The art: Julius Holm, Tornado over St. Paul, 1893.
The news: “DFW Storms had all the right ingredients, including TV cameras,” by Steve Campbell for the Fort Worth Star-Telegram.
The source: Collection of the Minneapolis Institute of Arts.
The art: Hendrick Avercamp, Winter Landscape with Iceskaters, c. 1608.
The news: “Europe’s Frigid Temps May Mean First Elfstedentocht in 15 Years,” by Clark Boyd for PRI’s The World.
The source: Collection of the Rijksmuseum, Amsterdam. Click here for a huge, highly detailed image!
The art: Gustave Courbet, The Gust of Wind, ca. 1865.
The news: “Strong Santa Anas are on the way,” by Abby Sewell and Carol J. Williams in the Los Angeles Times on the continuing wind storms in southern California.
The source: Collection of the Museum of Fine Arts, Houston.
Nota bene: As I chronicled on Modern Art Notes recently, artists love trees… but have typically shown them as static. It’s easier. Courbet was an acute student of art history, wildly fond of tweaking tradition. So when he painted a tree he tried something different: He painted it bending in the wind. If there’s a better painting of wind than this Courbet, I can’t think of it.
![manpodcast:
This week’s Modern Art Notes Podcast features a new exhibition of John Marin!
The American painter John Marin is typically regarded as one of the two or three greatest American modernists. Since Cezanne, no painter has made watercolors that are as vibrant as Marin’s, and you’d be hard-pressed to find any artist who made the medium as central to his experiments as Marin did. Marin didn’t just paint watercolors, he collaged them, scuffed them, drew on them and pushed watercolor as far as he could.
Then, when Marin was 63 years old, he seems to have had a minor crisis related to his potential legacy. He wondered if his watercolors would be enough to secure his place in history. In 1933 he bought a house in Cape Split, Maine — and started painting in oil.
An exhibition on view now at the Amon Carter Museum of American Art in Fort Worth explores the work Marin made between 1933 and the end of his life twenty years later, demonstrating how he tackled oil paint even as he continued in watercolor. The show was co-organized for the Portland Museum of Art and by the Addison Gallery of American Art by one of the top scholars of American modernism and this week’s podcast guest, Debra Bricker Balken. Before curating“John Marin: Modernism at Midcentury,” Balken organized exhibitions of Arthur Doveand of Dove and Georgia O’Keeffe.
[Image: John Marin, Hurricane, 1944. Collection of the Indianapolis Museum of Art. A detail from this painting is in this week’s MANPodcast.com banner.]
In our conversation Balken and I discuss:
Why John Marin bought his house in Cape Split and how it impacted his work;
Why he started painting in oil;
How much attention he paid to the rise of abstract expressionism — and how much the abstract expressionists paid to him;
Whether Marin painted ambidextrously (!);
Marin’s now-rare painted frames; and
Whether Marin had a significant impact on Jackson Pollock.
In this week’s draft segment, Ed Schad and I look at artists whose work is featured in exhibitions and scholarship launched as part of the Getty-funded Pacific Standard Time initiative and who we think deserve in-depth, sustained attention from curators, critics and collectors. Schad is an assistant curator at The Broad Art Foundation and a critic who publishes in ArtSlant magazine, in LA Weekly and on I Call It ORANGES.
Image: John Marin, Hurricane, 1944. Collection of the Indianapolis Museum of Art.](http://24.media.tumblr.com/tumblr_lv3g510bpm1r5tlawo1_500.jpg)
This week’s Modern Art Notes Podcast features a new exhibition of John Marin!
The American painter John Marin is typically regarded as one of the two or three greatest American modernists. Since Cezanne, no painter has made watercolors that are as vibrant as Marin’s, and you’d be hard-pressed to find any artist who made the medium as central to his experiments as Marin did. Marin didn’t just paint watercolors, he collaged them, scuffed them, drew on them and pushed watercolor as far as he could.
Then, when Marin was 63 years old, he seems to have had a minor crisis related to his potential legacy. He wondered if his watercolors would be enough to secure his place in history. In 1933 he bought a house in Cape Split, Maine — and started painting in oil.
An exhibition on view now at the Amon Carter Museum of American Art in Fort Worth explores the work Marin made between 1933 and the end of his life twenty years later, demonstrating how he tackled oil paint even as he continued in watercolor. The show was co-organized for the Portland Museum of Art and by the Addison Gallery of American Art by one of the top scholars of American modernism and this week’s podcast guest, Debra Bricker Balken. Before curating“John Marin: Modernism at Midcentury,” Balken organized exhibitions of Arthur Doveand of Dove and Georgia O’Keeffe.
[Image: John Marin, Hurricane, 1944. Collection of the Indianapolis Museum of Art. A detail from this painting is in this week’s MANPodcast.com banner.]
In our conversation Balken and I discuss:
- Why John Marin bought his house in Cape Split and how it impacted his work;
- Why he started painting in oil;
- How much attention he paid to the rise of abstract expressionism — and how much the abstract expressionists paid to him;
- Whether Marin painted ambidextrously (!);
- Marin’s now-rare painted frames; and
- Whether Marin had a significant impact on Jackson Pollock.
In this week’s draft segment, Ed Schad and I look at artists whose work is featured in exhibitions and scholarship launched as part of the Getty-funded Pacific Standard Time initiative and who we think deserve in-depth, sustained attention from curators, critics and collectors. Schad is an assistant curator at The Broad Art Foundation and a critic who publishes in ArtSlant magazine, in LA Weekly and on I Call It ORANGES.
Image: John Marin, Hurricane, 1944. Collection of the Indianapolis Museum of Art.
The art: Estelle Ishigo, September 4, 1942, 4:30pm. Dust Storm, Japanese Relocation Center, Heart Mountain, Wyoming, 1942.
The news: “Dust Bedevils the Southwest,” by Stephanie Simon in the Wall Street Journal.
Nota bene: In the 1930s, dust storms in the midwest led to a farm crisis. In the next decade they would render even more miserable the internment camps into which the U.S. government forced Japanese-Americans during World War II. Both Ansel Adams and Dorothea Lange made pictures of dust storm-related conditions at Manzanar, in California. Further west, in Wyoming, the War Relocation Authority commissioned Ishigo (one of the few Caucausians to be interned) to document her experiences at Heart Mountain in paintings and sketches. — via the finding aid for UCLA Library’s Estelle Ishigo Papers (1941-57) biographical material, part of the library’s Japanese-American Research Project.
The source: UCLA Library, Department of Special Collections, via Calisphere.
The art: Aelbert Cuyp, The Maas at Dordrecht in a Storm, 1645-50.
The news: Hurricane Irene is closing in on the Eastern seaboard. For a 21st-century view of a storm, see “Hurricane Irene’s Terrifying Scale as Seen From Space,” on TheAtlantic.com.
The source: Collection of The National Gallery, London.
Note: Before there was The Weather Channel, there was art. Throughout the day 3rd of May will post examples of artists thrilling to big, bad, threatening storms.
The art: Mia Pearlman, Tornado, 2007.
The news: “Closeup: April’s Tornado Outbreaks,” an awesome big-idea view from Andrew C. Revkin and the New York Times’ Dot Earth blog.
The source: miapearlman.com
The art: Francis Alys, Tornado (still from a 39-minute video), 2000-2010.
The news: “Joplin, Mo. Tornado is deadliest since 1953, death toll at 117,” by Nicholas Riccardi and Michael Muskal in the Los Angeles Times.
The source: Collection of the Museum of Modern Art, New York. On view now in “Francis Alys: A Story of Deception.” At MoMA’s exhibition website, where you can see a video of the piece, the museum presents a narrative for how Alys intended the piece to be read. This week it reads mostly as ‘danger, flirted with.’
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