“INSPIRATION is an awakening, a quickening of all man’s faculties, and it is manifested in all high artistic achievements.” – Giacomo Puccini
My inspiration for the week: the Vancouver Opera‘s opening night performance of Puccini’s Madama Butterfly; a beautiful story of love, honour, heartbreak and sacrifice.
This famous opera which was composed by Giacomo Puccini in 1904 (and remained his personal favourite throughout the remainder of his life) is based on a short story “Madame Butterfly” (1898) by John Luther Long. In brief it’s about a pleasure seeking American naval officer based in Nagasaki, Japan who leases a house and weds a young geisha. He is only briefly enchanted with her (his “Butterfly” – oh you know what some men are like; they profess their love only to lose interest when they want to move on to the next) while she in turn, gives herself wholly to the marriage. He abandons her and then returns to claim their child. Butterfly is devastated and dishonoured and makes an ultimate sacrifice to honour her family. Having spent some time in Kyoto when I lived in Japan, I was fascinated by the beauty and elegance of the mysterious geisha. I followed them around but never quite knew where they were going. I wanted to learn their secret but maybe it was best not knowing. For me, at the time it was a different world and an escape from the norm. They had a reserved, otherworldliness unlike other women which was refreshingly appealing. They gave the illusion of being faithful and trustworthy. I loved reading Memoirs of a Geisha (surprisingly it was written by a man; Arthur Golden).
“Why, in the Peking Opera, are women’s roles played by men?…Because only a man knows how a woman is supposed to act.” – David Henry Hwang (Tony-award winning creator of the beloved play M. Butterfly).
Some TICKETS are still available at the Queen Elizabeth Theatre. Only 6 performances from March 5 – 13, 2016.
“Art is a form of nourishment,” Susan Sontag wrote in her diary
Art/Fashion/Food/Culture – it’s all one big melting pot. It’s everything I’m interested in and it is all that (along with money) which makes the world go round. So I wasn’t too surprised to find out only recently about the now vintage MoMA Artists’ Cookbook.
In 1977, a pair of art and cuisine enthusiasts, Madeleine Conway and Nancy Kirk, collaborated with New York’s MoMA on The Museum of Modern Art Artists’ Cookbook (public library) — a marvelous compendium of favorite recipes and reflections on food by thirty of the era’s most prominent artists, including Salvador Dalí, Louise Bourgeois, Robert Indiana, Will Barnett, Larry Rivers, Andy Warhol, and Willem de Kooning.
I got a kick out of looking up some of the recipes which I’m not at all planning to make. What interested me was finding out about each of the artists relationship to food.
Of particular Interest:
Andy Warhol
Andy Warhol, who had collaborated with his mother on a little-known and lovely cookbook(called Wild Raspberries) eighteen years earlier, tells Conway and Kirk that he no longer eats anything out of a can but — a statement that comically dates the book and tragically reminds us of a culinary downturn — believes that “airplane food is the best food.”
In a confession that reminds us just how much Warhol blurred the line between person and persona, just how deliberate he was about the construction of his own myth — this, after all, is such a thoroughly Andy Warhol thing to say — he tells the editors:
I always thought cereals like corn flakes and Rice Krispies were a natural thing — that they came from a cereal bush. He shares a befittingly on-brand recipe:
CAMPBELL’S MILK OF TOMATO SOUP
a 10 oz can Campbell’s condensed tomato soup
2 cans milk
In a saucepan bring soup and two cans milk to a boil; stir. Serve.
Willem de Kooning, in his early seventies at the time, looks back on how his formative years in Holland and his immigrant experience shaped his relationship to food:
Willem de Kooning
It was hard to overeat when I was a boy because when you had dinner, it was always brown beans. We were poor. When I came to America I had never seen so much food in my life! I came to America as stowaway. When I was discovered among the pipes, I became a kind of cabin boy and washed the decks. I got off when we landed in Boston and took a train to New York. I went right to Wall Street. I recognized from the silent movies where the Stock Exchange was.
We went to Hoboken because it was a Dutch, Italian, and German settlement. I got a room, and I got a job as a house painter; America seems to be a land of wonder because, you see, I worked and I made six dollars a day. Then I made nine dollars. In one week I could buy a suit, Thom McAn shoes, sets of underwear. Socks were ten cents a pair and it almost didn’t pay to wash them. You could throw them away! This was such a revelation, such an overflow! Here, everything was so big and had such a style I said, “Oh, hallelujah, here I come.”
The first food I remember eating? A hamburger. Lunchtime I went to a place on River Street and I saw on the bill of fare that I could read “Hamburger,” so I said, “Hamburger. The next day I took a hamburger and on the following day I took a hamburger, and then I thought I’d change and ordered a sirloin of beef and I tried to say it but the waiter gave me a hamburger anyway.
Even as he rose to fame in the art world, De Kooning retained this capacity for delight in the simplest of things and cared little for the snobbish charade of sophistication that all too often bedevils high society. More than half a century after the hamburger experience, he shares his favorite unfussy dressing for cold shrimp, lobster, or crabmeat, made with ingredients one could buy at the most rudimentary convenience store:
KOO’S SEAFOOD SAUCE
Makes 2 ½ cups
8 ounces heavy cream, whipped until stiff
8 ounces mayonnaise
1 ounce cognac
1 ounce sherry
4 tablespoons ketchup
salt and pepper to taste
In a large bowl fold mayonnaise gently into the whipped cream with a whisk. Add remaining ingredients and refrigerate for 1 hour. Serve.
“It is not sufficient to know an artist’s works – it is also necessary to know when he did them, why, how, and under what circumstances. I want to leave to posterity a documentation that will be as complete as possible. That’s why I put a date on everything I do.” – Pablo Picasso
Picasso Print – the original was in the exhibit & not allowed to be photographed
I just saw this amazing exhibition at The Bellagio Gallery of Fine Arts(bgfa) in partnership with the Claude Picasso Archives. It took the curator of bgfa two years to get Picasso’s son Claude to agree to show some of his private collection. No photos were allowed, sorry.
The 43 works, dated from 1938 to 1965, shown all together for the first time in the U.S.A., explore Picasso’s creative process. The exhibition focuses on Pable Picasso’s favourite theme – the human figure through the medium of painting and print making (print making was a challenge for the artist) and includes lithographs, linocuts and rare corresponding plates.
Through every stage, until the final work, the visitor follows his evolving artistic vision.
The exhibition demonstrates how the lithograph and linocut techniques inspired new directions in Picasso’s work. The exhibition focuses on specific themes, showing how Picasso’s imagery went through a constant process of metamorphosis.
Source: Tatyana Franck; curator
Have you been to any exciting exhibits lately?
This b+w photograph of Pablo Picasso seated by one of his original works is available at: Jeff Mitchum Galleries@ the Bellagio Hotel, Las Vegas. Contact: Johnnie Perea – 702.304.0007
“The job of the artist is always to deepen the mystery” – Francis Bacon
The LATE PAINTINGS – magnificently framed in GOLD
There’s something about Francis Bacon’s paintings that are surreal and difficult to describe in detail (especially if you’re not an art critic) so I’ll keep it brief and just say that I find them to be completely compelling. You have to experience them for yourself. His versions of the human form are unlike any I’ve witnessed before and they conjure up disturbingand hystericalfeelings at the same time – at least for me. Brilliance on the brink of insanity? Bacon succeeded in deepening the mystery.
The Gagosian Gallery in New York just ended a run presenting “Francis Bacon: Late Paintings” encompassing more than twenty paintings that Bacon made in London and Paris during the last two decades of his life. The third exhibition of Bacon’s work following “Francis Bacon: Triptychs” (Gagosian, London, 2006) and “Isabel and Other Intimate Strangers: Portraits by Alberto Giacometti and Francis Bacon” (Gagosian New York, 2008).
If like me, you were too late for the exhibit, here are a few of the images of works that were shown.
Although it’s never too late to appreciate his paintings.
I like this quote:
“Imagination was given to man to compensate him for what he is not; a sense of humor to console him for what he is”– Francis Bacon
It’s one of the human world’s most colourful, modern day, micro-migrations.
In the first week of December of every year, the art world descends on Miami Beach for ART BASEL Miami Beach and the dizzying range of young, wannabe rival fairs that have sprouted up in its shadow. From discreet European billionaires looking out of place amidst the Latino bling, to desperate crowds trying to force entry into exclusive art parties, to the variety of art installations and performances dotted along the ocean front, the spectacle of the art world temporarily grafted onto the hot mess that is Miami Beach is truly something to behold.Buried underneath all that wealth, naked ambition and partying, is the thing-in-itself – the art. Dazed previews the best new art that’s being shown at the best fairs – NADA at The Fontainebleau hotel and Untitled, operating from a vast tent-cum-hanger right on the beach as well as Art Basel Miami Beach itself.
Feeling Moody?
Maybe one of the most interesting art installations to land in New York recently is theMuseum of Feelings.
A first of its kind installation combining innovative technology, scent and art to generate an unforgettable and emotional experience, controlled by feelings from around the world. Crazy, right? And completely amazing…
The mysterious façade of the museum allows audience members to embark on a sensory journey through five distinctive zones that explore the connection between art and emotion in unassuming and surprising ways. Meanwhile, the museums radiant exterior, linked to various social network sites, simultaneously extracts data from news and weather reports, stock exchange and even flight delays and incorporates the various information into feelings, ultimately depicted by a hue of interchangeable colors. Kind of like a giant and interactive mood ring.
The Museum Of Feelings, nestled in lower manhattans Brookfield Place (near Battery Park City) will be free and open to the public until the 15th of December.
I’m not so sure what to make of this…but would it be so wrong to hang a skateboard on my wall as an ART piece? I mean we hang masks, why not a skateboard?
EmilioPucciLimited Edition Skateboards
I can ice skate and rollerblade, but I have never skated on a board and my dog barks at anyone who does. But if I did (and was still in my 20’s or under), I would be attracted to this limited-edition Pucci skateboard collection.
It wouldn’t be the first time a luxury brand has put its stamp on a recreational item (Chanel surfboards, Alexander Wang pool toys, Louis Vuitton golf bags, the list goes on). It is, however, the first time a brand tapped art students to reimagine its archives as something entirely new for the younger set. The resulting street decks are emblazoned with seven graphic takes on Pucci’s classic, color-happy prints. And while each one easily qualifies as an enjoy-from-afar art piece, they’re constructed from scratch-resistant Balkan beech wood and equipped with durable, trick-friendly wheels—in short, they’re meant for riding.
Instead of a traditional announcement, Pucci collaborated with NOWNESSon a short film to break the news. HERE:
One of Vincent van Gogh’s olive tree paintings has literally sprung to life, reproduced as a large, growing field in Minnesota. Last month the Minneapolis Institute of Art(Mia) unveiled a 1.5-acre work of crop art by Stan Herd, a Kansas-based artist who has planted many earthworks around the world, including a re-creation of one of Leonardo da Vinci’s sketches of gliders. Commissioned by Mia to celebrate the museum’s centennial, this most recent piece replicates van Gogh’s “Olive Trees,” one of 15 known paintings of the trees the artist produced in the fall of 1889. That specific work actually hangs in the museum, but Herd’s has sprouted on a site belonging to media firm Thomson Reuters, near the Minneapolis–Saint Paul International Airport.Herd has cultivated the field since spring, and his sprawling artwork will remain on view through the end of the fall. Prior to the planting, he had to carefully determine which specific plants and soils to incorporate in order to best represent van Gogh’s particular palette. The painter’s brushstrokes, too, demanded the mowing and digging of many serpentine paths.“You can see this is darker, so I’m planting these kind of more verdant, green plants, he explained in a video about the crop artwork’s creation, pointing at a gridded version of the painting he used as a plan.
“The amazing thing about van Gogh’s painting is that there’s not a single straight line in the whole canvas,” he added. “Everything is organic and curved and flowing, and it’s like a pulse.”
The result, just slightly muted in tone, is impressively faithful to the original painting. Mia chose the site specifically so planes arriving to the airport will pass it, so you’ll be able to see it from above if you’re flying into the city — just be sure to choose a seat on the left.
Source: Claire Voonfor hyperallergic.com
Photos: all images courtesy Minneapolis Institute of Arts unless otherwise stated
Balloons always remind me of birthday parties or open houses. A cause for celebration!
An art installation of 100,000 white balloon clusters, sculpted into the shape of magnificent clouds…or one glorious bubble bath.
Let me explain….Covent Gardens has commissioned French artist Charles Pétillon, famous for his playful balloon ‘invasions’, to create his first ever installation in a public space called “Heartbeat.” A pulsating light beams into the installation a little like a heartbeat which is meaning to indicate the notion of Covent Garden as one of London’s most central structures.
An incredibly photographic display. Wish I were there to see it in person. But just like a heartbeat…..it has come and gone.
Who says that art should be only relegated to museums and galleries?
20 ELEMENTS, Joel Shapiro
Many coffee shops and restaurants (even some hair salons) like to display art from unknown artists, and if we’re lucky we can sometimes find work from celebrated artists we know of, in select high end design/furniture shops. There’s Art and then there’s Art!
I enjoyed looking at Picasso’s while dining in a restaurant in Las Vegas. Mind you, it was the Picasso restaurant at the Bellagio and yes, his original paintings are displayed throughout the restaurant. An art gallery within a restaurant. But renowned art in a shopping mall? When have you seen that?
We already know that art and fashion have something in common. But do we dare draw the line between art and shopping in a mall?
NorthPark Centre in Dallas, Texas is no ordinary mall. I’ve been there and as far as shopping in a mall goes (a mall is not my favourite place to shop or hang out), it’s a cut above. This year the centre is celebrating their 50th anniversary, and in conjunction is hosting an exhibition this fall called “Art Meets Fashion.”
Lee Ann Torrans
Raymond Nasher, who built NorthPark, and his wife, Patsy, were big collectors and proudly displayed the works they acquired throughout the shopping concourse because they believed that art should be seen, and not just in museums and galleries. Their daughter, Nancy Nasher and her husband, David Haemisegger, have given their promise to ensure that this mission lives on. They’ve expanded the NorthPark collection and helped to transform the shopping centre into one of the most visited public gallery spaces in America.
Andy Warhol
So… (apparently it’s not proper to start a sentence with so….but I say “so what?”) now you can buy your Louis Vuitton or Gucci with a side of Roy Lichtenstein or Frank Stella. How nice is that?
Anish Kapoor North Park
Now, if only every mall was like this…what a wonderful art world it would be!
As it is believed behind every brilliant actor or musician there is a remarkable manager, it seems behind every great art movement there is an exceptional art dealer.
One of my favourite paintings: Renoir’s Dance at Bougival, 1883, is one of the masterworks that seduced Londoners in the famous show Durand-Ruel presented at the Grafton Galleries in 1905. Image courtesy of the Museum of Fine Arts, Boston
An important new exhibition at the PHILADELPHIA MUSEUM OF ART (PMA) celebrates the keen eye of Paul Durand-Ruel, the Paris dealer who defied the scorn of critics to promote the raggedy brand of pioneering young painters we now know as the Impressionists.
An exhibition celebrating his brave achievement, “Discovering the Impressionists: Paul Durand-Ruel and the New Painting,” is on view at the PMA through September 13th. It features scores of intoxicating canvases by ClaudeMonet, Édouard Manet, Edgar Degas, Mary Cassatt and Pierre-Auguste Renoir, all beloved now, but in their own day savaged.
“Discovering the Impressionists: Paul Durand-Ruel and the New Painting” features more than 90 intoxicating canvases by the movement’s masters. Photo by Graydon Wood
The success of Impressionism was largely due to the intrepid zeal of Durand-Ruel. Or should one say survival? “Without Durand, we would have died of hunger, all of us Impressionists,” a grateful Claude Monet exclaimed shortly after the dealer’s death in 1922 at the age of 90.
A man of conviction, who went to mass every morning, Durand-Ruel never wavered in his belief in his artists. During his long life, he purchased approximately 1,000 Monets, 1,500 Renoirs, 200 Manets, 400 Degases and 800 Camille Pissarros. He once owned Eugène Delacroix’s epic Death of Sardanapalus, 1827, now in the Louvre, and Renoir’s Luncheon of the Boating Party, 1880-81, one of the treasures of the Phillips Collection, along with other masterpieces that ended up in the PMA, Metropolitan Museum of Art, National Gallery in London and Pushkin Museum in Moscow.
In 1851, when he was just 20 years old, Durand-Ruel joined his ailing father at his family’s picture gallery near the Place Vendôme, which over the next 70 years he would transform into an artist-promoting powerhouse. He had a discerning eye, trusted his instincts and was not afraid to sit on stock — or even purchase it back. He introduced such now standard practices as operating his gallery in several cities (London, Brussels and New York), mounting solo shows, sending work to international exhibitions, organizing public lectures, publishing exhibition catalogs, backing art magazines and giving his artists stipends.
The American expat Mary Cassatt was among the many painters Durand-Ruel discovered. She focused on domestic scenes like The Child’s Bath, 1893. Image courtesy of The Art Institute of Chicago: Robert A. Waller Fund.
At last, in Philadelphia, Durand-Ruel is getting the credit he richly deserves for having put Impressionism on the map. We may be late to the party, but Renoir always knew this day would come. “Your love of art and your defense of living artists,” he presciently told Durand-Ruel in 1885, “will be your claim to fame.”
Source: title changed and condensed from an article written by Phyllis Tuchman for “Introspective Magazine”
Art washes away from the soul the dust of everyday life – Pablo Picasso
This quote by Charles Dickens(Bleak House) best sums up giving credit where credit is due – “He didn’t at all see why the busy bee should be proposed as a model to him; he supposed the Bee liked to make honey, or he wouldn’t do it — nobody asked him. It was not necessary for the bee to make such a merit of his tastes.” – Dickens
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