December 18, 2011 |
The Getty Foundation announced three years ago that its research project to archive material related to Los Angeles art made between the end of World War II and 1980, before it was lost to indifference or time's vagaries, would be expanded to support a series of exhibitions. It seemed a worthy goal. The story of L.A. art's meteoric rise and temporary stumble, before it helped lead the global art explosion of the 1980s, had only been sketchily told. Grants totaling $2.8 million would be made to 15 Southern California institutions to help underwrite shows, targeted to open in 2011.
March 20, 2011 |
Lee Krasner A Biography Gail Levin William Morrow: 532 pp., $30 "I happen to be Mrs. Jackson Pollock, and that's a mouthful. The only thing I haven't had against me was being black. I was a woman, Jewish, a widow, a damn good painter, thank you, and a little too independent. " That's Lee Krasner in 1973, talking to Newsday journalist Amei Wallach about a landmark event in her career. At 65, Krasner was having her first solo exhibition at a New York museum, a show of 18 large abstract paintings at the Whitney Museum of American Art. Prickly and proud, Krasner was perpetually in the shadow of her husband, a leading Abstract Expressionist painter and self-destructive alcoholic who left her a widow at 47. Thanks in large part to female advocates, she finally gained recognition as a Modernist master who came of age in Abstract Expressionism's formative stage.
March 9, 2011 |
The Tate Modern Art Museum in London, which opened in 2000 in a onetime power station, will open a major exhibition of the work of Spanish artist Joan MirÃ?Â³, called the father of Abstract Expressionism, on April 14. The show, featuring more than 150 works, is one of the most extensive shows ever dedicated to this 20th century artist and the first in London in half a century. The exhibition, "The Ladder of Escape," features rarely seen pieces that signpost the stages of MirÃ?
March 7, 2004 |
The last place you'd expect to find two creative souls such as Erik and Irina Gronborg is in a tract house near San Diego. But tucked between homes with rose beds and buzzed lawns, their house stands out from the crowd. Giant agaves and echiums have replaced the grass, and bougainvillea climbs the walls amid carved gates. Nearby, exotic potted greens swing from the eaves. "We love the tropics, the look of a small, simple building dwarfed by plants, half-buried in the jungle," Irina says.
June 27, 2001 |
Abstract art is like Tabasco sauce. This is not just a metaphor; it is a close analogy. Hot peppers, I am told, provide a sensory experience that changes the sense organ that perceives it. Eat them right from childhood, and they provide a different taste experience to you than to someone who's new to them. It's not, I gather, simply that you've become more used to how they burn your tongue and so take pleasure in the sensation.
June 15, 2001 |
In the beginning, every career move Tom Field made seemed right. The young painter, born and raised in Fort Wayne, Ind., mingled with some of the world's premiere 20th century artists, including Robert Rauschenberg, Willem de Kooning, Josef Albers, Franz Kline and Joseph Fiore--all of whom he knew in the 1950s at Black Mountain College in North Carolina. At 26, he emerged in a vibrant San Francisco art scene as a noteworthy Abstract Expressionist. Then the worst thing happened: nothing.