homma__ to the square Y

e aqui, que já não gosto da série. e que já me esquecia: way to go, Hilly!

Waltercio Caldas no CAM

Lisboa, tanta coisa que és, tão pouco tempo que eu tenho. descobrindo Waltercio Caldas no CAM. para quando esse amor pela arte brasileira, grande cultura. mesmo assim em lista de espera na vida. uma outra hommage, ainda. muito bom, gostei de começar o dia.




desenhos de Waltercio Caldas (2003)


Sem título (1978), ferro e tinta


A Distância Entre... detalhe (1997), aço inoxidável e acrílico

hommage to the square (4)

Os Caminhos da Floresta.
A Chegada e a Partida
Alberto Carneiro
1983-4




funny how I would have preferred "no title"

vermelho ocre, um

cores. whitewash. font. o que gosto mesmo: quando passo por cima de uma "coisa",
qualquer uma, e ela volta e regressa vezes sem conta. uma bóia que recusa o afogamento.
(Rebus, Rauschenberg. 1955)

amarelo ocre, dois

one seemed 'twixt _ _ _ _ and yellow, utopia semibold. whitewash. YO-RO-Dull Black. HMS Victory. as glue for collage. sage green for victorian.

with a passion (from here to here)

from Mary Heilmann to Monique Prieto. Instant blood rise.


Yesterday and Today (2207)

Mad in Love

Tempting me a Thousand Times (2007)

Last Night's Dream (2007)

After so Many Vows (2007)

Then We Broke Up (2007)

important note: her sequence, not mine.
immediately thinking of PEZ candy.

a hommage to (3): Mary Heilmann

Mary Heilmann, Clear Day (2006)

Mary Heilmann, Acid Line Up (2006)

Mary Heilmann, Weather Report (2006)

Images from here. A complete interview on the Bombsite.
fora da caixa mas ainda funciona. I was originally drawn to her work by the colorful dots and her more geometrical pieces, still travelling on shapes. but the apparent ease of these statements was a bit overwhelming.

Jannis Kounellis

já devo ter escrito sobre ele e talvez apagado. nas pegadas da arte povera, ele, no rasto da forma, eu. parte significativa da obra nos anos sessenta, estas imagens todas de 1999.


today is Remembrance Sunday in the UK

espaço

.

Lucio Fontana, Concetto Spaziale, 1949


Lucio Fontana, Concetto Spaziale (Ruscello),1955

hommage to the square (2)

Susan Weil, who studied with Albers at the Black Mountain College. squares running wild.


Susan Weil, "Blue Chairs" (1997)

eu e ela: de novo a sinestesia, pintar com sons

Luigi Veronesi
14 variazioni di un tema musicale

"Rappresenta il suono con una forma rettangolare, seguendo uno dei principi fondamentali della Gestalt, ad esempio per stabilirne la grandezza si attiene alla durata del suono, rispettando inoltre la capacità risolutiva dell'occhio nella distinzione tra differenti zone cromatiche. L'intensità del tono con cui i suoni vengono eseguiti vengono tradotti in "quantità di suono", a cui corrisponde una "quantità di colore". Conseguentemente una nota intera, il rettangolo modulare, sarà interamente "colorata" quando l'intensità del suono sarà massima [3].

L'artista milanese traduce la "mancanza di suono" con una "mancanza di colore", individuabile nello stato di riposo dell'occhio, percettivamente connesso all'osservazione del colore grigio neutro [4]. Tutti i parametri di lettura del codice sonoro vengono trasformati in altrettanti codici di scrittura cromatica e formale, tutti ad eccezione proprio del timbro, che non a caso rimane un fattore intimamente legato alla parte esecutiva, strumentale riguardando in questo senso più l'acustica della melodia." (daqui)

Aqui, curiosamente o movimento contrário a Scriabin, ou seja, da imagem para o som. Em Scriabin a música sobrepunha-se claramente a qualquer outra ideia. Veronesi combina todos os elementos sucessivamente, desenvolvendo cenários. Pessoalmente, fascina-me a ideia de repetição - variação - desvio. Talvez um recurso dos pobres, talvez não.

fascinating double liner Marlow-Marjorie Moss

brought back to life by Lorette Dijkstra. images from the snap dragon, issues raised here
(while circling abstraction-création).

 
 

circle (1)

Luigi Veronesi
Costruzione sigma n°4
(1973)

indispensável saber (daqui):
Luigi Veronesi was born in Milan in 1908. He began his art studies as an apprentice to a minor Neapolitan painter, Carmelo Violante, who taught him all the secrets of the art, especially of landscape and figurative painting. The big Modigliani exhibition in 1930, where he discovered Kandinsky, Klee, Schlemmer and the Bauhaus group, unexpectedly opened his horizons towards abstractism. Four years later, Veronesi joined the Abstraction-Création group. He exhibited his sketches for Stravinsky's "Le Rossignol" and for Andreev's "Anatema" and began a series of studies based on the photogram, abstract photography and solarisation. In 1935 he took part in the first collective exhibition of abstract art in Turin and produced ten costume sketches for Claude Débussy's "Pelléas et Mélisande". Alongside his graphic and painting work, he was to continue these stage-design activities up until the 1940s. During this period he collaborated with the Palcoscenico theatre group, where Paolo Grassi and Strehler made their debuts. He was particularly interested in musical theatre as it allowed him to study the relationship between visual arts and music and between spatial and temporal arts. Veronesi's growing interest in illustrative photomontage together with cinema and music made him the Italian artist closest to the concept of multidimensionality or art conceived as a global project that was typical of the Bauhaus. He played an active part in most of the major exhibitions over the following years, including the historic exhibition of Italian abstractism at the 33rd Venice Biennial, the Festival of Contemporary Music and a personal exhibition at the Galleria Spatia in Bolzano in 1980. At the end of the 1930s, Veronesi produced nine abstract films, seven of which were destroyed during bombing in the second world war while the remaining two survived in France, but in too poor a condition to be screened. He worked on chromatic transpositions of musical scores, developing a precise mathematical system for expressing the timbre and pitch of sounds in painting. In the 1960s he used a measuring instrument, the spectroscope, to associate a colour with the wavelength of each musical tone. Luigi Veronesi died in February 1998.

rilievo

Ettore Colla
Rilievo rosso con asta verticale, 1966

'The Gruppo Origine intends to become the most morally valid point of reference of "non-figurative" expressive needs … By openly renouncing three-dimensional forms, by reducing colour to its simplest, peremptory and incisive expressive function, by evoking … pure and elemental images, the Group's artists express the necessity of a rigorous, coherent, energetic vision [which is] primarily antidecorative.'

from Bauhaus photography to weaving to the art of assemblage and Louise Nevelson.

hommage to the square, Joseph Albers

-









(daqui)

at an angle

.

László Moholy-Nagy
Fotogramm (1926)

A 17 (1923)

daqui

se me sobrassem dias tracejava-lhes a sombra e enchia-os de água