Tuesday, August 29, 2023

Towards Immersive Environments

My artistic aspiration is to create all-encompassing environments including paintings, self-designed fabrics, and free-standing elements together, inspired by Monet’s History of the Water Lilies cycle at L’Orangerie, Whistler’s Peacock Room in Washington, DC, and The Garden of the Master of the Nets in Suzhou. 

Elisabeth Condon, Notes on a Landscape (detail), at Emerson Dorsch's booth, 2015 New York Pulse fair. This portion of the double booth featured artist-designed wallpaper on which paintings made on the Swatch Art Peace Hotel residency were placed. The poured color relates to Shanghai's Huangpu River, while Condon's tracings document urban life inland. Awarded the 2015 New York Pulse Prize. 

Elisabeth Condon, Pavilion of Spring and Summer (detail), 2017, Glyndor Gallery, in Flora Fantastica! curated by Jennifer McGregor. Paintings and ink drawings made on residency during the Winter Workspace residency recorded plants stored in the Sun Room beyond the window of this very same space. A pattern from the drawing becomes the wallpaper pattern. Photograph Stefan Hagen.

Elisabeth Condon,  Eye in the Canopy, Casa Cor Design Fair (curated by Ground Control Miami) and Effulgence, Emerson Dorsch Gallery, both 2019. Paintings and dimensional orchid leaf idiom by Condon under ceiling by Karen Rifas; Below, dimensional lattice, bird and plant forms extend painting space outward. Photo Letter 16 Press.

Elisabeth Condon, post-Epistemic Flower, 2023, acrylic and medium on linen, 57 x 72 inches. From an out-of-focus center, the flower becomes a planet that floats in outer space. The title paraphrases a recent New York Times interview with philosopher Daniel C. Dennett quoting Microsoft chief scientist Eric Horvitz's term “post-epistemic” describing A.I.: “We could be entering a post-epistemic world, where nobody knows what’s going on because of the powers of these systems ...to create alternative realities.” Dennett affirms we've taken "the presence of agreed-upon landmarks and sources of common knowledge for granted for a long time."

Elisabeth Condon, Radiant Flower, 2023, Acrylic and medium on linen, 72 x 57 inches. Interior design, natural forms, and abstract painting combine luminous color with scroll painting techniques such as splashed ink and stroke order, reconstructing nature through the integrated perspectives of scroll painting and feminism. 

Tuesday, April 11, 2023

SFMoMA and Legion of Honor Permanent Collections, a Sweep from 12/2021

Why publish this now? To see, anew, influential works informing my West Coast background, from giants like Diebenkorn to history of the ancient Americas.
Frankenthaler at SFMoMA
It is said that memory can be rewired, and relating formative memories with Frankenthaler is indeed an attempt to do that. I'm not sure exactly when I became aware of her work, but am sure it was in New York rather than California.
Sam Francis at SFMoMA. I do remember him in LA, but reading about rather than seeing.
Whanki Kim at SFMoMA: 26-1-70, 1970
Jay DeFeo at SFMoMA
Martha E. Miller, Self with Lipstick, 1987
at de Young/Legion of Honor/Fine Art Museum of San Francisco
Love this painting
Jaune Quick-to-See Smith, Nirada #16, 1982
Fine Art Museum of San Francisco
John Altoon, 1965
Judy Chicago, How Will I Die? bronze sculpture from her 2021 retrospective at
Fine Art Museum of San Franciso
The Dinner Party: Virginia Woolf Test Plate #1, 1975-78
Dinner Party: Virginia Woolf Test Plate @2, 1975-78
Installation View
Through the Flower, 1973
Let it All Hang Out, 1973
Heaven for White Men Only, 1973
Birth Hood, 1965-2011, spray enamel on car hood
Bigamy Hood, 1965-2011, spray enamel on car hood
Judy Chicago
A beautiful Joseph Albers
I don't know whose, but what a beautiful painting!
Charles Green Shaw, New York, January 1939, oil on wood mounted on panel

Chiura Obata, Lake Basin in the High Sierra, 1927
Ink and color on silk mounted on paper
"Just to imitate an object or some partof nature is not enough, because such an imitative idea without the creative soul cannot bring forth any beauty or humanity." 
Obata's palette? I do not remember!
T.H., 1927
Modest painting: simple, heartfelt, lively
Also a bricolage effect--wish I had noted the painter
Frankenthaler left, Pat Steir right
Frankenthaler, Crusades, 1976-an initial foray into her use of acrylic; the dark carries a lot of green.
Frank Bowling, Penumbra, 1970, Acrylic and spray paint on canvas
Joan Brown, Noel and Bob, 1964
Joan Brown, Detail
Joan Brown, Detail
David Park
David Park
Mel Ramos, Superman, 1962

Larry Rivers Gertie painting
Jack Levine, Birmingham '63, 1963
Levine, Detail
Levine, Detail
Arthur Dove, Sea Gulf Motive (Sea Thunder, or The Wave), 1928

Richard Diebenkorn, Seawall, 1957
Richard Diebenkorn
Richard Pousette-Dart, No.19, 1951

Robert Gwathmey, Cotton Picker, 1950
Thomas Hart Benton, Susanna and the Elders
Peter Hurd, A Ranch on the Plains, 1954
Hung Liu
Richard Mayhew, Rhapsody, 2002

George Inness, A Glimpse of the Lake, 1888
George Inness, Moonlight, 1893
Chiura Obata, Mother Earth, 1912, reworked 1922 and 1928
His wife Haruka 
George Luks, Innocence, 1916
George Wesley Bellows, Romance of Criehaven, 1916
Rockwell Kent, Afternoon on the Sea, Monhegan, 1907
Small Lake Tingt Artists: Thunderbird House screen, late 19th century,
making west coast origins so clear
And the Mayan collection: 
Vessel with scene from Popul Vu, L, 600-850, Vessel with artist-monkey gods, 600-900, and vessel with possible scene from Popol Vu, 650-850

Stele with Ix Mutal Ahew, in parts below:

Urn in the Form of Storm God, 1300-1500
Another Storm God?
Mural Fragments from Teotihuacan, just north of Mexico City