Lets start a five day blog session with forgotten artists and here is the first to appear in this FTN blog.
An American artist with an Italian background, but born , raised and died in New York. In between he moved to California and studied art in Rome. I tried to figure out the italian influence in his works, but can only see his American roots. If ever there is an influence it probably is the American Pop Art scene that influenced him. What struck me in his life that he was a passionate racing driver and at one time even had his own racing team. His life and progression in art develop a little like the Italian multi talented artist Carlo Mollino, who was also a passionate racing driver, but where Mollino convinces with his aesthetics, Scarpitta is a far more robust and less subtile artist. Still his works stand out from his contemporaries with the frequent use of wood, steel and bandaged objects.
He fascinates…and deserves to be known by far more people . www.ftn-books.com has a few titles on Scarpitta available.
You want to learn the story of Salvatore Scarpitta as a racing driver? you will find it over here:
The studio of Piet Mondrian were works of art of them selves. They acted like a true work “in situ” where every item had its proper place . Because of this, the studio itself became a work of art. This was recognized by many and one of the greatest photographers from last centur even made a series of photo from the Paris studio. The same with the NY studio which was photographed by Arnold Newman.
Kertesz and Newman , two great photographers who realized that Mondrian was a very special painter and made these photographs with one purpose….. so we could see the extraordinary qualities Mondrian had when he approached a painting or an object.
There is onegreat article on Artsy where the studio’s of Mondrian are described.
Pearl Perlmuter (New York, September 23, 1915 – Amsterdam, May 8, 2008) was a Dutch-American sculptor.
Pearl Perlmuter grew as the daughter of orthodox Eastern European Jews in New York City.
She studied law at Fordham University School of Law and attended evening classes sculptureat the prestigious Art Students League of New York (from 1940 to 1943 by William Zorach and from 1943 to 1945 by Ossip Zadkine).
She made at this time to know the painting of Willem de Kooning and Jackson Pollock, both representatives of the abstract expressionist movement.
In 1945 she met the Dutchman Wessel Couzijn, a Jew who had emigrated to the United States.
He had also registered at the Art Students League.
This meeting led to a marriage between the two in December 1945.
In 1946 Couzijn Wessel and his wife returned to Amsterdam, where they had hoped to build a career, but where it mostly Couzijn was that the orders received.
From 1963 to 1967 she taught at the Royal Academy of Art in The Hague and from 1977 to 1981 at the Academy of Art and Industry in Enschede.
In 2008 she died at the age of 92.
Publications on Perlmuter are scarce, but www.ftn-books.com has one publication available
This blog is how i experience books and art and what i read about them and this is certainly an article i want to share with you. The guardian did an excellent article on Basquiat and his Fahion style/ A style which looks random , but was a well thought out way of dressing… Hooray for the Guardian. Here is the article and do not forget that www.ftn-books.com has some nice titles on Jean-Michel Basquiat.
There’s an image of Jean-Michel Basquiat on the cover of the New York Times magazine from 1985. The photo is by Lizzie Himmel; the headline New Art, New Money. The artist, wearing a dark Giorgio Armani suit, white shirt and tie, leans back in a chair, one bare foot on the floor, the other up on a chair. The combination of the suit and the bare feet is typical of the way Basquiat defined his own image; always with an unconventional bent.
I’ve obsessed over his style when standing in front of Hollywood Africans, a 1983 work from a series where the images relate to stereotypes of African Americans in the entertainment business. It is a banger of a painting and will form part of Basquiat: Boom for Real, a retrospective opening at the Barbican in London this month.
I have a longstanding interest in the way artists dress, from Picasso to Hockney, Georgia O’Keeffe to Robert Rauschenberg, and I think their wardrobes exert as powerful an influence on mainstream fashion as those of any rock or Hollywood stars. These artists carved out instantly recognisable uniforms: clothes that symbolise the same singular point of view as their greatest works, usually with the sense of complete ease that is the holy grail of true style.
Basquiat’s wardrobe was distinctive, whether he was in mismatched blazer and trousers with striped shirt and clashing tie, or patterned shirt with a leather jacket pushed off his shoulders. He was perhaps most recognisable in his paint-splattered Armani suits. “I loved the fact that he chose to wear Armani. And loved even more that he painted in my suits,” Giorgio Armani says. “I design clothes to be worn, for people to live in, and he certainly did!”
In many ways, this bricolage approach to clothing is akin to the way he created his art. “His work was a mysterious combination of elements – text and colour, historical reference, abstraction and figurative techniques,” Armani says. “In his life, he also mashed up creative activities – he was a graffiti artist, a musician, an actor, a maker of great artworks. This eclecticism made him a mysterious and unconventional man. That mix made him stand out.”
“He was an incredibly stylish artist,” says Barbican curator Eleanor Nairne. “He was very playful about the performative aspects of identity.” He was also aware of the “renewed fixation on celebrity” that coincided with the art boom of the 80s, particularly in New York. He famously appeared in Blondie’s Rapture video, dated Madonna and befriended Andy Warhol.
Cathleen McGuigan, who wrote that 1985 New York Times feature, recounts Basquiat at the hip Manhattan hangout Mr Chow’s, drinking kir royal and chatting to Keith Haring while Warhol dined with Nick Rhodes of Duran Duran nearby. “He attracted the attention of Warhol and Bowie, so was endorsed by those who had already achieved that rare style-icon status,” Armani says. “And he had a very unique look – he had hair as distinctive as Warhol’s and wore suits in a way as stylish and relaxed as Bowie.”
Basquiat went on to model in a 1987 Comme des Garçons show wearing a pale blue suit, black buckle sandals, white shirt and white bow tie. Robert Johnston, style director at British GQ, describes Basquiat’s style as “a work of art in itself” and adds: “While meaning no disrespect to his talent, it is hard to imagine he would have taken New York so much by storm if he’d looked more like Francis Bacon.”
Basquiat’s influence on menswear is still felt today. While other icons have referenced his style – Kanye West sported a T-shirt bearing his portrait, Frank Ocean namechecked him in lyrics by Jay-Z, who dressed as him for a Halloween party – there is a more direct effect on fashion. There have been collaborations, via his estate, with the likes of Reebok and Supreme. There’s a photo of Basquiat wearing an Adidas T-shirt with a pinstripe suit which is a template for how the younger generation approach the idea of tailoring. At the S/S 18 shows in Milan, wonky ties with suiting at Marni made me jot down “Basquiat” in my notebook. And with the Barbican show his influence will spread. “The way Basquiat mixed classic tailoring with a downtown nonchalance fits the mood in menswear,” says Jason Hughes, fashion editor of Wallpaper*. “A refined suit worn with an unironed shirt, skewwhiff tie and beaten-up sneakers. The fact that he painted in those suits feels slightly anarchic and nonconformist. I want to wear a suit like that.”
This article appears in the autumn/winter 2017 edition of The Fashion, the Guardian and the Observer’s biannual fashion supplement
The following text comes from the site of Moma.org.
The Moma delivers a great source on photography with this site and makes it possible to search their collection and compare photographs from it….it is outstanding and an example to many.
József Pécsi was a Hungarian photographer, innovator, and educator. Born in 1889 into a middle-class family in Budapest (then part of the Austro-Hungarian Empire), Pécsi was schooled in German and maintained lifelong ties with an international photography community. He studied photography at the Lehr- und Versuchsanstalt (Training and research institute) in Munich from 1909 to 1911, and began receiving international recognition soon after graduation. In 1911 he returned to Budapest and opened his own studio, where he also offered instruction to apprentices. In 1913 he established the photography department at the Budapest School of Industrial Drawing, for which he is credited as the founder of photography education in Hungary. He was dismissed from teaching in 1920 due to conflicts with the conservative political regime but maintained his own studio, which served as a gathering place for students, including Eva Besnyö and her friend György Kepes. In 1922 Pécsi was elected vice president of the Budapest Industrial Guild of Photographers and served as editor of the guild’s journal, Magyar fotográfia (Hungarian photography). In 1930 he published the influential book Photo und Publizität (Photography and publicity) to promote the blending of typography, design, and photography in avant-garde advertising, with contributions from Kepes and others. The publication marks his crossover from the Pictorialist style of his early work to the ascendant international modernism of the interwar period. The World War II years took their toll: he hid in Romania for a brief period; his studio and negatives were destroyed by a bomb in 1945; and, upon his return to Budapest, in 1946, financial hardship and an unfavorable regime forced him to take passport photographs to make ends meet. His passion for photography and innovative spirit were not lost, however; in 1952 he patented a combined duplex Pigment print process under the name PEJO.
His claim to fame was that Nat Finkelstein was the house photographer of the FACTORY. The complex which housed the studios of Andy Warhol.
(The Factory was Andy Warhol’s New York City studio, which had three different locations between 1962 and 1984. The original Factory was on the fifth floor at 231 East 47th Street, in Midtown Manhattan. The rent was one hundred dollars per year. Warhol left in 1967 when the building was scheduled to be torn down to make way for an apartment building. He then relocated his studio to the sixth floor of the Decker Building at 33 Union Square West near the corner of East 16th Street, where he was shot in 1968 by Valerie Solanas. The Factory was revamped and remained there until 1973. It moved to 860 Broadway at the north end of Union Square. Although this space was much larger, not much filmmaking took place there. In 1984 Warhol moved his remaining ventures, no longer including filming, to 22 East 33rd Street, a conventional office building)
In September 1962 Finkelstein was commissioned by Pageant magazine to do an article on the emerging Pop Art movement. The article was titled “What happens at a Happening?” it covered a Claes Oldenburg “happening” in Greenwich Village and was a break that would define his future. Two years later, while attending a party at the Factory, Finkelstein met Warhol, who had seen his photographs of Oldenburg’s “happening” in Pageant. Finkelstein offered his services as a photographer to the artist, and for the next three years he was a constant presence at the Factory. His iconic images of the include subjects such as the Velvet Underground performing live, Marcel Duchamp, Bob Dylan, Edie Sedgwick, Salvador Dalí, and Allen Ginsberg.
There are some nice Finkelstein and Warhol publications available at www.ftn-books.com
Died at the age of 37 , too young to die and leaving so much to admire. From his own perspective Gnoli enlarged daily objects and transformed them into large paintings, a little bit like Konrad Klapheck does, but with a much more gentle approach to the subject. Focussing on the extreme details , like stitchings and tissues he makes highly recognizable paintings.
Gnoli was born in Italy but moved at a very young age to the US where he stayed and worked in New York for the better part of his life. Painting and as a Stage designer to make a living, he got his first exhibitions in New York. Gnoli was presented in a large exhibition in the Netherland at the Boijmans van Beuningen museum, but it is of late that his name keep surfacing as one of the more important and influential Italian artists from the sixties and it is this raised interest in his works that it makes harder and harder to find good publications on Gnoli. www.ftn-books.com has two books available.
It was 1977. …..the first time i visited the US and went to New York together with my father we visited the museum of Modern Art. In which i saw for the very first time a large Jackson Pollock drip painting. It was an amazing experience and i remember standing in that room …in awe and amazement of such a large , beautiful, impressive, overwhelming abstract painting. The size of it, the spontaneous dripping and the extreme detail when you went close up to it, opened a door to abstract Modern Art for me. Since i have seen many Pollock paintings, but none was so perfect as the very first one i encountered in the Moma. the ONE, number 31, 1950 painting
There are some nice action movies with Pollock painting to be found on Youtube and this is possibly the one that shows best the creating of a Pollock painting.
and i am proud to have both Pollock catalogues that were produced for the Pollock exhibitions in the Stedelijk Museum at www.ftn-books.
For many people in the US , Willem de Kooning is an American painter , however ….for us dutch, de Kooning is a dutchman. Born in Rotterdam and educated at the Rotterdam evening academy and working for the METZ department store as an interior decorator until he decided to go to the US in 1926. He went as a stowaway and would become the abstract expressionist painter we admire. He met artists from and became part of the Abstract expressionist mouvement. Meeting with Pollock, Still, Rothko and Newman made him aware of his qualities as an abstract painter developing a style of his own and building an important oeuvre from there on. He never lost touch with his homecountry the Netherlands and this resulted in a large and very important collection of De Kooning paintings in the Stedelijk Museum. Edy de Wilde was the director who made this happen and it is the luck of the visitors of the Stedelijk that in one spot they can discover and admire so many excellent De Kooning paintings.
This morning the Volkskrant mentioned and reviewed another Tate Modern exhibition in which afro-american artists have the leading role. I did not visit this exhibition , but it will be on my list should i visit London in the coming months. The exhibition will be open until the 22nd of October and shows the importance of afro-american artists in the sixties and seventies. None of them have become the household names in Modern Art as we know now and perhaps the only artist who reached “star” status by the end of the eighties was Jean-Michel Basquiat, but he originally was born in Brooklyn and part Haitian, not Afro American. Then i realized that my inventory has very few books on or by Afro American artist. Is it because their art is less appealing? I do not think so, The Dawoud Bey and Kara Walker books i have, show great art, but i think the true reason is that Afro American artists did not get a good platform to show their art in the best possible way. Fewer Museum and gallery exhibitions have been organized with them than with non afro-american artists and that is the reason this exhibition is important and possibly paves the way for artists from other cultures and countries which are lesser known. The mentioned artists Bey and Walker are available at www.ftn-books.com