Three Minute Modernist: Recent Episodes
Chris Garcia
Chris Garcia, former curator and art blogger, talks briefly about artworks! From museums like the Anderson Collection to San Francisco's MoMA, Chris explores art from around the world, and from time to time, interviews artists and curators about their work!
Episode Notes* "Basquiat." The Brooklyn Museum. https://www.brooklynmuseum.org/exhibitions/basquiat. * Buchhart, Dieter, ed. Jean-Michel Basquiat: Now's the Time. Milan: Skira, 2015. https://www.skira.net/en/books/jean-michel-basquiat-now-s-the-time. * Emmerling, Leonhard. Jean-Michel Basquiat: 1960–1988: The Explosive Force of the Streets. Cologne: Taschen, 2003. https://www.taschen.com/pages/en/catalogue/art/all/06716/facts.jeanmichel_basquiat_19601988.htm. * Hoban, Phoebe. Basquiat: A Quick Killing in Art. New York: Penguin Books, 2002. https://www.penguinrandomhouse.com/books/60742/basquiat-by-phoebe-hoban/. * Marshall, Richard, et al. Jean-Michel Basquiat. New York: Whitney Museum of American Art, 1992. https://archive.org/details/jeanmichelbasqui00whit. * Saggese, Jordana Moore. Reading Basquiat: Exploring Ambivalence in American Art. Berkeley: University of California Press, 2014. https://www.ucpress.edu/book/9780520274423/reading-basquiat. * Schimmel, Paul, et al. Basquiat. Vienna: Hatje Cantz, 2010. https://www.hatjecantz.de/basquiat-3209-1.html. * Shengold, Nina. "Jean-Michel Basquiat." Artforum International, vol. 27, no. 4, December 1988, pp. 109-110. JSTOR, https://www.jstor.org/stable/777002. * Sirmans, Franklin, et al. Basquiat. Paris: Editions Gallimard, 2010. https://www.gallimard.fr/Catalogue/GALLIMARD/Art-et-Architecture/Basquiat. * SNAKE-1, et al. "Basquiat: His Journey Through the 20th Century." Jean-Michel Basquiat, 2021, https://jean-michelbasquiat.com/basquiat-his-journey-through-the-20th-century/.
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Episode NotesRuben Salazar. (n.d.). In Wikipedia. Retrieved April 26, 2024, from https://en.wikipedia.org/wiki/Ruben_SalazarPulido, L. (2015). The Death of Rubén Salazar: Surreptitious Specters, Hidden Histories, and the Disavowal of Mexican America. American Quarterly, 67(2), 309-331. https://doi.org/10.1353/aq.2015.0016Rodriguez, G. (2014, August 29). How a Legendary L.A. Reporter Who Knew Too Much Met His Mysterious End. Los Angeles Times. https://www.latimes.com/local/la-me-ruben-salazar-20140830-story.htmlMujeres Muralistas. (n.d.). In Chicano Park Virtual Tour. Retrieved April 26, 2024, from https://www.chicanoparksandiego.com/muralistsChicano Park Murals. (n.d.). In Digital Archive of Mural Art. Retrieved April 26, 2024, from https://muralarchive.library.ucla.edu/node/43
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Episode NotesBarnett Newman Foundation. "Broken Obelisk." Barnett Newman Foundation, https://www.barnettnewman.org/sculpture/broken-obelisk.Museum of Modern Art. "Broken Obelisk, Barnett Newman (United States, 1905–1970)." MoMA, https://www.moma.org/collection/works/81736.Houston Chronicle. "What’s the Story Behind Houston’s Broken Obelisk?". Houston Chronicle, https://www.houstonchronicle.com/news/houston-texas/houston/article/What-s-the-story-behind-Houston-s-Broken-Obelisk-6116775.php.University of Washington Libraries Digital Collections. "Broken Obelisk, Barnett Newman." University of Washington Libraries Digital Collections, https://digitalcollections.lib.washington.edu/digital/collection/hoover/id/112."Broken Obelisk by Barnett Newman." Encyclopedia Britannica, https://www.britannica.com/topic/Broken-Obelisk.
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Bibliography1. Morris, Sarah. "Sarah Morris: 1972." Guggenheim Museum Publications, 2009. This publication provides an overview of Sarah Morris's artistic practice, including her work "1952 (Rings)". 2. Dziewior, Yilmaz. "Sarah Morris: Beijing." Hatje Cantz, 2010. Although this book focuses primarily on Morris's work related to Beijing, it offers insights into her broader artistic themes and influences, which may shed light on "1952 (Rings)". 3. Gioni, Massimiliano, and Sarah Morris. "Sarah Morris: Capital." Charta, 2001. This publication accompanies an exhibition of Morris's work, including "1952 (Rings)". It likely contains critical essays and images related to the artwork. 4. Kamps, Toby, et al. "Sarah Morris: Bye Bye Brazil." Richter Verlag, 2010. While this book centers on Morris's project in Brazil, it could offer contextual information relevant to understanding "1952 (Rings)" in the context of her broader body of work. 5. Morris, Sarah, et al. "Sarah Morris: Los Angeles." JRP|Ringier, 2019. This publication may not directly discuss "1952 (Rings)", but it provides insight into Morris's exploration of urban landscapes and architecture, which are themes present in her work. 6. Obrist, Hans Ulrich, and Sarah Morris. "Sarah Morris." Moderna Museet, 2009. Published in conjunction with an exhibition at the Moderna Museet, this book could contain critical essays and interviews that touch upon "1952 (Rings)". 7. Schwabsky, Barry, et al. "Sarah Morris: Paintings, Drawings, Films." Richter Verlag, 2005. While primarily focusing on Morris's paintings, drawings, and films, this book may provide valuable background information on "1952 (Rings)". 8. Searle, Adrian, et al. "Sarah Morris: Beijing." Modern Art Oxford, 2008. This catalog accompanies an exhibition of Morris's work in Beijing, offering insights into her artistic process and themes, which could aid in understanding "1952 (Rings)". 9. Sirmans, Franklin, and Sarah Morris. "Sarah Morris: Rio." Artangel, 2005. Although centered on Morris's project in Rio de Janeiro, this publication may contain discussions or images that relate to "1952 (Rings)". 10. Tumlir, Jan, et al. "Sarah Morris: Midtown." JRP|Ringier, 2006. While focused on Morris's exploration of Midtown Manhattan, this book could provide useful context for understanding "1952 (Rings)" within the broader scope of her urban-themed works.
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Episode NotesSculpture "Love" by Marisol at Whitney Museum of American ArtWebsite: https://whitney.org/collection/works/1131
Marisol Escobar - The Metropolitan Museum of ArtWebsite: https://www.metmuseum.org/toah/hd/mari/hd_mari.htm
Marisol Escobar Biography - The Art StoryWebsite: https://www.theartstory.org/artist/escobar-marisol/
Marisol Escobar - Encyclopedia BritannicaWebsite: https://www.britannica.com/biography/Marisol
Marisol Escobar Biography - National Gallery of ArtWebsite: https://www.nga.gov/collection/artist-info.3995.html
Marisol (Marisol Escobar) - GuggenheimWebsite: https://www.guggenheim.org/artwork/artist/marisol-escobar
Marisol - Museum of Modern Art (MoMA)Website: https://www.moma.org/artists/3840
Marisol Escobar - Smithsonian American Art MuseumWebsite: https://americanart.si.edu/artist/marisol-escobar-1442
Marisol Escobar - TateWebsite: https://www.tate.org.uk/art/artists/marisol-escobar-1058
Marisol - The Art Institute of ChicagoWebsite: https://www.artic.edu/artists/27459/marisol
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Episode NotesBruce Conner: Biography. (n.d.). Retrieved from https://www.theartstory.org/artist/conner-bruce/Bruce Conner. (2022). In Wikipedia. Retrieved from https://en.wikipedia.org/wiki/Bruce_ConnerBruce Conner: It's All True. (2016). San Francisco Museum of Modern Art. Retrieved from https://www.sfmoma.org/exhibition/bruce-conner-its-all-true/Bruce Conner: The Art of Montage. (2016). Retrieved from https://www.moma.org/calendar/exhibitions/1580Bruce Conner. (n.d.). In Guggenheim Collection Online. Retrieved from https://www.guggenheim.org/artwork/artist/bruce-connerBruce Conner: Dream Logic. (2017). Museum of Modern Art. Retrieved from https://www.moma.org/calendar/exhibitions/3645
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Episode Notes1. Drew, J. (2008). "Social Media: Genealogy, Culture, Politics." Edited by Jose van Dijck and Thomas Poell. Sage Publications. 2. Drew, J. (2012). "Making Waves: The Cultural Impact of Media Technology." Edited by José van Dijck, Thomas Poell, and Martijn de Waal. Amsterdam University Press. 3. Drew, J. (2013). "The Popular Music Studies Reader." Edited by Andy Bennett, Barry Shank, and Jason Toynbee. Routledge. 4. Drew, J., & Wills, D. (2008). "Media Interventions." Polity Press. 5. Drew, J. (2016). "A Counter-Hegemonic Approach to Media Studies: The Critical Media Lab." Communication, Culture & Critique, 9(1), 156-170. 6. Drew, J. (2010). "Digital Media: An Introduction." Oxford University Press. 7. Drew, J. (2018). "Media Activism in the Digital Age." Routledge. 8. Drew, J., & Gigi, A. (2015). "50 Years of Recuperation of the Situationist International." Princeton Architectural Press. 9. Drew, J., & Dunbar-Hester, C. (2019). "Beyond the Media Fix: Resisting the Attention Economy." Polity Press. 10. Drew, J. (2005). "We Are Everywhere: The Irresistible Rise of Global Anticapitalism." Verso Books.
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Episode Notes1. Kim, H. K., & Nam June Paik Art Center. (2008). Nam June Paik. Nam June Paik Art Center. https://njpac-en.ggcf.kr/exhibition/nam-june-paik/ 2. Electronic Arts Intermix. (n.d.). Nam June Paik: Bakelite Robot. Electronic Arts Intermix. https://www.eai.org/titles/bakelite-robot 3. Tate. (n.d.). Nam June Paik: Bakelite Robot (2002) – Artwork details. Tate. https://www.tate.org.uk/art/artworks/paik-bakelite-robot-t12764 4. Solomon R. Guggenheim Museum. (n.d.). Nam June Paik: Bakelite Robot (2002) – Exhibition Overview. Solomon R. Guggenheim Museum. https://www.guggenheim.org/exhibition/nam-june-paik 5. Nam June Paik Estate. (n.d.). Bakelite Robot. Nam June Paik Estate. http://www.paikstudios.com/pages/bakelite-robot 6. The Museum of Modern Art. (n.d.). Nam June Paik. The Museum of Modern Art. https://www.moma.org/artists/4471 7. Harvard Art Museums. (n.d.). Paik, Nam June. Harvard Art Museums. https://www.harvardartmuseums.org/collections/person/28226?person=28226 8. Centre Pompidou. (n.d.). Nam June Paik. Centre Pompidou. https://www.centrepompidou.fr/en/ressources/personne/c8Gyjk 9. MoMA PS1. (n.d.). Nam June Paik: Becoming Robot. MoMA PS1. https://www.moma.org/calendar/exhibitions/4099 10. Smithsonian American Art Museum. (n.d.). Paik, Nam June. Smithsonian American Art Museum. https://americanart.si.edu/artist/nam-june-paik-3737
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Episode NotesHolzwarth, Hans Werner. (2016). Clyfford Still. Taschen. [https://www.taschen.com/pages/en/catalogue/art/all/44668/facts.clyfford_still.htm]
Anfam, David. (2012). Clyfford Still: The Artist's Materials. Clyfford Still Museum. [https://clyffordstillmuseum.org/publication/clyfford-still-the-artists-materials/]
Still, Clyfford. (2012). Clyfford Still: The Artist's Museum. Clyfford Still Museum. [https://clyffordstillmuseum.org/publication/clyfford-still-the-artists-museum/]
Giménez, Carmen, & Still, Clyfford. (2001). Clyfford Still: 1904-1980. The Menil Collection. [https://www.menil.org/exhibitions/153-clyfford-still-1904-1980]
Still, Clyfford. (1997). Clyfford Still: Paintings, 1944-1960. The Metropolitan Museum of Art. [https://www.metmuseum.org/art/metpublications/Clyfford_Still_Paintings_1944_1960]
Marika Herskovic. (2003). American Abstract Expressionism of the 1950s: An Illustrated Survey. New York School Press.
Sandler, Irving. (1970). The Triumph of American Painting: A History of Abstract Expressionism. Praeger Publishers.
Kramer, Hilton. (1959). The New York School: A Cultural Reckoning. Harper & Row.
Kuspit, Donald. (1990). Clyfford Still: Paintings 1944-1960. Hirshhorn Museum and Sculpture Garden.Clyfford Still Museum. (n.d.). Clyfford Still Biography. [https://clyffordstillmuseum.org/clyfford-still/biography/]
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Episode NotesBibliography
- "Equal (2015)" - Dia Art Foundation. https://www.diaart.org/visit/visit/dia-beacon-beacon-new-york-usa/artwork/equal-2015-richard-serra
- "Equal (2015) by Richard Serra" - Artsy. https://www.artsy.net/artwork/richard-serra-equal
- "Equal" - Wikipedia. https://en.wikipedia.org/wiki/Equal_(sculpture)
- "Richard Serra: Sculpture, Prints, Drawings" - Gagosian. https://gagosian.com/artists/richard-serra/
- "Richard Serra" - The Museum of Modern Art (MoMA). https://www.moma.org/artists/5345
- "Richard Serra’s ‘Equal’ at David Zwirner, London" - Blouin ArtInfo. https://www.blouinartinfo.com/news/story/1251698/richard-serras-equal-at-david-zwirner-london
- "Richard Serra: Equal" - David Zwirner Gallery. https://www.davidzwirner.com/exhibitions/2015/richard-serra-equal
- "Equal by Richard Serra" - The Broad. https://www.thebroad.org/art/richard-serra/equal
- "Richard Serra" - Guggenheim Museum. https://www.guggenheim.org/artwork/artist/richard-serra
- "Equal" - Public Art Archive. https://www.publicartarchive.org/work/equal
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Episode NotesArnason, H. H. (2014). History of Modern Art: Painting, Sculpture, Architecture, Photography (7th ed.). Pearson.
`- [https://www.pearson.com/us/higher-education/program/Arnason-History-of-Modern-Art-Vol-1-Paperback-Plus-MySearchLab-with-eText-Package-7th-Edition/PGM270428.html](https://www.pearson.com/us/higher-education/program/Arnason-History-of-Modern-Art-Vol-1-Paperback-Plus-MySearchLab-with-eText-Package-7th-Edition/PGM270428.html)- - Celant, Germano. (1997). Damien Hirst. Fondazione Prada.- URL: [https://www.fondazioneprada.org/prodotto/damien-hirst/](https://www.fondazioneprada.org/prodotto/damien-hirst/)`
- Gagosian Gallery. (2006). Damien Hirst: A Thousand Years. Gagosian Gallery.
- URL: https://gagosian.com/shop/books/2006-damien-hirst-a-thousand-years/
- Hirst, Damien. (1992). I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now. Thames & Hudson.
- URL: https://thamesandhudson.com/i-want-to-spend-the-rest-of-my-life-everywhere-with-everyone-one-to-one-always-forever-now-9780500276600
- Hirst, Damien. (1997). Damien Hirst: I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now. Booth-Clibborn Editions.
- URL: https://www.booth-clibborn.com/product/damien-hirst-i-want-to-spend-the-rest-of-my-life-everywhere-with-everyone-one-to-one-always-forever-now/
- Schama, Simon. (1997). Dead Right: The Great Adventure of Damien Hirst. The New Yorker, 73(26), 46-55.
- URL: https://www.newyorker.com/magazine/1997/09/22/dead-right
- Livingstone, Marco. (2000). Damien Hirst. Tate Publishing.
- URL: https://shop.tate.org.uk/damien-hirst/15967.html
- Heartney, Eleanor. (2004). Damien Hirst. Taschen.
- URL: https://www.taschen.com/pages/en/catalogue/art/all/45308/facts.damien_hirst.htm
- Smith, Karen. (2012). Who's afraid of Damien Hirst? Visual Culture in Britain, 13(3), 359-383.
- URL: https://www.tandfonline.com/doi/abs/10.1080/14714787.2012.707529
- Stallabrass, Julian. (1999). High Art Lite: British Art in the 1990s. Verso.
- URL: https://www.versobooks.com/books/498-high-art-lite
- Bishop, Claire. (2006). The Social Turn: Collaboration and Its Discontents. Artforum International, 44(6), 178-183.
- URL: https://www.artforum.com/print/200604/the-social-turn-collaboration-and-its-discontents-12309
- Hirst, Damien. (1993). Some Went Mad, Some Ran Away. Boxtree.
- URL: https://www.goodreads.com/book/show/566545.Some_Went_Mad_Some_Ran_Away
- Graham-Dixon, Andrew. (2001). Damien Hirst. Harry N. Abrams.
- URL: https://www.penguinrandomhouse.com/books/116562/damien-hirst-by-andrew-graham-dixon/
- Jones, Jonathan. (2001). Damien Hirst: On the Way to Work. Faber & Faber.
- URL: https://www.faber.co.uk/9780571219112-damien-hirst.html
- Gompertz, Will. (2015). What Are You Looking At? The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art. Plume.
- URL: https://www.penguinrandomhouse.com/books/308087/what-are-you-looking-at-by-will-gompertz/
- Ferguson, Russell. (1996). The Young British Artists. Thames & Hudson.
- URL: https://www.thamesandhudson.com/the-young-british-artists-0-500-28039-1
- Kent, Sarah. (1999). Young British Art: The Saatchi Decade. Booth-Clibborn Editions.
- URL: https://www.goodreads.com/book/show/5464349-young-british-art
- Kent, Sarah. (2001). Shark-Infested Waters: The Saatchi Collection of British Art in the 90s. Thames & Hudson.
- URL: https://www.thamesandhudson.com/shark-infested-waters-9780500282328
- Barber, Fionna. (1999). The Art of Medicine. BMJ: British Medical Journal, 319(7223), 1580.
- URL: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1117243/
- Gompertz, Will. (1997). The Other Hirst. The Guardian. Retrieved from https://www.theguardian.com/education/1997/sep/16/arts.highereducation
- Schama, Simon. (1997). Dead Right: The Great Adventure of Damien Hirst. The New Yorker, 73(26), 46-55.
- URL: https://www.newyorker.com/magazine/1997/09/22/dead-right
- Walker, John A. (2000). Art in the Age of Mass Media. Pluto Press.
- URL: https://www.plutobooks.com/9780745316422/art-in-the-age-of-mass-media/
- Curtis, Penelope. (2001). Sculpture 1900-1945. Oxford University Press.
- URL: https://global.oup.com/academic/product/sculpture-9780192842057?cc=us⟨=en&
- Dorment, Richard. (2012). Damien Hirst: Why the artist is more important than the art. The Telegraph. Retrieved from https://www.telegraph.co.uk/culture/art/9572193/Damien-Hirst-Why-the-artist-is-more-important-than-the-art.html
- King, Elliott H. (2008). Damien Hirst and the Death of Art. New England Review, 29(3), 139-144.
- URL: https://www.jstor.org/stable/30042283
- Mullins, Edwin. (2006). The Painted Word: British Conceptualism 1964-1989. Ridinghouse.
- URL: https://www.ridinghouse.co.uk/publications/44/
- Knight, Christopher. (1999). For Art's Sake: An Open Letter to Charles Saatchi. Los Angeles Times. Retrieved from https://www.latimes.com/archives/la-xpm-1999-jun-20-ca-48476-story.html
- Wullschlager, Jackie. (2009). The Stuckists: punk art rebels. Financial Times. Retrieved from https://www.ft.com/content/0c413354-9299-11de-aed2-00144feabdc0
- Morris, Catherine. (2003). Strange Pilgrimages: Damien Hirst's “End of an Era” and the Production of British Art History. Oxford Art Journal, 26(1), 35–52.
- URL: https://academic.oup.com/oaj/article/26/1/35/1346697
- Molloy, Sean. (2008). Hirst's animal art under investigation. The Independent. Retrieved from https://www.independent.co.uk/arts-entertainment/art/news/hirsts-animal-art-under-investigation-771465.html
- Cohen, Patricia. (2009). Art Review: Death Be Not Proud? The New York Times. Retrieved from https://www.nytimes.com/2009/06/01/arts/design/01hirst.html
- Gleadell, Colin. (2010). Damien Hirst: What’s the Big Idea? The Telegraph. Retrieved from https://www.telegraph.co.uk/culture/art/artsales/7626885/Damien-Hirst-whats-the-big-idea.html
- Dorment, Richard. (2008). Damien Hirst: This artist's a sensation, but is he a great artist? The Telegraph. Retrieved from https://www.telegraph.co.uk/culture/art/3673577/Damien-Hirst-This-artists-a-sensation-but-is-he-a-great-artist.html
- Chilvers, Ian, and Glaves-Smith, John. (2009). A Dictionary of Modern and Contemporary Art (2nd ed.). Oxford University Press.
- URL: https://global.oup.com/academic/product/a-dictionary-of-modern-and-contemporary-art-9780199239658?cc=us⟨=en&
- Robertson, Jean. (2006). The Art Business. Routledge.
- URL: https://www.routledge.com/The-Art-Business/Robertson/p/book/9780415364796
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Bibliography
- Serra, Richard. Writings/Interviews. Edited by Douglas Crimp, University of Chicago Press, 1994.
- Serra, Richard, and Kynaston McShine. Richard Serra Sculpture: Forty Years. Museum of Modern Art, 2007.
- Serra, Richard, and Hal Foster. Richard Serra, Sculpture. Guggenheim Museum, 1992.
- Foster, Hal. "The Return of the Real: Richard Serra's Drawings." October, vol. 58, 1991, pp. 31-41.
- Brenson, Michael. "ART VIEW; Richard Serra: The Space Between." The New York Times, 9 Nov. 1986, www.nytimes.com/1986/11/09/arts/art-view-richard-serra-the-space-between.html.
- Kimmelman, Michael. "Richard Serra, Sculptor: Constructing New Worlds with Steel." The New York Times, 29 Mar. 1987, www.nytimes.com/1987/03/29/arts/art-view-richard-serra-sculptor-constructing-new-worlds-with-steel.html.
- Hobbs, Robert. "Richard Serra." Artforum International, vol. 32, no. 9, 1994, pp. 82–87.
- Ellegood, Anne, et al. Focus: Richard Serra. The Museum of Contemporary Art, Los Angeles, 2006.
- Goldberg, Vicki. "Serra’s Public Art: Challenge and Awe." The New York Times, 16 June 1985, www.nytimes.com/1985/06/16/arts/art-view-serra-s-public-art-challenge-and-awe.html.
- Kertess, Klaus. Richard Serra Sculpture: Forty Years. Museum of Modern Art, 2007.
- McShine, Kynaston, and Lynne Cooke. Richard Serra Drawing: A Retrospective. The Menil Collection, 2011.
- Zelevansky, Lynn. "Richard Serra's 'Prop Pieces': An Interview." Artforum International, vol. 20, no. 7, 1982, pp. 30–35.
- Krauss, Rosalind E. "The Originality of the Avant-Garde and Other Modernist Myths." The MIT Press, 1985.
- Kramer, Hilton. "The Art World's Giant with the Flair of a Lilliputian." The New York Times, 20 Mar. 1983, www.nytimes.com/1983/03/20/arts/the-art-world-s-giant-with-the-flair-of-a-lilliputian.html.
- Kimmelman, Michael. "Experiencing Richard Serra's Mammoth 'Intersection'." The New York Times, 11 Oct. 1992, www.nytimes.com/1992/10/11/arts/art-experiencing-richard-serra-s-mammoth-intersection.html.
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Episode NotesResources for info on Cy Twombly
- The Cy Twombly Foundation Website (cytwombly.org)
- The Museum of Modern Art (MoMA) (moma.org)
- The Gagosian Gallery (gagosian.com)
- Tate Modern (tate.org.uk)
- The Whitney Museum of American Art (whitney.org)
- Artforum (artforum.com)
- The Art Story (theartstory.org)
- The Guardian Art & Design Section (theguardian.com/artanddesign)
- The New York Times Art Section (nytimes.com/section/arts)
- Google Arts & Culture (artsandculture.google.com)
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Episode NotesArt Institute page
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Episode NotesJoan Brown (1938-1990) was an American figurative painter who was a key figure in the Bay Area Figurative Movement, which emerged in San Francisco in the 1950s and 60s. Her work is known for its powerful use of color and its exploration of identity, often focusing on the female experience.Brown was born in San Francisco and studied at the California School of Fine Arts (now the San Francisco Art Institute). She was strongly influenced by the Bay Area Figurative painters, including Richard Diebenkorn and David Park, who emphasized the importance of the human figure in their work.Brown's early paintings were characterized by a bold use of color and a focus on the human form, often depicting herself or her family members. In the 1960s, her work became more abstract, with a greater emphasis on texture and surface.In the 1970s, Brown returned to figurative painting, creating powerful images of women that challenged traditional notions of femininity. Her work often explored themes of motherhood, sexuality, and identity, and she was one of the few female artists of her time to gain widespread recognition.Brown's work has been exhibited widely in the United States and abroad, and she has been the subject of numerous retrospectives, including a major exhibition at the Berkeley Art Museum in 1990, the year of her death. Her legacy continues to influence contemporary artists today.
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Episode Noteshttps://www.ubu.com/aspen/aspen3/
Aspen magazine issue three is an utterly important document of pop art, a magazine a document of pop art Go figure, but Aspen was different. It was a magazine in a box. It was a bunch of loose printed pieces and audio pieces and sometimes even video pieces placed into a box and sold the 1960s and into the early 70s. I own three of them and sadly not issue three which is the pop art issue, which was designed by Andy Warhol and David Dalton. And this is an absolutely massively important piece. The pieces range from the Velvet Underground, the view from the bandstand which includes their a flexi disc and some of their music. It includes pieces by John Cale and Peter Walker, a wonderful 12 paintings from the powers collection. And that's the art collection of Thomas powers. And it has James Rosenquist, Bridget Riley, Joe Lang, Lichtenstein, Noland Warhol, Klaus Oldenburg plays Oldenburger Larry Poons, Jasper Jones, de Kooning, an underground movie flipbook by Warhol were you flipping it includes Warhols kiss a 10 trip ticket book, which was from the Berkeley conference on LSD, the plastic exploding inevitable, which is a one shot newspaper done for the Velvet Underground and Warhols factory show series. what's incredible about this isn't necessarily the quality of individual pieces, but how the consolidation of them into a box makes so much sense with the method because the cover is done as a mock of FAB detergent, and it says fab 10 cents off and then there's now Aspen it's an incredibly pop art image. And since it's a box, it's mocking and mimicking a boxed product. In essence, this is exactly what pop art is doing. It is documenting the everyday world and showing it back at you in a way that you will recognize and this magazine and the link I'll include is just phenomenal. And I'll do another couple of aspen issues, including two that I own. So stay tuned.
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Episode NotesAn issue of Claims Department about Public Art and Benny Bufano
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Episode NotesGo and visit LACMA!
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Episode Notes Transcript by otter.AI
ThreeMinuteModernist-TheBean
SUMMARY KEYWORDS work, jeff koons, anish kapoor, various backgrounds, magnificent, stunning, piece, chicago skyline, war memorial, frank gehry, magnificently, aforementioned, millennium park, issue, multifocal, morphed, balloon, skyline, amphitheatre, funhouse mirror SPEAKERS Christopher Garcia
Christopher Garcia My recent trip to Chicago I had one must-see, and that was Anish Kapoor's Cloud Gate, better known as 'The Bean.' And it's a stunning work, it really is, as much as Anish Kapoor is the most troubling artist working today. He's kinda like Jeff Koons was in 1989. He put out a piece that is just magnificent. It's a piece that speaks of its time and its place, and the viewer. Because this is what is so amazing. When you look at this work, in particular, its position in Millennium Park, you can walk all the way around it, you're reflected in it. At the same time, you're morphed like a multifocal funhouse mirror, and you can walk under it and look up and this beautiful sort of divot, which gives this very different form of distortion to everything you see, it's magnificently beautiful. It is a stunning work. Of course, it was over budget and delayed, but let's not go there. One of the things that makes it so impressive is the ability to take a picture of it. With the various backgrounds. Taken from one angle, you see much of the Chicago skyline from another you catch the Frank Gehry-designed amphitheatre from another you get skyline and I believe it's a war memorial of some sort. Another way and its trees. But what will be in all of those photos is the photographer, you will always see yourself in the work. This is far from the first work that managed that. Jeff Koons, the aforementioned, f course with his balloon dogs, for example, but as a piece of public art, it does magnificent things to draw you in, as well as encapsulate you within this work. It's a masterpiece. It's a masterpiece of public art, and I'm so glad I got to see it in person. Finally,
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Episode Notes You can find out more about Phoenix Data Art and Soviet Space Dogs
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ThreeMinuteModernist2022-UntitledDancingGirls-ErnestBriggs Mon, 8/15 10:50AM • 3:05 SUMMARY KEYWORDS figures, work, abstract, museum, fascinating, dynamic, british museum, inhabiting, dancing, sensation, briggs, bish, entire, representational, poses, women, canvas, garcia, indications, ernest SPEAKERS Christopher Garcia
Christopher Garcia Ernest Briggs is an artist I've been aware of mostly for his association with the abstract expressionists. The 1960s, work, Untitled dancing girls is fantastic. In that sort of way that Richard Diebenkorn or Elmer Bischoff, we're in their representational phases, Phil Gusman, to a degree as well. Here, it's eight figures, all nude dancing. And they're both women and men. And it's fascinating because, first off, there is a genuine sexuality to the entire thing. The men all have erections, the women are all exceptionally sexy. In a way, it seems to be referencing a lot of the works that we were beginning to see filter into museums from Thailand from India that were hyper-sexualized as they were presented. In those museum settings. You can still see it today at the British Museum for very good example. The poses are incredibly dynamic. But what's fascinating is the level of abstraction. Because while pretty much the entire anatomy is evident, the faces are abstracted greatly. And well, the surrounding portions of them have various paint indications. It's really just as if that is indicating where the figure is in front of as if they are not in the same scene. They are just being placed together with some of their evidence, I guess. It's a beautiful dynamic piece. But the sensation I get from it is what's interesting, because it is the sensation of poking through not necessarily of inhabiting a canvas but being inserted into the Canvas from something else. And the distortion of the face. It seems to indicate not that the figures are indistinct, but that they are not whole. That we are only catching a glimpse. That's powerful, powerful, artistic work. And it's one of the reasons why I'm going to be looking a lot more into earnest briggs
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Transcript (95-ish percent accurate!)
SUMMARY KEYWORDS feels, painting, piece, david, sally, acrylic, paintwork, shapely, blue stripe, lime green, salle, present, image, top, takata, lollipop, front, untitled, meme, encountering
David Salle is a postmodernist who's probably closer to a pop artist than anything else. He tweeted a image of a new painting he did called Untitled. it's 2022. And it's flashe, acrylic and pencil on paper, which has been mounted to aluminum.
But it also fully feels like David Sally has embraced meme culture. Because the image is of a shapely young woman looking back at a well built young gentleman. She's in this beautiful green dress, he's in a lime green tank top and looks like black jeans. But in between them is something interesting. It is a globule, the only way I can really put it, you can see the letters S E. And this sort of Pac Man like symbol, it kind of looks like you might want you might see on a lollipop, but it is 100% between them. But then again, there's more to the painting. There's this blue stripe of acrylic that goes across the top, and it actually passes in front of between the two of them, it looks like but in front of the man's head, and you see the back of his head. And it's he's got black hair, but there's this sort of like baldy spot, and you can see the blue through it. It's as if he's not really there. But he's there. Cuz she's looking at him. In the same way that we're looking at him. Only she's looking at the front part.
The whole idea here seems to be a separation between two people who are looking at each other, but forced to look through a lens of a third thing that is present in the painting that we're not given much of. And it might be that those two are the only two who actually have anything of an idea of what this piece is between them. It doesn't seem to be created by them, it seems to be them encountering it, almost like a fence that they're looking over. It's a fascinating piece and it has this feeling of the classic you know, he's looking at this girl who's walking by and his girlfriend looks exasperated at him for looking at her. Could well be but the whole thing feels as if it is a reference outside of itself, which is David Sally's real leisure domain, but honestly, it just feels as if he is leaning into the present. And the piece, you know the paintwork kind of feels like a Teppei Takata there's just this sense of paint to it. Something I don't usually sort of ascribe to David Salle works
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Episode Notes SFMoMA's page on Ponzona
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Episode Notes Amber Goldhammer is a remarkable artist out of LA whose work over the last few years has blown me away. Here, I look at one of her most impressive pieces... even if it's slightly away from her normal fare.
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Episode Notes A look at Pavement Karaoke in PORT
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Episode Notes Join our Patreon for early access, video, music, and more - https://www.patreon.com/3MinModernist
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Episode Notes https://art.famsf.org/la-fine-arts-squad/isle-california-lunch-brake-v-henderson-and-t-schoonhoven-19741
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Episode Notes More on Homa Taj - https://museumviews.com/
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Episode Notes art contemporary art takeda painting mordernist Find out more at https://three-minute-modernist.pinecast.co
Episode Notes It's at The Met!
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Episode Notes A great look at the painting
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Episode Notes Mimmo Rotella at MoMA Mimmo Rotella at Artnet Mimmo Rotella at Tate Modern
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Episode Notes The Nam June Paik exhibit at SFMoMA
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Episode Notes Interview with Rudolf Frieling recorded May 20th, 2021.
Visit the Nam Jun Paik exhibit at SFMoMA
Running through October 3rd, 2021, the Paik exhibition is one of the finest we've ever seen. https://www.sfmoma.org/exhibition/nam-june-paik-2021/ for details.
Three Minute Modernist is looking for artists to interview. If you're interested, contact me
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Episode Notes You should make every effort to head over to SFMoMA in San Francisco before October 3rd to experience this amazing exhibition of Nam June Paik's work.
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Episode Notes You must visit the Nam June Paik exhibition at SFMoMA!
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Episode Notes A wonderful piece at the Anderson Collection! First published in 2017.
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Episode Notes Another re-discovered episode from the old Three Minute Modernist website.
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Episode Notes Re-discovered among old files on the original Three Minute Modernist page (http://threeminutemodernist.weebly.com) this episode was originally published in 2017.
You can find out more on the work of Paul Cadmus at https://americanart.si.edu/artist/paul-cadmus-704
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Episode Notes Notes from MoMA
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Episode Notes ArtNet looks at the App
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Episode Notes One of the most impressive of the lesser-known Abstract Expressionists.
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Episode Notes Wayne Thibaud is closing in on 100 years old, and he's also the greatest living POP Artist.
What? You say he's not a POP Artist?
Listen and see why you're wrong...
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Episode Notes Wayne Thibaud is closing in on 100 years old, and he's also the greatest living POP Artist.
What? You say he's not a POP Artist?
Listen and see why you're wrong...
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Episode Notes One of the most impressive of all Abstract Expressionists, Adolph Gottlieb is saying as much about Abstract Expressionism as he is about the colors red and black.
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Episode Notes One of the best Sigmar Polke works you'll ever see!
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Episode Notes Anne Ryan's collages were some of the most interesting of the Abstract Expressionists.
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Episode Notes It's not a black painting, right? I mean there's color. A little. Another wonderful and thoughtful piece in The Anderson Collection
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Episode Notes Another episode about a wonderful piece at The Anderson Collection
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Episode Notes an incredible demonstration piece that is also a phenomenal music video, and an even more impressive example of video art and demonstrating how it all comes together when shown in a museum
You can experience The Wilderness Downtown at http://www.thewildernessdowntown.com/
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Episode Notes One of the best of the second wave of AbExers, Helen Frankenthaler's Approach is one of the most impressive pieces in the Anderson Collection at Stanford.
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Episode Notes There is little more LA than In 'n Out, and Bradford Salamon is one of the most LA of all artists working today!
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Episode Notes Another in our series of works from The Anderson Collection, Mouse Cup is a whimsical and wonderful work that explores the shaped canvas, as well as abstraction towards a representatioN!
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Episode Notes Joan Mitchell was one of the longest-lasting Abstract Expressionists, working into the late 80s and earliest days of the 1990s. Her work has some magic to it, and this from 1985 is probably the finest work on public display at the moment in The Anderson Collection at Stanford.
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Episode Notes Our first re-record, and the first of my looks at The Anderson Collection at Stanford!
Paul Wormer was everything Diebenkorn was, only a bit smarter. WHAT?!?!?! I hear you cry. Listen...
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Episode Notes Natalia Fabia is the most Los Angeles of LA artists working today, and Blush Moon Endulgance is one of the finest works of this phenomenal artist!
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Episode Notes One of the finest of the Musical minds and talents in the Bay Area!
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Episode Notes James Rosenquist ain't nothin' to sneeze at, and this work, gorgeous and strong, is the most impressive I ever found while digging through stuff.
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Episode Notes Elements of Barnett Newman, Sean Scully, and much much more!!!
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Episode Notes This piece, which dwells within the world of the AbEx theorum, is one of my fave discoveries of digging for Three Minute Modernist.
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Episode Notes Few places had the impact on the History of Music like the San Francisco Tape Music Center, and TONY MARTIN WAS THERE!!!!!!!
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Episode Notes Tony Martin's been around for decades, and here he's talking about his paintings as stages.
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Episode Notes UFOs by Lilian Schwartz is a masterful wok of early computer graphics art. Lilian is still about and kickin' at 92!
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Episode Notes The avant garde, now with 100% more Oingo Boingo, Peter Gabriel, and Thompson Twin. Name June Paik's absolute classic video art work that aired on New Years day, 1984
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Episode Notes WHat happens when you give a survey to music lovers and then make a song based on the results? Well, Komar and Melamid, along with David Soldier, did just that! It's a fascinating work of Audio Art!
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Episode Notes I interviewed Eoin Callery at CCRMA at Stanford where we talked about his wonderful works, including this exceptional collaboration that really works as several separate works of art!
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Episode Notes Robin Kahn can't sing. In this wonderful work of audio art, she rises up singing a piece that she was obsessed with. This raises questions, from what makes great music to the role of talent to exactly what has modernism done to us!
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Episode Notes Louise Lawler gives us a series of names, male names, that are taken out of their traditional context and put into a new form, a form as meaningless as the names become so over-whelmingly present from the mouths of critics and Art fans that they drown out the names of fine women artists.
You can hear the piece at http://www.ubu.com/sound/lawler.html
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Episode Notes Arguably the most dangerous of all Performance artists of the 20th century, Chris Burden did a lot of stupid stuff, including getting shot through the arm. Only a portion of the video of the event survives, though much of the audio still does, and it as a whole still works.
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Episode Notes It's a beautiful piece, and it's one that I have been going back to over, and over, and over...
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Episode Notes Mel Ramos was one of the last remaining POP artists working when he passed away late last year. In the same vein as Thiebaud, he painted aspects of modern America in a way that brought them into the Gallery setting.
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Episode Notes One of the most fascinating artists of the 21st Century, but also one that has made the wrong headlines...
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Episode Notes One of the most 1980s of 1980s art, Jeff Koons actually manages something next to magic, and with incredible depth... no matter what Jeff says!
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Episode Notes A wonderful work by the greatest living American Artist that hangs in the SFMoMA
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Episode Notes Phil Guston was an absolute legend, and The Tale somehow manages to feel cartoony while still being non-figurative.
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Episode Notes Tracey Emin's My Bed is one of those works that makes you realise that being an artist in the world of the yba was more like being a movie star than an artist... except for when it wasn't.
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Episode Notes Robert Rauschenberg was one of the most important of the artists in the transition from AbEx to POP Art. Monogram, with its distinctive tire around its middle, is one of the greatest works of art of the last century.
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Episode Notes A look at the recent Warho, show at the Cantor and the image of JeanMichel Basquiat that was included!
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Episode Notes John Baldessari, one of the most important and long-running artists living today, created this amazing piece!
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Episode Notes Yep, the painting that shredded itself while on the auction block, and what it means to be an outsider in the Insider world of High Art
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Episode Notes Chip Lord talked about his later years in this final portion of his interview
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Episode Notes Chip Lord, the legend, talks about Easy Living, one of the best works of avant garde narrative experimentation
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Episode Notes Ant Farm was Chip Lord and Douglas Michel and here's more about their great work!
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Episode Notes Chip Lord, 1/2 of Ant Farm along with the late, great Doug Michels, tells how they got themselves started on the road to becoming legends. Recorded in 2018
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Episode Notes Another Re-post of a 2018 episode, this time focusing on 5 Pieces about Harvey Milk by the Patron Sait of Three Minute Modernist, Robert Arneson.
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Episode Notes Franz Kline's Figure 8 is a masterpiece, and arguably the greatest piece of Action Painting you'll ever see! Housed in The Anderson Collection at Stanford University, it's a glorious work. This is the first re-record of early Three Minute Modernist episodes.
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We look at Bernie Wrightson's cover for the Marvel Illustrated issue Frankenstein, which recently sold at auction for 1.2 million bucks! I talk about the history of Wrightson, how Swamp Thing pops up, and how it's both visceral and vegetal, while also concrete and scientific.
You can visit http://threeminutemodernist.weebly.com/ which will be updated and fixed over the next few months.
The sound quality for this is OK, but some popping. SORRY!!!
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