KARIN SANDERS
FINE ART
Aspasia Project: For fine art scholarly resources, including research tools for all periods in the history of art, from Prehistoric to contemporary art please visit the Aspasia Project online. The AP was created by Karin Sanders with the assistance of students in her lecture and seminar courses at Marymount College.
The Aspasia Project includes links to major world museums and to research data bases in the fields of art history & archaeology.
Karin Sanders: Art dealer, college professor in Q&A with Marymount Manhattan College's newspaper The Monitor, Spring 2006.
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SAG HARBOR
ART MUSE
Art Muse highlights art related topics that cover a wide spectrum of subject matter. In the effort to bring a measure of scholarship to the art buying and viewing community, the Muse includes writings from artists and scholars alike. This includes discussion on art and art history related topics, as well as poetry, letters and commentary.
On the Muse (or Perfect Model)
Sigmund Freud's work "Delusion and Dream in Wilhelm Jensen's Gravida" immortalizes the image of a young girl spotted among the ruins of Pompeii in whom an archaeologist recognizes the female form from a bas-relief that had hung in his study for years. This seemingly predestined meeting between a creator and the model he has pursued all his life suggests a kind of miracle. This miracle, however, actually occurred when the sculptor Aristide Maillol discovered Dina Vierny, or when the artist Salvador Dalí first encountered Gala, or writer Jean Cocteau met Jean Marais. Sometimes the model brings about the birth of a vocation, as in the case of Jean Renoir, who became a filmmaker for the sole aim of making his wife, Catherine Hessling, a star. The relationship between artist and muse can sometimes be quasi-exclusive - like the film work of actress Gena Rowlands with her actor-director husband John Cassavetes or Josephine Hopper and her husband, the painter Edward Hopper - leading to a strange back and forth between reality and fiction.
- The 20th Century Muse by Annette & Luc Vezin
New Greek & Roman Galleries at the Metropolitan Museum of Art open to the public April 20, 2007.
Behind the scenes photos of the construction, installation and conservation of works of art.
Kiki Smith: A Gathering, 1980 - 2005
At the Whitney Museum for American Art
Since she emerged in the early 1980s, Kiki Smith has developed into one of the most fascinating and original artists of our time and is now a major figure in the world of contemporary art. Her provocative meditations on the human condition, the body, and the realms of myth, spirituality, and narrative have resulted in works of extraordinary power and uncommon beauty. Kiki Smith will present a "gathering" (to use the artist's word) of the broad variety of media she has explored in her career, including sculpture in plaster, bronze, paper, glass, porcelain, and other materials, installations, prints, drawings, photographs, multiples, jewelry, artist's books, and film and video works. Organized by the Walker Art Center, Minneapolis, in collaboration with the artist. Read more about Kiki Smith at the Whitney Museum website.
From Van Gogh's letters
On Complimentary color:
What I should like to find out is the effect of an intenser blue in the sky. Fromentin and Gérôme see the soil of the South as colorless, and a lot of people see it like that. My God, yes, if you take some sand in your hand, if you look at it closely, and also water, and also air, they are all colorless, looked at in this way. There is no blue without yellow and without orange, and if you put in blue, then you must put in yellow, and orange too, mustn't you? Oh well, you will tell me that what I write to you are only banalities.
To Emile Bernard, Arles, June 1888.
Symbols, signs, signifiers, icons, etc...
Discourse of Language - How do we discuss art in postmodern times?
Roland Barthes presented the postmodernist tradition with many useful terms with which to describe what is occurring semioticly within discourse. The following list covers the more useful semiological terms and more significant theorists. See List.
The Contemporary and the Historical
by Donald Kuspit
It has become excruciatingly difficult and even impossible to write a history of contemporary art -- a history that will do justice to all the art that is considered contemporary: that is the lesson of postmodernism. If writing history is something like putting the pieces of a puzzle together, as psychoanalyst Donald Spence suggests, then contemporary art is a puzzle whose pieces do not come together. There is no narrative fit between them, to use Spence's term, suggesting just how puzzling contemporary art is, however much its individual pieces can be understood. Read entire article on artnet
JOSEF ALBERS
The Origins of Art (1964)
THE ORIGIN OF ART:
The discrepancy between physical fact and psychic effect.
THE CONTENT OF ART:
Visual formulation of our reaction to life.
THE MEASURE OF ART:
The ratio of effort to effect.
THE AIM OF ART:
Revelation and evocation of vision.
ART INTELLIGENCER:
Bridget Riley is one of Britain's best-known artists. Since the mid-1960s she has been celebrated for her distinctive, optically vibrant paintings which actively engage the viewer's sensations and perceptions, producing visual experiences that are complex and challenging, subtle and arresting. Riley is acclaimed as one of the finest exponents of Op Art...read more
ALBERTO GIACOMMETI What Interests Me about the Head:
Interview with Ernst Scheidegger, Peter Munger, and Jacques Dupin (1966)
What interests me most about the head - well, actually the whole head interests me, but I think now I might succeed in constructing the eye as exactly as possible, and when I've got that, when I've got the base of the nose....But to take the eye: I mean the curvature of the eyeball - from that everything else should develop. Why? Probably because, when I look at someone, I look at the eyes rather than at the mouth or the point of the nose. That's the way it is: when you look at a face you always look at the eyes. Even if you look at a cat, it always looks you in the eye. And even when you look at a blind man, you look where his eyes are, as if you could feel the eyes behind the lids. The eye is something special insofar as it's almost as though made of a different material from the rest of the face. You could say that all the forms of the face are more or less unclear, are even very unclear; the point of the nose can hardly be defined at all in terms of its structure. Now the strange thing is, when you represent the eye precisely, you risk destroying exactly what you are after, namely the gaze. That's how it seems to me. There are few artworks in which the gaze exists...In none of my sculptures since the war have I represented the eye precisely. I indicate the position of the eye. And I very often use a vertical line in place of the pupil. It's the curve of the eyeball one sees. And it gives the impression of the gaze. But that's where the problems come in...When I get the curve of the eyeball right, then I've got the socket; when I get the socket, I've got the nostrils, the point of the nose, the mouth...and all of this together might just produce the gaze, without one's having to concentrate on the eye itself.
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