barr.gif (GIF Image, 723x762 pixels) - Scaled (75%)

barr.gif (GIF Image, 723x762 pixels) - Scaled (75%)Here is a link to the Barr original.

Cubism and Abstract Art Chart

Charts - Information Design - Diagram - Story Selling Design
Here is a chart based on the famous Alfred Barr original.

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[object HTMLImageElement]A small smattering of Cubist paintings fromthe Guggenheim in NYC.

village voice > nycguide

village voice > nycguide

The Whitney Biennial 2004 - Favorite Artists

The Whitney Biennial 2004 - Favorite Artists
This looks interesting and very savvy: a video re-creation of a famous painting: in this case Velasquez.

The Art Institute of Chicago: Art Access

The Art Institute of Chicago: Art AccessPost-Impressionism here, there and everywher...we are all post-impressionists!

Timeline of Art History : "It's NOT history and it's NOT art!"

Timeline of Art History | The Metropolitan Museum of ArtActually, this is a great resource for all things art history and the timeline is, well, sort of artistic n'est-ce pas?

switch building, new york city

Check out the Switch Building, in progress on the lower east side of Manahatta..."narchitecture" for sure. Of the moment? Yes.

Current ArchiTech Exhibition - Architectural Art

Current ArchiTech Exhibition - Architectural Art

Gehry & Partners - IAC/InterActiveCorp Headquarters :: arcspace.com

The first Frank Gehry building in NYC is in progress, check it out here.

Model of The Pantheon, Rome

Great model of the Pantheon with a section view here.

ART HISTORY RESOURCES ON THE WEB: Contents

ART HISTORY RESOURCES ON THE WEB: ContentsThis iste has been up and running since 1995. A great place to start the study of Art History on the Web.

Modernism: The End of Art

The End of Art? Great resources for the study of Art History here.

Art is: interaction, communication, dialogue / Marina Abramovic in context

Harold Rosenberg had said that art was "a space open for the individual to realize himself in knowing himself." Today, after decades of narcissistic and exhibitionistic spectacles, when it's possible to grasp the limits of Rosenberg's libertarian ethos, we can see that he should have said art was not only a space for the individual to realize himself in knowing himself, but also a space to enable others to know themselves, as well as a space to evoke the bonds that exist between artist and spectator in their common self-awareness, which is to say in their common humanity. It's a definition that understands art is necessarily a social interaction, communication between people, dialogue, not merely the unfettered expression of the boundless ego as has been the case with so much work over the past few decades. But what does such dialogic art look like?

Marina Abramovic has often been linked to Chris Burden, and with reason. She has staged extreme masochistic spectacles that shock and repel. In "Lips of Thomas," she carved a pentagram in her abdomen and whipped herself senseless. (She recently recreated this piece, and as she brought a razor blade toward her bloodied stomach for a second time, one woman among the spectators cried out, "You don't have to do that again!") But her best work is a dramatization of human vulnerability and personal responsibility. It involves the viewer as much as the artist.

Last month Abramovic completed an enormously ambitious one-week series of performance works in the rotunda of the Guggenheim museum called "Seven Easy Pieces," but her most famous work is probably "The House With the Ocean View," performed in New York in 2002 (and featured in an episode of "Sex and the City"). For 12 days, the artist lived on three platforms in a Chelsea gallery. She had a bed, a shower and a toilet, but denied herself any nourishment except for mineral water, and any distraction; she could neither read nor write nor speak. Her life was reduced to a minimum, less than the bare essentials. "This piece will be about living in the moment," she said, "in the absolute here and now." But if the piece made demands on Abramovic, it also made demands on the spectators. Upon entering the gallery, a viewer was immediately confronted with a moral choice: did one take a quick look at Abramovic up on her platforms and then depart, treating her like some kind of animal in a zoo, or did one linger and absorb the experience? For those who lingered - and there were many, including Susan Sontag, Salman Rushdie and Bjork - the effect was magical (or perhaps metaphysical). The entire outside world slipped away, as did time itself - one hour, two hours, three passed imperceptibly. A sense of the immediate present, with its suggestion of the infinite, became palpable in the room. Abramovic was offering her viewers a gift of spirituality without the doctrines, rituals or consolations of religion. On the final day, the gallery was packed, and when Abramovic was helped down - she had lost 21 pounds - she told the audience, "This work is as much you as it is me."

State of the Art
By BARRY GEWEN
Published: December 11, 2005

Review of "The Artists Body"

State of the Art
By BARRY GEWEN
Published: December 11, 2005

"IN 1974, Chris Burden had himself crucified on the roof of a Volkswagen. He was creating a work of art. A decade later, Hermann Nitsch staged a three-day performance in which participants disemboweled bulls and sheep and stomped around in vats, mixing the blood and entrails with grapes. Another work of art. Rafael Ortiz cut off a chicken's head and beat the carcass against a guitar. Ana Mendieta, who had a retrospective at the Whitney last year, also decapitated a chicken and let its blood spurt over her naked body. As one commentator has observed: "animals are not safe in the art world." Neither are the artists. They have sliced themselves with razor blades, inserted needles in their scalps, rolled naked over glass splinters, had themselves suspended by meathooks and undergone surgical "performance operations" during which spectators could carry on conversations with the artist-patient.


Has the art world gone crazy? Don't ask. Anyone interested in learning just how crazy can find many of the most extreme artworks created over the last 40 years - which include everything from public cervical inspections to necrophilia - described in Tracey Warr and Amelia Jones's remarkable volume, "The Artist's Body."

Review of "The Artists Body"

State of the Art
By BARRY GEWEN
Published: December 11, 2005

IN 1974, Chris Burden had himself crucified on the roof of a Volkswagen. He was creating a work of art. A decade later, Hermann Nitsch staged a three-day performance in which participants disemboweled bulls and sheep and stomped around in vats, mixing the blood and entrails with grapes. Another work of art. Rafael Ortiz cut off a chicken's head and beat the carcass against a guitar. Ana Mendieta, who had a retrospective at the Whitney last year, also decapitated a chicken and let its blood spurt over her naked body. As one commentator has observed: "animals are not safe in the art world." Neither are the artists. They have sliced themselves with razor blades, inserted needles in their scalps, rolled naked over glass splinters, had themselves suspended by meathooks and undergone surgical "performance operations" during which spectators could carry on conversations with the artist-patient.


Has the art world gone crazy? Don't ask. Anyone interested in learning just how crazy can find many of the most extreme artworks created over the last 40 years - which include everything from public cervical inspections to necrophilia - described in Tracey Warr and Amelia Jones's remarkable volume, "The Artist's Body."

"Anything Goes"

State of the Art by Barry Gewen - New York Times
December 11, 2005

"At the conclusion of "Art Since 1900," the four authors hold a round table, and their prognosis is equally dismal. Art, they believe, has become little more than "commodity production, investment portfolio and entertainment." Everything, they say, is turning into kitsch...Rosenberg lamented modern art's "anything goes" attitude. Ruhrberg writes that "in painting today, anything goes." By the early 70's, according to the authors of "Art Since 1900," "it seemed, as the song had put it, 'anything goes.' " Kramer has said: "With the eruption of the Pop Art movement, an element of demystification came into the art world, an element of cynicism, an element of . . . 'anything goes.' " If there is a presiding spirit over the art of recent decades, it is not Jackson Pollock, and not Andy Warhol. It is Cole Porter.

But how can art criticism cope with an ethos of anything goes? In an environment of perfect freedom, what is there left for a critic to criticize? For critics at newspapers and magazines, who astutely discuss current shows and exhibits, this is less of a problem than it is for writers who stake out theoretical positions. Some, like the writers for October, have turned to politics, interpreting art in terms of Marxism, or feminism, or gay activism or old-fashioned anti-Americanism (while the writers around The New Criterion have reacted to this leftist tendency with their own conservatism). Or they have found refuge in the higher realms of French and German philosophy, usually producing jargon-ridden criticism that is incomprehensible to anyone without a Ph.D. in European theory. We live at a moment when artists have been asking the kinds of questions children ask - What is art? What is it good for? - and critics have for the most part been giving answers not even an adult can understand. "Mommy, why have we come all this way to see pictures of soup cans?" "It's Andy Warhol, sweetheart, and he's wielding a sharp, insinuating heuristic chisel to pry at the faultlines and lay bare the sedimented faces of his surround. "

Artdaily.com - The First Art Newspaper on the Net

A sad note: the end of the "First Art Newspaper on the Net" established in 1996.

Label Color Complements Print-out - Enchanted Learning Software

Label Color Complements Print-out - Enchanted Learning Software

Roman House Section View

domuscol.jpg (JPEG Image, 2071x1630 pixels) - Scaled (38%)
An excellent cut-away view of a roman house.

National Gallery London/Information/Getting Tere

NG London/Information/Getting There! NYC arts is planning a visit to the National Gallery in London in three weeks.

The British Museum: Visit - getting there

The British Museum: Visit - getting thereNYC Arts is planning a trip to London for the holidays.

Curriculum Center - DiscoverySchool.com

Curriculum Center - DiscoverySchool.com: "popular science topics taught in upper elementary and middle school"

KUSTERA TILTON GALLERY | 520 West 21st Street NYC

KUSTERA TILTON GALLERY | 520 West 21st Street NYC

All Hail the Mighty SpongeBob ArtPants - New York Times

All Hail the Mighty SpongeBob ArtPants - New York Times