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.
Morton Livingston Schamberg (American, 1881–1918), Study of a Girl (Fanette Reider), ca. 1912. Oil on canvas, 30 11/16 × 23⅛ in. (78 × 58.8 cm). Williams College Museum of Art, Williamstown, Massachusetts, Bequest of Lawrence H. Bloedel, Class of 1923.
“Morton Livingston Schamberg, a painter, sculptor, and photographer whose brief but innovative twelve-year career ended with his untimely death at age thirty-seven…[he] was the first artist to use industrial and mechanical images as the basis for geometric art, which developed into the early Twentieth Century style known as Precisionism. Following his graduation from the Pennsylvania Academy of the Fine Arts in 1906, Schamberg and friend Charles Scheeler traveled to Paris. Returning to Philadelphia, they set up a studio and did commercial photography for a living. By 1912, Schamberg began incorporating cubist elements in his paintings, showing ‘the prismatic shattering of light into its component colors’…By 1916, Schamberg’s style changed dramatically, with more emphasis on line and structure, fitting to his central topic, the machine. He shared the dadaists’ attitude towards technology, but emphasized the formal beauty of machines. Other painters, including Charles Sheeler, Charles Demuth, and Elsie Driggs elaborated upon Schamberg’s mechanical theme in their work” (Michener Art Museum, Doylestown, PA)
"Schamberg died just a few years after the Armory Show in the influenza epidemic of 1918, but in 1913 he was one of the country’s most promising young modern painters. In fact, he was specifically invited to participate in the Armory Show (unlike other artists in this gallery). During several visits to Europe between 1904 and 1909, Schamberg absorbed the Impressionists’ high-keyed palette and Paul Cézanne’s formal innovations. He also visited the salons of Gertrude and Leo, and Sarah and Michael Stein, where he met Henri Matisse, among other artists" (The Armory Show at 100)
CODART is the international network of curators of Dutch and Flemish art. CODART aims to make this widespread cultural heritage more visible and accessible to an international public. At the same time, the organization aims to increase public knowledge of Dutch and Flemish art. CODART fosters international cooperation through exhibitions, research and publications.
Launched in April 2008, visual-arts-cork.com is a completely independent online resource. We are not associated in any way with any professional artist, or arts organization. We receive no fees, commissions or associated “benefits in kind” from any outside source.
Our aim is to explain the evolution of visual art with reference to the world’s greatest artists, their paintings and sculptures.
Our Editorial Content
In addition to over 4,000 images of traditional and contemporary artworks, we feature hundreds of articles on the history of fine art, the main painting genres, art movements, periods and styles, as well as hundreds of artist-biographies, and reviews of museums and galleries. Over the next 5 years we plan to add thousands of additional images, and broaden our scope to include all aspects of visual art from across the globe.
I was riding in a van with a television crew who was doing a piece on HONY. The cameraman, Duane, was behind the wheel. At one point he casually remarked on how bad the traffic was in Ethiopia.
"Ethiopia?" I asked. "What story were you working on there?"
"It wasn’t a story," he replied. "We were picking up our daughter.
He then told me the most amazing story. He told me that he and his wife were not able to conceive. “But I’d always resisted the idea of adoption,” he said. “My wife wanted to adopt right away, but I was just never sure if I’d be able to fully love a child that wasn’t my blood.” So time went on, and they remained childless.
Then one evening Duane was watching a television show with his wife. The show was about aid work in Ethiopia. “They were showing before-and-after photos,” he explained. “I remember this one girl. She was skin and bones. But she still had this amazing smile and spirit in her eyes. The aid workers rehabilitated her, and six months later, she looked like a normal little girl. Right then, I turned to my wife, and said: ‘I’m ready to adopt.’”
But it wasn’t as easy as he’d hoped. “At first I thought we needed an infant,” Duane explained. “I just couldn’t imagine missing out on all those early moments of our child’s life.” But for healthy infants, the waiting list was years. “So then we went we moved up to three or four year olds.” But still, the waiting list was one to two years. “The only children you could get immediately were seven and up, and who had physical handicaps of some sort. I just didn’t think I was ready for it.”
But then Duane and his wife went on vacation. And toward the end of the trip, “after a few drinks,” Duane’s wife brought out a brochure from the adoption agency. One of the pictures showed an unsmiling seven year old girl, standing against the pink wall of an orphanage. She had been blinded in one eye. “That’s our daughter,” Duane said.
Three years later after the Watkins adopted her, Chaltu has blossomed. She has grown over one foot, is fluent in English, and although blind in one eye, plays soccer, gymnastics, and basketball. She’s doing great at school, and has tons of friends. “She is the greatest daughter in the world,” Duane said.
“That’s an unbelievable story,” I told Duane. “Can I share it on HONY?”
“That’s fine with me,” he answered. Then he sort of stared at the ground for a second, shuffled his feet, and asked: “Would there be any possibility that you could help us raise the adoption fees to get her a brother? We’ve already found him, but aren’t financially ready yet.”
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