Me!Francoise Gilot Archives
Wife to Picasso, Mother, Artist in her own right. I’ve loved her work since I read an interview with her, and an article on her monotypes in American Artist magazine sometime in the 1990s.
Even at the young age of 21, Françoise Gilot was one of the most respected artists of the emerging School of Paris, a movement struggling for recognition during the years of The Occupation. Then, in 1943, during the time of her first important exhibition in Paris, Françoise met Pablo Picasso, an artist 40 years her senior. In 1946, Gilot and Picasso began a decade long relationship and Françoise became both a witness and a participant in one of the last great periods of the modern art movement in Europe….
Here
Trees #3
Check out the rest of her work too (her Ex Libris series is pretty nice).
On a more positive, and yet weirder note I present:
From bendablerubber’s Channel (AKA Aaron Stewart)
Thanks to Drawn
Steelerbaby Blues – News – News – Pittsburgh City Paper
I don’t really care if his art is derivative, and that he steals all his ideas from elswhere. I don’t care that he tags stuff in the street. I don’t care that he’s a massive sellout to the ideas he espouses.
Wait a minute–
Yes I do. Nothing irks me more than some asshole who claims “fair use”* when he literally steals other artist’s work without acknowledging it (until he’s made to), and just barely doing anything to it to modify it, and turns around and issues a cease and desist order to some one who uses one word that he claims he’s trademarked and that no one else can use–never mind that it’s a very common word in the english language–in a product that bears no resemblance to his own in any way.
*Which as collage artist, I know that the work has to be tranformed in some way, so it’s not just a copy, and there are a lot of legal gray areas, and the law is pretty screwed up, as is most of the copyright code (see my post here). But we can leave that for another time.
So,I’d just like to say:
Untitled (R-8)
More at nyss.org
Thomas Nozkowski has been one of the most quietly influential painters on the New York scene over the past two decades. Some people may find that statement surprising. After all, where are the tokens of blue-chip status that would attest to this position of influence-the retrospectives in major museums, the glossy hardbound coffee table monographs, the auction block records and so on?
Well, I did say quietly influential, after all. Undoubtedly to the detriment of his worldly career, though always in the service of the one career that counts, namely the progress of discovery and invention that occurs in the studio, Nozkowski has set his face against everything that signifies “importance” in the contemporary artworld: for instance, he has eschewed the large scale that has been de rigueur since the time of the abstract expressionists, who would nonetheless be shocked at the present situation in which artists tailor their work to the overweening proportions of museums that have been built to impress and dominate rather than to create intimacy. And he has avoided, as well, the systematic working methods that on the one hand are valued as signs of aesthetic rigor and on the other are so convenient for establishing the stylistic consistency and signature “look” essential to establishing a trusted brand name, in art as much as in any other retail field.
What I like is that he has kept the scale of his work small. Human size, more or less. sizes that anyone can hang on their wall, not museum/corporate size. I like this and the essay got me thinking about size in my waor, and art in general. I may post something on that at a later date.
Jonathan Jones: Art as we know it is finished | Art and design | guardian.co.uk
Art is fun, it’s a laugh, it’s entertainment, it’s spectacular, it’s cool … art now aspires to be all the things fashion is. And so it cannot accomodate the awkwardness of a Kossoff: cannot be a bone in anyone’s throat. Its success is totally bound up with the same fiction that anything is possible that has inspired banks to lead us all into a looking-glass world.
I’ve tried to resist this fact for a few months, but I’m done with illusion. Art as we know it is finished. It is about to be exposed as nothing more than the decor of an age of mercantile madness. On what bedrock might a new art arise?
Seems that scientists have found a resurrected gene
A gene that is active in humans today died out during our primate evolution and came back to life again. This is the first time such a “resurrection” event has been identified, researchers say.
Since we seem to be devolving, I thought Devo might be appropriate.