JEFFREY BROWN: This attraction of yours to the road, to what’s along the roadside — it began in your youth, I guess? Tell me, where did it come from?

ED RUSCHA: I traveled around a bit with my family on driving trips of the western U.S., and maybe that — these long drives, mostly on US 66 and other roads, too — maybe inspired me to see the country. And some of them were long, even boring journeys that opened me to– I don’t know, new vistas or something that I didn’t have while I was growing up in Oklahoma City.

JEFFREY BROWN: And how did it become a theme of your art? Was it an overt thing that you decided to pursue as a kind of content for you as an artist or just developed naturally? How did that happen?

ED RUSCHA: Well I never sat down, planned anything out. There was no strategy, no agenda or anything. They seemed to be individual attractions I had for things like gasoline stations and, oh, like telephone poles and almost things that are overlooked or forgotten. And these things impress me in their own simple ways, I guess. The architecture of America, and especially the west, had an effect, and I began to focus, sort of piece by piece, of these individual things in my art, and somehow they began to add up.

JEFFREY BROWN: What did they add up to?

ED RUSCHA: Well, they added up to really nothing more than what this whole venture is, which is an unfinished journey. You know, it’s like I’m trying to follow perspective and maybe I’m searching for the vanishing point — that I hope I never reach!

JEFFREY BROWN: I’m looking at the catalog now, so I have it open to one of the very iconic paintings of yours, the Standard Oil Station in Amarillo Texas, 1963. So just to use that as an example: describe it for me.

ED RUSCHA: It’s like a box with words on it. And that, to me, is what most of this architecture that attracted me. On the highway and in these little towns, I would see boxes with words on them, and it began to creep into my aesthetic. And also there are, like, other elements to it that I was always impressed with. Those old movies that had passenger trains, where they would start in on one little tiny point in the very right hand corner of the screen and they would zoom into place to the upper left hand corner, and the passenger train seemed to– it was a like a bridge picture that would show the characters in the movie, you know, traveling. And that zoom factor, to me, had a place in making a picture. And I guess I was putting two and two together, that maybe it’s that element of a passenger train zooming into focus. And I began to see these gas stations as maybe doing the same thing.

L’article Conversation: Ed Ruscha Great Artist est apparu en premier sur Lemoineau.

For Ego Painting, Faith Ringgold borrowed a compositional format from Kuba textile designs of the Democratic Republic of Congo to create a multiplicity of word associations. Part of her Black Light series, through which the artist addressed blackness as both a color and a precarious social identify, Ego Painting features equally dark colors placed directly adjacent to one another, emphasizing their contrast and idiosyncrasy. It is one of the first works by Ringgold to incorporate text in its composition and is the first painting by the artist to enter the museum’s holdings.

Intimately scaled crosses, such as this newly acquired work, were extremely popular devotional objects in 17th-century Spain. This example is exceptional as it is dated and signed by a female artist, María Josefa Sánchez. Very little is known about Sánchez; she was active 1639–49, probably in Castile, and the only works currently attributed to her are four other crucifixes.

The works that Dutch painter Gerrit van Honthorst created during and after his studies in Rome often feature candlelight or torchlight in night scenes, presenting a gentler, more meditative variation on the dramatic light effects employed by his Italian peers. This painting expands the range and complexity of the Art Institute’s collection of Dutch paintings. Moreover, as a character or head study—called a tronie, in the parlance of the day—it complements our great Rembrandt, Old Man with a Gold Chain (1631).

L’article New on Art View New Exhibition est apparu en premier sur Lemoineau.

In addition to the research-based nominations, GFAA accepts open calls from museums, biennials, fairs, galleries and other art organizations. Individual patrons may nominate their favorite exhibitions as well.The Nominating Committee reviews the slate prepared by the Art Research Committee, and presents their findings and final approvals to the Judges.  The Judges modify and select the final slate of Nominees, then vote on the Finalists and Winners.

In 2018, the fifth edition of the program juries 13 Awards, and announces a final slate of 94 Nominees- from 6 continents, 49 cities and 31 countries across the globe. Whereas many are from the top 100 art museums visited in the world (April 2017, The Art Newspaper), the majority (55%) are from smaller institutions, independent projects, galleries, fairs and biennials.

The culmination of the annual program took place on Tuesday, March 12, 2019 in celebration of all GFAA Nominees and the presentation of the Winners of the 2018 Global Fine Art Awards. The black-tie gala was held at the Harold Pratt Mansion on Park Avenue and 68th St in NYC, headquarters of the Council on Foreign Relations.

The digital age provides both opportunities and risks for museums and other art organizations to grow their audiences.  Digital representation of exhibitions, and artworks for sale through auction houses, galleries and online media companies, creates a completely global audience, and a unique curated experience.

However, nothing will ever replace the feeling and sensory experience of seeing exhibitions live.

Where else can we “see” and experience a virtual collection of the best exhibitions from around the world? As far as we are aware, nowhere else besides the GFAA program.

There is so much to experience and share – and we believe that the GFAA program will help educate people around the world about art and its global messages.

L’article Global Fine Art Awards History est apparu en premier sur Lemoineau.