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Language of Space
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Annie Peters - Cermamic sculptures - Finishing a 5 year art and education program at the Corcoran College of Art + Design. Teaches ceramic arts.
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The Paris based Argentinean painter has recently re-opened his Buenos Aires studio and also his NYC studio - His work is on display at KNEW GALLERY
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A beautiful palette of oranges and other colors against a blue background ..
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At the time of her death in 1997 Ida Kohlmeyer was considered Louisiana's most renowned artist.
Her paintings and sculpture characterized by exuberance and painterly freedom are personal interpretations of a wide world of joyous color, motion and vitality.
She was able to express deep feeling directly on to her canvases.
Kohlmeyer developed a distinctive vocabulary of shapes and symbols which she first organized in grid format and later in loose flowing patterns. The artist translated that style into her acclaimed metal sculptures with their vertical arrangements of both geometric and organic shapes.
Kohlmeyer began painting while taking art courses at Newcomb College in 1950, some 18 years after receiving her bachelor’s degree there in 1933. Encouraged by her teacher Pat Trivigno, Kohlmeyer began painting and drawing seriously. After graduating in 1956 she immediately enrolled in Hans Hoffman’s school in Provincetown Massachusetts where she absorbed the tenets of abstract modernist painting. Hoffman, himself a disciple of the abstract artist Kandinsky, carried forward the belief that painting was a spiritual activity driven by an inner reality rather than the visible world.
The ideas of Hoffman were given a more palpable reality when Mark Rothko came to New Orleans, in 1957 as a Visiting Artist at Tulane University. While in New Orleans, Rothko lived in the Rittenberg Family home and used the garage as a studio. His abstract rectangular fields of color became a dominant influence on Kohlmeyer in the late 1950s.
Kohlmeyer had rapidly assimilated the styles of Realism, Regionalism, Color Field painting and gestural abstraction, mirroring the evolution that the artists of the New York School had developed from the 1930s through the late 1950s. The 1960s and early 1970s saw her moving out from under the modernist influences and searching for a personal style of intuitively derived forms that mirror the unconscious mind. First, we see the color fields invaded by gestural marks both geometric and biomorphic. In the mid-sixties the color-fields give way to an open neutral canvas with minimal effects, working a tension between the structural and the emotional qualities of abstract painting. The geometric paintings in 1968 intensify this tension locking bands of bright mystical color into bisymmetrical compound structures based on clearly detailed organic forms.
Contrary to her earlier abstract work grounded in intuition, the works from 1967-1969 were, in the artist’s own words “were done with deliberation and aforethought.” The geometric paintings were the transitional catharsis that set the stage for her later and more mature work.
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Jesper is a Dane who shares his time between Copenhagen and Marina di Carrara, Italy where his studio is located.
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Opaque spaces within a two dimensional perception
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elaborate gridwork
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Blue background with detail
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