Nicholas Fox Weber's Blog, page 6
November 18, 2014
November 17, 2014
October 31, 2014
“Josef Albers: Medios Mínimos, Efecto Máximo” Conference
Nicholas Fox Weber: Conferencia inaugural de la exposición “Josef Albers: Medios Mínimos, Efecto Máximo”
He called these paintings platters to serve color and he made miraculous things happen.
For example look at the one on the right he would say, “its midnight and noon at
the same time. This is what you get in art. Not the realities of everyday life but the particular world of art”.
VIDEO
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October 30, 2014
October 29, 2014
Cleve Gray The Polyptychs
Cleve Gray on The Polyptychs:
“The image itself got very tight, and I realized I was trapping myself in my dependence on this one rationalized vertical image. I started the scream performance.”
The screams were a complete letting go, a break with all of his educated, rational, intellectually based work. Thomas B. Hess described the process in an essay he wrote in the catalogue for an exhibition of Cleve’s work at the Albright-Knox Gallery. “He closes his eyes, stoops over, and commences the gestural drawing. And he screams. A wild, crazy howl, like a Zen swordsman or Wu initiate.”
In the studio, Cleve demonstrates that scream for me, that letting out of energy, fear, rage, tension. And then he calmly ads, “That was another year: 1975. I did fifty or seventy-five of the screams.” The painting series were entitled Conjugation or Conjunction.
–Nicholas Fox Weber
Conjunction #151, 100 x 70”. Acrylic on canvas.
Krannert Art Museum. University of Illinois, Champaign
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October 16, 2014
Paul Cezanne, Madame Cezanne in the Conservatory, 1891
This portrait conveys what it is to construct a portrait from scratch. Setting and subject merge exquisitely; Cézanne’s wife is unified with her surroundings in a composition of unparalleled grace. Meyer Shapiro…wrote of this work, “The inclination of the head—the bearer of a delicate submissiveness and revery—belongs as much with the tilted lines of the wall and the trees as with her own body. Foreground and background are united in the common sweep of the tree trunk and the sitter’s right arm.”
–Nicholas Fox Weber, The Clarks of Cooperstown
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October 2, 2014
HENRI DE TOULOUSE-LAUTREC, JANE AVRIL c. 1891–92
This poignant and evocative picture shows the actress Jane Avril, one of the artist’s favorite performers and subjects,
at a moment of pensiveness and vulnerability.
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M LE MAGAZINE DU MONDE 2
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