art that takes its form from the lines of life

Burnt out art historian. Wishful interior designer. Sometimes artist. This is just a collection of works and quotes from my favorite artists, designers, and architects - a sort of gallery from my brain.
cavetocanvas: Helen Frankenthaler, Canyon, 1965 From the Philip’s Collection: During the 1960s, Frankenthaler moved away from her use of drips and splatters of paint toward larger single stains and blots. In 1963 she began using acrylic paint as opposed to turpentine-thinned oil, resulting in the expansion of form and the production of bolder, more saturated colors. Canyon of 1965, painted in acrylic, exemplifies Frankenthaler’s paintings of the 1960s as it flows out from a boldly colored center, in this case red. The painting takes advantage of the fluid nature of acrylic paint, which floods laterally across the surface of a canvas to create a hard, defined edge rather than a soft, blotted edge as in the thinned oil paint she used in her earlier work. Frankenthaler was attracted to the more saturated and intense effects of acrylic paint and the color relationships she could produce using this medium.

cavetocanvas:

Helen Frankenthaler, Canyon, 1965

From the Philip’s Collection:

During the 1960s, Frankenthaler moved away from her use of drips and splatters of paint toward larger single stains and blots. In 1963 she began using acrylic paint as opposed to turpentine-thinned oil, resulting in the expansion of form and the production of bolder, more saturated colors. Canyon of 1965, painted in acrylic, exemplifies Frankenthaler’s paintings of the 1960s as it flows out from a boldly colored center, in this case red. The painting takes advantage of the fluid nature of acrylic paint, which floods laterally across the surface of a canvas to create a hard, defined edge rather than a soft, blotted edge as in the thinned oil paint she used in her earlier work. Frankenthaler was attracted to the more saturated and intense effects of acrylic paint and the color relationships she could produce using this medium.

(via uminuscula)

Collage allows people with no technique to make works of art,
to express themselves in a visual way

—André Breton (via alfredolietor)

(via cutupculture)

letmypeopleshow: Who Are You Wearing?  A flamenco frock featuring some of those famous Demoiselles from Avignon is in “Surviving Picasso,” a show by Rogelio López Cuenca at Galería Juana de Aizpuru in Madrid. López Cuenca, a kind of poet urbanist conceptualist trickster, lives in Málaga, a city where Picasso casts a giant shadow—as seen from his delirious collage of real and imagined interpretations of souvenirs and more.   Courtesy Galería Juana de Aizpuru.

letmypeopleshow:

Who Are You Wearing? 

A flamenco frock featuring some of those famous Demoiselles from Avignon is in “Surviving Picasso,” a show by Rogelio López Cuenca at Galería Juana de Aizpuru in Madrid. López Cuenca, a kind of poet urbanist conceptualist trickster, lives in Málaga, a city where Picasso casts a giant shadow—as seen from his delirious collage of real and imagined interpretations of souvenirs and more.  

Courtesy Galería Juana de Aizpuru.

collapsingstars: “MIROSLAV TICHY has become famous in spite of his need for privacy. Born in 1926 in what is now the Czech Republic, Tichy studied painting at the Academy of Art in Prague until the Communist takeover in April 1945. Arrested for being “odd,” therefor subversive, Tichy spent many years in jails and prisons, until he was released in the 1970s. Upon his release, he wandered his small town in rags, pursuing his occupation as an artist photographing the female form in the streets. He made his cameras from tin cans, childrens spectacle lens and other junk he found on the street. He would return home each day to make prints on equally primitive equipment, making only one print from the negative he selected. He stole intimate glimpses of his subjects through windows and the fences of swimming pools as well as in the streets, sometimes finding himself in trouble with the police.The work, which might appear to the casual viewer to be intrusive voyeurism, takes on a melancholy and poetic quality. They are exquisitely produced small objects of obsession, which have no equal. He produced work, not for others, but for himself, with no regard for selling or exhibiting his pictures.”  Note to self - Look up this man’s work.

collapsingstars:

“MIROSLAV TICHY has become famous in spite of his need for privacy. Born in 1926 in what is now the Czech Republic, Tichy studied painting at the Academy of Art in Prague until the Communist takeover in April 1945. Arrested for being “odd,” therefor subversive, Tichy spent many years in jails and prisons, until he was released in the 1970s. Upon his release, he wandered his small town in rags, pursuing his occupation as an artist photographing the female form in the streets. He made his cameras from tin cans, childrens spectacle lens and other junk he found on the street. He would return home each day to make prints on equally primitive equipment, making only one print from the negative he selected. He stole intimate glimpses of his subjects through windows and the fences of swimming pools as well as in the streets, sometimes finding himself in trouble with the police.

The work, which might appear to the casual viewer to be intrusive voyeurism, takes on a melancholy and poetic quality. They are exquisitely produced small objects of obsession, which have no equal. He produced work, not for others, but for himself, with no regard for selling or exhibiting his pictures.”

 Note to self - Look up this man’s work.

(via uminuscula)