Flower Festival:Feasst of Santa Anita, 1931. Encaustic on canvas. Diego Rivera. The Impossible, III, 1946. Bronze. Maria Martins Slow Swirl at the Edge of the Sea, 1944. Oil on canvas. Mark Rothko | Flag, 1954-55. Encaustic, oil and collage on fabric mounted on plywood, three panels. Jasper Johns. Chief, 1950. Oil on canvas. Franz Kline Stenographic Figure. c.1942. Oil on linen. Jackson Pollack | Untitled (Hotel Beau-Sejour). c.1954. Box construction containing driftwood, mirror, metal ring and rod, cork ball, and pasted paper with drawer containing three pieces of paper. Joseph Cornell Painting, 1948. Enamel and oil on canvas. Willem de Kooning Drowning Girl, 1963. Oil and synthetic polymer paint on canvas. Roy Lichtenstein. |
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Some work on State street, Portsmouth. Met Don Gorvett in his studio on Market Street. He mentioned he often has interns in his studio for periods to learn the reality of being an artist, ie, just getting on with doing it. I bought a small work of his and then he told us we should see the James McNeill Whistler exhibition at The Addison Gallery of American Art, located in Andover, New Hampshire - painting and printmaking. There were three rooms of painting, etchings, lithographs, dry point and watercolours. Then upstairs....
This was brilliant and then some. Conversation between Kentridge, Peter Galison and Sebastian Smee. Galison is a Pellegrino university professor in history of science and physics at Harvard University, who collaborated with Kentridge, Philip Miller and Catherine Meyburgh (and many others....including Anne Dudley, composer) in producing the installation The Refusal of Time. Galison's book Empires of time, would shed more light on the artwork and the process of how aspects of the piece came about. Kentridge described working this piece and working in general as 'starting with the literal and then see what it (the work) suggests' and a 'balance between knowing what you are doing and stupidity'.
The conversation was hosted by Sebastian Smee (Australian), himself a Pulitzer Prize winning art critic, who has worked for numerous Australian papers and international papers including the Boston Globe. Also has a few book titles I am certain to look up to read. Hope I got most this information right and I could not have expected more, I feel lucky! Finally made it to this museum and it was an example of extreme extravagance of the late 1800s, opened 1903. We were not allowed to take any photographs. There is a courtyard closed in with a glass roof in the centre of the building, four storeys high with orange nasturtiums cascading from the windows that apparently flower only two weeks of the year amongst many different blooms. We were lucky enough to be here at the right time. Isabella was from a wealthy family and she married more money. There was pictures in the collection by Rembrandt, Degas, Botticelli and even a portrait of her done by John Singer Sargent. Every surface was artwork and adorned with more.
I was told yesterday that management at the museum are trying to bring the artist in residence program to an end. There is not much space in the museum for new artwork - Isabella stipulated everything be left in its original positioning after her death. Her collection is like a personal installation of her life and personality. Can't help but admire her influence (money helps), but she still was a woman of the late 1800s. One day workshop at the MFA, Boston with Julie Miller, Drawing from observation to abstraction. Workshop consisted of two sessions beginning with looking at some of American early works of modernism for inspiration. We then went to American folk art wing of the gallery and began making marks across two pages, knowing that after lunch we were filling in the spaces from gallery holding art from Americans with traditional cultural backgrounds. Some of the inspiration from the third floor. I worked from these animals initially thought to be made by Italian born Salvatore Cernigliaro about 1880 for the Gustav A. Dentzel Carousel Company of Philadelphia. My work, graphite and coloured pencil on pastel paper.
WILLIAM KENTRIDGE NICK CAVE Sound suits, 2012-13. Mixed media. These intersect fine art, craft and performance - can be worn as a "second skin". AMBREEN BUTT, born in Pakistan and lives in Boston
Went to the Museum of Fine Arts in Boston today and it cannot be all taken in on one day. There was so much there. So many artists I like and then more I had not heard of before. These are some of my favourite.
This is such a small amount on offer here at the gallery.
For the month of March Impress has some local practicing artists giving talks in the studio to shed some light on their approaches and printmaking processes. Today I got to hear David Nixon and Paula Quintela who also had some examples of their gorgeous work. Definitely worth going to!
I did visit here on the 18.12.2013 to visit America. Painting a Nation exhibition. I did come out thinking of the Australian art though, that was throughout the rest of the gallery. Must be where my heart is!
Visited Cai Guo-Qiang's Falling Back to Earth this morning at goma
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