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Computer Art
MOMA
The Museum of Modern Art
The Olive OrchardStarry Night. 1889.
Enjoy the
Post-Impressionist Exhibit
At the National Gallery of Art
More Van Gogh from the CGFA
Library of Congress
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Distress,
1938. Born in Missouri, James Allen worked as a magazine illustrator, traveling to Paris in 1925, where he shared a studio with fellow printmaker Howard Cook. There he experimented with various artistic media, making lithographs and etchings for the first time. Forced by the Depression to return to the United States, he moved to New York, continuing to hone his skills as a printmaker under Joseph Pennell and William Auerbach-Levy. Industrial scenes and muscular images of men working on railroads, buildings, and bridges form a large part of his graphic repertoire. |
Atrani, Coast of Amalfi
Contrast (Order and Chaos)
1950 70KB
Day and Night
1938 90KB
Adam and Eve
Praying Hands
Brush and ink , Graphische Sammlung, Albertina, Vienna. 64KB
Enchantment
Daybreak
1922, oil on panel. 126KB
Ecstasy
1929, oil on panel. 155KB
Visit the Fine Arts site created & maintained by
Carol L. Gerten and linked here.
The Galileo Project from Rice University.
Galileo Galilei's Notes on Motion
Electronic Representation of the Manuscript
Galileo Galilei Exhibitfrom The Istituto e Museo di Storia della Scienza, Italy.
Great Art!
* In May, the students in Leeds (England) University's Fine Arts
course, helped by school and private grants of about $2,000,
created a class project that they said was "designed to challenge
people's perception of art." The project consisted of the 13
students taking a holiday frolicking at Spain's Costa del Sol resort.
They said that among the issues raised by their oeuvre would be
whether there was any limit to what could be described as art. Not
surprisingly, most of the sponsors demanded refunds.
NOTE: After the Daily Telegraph and other British newspapers
reported this story, the students revealed that they had not taken
the holiday but had created the incident (acquired tans, staged
beach snapshots) and that the "art" involved was demonstrating
how easy it is to fool the press. As News of the Weird is merely a
review of the legitimate press, if professional reporters and editors
get a story wrong, so does News of the Weird.
* In June, an auction of "conceptual" and "minimalist" art from the
past 30 years at Christie's in New York City exceeded sales goals,
led by such masterpieces as Bruce Nauman's concrete block with a
tape recorder playing inside featuring a woman screaming
($288,000); Sigmar Polke's four canvases containing only incorrect
mathematical equations ($882,000); and On Kawara's seven
canvases featuring only the dates May 1-7, 1971 ($574,000).
* Boston performance artist Paul Richard's latest show, in
February, was held in a room completely empty except for a stack
of $20 t-shirts for sale. "Usually you go to an opening and nobody
looks at the art . . . anyway," he said. At a previous show,
Richard's art consisted of having patrons file in to watch him eating
lunch.
* San Francisco sculptor Joe Mangrum, sitting on $1,480 worth of
outstanding parking tickets accumulated by his 1986 Mazda,
persuaded the city Art Commission in March to let him disassemble
the car into a pile in the middle of Justin Herman Plaza and call the
sculpture "Transmission 98," for which he collected a $2,000
artist's fee from the city. A spokesperson said the Art Commission
was unaware of Mangrum's tickets.
* Performance artist Bob Powers, in an April, 1998 interview in The
Village Voice: "I would be thrilled if I got a $25,000-a-year grant
for the rest of my life. I don't want money for any lofty goals. I
want it just because I'm lazy and tired." Among Powers's recent
works: "Ode to a Buttered Roll" ("How do you do it? Sixty cents.
So tall, so round, so many poppy seeds. Sixty cents. . . . One
corner deli owner tried to charge 75. Sixty cents.") and a work in
which he uttered one sentence ("No, but I gave you a 20") 30
times.
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