Showing posts with label drawing. Show all posts
Showing posts with label drawing. Show all posts
April 17, 2013
December 4, 2012
May 25, 2011
May 20, 2011
April 11, 2011
April 8, 2011
March 17, 2011
February 11, 2011
studio feb 11
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| Gsaxena, brown paper drawing, feb 11, 13"x16" |
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| Gsaxena, large collage drawing, feb 11, 35"x22" |
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| Gsaxena, redone collage, feb 11, 13.5" x 10" |
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| Gsaxena, redone yellow painting, feb 11, 28"x 24" |
January 31, 2011
studio jan 31 fruit studies
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| GSaxena, Fruit 01, Jan 31 2011, 8"x10" |
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| GSaxena, Fruit 02, Jan 31 2011, 8"x10" |
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| GSaxena, Fruit 03, Jan 31 2011, 8"x10" |
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| GSaxena, Fruit 04, Jan 31 2011, 8"x10" |
January 28, 2011
January 26, 2011
studio jan 26 with mom
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| GSaxena, Mother Triptych 2009 |
Also I saw a nice drawing a few days ago at the Vogel 50x50 site.
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| Will Barnet, Untitled (Study for Mother and Child Reading), 1985 |
January 25, 2011
January 14, 2011
agnes martin and ideas
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| Agnes Martin, Stars, 1963, 12x12 inches, ink and watercolor. |
Agnes Martin (1912-2004) was a very interesting artist, in that she spent her life mostly by herself. Her art, in itself, is interesting because it is known to primarily comprise of painted, printed, and drawn grids--very beautiful ones. In a longer version of the video above, Martin says something about experimentation that is frustrating and revealing. I paraphrasing her: "Art was never made by experimentation, as if it were a science." She firmly believes that art comes from inspiration, that art can not be spoken about, only felt, and that ideas could only hinder the process of making.
I think something of her beliefs are actually lost in language once she phrased them. For instance, as most of her body of work comprises grids, one can say her whole career in a way dealt with an experimentation with the grid form. Martin would fervently deny such a statement... and she would be right. The unavoidable problem is in using language/words to frame the art process. I think Martin was able to achieve an empty mind-- and in that emptiness those grids glided gracefully, finding a space to occupy with dignity and beauty. It wouldn't have been possible if she thought, "Now I must create as many forms of the grid as possible."
Also, Martin's work does comprise other images than grids...
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| Agnes Martin, "Untitled" (2004). Ink on paper. 3 1/2" × 2 3/4". |
January 12, 2011
pfaff and scale
Judy Pfaff, "Umidum", 2011, honeycomb cardboard, wire frame, expanded
foam, shellac, sunflowers, tree fungus, paper lanterns, approx. 128 x 162
x 36 in. Courtesy of the artist and Ameringer, McEnery, and Yohe, New
York.
Judy Pfaff, Flusso E Riflusso 1992 Steel, wire,
wood and paint 12 feet x 25 feet x 20 feet
Max Protetch Gallery, New York, NY
Judy Pfaff will have a show at the Weatherspoon Museum soon. Since I am thinking of starting a large scale drawing, her work seems very relevant to look at. Materials ooze out of Ms. Pfaff--varying in color and density. I am not sure whether her drawings are like landscapes, or have a dynamic movement in them--perhaps they are shifting. An interesting one to look at is her 2009 drawing Rosie's Bed. Her sculptures and installations are tense with momentum. Aware of space, they seem to crystallize the concept of aggressive and graceful growth in nature (and otherwise?). Each surface of her drawing, individually deserves to be called prolific.
Her studio looks amazing as well... so large. I can only imagine all the material skills she has acquired through her approximately 30 years of artistic career. I am slightly envious! Some very interesting videos of Pfaff at work can be seen on the Art 21 website.
Judy Pfaff, . . . all of the above
2007 Ameringer/Yohe Fine Art, New York, NY.
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