Saturday, May 21, 2016


LINE, EDGE and MARGIN:The Horizontal in Food  Art

A Grammar of Lines:  "A Line is a dot out for a walk."    
                                      - Paul Klee 

   A line connects two points. It is also the path made by a moving point. Lines can be thick or thin. They can be long or short. The can be vertical, horizontal, or diagonal. They can be solid or dotted or dashed. Lines can be curved or straight of combinations of both. There’s an endless variety in what we think of as a line (From Steven Bradley, Vanseo Design, 2010)

     A horizontal line in art provides stability and often a representation of how we see much of the world: the natural horizon, the sea, our dining room table. The stability is sensed when we see the margins of things – buildings, a diner table, a shelf, a figure at rest.  And Newton’s gravity is always present in order to root things.  As our arms falls, the chalk leaves a perpendicular line that seeks the horizontal.  As we read in English, we follow the letters left to right, horizontally.
Willard B. Moore

                              Horizontally Structured Art Without Food

Donald Judd (b. Missouri, 1928-1994) The Horizontal Line as an Organizing Element

Roy Lichtenstein (b. Manhattan, 1923 – 1997)  Sea and Sky

James Turrell (b. Pasadena, CA, 1943 - )1969 Pink and White
    Turrell is an American artist primarily concerned with light and space. Turrell was a MacArthur Fellow in 1984. Wikipedia

                   Sink Horizontal Drain

Sol LeWitt  (b. Hartford, CN – 2007)  Wall Drawing #261  1975


Roy Arden (b. Vancouver, CAN, 1957) Who’s Afraid of Red, Blue and Yellow? [Under the Sun series]

Robert Turrell, Breathing Light Series

Douglas Wheeler (b. Globe, AR, 1939)

Robert Irwin (b, 1928)  Tilte   Hiroshi Sugamoto
B. 19948 -

Ionian Sea, Santa Cesare, 1990

 Robert Irwin (b. Long Beach, CA, 1928) Scrim Veil, Black Rectangle, Natural Light,  1977

Wednesday, May 18, 2016

Appropriation: Borrowing Art

Appropriation Art has become a common and accepted working practice

for both past and contemporary artists. 

The classic case is quite old:
                                  Raphael's original(circa 1515):

Appropriation art (from Wikipedia)
Raphael's Judgment of Paris, above, (c1515) triggered one of the most sustained and substantial sequences of copying and counter-copying in Western Art. Raphael's painting became lost but his employee, Marcantonio Raimondi, made an etched copy of it which survived. A few years after the copy was made, the general demand for copies of the original work was so great that Marco Dente da Ravenna made a slavish copy of it. Three centuries later, Manet used part of Raphael/Raimondi's original as the basis for his work Le Déjeuner Sur L'Herbe. Manet used the group of three figures in the bottom right-hand corner of the original 

                                                   Manet's version (1863)

Pablo Picasso, Dejeuner sur l'herb,1961

Thomas Mickalene (b. Camden, NJ, 1971) Dejeuner sur l'herb, 2010

Robert Doisneau (b. 1912 - 1994) Dejeuner sur l'herb, 1936

      In the 21st century, Sharon Core (b. New Orleans,1965) works as an appropriation artist. She actually constructs the 3-dimentional object (i.e bakery case), photographs her work, and then destroys the copy. The value of this process leading to that photograph appropriates an image from Wayne Thiebaud's Bakery Counter (1962)

 (Thiebaud's Bakery Counter)

She has also appropriated images rom Andy Warhol
Andy Worhol, Hamburger, 1985-86

                                                         Sharon Core, Hamburger,

Thiebauds "Pies" baked and photographed C print) by Sharon Core

The early and classic example is the court case involving artist
Jeff Koons and Arthur Rogers

 Lesson 2: Rogers v. Koons – Changing the media or varying details will not avoid infringement [above]
    Next, the Rogers v. Koons court had do decide if Koons’ “String of Puppies” sculpture infringed Roger’s copyright in his “Puppies” photograph. The court readily found that the sculpture was a “substantially similar” copy of the photograph. 
   The court reiterated the established legal standard that copyright infringement does not require “literal identical copying of every detail” and that “small changes here and there are unavailing.” Such “unavailing” changes include a change in media, the change from black and white to color, the addition of flowers in the couple’s hair, or the more bulbous noses of the puppies. These were not enough to avoid infringement.

Levine, Sherri (b. Hazleton, PA, 1947) appropriated Dada by Marcel Duchamp, 1917
Sherrie Levine (born 1947, lives and works in New York). At the beginning of the eighties Levine produced a series of photographs that placed her work at the forefront of a new artistic current, the appropriation by artists of other artists’ work. By reproducing identically the photographs of Walker Evans and Edward Weston, Levine questioned the notion of originality in art, its status and the way in which reproductions of art are perceived.

In 1981, Levine photographed reproductions of Depression-era photographs by Walker Evans, such as this famous portrait of Allie Mae Burroughs, the wife of an Alabama sharecropper. The series, entitled After Walker Evans, became a landmark of postmodernism, both praised and attacked as a feminist hijacking of patriarchal authority, a critique of the commodification of art, and an elegy on the death of modernism. [MetropolitanMuseum of art Online]

Duchamp's Fountain, 1917

Image result for levine fountain after duchampLeVine Fountain, 1991  I try to make art which celebrates doubt and uncertainty. Which provokes answers but doesn’t give them. Which withholds absolute meaning by incorporating parasite meanings. Which suspends meaning while perpetually dispatching you toward interpretation, urging you beyond dogmatism, beyond doctrine, beyond ideology, beyond authority.–Sherrie Levine


Tuesday, May 17, 2016

breast feeding

Paula Modersohn-Becker (b. Dresden-Friedrichstadt, 1876 -1907) Nursing Mother, 1902

She is becoming recognized as the first female painter to paint female nudes.[1] Using bold forays into subject matter and chromatic color choices, she and fellow-artists Picasso and Matisse introduced the world to modernism at the start of the twentieth century.

Modersohn-Becker: Nursing Mother, 1906

Vicente Manansala (cubist painter b. 1910, Macabebe, Pampagana, Philipines – 1981) 

 Lange, Dorothea (b. Hoboken, NJ - 1965, aka Dorothea Margargetta Nutzhorn – died 1965), Florence Thompson, Migrant Mother, 1936

Nandi, Partha, Sarathi  Breastfeeding (National Geographic


Greo-Roman Sculpture, found near Cairo, Egypt. 4th century CE

figure 4 Leonardo daVinci (b. Republic of Florence, Italy, 1452 – 1519),  Madonna and Child, 1490

                                                         Inuit woman nursing

 Breastfeeding in Church, 1871

Daumier, Honore (1808 -1879) Third Class Carriage, 1862-64


    Russia, "Don't forget the breasts!" Poster

Dantsig, Mai Volfovich  Partisan Ballad (*Roman Charity variant),1969

figure 5  Pieter de Hooch (b.Rotterdam, Nethertlands, c.1629 - c.1684) – Nursing Mother, 1674-1676

figure  6
El Greco (b. Candia, Crete, Greece,1541 -1614)  )The Holy Family with St Anne by El Greco (aka Domenikos Theotokopoulos.  His early training as an icon painter influenced his figurative art.

figure 7 “Roman Charity,” a sub-genre based on pre-christian art
Hans Sebald Beham (b. Germany, 1500 – 1550) Pero and Cimon,1544.

DANTSIG 1A Partisan Ballad, 1969

A literary footnote:  John Steinbeck, Grapes of Wrath, 1939, Novel Prize, 1962,
The final scene depicts a young mother, her baby dead, suckling a starving elder of the family.

figure 8
Artist UnknownUGETAWA
Japanese print, 1700s

figure  10  Fine Art Supplement, London, 1874

figure 11  Stanislaw Wyspiański (b. Krakow, Austria-Poland,1869 – 1907) Breastfeeding Mother, 1905

figure 12   Artist Unknown, 1930-40s
Artists directed by the National
Socialist Party (Nazi) in Germany depicted motherhood as a national duty

figure 13  Unknown photographer
Chattanooga [Tennessee] bus stop 1943 (WPA photo)


figure 14  Jade BEALL (b, 1979 Tucson Arizona) Breast Feeding as Performance Art

figure 15  Fernando Botero Angulo (born 19 April, 1932) is a figurative artist

Beall is primarily a photographer and a specialist in
                 feminist art. 

Zimbabwe means Great Stone House. It is fitting that stone sculpture is the art that most represents the people of Zimbabwe and one which they have become world-renowned. 


Us This Day Our Daily Bread, 1981

figure 17
Mutongwizo (Zimbabwe) Mother Breast feeding, c.1980s

 figure  16   Jacob Aue Sobol (b. Copenhagen, Denmark, 1976)