Chantal Joffe - Couple Embracing
Chantal Joffe - Couple Embracing
Robert Longo, Black Flag: When the Hurlyburly’s Done, William Shakespeare, 1990
CARRIE MAE WEEMS
Slow Fade to Black, 2010
archival inkjet prints, 25 1/2” x 18 1/2” each, framed
Weems says she created the original “Fade to Black” exhibit a few years ago because “I was thinking of all of these extraordinary voices that seemed to be fading from the American landscape that I wasn’t hearing anymore.”
Voices like Lena Horne, Abbey Lincoln, Nina Simone, Billie Holiday, Betty Carter and Alice Coltrane. They shaped her sense of what it meant to be a woman, an artist, and to be alive.
“They were extraordinary, and what they gave to America and the world was extraordinary,” Weems says. “I was missing them and yearning for them, so I started making these blurred images of these women that seemed to be disappearing.
“At some point, it occurred to me that things move in cycles, so as certain things end, certain things begin. I then thought of ‘slow fade to black’ as a double entendre. And now there’s been this slow fade into contemporary black culture. There’s something new that’s merging, and a new blackness that’s emerging where we’re slow fading into that”
I love Carrie Mae Weems.
Nan Goldin - Gigi in the Blue Grotto
Tracey Emin with drawings from her new exhibit at Turner Contemporary.
In 1996, Tracey Emin lived in a locked room in a gallery for fourteen days, with nothing but a lot of empty canvases and art materials, in an attempt to reconcile herself with paintings. Viewed through a series of wide-angle lenses embedded in the walls, Emin could be watched, stark naked, shaking off her painting demons. Starting by making images like the artists she really admired (i.e. Egon Schiele, Edvard Munch, Yves Klein), Emin’s two-week art-therapy session resulted in a massive outpouring of autobiographical images, and the discovery of a style all her own. The room was extracted in its entirety, and now exists as an installation work.
Say you want about Tracey Emin, but she has indisputably dedicated her entire life to her art. When 2013 rolls around, and she has her show at the Brooklyn Museum… I don’t know how I’m going to control my happiness.
SLA #4 (1990)
Silkscreen on aluminum
Artist of the Day : Cady Noland
“Cady Noland exposes the myth behind the promise of the American Dream. Her work addresses what she sees as America’s anxiety over the country’s failed pledge of freedom, security, and success for all. Combining iconic objects and images (flags, beer cans, celebrity photos, and the contents of tabloid newspapers) with base elements (grocery baskets, handcuffs, walkers, and portable metal barricades), Noland’s output tends toward haphazard arrangements that signify impaired social and physical mobility. As in her massive 1989 installation of Budweiser beer cans, Noland’s work also suggests a culture of excess and waste, a place in which the media and corporate interests distort events and objectify people. Her installations, which resemble works in progress rather than formal or finished pieces, speak of an abandoned plan—of hopes discarded like so many of the objects in her artwork.”
Lee Krasner - Primeval Resurgence, 1961
Marlene Dumas - The Visitor
Cady Noland. Cowboy with Holes, Eating, 1990. Silkscreen on cut 3/8 inch aluminum plate 74 x 49 x 3/8 inches 188 x 124.5 x 1 cm. D’ Amelio Gallery in ART BASEL 2012
Francesca Woodman - Untitled, Rome