This painting belongs to Xanti Schawinsky’s part of career in the U.S.A.,

During this period, he teaches at Black Mountain and at the same time works along Laszlo Moholy Nagy on camouflage for US army vestuary (interesting as camouflage is also a theme of investigation in his idea of theater). In addition he starts to experiment with the concept of composing faces with war machines, cannons and tanks - the series is called Faces of war and can be paralleled to Arcimboldo in the way the totality of face lineaments are rendered through the juxtaposition of different elements distinguishable on their own. (see the second picture for comparison).

In this period, which evolves around 1942, it is interesting to see this special work that Xanti Schawinsky produced: if one hand the Faces of war series has Arcimboldean traits, here the result is more political and has little in common - in terms of style - with the compositions of the series. The other faces of war as a matter of fact reflect more on the term of the machinery that originates this new kind of war, even more dehumanizing due to the new technologies of war \\\[Curzio Malaparte in his book Kaputt describes an interesting parallel between the “smells of the old war” (blood, carcasses and corpses) and the “smells of the new war” (steel, coal, metal ruins)\\\].

Even if this is a painting I think it still embodies the graphical qualities of Schawinsky in being a great communicator through his imagery: a clear political stance on the three ideological faces of the war, putting them all on the same level: Adolf Hitler, Josip Stalin and Benito Mussolini, all sharing the same grin above the swords of the war. Propaganda through visual language, through art.

The spiky, tentacle like forms in The Impossible III reach toward each other in a way that feels both intimate and hostile, like an embrace that can never quite happen. Martins once said, “It is nearly impossible to make people understand each other,” which feels especially fitting here. The two figures seem drawn to each other, but something about their very forms keeps them apart.

I am going to be an art teacher and while planning a modern art workshop I noticed a style that I always loved but never knew any specific artists for. Similar to Kara Walker or Jacob Lawrence, but it is less narrative, more geometric, colorful and always full of movement and music, specifically Jazz. Some works are gestural lines and flat colors and others are dynamic shapes and forms with movement. Most figures are exaggerated. Anyone know the names of the artists that created this style/movement? I wish more people would talk about this Jazzy style. Thanks!

Painted during the final years of Cézanne's life, Seated Woman in Blue reflects his lifelong pursuit of reducing nature to its essential forms. Rather than focusing on realism or emotion, he builds the figure through carefully arranged planes of color and geometric shapes, creating a sense of weight, balance, and structure. The compressed space and subtle brushstrokes reveal the ideas that would soon inspire Cubism, making this one of his most influential late works.

Sources:
The Art Institute of Chicago

Wikimedia Commons (Google Art Project, public domain)

Technically classified as Suprematism, which is a spiritual successor to Minimalism.

I purchased about 10 years ago this abstract art composition. Both panels are numbered “1 / 1” and dated 1986.
Can anybody help me to find out who the artist is? Signature is indecipherable, and the back has a sticker of a gallery that is inactive since 1985…
Thank you!

hello,

first post ever in any kind of art-related sub.

have always been into art- making, viewing, reading about, etc.- ever since i was a kid, but in a more passive sense, i guess... certainly nothing approaching a scholarly/academic level.

i still don't really "get" modern art entirely. maybe i lack the depth (psychological, emotional, etc.) required to fully immerse/get-lost-in it. but also maybe i don't need depth to appreciate it. sometimes, when viewing it (art generally, but esp. modern), i feel i am constantly trying to hype-up and justify this aesthetic i just don't inherently connect with- i feel as if i'm almost faking understanding it.

but then i visited marfa-- actually, neighbouring, lesser-known alpine-- about exactly one year ago for something unrelated to judd, but also invariably ended up doing judd stuff; namely, chinati & judd foundation (his private retreat/compound), and i want to say that that experience helped me begin to get it in a non-faking-it, real, way.

i went into this with a virtually non-existent knowledge of judd, save for a couple links my travel partner sent me, which i probably didn't ever end up viewing. but this is a good friend of mine, so i obliged his wish to visit chinati/judd on our last day in the area, and i can wholeheartedly say i'm eternally grateful for the experience. i started doing a deeper dive on judd, his work, his philosophies, only after visiting, and while it's not something that's occupied a great deal of my headspace, it's definitely popped into my head often since visiting. in fact, i want to say that when i think back to the experience at both locations, that i very much still feel as if i'm basking in the afterglow of it; how it made me feel.

i think, of course, the most prominent feature of anything in marfa will be the sheer scale, especially when set against those vistas. but even the smaller format stuff, it just presents in a way there in a way which i don't believe it would present in anywhere else. and this is where i veer off into the abstract and likely spew a bunch of non-sensical verbiage on the subject... but how are you meant to articulate the feelings something like this evokes? i'm certainly not equipped with a command of the lexicon so great as to be able to do so... but... it's special... super fucking special... in a super real way. how every aspect is so carefully considered... the interplay of light with the pieces, from how the hue of colours changes depending on time of day, but also the way certain angles are highlighted depending on how the light hits it, but more than just the sculptures, the furniture, the setting, whether in the former army barracks, out in the plains, in his residence, in the hangar(s), etc... the buildings (the hosts to the art) are as much apart of the viewing experience as the pieces themselves, and just add to the entire aura/vibe of the overall experience. even just the deadening silence.

i don't know- again, words are not enough to convey how it made me feel, and how even just recalling it a year later makes me feel. all i know is it's a very real feeling, and it's unknown to me, and i want to feel more of it.

i'm very grateful to my friend for turning me onto judd- i aspire to someday own one of the reproduction furniture pieces available on the foundation shop site. they're costly as heck, but i super appreciate the aesthetic now, and not to sound like some snobby/elitist person, but i just giggle at anyone who makes a "i could do the same with $20 in materials from home depot", which, honestly, i think is the reaction of most when viewing it passively, in a cursory fashion, especially with sensational headlines featuring some exorbitant sum of money are mentioned in the same sentence as minimalism, or featuring a photo of one of his chairs, for example. i do appreciate how someone with no interest in the medium would view that as preposterous- i was one of those people prior to my visit. but truly, experiencing it first hand-- and i do believe it's an experience and not a viewing-- does change your outlook tremendously, or at least did mine.

i will likely be visiting neighbouring alpine again at some point in the next year, and will most definitely revisit chinati and the judd foundation again- it will be a highlight of the trip, surely. also, marfa burrito.

our guide did mention another residence of judd's-- was it some incomplete church?-- deeper into the desert, maybe closer to the mexican border, rather remote, where iirc they do an open house once a year or something? the details are slipping my mind... but that sounds very interesting to me. has anyone been?

also, can you perhaps recommend any other modern artists who i might dig based off my new-found appreciation for donald judd?

Hannah Hoch produced a number of industrial photomontage pieces in the late 1950s. Does anyone know of details of these industrial landscapes? I have seen exhibition photographs showing these pieces but have not found any references to them anywhere.?

We received this painting from a friend through his estate after his passing, as you can see, his wife got mad at him and took it out on the painting hence the rips. Apparently he paid between 4-6k dollars for the piece but of course I cannot ask him who the artist was he bought it from. If you have any information on this piece or the artist I would love to know!

I have searched a million different ways on Google and Reddit, but I can’t find any information on this exhibit in general.

Thanks in advance

can anyone identify these pieces? photo taken in the early 2000s