Some cave paintings dating as far back as 30,000 years may have been man’s earliest entertainment. French archaeologist and filmmaker Marc Azéma has spent 20 years studying movement in animal cave paintings in France and Spain and he’s concluded that the images were designed to be looked at sequentially, much like a cartoon or film.
By wrapping the four corners of State and Adams Streets (and parts of buildings there) in swaths of burnt orange, lime green and turquoise — think of Christo meets Hans Hofmann — she deconstructs this slice of the business-as-usual world and transforms it into a playful and imaginative realm.
Edward Burtynsky: Oil, an original exhibition featuring more than 50 large-¬scale color landscapes by Canadian photographer Edward Burtynsky will be on view at the Nevada Museum of Art in Reno, Nevada, June 9 through September 23, 2012.
The exhibition surveys a decade of photographic imagery exploring the subject of oil, chronicling the “life cycle” of this major energy resource, one that has profoundly shaped the modern world.
Life was sweet for Picasso during his 10 years of romance and cohabitation with Françoise Gilot, from 1943 to 1953. Or so it would seem, judging by “Picasso and Françoise Gilot: Paris-Vallauris, 1943-1953,” a wonderful exhibition at Gagosian Gallery.
The Picasso of these years — he was in his 60s and early 70s — seems to revel in the joys of family and domesticity. Gone are the moonstruck years with Marie-Thérèse Walter and the violently conflicted ones with Dora Maar.
The crazy-old-man last act is yet to come. Looking at pictures here of his young children Claude and Paloma at play, you can imagine yourself seeing through the eyes of a loving, benevolent father — who just happens to be the most inventive artist of the 20th century.
The exercises, simple and elegant – such as finding patterns in the palm of your hand or drawing what you hear – are designed precisely to make you acutely aware of the world around you, to see patterns, shapes, light and dark. These books are deceptive in their simplicity, because the mere act of drawing what you hear or deconstructing an object into its elemental shapes gives you the space to focus on perception and imagination – to hone your artist’s eye. The author puts it best:
“This little book aims to open your eyes to the incidental, to the suggestions of images in everyday objects, to the beauty in the ordinary.”