So this was our first studio visit with the Artist Ned Evans. We were given a little peak of Ned’s piece of heaven in Venice California. It was amazing to see Ned’s process, tour his different studios and look at his thousands of art pieces that he has created over the years. As Brian and I are not interviewers we did not turn up with the usual questions and are still pondering on the one question we want to ask Ned …. We took tons of photos here are a few … his art is everywhere!
This Artist Raghava KK is amazing! Watch this video and also if you have not visited Ted.com … then do it !!!
Edwin Parker “Cy” Twombly, Jr. (April 25, 1928 – July 5, 2011) was an American artist well known for his large-scale, freely scribbled, calligraphic-style graffiti paintings, on solid fields of mostly gray, tan, or off-white colors. He exhibited his paintings worldwide.
Twombly used the nickname “Cy”, after his father (also nicknamed Cy, who was briefly a pitcher in Major League Baseball) and the star baseball pitcher Cy Young. Twombly’s paintings blur the line between drawing and painting. Many of his best-known paintings of the late 1960s are reminiscent of a school blackboard on which someone has practiced cursive “e”s. Twombly had at this point discarded painting figurative, representational subject-matter, citing the line or smudge – each mark with its own history – as its proper subject.
Later, many of his paintings and works on paper moved into “romantic symbolism”, and their titles can be interpreted visually through shapes and forms and words. Twombly often quoted the poet Stéphane Mallarmé, as well as many classical myths and allegories in his works. Examples of this are his Apollo and The Artist and a series of eight drawings consisting solely of inscriptions of the word “VIRGIL”. In a 1994 retrospective, curator Kirk Varnedoe described Twombly’s work as “influential among artists, discomfiting to many critics and truculently difficult not just for a broad public, but for sophisticated initiates of postwar art as well.” After acquiring Twombly’s Three Studies from the Temeraire (1998–99), the Director of the Art Gallery of New South Wales said “sometimes people need a little bit of help in recognising a great work of art that might be a bit unfamiliar”. He is said to have influenced younger artists such as Anselm Kiefer, Francesco Clemente, and Julian Schnabel.
Park Avenue has been long known as a home to corporate heavyweights, but the newest addition to the famed thoroughfare lends that word a whole new meaning. Earlier this week a 23-foot high bright yellow teddy bear, slumped against a functioning oversized desk lamp, was unveiled on the plaza in front of the Seagram Building at 375 Park Ave. The huggable and hulking 35,000 pound sculpture, Untitled (Lamp/Bear), is the work of New York-based Swiss artist Urs Fischer. The work will remain on display for the next few months in connection with its anticipated sale at Christie’s Post-War & Contemporary sale on May 11.
Read more here
LYNDA BENGLIS has gone her own way since first taking on the New York art world in the 1960s. She one-upped Jackson Pollock’s action paintings in the late 1960s by pouring pools of swirling pigmented latex directly on the floor and obscuring the distinction between painting and sculpture. She challenged the rigidity of Minimalism in the early ’70s with her hardened flows of polyurethane careening off walls and bristling with allusions to the body and landscape. She lampooned both the machismo of the art world and the way artists were expected to promote themselves in a market-driven system by exposing herself, with a dildo between her legs, in a 1974 Art forum advertisement that she paid for, earning her as many fans as detractors. With bravado and humor she has carried her ideas to logical extremes, in a way that’s been hugely influential to a younger generation interested in everything from performance to process-oriented art. The photographer Cindy Sherman has described her college-age encounter with the Art forum ad, in all its audacity, as “one of the most pivotal moments of my career.
Born in Lake Charles, La., where her father had a building-materials business, Ms. Benglis moved to New York in 1964 after studying painting and ceramics at Newcomb College, the women’s college at Tulane University in New Orleans. The New York art world was smaller then, and early on she met artists including Barnett Newman, Andy Warhol and David Hockney. Ms. Benglis has been both a witness to and a catalyst for changes in the artistic climate of New York, particularly the primacy of Minimalism. These days Ms. Benglis, 69, moves between homes in Santa Fe, N.M.; East Hampton, N.Y.; New York City; Greece (where her father’s family is from); and India (home of her life partner, Anand Sarabhai).
Read more here
Richard Lewer Born in Hamilton in 1970, Richard Lewer trained at Elam. He holds a Master of Visual Arts from the Victoria College of Arts at the University of Melbourne and exhibits regularly in both New Zealand and Australia.
Winner of the 2008 Wallace Art Awards, Lewer took up the ISCP Residency in New York in February 2010. nLewer was a finalist in the inaugural 2008 Basil Sellers Art Prize and again in 2010, making him the only artist to have been nominated twice. In 2009 Lewer was the subject of a major retrospective at Monash University Museum of Art and a second major retrospective, I must learn to like myself, was exhibited at the Waikato Museum in 2010.
Lewer also completed the much sought-after McCahon House Residency in 2008. His work is represented in numerous public collections, including the National Gallery of Victoria, Te Papa Tongarewa, Waikato Museum, The Monash University Museum of Art, the University of Auckland, the Art Bank Collection and the Wallace Trust, as well as many private collections throughout New Zealand and Australia.
Basing works on non-fictional events and people, all the while retaining little bits of information to allow us to think about similarities between our own experience and his. His ability to evoke a mood with child-like writing or through the monochromatic drawing of a nun or strangely familiar family portraits, is what makes Lewer, the local Hamiltonian, international. Lewer’s figurative stylisation has the deceptive facade of naïve or bad art, but his works are actually highly controlled compositions, opening up tapu* subjects like death, missing persons, stalking, voyeurism and confessional disclosure.
Read more here