Lucian Freud, the British painter of regular people in all their fleshy glory who stayed loyal to portraiture and realism even when modern art veered toward the abstract, has died. He was 88.
Freud died last night at his home in London after a brief illness, said William Acquavella, owner of Acquavella Galleries in New York, which is Freud’s worldwide dealer.
A grandson of Sigmund Freud, the founder of psychoanalysis, Freud preferred to use friends and family members, including his mother, as subjects of his portraits, using thick gobs of paint to reveal the human body’s curves, folds and imperfections. (He preferred the term “naked” rather than “nude.”) Starting in the 1980s he graduated to larger and larger canvases.
“I paint people not because of what they are like, not exactly in spite of what they are like, but how they happen to be,” he said.
Bloomberg News critic Jorg von Uthmann, in a review of a 2010 show at the Centre Pompidou in Paris, called Freud’s work “unashamedly traditional, stubbornly figurative and realistic to the point of being brutal.”
Born in Germany, Freud moved to the U.K. at 11 and later became a naturalized citizen. His longtime studio was at a home in the London neighborhood of Holland Park. In 2000 and 2001, Queen Elizabeth II sat for a portrait that provided fodder for Freud’s fans and critics alike. He painted model Kate Moss in 2002, while she was pregnant.
Pablo Picasso cast a long and sometimes oppressive shadow across the landscape of 20th-century art. American artists from Max Weber to Jasper Johns absorbed his example and marveled at his virtuosity. Jackson Pollock famously declared, "That [bleeping] Picasso . . . he's done everything." (Pollock even began a 1950 drip painting with a series of Picassoid figures but obliterated them under skeins of paint.) In Europe, painters as diverse as Richard Hamilton and Martin Kippenberger paid homage to Picasso, while Pop artists in the United States, like Claes Oldenburg and Roy Lichtenstein, reworked his subjects in soft fabric or Benday dots.
But what about contemporary artists—the young and those in midcareer? Does Picasso still cast any sort of spell, almost 40 years after his death? The recent retrospective of George Condo's work at the New Museum in New York drew attention to the question of how much the colossus of modernism still haunts artists in the 21st century. Condo, 55, claims to have spent two years trying to understand Picasso's language "from within," practicing what he calls "psychological Cubism." Many others of his generation have also been wrestling with the master, while a number of younger painters and sculptors are discovering him all over again.
Many artists are introduced to Picasso as students. "My art history-survey teacher basically said, 'I want to give any of you who come to this school thinking you're going to be the next Picasso a dose of reality,'" recalls Sean Landers. "'There are none of you who are artists of this caliber, or we would have known it by now.'" Landers, who shows at Friedrich Petzel Gallery in New York, took that as a challenge to make ambitious paintings that borrowed heavily from Picasso. He showed them at Andrea Rosen Gallery in 2001. Though the results provoked a mixed reception, Landers—at least briefly—found "a vehicle to talk about myself and my own creative practice, [using] Picasso's imagery almost like an art material to make my own paintings."
By: Anne Landi
Keep reading this article at ArtNews.com
Nicola Tyson, a British-born figurative painter, recalls first encountering Picasso when she was an "angry young feminist painter in the 1980s. As students, we did a Demoiselles d'Avignon, substituting phallic imagery in place of the prostitutes." Though her debt to him is more oblique now, Tyson, who also shows at Friedrich Petzel, concedes that Picasso is the one who "gave permission way back to represent the figure differently from the traditional academic form." His depictions of "vacant women," she adds, "worked as a spur for me toward more self-discovery—out of a kind of anger and a feeling that there was something lacking in his work, something that wasn't represented."
Like Landers, an artist might choose to do an apprenticeship with Picasso before moving on to other turf. Mike Bidlo, one of the original appropriation artists of the 1980s, spent the middle part of that decade pursuing what he describes as an "indentured servitude" to the artist. Bidlo, who shows at Tony Shafrazi Gallery in New York, created his own versions of the Demoiselles and Guernica and painted 80 canvases of Picasso's women. "You would never mistake a Bidlo for a Picasso," he admits, but those years he spent "engaging and dialoguing with him" opened up many doors. "You never really drop an artist of his stature," he adds, "because he then becomes part of your DNA."
Since Picasso's output was so prodigious and multi-faceted, an artist can engage with only selected aspects of his explosive creativity. Ray Smith, for instance, has returned to Guernica several times, often recycling it for satiric ends. After then-Secretary of State Colin Powell gave a speech at the United Nations in 2003 announcing that the United States would start bombing Iraq, he answered questions from the audience while standing in front of a tapestry based on Guernica, a painting that denounced the aerial devastation of a small Basque village during the Spanish Civil War. Smith took a photo of the reflection of the tapestry on the room's marble floor and fed it through a filter in Photoshop that reads temperatures in lines and colors. The result is a painted, 24-foot-long melting-and-swirling distortion of the original.
Source: Art News
LYNDA BENGLIS @ NEW MUSEUM
Catch this exhibit before it ends. Benglis's show is paint abstraction as sculpture..and so much more.
Via: New Museum
Nexus Vomitus is
The Art of the Vomit
LiveStudio saw the marriage of music and performance art in the form of Nexus Vomitus, a collaboration between vomiting artist Millie Brown and opera singers Patricia Hammond and Zita Syme. During the one-off performance piece, Millie created a rainbow-like spectrum of vomit on canvas to Patricia and Zita’s melodic interlude.
James Gallagher curated this wonderful exhibition dealing with the theme 'COLLAGE' and we took part in it.
Collages rarely reveal the sources from which they are created and rarely expose the remnants left behind after extracting a desired element. This magazine acts as a counterpart to collage; the remnants exhibit their own visual power. Through the removal and deconstruction of the existing layout, new images appear while flipping through the magazine allowing the viewer to redefine their way of seeing and creating. (from HORT's site)
Yet to be titled, 2010
Chewing gum on canvas
48 x 36 inches (121.9 x 91.4 cm)
Last in line, 2010
Chewing gum on canvas
36 x 30 1/4 inches (91.4 x 76.8 cm)
BUBBLE GUM ART...LITERALLY
Dan Colen was born in 1979, New Jersey. He graduated with a BFA in Painting from the Rhode Island School of Art and Design in 2001. International exhibitions include the 2006 Whitney Biennial, New York; "USA Today," The Royal Academy, London; "Defamation of Character," PS1 Contemporary Art Center, Long Island, New York; and "Fantastic Politics," The National Museum of Art, Architecture and Design, Oslo. Colen is famous for having his first Gagosian exhibit in the galleries bathroom. His works look like oil paint in images, but they are in fact paintings made out of chewing gum. Yeah....chewing gum!
Photo of DAN COLEN. Photo by Marley Kate.
To view more of Colen's work go to this link.