Passa ai contenuti principali

Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

edited by in data
¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un lin...

HELEN FRANKENTHALER ░ The Legendary Abstract Expressionist

edited by in data





Helen Frankenthaler ░  by Miss Moss
Today i’m inspired by the work of legendary abstract expressionist Helen Frankenthaler. her huge colourful paintings look like gigantic watercolours, but are in fact painted with oils & acrylics. Helen would work directly on unprepared canvas, and dilute the oil paint with turpentine (later she switched to acrylic paint), causing it to soak into the canvas – a technique called “soak stain” that was later adopted by other abstract expressionists like Jackson Pollock. her work was not highly gestural and painterly, instead she preferred to create pieces that looked as if they were “born in a minute”.
A really good picture looks as if it’s happened at once. It’s an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it – well, she did this and then she did that, and then she did that – there is something in it that has not got to do with beautiful art to me. … I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.
What concerns me when I work, is not whether the picture is a landscape, or whether it’s pastoral, or whether somebody will see a sunset in it. What concerns me is – did I make a beautiful picture?
Helen was born and raised in New York, and was celebrated in the NYC art scene since her debut in the 50s.  she produced work until her death in 2011 (you can read her obituary at the New York Times), and apart from her painting she also created lithographs, etchings, screen prints and woodcuts. you can see her work at many institutions across the world, including the Metropolitan Museum of Art, MOMA, the Guggenheim and the Centre Pompidou in Paris.








today i’m inspired by the work of legendary abstract expressionist Helen Frankenthaler. her huge colourful paintings look like gigantic watercolours, but are in fact painted with oils & acrylics. Helen would work directly on unprepared canvas, and dilute the oil paint with turpentine (later she switched to acrylic paint), causing it to soak into the canvas – a technique called “soak stain” that was later adopted by other abstract expressionists like Jackson Pollock. her work was not highly gestural and painterly, instead she preferred to create pieces that looked as if they were “born in a minute”.
A really good picture looks as if it’s happened at once. It’s an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it – well, she did this and then she did that, and then she did that – there is something in it that has not got to do with beautiful art to me. … I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.
What concerns me when I work, is not whether the picture is a landscape, or whether it’s pastoral, or whether somebody will see a sunset in it. What concerns me is – did I make a beautiful picture?
Helen was born and raised in New York, and was celebrated in the NYC art scene since her debut in the 50s.  she produced work until her death in 2011 (you can read her obituary at the New York Times), and apart from her painting she also created lithographs, etchings, screen prints and woodcuts. you can see her work at many institutions across the world, including the Metropolitan Museum of Art, MOMA, the Guggenheim and the Centre Pompidou in Paris.

Tutti Frutti, 1966
Untitled, 1965
Persian Garden, 1965
Helen Frankenthaler in front of woodblock proofs for Essence Mulberry, 1977 photographed by Lindsay Green
in her studio by Alexander Liberman
Indian Summer, 1967
Painted on 21st Street