Category: Art

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A stylized image of artist Sara Carter, with a background blur and "Sarah Carter: a retrospective" as its text.

In Consideration of Color: the Paintings of Sara Carter

Painting, as a genre, is utterly intertwined with human civilization, yet modern culture has shunted the form to a niche concern: ours is a landscape of careful neutrality and traffic flow, and distinctiveness is often exiled. The very use of the term painter often leads to semantical confusion with commercial uses of suspended pigment; a person who uses paint on a canvas these days is an artist—a broad description that still carries social stigma.

Nonetheless, there are places to go see paintings, specific houses of art. Beyond this physical reality, paintings—and all art forms now—can be view remotely; most established of these views is the art book. The art book is perhaps the most traditional means to view art from a remove, as humanities classes relied upon such texts for the past century or so. Art books themselves, at one time, were seen as decorative—as signs of affection for a world where art matters, as displays of class aspirations or alliance—and were often deliberately large and heavy. […]

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The cover of Bruce Ario's "Selected Poems" alongside a photo of a bearded Bruce Ario from the 1970s or 1980s.

The Minneapolis Poet: Bruce Ario’s “Selected Poems” Now Available

Bruce Ario’s “Selected Poems (1980 – 2022)” is now available for purchase from AUTOMACHINATION publishing. It features  a major, 150-page essay from his literary executor, Dan Schneider, examining Bruce Ario’s life and work. Our film, “From There To There: Bruce Ario, the Minneapolis Poet”, is also available for streaming on Patreon. You can watch the film’s latest trailer on our YouTube channel or learn more about the film here. The first part of Dan Schneider’s introduction to Bruce Ario as writer is reproduced below: […]

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A black and white photo of Piet Modrian set against one of his colorful yet lesser-known paintings eschewing parallel lines.

Transcendental Interviews: Piet Mondrian on Higher Beings & Inner Fascists

ETHAN PINCH: Some people find your artistic statements a little bewildering.

PIET MONDRIAN: Such as?

PINCH: Well, in 1943 you wrote: ‘Only now I become conscious that my work [sic] has been merely drawing in oil colour. In drawing, the lines are the principal means of expression. In painting, however, the lines are absorbed by the colour planes; but the limitations of the planes show themselves as lines and conserve their great value’.

MONDRIAN: And what’s the problem with that?

PINCH: Well, you’re using terms that are extremely narrow.

MONDRIAN: Perhaps, but the relationships I’m talking about are concrete. I’m pointing out that an apparently confined set of visual propositions is actually doing something.

PINCH: But it doesn’t seem very helpful in the way you’d expect of a normal artist’s statement. […]

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Three side-by-side self-portraits by Jean Siméon Chardin

On Chardin: Greatness in Mediocrity

There’s hardly enough love and understanding for Chardin. It’s not a look that screams ‘genius’ or ‘radicality’. Such might be held against him—his lack of glamour. His ill-preparedness for survival.

Yet Chardin hasn’t been without his share of admirers. The encyclopaedist, Denis Diderot, wrote prolifically on his work. Manet, Braque and Matisse all cite Chardin as a major influence. And Cezanne, in his own typical way, praised him in a letter as an ‘artful devil’.

In life, Chardin was a time-tenured salon academician and businessman, with a permanent residence at the Louvre and a state pension. But he was also, for all his sophistication and studio-training, a functional illiterate who rarely left the city of Paris. There’s little evidence to suggest that he was any kind of intellectual or possessed a coherent aesthetic programme. It would simply appear that he painted what he thought would sell, and what could best showcase his talents. […]

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A stylized image of American Jewish painter Gladys Goldstein working on an art collage.

Feminine Touch: on Mattilda Bernstein Sycamore’s “Touching the Art”

To be a woman in the modern world is to be an acrobat of social expectations. In contemporary times, gender is such an eager subject that some cultures reveal the biological formations of flesh while the forthcoming infant is still in the womb. Women do have wombs, but a woman is more than her womb. When a woman wills herself to be more than her womb, she runs directly into her culture’s social expectations. For those who were born women, these social expectations are inculcated from the first gulp of air when they are gendered. The processes by which little girls are educated in their gender roles extends beyond dolls versus cars. Recent conversations about readily recalled moments of their girlhood from adult women include an attention to their hair not given to brothers (the pincurl for Christmas), required domestic tasks (Mom and I cleaned, the boys went outside), the presence of dresses and other diminutive replications of gender-specific adult costuming. This is so entrenched in our social expectations that we are surprised at any scrutiny of them.

When a woman wants to be more than a womb, she will bump up against these social expectations, these invisible Rules. Some of the interaction with the Rules will be external—her healthcare institutions, educational institutions, and geography will do much to influence how she moves about in the physical world. Her rights as a sentient being, as a citizen, will include these external interactions. If a woman thinks she can be someplace, it is because she was educated to do so, she was permitted to do so, or she fought to do so. Contemporary culture has stories galore of the first woman to do something, and how now many women can and how girls can aspire. […]

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A stylized set of portraits of R.B. Kitaj, who is being re-appraised by English painter Ethan Pinch.

Critical Mass: The Case Against R.B. Kitaj

To revisit the work of American artist R.B. Kitaj is to revisit the scene of a ritual murder. He is, after all, a painter noteworthy for being ‘assassinated’ by his critics—a grievous mantle which, though Kitaj has been dead for over fifteen years, has thankfully found no indisputable successor. What stands today as a classic fable of yellow press journalism is the account of a London Tate retrospective so viciously panned that it is now held to be the catalyst for Kitaj’s eventual suicide along with the tragically premature death of his wife, Sandra, from a stroke.

Kitaj had been, for most of his career, a sort of enfant terrible—so it follows that he should have been accustomed to some negative criticism, or at least journalistic vulgarity. Yet the ’94 Tate retrospective, an event intended to finally confirm his critical legacy, instead gave rise to one of the most vicious pile-ons in the history of broadsheet criticism. A ‘cyclone of abuse ‘. A ‘lynch mob‘.

But what’s the real substance behind all this tabloid melodrama? Could it just be another case of critical caprice? Of obstinance and snobbery? Or was it, as Kitaj loudly alleged, a case of antisemitic blood libel: of gentiles bashing and scapegoating an expatriate Jewish artist for the crime of merely existing? […]

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A stylized set of portraits of painter Lee Krasner, in standard color, blue, then green, in front of a painting.

Lee Krasner: A Critical Portrait

For this article I’m going to be looking at a number of paintings by the Abstract Expressionist Lee Krasner in an attempt to give an overview and critical portrait of her career. With that said, the difficulty in re-describing Krasner’s development as an artist arises from a personal resistance to many of the tropes popularized by contemporary feminist criticism. Is it possible, after all, to write an article about Krasner that doesn’t devolve into some sort of homily about gender and patriarchy?

Now let’s be serious – we’ve all seen the Ed Harris biopic. Jackson Pollock pulling a James Dean and wrapping his muscle car around a tree. Krasner alternating between muse, mother-figure and martyr in equal measure. Peggy Guggenheim lugging her Pomeranian up several flights of stairs. If you’re into mid century modernism then this sort of trivia should be second nature. (On a sidenote: why did they choose to represent de Kooning as a grinning idiot?) […]

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Gerhard Richter – Self Portrait, 1996

On Gerhard Richter: Art’s Sacred Kuh (Sacred Cow)

Gerhard Richter has been an art superstar since the sixties, with a resumé and bank account to prove it. He gets good press. Huge retrospectives. Critics and dealers comfortably refer to him in the same breath as old-timey masters like Vermeer or Titian and no one gets upset or annoyed with this. But why? Why do people go crazy for Richter’s coldly scientific paintings? You could say they were radical, although you’d have a hard job of explaining why. However, since no one is likely to challenge you, the problem won’t arise.

It’s hard to make painting seem radical because really it’s not. Yet people keep making paintings, selling and exhibiting. We might say painting is dead because it seems, in a Hegelian sense, incapable of maintaining its historical themes and social importance. But still, painting hangs around – in an undead state – like a vampire or zombie. […]