Matisse at Tate Modern
“An artist should never be a prisoner of himself, a prisoner of style, a prisoner of a reputation, a prisoner of success,” wrote Henri Matisse in his book Jazz (1947). It was with this book that the French painter, then already in his seventies, radically challenged his own practice.
The Elliston Project holds over seven hundred recorded readings and lectures given under the auspices of the University of Cincinnati Department of English and Comparative Literature and the U.C. Libraries since 1951. Material includes readings and lectures on poetry by those who have served as George Elliston Poet in Residence, among whom are Robert Frost, Denise Levertov, Louise Glück, Thom Gunn, and C.D. Wright. Other major figures, including Czeslaw Miłosz, Derek Walcott, Seamus Heaney, and Rita Dove, are also represented, as are many prose writers and a wide range of poets at various stages of their careers. Readings in this ongoing audio archive feature poets’ comments on their work; both complete performances and individual poems are accessible.
*Materials in this collection are made available for non-commercial, educational use per the Creative Commons license.
Paul Gauguin, Garden Under Snow (Design for a fan based on painting Winter Landscape), 1879. Watercolor and bodycolor over black chalk on fine linen, 24.2 cm x 52.5 cm. Fitzwilliam Museum, University of Cambridge.
For more than 40 years, archaeologists have been coaxing what they could from the traces of an ancient Puebloan settlement in New Mexico they call Blue J.
Buried under a thousand years’ worth of eroded stone and wind-blown sand, Blue J has intrigued experts with what little it has revealed: the…
Pasiphaé: Chant de Minos (Les Crétois) by H. de Montherlant
Henri Matisse, 1944
"Expression, for me, does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by the figures, the empty spaces around them, the proportions, everything has its share."
Alice Baber (United States, 1928-1982), Journeying Blue, 1966. Oil on canvas, 39 1/4 x 39 1/4 in. (99.70 x 99.70 cm). Los Angeles County Museum of Art (LACMA), gift of Craig Hendrix (M.2009.74). © Estate of Alice Baber.
LACMA’s Curator Notes
A member of the American postwar abstract expressionist movement, Alice Baber achieved international recognition during the 1960s and 1970s. She is best identified with abstract staining, a technique most often identified with Helen Frankenthaler and Morris Louis, but also characteristic of Paul Jenkins, who Baber was briefly married to during the late 1960s.
She lived in France during part of the 1950s and 1960s and it was there that she painted Journeying Blue. Her work of this period shared with her husband’s an overall composition of colorful abstract forms noted for their glowing transparency. However, Baber worked with more controlled geometric shapes, usually ovoids, and applied the pigment by rubbing it into the canvas with her fingers rather than pouring the liquid in large gestural sweeps as did Jenkins. The energy of her paintings derived mainly from the congested yet orchestrated movement, often elliptical, of the shapes, which she referred to as “wind”; often the ovoids were directed towards a brilliant unstained white area near the center of the composition. Sometimes, as in Journeying Blue, her paintings tended toward the monochromatic.
Baber is not as well known as the other exponents of stain painting because she died at a relatively young age of fifty-four and devoted considerable time to teaching throughout the United States (including at the University of California campuses at Santa Barbara and Berkeley), organizing exhibitions of women artists, and writing about art. Her work is in collections in the United States and abroad, including the Museum of Modern Art and Metropolitan Museum.
Alice Baber, Light and Shadow Crossing, 1977, Watercolor, Gift of The Estate of Alice Baber to Art in Embassies, Washington, D.C.
Alice Baber, Through Sleep to Orange, 1968, Oil on canvas, Gift of The Estate of Alice Baber to Art in Embassies, Washington, D.C
Alice Baber, The Path of the Sun Leads to the Piper, n.d., Oil on canvas (can be displayed horizontally or vertically), Gift of The Estate of Alice Baber to Art in Embassies, Washington, D.C.
“Ramellzee, Toxic C1, and Basquiat @ the Rhythm Lounge 1983”
Basquiat's 'Beat Bop': An Oral History of One of the Most Valuable Hip-Hop Records of All Time | Andrew Nosnitsky (Spin Magazine)
How K-Rob and Rammellzee came to battle it out on 1983’s beautiful, bizarre art-rap classic
Jean-Michel Basquiat’s history with rap music goes deeper than Jay Z’s punch lines and bragging rights. That engagement was most visible in the “Beat Bop” 12-inch, a ten-minute sparring match between MCs/graffiti artists K-Rob and Rammellzee, which the legendary Brooklyn artist produced in 1983.
(Jean-Michel Basquiat, 1983 PHOTO BY LEE JAFFE)
George Bellows’ Catalogue Raisonné - www.hvallison.com
A comprehensive and easy-to-navigate online catalogue raisonné of George Bellows compiled and organized by foremost Bellows scholar Glenn C. Peck of H.V. Allison & Co., a fine arts dealership established in 1941 by by Harry V. Allison and his son Gordon K. Allison.
George Wesley Bellows is best known for his scenes of urban life, sporting events, and portraits. Bellows was born in Columbus, Ohio. After attending Ohio State University from 1901 to 1904, he enrolled in the New York School of Art, where he studied under William Merritt Chase and Robert Henri; Edward Hopper and Rockwell Kent were fellow students…Bellows became associated with the free-spirited group of artists and critics centered around Robert Henri—known as The Eight, as well as by Frank Crowninshield, Edward Hopper, and Leon Kroll…[and] Both radicals and conservatives alike praised his expressive, boldly brushed landscapes, urban scenes, and portraits for their “American temperament.”
Bellows was among the artists who helped organize the avant-garde Armory Show in 1913 and some of his works were exhibited there. Despite his involvement in the Armory Show and its commitment to promoting the most advanced styles of art, he was able to straddle both the academic and progressive movements. His art encompassed both less conventional subjects such as boxing scenes and political events, as well as more traditional images—portraits and leisure activities.
In 1916 he began to experiment with lithography, an interest he pursued for the rest of his life. His lithographs show dramatic contrasts of light and dark similar to the interplay of light and shadow seen in his paintings, particularly his scenes of boxing matches. And the dynamic and free brushwork of his painted images is carried over into the broad sweep of the lithographic crayon in his prints. In 1922, Bellows moved to Woodstock, New York, where he remained until his death in 1925.
*Permission provided by Yale University Press to adapt texts from Passantino & Scott, The Eye of Duncan Phillips ( “Eye” ), The Phillips Collection in association with Yale University Press; Washington, New Haven, and London, 1999.
- Alfred A. Knopf (New York, 1929): The Paintings of George Bellows (Internet Archive)
- Artcyclopedia: George Bellows
- Boston Public Library Flickr Stream: George Wesley Bellows Prints
- Metropolitan Museum of Art: George Bellows
- The New Yorker: Audio Slide Show of George Bellows
- Samuel Dorsky Museum of Art, SUNY New Paltz [Exhibition Catalogue, August 13 – September 23, 2001]: With my Profound Reverence for the Victims: Lithographs & Drawings by George Bellows
- Thomas French Fine Art & George Bellows Family Trust: George Wesley Bellows Original Lithographs & Drawings
"If people don’t start paying closer attention, we’re going to be living in a corporate fascist state in no time. We’re paying $3.50 for a cup of coffee. You know how much a POUND of coffee beans costs? $3.50. But nobody knows that. Cause nobody’s paying attention."
Stories from Humans of New York (HONY): The Genius
There is a circle of musicians that gather in Washington Square Park on warm, sunny days. Their talents vary widely. Some of them play guitar quite well. Some not so well. Others struggle just to keep beat with the tambourine. But everyone has a great time– especially when the sun is shining. I normally drop in for a song or two. I become part of the group, dance with the music, and make encouraging eye contact with the other members. Even without an instrument, I feel that I outrank some of the weaker tambourine players.