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Alice Neel, José Asleep, 1938

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Albert Gleizes - La Chasse/the hunt (1911)

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It’s fair to say that black folks operate under a cloud of invisibility—this too is part of the work, is indeed central to the work. The stuff that I’m doing right now has so much to do with this notion of invisibility. Even in the midst of the great social changes we’ve experienced just in the last year with the election of Barack Obama, for the most part African Americans and our lives remain invisible. Black people are to be turned away from, not turned toward—we bear the mark of Cain. It’s an aesthetic thing; blackness is an affront to the persistence of whiteness. It’s the reason that so little has been done to stop genocide in Africa. This invisibility—this erasure out of the complex history of our life and time—is the greatest source of my longing. As you know, I’m a woman who yearns, who longs for. This is the key to me and to the work, and something which is rarely discussed in reviews or essays, which I also find remarkably disappointing

Carrie Mae Weems via BOMB (via blackcontemporaryart)

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This week’s Modern Art Notes Podcast features artist Michael Snow. 

Snow’s 1967 film “Wavelength” is considered one of the masterpieces of avant-garde cinema. After re-watching “Wavelength” recently, writer Greg Allen became curious about where it was filmed and what had happened to the site, so he did some research.

In 2001 the Village Voice, whose onetime critic Jonas Mekas helped create New York’s film community, named “Wavelength” one of the hundred most important films of the twentieth century. Critic Gene Youngblood described “Wavelength” as “without precedent in the purity of its confrontation with the essence of cinema: the relationships between illusion and fact, space and time, subject and object. It is the first post-Warhol, post-Minimal movie; one of the few films to engage those higher conceptual orders which occupy modern painting and sculpture. It has rightly been described as a ‘triumph of contemplative cinema.’”

"Wavelength" is in numerous institutional collections, including at the Art Gallery of Ontario, the National Gallery of Canada, the French National Museum of Modern Art at Centre Georges Pompidou and at the Anthology Film Archives in New York. For more on the work, check out Digital Snow. A still from the film is above. See the entire film.

In the years since “Wavelength,” Snow has continued to make groundbreaking films and he has also worked in painting, photography and sculpture. In those works he’s been particularly interested in the contradictions in sight and reality, in the materiality of artworks and in when the representation of an object in an artwork becomes its own object. 

Snow has been the subject of dozens of major museum exhibitions, including at his hometown Art Gallery of Ontario, at the Pompidou, at the Museum of Contemporary Art in Montreal, and at many other museums across Europe and Canada. 

On Saturday, the Philadelphia Museum of Art will open the first major museum exhibition of Snow’s work in the United States since the mid-nineteen-eighties. Titled "Michael Snow: Photocentric," the exhibition is a survey of Snow’s photography. It was curated by Adelina Vlas and will be on view through April 27.

Listen to or download this week’s MAN Podcast on SoundCloud, via direct-link mp3, or subscribe to The MAN Podcast (for free) at:

iTunes; 

SoundCloud; 

Stitcher; or

via RSS. 

See more images of art discussed on this week’s program.

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Revised caption: Bernal Heights’ memorial to Phillip Seymour Hoffman

[Ed. note: I took this while on my Saturday morning run and queued it with the caption, “Nice try, Paul Thomas Anderson, but your belated native-advertising campaign still won’t convince me that was a good movie.” By Sunday I figured I should probably… uh… change it. While I stand by my opinion that it was a terrible movie, I do think that PSH’s and Joaquin Phoenix’s acting performances were transcendent.]

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Februrary 3, 2014

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Beautiful

Carlo Carrà, Western Horseman, 1917

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Here’s a hint about the lead guest on this week’s Modern Art Notes Podcast! As always, this week’s show will post tomorrow at around noon ET. Don’t miss it!

Never miss a program: Subscribe to The MAN Podcast for free via iTunes (please rate us, as it will help others find the program!), SoundCloud, Stitcher or RSS!

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Love this, lc

Sending everyone some warm thoughts - a look at back at our 1980 project with Harriet Brickman, Beached Forms: Passages. 

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Click on this JPEG to expand it to 1,500 pixels wide.

Notice the acute detail, and the way in which the flowers are painted in a way that makes it look they’re three-dimensional, that they’re popping off the page.

This is a late 15th-century Book of Hours (a prayer book) from the collection of The Huntington Library in San Marino, Calif. The artist is unidentified. It’s included in "Face to Face: Flanders, Florence and Renaissance Painting," and it’s one of the works that curators Catherine Hess and Paula Nuttall discuss on this week’s Modern Art Notes Podcast. On this week’s program, Nuttall discusses how this intense, detailed realism was important to 15th-century, Bruges-based Flemish artists because both they and their customers believed that hyper-real images brought them closer to God and to the biblical stories they valued.

Hess is the chief curator of European art at the Huntington. Nuttall is the author of "From Flanders to Florence: The Impact of Netherlandish Painting, 1400–1500" (2004, Yale University Press), which tracked the impact of northern European painting on Italian art.

Listen to or download this week’s MAN Podcast via MP3, listen or download on SoundCloud, or subscribe to The MAN Podcast (for free) at:

iTunes; 

SoundCloud; 

Stitcher; or

via RSS. 

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So beautiful. The first image I saw today when I arrived at Tumblr. 

Giovanni Segantini, La vanita, 1897

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I want to wrap myself in those clouds, and look at the organza vestment on the figure to the right. Beautiful. 

El Greco, The Burial of Count Orgaz (1586)

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Great year-long project. 

December 16, 2013

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December 6, 2013

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I want them. 

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Wonderful. :)

Los Angeles, CA 7th & Mateo St November 15, 2013