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fox is the weak link here her smeared and scraped acrylics seem to have some depth but i doubt they could hold any serious viewer s attention for very long jeanette fintz permanently temporary 1 acrylic on canvas posted by david brickman at 11 42 am no comments labels abstract art art contemporary art dai ban ginny fox hudson jeanette fintz jenny kemp painting sculpture friday august 23 2019 renoir the body the senses and ida o keeffe escaping georgia s shadow at the clark the bathers 1918 19 oil on canvas musée d orsay paris all works shown are by pierre auguste renoir except where noted each summer s must see show is usually at the clark aka the sterling and francine clark art institute in williamstown mass and this year is no exception but renoir the body the senses isn t a typical blockbuster rather than just mount a massive display of the great artist s work on the centenary of his death this show s creators have delved into a central theme of the french impressionist pierre auguste renoir s oeuvre and have built on that thread using striking examples from a stellar supporting cast paul cézanne the battle of love c 1880 oil on canvas national gallery of art washington d c so if you re going in order to relish the renoir nudes that s the theme you won t be disappointed but expect much more there are so many other artists paintings in this show that it really isn t a solo at all and frankly a few of them could easily overshadow renoir if given the chance still after viewing many telling juxtapositions at the clark i found that renoir at his best could stand up to cezanne degas corot delacroix matisse and picasso among others though at times i had my doubts credit the show s organizers for having the courage to allow viewers this unique opportunity to compare and contrast they are esther bell at the clark and george t m shackelford at the kimbell art museum in fort worth texas where the show will be installed in the fall three right figures and part of a foot study for the great bathers c 1884 87 chalk on paper private collection their intentions are to show renoir s influences in part by including others paintings that he owned as well as his influence represented by those who followed in time as well as to present his entire career through a single subject the show fulfills both goals nicely it also allows plenty of immersion in renoir himself especially in one room that presents a series of study drawings that led to a single very large painting entitled the great bathers it s not included in the exhibition but related examples serve as helpful mates to the drawings for a former student of figure drawing this lovely oval shaped room filled with dazzlingly executed studies in red and white chalk was like a dream worthy of long minutes spent gaping from near and far helped by nifty benches that mirror the walls curves these drawings alone could have cemented renoir s position as one of the all time greats bather arranging her hair 1885 oil on canvas clark art institute but the best of the paintings do trump them one of those entitled bather arranging her hair from 1885 and part of the clark s large collection of renoir s work is outstanding in that it works the figure and her drapery into a compelling distant seascape all of it perfectly rendered in renoir s seductive impressionist colors other outstanding works in the show are not so dependent on color in particular the only one of a male figure entitled boy with a cat this enigmatic painting is prominently used in publicity for the show perhaps due to its frisson of 21st century androgyny or maybe simply because it is so good juicily flanked by two equally provocative female nudes one by corot and the other a renoir of the boy s older sister who at twenty was renoir s lover the painting provides the moment in the exhibition where any viewer still possessing hormones must surrender to the understanding that this art is unashamedly about sex boy with a cat 1868 oil on canvas musée d orsay paris not that there s anything wrong with that but of course it s also about much more form color light and most importantly the freedom to break the rules to experiment it s easy to forget that it was super radical in the 1880s to paint a figure in realistic strokes to include colors that weren t flattering to distort reality to make it feel more real these efforts and effects are among the reasons renoir was highly esteemed among his peers even if he was often reviled by contemporary critics and why his influence then as now matters so if like me you see the degas pastels the cezanne oils the picassos and the matisse in this show and think gee they were even better than renoir bear in mind that those artists regarded him as a master to emulate if he devolved in later years into a commercialized shadow of his former self cranking out the popular kitsch my opinion as represented by the image at the top of this post it doesn t tarnish the giant achievements of his younger days edgar degas after the bath three nude women c 1895 pastel on paper private collection speaking of youth the show did bring up one question for me regarding the apparent age of renoir s models it may be that in his time it was socially acceptable to lust after underage girls and make pictures of them but in our present moment it felt a bit icky to be in a public gallery ogling paintings that emphasize both the childishness of the subjects faces and the engorged readiness of their bodies e g a young girl with daisies painted in 1889 when the artist was about 70 years old now found here reproduced on a yoga mat i d be curious to know if anyone else felt at all the same and whether this was also part of the organizers intent in addition to the renoir exhibition the clark is presenting ida o keeffe escaping georgia s shadow which features several strong paintings and prints by a sister of the iconic feminist painter renoir ends on sept 22 while o keeffe continues through oct 14 ida ten eyck o keeffe variation on a lighthouse theme ii c 1931 32 oil on canvas private collection relatively unknown ida o keeffe had a minor fine art career while working mostly as a teacher but her work is worthy of the attention this show brings to it and the show provides a unique opportunity to see the work as a body with all of its elements having been brought together from diverse private collections the show also includes a fun array of snapshots of ida and other family members taken by her brother in law alfred stieglitz and of him by ida it s clear that ida had a promising start as the centerpiece of the show is a series of six variations on a lighthouse each a stunning experiment in modernism that she executed while still a student other paintings in the show exude the same lushness we ve come to know from her sister s studies of flowers as well as total abstraction and curious night paintings in grisaille this inconsistency is no doubt part of what held ida o keeffe back from a bigger success but altogether her art is still well worth a look also worth some time during your visit is a sound installation originally created in 2001 by the canadian artist janet cardiff that deconstructs thomas tallis s sixteenth century choral work spem in alium hope in any other by assigning each of the forty voices to a single freestanding speaker in the gallery description from the clark s website the result entitled the forty part motet is an intriguing and powerful listening experience and certainly not the usual fare of this generally more traditional venue continuing through sept 15 summer s not over yet so get out and enjoy these shows while you can installation view of the forty part motet by janet cardiff posted by david brickman at 2 26 pm 2 comments labels art cezanne corot curating degas delacroix drawing ida o keeffe impressionism matisse modernism painting picasso printmaking renoir williamstown tuesday july 30 2019 the best movie of the year so far jimmie fails stars as a young man trying to recapture an imagined past in the last black man in san francisco my frequent movie discussing companion dick said it and i agree the last black man in san francisco is the best movie of the year so far dick and i have often noted that originality is the holy grail of contemporary filmmaking and we value it above other qualities e g production values when rendering a judgment in the case of tlbm in sf no compromises need to be made this debut feature co written and directed by joe talbot is miraculously successful as a story as a visual experience as a vehicle for some very fine acting and most important as an original heartfelt poignant and challenging work of art it tells about a young man jimmie fails played by jimmie fails whose day to day existence is rooted not in the reality of his circumstances lacking home family career but in the greater reality of his love affair with a victorian house in a rapidly gentrifying neighborhood in san francisco along with his sidekick the budding artist and writer mont beautifully portrayed by jonathan majors jimmie maintains and then after it s been abandoned by the current owners during a contentious estate battle squats in the house he believes his grandfather built with his own sweat in the 1940s what follows is worthy of shakespeare masterfully photographed by adam newport berra and sensitively scored by emile mosseri it belongs on the big screen don t wait for streaming or video see it now jimmie peers into the house he would love to re occupy posted by david brickman at 12 22 pm 1 comment labels cinema film independent film movies the last black man in san francisco saturday july 20 2019 basquiat x warhol at the school jean michel basquiat and andy warhol eggs acrylic on canvas 1985 summer in the greater capital region means blockbuster art exhibitions and 2019 is no exception however despite renoir being at the clark sloan at the hyde and ritts at the fenimore all sure to attract a great deal of worthy attention this year s top draw surely is basquiat x warhol at the school in tiny kinderhook a venue that has been a project of the new york city art dealer jack shainman for the last five years warhol campbell s soup box box constructed with acrylic canvas and silkscreen 1986 it s a testament to the lucrative nyc art trade that shainman can afford to offer this tremendous gift to all art lovers within reach of columbia county though the exquisitely renovated former public school is only open on saturdays from 11 to 6 admission is free staff are plentiful and professional and printed checklists are there for the taking like other modern spaces mass moca for example the school features many galleries on multiple floors high ceilings white walls except where original pastel paints remain gloriously peeled and layered and plenty of distance between the artworks and their labels an approach i like for its lack of intrusiveness while previous shows at the school featured gallery artists and the works were generally for sale this iteration is made up entirely of privately owned pieces which considering the exalted historical status of jean michel basquiat and andy warhol gives it the aura of a museum exhibition though these facts don t guarantee universal appeal it is a very likable show for anyone who can handle pop abstraction and expressionism along with a generous dollop of adult content basquiat installation view of 45 marker on ceramic plates 1983 84 per the gallery s press release the crux of the exhibition lies in the collaborative paintings and interconnected practices of the two artists widely criticized when the collaborations took place in 1984 5 this re examination proves that time passing is the best method for judging the true value of a work of art beautifully installed in the venue s most expansive room eight large jointly made paintings are augmented by more than 100 individual works including warhols from as early as 1964 and basquiats from 1980 to 1987 the year warhol died a large chunk of the warhols are polaroids many of them quite wonderful and there are also three warhol short films and a 2018 pbs documentary on basquiat running continuously warhol installation view of 16 polaroid torsos 1977 surrounding the centerpiece of the show with so much individually made work has multiple effects first it puts the collaborative work in context by presenting many examples of work by both artists from the same period it offers the opportunity to consider each of the artists on his own and it invites the viewer to compare the two artists each facet of this process is rewarding there are rooms where warhol s or basquiat s pieces stand alone as well as spaces where they are intentionally juxtaposed warhol ladies and gentlemen acrylic and silkscreen ink on canvas 1975 in one broad hallway extended bodies of work on paper by each of the collaborators hang separately but equally in a balance of black and white see the example by basquiat at the end of this post and now that i said it one has to consider the aspect of this story that addresses being black or being white basquiat an african american of haitian and puerto rican descent didn t hold back on expressing his rage at racism even within the highest levels of the art world to which he was admitted so young and where some would say he was treated as a very highly paid mascot yet warhol as white as they come was also an outsider gay with a strangely neutral affect inhabiting the nyc underworld of gender benders decades before it became popular he crossed boundaries easily this is evident in a number of the works shown here that may surprise people who know warhol primarily from his factory made pop art in which his masterly hand at drawing is applied to beautifully rendered portraits of drag queens and transvestites all of them black aside from race the show delves into another taboo subject that of death indeed this is its true core especially in the collaborative paintings but elsewhere too the preoccupation with death is palpable images of skulls litter the exhibition along with other direct references to the end we can t escape the basquiat that opens the show a football helmet adorned with human hair that he advised warhol to wear in order to understand the black experience is itself a proxy skull basquiat il duce acrylic oil stick and spray paint on canvas 1982 death is also repeatedly referenced in paintings and silkscreens that address the fragility of the human heart the largest collaborative painting 13 feet long is titled heart attack and several warhols in the show directly depict the organ a small but potent warhol silkscreen from 1984 re creates a public health poster that explains how to tell you re having a heart attack basquiat s work though often humorous and colorful is nevertheless persistently ghoulish though it s sad to recall both men s deaths just a year and a half apart warhol from complications after gall bladd...