31 januari 2021

30 januari 2021

Richard Prince #8

Richard Prince in his studio. (bron: MUSE, foto: Bill Power)

> Richard Prince

29 januari 2021

Rodel Tapaya

Rodel Tapaya in his studio. (bron: Pioneer Studios)

Rodel Tapaya in his studio, Manilla, Philippines, 2016. Stills from the video "A3 BEHIND THE SCENES | Rodel Tapaya". (bron video: arndtartagency)

28 januari 2021

Yayoi Kusama #5

Yayoi Kusama working in her studio, 2014. (bron: COBO SOCIAL, foto: Go Itame)

> Yayoi Kusama

Andy Giannakakis

Andy Giannakakis in his studio, 2012 (2013?). (bron: TheRed&Black, foto's: Maura Friedman)

Artists portraits @ Thaddaeus Ropac

Anselm Kiefer. (foto: Georges Poncet)

Daniel Richter. (foto: Shawn Dell)

Erwin Wurm.

Imi Knoebel.

James Rosenquist working on "Through the Eye of the Needle to the Anvil", circa 1988.

Robert Longo.

Robert Rauschenberg.

Stephan Balkenhol. (bron: Thaddaeus Ropac)

> Erwin Wurm
> James Rosenquist
> Robert Longo
> Robert Rauschenberg Foundation

27 januari 2021

Johannes Vermeer

Johannes Vermeer: De schilderkunst of Het atelier of De schilder en zijn model of Allegorie op de schilderkunst, 1666-1668. (collectie: Kunsthistorisches Museum Wien)

(nieuw werk)

Harke Kazemier: Perry Island Reinvented, 2021.
olie en kleurpotlood op doek /oil and colored pencil on canvas
40 x 50 cm

> Harke Kazemier
> Harke kazemier | facebook

Cory Arcangel

Cory Arcangel in his studio, Brooklyn, New York. (bron: 032c, foto: CLANG)

Cory arcangel in his studio, 2014(?). Stills from the video "Whitney Stories: Cory Arcangel". (bron video: youtube)

> Cory Arcangel

26 januari 2021

Andy Warhol #17

Andy Warhol (and Debbie Harry) working on the Amiga 1000 (1985 (HK)). Still from Trapped: Andy Warhol’s Amiga Experiments, Part 2.

"In 01985, Andy Warhol used an Amiga 1000 personal computer and the GraphiCraft software to create a series of digital works.
Commodore International commissioned Warhol to appear at the product launch and produce a few public pieces showing off the Amiga’s multimedia capabilities. According to the report, “Warhol’s presence was intended to convey the message that this was a highly sophisticated yet accessible machine that acted as a tool for creativity.”

In addition to creating a series of public pieces, Warhol made digital works on his own time. He was given a variety of pre-release hardware and software. This led him to eventually experiment with digital photography and videography, edit animation and compose digital audio pieces. The Studio for Creative Inquiry’s report states:
All of this (digital photography, video capturing, animation editing, and audio composition) had been done to limited extents earlier, but Warhol was an incredibly early adopter in this arena and may be the first major artist to explore many of these mediums of computer art. He almost certainly was the earliest (if not the only, given several pre-release statues) possessor of some of this hardware and software and, given their steep later sale prices, possibly the only person to have such a collection.
According to the contract with Commodore, Warhol owned the rights to any hardware given to him and all the work he created with the machines. After his death, his files and machines were stashed away and unpublished in the archives at the Warhol Museum. The collection contained two Amiga 1000 computers, one of which was never used, parts of a video capturing hardware setup, a drawing tablet, and an assortment of floppy disks of mostly commercial software in their original boxes
(bron: The Long Now Foundation)

Debbie Harry and Andy Warhol.

Andy put me on the cover of Interview magazine and he threw a party for us at Studio 54 when “Heart of Glass” went to number one in America. Now that we weren’t on the road, we had gotten to know him a little, and the idea of Andy’s doing my portrait came up; somewhere, at some point, Andy had remarked that if he could have anyone else’s face, it would be mine.

How it worked was that first Andy took some photos of you. He used one of those unique Big Shot Polaroid cameras that looked like a shoebox with a lens on it. The Big Shot was designed for portrait use only—and the quality of the shots was often striking. Perfect for Andy. After taking the Polaroids, he would show them to us and ask quietly—Andy was very soft-spoken—“Well, which one would you like?”
Later, Andy called and asked me to model for a portrait he was going to create live, at Lincoln Center, as a promotion for the Commodore Amiga computer. It was a pretty amazing event. They had a full orchestra and a large board set up with a bunch of technicians in lab coats. The techs programmed away with all the Warhol colors, as Andy designed and painted my portrait. I hammed it up some for the cameras, turning toward Andy, running my hand through my hair, and asking in a suggestive Marilyn voice, “Are you ready to paint me?” Andy was pretty hilarious in his usual flat-affect way, as he sparred with the Commodore host.
(bron: artnet, foto's: Chris Stein)

Andy Warhol and Debbie Harry at the promotion for the Commodore Amiga computer, 1985(?)

> Andy Warhol Foundation

24 januari 2021

André Derain #9

André Derain: The Artist in his Studio, 1920. (collectie: The Met)

Jennifer Bartlett #5

Jennifer Bartlett: Air: 24 Hours, 1.00 A.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 2.00 A.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 3.00 A.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 4.00 A.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 5.00 A.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 6.00 A.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 7.00 A.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 8.00 A.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 11.00 A.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 1.00 P.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 2.00 P.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 5.00 P.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 6.00 P.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 10.00 P.M., 1991-1992.

Jennifer Bartlett: Air: 24 Hours, 11.00 P.M., 1991-1992.

AIR: 24 Hours, a group of 24 paintings, one for each hour of the day. The cycle documents the passage of time, depicting a different area of the artist’s home and studio in Manhattan. Following a set of self-imposed rules, the paintings share an underlying grid-based structure, the constituent elements of which always add up to the number sixty. Bartlett’s systematic approach is belied by the paintings’ spatial instability, enigmatic character, and absurd, irreconcilable details. Things appear (and re-appear) in these works that defy explanation. Throughout her series, Bartlett makes public some of these most personal aspects of her daily life while retaining a sense of ironic distance and mysterious inaccessibility."
(bron: The Met, Locks Gallery, Locks Gallery, e.a.)