Nothing Is Invisible

……….Cultural Kaleidoscopy………..

Posts Tagged ‘Hirshhorn Museum & Sculpture Garden’

Pop Rides the News Cycle – Andy Warhol as Precursor to Twitter & Facebook

Posted by the editors on Saturday, 22 October 2011

Holland Cotter has written a superb and insightful article entitled “Pop Rides the News Cycle” in the Art & Design section of The New York Times, looking at the work, and person, of Andy Warhol, his gimlet-eyed perceptions of the integration of news, commerce and art, and two exhibitions currently on view in the U.S. capitol, “Warhol: Headlines” at the National Gallery of Art and (through 2 January 2012) “Andy Warhol: Shadows,” (through 15 January 2012) at the Hirshhorn Museum and Sculpture Garden.  Astounding.  Sharp, concise, deep, and clear.  A must-read, whether you can get to D.C. to view the shows, or not.

Excellent, but brief, slideshow, here.

Ndlr: scopophiliac, according to Wikipedia.

top image: Andy Warhol Museum, Pittsburgh, Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York/The New York Times

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Thinking Outside the Canvas – Blinky Palermo Retrospective

Posted by the editors on Thursday, 28 April 2011

Composition With 8 Red Rectangles” (1964), by Blinky Palermo at the Hirshhorn Museum

The wonderful art critic  Roberta Smith has written another excellent, fascinating and perceptive article, entitled “Thinking Outside the Canvas” in the Art & Design section of The New York Times, looking at the impressive retrospective exhibition of work by the late German painter Blinky Palermo, entitled “Blinky Palermo: Retrospective 1964-1977” at the Hirshhorn Museum and Sculpture Garden in Washington DC (through 15 May 2011, Hirshhorn Museum and Sculpture Garden, Independence Avenue & Seventh Street, SW, Washington; (202) 633-1000, hirshhorn.si.edu).  “…intractably consistent and endlessly malleable…”

According to the Hirshhorn in their online notes for the exhibition:

“Blinky Palermo (born Peter Schwartze) continually expanded the definition of painting throughout his career. The exhibition reflects this progression, following a loose chronology based on his four main bodies of work. Early works illustrate his evolution away from traditional materials while he continued to employ Modernism’s bold colors and geometric forms. Starting in 1964, Palermo’s “Stoffbilder” (Cloth Pictures) composed of sewn, horizontal strips of commercially available, solid-colored fabric mounted on stretchers, take cues from advertising and fashion of the time. The artist continued to toy with decoration and its intersection with Modernism through site-specific wall paintings, which he carefully documented with preparatory drawings and installation photographs. A number of these framed documents form the third section of the exhibition. The final phase of Palermo’s career is represented by his “Metallbilder” (Metal Pictures). An outgrowth of the previous Cloth Pictures, this series of acrylic paintings on metal culminates with “To the People of New York City” (1976), a tribute to the city the artist loved and called home from 1973 to 1976 and where he maintained a studio until his sudden death at age 33. Part of Dia’s collection and on long-term view at Dia: Beacon, this multi-panel installation is traveling for the first time.”

image: Jens Ziehe/Artists Rights Society (ARS), N.Y., VG Bild-Kunst, Bonn/The New York Times

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