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Black Country Battle of the Bands, Heat 5, The Lamp Tavern, 03/10/10
© 2010 Tony Gaskin - Stagedive Photography
December 01, 2019:
19-578313
Toronto,
Mixed-use Development,
Theory Condos,
203 College St,
Parallax Development Inc,
29s,
Page + Steele / IBI Group,
Duchamp opened himself up to this process in another way. He said: "To all appearances, the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing." Is this the clearing? Are we finally making our way out? Or is it just more clutter?
Theories we believe are facts, those we don't are theories.
— Felix Cohen
Typefaces: Knockout, Fresh Script
Merchandise available: www.redbubble.com/shop/ap/81277623
THE BIG VAN THEORY, científicos investigadores de día y monologuistas de noche, surgidos del famoso concurso Famelab representarán un espectáculo lúdico de gran implantación social. Este creativo y loco equipo de científicos sobre ruedas sube nuevamente a los escenarios canarios para divulgar, de forma entretenida y divertida, diversos temas y fenómenos de la ciencia, explicando la ciencia como siempre quisimos… ¿Bacterias que producen electricidad? ¡Las bacterias forman ejércitos! ¿Qué existe más allá de la genética? Un espectáculo para aprender y “difractarse” de risa
December 01, 2019:
19-578295
Toronto,
Mixed-use Development,
Theory Condos,
203 College St,
Parallax Development Inc,
29s,
Page + Steele / IBI Group,
December 01, 2019:
19-578296
Toronto,
Mixed-use Development,
Theory Condos,
203 College St,
Parallax Development Inc,
29s,
Page + Steele / IBI Group,
THE BIG VAN THEORY, científicos investigadores de día y monologuistas de noche, surgidos del famoso concurso Famelab representarán un espectáculo lúdico de gran implantación social. Este creativo y loco equipo de científicos sobre ruedas sube nuevamente a los escenarios canarios para divulgar, de forma entretenida y divertida, diversos temas y fenómenos de la ciencia, explicando la ciencia como siempre quisimos… ¿Bacterias que producen electricidad? ¡Las bacterias forman ejércitos! ¿Qué existe más allá de la genética? Un espectáculo para aprender y “difractarse” de risa
Diego Rivera - Mexican, 1886 - 1957
No. 9, Nature Morte Espagnole, 1915
East Building, Mezzanine — Gallery 217-B
After studying the pointillist theories of Seurat and the compositional distortions of Mannerism in the work of El Greco, Rivera gradually approached cubism through the study of landscape. His first works under cubist influence appeared in 1913; one year later, he would fully embody the movement exhibiting as a cubist artist at the Berthe Weil gallery. It was in this context and through the Chilean painter Manuel Ortiz de Zarate that Diego Rivera met Pablo Picasso and gallery owner Léonce Rosenberg. Soon thereafter, Rivera signed an exclusive contract with the controversial dealer joining a new group of cubist artists comprised of Jacques Lipchitz, Jean Metzinger, and Gino Severini.
Nature morte aux trois citrons jaunes from 1916 belongs to Diego Rivera's greatest period of experimentation, a time when he stripped away any decorative element from Cubism and delved into an art of geometric structures and chromatic planimetries—a type of “purified cubism” as the critic Pierre Reverdy proclaimed. Objects arranged arbitrarily on a table—where les trois citrons jaunes are appreciated—unfold from an axis where the bottom converges with an accidental vertical plane, colliding into a "supraphysical dimension." In so doing, Rivera appealed to a classical cubism where form and volume prevailed, while simultaneously experimenting with developing compositional space through abstract planes and a nonconforming interaction of diaphanous and bright colors, thus distancing himself from the heterodoxies that would eventually lead the cubist movement to a path of no return.
Rivera’s innovative contribution to cubism provoked jealousy among the other artists at the Rosenberg’s Galerie L’effort Moderne, resulting in the subsequent distress and antagonism of its owner who would ultimately part ways with the artist. However disenchanted, Rivera prevailed in his academic discipline and remained faithful to his theoretical ideals—particularly in his search of the golden section and the representation of a fourth dimension through Jules-Henri Poincaré’s mathematical approach to painting. Diego Rivera would conclude his cubist phase one year after completing Nature morte aux trois citrons jaunes, only to return to the constructivist principles advanced by Paul Cézanne and a retour a l’ordre.
The Cubist Paintings of Diego Rivera: Memory, Politics, Place celebrated a significant but little-known Rivera painting of 1915, No. 9, Nature Morte Espagnole (No. 9, Spanish Still Life), a recent gift to the National Gallery from the estate of Washington Post publisher Katharine Graham.
Organized by the National Gallery of Art, Washington, in collaboration with the Museo de Arte Moderno, Mexico City, the exhibition coincided with the Gallery's showing of the Courtly Art of the Ancient Maya. The Rivera exhibition then traveled to the Museo de Arte Moderno in Mexico City, where it was on view from September 22, 2004, through January 16, 2005.
Rivera's work has been studied and shown in depth, yet his cubist period remains a less understood aspect of his career. The Cubist Paintings of Diego Rivera included some 20 works that demonstrate his distinctive approach to synthetic cubism--his use of complex structures of transparent planes, with a particular emphasis on sensory and memory association.
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...