Sam Gilliam works with form and hue, but we always see history in it.
This is Sam Gilliam’s “One Thunder”, from a show at Michael Rosenfeld Gallery on abstraction by Black artists – about as vexed a subject as you could ask for. Does Blackness, as a social color, change the hue of all the other colors it touches? Does the very fact of a Black artist not working with figuration, and not addressing issues of race, become a salient refusal – and therefore as political as anything else? This 1970 Gilliam strikes me as notably concise and self-contained, from an artist who hit his stride by sprawling work across rooms. It also evokes the pointed hood and robes of a Klansman.
This is the last Daily Pic to be cross-posted to TheDailyBeast.com. The series will continue uninterrupted at BlakeGopnik.com, and there should be news soon about a new second venue.
His vivid black-and-white photographs of Allied troops landing at Omaha Beach in 1944 remain legendary, but Robert Capa also shot in color, as showcased in a new exhibition at the International Center of Photography in New York.
The photographer Robert Capa took one of the most enduring images of war—the Allies’ D-Day landing at Omaha Beach during World War II—and created an enduring legacy by co-founding the agency Magnum. The fearlessness he possessed and the realities and effects of war, on and off the battlefield, that he captured secured Capa as a master of black-and-white photography during the first half of the twentieth century.
But what is less well-known, due to his legendary black-and-white shots, is that Capa was an equally assured color photographer as an exhibition at New York’s International Center of Photography (ICP) is set to reveal.
The Hungarian photographer was born Endre Friedmann in Hungary in 1913. Seeking a career as a writer, the young Friedmann left home for Germany at the age of 18, but soon found work as a photographer and grew to love the occupation. However, due to the persecution of Jewish citizens that was beginning to spread, Friedmann decided to conceal his identity, changing his name to “Robert Capa,” and moved to France.
Pablo Picasso playing in the water with his son Claude, Vallauris, France, in 1948. (Robert Capa/International Center of Photography/Magnum Photos)
Greg Miller catches school children as they wait for their bus to come in.
A photo from the series “The Bus Stop at the End of the Driveway”, by Greg Miller, again from the faculty show at the school of the International Center of Photography in New York. The title is more or less self-explanatory: These are exurban kids waiting for their school buses in the early a.m. Ryan’s photos represent a moment and a place and an event – and even figures – that we mostly overlook. It’s always great to see photography doing its job of ostension.
For thirty years, Carrie Mae Weems has made the art world confront issues of race, class, and gender. A new retrospective at the Guggenheim looks back at her thought-provoking work.
Artist Carrie Mae Weems knows how to get the art world to pay attention to race, class, and gender. Her thought-provoking work intelligently depicts racial stereotypes and uses appropriated portraits of slaves to get her point across. Although she won a prestigious MacArthur “Genius” Grant Fellowship last year and her work is the subject of a current retrospective at the Guggenheim Museum in New York, Weems wasn’t always sure of her purpose in life.
After becoming a single mother at 16, joining Anna Halprin’s Dancer’s Workshop in San Francisco, and a failed attempt at a move to New York, Weems returned to San Francisco in 1971 and in 1973 worked as an organizer for a Marxist organization. It was a camera, given to her by her boyfriend for her 20th birthday in 1973 that changed everything. That camera gave Weems direction, leading her to study the images of Henri Cartier-Bresson and the African-American artist Roy DeCarava and to pursue studies in photography at San Francisco City College. She eventually received a BFA at the California Institute of the Arts, Valencia in 1981.
In 1969, Frederick Hammersley was already playing with CPUs and printers.
"Jelly Centers" was made in 1969 by Frederick Hammersley, one of the first artists to make serious use of computers and their printers. It’s now in a group show at Bortolami gallery in New York. I am just (barely) old enough to remember when computer-generated art was new, and hot, so what strikes me most about Hammersley’s piece is how something that once seemed so clearly to yield a vision of the future now is all about nostalgia for a vanished past. Those feed-holes on the paper’s sides are enough to bring a wistful tear to a programmer’s eye.
The chef behind one of the world’s best restaurants shares the sketches, models, and innovative designs that fueled his mind-blowing cuisine. Pass the spherical olives, please!
Some meals fade from our memories as soon as the plates are cleared, while others are remembered for a lifetime. For Brett Littman, the executive director of the Drawing Center, a New York art institution dedicated to exhibiting drawings, it was a wondrous eight-hour dinner in 2010 at elBulli, the famed three-Michelin-star restaurant located in Roses, Spain, helmed by Spanish chef Ferran Adrià, that stayed with him.
After taking over the elBulli kitchen in the mid-’80s, Adrià would carefully plot out the now-shuttered restaurant’s 35+-course tasting menus. Through drawings, diagrams, and models, he composed innovative dishes that used molecular gastronomy to create mind-blowing experiences, like a dry martini sprayed into the mouth from a container modeled after a Comme des Garçons perfume bottle, or the famed spherical olives made of a green olive solution in a jelly-like shell that burst in your mouth. “It was just a part of the daily work we were doing,” said Adrià through a translator. “It helps [to] visualize the dish before you do it, it helps you with your daily process, it helps putting it together.”
Theory of Culinary Evolution, 2013 (elBullifoundation)
Littmann found his dining experience to be so profound and exciting that he reached out to Adrià about the possibility of exhibiting his process at the Drawing Center. Adrià agreed, and for the past two years Littman traveled to Barcelona four times so that the pair could work together to cull drawings and ephemera from Adrià’s archive for the exhibition, Ferran Adrià: Notes on Creativity, which runs at the Drawing Center through February 28, before it heads to Los Angeles, Cleveland, Minneapolis, and Maastricht, the Netherlands.
To celebrate the 1,000th Daily Pic, we declare "Las Meninas" the West's greatest hit.
In honor of the Daily Pic's 1,000th post, I’m revisiting Velazquez’s “Las Meninas”, which was the “Pic” that got my project started. (Click here to see the image hugely enlarged.) Back in August of 2010, I climbed on my new soapbox and suggested that the work might be “The greatest picture in the Western world”, without giving reasons. A few months later, I spent a solid week with the canvas, then argued my position at rather great length. And now, even after one thousand Pics, I don’t have much to add, except to note how brilliantly the picture has refused to turn into the empty icon that the Mona Lisa and Michelangelo’s “David” have become. Velazquez’s masterpiece, dubbed “the theology of painting” shortly after it was made, is simply too rich and complex to bear compression into a fridge magnet’s mental space. Portions of the painting – the Infanta herself; her dog and dwarf – have suffered that fate, but the whole has mostly escaped it. The truth is, I feel more than a bit guilty trying to squeeze this endless work into the limits of a single Daily Pic. Better to think of it as the creative force that has lurked behind the last 999 of them.
Langley Fox might be the great-granddaughter of Ernest Hemingway, daughter of actress Mariel, and sister of model Dree, but this up-and-coming artist is playing by her own rules while mixing art and fashion.
You might imagine growing up a Hemingway the gateway to a gilded life. After all, Ernest Hemingway was one of the greatest American authors of the 20th century. But Langley Fox, his 24-year-old great grand-daughter, is proving you can make it sans the glamorous family name.
Fox is a full-time artist and a part-time model who forsook the Hemingway surname for her middle name, Fox, because it “makes her feel like she’s a storybook character.” Nonetheless, the anonymity hasn’t kept her from captivating both the art and fashion world with a multitude of artistic collaborations. She’s been commissioned by Alice+Olivia and Louis Vuitton, landed both a Marc Jacobs fragrance campaign and a spot walking in the brand’s coveted runway show at New York Fashion Week last September, and even has a few fashion collaborations in the works.
Fox grew up in Ketchum, Idaho—the Hemingway home base for decades and where she still frequently visits. Her mother, Mariel, is the Oscar nominated leading lady in Woody Allen’s 1979 film Manhattan. Her sister is actress and model Dree Hemingway. Being attached to the Hemingway legacy has been an honor to Fox, but she’s not letting it characterize the person she is or who she is becoming—a mindset she shares with her mother.
Mariel’s most recent project Running From Crazy, is a documentary that follows the actress’s journey as she seeks to understand the “Hemingway curse” that has plagued the family with a long history of suicide and mental illness.
Just in time for Super Bowl XLVIII, a new exhibit at the Metropolitan Museum of Art takes a look back at the storied history of football through old-fashioned trading cards.
While millions of Americans huddle in front of their TVs to watch the 48th annual Super Bowl on Sunday, tens of thousands of dedicated fans will be braving the frigid weather in New York to attend the festivities at MetLife Stadium.
Love of the game runs so strong in these football devotees that the average ticket price on StubHub has hit $3,715, with the most expensive going for an eye-popping $10,557. With the arrival of these football fanatics in mind, the Met (no, not the stadium in New Jersey) has staged a new pop-up exhibition just in time for the Super Bowl.
Tomoo Gokita paints worlds no one has seen.
"Mystic Revelation" is one of the deeply peculiar paintings by the Japanese artist Tomoo Gokita, now gettting his first solo at Mary Boone Gallery in New York. Gokita’s pictures feel like they were made by someone surveying the entire history of 20th-century art afresh, with no special attachment to any particular moments, and asserting no hierarchy between them. Normally, the idea that a work is “timeless” is both praise and empty cliche. Here “timelessness” yields anxiety, and a sense of a world out of whack. Even reference seems to float free: Are those ten appendages swollen fingers, or dreadlocks, or sea cucumbers? The surrealism in these pictures doesn’t seem to come from recombining what’s out in the world, so much as from not recognizing reality’s parts.
Don’t limit your Super Bowl trip to the inside of MetLife stadium. From fine dining to alternative (and boozy) art tours, get a little culture before football madness begins.
On Friday, out-of-towners will start pouring into New York City for America’s annual spectacle of beer and aggression—the Super Bowl. But before watching the Seattle Seahawks face off against the Denver Broncos, get a little culture—and a little more zen—by checking out one of New York City’s best assets: its museums.
Even if you’re not a true art aficionado, the city’s museums are a great place to experience a wide selection of the great things Manhattan is known for: the food, the culture, and the history. From trend-setting apps and boozy tours to amazing restaurants, you’re sure to make your trip even more exciting.
Appreciating the Art:
The Museum of Modern Art was one of the first museums to introduce their own iPhone App—complete with audio guides. It took a while for people to catch on, but it has now set the standard for the museum guides of the future. Sayonara, archaic headset devices. If you are looking for something guaranteed to cut through the professional jargon and give you a more simplistic explanation of the artworks you’re seeing, then go for the unofficial MoMA: Unadulterated audio guide. Employing “experts from kindergarten to fifth grade,” it is sure to cause some chuckles.
We are taught that copying other people’s art is bad and that self-expression is great. Good advice for great artists. For the rest of us, not so much.
I like to copy.
Saying that, I feel like I’ve confessed to a crime—maybe not a violent crime, like murder, but worse than shoplifting for sure.
When it comes to art, we are taught from the cradle that copying is wrong. Instead, we are told to be ourselves and to make our art a unique expression of our individuality, at least as long as we have a pencil in our hands. Self-expression is the ultimate goal, we learn, even when we are small—my daughter, when she was five, delivered the first of her harsh judgments on her little brother: He smells funny and he copies.
Of course, there are situations in which copying is most wrong. You don’t copy something and pass it off as your own. You shouldn’t copy something and then pretend it’s the original. That’s forgery.
Their videos dominate the internet. Next, galleries are in their sights. A new cat-themed art show in LA has over seventy works by artists including Shepard Fairey and Tracey Emin.
Cats: they’ve officially taken over.
Just when you thought it was safe to browse the internet without running into another article on what our feline houseguests really think or getting trapped in a YouTube cat-hole, we’ve got one more way for you to distract yourself: a cat-themed art show.