Urlicht (pretentious, why not?)
2012
24×26
Oil on linen
Painting notes:
- Johnson Smith & Co., 1944. No. 2953.
- Andrew Masullo at home in San Francisco.
- Mat covering two bodies, Idlib, Syria + Pieter Bruegel: The Fight between Carnival and Lent, 1559.
- Michael Heiser Levitated Mass boulder in transit.
- Robin Held Curator Is Leaving the Frye. For the last 15 years, I have helped artists realize their biggest dreams, their biggest projects, and so many of those artists are women. I’ve been working with women artists at every stage of their career—young, lifetime achievement award-winners—and in many cases, those artists find it difficult to have their voices heard, or their vocabularies exceed the structures we have for hearing and understanding them.”So two things, two things. One: I am absolutely thrilled to work with young women ages 9 to 19 who are just beginning to imagine that they could be artists and that the things they make are art. What’s better? That’s the thrill, really. The other thing is, it’s working to change things to, let’s just say, a necessary normal—where so many women thrive as artists and filmmakers and playwrights, that it’s so normal for women to do all those creative things that we stop using that qualifier: woman artist, woman filmmaker, woman playwright. Then we win.” + Thomas Kinkaide fromHome is Where the Heart is.
- James Fox: A Question of Attribution. Alan Bennett quote.
- Robin Held + William-Adolphe Bouguereau: Le Printemps, 1886.
- Cindy Sherman
- Seattle Art Museum urinal, in the manner of Antonio Lupez Garcia.
- Crystal Bridges Museum.
- Will Elder: The Joggers, 1978.
- Minnie Mouse after J. Koons.
- U. S. depression era bank line.
- Prada skirt, Spring Summer 2008.
- Forrest Bess artworks. The current Whitney Biennial includes a show within a show of 11 Bess paintings, organized by the sculptor Robert Gober; it proffers Bess as a kind of foundational artist of our time. And an additional 40 of his paintings can be seen in “A Tribute to Forrest Bess,” an exhibition at Christie’s that is occasioned by a private sale of those works for a single seller. (It makes for the rather uneasy sight of an auction house acting like a commercial gallery handling what is tantamount to an artist’s estate.)
- Picasso: Guernica, 1937.
- Crystal Bridges Museum logo. [Reminds me of a 60s colored plastic gizmo.]
- Pieter Bruegel: Fall of the Rebel Angels, 1562.
- Grand Motif in Sequins.
- Pieter Bruegel: The Fight between Carnival and Lent, 1559.
- Lost the clipping for this artwork.
- Whitney Rubber Chicken Foot.
- Dr Penelope Curtis. The removal of room numbers was a decision made by Dr Penelope Curtis, our new director at Tate Britain. The following statement might give you an idea about her way of thinking and why she might have chosen to move away from numbering rooms. Dr Curtis has written (http://blog.tate.org.uk/?p=2698) that: “We have prioritised the sense of walking through the architecture, down an enfilade of galleries in which one doorway opens on to the next. At present we are showing twentieth-century British art in some depth, with an open and primarily visual hang. It is not overtly teaching any lessons, but allowing the works to speak to each other. Using the architectural quality of the spaces, it draws you through the rooms in a more continuous flow. […] By 2013, this two-tier approach to experiencing the collection will extend into the newly-refurbished galleries, giving you the flow of a walk through 500 years of British art history, and the time to stop and consider an artist or period more in-depth.”
- Roy Lichtenstein: Hot Dog with Mustard. 1963.
- Joanne Ellis? Alan Bennett: The Insurance Man, 1986.
- Picasso: Guernica, 1937.
- Ernest Normand: Pygmalion and Galatea, 1886. + Roberta Smith.
- Titian: Danae with Nurse, 1549-50.
- Unidentified prostitute in Spain.
- Dr Penelope Curtis.
- Anthony Blunt.
- Harold Rosenberg. Today, each artist must undertake to invent himself, a lifelong act of creation that constitutes the essential content of the artist’s work. The meaning of art in our time flows from this function of self-creation.”
- Unidentified prostitute in Barcelona.
- Flintstones theme park.
- Seattle Art Museum: Inopportune: Stage One, 2004, and Illusion, 2004. two major works by Cai Guo-Qiang, will be unveiled in SAM’s monumental Forum space when the downtown museum opens May 5-6, 2007. One of the most important and acclaimed artists to have emerged internationally from China, Cai Guo-Qiang was born in Quanzhou in 1957 and later lived in Tokyo, before moving to New York in 1995.
- Topin, illustration for Triumph, 1970.
- Joseph Noel Paxton: The Reconciliation of Oberon and Titania, 1847 + Roberta Smith.
- Baltimore No. 32.
- Roy Lichtenstein: Hot Dog with Mustard. 1963.
- Titanic salvaged gloves.
- Christine McIntyre: Scotched in Scotland, 1954.
- Pieter Bruegel: The Fight between Carnival and Lent, 1559.
- Cassandra Huysentruyt Grey in a video for Italian Vogue that began with text reading “Meet the Princess of Bel-Air.”
- Pieter Bruegel: The Fight between Carnival and Lent, 1559.
- Edward D. Wood, Jr., Dolores Fuller: Glen or Glenda, 1953.
- Aubrey Beardsley: Salome, 1893 + Gustav Klimt: Danae, 1907-8,Salome, 1909.
- Roy Lichtenstein: Nudes with Beach Ball.
- Cindy Sherman.
- Edward D. Wood, Jr., Dolores Fuller: Glen or Glenda, 1953.
- R. Crumb: Vouz Permettez? 1970s.
- Rothko/Will Elder Chapel: Muscle Building, 1977.
- Mahler: Urlicht.
Original German
Urlicht
O Röschen rot!
Der Mensch liegt in größter Not!
Der Mensch liegt in größter Pein!
Je lieber möcht’ ich im Himmel sein.
Da kam ich auf einen breiten Weg:
Da kam ein Engelein und wollt’ mich abweisen.
Ach nein! Ich ließ mich nicht abweisen!
Ich bin von Gott und will wieder zu Gott!
Der liebe Gott wird mir ein Lichtchen geben,
Wird leuchten mir bis in das ewig selig Leben!
—From Des Knaben Wunderhorn
Da kam ich auf
Da kam ein Engelein
Ach nein!