaving a vicious scar. Despite her condition, Berlatier continued to work as a maid at the Café de la Gare, a brothel in Arles.

 

Two days shy of Christmas that same year, van Gogh severed his left ear, leaving only the lobe attached to his head. Then he taped up his wound and wrapped his ear in plastic, making a special delivery to Berlatier, bookending what was already a tragic year.

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Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions, Painting

Hurvin Anderson: Dub Versions

Posted on July 9, 2016

Artwork: Hurvin Anderson, Is It Ok To Be Black (2016). Courtesy of the artist and Thomas Dane Gallery, London.

Artwork: Hurvin Anderson, Is It Ok To Be Black (2016). Courtesy of the artist and Thomas Dane Gallery, London.

James Baldwin observed, “Artists are here to disturb the peace,” and we are blessed for this. Were it not for artists, we might not stop and simply pause, taken in an experience so visceral it goes beyond words. But then, yes, the urge to translate often comes, and so we give voice to it.

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Is It Okay To Be Black? is the title of British artist Hurvin Anderson’s work. It’s a beautiful image of a wall at the barbershop. Floating on a sea of turquoise we see images of Marcus, Martin, and Malcolm, even a young Ali in there, all images pinned to the wall above the tonics, brushes, and lotions lining the counter. It’s a perfect image of a place that more than a few black men the world over know so very well.

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So then that question, it’s not for folks who sit in the chair, but for the outsiders looking in. For folks who wouldn’t know who Marcus is, even after I say “Garvey.” Cause if you know, then there’s no question to ask. But if you don’t, you might wonder, Why are people so hateful? Is it guilt, shame—or something else? In the United States, the answer to these questions is a matter of life and death. Every day we are reminded by what happens when complacency prevails.

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Read the Full Story at Crave Online

 

Categories: Crave, Exhibitions, Painting

Walton Ford: The Black Panther

Posted on May 17, 2016

Artwork: Walton Ford, Zürichsee, 2015 watercolor, gouache and ink on paper 41 ½ x 59 ¾ inches unframed, courtesy of Paul Kasmin Gallery, New York.

Artwork: Walton Ford, Zürichsee, 2015 watercolor, gouache and ink on paper 41 ½ x 59 ¾ inches unframed, courtesy of Paul Kasmin Gallery, New York.

Picture it: Winter in Switzerland. The year was 1933. A black panther, held against her will inside the Zürich Zoo. Described as “Extremely timid,” she was had been captured in the will and brought in as the mate for a male already living in captivity. Within two weeks, injuries were discovered on her forepaw and right hind leg. On the morning of October 11, her cage was discovered empty.

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According to the investigation, the panther squeezed her body through a break in the roof bars and out of the building through a partly open slatted ventilator. The panther had vanished without a trace. In the traps set for her, a few half-wild dogs were caught. For nearly ten weeks, this great creature of the tropics alluded capture, surviving by her wits and instinct in a foreign and hostile environment.

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Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions, Painting

Chris “Daze” Ellis: The City is My Muse

Posted on February 18, 2016

Chris “Daze” Ellis, The Odyssey, 2015, Oil and spray paint on canvas, Courtesy of the Artist

Chris “Daze” Ellis, The Odyssey, 2015, Oil and spray paint on canvas, Courtesy of the Artist

The New York City of Chris “Daze” Ellis’s world is a beautiful, hypnotic siren singing the softest of lullabies or just as quickly drop a beat and rhyme on top of it. She’s demanding, but she gives as good as she gets. She’s the queen befitting a king, and has found herself the subject of Chris “Daze” Ellis: The City is My Muse, on view at the Museum of New York, NY, now through May 1, 2016. Ellis observes, “This exhibition is a testament to my love affair with New York as my muse. It is an endless source of subject matter and an inspiration for many years. A muse is someone or something that captures your attention and imagination in a way that presents endless possibilities. New York is like that for me.”

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Read the Full Story at Crave Online

Categories: 1970s, 1980s, 1990s, Art, Bronx, Brooklyn, Crave, Exhibitions, Manhattan, Painting

Art Basel Miami Beach 2015 Edition

Posted on December 11, 2015

art_basel_miami_2015_lapostferia

Check Out
Art Basel Miami Beach 2015
Coverage at Crave Online

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A few highlights from the week include:

Incas wallpaper panel, 1818, Joseph Dufour et Compagnie (founded Mâcon, France, 1801–23), manufacturer, Block-printed on handmade paper, Courtesy of Carolle Thibaut-Pomerantz

Incas wallpaper panel, 1818, Joseph Dufour et Compagnie (founded Mâcon, France, 1801–23), manufacturer, Block-printed on handmade paper, Courtesy of Carolle Thibaut-Pomerantz

“Philodendron: From Pan-Latin Exotic to American Modern”
Wolfsonia-Florida International University
© Lorna Simpson. Direct Gaze, 2014 (detail)

© Lorna Simpson. Direct Gaze, 2014 (detail)

Top 5 Highlights at
Art Basel Miami Beach

 

Amarillismo by Wilson Diaz

Amarillismo by Wilson Diaz

Wilson Diaz: Amarillismo
at Instituto de Vision at Art Basel
© James Rieck. Flared Bell Bottoms, 2015.

© James Rieck. Flared Bell Bottoms, 2015.

Top 5 Highlights at
PULSE Contemporary Art Fair

© Guy Richards Smit

© Guy Richards Smit

Guy Richards Smit: Mountain of Skulls
Charlie James Gallery at PULSE

Categories: 1960s, 1970s, 1980s, 1990s, Art, Crave, Exhibitions, Latin America, Painting, Photography

Julio Larraz: Epic Daydreams

Posted on November 12, 2015

“Sunset at Cape Laplace”, 2014 Oil on canvas, 60 x 72 inches, 152.4 x 182.9 cm © Julio Larraz

“J. Campamento y Madrigales”, 2015 Oil on canvas, 60 x 72 inches, 152.4 x 182.9 cm © Julio Larraz

 

Julio Larraz describes the vivid images that he paints as visions that come to him as dreams he sees during the day. These images may come on and off over the years, though some, Larraz reveals, “are recent ones, other are long-time friends. There is a mixture of it. I don’t like to do theme works. I prefer to take something and see it from fresh eyes, rather than see it forever.”

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The result is a distinctive mélange of dynamic imagery that makes for an incredible collection of work, offering something for everyone in a delightful compendium of endless innovation. From seascapes, landscapes, and aerial views to still lifes, imaginary portraits, and other figurative works, the work of Julio Larraz takes us into a fantastic world brimming with an elegance, grace, wit, and charm.

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Read the Full Story at Crave Online

“J. Campamento y Madrigales”, 2015 Oil on canvas, 60 x 72 inches, 152.4 x 182.9 cm © Julio Larraz

“Sunset at Cape Laplace”, 2014 Oil on canvas, 60 x 72 inches, 152.4 x 182.9 cm © Julio Larraz

Categories: Art, Crave, Exhibitions, Latin America, Manhattan, Painting

Warhol & Mapplethorpe: Guise & Dolls

Posted on November 11, 2015

Photo: Andy Warhol, Camouflage Self- Portrait , 1986. Synthetic polymer paint and silkscreen on canvas, Wadsworth Atheneum Museum of Art, Hartford, Conn. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, with a partial gift of The Andy Warhol Foundation for the Visual Arts, Inc., 1994.12.1. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York

Artwork Andy Warhol, Camouflage Self- Portrait , 1986. Synthetic polymer paint and silkscreen on canvas, Wadsworth Atheneum Museum of Art, Hartford, Conn. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, with a partial gift of The Andy Warhol Foundation for the Visual Arts, Inc., 1994.12.1. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York

Photo: Robert Mapplethorpe, Brian Ridley and Lyle Heeter, 1979. Gelatin silver print, The Robert Mapplethorpe Foundation, N.Y. © Robert Mapplethorpe Foundation. Used by permission.

Photo: Robert Mapplethorpe, Brian Ridley and Lyle Heeter, 1979. Gelatin silver print, The Robert Mapplethorpe Foundation, N.Y. © Robert Mapplethorpe Foundation. Used by permission.

New York City in the 1970s and ‘80s was a deliciously decadent time and place where art, gender, and sexuality came together in a miasma of creative energies. As the gay rights movement ushered in a new era, a new sense of expression took hold as gender became an area ripe for exploration. The ideas of masculine, feminine, and androgynous began to capture the imagination of visual and performing artists. Musicians lead the way, as crossdressing came out of the closet and groups like the New York Dolls took advantage of it’s curious effect on their female fans. It was an era of gender fluidity and sexual freedom which held to a deep abiding sense of “anything goes” as bath houses and clubs like Plato’s Retreat flourished in the city.

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Andy Warhol and Robert Mapplethorpe were two of the most significant artists in New York at this time. As portrait artists, both engaged with gender, identity, sexuality, beauty, performance, and disguise in their lives and their work, revealing the intricacies and nuances of the many-splendored personalities that populated the city then. Each artist focused on their subjects as a means to discovering their truth in a complex series of questions that directly and comfortably challenge the viewer.

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Read the Full Story at Crave Online

Andy Warhol, Ladies and Gentlemen, 1975. Acrylic and silkscreen ink on linen, The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution Dia Center for the Arts, 2002.4.22. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York

Andy Warhol, Ladies and Gentlemen, 1975. Acrylic and silkscreen ink on linen, The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution Dia Center for the Arts, 2002.4.22. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York

Categories: 1970s, 1980s, Art, Crave, Exhibitions, Painting, Photography

Beauté Congo – 1926-2015 – Congo Kitoko

Posted on September 1, 2015

JP Mika, Kiese na kiese, 2014, Oil and acrylic on fabric, 168.5 x 119 cm, Pas-Chaudoir Collection, Belgique © JP Mika/Photo © Antoine de Roux

JP Mika, Kiese na kiese, 2014, Oil and acrylic on fabric, 168.5 x 119 cm, Pas-Chaudoir Collection, Belgique
© JP Mika/Photo © Antoine de Roux

 

Since 1987, André Magnin, chief curator at Fondation Cartier pour l’art contemporain in Paris, has had a passion for the Congo which stirred his soul to travel the country and experience the people and their arts firsthand. In response to his thirty-year journey, he has organized Beauté Congo – 1926-2015 – Congo Kitoko, a survey of paintings, photographs, sculpture, comics, music, and films now on view at Fondation Cartier, Paris, through November 15, 2015.

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Organized chronologically, the exhibition begins in the 1920s, at the birth of modern painting in the Congo, when the nation was still a colony of Belgium. Having just survived the genocidal regime of King Leopold II, under which 10 million Congolese lost their lives, the art of this era had been in the shadows. Magnin obsessively search for work, drawing together pieces that reveal the way of life in the village, the natural world, the dreams and legends of the times.

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Read the Full Story at CRAVE ONLINE

Djilatendo, Sans titre, c. 1930, Gouache and ink on paper, 24.5 x 18 cm, Musée royal de l’Afrique centrale, Tervuren, HO.0.1.3371 © Djilatendo/Photo © MRAC Tervuren

Djilatendo, Sans titre, c. 1930, Gouache and ink on paper, 24.5 x 18 cm, Musée royal de l’Afrique centrale, Tervuren, HO.0.1.3371
© Djilatendo/Photo © MRAC Tervuren

Categories: 1960s, 1970s, 1980s, 1990s, Africa, Art, Crave, Exhibitions, Painting, Photography

Rodriguez Calero: Urban Martyrs and Latter-Day Santos

Posted on August 7, 2015

Rodríguez Calero, "The Apparition", 1999, 36 x 24.

Rodríguez Calero, “The Apparition”, 1999, 36 x 24.

“Creation never gets easier, it is a constant struggle,” artist Rodriguez Calero observes. It is an intense undertaking, this desire to transform what exists in the mind’s eye into physical form. Working in collage, Calero creates a world all its own, a world that is at once anointed with spirits and ethereal energies that radiate from her work. Each image becomes an icon, inspiring devotion and creating a state of bliss that is wondrously soothing in its intensity. When taken individually, each is a work holds the power to draw you into its spell; when taken together, the cumulative effect is transformative.

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“Urban Martyrs and Latter-Day Santos,” the first museum survey of Calero’s work, opens at El Museo del Barrio, New York, and runs through October 17, 2015. Calero’s original technique is called “acrollage,” a technique of layering glazes of luminous colors with rice and other kinds of paper. The blending of fermenting surfaces and stenciled patterns attains lustrous color and texture. Guest-curated by Alejandro Anreus, the installation includes 29 large acrollage canvases, 19 smaller collages, 13 fotacrolés (altered photography) on canvas board, and 3 works of mixed media on paper.

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 Born in Puerto Rico and raised in New York, Calero draws on the rich traditions of her background to create a visual landscape that combines surrealist collage, Catholic iconography, medieval religious painting, hip hop, and street culture. The result is rich tapestry that evokes a lush and magical world that beckons from beyond the veil. Calero’s layered glazes are like a spider’s web, at once soft and whimsical, yet strong and intricate. Her work is sensitive and complex, quiet yet vibrant and deep, resonant as a clarion bell that gently tolls in the breeze.
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Read the Full Story at CRAVE ONLINE
Rodríguez Calero, "Urban Hood II", 2014, 48 x 72.

Rodríguez Calero, “Urban Hood II”, 2014, 48 x 72.

Categories: Art, Crave, Exhibitions, Manhattan, Painting

Salut ! NYC, 1981 Nominated for Webby Award

Posted on April 8, 2015

SAMO IS DEAD, New York, NY, 1981. Photograph by Robert Herman. NYC 1981. Photography. Photo Books. Webby Award Nomination. Journalism. Interview. Essay. Photodocumentary. Documentary Studies. New Yorkers.

SAMO IS DEAD, New York, NY, 1981. Photograph by Robert Herman

We are thrilled to announce that NYC, 1981 has been nominated for a Webby Award in the category of Website: Blog – Cultural, alongside the likes of Vanity Fair, The New York Times, Pitchfork, and the Metropolitan Museum of Art.

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NYC, 1981 is a culture website inspired by the film “A Most Violent Year,” and a TWBE x A24 production. For the site, I had the great privilege of interviewing Charlie Ahearn, John Ahearn, Barry Blinderman, Joyce Chasan, Joe Conzo, Jane Dickson, Ricky Flores, Arlene Gottfried, Robert Herman, Douglas Kirkland, Joe Lewis, Christopher Makos, Toby Old, Clayton Patterson, and Jamel Shabazz. You can check out these interviews and more at NYC, 1981

We would like to encourage you to vote, and to spread the word, so that this great, independent site dedicated to New York City culture, politics, and art in 1981 will receive the recognition it deserves.

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Vote HERE.

Categories: 1980s, Art, Books, Bronx, Brooklyn, Fashion, Graffiti, Manhattan, Music, Painting, Photography

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