Feeds:
Posts
Comments

Archive for November, 2014

WhiteWedgeYellow
The colors are subdued, these creams and ochers, even the red seems saturated and calm. But the brushstrokes are energetic, the feeling of turbulence being enhanced by the white’s rift into what seems to be a landscape. Well, not so quick with that interpretation! True, there’s a horizontal line and that WhiteWedgeYellowAnalysistriggers the association to landscape. But that light upward strip on the upper left (green arrows) destroys that illusion. That strip is actually quite powerful in the composition. It not only subverts the illusion of landscape, it creates tension by virtue of its thinness and thereby moves the eye to the upper left. Without it, the “white turbulent rift” just right off middle would dominate mercilessly and demand some literal interpretation. As is, the viewer’s mind sees form and that’s a good place to be. Thanks be to modernism.
Painting by Arlene Tarpey, ~16×20, acrylic.
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
http://facefame.wordpress.com
http://katherinehilden.wordpress.com
http://www.katherinehilden.com
http://www.khilden.com

Read Full Post »

Nov2014
Yes, it’s all rectangles and squares. What an interesting challenge! Wherever you look, it’s all 90° and you think this should look stable and fixed. Not so. It’s all motion and speed. How do you make a painting consisting of right angles so lively?! Try to look away. Gotcha!

Our visual apparatus evolved to detect motion. Frogs can only see what moves. If you don’t want to be associated with frogs in your family tree, try to remember what it’s like to sit in a train while reading. It’s hard, because your eyes are attracted to the blur and motion at the window. Maybe a painting that simulates the effect of motion holds our attention for the same reason. But this painting does not illustrate motion.
Let’s look at an illustration of motion.

HorsesBeachHere we have a specific instance, a narrative of motion. Horses and riders on a beach can evoke the memory of a beach, the smell of the ocean, the energy of young men and the power of horses. Notice that all these are specific memories and as such they’re limited and limiting.
In the painting,  our experience is deeper. Without a narrative as a hook and employing a most restrained composition, it moves us to introspect on how perception itself works.  We have to ask how this is possible.  And that’s endlessly fascinating.
Painting by Maria Palacios, 30×40. Oil on canvas.
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
http://facefame.wordpress.com
http://katherinehilden.wordpress.com
http://www.katherinehilden.com
http://www.khilden.com

Read Full Post »

KVishnyRed
For the artist, the pleasure and challenge of painting. For the viewer, the pleasure and desire to look. This painting doesn’t leave you alone, you keep associating colors and traveling along the bumpy edges. Just look, for example, how the bits of green keep moving your eye through this painting, even though the red is dominant. (There are splashes of green in the black field, but the camera didn’t pick them up, unfortunately.)
Painting by Keren Vishny, 40×30. Acrylic on canvas
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
http://facefame.wordpress.com
http://katherinehilden.wordpress.com
http://www.katherinehilden.com
http://www.khilden.com

Read Full Post »

HaroldSwoive
It’s not quite white, has some grayish texture. But we’ll call it white because it’s so dramatic against the blue. This painting started as a landscape and got more and more geometrical and crisp. The white swirl is pure invention. Brilliant. If this were painted much larger it would be brrrrilllllianttttt.
Painting by Harold Bauer, ~20×16. Oil on canvas.
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
http://facefame.wordpress.com
http://katherinehilden.wordpress.com
http://www.katherinehilden.com
http://www.khilden.com

Read Full Post »

CassyBlue
This painting started with dripping paint, not with any plans to create a landscape. But the line where the blue stops suggests a horizon and then with that reference, the drips can be interpreted as a row of receding trees. The dash of orange suggested itself because as the complementary color to blue, it would heighten the intensity of the blue. So, yes, it can be seen as a landscape with mountains, trees and possibly a sunrise. And it’s paint. Paint! It’s both. But because your mind can’t focus on both at the same time, it goes into overdrive and that gives you a high. That’s the high of modernism. Aren’t we lucky!!
Painting by Cassandra Buccellato, oil on canvas, 36×36.
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
http://facefame.wordpress.com
http://katherinehilden.wordpress.com
http://www.katherinehilden.com
http://www.khilden.com
n

Read Full Post »

MaggyStillLifeCrop
Round shapes tend to feel comforting and harmonious. But when they’re cropped they move right up to our eyeballs and they become conflicting: harmonious by virtue of the roundness, but also in your face and a little too close for comfort. The black disc at right, representing the bottom of a reclining pot, becomes ominous. This is a good effect in a work of art. We don’t want to be complacent and sweet.
MaggyStillLifeWholeIn the full view of the drawing we get the comfortable view. Oh, look, some pots, well drawn and easily identified. The zig-zag at right indicated drapery in a playful sort of way. Uncropped, this is a fine drawing, but cropped (above) it’s dramatic and, in my sensibility, more powerful.

Drawing by Maggy Shell, charcoal pencil.

(Images in this blog have shown up pixilated lately.To be fixed.)
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
http://facefame.wordpress.com
http://katherinehilden.wordpress.com
http://www.katherinehilden.com
http://www.khilden.com

Read Full Post »

BarbaraStillLife
It’s a privilege to look at this drawing. It’s exquisite in the purest sense, serene and composed. There’s no excess, no fussing, no posturing or wrangling for effect. It seems to have flown out of the artist’s hand.
Notice that the center pot is not shaded while the flanking two pots are shaded. The center pot is large and holds its own by virtue of contour alone. If it were shaded, it would be too heavy and insistent; it would dominate the drawing as if didn’t want to get along and it would have too much pull, too much weight. As is, it’s big and still harmonious. How did the artist make this decision, to lighten up in the middle? Did we have a lecture about this, a statement of principle, before the drawing started? No, not at all. This sort of thing happens when you’re focused on the drawing, without critical chatter in your brain, in a purely visual mode. You can’t force this. It’s a state that can occur after a couple of hours of drawing. It happens. Drawing comes from drawing.

(Drawing by Barbara Heaton, graphite)
BarbaraPhotoAll contents copyright (C) 2010 Katherine Hilden. All rights reserved.
http://facefame.wordpress.com
http://katherinehilden.wordpress.com
http://www.katherinehilden.com
http://www.khilden.com

Read Full Post »

WangechiMutu2
The show is titled “A Fantastic Journey.” That’s inviting! The invitation goes on to inform us that the work “explores the relationships between issues of gender, race, war, globalization, colonialism and the black female body.” These are important topics but when I see a claim that someone is exploring them all at the same time, I get suspicious because it’s just too big a claim. If an artist promises to explore any two of those topics– gender & race, gender & war, race & globalization, war & colonialism, war & black female body—I will rush to see the work in the hope of gaining new insight. Let’s go over that list again and let’s slow down to imagine the implications:
gender & race
gender & war
race & globalization
war & colonialism
war & black female body
Just focusing on one of these for a minute will exhaust you, while you’re sitting at your desk.
The claim that an exhibit encompasses all of these is preposterous. Let’s not get bowled over by buzz words.
When we see art, we must try to keep our heads and to respond honestly to what we experience. When I saw the work by Wangechi Mutu at the Block Museum last week I was not reminded of any of these grave news items. The images, composed of collages mounted on Mylar, are all huge, six to eight feet high. They looked slimy. I was reminded of decay, microbes, digestion, wormy things, swarms of insects, childish fascination with excretion and general intestinal events. All this, with an overcast of trashy, wit-less pornography.

WangechiMutu1
Why does this kind of thing make it to a highly respected gallery? Perhaps it’s seen as part of the aesthetic of decay that’s in vogue in what is perceived to be a hopeless, apocalyptic time. By all means, let’s look at the complexity of microbes, the beauty of worms and intestinal flora and fauna and let’s make art honoring them. But then let’s say so. Let’s not pretend we’re “exploring” things like the relationship between gender and race and all the rest.
Compare these images to images of urban decay.

Urban-DecayConsider some photographs of urban decay and observe your reaction, without pretense or deference to fashionable buzz words.
https://search.yahoo.com/search;_ylt=AwrBT7p1nGJUWEgA2b2l87UF;_ylc=X1MDOTU4MTA0NjkEX3IDMgRmcgMEZ3ByaWQDVk5IdkR1LldTSnFfY2VLTVcwLnBqQQRuX3JzbHQDMARuX3N1Z2cDMTAEb3JpZ2luA3NlYXJjaC55YWhvby5jb20EcG9zAzAEcHFzdHIDBHBxc3RybAMEcXN0cmwDMTUEcXVlcnkDcGhvdG9zIG9mIGRlY2F5BHRfc3RtcAMxNDE1NzQ4NzM3?p=photos+of+decay&fr=sfp&fr2=sb-top-search&iscqry=
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
http://facefame.wordpress.com
http://katherinehilden.wordpress.com
http://www.katherinehilden.com
http://www.khilden.com

Read Full Post »

SpilledMilk
Classicism gives way to Romanticism: right there at the dairy section of Trader Joe’s, a gallon jug of milk falls off the peaceful, orderly shelf without any apparent provocation.
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
http://www.khilden.com
http://facefame.wordpress.com
http://katherinehilden.wordpress.com
http://www.katherinehilden.com

Read Full Post »

MatisseOpenWindow

Amélie Parayre married Henri Matisse in January 1898. Part of her family came from Corsica. Since Henri’s career wasn’t going too well in freezing Paris, they spent their honeymoon in sunny Corsica. For Matisse it was work as usual. He produced fifty-five paintings in those five months. What’s important is not the prodigious output, but that he GOT COLOR: “Soon there came to me, like a revelation, the love of materials for their own sake. I felt growing within me a passion for color.”
Well, you might say, he was twenty-eight, what took him so long? We take it for granted that not only painting but our daily lives are filled with color and we assume that it was ever thus. The sky’s been blue, the grass green and flowers in flowery colors since the dinosaurs. That’s true, but cloth for clothing and furnishings was dreary and drab until very recently, januaryducDuBerryspecifically the second half of the 19th century, when analine dyes were invented. Prior to that only king and gods could afford color. Everyone else slogged around in browns and grays.
We can see this reflected in the illuminations of the 14th and 15th century and in Renaissance paintings, which depict only the rich and divine and therefore give us color to enjoy. But there was also a tradition of painting that honored the browns and considered them noble, RobertHubertdignified, stately, eternal. The Ecole des Beaux Arts, the Salon and their powerful judges looked down on color. In drawing classes, for example, color was expressly forbidden. So was working from nature. Students worked strictly from plaster casts and en grisaille (in shades of gray).
Matisse grew up in the north of France, in Bohain, a drab, cold, confining town where the main industry was weaving textiles and growing beets. After he dabbled with the little paint set his mother had given him, he knew that he wanted to become a painter. At twenty he went to Paris, where he abandoned his law studies and struggled for fifteen years before anyone bought a painting from him. His Corsica “revelation” about color was reinforced by an older artist living in the south, Paul Signac, who worked in a style called Divisionism, later known as Pointilism. Lucky for us, Matisse stuck with it.
In 1905 he worked for a few month in Collioure in the foothills of the Pyrenees. That fall he submitted to the Salon d’Automne exhibit two paintings made in that southern light. They were hung in the then infamous Salle VII, where visitors gestured obscenely and doubled over in derisive laughter. The critic Louis Vauxcelles noticed a couple of conventional, academic sculpture in the room and made the now famous wisecrack: “a Donatello among the wild beasts.” Fauves, French for wild beasts, became the nickname for a group of artists, including Matisse, Derain and Vlaminck. Matisse liked the name: “Frankly, it was admirable. The name of Fauve could hardly have been better suited to our frame of mind.” They were artists who felt that art made of shades of brown and gray was passé. They didn’t know where their experiments would lead, but they knew it was time for a revolution that would replace the worn out pictorial language of the 19th century.

MatisseWomanHat
One of those two Matisse paintings sold. Woman with a Hat was priced at 500 francs and an offer came in for 300. Henri and Amélie Matisse were flat broke. They had three children, who needed  winter coats. Amélie wouldn’t accept the 300. They waited. The prospective buyer agreed to pay the full 500. He was Leo Stein, brother of Gertrude Stein from San Francisco.
The Steins thought the new pictorial language might just be the next big thing and might be worth investing in. By investing in it, they made it happen.
Stay tuned.

Henri Matisse, 1869-1954. The Open Window, Collioure, 1905.  Woman with a Hat, 1905.

Paul Signac, 1863-1935Robert Hubert, 1733-1808 Les très Riches Heures du Duc de Berry, 1412-1416


All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
http://www.khilden.com
http://facefame.wordpress.com
http://katherinehilden.wordpress.com
http://www.katherinehilden.com

Read Full Post »

Older Posts »