maandag, september 26, 2016
Untitled (Drips and Newspaper), 1999. (bron: Paris Photo)
Untitled (Wall Drip with Blue Tape), 2012.
"This was taken in Cy Twombly’s studio in the dead of winter, after Cy had been gone at least six months. It was summer when he died, not in our home state of Virginia, but in Italy where he spent his summers and winters. In the spring and fall, he would alight in Lexington, the town in Virginia where we both grew up, and almost as soon as his bags were unpacked he would begin painting.
He had been a friend of my parents, to whom he gave his first sculpture. They supported him by buying, out of his arms, a painting he was carrying down the street one day in 1952. Cy had made it with pencil and house paint.
He loved our part of the south and his work reflected southerners’ innately contradictory qualities of ambiguity and plain-spokenness, cruelty and kindness, illumination and obscurity. Like all southerners, he was keenly aware of death, but the shadow of mortality failed to darken his brilliance, and the famous slow pace of southern life only reminded Cy how much harder he had to work.
And work he did. Considering he was in the fall of his life, his later paintings were extravagant with colour and gesture, import and whimsy. It was the poetic force of his personality that compelled me to take pictures in his studio. These bright colours, these brilliant vestiges, suggest both an absence and a great presence." (bron: The Guardian)
Untitled (Glow from Window), 2012. (bron: Gagosian)
Untitled (Pencil Painting), 1999-2000.
Untitled (Angled Light), 1999-2000.
Untitled (Dancing Cherubs), 2011/2012.
Untitled (Window with Helmets), 2012. (bron: KINFOLK)
Untitled (Angled Light), 1999-2000.
Untitled (Slippers and Flare), 2005. (bron: Paris Photo)
Cy Twombly's studio, Lexington. (photo's: Sally Mann)
"Mann is known and regarded for her images of intimate and familiar subjects rendered sublime and disquieting: children, landscape, family, and the nature of mortality. In previous projects, she explored relationships between parent and child, husband and wife, brother and sister, nature and history. In her latest exhibition of photographs spanning more than a decade, she records in fleeting impressions the working habitat of the late Cy Twombly, her close friend and mentor.
Mann’s poetic images of time recorded testify to the fragments and deposits of Twombly’s artistic life. As well, they speak to her deft, sharp ability to record interiority and her singular eye for the immediate, the intimate, and the present becoming memory." (bron: Paris Photo)
> Cy Twombly
vrijdag, september 23, 2016
Esther de Graaf in haar atelier, Groningen, 2015.
Op een mistige donderdagmorgen betraden we het oude schoolgebouw aan de Heinsiusstraat waar Esther de Graaf haar werkruimte heeft. Het pand ademt nog echt de sfeer van een oude verlaten school. ‘Tegenwoordig wonen hier mensen, bovendien hebben veel kunstenaars hier hun atelier,’ zegt Esther de Graaf terwijl ze ons welkom heet. Haar atelier bestaat uit een grote ruimte gevuld met materialen zoals hout, karton en ijzer.
(bron: stadmagazine, foto's: Suhaila Sahmarani)
Esther de Graaf in haar atelier, 2013(?). Stills uit de video "Esther de Graaf - genomineerd voor de Volkskrant Beeldende Kunstprijs 2013" (bron: De Volkskrant)
> Esther de Graaf
donderdag, september 22, 2016
Keramiek atelier Corneille, Contignac, Frankrijk, ca 1995. (bron: catawiki, foto: Nico Koster)
Corneille in zijn atelier met Siep van den Berg (links), Parijs, 1952. (bron: Leeuwarder Courant)
woensdag, september 21, 2016
José Lerma in his studio.
"Lit with bright, white light from the floor to ceiling window at the front of his studio, José’s work is cast in an ethereal glow, bright pinks, purples, and blues converging to form the faces of bourgeois bankers and 17th century royalty. To create these large paintings José scales up his materials, using brooms to produce thick, sculptural paint strokes. His neon palette and tendency towards light-activated works serves as a distraction to his works’ content, forcing the audience to test their concentration while being bombarded with blinking lights.
JL: For the past three years I have been working on shows where I just make the paintings on-site and use whatever materials I can find. I haven’t done anything like studio work in a while, so recently I have been trying to get back into studio mode. I wanted to try going back to the paintings I was making in 2008 that I kind of abandoned.
...." (bron: inside\within)
Studio work for Gloriosa, 2014.
Studio shot, 2015. (bron: flickr)
> José Lerma | flickr
> José Lerma | picssr
dinsdag, september 20, 2016
Lizica Codreanu with Brancusi's Costumes. (bron: felicecalchi)
Lizica Codreano in Brancusi’s Studio, 1922. (bron: Delightfully Catawampus)
Lizica Codreanu with Brancusi's Costumes in Brancusi's studio, 1922.
"Around 1922 Constantin Brancusi designed some costumes for an Erik Satie's music. They were close friend and was in that same period that Brancusi met the romanian dancer Lizica Codreanu. She had come in Paris with her sister Irina who was studying sculpture. The sculptor showed to Lizica his Atelier and took some pictures of her beginning to study the costumes like moving sculptures.
...." (bron: felicecalchi)
Lizica Codreanu dansant dans l'atelier de Brancusi, costume d'Irina Codreanu, circa 1923 - 1924. (bron: Blouin Art Sales Index)