Youthfulness in old age: At A Year of Positive Thinking, Mira Schor writes about the work artists make at the end of their lives. “Two painting exhibitions currently across the street from each other on
West 25th street challenge any notions one might still harbor about the
greater value of being ‘younger than Jesus.’ By some fortuitous coincidence just a few steps separate ‘Joan Mitchell: The Last Paintings’ at Cheim & Read from ‘Matta: A Centennial Celebration’ at
Pace Gallery and each show explosively refutes any notion of
youthfulness being the province of the young while giving new life to
the phenomenon known as’old age style’–used to distinguish formal
characteristic of late works by Titian, Rembrandt, or Cézanne, where the
artist just wants to get to the heart of the matter and sloughs off all
the fine finish he had needed to impress his audience in earlier years….”
laminate on handmade paper on soundboard 35 1/2 x 49 3/4 inches (Courtesy Mira Schor)
Ellizabeth Bishop is having an exhibition at Tibor de Nagy. “One hundred years since her birth, and just over thirty years since her
death, Bishop is now considered among the most important American poets
of the Twentieth Century. Until now, the one facet of her life that has
not been explored fully is the transformative role that the visual arts
played in her creative output over her lifetime. Bishop made her own
art, mostly in the form of intimate watercolors, gouaches, and drawings.
She collected art during her years in Brazil, and was also given (and
acquired) pieces by her family and closest artist friends. Like her
poems, her own artworks possess an unpretentious earthiness combined
with an acute eye for detail of everyday life. She made her art quietly,
privately, and gave many of them away to friends over the years. The
works in this exhibition were all in her collection at the time of her
death.” (via ArtCatNY)
Here’s a free online publication From the Arts Council England for non-profits and other arts organizations who host internships. Seems like a good idea to make sure we’re all providing good experiences (and not exploiting) unpaid interns. “We recognise the mutual benefits of a well-planned internship for both
individuals interested in a career in the arts and arts organisations
themselves, so we want to set out the responsibilities employers have
when offering this kind of position.”
The Walker Art Center has a new website that is being lauded as a completely new way for museums to think about their web presence. OF COURSE the redesigned website has all the good stuff found on blogs because the creator is Paul Schmelzer –one of the original ART BLOGGERS at Eyeteeth. Art bloggers have plenty to teach museums and other organizations about creating a following, building a rich online experience, and joining in the dialogue. Nice job Paul– I’m glad the Walker is listening.
At Hyperallergic: Philip A Hartigan presents “A View from the Easel,” pictures of different painters’ studios. “In the last two years I have interviewed more than thirty artists, writers and other creative people for my own blog, Praeterita.
The creative process was a part of every discussion, so I thought I
would invite these interviewees to submit a photo and a short
description of their workspace to an ongoing series called A View from the Easel. These are their images and their words.”
Exercise masquerading as art:
Robert Morris Bodyspacemotionthings playscape (video above), originally created in 1971, has been recreated at the Tate. In 1971, crowds were “wildly enthusiastic” but they had to shut the piece down after four days because of safety issues.
Silkscreen, tempera on linen framed
56 x 70 cm
Framed: 74 x 87,5 cm
resolution, reworking, or even total annihilation of his painting THA from 2001. Participating artists are pitching in, “re-invisioning”, “re-working”,
or simply obliterating 4″x6″
color snapshots of the painting. Get the daily posts by signing up here. And here’s my revision for Chris, which involves stenciled letters and silver spray paint.
Who knew? There’s a bowling alley in the basement of the Frick. “Built in 1914 by the Brunswick-Balke-Collender Company, the alley cost
its owner, the steel tycoon Henry Clay Frick, $850 — a princely sum that
did not include the set of custom balls. In a letter to Mr. Frick from
Lee R. Johns, manager of Brunswick’s bowling department, it was flatly
stated that the alley he had purchased was the finest ‘known to the
alley builder’s art’ and that the balls — an additional $100 —’are
absolutely perfect and remain that way for years.’” (via @heideland).
“I’ve been collecting press releases from art spaces for the past six
years, taking them home or to the office after an afternoon of seeing
shows in Chelsea, the Lower Eastside, Bushwick or wherever. I dutifully
3-hole punch each one of them and stick them into a binder in case I
need to refer back to the name of an artist, or to remind me of a
noteworthy show. Many of these press releases are crumpled or folded,
dingy with pocket lint….” (Hey Herb–I collect them, too.)
120 x 90 c. Image courtesy Sprueth Magers
Subscribe to Two Coats of Paint by email.
Two Coats of Paint is licensed under a Creative Commons Attribution – Noncommercial-No Derivative Works 3.0 United States License. To use content beyond the scope of this license, permission is required.