AMSTERDAM, May 19, 2010 last Monday May 17. Ting died in New York after he was moved from the Netherlands two weeks ago. Ting suffered a brain hemorrhage in 2002 in his home in Amsterdam, the town where he lived since 1985. His most popular theme was the female nude surrounded by lush flowers and animals, painted in his typical way. Brilliance and vitality characterizes Ting’s painted women, flowers and animals. Ting came to prominence in the 60s along with pop giants like Andy Warhol, Roy Lichtenstein and Tom Wesselmann.
The art scene in New York was buzzing in the 60s; the Abstract Expressionist period was at its absolute peak while the Pop Art movement was born. Andy Warhol and Tom Wesselmann became Ting’s close friends. Roy Lichtenstein lived next door to Ting. It is in this exciting era that Ting together with the artist Sam Francis developed the idea to publish a book with 68 original colored lithographs, a book that would reflect the various artistic currents of the time. This ambitious and unique plan was realized in 1964; One Cent life was published in an edition of 2000 copies. Colored lithographs by Pierre Alechinsky, Karel Appel, Jim Dine, Sam Francis, Asger Jorn, Roy Lichtenstein, Claes Oldenburg, Mel Ramos, Robert Rauschenberg, Jean Paul Riopelle, James Rosenquist, Bram van Velde, Walasse Ting and other artist made this publication a big success.
One Cent life became the proclamation of a new generation of painters and is now a reference in the history of modern art.
Ting’s painting career was honored by numerous prices and shows. His works are in the permanent collections including The Guggenheim Museum and MoMa in New York, The Chicago Art Institute, The Tate Gallery, London, Centre Pompidou, Paris, The Hong Kong Museum of Art, among others.
A great friend will be missed. Thank you for everything Walasse.
“Corneille, Dutch Artist With a Lyrical Modernism, Dies at 88
By LIZ ROBBINS NYTIMES
The Dutch artist Corneille, who created lyrical, expressionist paintings bursting with color and who was one of the founders of the postwar European art movement known as Cobra, died on Sunday in Paris. He was 88 and lived in Paris.
His death was announced by the Cobra Museum of Modern Art in the Netherlands.
Corneille was best known for radicalizing the conservative Dutch art world in the early 1950s, making modern art not only acceptable, but embraceable as well. He placed familiar subjects — birds, cats, women and landscapes — in mythological and often childlike contexts, imbuing them with spontaneity and bright, sensual reds.
“I am a painter of joy,” Corneille remarked at a 2007 exhibition of his work at the Cobra Museum, said Katja Weitering, the artistic director of the museum, in Amstelveen, near Amsterdam.
“He was really an artist for all people,” she said. “He was open to the audience; he appeared in documentaries, on television, and frequently visited exhibitions. It’s safe to say we consider him one of the most important modern artists of the postwar.” In the Netherlands, she added, his fame and influence derived from the appeal of Cobra.
Born Guillaume Cornelis van Beverloo to Dutch parents on July 3, 1922, in Liège, Belgium, Corneille was influenced by Miró, Picasso and Paul Klee but claimed the most profound connection to van Gogh because of their shared passion for color, form and nature. He is to be buried in a plot near the grave of van Gogh in Auvers-sur-Oise, France, Ms. Weitering said.
Corneille founded Cobra in 1948 with five other artists, including his close friends Karel Appel and Constant Nieuwenhuys. The name was an acronym made up of the artists’ home cities — Copenhagen, Brussels and Amsterdam. The artists drew inspiration from surrealism, but believed that style promoted too much discussion and not enough action, Ms. Weitering said.
Instead, Corneille and his friends formed a united front in postwar Europe, urging a break from tradition and toward freedom and vitality. In an intense three years, Cobra produced two major international exhibitions and published 10 issues of a magazine for which Corneille wrote poetry. Cobra disbanded in 1951, saying it had achieved its goals, and the artists returned to their individual careers.
Corneille began his artistic life in 1940, studying at the Academy of Fine Arts in Amsterdam. Though he made his home base in Paris in the early 1950s, he traveled extensively in Africa, Cuba, Brazil, and Mexico. In Africa he became fascinated by the colors, smells and cultures, Ms. Weitering said, collecting brightly painted objects like the masks he later used as themes. He also spent time in Italy, Israel and San Francisco, expanding his repertory to include etching, ceramics and printmaking.
Beyond the Netherlands, Corneille’s work is in the collections of several American museums, including the Fine Arts Museums of San Francisco and the Museum of Fine Arts in Boston.
He is survived by his wife, Natacha, and their son, Dimitri.
Ms. Weitering said she recalled a television interview Corneille did several years ago in the Netherlands, in which he talked about his natural optimism.
She said: “I remember Corneille saying, ‘There are people who believe in heaven after they die. I believe in heaven on earth.’ ”
“In the years immediately after WWII, the ideals and politics of Europe were fragmented and unstable. Before the war Paris had been regarded as the artistic capital of the world. However with the new balance of power and the increased presence of North America in Europe many artists felt blocked from the Paris they once knew and sought instead for an alternative haven for an increasingly modern art movement that was emerging.
This movement became known as CoBrA (an acronym, composed of the first letters of the capital cities Copenhagen Brussels, and Amsterdam) and existed between 1948 and 1951. Despite the short period of its existence, CoBrA has been noted by art historians and in wide circles as the most important event m the history of modem European art, after the Second World War. For it was within Denmark, Holland and Belgium that artists found refuge and acceptance for their emerging and often times experimental aesthetic. The fundamental CoBrA artists were Asper Join, Christian Dotremont, Joseph Noiret, Karel Appel, Constant, Corneille and Walasse Ting.
Those individuals were active in broad areas of culture, and insisted that the ideas and philosophy of CobrA should be received as an active part of a newly shaped post war modern society. In addition to easel and canvas works, many CoBrA artists published poems, books and articles relating to subjects of art theory, archeology, philosophy and some Marxist theories of economics. This activist attitude reflected CoBrA’s basic idea of responsibility, founded on existential ideals of the time. Accordingly, the responsibility of the artist was to contribute to all aspects of life-.–and still remain an artist—not a politician, scientist or historian. Above all else, the CoBrA artists insisted on promoting the importance of the artistic way of experiencing life.
The CoBrA style or attitude can be described as spontaneous, instinctive~ wild, vital, colorful and during the time that it flourished, anti-aesthetic, provocative and experimental. CoBrA was inspired by primitive art, children’s drawings, folk art and mythology. The CoBrA attitude rejected Surrealism as a movement and rigorously eschewed intellectual approaches to art. It also made a conscious departure from a developing line of American movements such as Pop Art, Minimalism and Conceptual. CoBrA works glorified the artist’s instinct and often emphasized dramatic line, color surfaces, rhythms in a space, and balances and movements in a piece of sculpture.
Now fifty years after the emergence of the CoBrA movement, there is a marked reawakening of interest for these works amongst art historians, museums and private collectors alike. True to the spirit of the avant-garde, the CoBrA movement was revolutionary and identified with modem ideas regarding self-realization and humanity. The movement suggested an important connection between the rational and irrational, abstract and figurative and between art and nature. Many members of the CoBrA group continued along individual paths after the movement dissolved in 1951 and have since garnered international acclaim. The CoBrA influence on contemporary art is evident today as artists such as Walasse Ting continue to thrive and produce both paintings and poetry that reflect the original ideals of the CoBrA group as well as a dynamic contemporary sensibility.
‘THE AMERICAN PORTFOLIO – six lithographs: an introduction by Dr. Karl Lunde
The six lithographs in this American Portfolio depict seemingly happy states of American life, whether the dream of solitude, nostalgia for past decades or serenity in the present, the shopping for beauty, the joys of country life or the excitement of patterns of reflected light in a city, the dream of companionship or the assertion of self, or even the rejection of conventional modes of beauty or acceptance — they are all ordinary simple ideals and contemporary values. But what makes these particular lithographs extraordinary? What about them sharpens our vision? And how do these artists make us see ourselves critically? For things are never merely what they seem, and beneath the layer of apparent criticism or self-satisfaction lies the power to move and change.
These mature artists accept the facts of life and yet transform them into shapes of beauty, show them as vehicles of joy or of awe, revealing their wonder and their true ethical importance, and build out of them a world more real than reality itself, and of loftier and more noble import. They are all abstractions, whether they include figures or not — through simplification of form or color, and the reduction of the three-dimensional world to a two-dimensional surface — so the important thing to consider is the imagery of the print and the artist’s use of the grammar of imagery to convey meaning. In every case, the subject matter — discs of color, human figures, trees or cars — is tied very closely to the artist’s style. A consistent image is produced by the union of image and grammar, and the communication of art consists not only in this link, but in the resonance and complexity of the result. In a time of international and personal insecurities, it is not improper to consider works of art — their apparent realism, their most obvious meanings as defined by accepted associations — as something more contemplative than the activities of the day, and to search for what they can teach us about our present state and destinies and how we can find happiness in the context of our routine lives. Art, in its deepest sense, is organization out of chaos —which is meaning — and these modern works attempt to fit the pieces of our culture together. So, in a way, this portfolio shows six different ways to create order out of chaos, and to find beauty through acceptance of a world that seems to be frequently hostile and baffling. These should not be considered as works of art expressive through format or content alone; they should instead be considered from the point of view of the effect that they finally produce. Explaining the work of art — either in the sense of identification of subject matter, or of purely formal analysis (composition, light, color, line, movement) — can reduce art to the obvious.
One should rather seek to deepen the mystery and the energy, to raise around it, and around the artists, that mist of wonder which is essential to both the creative person and his admirers. Mystery is a necessary ingredient of art. As we consider these, we learn to respect the Henry Pearson as much as the Lester Johnson, the Sharon Sutton as much as the Will Barnet, the Romare Bearden as much as the Alice Neel. To arrive at a deeper enjoyment and understanding of art, we should come to understand that evaluation has no place in relationship to art, evaluation in the sense of good or bad, that some statements are more worthy than others, modern better than ancient or Renaissance better than Baroque. But, instead, that acceptance of the premise of the work of art is a necessary precondition for understanding, and that there is no mood, no emotion, no belief which should be foreign to man’s experience or sympathy.
Therefore, these works, like all works of art, should be viewed when one has time to contemplate, and the portfolio is the perfect format for doing so — because you must reserve a time to do it, to sit down, to open it, to enjoy a tactile and a visual experience. This is different from experiencing the framed picture which can be walked by, eventually as un-noticed as overly familiar furniture, Sharon Sutton’s Streets Paved in Moonlight and Candle Lit Cafes, elegantly and precisely executed in the colors of earth and sidewalks, contains the• fleeting, slippery images produced by moonlight and rain, flickering candles and crowded compressed spaces, that can cause one to slip or bump. The one thing in a painting or print that is usually stable is the frame, but in this case it shifts and slips like dislodged masonry. The distortion of the ovals that turn to circles as one moves to left or right before her lithograph, the gold reflected surfaces and shifting frame, the concave backgrounds and flat patterned discs all reconfirm the instability and insecurity of the perception of material objects, the illusion of light and movement. In this regard, it is a spiritual painting, declaring the reality of intangibles and the omnipresence of energy and light. She is a dreamer who finds her way by moonlight. In her work there is a maximum sameness in each cartouche of the design, with a maximum difference between the cartouches through placement, color and tone. This expresses, with the precision of mathematics, one of the most profound underlying principles of life: that everything is related to everything else, and everything is different from everything else.
While Henry Pearson’s witty and meticulous Judgment of Paris with 1924 Lagonda seems to be a light-hearted mock heroic illustration in story-book pastels, there is an ominous black heavy block hovering in the sky while Paris as a shepherd makes up his mind, evaluating cars and women. In an age when aesthetic values are cultivated by advertisements for automobiles, how can the bewildered youth choose his favorite woman? The car may not only be the most beautiful object in his life, it may also substitute for power and sex and ultimate destruction. The big black block in the sky is the hole without an end, an image of love and death. The women look off past it across an endless ocean, They are clothed in forms of purity — pure yellow, pure lavender, pure white — dressed in gossamer, ethereal as angels (or goddesses), unconcerned as to the outcome of Paris’ decision. It is almost as if the threatening block, this thing so unsteadily placed, watching this scene, commands Paris’ choice, just as the destruction of Troy was predetermined through the abduction of Helen, Aphrodite’s gift to Paris, Paris will again choose love rather than wisdom or worldly power, but here the lure is the irresistible car, or perhaps an irresistible way of life.
This American Portfolio contains another idyllic scene, Romare Bearden’s In the Garden. The tall, graceful woman greeting the birds and plants is gathering flowers in a basket. Upright and expansive, she is determinedly looking for beauty a garden with barnyard fowl and prickly leaves. This is a picture of jagged nature in a graceful mood. At first the action seems simple, natural, spontaneous, gentle and joyful, but the forms, are harsh, hard, man-made and aggressive, and the colors are chemical, dazzling and desperately cheerful. The rigid geometry of the lithograph and the puppet-like gestures and cut-out face of the woman make her good humor seem mechanical and automatic. Even the pattern of her dress refuses to conform to the contours of her body and maintains its own rigid integrity. i-low can one be beautiful, graceful and exuberant in a world made of such uncompromising elements? It is testimony to the dignity and spirit of this woman that the effort against odds is the beauty of her life. It is also testimony to the resilience of this artist with his collagist approach to art that he can gather the rejected scraps of mass culture and arrange them into a work of beauty.
Is Lester Johnson’s City Scene I as prosaic as it seems? Self-assured, a trio dressed in clothes which emphasize their physical nature rather than disguise it, attempt to relax in self-contained musing poses as awkward to maintain as yoga positions — positions that, however, emphasize their hips, the tightness of their clothes. Even though their legs and arms are intertwined and almost interchangeable, they all look at the world in different directions, askance through heavy eyelashes. But they seem content with physical con-tact and mental isolation. However, the freedom of their association is contradicted by their tightly closed, withholding lips. They disregard, are even contemptuous of, physical appearance in their almost classless uniform clothing and matted hair. Their accidental relations and casualness are echoed in muddy color and dripping paint. As a comment on the art of the past, Leonardo da Vinci and the Statue of Liberty are reduced to T-shirt decals and as advertisement for an Italian restaurant. Classical as Greek sculptures crowded into a metope, the figures are monumental, but uncomfortable, ego-inflated, narcissistic, inflated as balloons and squeezed against the limits of the image. Although accepting and uncritical of the subjects of his lithograph, this artist is critical of art and the academic rules of art in many ways: he avoids finish and perfection and elevating subject matter, but he does express everything through the figure. He is not interested in being pleasing in traditional ways; he, like, the subjects of this lithograph, asks for new criteria.
Alice Neel’s John sits like a well-known photograph of Picasso, with all his familiar attributes: the bald head, the striped sailor’s shirt and the pipe — a pseudo-Bohemian. He is all Chiaroscuro, light and dark, red and black, nothing in-between. He is, however, a complex person who doesn’t have a clear image of himself and represents many of the contradictions of contemporary life: he is old but dresses young and he is macho with ineffectual weak arms but a firm grip on his pipe. His face is asymmetrical with one eye ascending and one eye descending, a series of contradictions, Both hands are tightly clenched and his shirt binds him like a mummy-wrapping. He is inward and introspective, but the rounded forms of his body are expansive. He represents contemporary man at an awkward age, in the middle of the journey. His problems are ours, our crisis of identity through clichés. The artist has chosen to show a man in a pose of manliness (a thoughtful pipe-smoker) and artiness (Picasso), a modern man who is asked to be all things to all people. And yet after all these thoughts have occurred, through the magic of Alice Neel’s perception one sees the man — through the disguises, through the poses — as one of us. And at that moment of clarity comes warmth and compassion. After all, who made him wish to please us? In the print Circe II by Will Barnet the subject is the most renowned sorceress of Greek mythology, best known for turning men into animals and birds; a reference to the power of woman to bewitch men by arousing their animal emotions. In this print, a fragile peaceful woman is in a contradictory element of destructive and protective qualities, the bringer of life and death. At home with birds in the tree, her face turned from us and thus unreadable, eternal and patient, waiting like a spider in a web of branches, she is a strange combination of the destructive and creative elements of woman. As the creator-destroyer with the crow — the blackest bird, a silhouette of darkness, of the unknowable and of death — she is also in a circle which removes her from the context of the four directions. She is a vision, endless like the circle, coming back on itself: thesis, antithesis and synthesis. She sits in a black tree in an intimate relationship with her black birds; presumably they are in her power. So she is at ease with the mysteries and even in control as she looks out waiting to the sea. She is the culmination of other images that Will Barnet has created; the woman with a cat (an animal that also knows the mysteries of the afterlife), the woman with an apple like Eve, the woman looking out to sea on her widow’s-walk, staring into the void, and the woman reading, blowing bubbles, or playing chess. Will Barnet creates moments of significance out of pastimes, Circe’s delicate balance in this tree reflects her precarious emotional position, but she is on her own island, comfortable and harmonious in her chosen setting. What do these images have in common, and how do they reflect the opening of the decade of the 1980’s? They all raise questions of man’s future, of the imminent destruction of peace and beauty, of the destruction of personality and a desire to retreat to nature. They capture life in its unsure, or transient moments and they all have forebodings of destruction. But in their concern for timeless values and the sense of continuity and communion that the appreciation of all of art’s forms brings, they are not warnings nor are they condemnations, since man has always puzzled over meaning and existence. Instead, they try to accept, to adjust to man’s state and to find beauty in it. From the most abstract to the most figurative they are all optimistic in their humanism. Searching for beauty and nobility, they stimulate our imaginations and show us the unity of the human mind in the variety of its forms.
DR. KARL LUNDE is the author of monographs on the contemporary American artists Isabel Bishop and Richard Anuszkiewicz. published by Harry N. Abrams, Inc., and the author of a dissertation on Johan Christian Dalil, one of the first 19th century Norwegian landscape painters. Dr. Lunde is a specialist in European Neo-Classic and Romantic Art, who for the past decade has been Professor of Art History at The William Paterson College of New Jersey. He was formerly on the staff of the Art History Department of Columbia University, New York. where he received his Ph.D., and he has also written many articles on contemporary prints and drawings.
The Romare Bearden Foundation announced today the Romare Bearden Homecoming Celebration, a seven-month, multidisciplinary schedule of programs and events designed to explore the breadth of artist Romare Bearden’s personal, creative and intellectual achievements. The Celebration was launched with a special press announcement and luncheon hosted at the historic Apollo Theater in Harlem, where the acclaimed artist once had a studio.
“New York was Romare Bearden’s home, a place he considered vital to his creativity and from which he took artistic and spiritual inspiration,” said Tallal ELBoushi, chairman of the board of the Romare Bearden Foundation. “For 14 years, the Foundation has worked to advance this great artist’s legacy. On the occasion of his nationally touring retrospective exhibition at the Whitney Museum of American Art, the board of directors and staff of the Foundation are delighted to be joined by the Celebration steering committee, which includes our institutional partners, and Altria Group, in presenting these programs and events that will deepen public appreciation of Bearden’s art and life.”
Continuing its nearly 50-year history of support of the arts, and in tribute to the legacy of a great American artist, Altria Group, Inc. announced its lead sponsorship of the celebration, with a $150,000 grant. The cultural media sponsors for the event are Museums New York magazine and Museums Traveler.com.
“The Altria family of companies is proud to help bring to New York an exciting array of public programs that honor the enormous contributions of an artist of the stature of Romare Bearden,” said A. Shuanise Washington, vice president, Government Affairs, Policy and Outreach for Altria Group, Inc. “Our commitment to, and support of, the arts date back more than four decades. At Altria Group, Inc. we believe the arts challenge us to explore new and diverse perspectives by inspiring dialogue and debate. We also believe that artists are among the most significant innovators of our time, and we look to them for inspiration and commentary on an ever-changing world. Bearden was certainly such an artist,” Washington added.
The Romare Bearden Homecoming Celebration is being held in timing with the traveling exhibition, The Art of Romare Bearden, which opens at the Whitney Museum of American Art in October. The exhibition, organized by the National Gallery of Art, is considered the most comprehensive retrospective of Bearden’s work ever mounted.
Taking place from September 2004 through March of 2005, the citywide celebration will encompass exhibitions, gallery tours and performances examining Bearden’s paintings, collages and tapestries, as well as engaging educational symposiums, panel discussions, walking tours of Harlem, jazz concerts and dance performances. Among the Foundation’s institutional partners are the Apollo Theater, the Brooklyn Academy of Music, the Bronx Museum of the Arts, the Center for Jazz Studies at Columbia University, the Jamaica Center for Arts & Learning, Jazz at Lincoln Center, The Metropolitan Museum of Art, Snug Harbor Cultural Center, the Studio Museum in Harlem, the Society for the Preservation of Weeksville and Bedford-Stuyvesant History and the Whitney Museum of American Art, among other institutions. As a kick-off to the celebration, Jazzmobile will conclude its season in September, Bearden’s birthday month, with a Birthday Party for Romare Bearden, a multi-generational jazz performance staged on Jazzmobile’s Float at Grant’s Tomb.
About Romare Bearden
Romare Bearden (1911-1988) is widely acknowledged as one of the most talented and original visual artists of the 20th century. He was also recognized for his wide range of personal and scholarly interests in jazz, dance, history, literature and world arts. Born in Charlotte, North Carolina and raised in Harlem, New York, Bearden attended New York University and studied at the Arts Students League. In 1969 he founded the Cinque Gallery with Norman Lewis and Ernest Crichlow to provide a space for young minority painters and curators to display their work and gain experience in the art world. This preeminent artist was elected to the National Institute of Arts and Letters in 1972.
About the Romare Bearden Foundation
The Romare Bearden was established in 1990 as a nonprofit organization by the estate of Romare Bearden to preserve and perpetuate the legacy of this preeminent American artist. The Foundation realizes its mission by: preserving a collection of Bearden’s artworks and extensive archives of books, articles, letters, photographs and other materials; hosting, supporting and presenting scholarly and public programs, including symposia, panel presentations and school-based programs featuring Bearden’s art and life; and providing support for and encouraging museum exhibitions and new scholarly research on Bearden and his contributions to twentieth-century art. For more information about the Foundation, visit www.beardenfoundation.org”
Most of Frank Martin’s output was commercial in a purposeful way. At a time when illustrative and decorative art in Britain flourished in publishing, journalism and advertising, he proudly called himself a jobbing artist and no one could deny the technical range of his accomplishments. It is a measure of his success that in the 1970s he held no fewer than 11 one-man shows. He was also one of the longest-serving illustrators for the Folio Society.
Martins work often had a playful quality. The sidelong glances, ripped bodices and cartoonish features (sometimes practically asking for speech bubbles) were all indications that he did not want to be taken solemnly. Naked girls were undoubtedly his favourite subjects, and he drew, painted, etched and engraved them repeatedly. He was a confident draughtsman, using strong shapes and swaggering lines full of movement. His images are straightforward, clear and affectionate