Auguste Rodin, Femme nue sur le dos, maintenant les cuisses écartées, ca. 1900, Crayon graphite, estompe et gouache sur papier crème. H. 25 x L. 32, 6. D. 6189 ” Musée Rodin, Paris.
"Playboy" (2005) by Jacob Dyrenforth, Pencil on paper, 11 x 14.5 inches, 27.9 x 36.8 cm
Jacob Dyrenforth (1975, Cincinnati, Ohio) makes photo-based, meticulously executed, graphite drawings of pixilated images drawn from subcultures of the recent past. He received a BFA from the School of the Art Institute of Chicago (1998) and an MFA from the Columbia University School of the Arts (2003). His solo exhibitions include Some get strong, some get strange, Sandroni Rey, Los Angeles; The Yearn, Wallspace, New York (2006) and Vice. And Versa, 31 Grand Gallery, New York (2005).
(source)
Merry Christmas and a Happy New Year!
"In five seconds I am going to wave my hand to Mikaela." (1990's) by Ulf Malmgren, 100 x 135 cm. Oil on canvas. From the "Red Lights in
Amsterdam (1990-1995)" series.
"Kvinnorörelse 2 / Woman's movement 2" (1995) by Ulf Malmgren, 95 x 63 cm. Oil on canvas. From the "Red Lights in
Amsterdam (1990-1995)" series.
"Kvinnorörelse 3 / Woman's movement 3" (1995-96) by Ulf Malmgren, 85 x 130 cm. Oil on canvas. From the "Red Lights in
Amsterdam (1990-1995)" series.
"I logen på Cats / In the dressing-room at Cats" (1986) by Ulf Malmgren, 70 x 54 cm. Oil on canvas. From the "In Stockholm 1985 - 1988" series.
"Läsa tidningen / Reading the magazine" (1990) by Ulf Malmgren, 60 x 50 cm. Oil on canvas.
Ulf Malmgren (Hallstahammar, Sweden) lives in Stockholm. He painted continuously from 1981 but one day in 1995 he quit, forever, because "one day I looked around me in my small apartment with its growing number of unseen paintings, wrapped in protecting, brown paper. I was scared. Suddenly I was aware of that I had to stop. Forever.".
Maybe his decision had to do with the fact that most of his paintings have never been exhibited. He's looking for an art dealer though.
I really like his work, and I'm amazed by the lack of interest in it.
"Sticks and Stones: Part One" by Matt Brown, 24x25", coloured ink on illustration board
"Sticks and Stones: Part Three" by Matt Brown, coloured ink on illustration board
"Endocrine Series" by Matt Brown, 10x8", coloured ink on illustration board
Matt Brown is represented by Christopher Cutts Gallery in Toronto, Canada. Make sure you click on the images above to see the detail in the large versions.
The "Odalisques Series" by Louis le Brocquy (Ireland, 1916) is inspired by Manet's painting Olympia (1863), a masterpiece which le Brocquy has ruminated upon since he first encountered it in Paris in 1938 at the Jeu de Paume. Olympia worked her complicated magic on le Brocquy at intervals throughout his career, while also leaving her enduring mark on art history and on the work of many other great artists including Picasso, Modigliani and Moore. In 1951 le Brocquy perceived Olympia very differently in his large painting A Family (National Gallery of Ireland), envisaging a group of refugees in post-war Europe. Here Manet's cool sensuality has been completely ignored; as the artist puts it, 'reduced to Palaeolithic circumstance under electric light bulbs.' In the recent Odalisques, however, le Brocquy has wholly returned to his original delight in Olympia, a naked figure at once aloof and alluring.
Born in Dublin, Ireland, Louis le Brocquy is one of the foremost Irish painters of the twentieth century. His work has received much international attention and many accolades in a career that spans seventy years of creative practice. In 1956, he represented Ireland at the Venice Biennale, winning the Premio Acquisito Internationale with A Family (coll. National Gallery of Ireland), subsequently included in the historic exhibition Fifty Years of Modern Art at Brussels World Fair 1958. Widely acclaimed for his evocative portrait ‘Heads’ of literary figures and fellow artists, which include William Butler Yeats, James Joyce, and his friends Samuel Beckett, Francis Bacon and Seamus Heaney, in recent years le Brocquy’s early Tinker subjects and Family paintings, have attracted headline attention on the international marketplace marking him as the fourth painter in Ireland and Britain to be evaluated within a very select group of artists, alonside Lucian Freud, David Hockney and Francis Bacon. Recognised by many as the greatest Irish artist of the twentieth century, and one of the greatest of any era, the recent realisation of over £1 million for one of his works at auction is not merely a record but an acknowledgment of his genius and international appeal. Acknowledged by museum retrospectives worldwide, the artist’s work is represented in numerous public collections, from the Guggenheim in New York City to the Tate Gallery in London. In Ireland, he is honoured as the first and only living painter to be included in the Permanent Irish Collection of the National Gallery.
This book looks at the Burlesque's Queen in hotel rooms across America. Lucy Fur's two major pursuits - photography and professional exhibitionism - meet up advantageously in the setting of odd American hotel rooms. Equal parts Bettina Rheims, Helmut Newton and Cindy Sherman, Lucy Fur has begun a photographic career by capturing herself in a vanishing breed of unique motel room environments across the US.
Writes Lucy in her introduction, "Room With a View is not merely a pin-up book: it is as much about the room as it is about me. I think of myself as a fixture in that room, like a lamp or a chair. The kind of motel rooms that particularly attracted me had wood panelling, forgotten '60s- and '70s-era oil paintings, strange lighting, fantasy themes, tiled bathrooms, wacky wallpaper, and no outside view. All the photo-graphs are in some way a reaction to the established lexicon of 'pin-up sexy.'"
Room With a View contains nearly one hundred of Lucy Fur's photographs, bound handsomely with an inlaid photograph surrounded by an elegant embossed cloth binding.
"Monica nude with yellow curtain" (1991) by Tom Wesselmann, 16 x 18 cm
This silk-screen print on paper (sérigraphie sur papier) by Tom Wesselmann (1931-2004) will be auctioned tomorrow at Sotheby's in Paris, France. It's estimated at 1,000—1,500 EUR.
His early work was heavily influenced by the abstract expressionist painters, especially Willem de Kooning. His art became more popular in the 1960s and had his first one-man exhibition in 1962 at the Tanager Gallery, New York. After that, his art made it to several other exhibitions such as the Young America exhibition in 1965, Whitney Museum, New York.
Beginning in the 1950s, he made collages from magazine clippings and found objects, often incorporating female nudes. Wesselmann was best known for his "Great American Nudes" series.
He died of complications following heart surgery, aged 73.
Scarlett Johansson at the
IMDB and at
amazon.com.
Here some great news:
4th December 2006 12:30:03
Scarlett Johansson has vowed to strip for a movie - one day.
The 'Black Dahlia' actress, famed for her curvaceous body, insists she is ready to bare all on the big screen for the right part.
She said: "I'm still making up my mind about when I'll do a nude scene. I'm not opposed to doing nudity, it would just have to be the right project, maybe some sensational European art film."
Scarlett, 22, insists she wouldn't be embarrassed about showing her naked curves on celluloid because she is very happy with her body, especially her breasts.
She added: "I'm proud of my breasts. I call them my girls. They're my charms, my feminine wiles. I'm very comfortable with my sexuality, my body and my face. Well, not always my face, but it's stuck there and there's nothing I can do about it."
Earlier this year, Scarlett topped a poll to find the best breasts in Hollywood.
She beat a host of ample chested stars, including Jessica Simpson and Salma Hayek, to win the accolade.
"Nudes ama12" (2000) by Thomas Ruff, laserchrome and diasec, framed 110.2 x 156.5 cm, edition of 5
In his Nudes series, Thomas Ruff gathers from the internet erotic and often pornographic images which he subsequently manipulates by digitally enlarging, blurring, and coloring them. The results are beautiful photographs with an abstract and ethereal quality which seems to belie their erotic content. With Nudes ama12 (2000), which evokes art historical referents such as Courbet's The Origin of the World (1866), the viewer may be satisfied to linger upon the photograph's sumptuous surface quality, or they may accept Ruff's invitation to recreate the fantasy for themselves.
Homework assignment: Google for "ama12".
During World War II, Francis Picabia (1879 - 1953) painted images of starlets, nudes and fashionable women that he found in popular magazines and, in particular, erotic magazines of the 1930s. Picabia faithfully copied these images of women altering little from the original photographs. Signs of the photographic origins of his paintings - the harsh artificial lighting and snap-shot effects - were left deliberately obvious. Moreover, Picabia frequently chose images in which the female anatomy was distorted by sharp camera angles which he left uncorrected in his painted versions. He also seductively translated black and white images into color of his own choosing underscoring his fascination with the colors and textures of the female body. However, in spite of the fact that the women he chose often existed in a realm of stereotypical poses and cheap eroticism, Picabia’s paintings of women in the 1940s demonstrate his interest in the fundamental differences between the genres of painting and photography. Each image selected and copied is implicated into this dialogue.
Please note the quite modern-looking Full-Brazilian.
"Sam's Town" (2006) by The Killers
There was one tag missing on on Artboobs: music! Here's the first (updated) instalment of "album covers featuring boobs": "Sam's Town" (2006) by The Killers with a photo by Dutch photographer Anton Corbijn. More suggestions are highly appreciated.
From a review of the album in a UK music magazine (I've forgotten which one):
As well as a desert bighorn sheep - the Nevada state animal - the album cover has a disconsolate beauty queen leaning against a battered trailer. Corbijn considered hiring a model but then chose Felice, the Puerto Rican-American receptionist at the recording studio.
Amazon review by Aidin Vaziri:
The Killers five-million-selling debut, 2004's Hot Fuss, saw the stylish Las Vegas quartet mining inspiration from its favorite '80s British acts Duran Duran, the Cure, and the Smiths. On its follow-up, the group turns its focus homeward. First there's the album title, Sam's Town, which pays tribute to the old-school local casino where the band got its start. Then there's the music inside, a collection of windswept rockers in the vein of Bruce Springsteen that leave the indie-disco vibe of "Mr. Brightside" in the desert dust. Working with producers Alan Moulder and Flood (best known for their work with U2, Depeche Mode and Nine Inch Nails), everything here sounds bigger and shinier, with full-blown strings and choirs coloring epics like "When You Were Young" and "The River Is Wild." Coming soon to a stadium near you. --Aidin Vaziri
(updated 2006-12-04)
"Georgia O'Keeffe" (1919) by Alfred Stieglitz
Alfred Stieglitz (1864–1946) was an American-born photographer who was instrumental over his fifty-year career in making photography an acceptable art form alongside painting and sculpture. Many of his photographs are known for appearing like those other art forms, and he is also known for his marriage to painter Georgia O'Keeffe.
Stieglitz divorced his first wife in 1918, soon after she threw him out of their house when she came home and found him photographing Georgia O'Keeffe, whom he moved in with shortly thereafter. The two married in 1924.
Stieglitz' nudes are often considered the first photographs to recognize the artistic potential of isolated parts of the human body.
"Beaujolais Nouveau" (2003) by Terry Rodgers, 62" x 66", oil on linen
"Approximations of Immortality" (2003) by Terry Rodgers, 48" x 56", oil on linen
"The Triumph of Venus" (2005) by Terry Rodgers, 63" x 96", oil on linen
"The Vortex" (2003) by Terry Rodgers, 62" x 66", oil on linen
Homework for the art students out there: compare the classic "The Triumph of Venus" by Alessandro Magnasco with the painting with the same title above. Please post your essays in the comments.
Terry Rodgers is an internationally recognized artist who has worked and lived in Massachusetts, Washington, DC, and Ohio. He has had solo exhibitions in Amsterdam and Milan, and participated in group shows around the world. In the United States he has had solo exhibitions in New York, Los Angeles, Atlanta, and Chicago. He has been featured in numerous publications in America and abroad including Die Welt, Art in America, Citizen K, German GQ, and FLAUNT to name a few.
Rodgers' current work focuses on the life of upper middle class, seemingly adrift in affluence and casualness, unsatisfied and disconnected. These paintings are not snapshots or slices of life, not verite records of actual party situations or family scenes, nor are they diaristic records of his life, but carefully constructed and composited fictions, designed to elicit the most meaning and sustain the maximum amount of ambiguity.
Terry Rodgers attended Amherst College, with a major in Fine Arts. His strong interest in film and photography influenced his style in the direction of representational realism in art. He spends summers each year in Southern France painting from life and photographically capturing the gestures, faces, and figures that inhabit the 21st Century milieu that he depicts in his paintings.
Another fan writes: "Pam Grier is ultra cool. Always calm and well articulated, with a remarkably positive philosophy of life. Even before I even knew her name, I considered myself a fan. She paved the way to a new generation of actresses that could held their own in an action picture in a fearless manner, all the while remaining feminine and sexy. Furthermore, if I may share a somewhat macho observation, she has the honor of having one of the most beautiful chest ever displayed in the history of motion pictures."
Pam Grier at the
IMDB and at
amazon.com.
Suzannah Sinclair makes sensual, autobiographical 70s-style paintings. Many of her female figures are lifted from 1960 Playboys and combined with rainbow patterns reminiscent of 1970's disco, wallpaper motifs. Her work is painted on wood stained panels and at times contain a vapid painful yet sensual emotion.
With these new works, Ms. Sinclair's stripes and rainbows find form in the vintage textiles of bedsheets and fashions. The motifs and figures give an uncompromisingly sensual and painful feel. We are lost in the the innocent want, the self and/or the other.
With this disconnection, be it real loss or lust, there is an anticipation of many possibilities. Much sadness and boredom pervade the figures, but the suggestive poses and their delicate rendering suggest a serious beauty, as if everything is just peachy. Vapid melancholia and dull depression can be romantic. Rest, violence and death are lewdly implied.
(source)
Two drawings by illustration artist Hiroshi Kaieda (1972, Japan)
From an interview:
Q3: What are the best characteristics of your drawing?
A3: There is no warmth.Q9: Where do you get your inspirations from? (Example: from books, TV, etc)
A9: From word and gesture of people, and from music and movie.Q12: Do you like any animals?
A12: Human and dog. I love them.Q14: How do you spend your weekends?
A14: Sleep, day dream and date.
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