THIS SECTION OF OUR SITE WILL EXPLORE ONE ARTIST OR ONE
ART MOVEMENT EACH WEEK. IT WILL BE CHANGED AT LEAST ONCE
EACH WEEK. IF AN ART MOVEMENT IS BEING EXPLORED, THAN AT LEAST
ONE ARTIST A WEEK MAY BE ADDED WHO WAS PART OF THAT
MOVEMENT.
LEARN ABOUT MORE THAN QUOTES HERE….LOOK INTO THE HEART OF THE
ARTIST AND THE TIMES IN WHICH HE OR SHE PAINTED……ENJOY!!!!!!!
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Neo-Expressionism developed in the late 1970s as a reaction against Conceptual art and Minimalism. During the 1980s, it became the dominant style of avant-garde art primarily in the United States, Germany, and Italy. Although the Neo-Expressionists tended to draw their influence from many sources, the late aggressive paintings of Pablo Picasso were a major inspiration. It also is rooted in the German Expressionism and Abstract Expressionism movements of the earlier 20th century. The Neo-Expressionist movement was controversial in its quality and the way it was over-marketed to the art-buying world. Neo-Expressionist paintings were characterized by a rough, violent approach and the return to more conventional formats such as easel paintings. Quite often, Neo-Expressionist works contained the human figure but also were sometimes abstract. Neo-Expressionist paintings were normally large and created quickly, occasionaly incorporating found objects. Other tenets of the movement included slashing brushstrokes, strong color contrasts, and distorted subject matter. Neo-Expressionist paintings were more concerned with displaying spontaneous emotion rather than traditional conventions.. ..
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.ANSELM KIEFER
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.+ I’m interested in reconstructing symbols. It’s about connecting with an older knowledge and trying to discover continuities in why we search for heaven.
+ I believe art has to take responsibility but it should not give up being art....
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.Kiefer, Anselm (born 1945), German painter, born in Donaueschingen;
1966 left law studies at Univ. of Freiburg to study at art academies in Freiburg,
Karlsruhe, Dusseldorf; made huge paintings using symbolic photographic images to
deal ironically with 20th-c. German history; developed array of visual symbols
commenting on tragic aspects of German history and culture, particularly Nazi
period; in 1970s painted series of landscapes that capture rutted, somber German
countryside; paintings of 1980s acquired physical presence through use of perspective
devices and unusual textures; broadened themes to include references to ancient
Hebrew and Egyptian history.
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.”Winter Landscape” on watercolor on paper 1970
(Blood and wounds) many pieces were done on paper
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.”Resurrexit “…1973
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.sculpture - “Sinsign”
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.Georg Baselitz is one of Germany’s most prolific and well-known living artists. Born in Saxony in 1938 - painter, draughtsman, printmaker and sculptor. Selecting subject matter (figures, animals, birds, landscapes and still-lifes) and placing them in dramatic settings, Baselitz’ works also place the viewer in a world of heightened self-consciousness to confront the being with the brutalities of history and the human tragedies.He also partakes of a particular rebel sensibility and - like Camus Homme révolté - examines several countercultural figures and movements to cast anti-heroes as a strategy to liberate the subject matter, from the grotesque one, to the broken soldiers of the Fracture paintings and the inverted figures of the disturbing upside-down paintings. . .
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.”man in the moon” - 1965
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.. “The artist is not responsible to any one. His social role is asocial..
his only responsibility consists in an attitude to the work he does.” ..
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“ Changes in style result from intellectual processes. I continually try to find
something new so that I can change. I still do it today.”. ...
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.“Meissen Woodsmen” 1968-69.. ......... .
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.”Katzenkopf” 1966/67
. ..Baselitz’ paintings tend to confuse the viewer, distorting the organized mechanisms of visual perception. His works repudiate “Paintings with images.” There is little suggestion of story or description. He is best known for his “upside-down” images, and any temptation to dismiss them as gimmicky was quelled by his early work, which clarified the process by which te artist has achieved a balance between abstraction and figuration. ....
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.”NUDE-ELKE 2 - 1976..
.”The Gleaner” - - 1976.....
.”BRUTAL TECHNIQUES THAT MASK GRIEF AND BEAUTY”
Sculpture 1979
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.”Remix” 2005
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.Biography:
Born in New York City, Julian Schnabel attended the University of Texas
from 1969 to 1972. His large-scale paintings that focused on texture and
dimension were first exhibited in New York in 1976. Schnabel later began
to incorporate shards of broken pottery into his paintings to create
unusual surfaces and divisions. His work encouraged the resurgence
of Action Painting with his works that depicted many images and figures.
His work has become very popular both with the critics and commercially
since the early 1980’s
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.”SELF- PORTRAIT” 1987–plates
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.WONDERFUL QUOTES BY JULIAN SCHNABEL
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.“ I do dream about art, and images come to me in dreams. I am definitely
hoping to be in touch with my subconscious. I expect a call any minute.”
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”I don’t really care about anatomy. Something perfectly drawn to meis just somebody showing you they can draw.”.
.” A lot of what I do is about being in the moment and I think that’shard for people to get. I like it when things suddenly affect the painting.I mix up this red and it affects the whole painting or this little bit ofwhite falls down there, and something changes the whole nature of thething. The residue on what happens, that’s what’s in the paintings.”.
.” I’ve been living with a lot of negativity for the past 15 years,but it never impacted on my work, or my way of working. It’s likea rhinoceros with birds shitting on its back. It stopped me gettingcomfortable but it never worried me. ”.
.”My paintings take up room, they make a stand. People will alwaysreact to that. Some people get inspired,
.others get offended. But, that’s good. I like that.”.
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...”Sylvie” - plates, oil and bondo on board1987........
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.. “OWL” - 1980 oil, plates, and auto body filter on wood..
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.”STUDENT OF PRAGUE” - 1983 - oil, plates and bondo - at the Guggenheim..
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..Exhibition ....
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.“Chinkzee” 1983 -on velvet. .
..”XAIVER MASCARO” 1998screenprint with poured resin.....
.Exhitition - 2004.
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SUSAN ROTHENBERG
.”Sometimes the painting starts to relate very directly to either
sights seen or experiences felt, other times it just goes off on a
tangent that you really can’t articulate”
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.Susan Rothenberg in her studio
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.Susan working on a painting
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.The hand of an artist - Susan Rothenberg
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SUSAN PLANNING A PAINTING
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Susan Rothenberg is an important figure in the transition from Minimalism to Neoexpressionism. Rothenberg was born in Buffalo, New York in 1945. Her family was very supportive and encouraged her to develop her interests in drawing and painting. Rothenberg attended Cornell University in Ithaca, New York, first concentrating on sculpture and then on painting. After graduation from Cornell in 1967, she enrolled in the Corcoran School of Art at George Washington University but then changed her mind and moved to New York City. In New York City, Rothenberg resided in the lower west side and intermingled with a community of interdisciplinary artists including the sculptor, George Trakas whom she eventually married in 1971.
At that time, Minimalismwas still the dominant art mode and Rothenberg was creating a series of geometric pattern paintings. However, she grew tired and bored with the geometry except for the simple pencil line she would draw down the center of the canvas. In 1972, Rothenberg gave birth to her daughter, Maggie and shortly thereafter the image of a horse emerged from her canvas.
Over the next six years, Rothenberg completed a series of approximately 40 horse paintings through which she has gained critical attention and recognition. The first horses were outlined and somewhat primitive in appearance with the figure and ground of the same color of either black, white, or an earthy sienna. The horse often was depicted in a stationary, profile pose. Her surfaces were heavily worked giving her paintings expressive energy. She kept her palette monochromatic for the most part with one or two vertical diagonal lines dividing the strong contours of the horse. These geometric forms combined with her imagery created tension and raised questions of meaning. The horse was both a symbol of humanity as it was also a vehicle for her to explore the concept of symmetry.
Rothenberg’s horse paintings evolved over the years as the image itself moved from being a static profile of a horse to one that had action. Her painting, “Cabin Fever” (1976) depicts a sienna-colored running horse with a vertical line cutting through its torso. The energy of her paintings intensified further as her horses turned to confront the viewer directly as if leaping from the canvas.
Rothenberg also began to replace her diagonal and vertical lines with white bone shapes. She felt that the bones gave her paintings more psychological intensity since bones have many connotations. Rothenberg would also sometimes dismember the horse’s limbs and place them in human like configurations. Her painting, “The Hulk” (1979) depicts a white horse who looks like it is struggling to exit the black, human torso looking mass behind it. The two bones appear to belong to the horse, as it’s two front limbs. Rothenberg was not interested in depicting the whole human form, and eventually the horse series came to an end.
In the early 1980’s, Rothenberg divorced George Trakas and began painting dismembered heads and hands. She created five 10 ft square paintings of her head and hand as studies. Her painting, “Beggar” (1982) was a simplified outline of a head and an outstretched arm to the right. Again, her surfaces were heavily worked and full of tension and question. The meaning of her paintings is kept a mystery and is meant to be made by the viewer after they have searched their own conscious and subconscious.
After her divorce from Trakas, Rothenberg decided to learn how to use oil paint. She began to paint sailboats and became interested in motion, space, light and depth. She painted boats, bicyclists, and dancers but kept the images representational rather than realistic. Rothenberg was more interested in capturing a feeling rather than telling a story. Her brushwork certainly captured the viewer’s attention and went without igniting a feeling within them.
Rothenberg lived in the western edge of Tribeca in New York City until 1990 when she and her new husband and artist, Bruce Nauman moved to New Mexico. She continues to paint with the influences of her new surroundings. An important show of her work from the 1990’s was on display at the Museum of Fine Arts in Boston during late 1999 and early 2000
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.painted in 1976
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.1976 This shows size relationship of her horse paintings during the 70’s.
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.Painting from the 70’s
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.MUSEUM OF MODERN ART SHOW 1988 - “123456′
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.Painting from the 90’s
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.”RED POKER” - 1997
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.”Red Studio” This is a painting from the 2000’s
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.”chix” 2003
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.”Primo” - 2007
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.”SELF PORTRAIT AS A HEEL”
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.”Self-Portrait”
.”Every line means something”
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.QUOTE: “I start a picture and I finish it. I don’t think about
art while I work. I try to think about life.”
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.”SAMO” was a constant character (copyrighted) in Basquiat’s
work . He began appearing in the graffito in 1977 and continued
in the work throughout his brief career.
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.Poster advertising a SHOW
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. Jean-Michel Basquiat was born on December 22, 1960 in Brooklyn, New York. His father, Gerard Basquiat was born in Port-au-Prince, Haiti and his mother, Matilde was born in Brooklyn of Puerto Rican parents. Jean-Michel Basquiat’s productive career spanned just one short decade, yet he is considered one of the best-known artists of his generation and one of only a small number of Hispanic-African-American artists to have achieved international recognition. Graduating from subway walls to canvas and from the streets of New Yorkto the galleries of SoHo, the artist and his work will forever remain a mystery to those who seek explanation.Jean-Michel’s early years were spent with his middle class Haitian father, Gerard, who was unable to fulfill his son’s need for nurturing and recognition. To fill the void, Jean-Michel hit the streets of New York at a young age where artbecame an outlet for his anger and empty childhood. Also known by the tag “SAMO,” Jean-Michel’s unique brand of graffiti was found throughout Manhattan as early as 1976. “His work from the first consisted of conceptual, enigmatic combinations of words and symbols, executed with the curt simplicity of a late Roman inscription”, according to Henry Geldzahler, longtime curator of twentieth-century art at the Metropolitan Museum of Art.Jean-Michel was 18 when he approached Geldzahler and Andy Warholin a SoHo restaurant. He sold Andy a postcard for one dollar but was dismissed by Geldzahler as “too young.” Less than three years later (1981) he was invited by artist and filmmaker, Diego Cortez, to participate in the P.S. 1 show, (Institute for Art and Urban Resources), alongside more than twenty artists including Keith Haring, Robert Mapplethorpe, Kenny Sharf and Andy Warhol.In early 1982 Jean-Michel took the art world by storm with his rampageous one-man show at Annina Nosei’s gallery. This momentum propelled him to the forefront of the Neo-Expressionist movement which was characterized by intense subjectivity of feeling and aggressively raw handling of materials. Jean-Michel, accustomed to pushing the envelopein all aspects of his life, had something special to offer the neo-expressionist admirer: “I cross out words so you will see them more - the fact that they are obscured makes you want to read them.”By the age of 24 Jean-Michel would be a veteran of one-man shows under the guidance of such notable art dealers as Nosei, Larry Gagosian, Mary Boone and Bruno Bischofberger. Bischofberger introduced Jean-Michel’s art overseas as well as orchestrated the joint collaboration of Warhol and Basquiat in 1985 which involved some 60 works.Jean-Michel preferred drugs and women (including Madonna) over galleries, art dealers, collectors, and money (although one would be hard pressed to determine which he had more of). Lacking the fatherly support and acknowledgment he so desperately sought, Jean-Michel was unable to balance fame and fortune with his personal demons. His candle burned out on August 12th 1988, the result of a drug overdose. “Since I was seventeen, I thought I might be a star. I’d think about my heroes, Charlie Parker, Jim Hendrix . . . I had romantic feeling of how people had become famous,” reminisced Jean-Michel before his death.It has been written of Basquiat that he “embodies the myth of a modern Icarus who rose too quickly and burnt himself in the heat of the sun.” However, Robert Damiani, (Deputy Mayor and Councilor for Cultural Affairs, New York) brings us to a more profound conclusion: “I believe that, as an expression of a time that is tragic like no other in the history of the world, he consciously aimed his flight in the opposite direction, toward the infernos that are unexplored even by the outcasts of humanity who live out their brief earthly existence in the sinister roar of the subway, no longer on the road, but underground, irresistibly attracted by the disturbing profundity of the abyss.”
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.Basquait working on Graffiti….....
.Basquiat’s art career is known for his three broad, though overlapping styles. In the earliest period, from 1980 to late 1982, Basquiat used painterly gestures on canvas, often depicting skeletal figures and mask-like faces that expressed his obsession with mortality. Other frequently depicted imagery such as automobiles, buildings, police, children’s sidewalk games, and graffiti came from his experience painting on the city streets. A middle period from late 1982 to 1985 featured multipanel paintings and individual canvases with exposed stretcher bars, the surface dense with writing, collage and seemingly unrelated imagery.These works reveal a strong interest in Basquiat’s black identity and his identification with historical and contemporary black figures and events. On one occasion Basquiat painted his girlfriend’s dress, with his words, a “Little Shit Brown”. The final period, from about 1986 to Basquiat’s death in 1988, displays a new type of figurative depiction, in a new style with different symbols and content from new sources. This period seems to have also had a profound impact on the styles of artists who admired Basquiat’s work. Basquiat’s lasting creative influence is immediately recognizable in the work of subsequent and self-taught generational artists such as Mark Gonzales, Kelly D. Williams, and Raymond Morris.In 1982, Basquiat became friends with pop artist Andy Warholand the two made a number of collaborative works. They also painted together, influencing each others’ work. Some speculated that Andy Warhol was merely using Basquiat for some of his techniques and insight. Their relationship continued until Warhol’s death in 1987. Warhol’s death was very distressing for Basquiat, and it is speculated by Phoebe Hoban, in Basquiat, her 1998 biography on the artist, that Warhol’s death was a turning point for Basquiat, and that afterwards his drug addiction and depression began to spiral.Up until 2002, the highest mark that was paid for an original work of Basquiat’s was $3,302,500 (set on 12 November 1998). On 14 May 2002 Basquiat’s “Profit I” (a large piece of art measuring 86.5″ by 157.5″), owned by heavy metal band Metallica co-founder Lars Ulrich, was put up for auction at Christie’s. It was there that the highest mark for a work of Basquiat’s was set when “Profit I” sold for $5,509,500. The proceedings of the auction are documented in the film Some Kind of Monster. On 15 May 2007, an untitled Basquiat work from 1981 smashed his previous record, selling at Sotheby’s in New York for $14.6 million...
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...”Florence”...
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.”Ishtar” - 1983
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.”Zydeco” - 1984
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.”Zydeco” - detail –
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.”Obnoxious Liberals” - 1988 - one of his final paintings
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BASQUIAT AND WARHOL TOGETHER
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.PAINTING THAT WARHOL DID OF BASQUIAT…1984
(I love this….just an aside)
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.WARHOL AND BASQUAIT DID SEVERAL PAINTINGS TOGETHER. WARHOL
DID THE SILKSCREEN OF HIS WORK AND THEN BASQUAIT WOULD DO HIS
DRAWINGS ON THEM. I HAVE SOME TO SHOW YOU HERE.
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“MONSTER MEAT ” 1984
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.GE
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.”ZENITH” - 1985 - 177.3″ X 264.2″
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.”EGGS”
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.”SWEET PUNGENT”
....BASQUIAT - WARHOL AND FRANCESCO CLEMENTE ALLWORKED ON THE ONE BELOW.
.”ALBAS BREAKFAST”
