Posts Tagged ‘painting’
October 6, 2014 | by Gary Lippman
In Just Kids, Patti Smith calls the painter and singer-songwriter Bob Neuwirth “a catalyst for action,” and she should know—it was Neuwirth, “trusted confidant to many of the great minds of his generation,” who urged her to write her first song. In a recent interview with Smith, Neil Young said that Neuwirth is “almost a Biblical figure … It’s just amazing that this guy has been shadowing through all these artistic communities.”
Down the decades, Neuwirth, now seventy-five, has made the scene in Cambridge, Massachusetts, Berkeley, Paris, Nashville, Santa Monica, and Austin, stopping in at the fabled festivals of Newport, Monterey, and Woodstock and associating along the way with Janis Joplin, Lou Reed, the Coen Brothers, Brice Marden, T Bone Burnett, Joan Baez, Shel Silverstein, Elvis Costello, Sam Shepard, Kris Kristofferson, Larry Poons, The Band, and The Band’s former front man, Bob Dylan. In Chronicles: Volume One, Dylan recalled the decades when he and Neuwirth were especially close: “Like Kerouac had immortalized Neal Cassady in On the Road, somebody should have immortalized Neuwirth … If ever there was a renaissance man leaping in and out of things, he would have to be it.”
For someone on the receiving end of such high praise from the famous, though, Neuwirth has a rather low view of fame itself. “Being famous is a full-time job,” he told me over lunch recently in the West Village. “You can get more done being anonymous. I know how people can get famous, but they have to want to do that … It has to tickle the G-spot of their minds, because being anonymous is so much more powerful. You can get so much more done if you’re not worried about fame and fortune. You can get a lot done.”
Since he came out of Akron, Ohio, in the early sixties, Neuwirth has focused primarily on painting, but he’s equally as well known for his music. He cowrote Joplin’s song “Mercedes Benz”; put out five mostly excellent solo records (including Last Day on Earth, a collaboration with John Cale); appeared as Dylan’s running buddy in D.A. Pennebaker’s 1967 documentary, Don’t Look Back; had his songs recorded by the likes of Jerry Lee Lewis, Roger McGuinn, and Peter Case; and worked with everyone from the Welsh filmmaker Sara Sugarman to rockabilly legend Rosie Flores.
Later this month, Neuwirth and his small band will join the journalist David Felton for “Stories and Songs” at Manhattan’s Dixon Place on October 15 and at McCabe’s Guitar Shop in Santa Monica on October 19. We spoke about these upcoming shows, among many other diversions.
What can the audience expect from “Stories and Songs”?
I’m interested in the living-room, intimate atmosphere of it. The whole point is, what happens when somebody shows up in a performance space without a preset agenda and has to bring something to the table, much in the way Keith Jarrett approaches a concert in which he doesn’t know what the first note is going to be? It’s almost unbelievable to hear his Koln Concert and think that Jarrett just cleared his mind before he walked onto that stage—it’s sublime. That’s our ideal. It’s 95 percent improv—aside from a couple of anchor songs, touchstones that I can rely on if things get too hideous.
Has that backfired? Do you ever get scorched by embarrassment?
Daily. On or off the stage. I’m scorched by embarrassment every time I look in the mirror. Especially when I’m trying on a bathing suit. Read More »
October 2, 2014 | by Patrick Monahan
Ludwig Bemelmans’s Paris bistro, La Colombe, combined two of his passions: art and innkeeping.
“It was precisely what I had been looking for—a lovely house, half palace, half ruin, an old house covered partly with vine,” Ludwig Bemelmans wrote in his 1958 illustrated memoir, My Life in Art. In 1953, he’d bought the hôtel particulier that once belonged to La belle Ferronnière (mistress of François I) at 4 rue de la Colombe, in the shadow of Notre Dame. “It had a bistro on the ground floor frequented by clochards and a small garden in front in which people sat.”
He christened the bistro La Colombe and covered its walls with near life-size frescoes of café society—Bemelmans’s own Bemelmans Bar. But it was not to last.
“Fifty three was a marvelous year for him, and a terrible year at the same time,” explained Jane Bayard Curley, the curator of the New York Historical Society’s current exhibition, “Madeline in New York: The Art of Ludwig Bemelmans” (on view through October 19). “He was doing La Colombe, he was painting the murals for Aristotle Onassis, he was publishing his Caldecott Award–winning Madeline’s Rescue. So many good things were happening that year and then the wheels came off.” Read More »
June 10, 2014 | by Joseph Akel
My first encounter with artist Hayal Pozanti was the lucky happenstance of a predetermined seating arrangement: she was placed across the table from me at a dinner celebrating Jessica Silverman Gallery, which represents Pozanti on the West Coast. We spent the evening in deep discussion on the finer points of photographic theory and discovered a shared interest in the writings of Friedrich Kittler. Agreeing to stay in touch, I found myself in New York for Frieze Art Fair and decided to pay a visit to Pozanti’s studio in Queens. She was born in Istanbul in 1983, and moved to New York in 2009. In a small, partitioned space with views looking over the East River toward Midtown Manhattan, we talked about her current body of work, which will be exhibited later this year at the Prospect New Orleans biennial and at the Parisian iteration of the Foire Internationale d’Art Contemporain.
With my recent paintings, I’ve been thinking a lot about Ken Price, Philip Guston, and Allan McCollum. And, of course, I always come back to Giorgio Morandi—I think about him regularly. I find that a common ground for all of these artists was the ability to create, through figurative abstraction, a world parallel to the one we live in. As a Turkish immigrant who has moved from place to place, who speaks several languages, I’m intrigued by the possibility of creating a universal language to unite my cross-cultural experiences. When I think back to my childhood in Istanbul—even to my time as a young professional there—I was always concerned with the question of acceptance and with the idea of unifying people. Read More »
May 16, 2014 | by Sadie Stein
The Schiava Turca (Turkish Slave) is one of the many mysteries of art history. The painting, a 1530s Mannerist masterpiece by Parmigianino, is considered an icon of the artist’s hometown, but no one is sure of the sitter’s identity. Was it a noblewoman? A courtesan? Or just an ideal of feminine beauty? One thing is more or less certain: nickname aside, the woman pictured was almost certainly not Turkish. The painting acquired its commonly used moniker in 1704, when a cataloguer assumed its subject’s dress spoke of the East. Rather, her sumptuous costume and turban-like balzo headdress would have been characteristic of court dress of the Northern Italian Renaissance.
Aimee Ng, guest curator of the Frick’s current exhibition, “The Poetry of Parmigianino’s ‘Schiava Turca’,” has another theory altogether. As the show’s title indicates, she feels the portrait may have had everything to do with the literary culture of the era. She explains,
Read More »
In the Renaissance, beautiful women and their portraits were often seen as poetic muses who inspired male poets and painters. This sitter is directly linked to poetry through the ornament on her headdress, which depicts a winged horse, the symbol of poetic inspiration. Perhaps, however, rather than a muse, the sitter is herself a poet. Seen in this light, her twisting pose … and forthright gaze would convey her creative force. She may even be identified with a specific female poet active in the area around Parma in the 1530s, such as Veronica Gambara, whom Parmigianino had many opportunities to meet.
May 6, 2014 | by Dan Piepenbring
Apropos Sadie’s piece about “degenerate art”: today marks the birthday of Ernst Ludwig Kirchner, one of many German expressionist painters whose work the Nazis filed under that dread “degenerate” rubric. Kirchner, who was born in Bavaria, suffered a breakdown when he was serving in World War I; he was plagued with health problems for the rest of his life, and spent much of his time in Davos. In 1937, the Germans destroyed or sold more than six hundred of Kirchner’s works; from Switzerland, he wrote,
Here we have been hearing terrible rumors about torture of the Jews, but it’s all surely untrue. I’m a little tired and sad about the situation up there. There is a war in the air. In the museums, the hard-won cultural achievements of the last twenty years are being destroyed, and yet the reason why we founded the Brücke was to encourage truly German art, made in Germany. And now it is supposed to be un-German. Dear God. It does upset me.
In 1938, fearing that Germany would annex Switzerland, Kirchner shot himself. The Kirchner Museum, in Davos, offers a fifteen-page biography of the artist—a remarkable, if sorrowful, read, full of suffering and exile. I was struck foremost by this prefatory note—intended to introduce his 1922 exhibition in Frankfurt—which Kirchner wrote himself under the pseudonym Louis de Marsalle. It finds the painter somewhat desperately planting the idea that he’s reinvented himself, that his illness, and his new life outside Germany, have only bolstered his work. He seems bent on convincing himself of his success as much as anyone else:
The bleak and yet so intimate nature of the mountains has had an enormous impact on the painter. It has deepened his love for his subjects and at the same time purged his vision of everything that is secondary. Nothing inessential appears in the paintings, but how delicately every detail is worked out! The creative thought emerges strongly and nakedly from the finished work. Kirchner is now so taken up with entirely new problems that one cannot apply the old criteria to him if one is to do justice to his work. Those who wish to classify him on the strength of his German paintings will be both disappointed and surprised. Far from destroying him, his serious illness has matured him. Besides his work on visible life, creativity stemming solely from the imagination has opened up its vast potential to him—for this the brief span of his life will probably be far from sufficient.
January 7, 2014 | by Justin Alvarez
I was first introduced to artist Anthony Cudahy in 2011, when I interviewed him for Guernica. I was moved by his fleeting scenes of silence—a woman pinning a boutonniere on an unseen man’s tuxedo jacket, two girls hugging in a bedroom while one stares at herself in the mirror—and amazed by the wide range of work from an artist so young (he was only twenty-two). When Adrian West pitched his translations of Josef Winkler’s novel Graveyard of Bitter Oranges for the Daily, I immediately knew Cudahy’s work would best accompany Winkler’s tales of death and phantoms in an unfamiliar country. Both invoke the Flemish hells of Hieronymus Bosch and Pieter Brueghel the Elder—lively, complex, symbolic, the best kind of fever dream.
I met with Anthony at his studio in the Brooklyn Navy Yard, where he is an artist-in-residence for the Artha Project. Amid the stacks of wood planks from the neighboring furniture studio and the incessant clanking of pipes, we discussed the benefits of the Internet for the art world, growing up in Florida, and his hatred of the color yellow.