It’s now 50 years since Andy Warhol painted Campbell’s Soup Cans and became one of the most famous artists in the world. Here is an image by Luigi Lucioni from 1926 that some are saying Warhol probably saw in New York.
Archive for the ‘Paintings’ Category
Henry Buszard‘s first solo exhibition promises to be very exciting (saw some of his Turcot paintings last winter and they were excellent!). Called “Circle’s End” the show will be at Studio#530 in the Belgo (372 Ste. Catherine West) and the vernissage, (whenever it ends it ends) begins at 5pm Friday. Show runs until November 4th.
From Henk Hofstra, “In April 2007, het Moleneind, a road in Drachten, The Netherlands, is painted blue to symbolise the water. It is 1000 meters long and 8 meters wide. It was created to form an urban river and recreate the path of a waterway that used to be where the road currently runs. They will start to dig a new canal here in 2008. The text WATER IS LEVEN is written on the blue road. The water will bring back life again in the centre of Drachten.”
I would love to see this done at Turcot bringing the Riviere Saint Pierre back to life, if only symbolically, for a little while. Anyone interested in this kind of idea should email me at firstname.lastname@example.org
And here is a bonus image for those who like the potential of art on ground level. More here.
“I find tremendous beauty and energy in the grit and rust of these forgotten industrial areas of New York City.
The High Line Series explores the architectural landscapes of the last remaining industrial region along the far west side of Chelsea and 10th Avenue, now becoming galleries and condominiums.
These large figurative cityscapes are painted in strong watercolor on rough paper. By exploring the tension between carefully drawn linear perspective and the freedom of watermarks, paint runs and spatters, I’m capturing the weathered patina of old steel and concrete that is the texture of the city.”
Images courtesy of George Billis Gallery
©2008 Tim Saternow]
You can check out the rest of the series on Tim Saternow’s website.
Exhibition of Turcot work in Point Saint Charles.
See you there!
Just a tad late but this weekend he organized The Cans Festival in London.
Banksy is a well-known pseudo-anonymous English graffiti artist. He is believed to be a native of Yate, South Gloucestershire, near Bristol and born in 1974, but there is substantial public uncertainty about his identity and personal and biographical details. According to Tristan Manco, Banksy “was born in 1974 and raised in Bristol, England. The son of a photocopier engineer, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s.” His artworks are often-satirical pieces of art that encompass topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stencilling technique similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System throughout the late 1970s and early 1980s. His art has appeared in cities around the world. Banksy’s work was borne out of the larger Bristol underground scene which involved collaborations between artists and musicians.” More here.
Probably thought of as a graffiti artist by many, Banksy takes it well beyond simple tagging. He has worked on a few continents including work on the West Bank Wall in Israel in 2005. Story here.
Banksy has been perhaps the most talked about artist on earth in recent years, and some of his works have sold for over 200,000 dollars. In fact there is a site that directly compares his work with that of Andy Warhol.
There is already a Flickr page with pictures from The Cans Festival.
Banksy is very concerned with social justice issues as seen in his “mainifesto” which is actually an extract from the diary of one of the first british soldiers to liberate nazi death camp Bergen-Belsen in 1945.
A couple of videos from this weekend.
I have had a love bordering on fanaticism of the columns and curves that make up Seattle’s urban freeways. They are full of rhythm and strength. In the twilight, the eye turns them into ribbons of undulating color, and a rainy day brings out slick silver, shimmering gray beauty to an overpass. There are as many ways to paint them as Monet painted Rouen Cathedral in its various atmospheres.
The freeways are akin to Greek temples with their columns and lintels, but with the amazing exception of the curve. Advanced construction materials have given these modern temples the gift of feminine elemental turns — curves that catch light and bring lyricism to an otherwise stoic monument.