Laureen Warrington – Guest Piece

An artist whose work I liked very much so I asked her if I could do a guest piece on her.  So here is her biography and a link to her works.

https://i0.wp.com/s3.amazonaws.com/artbreak/user_pictures/68623/m_27f45d087129e84cf393f74ff9b59efd_inset.jpg

I was born in Istanbul…1951. My father was a British diplomat. I spent my childhood in Turkey and then sent to a catholic convent school in London for the rest of my education….where a process of eliminating all my culture began. I was British but with no British identity…and no clue of what a catholic was.

Best part there was that I was allowed access to the art room every week end..all day!

I studied fashion design in London and worked for bands for a while.

One of them was Thin Lizzy.

After an accident with a near death experience I developed a sensitivity and huge interest in crystals and discovered a new world of understanding. I studied the Tarot and archetype energies.

i worked with crystals and felt they contain much information, and transmit, which lead to finding techniques to get very close pictures of them.

I work in total synergy with my partner Michael Korotschenko. We are very influenced by sound and do most of the work listening to music and sound scopes which enhance our creativity and sensitivity to the rocks.

We have mentioned the words…this is an image with a message from the silent kingdom ..you are the artist !

on the pictures because everyone sees something completely different as in abstract art.

M-ARTWORK PORTFOLIO

Julian Opie

Well, yet another artist I have discovered, Julian Opie. I really enjoyed browsing his website and looking at the simplicity of his work. You can have some fun with some screensaver downloads he lets you take and if you are interested in seeing his works on exhibition then he will be showing in the following:

Lisson Gallery
London 15 Oct – 14 Nov 2008 Solo Show
MAK
Vienna, Austria 11 June – 21 Sept 2008 Solo Show
Mito Tower
Tokyo, Japan 19 July – 5 Oct 2008 Solo Show
Mie Prefecture Museum
Japan 14 Feb – 13 April 2008 Still Motion Touring Group Show
National Museum of Art Osaka
Osaka, Japan 29 April – 15 June 2008 Still Motion Touring Group Show
Tokyo Metropolitan
Tokyo, Japan 23 Aug – 12 Oct 2008 Still Motion Touring Group Show 2007
Phoenix Museum of Art
Arizona, US Permanent Installation Julian & Suzanne walking, 2007

Article provided by Grove Art Online www.groveart.com

English sculptor, painter, printmaker and installation artist. He studied at Goldsmiths‘ College (1979–82) under Michael Craig-Martin, for whom he briefly worked as an assistant, and emerged as an influential figure on the British art scene in the 1980s, with a highly inventive series of painted metal sculptures. These humorous and playful sculptures combined a loosely painted imagery with steel shapes, as in the case of This One Took Ages to Make (1983; New York, Mr and Mrs A. Safir priv. col., see 1994 exh. cat., p.15), representing a red typewriter supported by the loose pages that fall from it. Towards the end of the 1980s his sculptures became larger, more austere and minimal, and were often based on a relationship between art and architecture. As his work developed it dealt increasingly with the exploration of visual and spatial experience, often with reference to digital simulation. Imagine You are Walking (1–18) (acrylic on wood, 1993; London, Lisson Gal., see 1994 exh. cat., pp. 96–7), comprises 18 neutrally painted images of the interior of a computer-generated maze. The title invites the viewer to project himself into the various configurations, in themselves an approximation of basic cognitive processes. In a related series, Imagine You are Driving (acrylic on wood, glass and aluminium, 12 parts, 1993; London, Lisson Gal., see 1994 exh. cat., pp. 106–9), images simulate the bland, hypnotic experience of motorway driving. An autonomous, purified idealism is underlined by alienation, suggesting a dystopic side of modernist architecture and planning and the human failure of a technological modelling of experience. Opie’s exploration of cognition also takes the form of architectural model-making, in which he constructs bland generic models of building typologies, such as castles or churches. These were intended to reflect a disengaged and superficial emotional response to the outside world; such a response could equally be one of numb indifference or innocent wonder. In 1995 Opie was awarded the Sargent Fellowship at the British School in Rome.

Chelin Sanjuan

Chelin Sanjuan was born in Zaragoza, Spain in 1967. I just stumbled upon her webpage and although I am not a surrealist fan I found her art moving and captivating. I noticed she has a love of cats and paper boats. I would describe her work as surrealist. You can see that violin bows turn into twigs for birds to perch on, womens hair have all kinds of wildlife and fauna in it, and the opaque touch she gives to the paintings is amazing. This painter should definetely go down in history.

Aguadoras

I really love the way this artist paints, it is so passionate and emotional that I sat in front of my screen just gazing for hours. It made me feel like getting up and rushing over to Spain to give her a big kiss. Well done Chelin you have won a place in my heart.

Baigneuse

If you want to see more go to: http://www.chelinsanjuan.info/

Ai Weiwei’s spider’s web for Liverpool

LONDON. Tate Liverpool has commissioned the Chinese artist Ai Weiwei to make an ambitious installation for the Liverpool Biennial, opening next September. This will span the width of the historic former dockyard where the gallery is located. The engineering firm Arup is currently conducting a feasibility study for Web of Light which will be concluded by the end of this month.

The work will consist of illuminated crystalline strands suspended from steel cables which stretch across the Albert Dock. A spider made out of crystals will hang in the corner nearest to Tate; the entire installation will weigh over eight tonnes. The gallery will need to raise around £400,000 to realise the work.

Ai Weiwei has already made an installation for Tate Liverpool included in the exhibition “The Real Thing: Contemporary Art from China” earlier this year. Fountain of Light was a two-tonne eight-metre-high steel structure illuminated like a chandelier which floated in the middle of the dock.

Simon Groom, formerly Head of Exhibitions at Tate Liverpool, now director of the Scottish National Gallery of Modern Art, says: “Ai Weiwei very much liked the architecture of the Albert Dock, as well as the sense of energy in Liverpool which he compared to Beijing. Given the success and popular appeal of the first work, it seemed only natural to want to pursue something of an even more ambitious and spectacular nature, and Web of Light promises to be the ‘must-see’ landmark public work for Capital of Culture. The work is incredibly ambitious, and of a scale to dwarf every other major public commission—but this is what happens when the ambitions of a country like China collide with those of a city like Liverpool!”

Paul Gauguin

Paul Gauguin’s famous guise as the original Western savage was his own embellishment upon reality. No mere bohemianism, that persona was, for him, the modern sequel to the “natural man” constructed by his idol, Jean-Jacques Rousseau (1712-1778). Gauguin’s rejection of the industrialized West for an earthly paradise embraced, in artistic terms, all handmade arts and crafts as equivalent creative endeavors. As his own ideal artist-artisan, he produced an abundant, cross-fertilizing body of work in many media, dissolving the traditional boundaries between high art and decoration.

Portrait of Vincent Van Gogh Painting Sunflowers, Arles 1888

The artist and his older sister Marie were born in Paris (he in 1848) to highly literate upper-middle-class parents from France and Peru. Gauguin’s early life was shaped by his family’s liberal political activism and their blood ties spanning the Old and New Worlds. His father was a republican journalist; his maternal grandmother, Flora Tristan (Flora Tristán y Moscoso), was a Peruvian creole and a celebrated socialist active in France. Through her, Gauguin claimed a special link to the earlier New World as a descendant of its pre- and post-Conquest elite. With or without foundation, Gauguin identified his grandmother’s ancestors as the noble Spanish Viceroy of Peru who ordered the first European voyage to the Marquesas Islands (the artist’s own final home) and, before that, a high-born Inca, a legacy that he “proved” with his own craggy “Inca” profile. In 1849 his parents fled France for Peru with their two young children, fearing repercussions from the candidate his father’s paper had not supported for president of the republic, Louis-Napoléon, later Napoleon III. His father died on shipboard. Gauguin spent his childhood in colonial Lima and his adolescence in his father’s native city of Orléans. Though his widowed mother had few means beyond a modest salary as a seamstress in Orléans, the boy was surrounded in both cities by prosperity and culture, thanks to family and friends.


Scene from Tahitian Life
In the late 1860s Gauguin traveled the world with the merchant marine, and then the eastern Mediterranean as a third-class military seaman. He started painting and building an art collection when he settled in Paris as a stockbroker in 1872. Having inherited trust funds from his grandparents and now earning good money in his new career, he lived well, married a middle-class Danish woman in 1873, and had five children with her. His artistic training was informal and limited. After learning to paint and model on his own, Gauguin was tutored by the active professionals among his landlords and neighbors. Intellectually restless and independent, Gauguin sought and absorbed information from myriad sources, synthesizing them into his own aesthetic. He apparently began to show his work before he sought any training. His Salon debut in 1876, with Under the Tree Canopy at Viroflay (Seine et Oise)–possibly the landscape of that area, dated 1875, that belonged to his sister’s descendants, Hernando Uribe Holguin, Bogotá–occurred four years before he met his only acknowledged painting master, his landlord Félix Jobbé-Duval, in 1880. In 1877, Gauguin modeled a clay bust of his wife and observed as another landlord, sculptor-praticien Jules Bouillot, carved a marble rendition (Courtauld Institute of Art, London), in order to execute the entire process himself immediately afterwards; he did so in a bust of his son Emil (1877, marble; MMA). His fellow tenant at Bouillot’s, sculptor Paul Aubé, may have guided Gauguin as well, and may have encouraged his interest in clay sculpture. Gauguin studied ceramics much later, in 1886 with Ernest Chaplet, whose studio was nearby. In 1879 he joined the “Independents” (Impressionists), thanks in part to Camille Pissarro, another New World transplant (from Danish Saint-Thomas) who became a special mentor. Gauguin showed regularly with them until they disbanded in 1886, entering a variety of works, including sculpture, that earned modest critical attention. Various dealers bought his work. Gauguin lost his final job in the brokerage world after the financial crash of 1882. He moved his family to the less expensive town of Rouen and became a sales representative for a canvas manufacturer. However, his focus intensified on art and political activism. He undertook missions to the Spanish border to promote the Spanish republican cause. Alarmed at the dramatic change their life was taking, his wife took the children to her native Copenhagen. Gauguin followed, but soon declared the city to be uncongenial. He left to pursue an independent life, though he remained in regular contact with his wife and children, largely by correspondence, for the rest of his life.

Breton Girls Dancing

Surviving on odd jobs and often without cash, Gauguin began his lifelong peripatetic migration between exotic regions and Paris in 1886. In the process he grew in stature as a colorful and controversial avant-garde artist, primarily through works sent from those remote sites for sale and exhibition in Europe. After an ill-fated move to Panama and Martinique, in 1888 he began spending extended time in the French provinces. He went first to Pont Aven, Brittany, where Emile Bernard’s (1868-1941) cloisonnisme profoundly affected his work. Yet Bernard and his circle of friends–notably Paul Sérusier (1863-1927), Maurice Denis (1870-1943), and Charles Laval (1862-1892)–regarded Gauguin as their own mentor. His art and stated views in Brittany shaped their aesthetic definingly for years, producing first what is known as the School of Pont Aven, and then the more varied work of their later years, as the self-styled Nabis. Gauguin then went to Arles to join Van Gogh, which proved to be a seminal encounter artistically, if tumultuous emotionally, for both. He then returned to Brittany, to the village of Le Pouldu. By 1890, Gauguin’s work was shown at avant-garde exhibitions in Paris and Brussels and had earned the admiration of Symbolist writers in Paris, particularly that of its current leader Stéphane Mallarmé. Gauguin was invited to attend regular gatherings when in the capital, and was often the honored guest. His final move to the Pacific Islands, with sporadic returns to Paris, began in 1891 with his transfer to Tahiti, as head of a government-funded artistic mission. He found his dream of an earthly paradise there severely compromised. As in Europe, he saw discord and a native culture overcome by Western values–including the need for capital to live. Nonetheless he produced prolifically, amidst quarrels with authorities, scandals, and relations with local women that yielded yet more children. Various illnesses, including syphilis, left Gauguin increasingly immobilized during his last years. He died in 1903 and remains buried on Atuona (Marquesas Islands).

Contes barbares (1902, Barbarian Tales)

Gauguin’s complex art has long been divided into the Impressionism of his early years, and the Synthetism and exotic Symbolism of his mature years in Brittany and Oceania. It is broadly defined as an incremental rejection of naturalist modernity, the tenets of high art, and Western illusionism, in favor of a syncretism that drew upon a broad range of artistic and literary sources. His course is frequently charted with landmarks: the landscapes, figure paintings, and interiors that particularly suggest the work of Pissarro and Degas, from his years as a leisure-time Impressionist painter; the brilliantly colored cloisonné paintings of Brittany (The Vision After the Sermon [Jacob Wrestling with the Angel], 1888, National Galleries of Scotland, Edinburgh); and his enigmatic monumental testament from the Pacific, Where Do We Come From? What Are We? Where Are We Going? (1897, BMFA). The formal qualities and meaning of that work, however, continue to be debated. His paintings in the Impressionist exhibitions of the early 1880s emerge, under renewed scrutiny, as more anti-naturalist and anti-conventional than previously thought. As is well established, the anti-illusionism of his mature work and the variety of media, especially functional objects, convey his advocacy of craft and the decorative, and of the artist as the physical, as well as conceptual, source of art. Gauguin was no pure formalist however. His support for the decorative encompassed, even demanded, the conveyance of meaning by a close alliance of form, content, and technique, a strategy–so dear to Symbolist poets–that was central to Gauguin’s disciples in Brittany, whether in a church fresco or a decorative screen. That sense of charged meaning, however, owed little to traditional Western symbolism and narrative strategies, which demanded coherent legibility. Gauguin’s later works from Brittany and beyond remain ambiguous, perhaps unresolvable, as provocative expressions of mysterious truths, at once personal and cosmic.

Where Do We Come From? What Are We? Where Are We Going?

The artist produced two- and three-dimensional sculpture and functional objects throughout his career. Typologically, they range from conventional portrait busts and architectural reliefs to functional objects–among them vases, knife handles, and wine casks. Many were intended for public exhibition and sale like his paintings, prints, and drawings. Throughout his career, Gauguin both modeled and carved; at some point, however, his choice of materials changed. Whether for practical or ideological reasons, Gauguin eschewed the “noble” marble of his first sculptural efforts (the family busts) for “humbler” materials, mostly wood and clay. His advocacy of direct handiwork caused him to reject methods that involved indirect mechanical processes, such as throwing ceramics on a wheel. Only one work produced by such techniques can be documented, a cast plaster of the so-called Self-Portrait, Oviri (1894-1895), known today through posthumous serial bronze casts. Famous for their “savage” subject matter and format, non-Western polychromy, and sense of slapdash formation, these works deliberately vary in character. Throughout his career, Gauguin’s carved surfaces could be smoothly undulating, like any traditional Western sculpture, as well as emphatically planar and “crude,” in the more familiar primitivizing mode. He did not completely reject commercial reproduction of his sculpture. While in Tahiti, the artist planned to serialize Mask of a Savage (1894-1895, terracotta; Musée Léon-Dierx, Saint-Denis, Réunion [Mascarene Islands]) and what he called his best sculpture, Oviri (1894, stoneware; Musée d’Orsay, Paris), in bronze. Oviri and several other figures were, in fact, cast by several commercial founders as lost-wax serial bronzes from the years before World War I to the late 1950s.Gauguin also published his extensive writings, beginning with a very revealing critical commentary on ceramics in the Paris Universal Exposition of 1889, and ending with autobiographical tracts such as Noa-Noa. After his death, as with Rousseau, his literary production shaped views of his work and persona as profoundly as the physical objects. His artistic influence in France took many forms before and after his demise; one of the most evident examples is the work of Odilon Redon, who revered the artist as much as his aesthetic.

 Oviri

Bibliographic References

  • Gauguin, Paul. Avant et après. 1903. Facs. ed. Leipzig, 1913, reprinted Copenhagen, 1951.
  • Rotonchamp, Jean de [pseud. of Louis Brouillon]. Paul Gauguin 1848-1903. Weimar, 1906.
  • Morice, Charles. Paul Gauguin. Paris, 1919.
  • Chassé, Charles. Gauguin et le groupe de Pont-Aven. Documents inédits. Paris, 1921.
  • Gauguin, Pola. My Father, Paul Gauguin. Trans. Arthur G. Chater. New York, 1937 (new edition, 1988). Originally Paul Gauguin, Mon Père. Trans. Georges Sautreau. Paris, 1938.
  • Malingue, Maurice. Gauguin. Le Peintre et son oeuvre. Paris, 1948.
  • Loize, Jean. Les Amitiés du peintre Georges-Daniel de Monfreid et ses réliques de Gauguin. Paris, 1951.
  • Chassé, Charles. Gauguin et son temps. Paris, 1955.
  • Goldwater, Robert. Paul Gauguin. New York, 1957.
  • Malingue, Maurice. “Du nouveau sur Gauguin.” L’Oeil 55-56 (July-August 1959): 32-39.
  • Gray, Christopher. Sculpture and Ceramics of Paul Gauguin. Baltimore, 1963.
  • Wildenstein, Georges, and Raymond Cogniat. Gauguin. 2 vols. Paris, 1964.
  • Bodelsen, Merete. Gauguin’s Ceramics. London, 1964.
  • Danielsson, Bengt. Gauguin in the South Seas. Garden City, New Jersey, 1966.
  • Andersen, Wayne, assisted by Barbara Klein. Gauguin’s Paradise Lost. New York, 1971.
  • Jirat-Wasiutynski, Vojtech. Paul Gauguin in the Context of Symbolism. Ph.D. diss., Princeton, 1975. New York and London, 1978.
  • Teilhet-Fiske, Jehanne. Paradise Reviewed. An Interpretation of Gauguin’s Polynesian Symbolism. Ann Arbor, Michigan, 1983.
  • Varnedoe, Kirk. “Gauguin.” In Primitivism in 20th Century Art. 2 vols. Exh. cat. Museum of Modern Art, New York, 1984: 1:179-209.
  • Merlhès, Victor, ed. Correspondance de Paul Gauguin. Vol. 1 of 3 [forthcoming]. Paris, 1984-.
  • Chemin de Gauguin: Génèse et rayonnement. Exh. cat. Musée Départemental du Prieuré, Saint-Germain-en-Laye, 1985.
  • Paul Gauguin. Exh. cat. National Museum of Modern Art, Tokyo; Aichi Prefectural Art Gallery. Tokyo, 1987.
  • The Art of Paul Gauguin. Exh. cat. National Gallery of Art, Washington, D.C.; Art Institute of Chicago; Galeries Nationales du Grand Palais, Paris. Washington, D.C., 1988.
  • Eisenman, Stephen F. Gauguin’s Skirt. New York, 1997.
  • Butler, Ruth, and Suzanne Glover Lindsay, with Alison Luchs, Douglas Lewis, Cynthia J. Mills, and Jeffrey Weidman. European Sculpture of the Nineteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 2000: 234-236.

Claude Monet

Claude Monet was born in 1840, the eldest son of a Parisian shopkeeper. The family moved in 1845, and he spent his childhood in the port town of Le Havre. Monet took his early painting lessons there from the painter Eugene Boudin. Boudin, who specialised in scenes of people strolling on beaches, worked up sketches out-of-doors and encouraged Monet to do the same. Monet was soon converted. At the age of 19, Monet enrolled at the Academie Suisse (founded by a retired model of David).

Water lillies

In 1858, he spent some time in Paris, studied briefly with Gleyre and met and befriended Pissarro and Manet. He spent the two years between 1860 and 1862 in military service in Algeria, then returned to Paris. Once back in Paris, he studied full-time under Gleyre and became close friends with Renoir, Sisley and Bazille – also students of Gleyre.

The period from 1867 to 1870 was coloured by extreme financial hardship. The birth of his illegitimate son Jean in 1867 occurred under such dire financial circumstances that, during a particularly brutal siege of poverty and hunger in 1868, Monet attempted suicide. At this time, the friendship of comrades like Bazille (who bought Women in the Garden) and Renoir (who actually stole bread for the Monet family) were his sole consolation. The gulf between his most laboured paintings and official acceptance seemed unbridgeable.

Impression: soleil levant

In September of 1870, following France’s declaration of war against Prussia, Monet took refuge with his friend Pissarro in London. It is during this time that he painted his views of Hyde park, the Pool of London and the Thames at Westminster. While in England, Pissarro and Monet visited the museums. They were especially entranced with the works of Rossetti and Watts, and they also spent some time studying the works of Turner and Constable.

Monet had a lifelong love of water, and he once joked that he would like to be buried in a buoy. By 1871, Monet had settled in Argenteuil so he could paint along the banks of the Seine River. Once there, he fixed up a boat with an easel and painted his way up and down the Seine, searching for the means to capture his impressions of the interplay of light, water and atmosphere.

Discouraged by the lack of recognition by the Salon, the Impressionists banded together as the “Societe anonyme des artistes peintres, sculpteurs, graveurs” in 1874. They exhibited their work together just before the annual Salon that year, and it was there that the term ‘Impressionist’ was coined. Monet had exhibited his painting Impression: Sunrise`, and a derisive critic fumed that “The Impressionists apply paint like tongue lickings”. The first exhibition was a financial failure, and none of the exhibitions were particularly successful, but they continued to exhibit together until 1886.

Saint-Georges Majeur au crépuscule

In 1883 Monet moved to Giverny. Caillebotte had communicated his love of gardening to Monet, and here Monet translated that enthusiasm into a remarkable garden. Painting the lilies in the pond of his garden hundreds of times between 1900 and 1926, they are the culmination of a lifetime in which the out-of-doors had become his studio. In 1916 he began the ‘cyclorama’ Nympheas, which he intended to donate to the French Nation (providing they displayed it suitably and bought his Women in the Garden. Arrangements were finally made and agreements signed for the twelve 13 foot long/6 foot tall panels to be displayed in the Orangerie. Monet continued to visit and work on the panels until his death at Giverny in 1926.

Damien Hirst

”Art is like medicine – it can heal. Yet I’ve always been amazed at how many people believe in medicine but don’t believe in art, without questioning either.” – Damien Hirst

Born in 1965 in Bristol, Damien Hirst grew up in Leeds and subsequently went to Goldsmith’s College in London. Between 1988 and 1990 he curated a series of art exhibitions by his contemporaries including the highly acclaimed group shows Freeze, Modern Medicine and Gambler.

In his own art Damien Hirst has continually challenged the boundaries between art, science, the media and popular culture. A 12-foot tiger shark, a cow and her calf sawn in two, pharmacy bottles, house paint poured onto spinning canvases, spot paintings, cigarette butts, medicine cabinets, office furniture, medical instruments, butterflies and tropical fish are just some of the means Damien Hirst employs to communicate his unflinching view of the ambiguity at the heart of human experience. Damien Hirst has said ”I am going to die and I want to live forever. I can’t escape the fact, and I can’t let go of the desire.”

Spin

Damien Hirst original limited edition prints, drawings and paintings continue to increase in popularity, demand and price. In 2004 his Pharmacy sale at Sothebys was expected to make o3 million GBP but instead recorded sales of o11 million GBP. There is no doubt that Damien Hirst is destined to continue his number one position in the British art market and has recently been compared to Andy Warhol and Pablo Picasso in terms of popularity and rising prices.

Last Supper

Much of his Damien Hirst prints can be divided into three areas: Spots, Spins and Pharmaceutical. His spot etchings and lambda prints such as Valium, Opium, LSD, Methaphetamine, Tetrahydracannabinol and Cineole lull the viewer into an optimistic and peaceful state. Hirst spin etchings, In a Spin, the Action of the World on Things (Volumes I and II) created by using spinning plates, etching tools, brushes and acid mesmerise the onlooker. His pharmaceutical prints, especially the Last Supper portfolio draws upon the parallels of art and medicine as ”healers’. The metaphoric title distances the onlooker from the art to a point but also seems suggestive, perhaps also including the biblical fact of St Matthew the disciple as a physician – or indeed St Damien the Doctor (usually iconographically depicted with St Cosmas).

Making Beautiful Drawings

Damien Hirst has had exhibitions in galleries and museums throughout the world. In 1994 Hirst received the DAAD fellowship in Berlin and the Turner Prize in 1995.The Marble Palace at the Russian State Museum, Llubljana made a solo exhibition of Hirst’s drawings in 2003 as part of the 25th International Graphic Biennale. In 2004, Damien Hirst collaborated with Sarah Lucas and Angus Fairhurst on an exhibition of recent works entitled In-a-Gadda-da-Vida at Tate Britain and presented a survey of key works from 1989-2004 at the Museo Nazionale Archaeologico de Naples.