The Artsicle Blog

Discover Art | Art Discovered

Search

Twitter

Posts We like

More liked posts

Art for Desert? Now at Park Avenue Winter

A truly great meal easily leaves me wondering if dinner is an art form in itself. Dinner may not be, but now dessert is. 

Until March 20th diners at the seasonal Park Avenue Winter can enjoy Marina Abramovic’s newest performance: Volcano Flambe. Abramovic is the first in a series of artists that will collaborate on dishes through a partnership with Creative Time. Abramovic, who recently closed her 736-hour MoMA performance The Artist is Present, seems to be enjoying her voyage in to something sweet.

At first the project may seem a contrast to her often extreme performances, but it is consistent in what it asks the viewer to do: slow down and focus. Before dessert the guest is given a lab coat to wear and headphones to listen to. Abramovic’s soothing voice asks you to close your eyes, breath deeply - opening them to find a flaming dessert in front of you. Its a moment to be enjoyed, savored. Breath deep and enjoy the chocolate.

Volcano Flambé is $20 through March 20 at Park Avenue Winter, 100 East 63rd Street. Reservations at (212) 644-1900 or online. 

Enhanced by Zemanta

In the News: Ejay Weiss

What lies behind the paint? Ed Rubin asked 12 artists from around the world to explain the ideas behind their work in a special section of NY Arts’ fall issue titled Complex, But Not Complicated and we’re thrilled that our own Ejay Weiss was included. Ejay’s work captured us from “hello”, but his own words about the work truly show the thought behind each brushstroke. Ejay’s answer is included below and you can read all 12 diverse answers here.

I am compelled to explore the bounded, yet infinite depth of the picture plane. I find the territory within the second dimension to be paradoxical, especially since paint is just a physical substance without form. The same set of physical forces that holds paint to the canvas also binds us to the planet, and gives movement to the tectonic plates that formed the continents. In a painting, there is an added dimension of timelessness. By definition, the second dimension is timeless, having height and width, but no real physical depth. Painting tends to be illusory, relatively free of time and distance. Without distance, there can be no time, only the now. Einstein pointed out space/time bends and is a continuum. Time requires fixing a point in space, in order to measure it. Where we “enter” or “exit” a painting is relative, as we tend to see a painting at once, as a singularity, or as a unified field.

Painting represents a multilayered process of viewing inward, outward, or otherwise. The metaphysics of this process substantiates the visual poetry that results in all great painting, no matter what period or style of painting we are referring to. Some 35,000 years ago the Paleolithic cave painters of Lascaux, France, produced masterpieces that rival Michelangelo’s Sistine Chapel ceiling in imagination, breadth of imagery, form, and color.

What unfolds within the field of the painting provides a mirror to nature, which we didn’t create. But we do create art to reflect both nature and ourselves. My paintings express what is a seemingly natural and organic order. The canvas provides me with a grounded space in which an evolutionary process in paint occurs. What evolves is the geological structure of the painting itself, as an event, which tends to bend and transcend the visual limits of time and space back into its original matrix. Each painting evolves in its own spatial dimension, a bounded and infinite reflection of the way our own world is paradoxical: complete, beautiful, harmonious, yet continuously unfolding before us. These recent seascapes exemplify the process I have outlined here.

More background and love for Ai WeiWei. Check out this video from The Guardian. As Ai says, “Life is never guaranteed to be safe.”

What are your thoughts on Ai WeiWei’s work and his role as a contemporary Chinese artist? 

Enhanced by Zemanta

Show Alert: Cecelia Feld, Jan 14th-Feb 28th

Untitled #1152 acrylic, collage on panel, 18x24”, 2008

Want a chance to see some of Cecelia Feld’s amazing work in person? She has a new show, opening January 14th in Abilene, TX at The Center for Contemporary Arts titled Full Circle. The exibit runs through February 28 and explores Cecelia’s prints, which are really a “full circle” from initial prints to collage to paintings to the final print. Check it out and let us know what you see. 

Can’t make it to Texas? Check out some of Cecelia’s work available on Artsicle here today: Cecelia Feld. 

Enhanced by Zemanta

On the Eleventh Day of Christmas…

Linear planes intersect to create their own sense of form in Barbara Rosenzweig’s paintings. Barbara began exploring the abstract in Italy where she felt that the breathtaking landscapes were too awe-inspiring to translate into realistic painting.

She began translating the views instead into lines which move deeper into the canvas - creating a 3D world for viewers as their eyes trace each form. Occasionally Barbara’s lines are incomplete or disconnected, asking the viewer to join in the creation process. 

Use your imagination: Untitled (171) by Barbara Rosenzweig, 46”x69.5” oil on linen, $6000

Enhanced by Zemanta

On the Tenth Day of Christmas…

A burst of color. Interconnected layers of paint. Complex patterns scattered across a vague grid. These are the descriptions that come to mind when studying Vince Pomilio’s paintings.

In Vince’s words, “one thing leads to another, than another, and so on”. He adds layers of texture until the piece feels complete, letting the physicality of the paint itself serve as a guide. The end result is strong enough to turn heads and dominate a wall, yet subtle enough to blend in to a room. 

Check out: Raw Bluster by Vince Pomilio, 36”x36” oil on canvas, $3500

Enhanced by Zemanta

Loading posts...