From there, Franklin found homes across genres: not just a testament to the versatility of her music, but to how the world had been shaped by it. King, who made it a huge hit in In her hands and those of Dr. Aretha Franklin demonstrated her remarkable mutability on this Lauryn Hill-penned track. Thirty-eight years after Franklin released her first Columbia single, she put the ascendant wave of neo-soul singers on notice and scored a Top 30 hit.
Mayfield wrote it in as homage to the Rev. Martin Luther King, Jr. Yes, I could do it. This simmering flirtation chronicle from the smash album of the same name came out of a phone call between Franklin and producer Narada Michael Walden. What do you do? And her piano playing! He was the child of a preacher, like her, and often confused sacred and profane himself. The admiration, it turned out, was mutual. If we feel the same way that we do now, maybe we have a hit.
Musically, it does not grow old. It hit the pop Top 10 in October.
Though still a teen, her astonishing voice is fully formed, lighting up an occasionally dubious selection of songs. Stevie Wonder co-wrote, recorded and then shelved a version of this charmingly pushy love song in the mid Sixties. Franklin did more than revive it; she turned a leftover into one of her most transcendent singles. Working with producer Jerry Wexler and producer-arranger Arif Mardin, Aretha bore down on the craft of record-making for this song and its accompanying album, Let Me in Your Life.
Archived from the original on December 25, Fromholz, Steven Texas singer and songwriter Although our class discussions will be based on our assigned reading, we may also draw from literature, art, music, and film from outside our course in addressing the issues of colonialism, race, gender, language, culture, and representation. For the Instructor All instructor resources can be found at www. For instance, we found that fi l m editing harbored a range of possibilities that had never been systematically presented. The screenplay goes through several stages.
In her hands, romantic obsession never felt so warm and inviting. In an arrangement echoing the style of then-current Nat King Cole and Frank Sinatra recordings, wrapped in strings and a choir of background singers, Aretha torches this torch standard by Hoagy Carmichael and Johnny Mercer, who penned the lovesick lyrics for his lover, Judy Garland. But Franklin makes it her own: The note she hits near the two-minute-mark probably knocked the engineer off their chair. Sam Cooke, bar none, was one of the greatest singers of all time. No strings here; instead, a driving backbeat, call-and-response between Franklin and her backing vocalists, playful electric keyboard and hard, scrubbing rhythm guitar.
En Vogue cracked the Top 10 with a cover and the song re-appeared in the Sparkle remake. Fortunately, Franklin sought a second opinion. Eager to keep her happy, Atlantic Records renegotiated a bigger contract just over a year after she signed with the label in The track itself is peppery, full of piping horns and hot rhythm, and gathers much of its power from a Muscle Shoals-centered unit that included Bobby Womack on guitar. Franklin cries out the words until they feel like a blur while the Sweet Inspirations shout and support in the background.
Who could refuse? But the second track on her Atlantic debut LP finds Aretha as wretchedly miserable as its predecessor is powerful and uplifting. Franklin is subtly masterful, injecting alarm into her voice when she sings about finding Carmen with the devil and inserting melismatic runs into the second chorus. It was also the last track to be recorded at FAME Studios: a racially charged argument cut those sessions short.
Thirty or so strangers, sat around the perimeter of this square-shaped room, all have their eyes fixed on a rectangular hole in the ceiling—like a high-def TV with one strange channel. The mood is hushed, almost ecclesiastical. A computer-programmed cycle of LEDs starts up, bathing the interior in chartreuse mood-lifting, some say , fuchsia energizing , and a blue-gray so pale it makes the sky look wan. A tiny plane zips through the lower left corner of the frame, like an errant summer fly.
Finally, I think to myself—because there is suddenly so much space to think—I have found my meditation chapel. With the site hosting a multitude of festivals and one-off events alongside holding an impressive collection of works from the likes of James Turrell and Jenny Holzer, there is invariably much to see - even if every visit is different. Rosha Yaghmai began her artistic career making photographs. But experiments in the darkroom soon found her eager to switch gears, incorporating other materials to create multidimensional installations.
This program considers Mary Corse's experiments with painting by examining process, materials, and forms. Ticket holders are invited to view the exhibition beginning at pm. American artist James Turrell is no stranger to Australia. She has lived on the same secluded property, first with her two sons and now alone, since One side of the studio is given over almost entirely to sliding glass doors which frame a stunning view of the Santa Monica mountains, green with chaparral and live oaks, with ochre rocks jutting in between.
While Minimal artists abandoned painting, finding the category too restrictive, Corse believed the medium could be expanded beyond the flat canvas. She considers all her works paintings, from her shaped canvases, to three-dimensional constructions, to electric light boxes, to clay tiles, defining painting as any work that generates an optical experience of light.
Shire was born in in Echo Park. His mother was a fourth-generation Californian and his father was a talented illustrator and carpenter.
He yearned to be an artist from a young age, and later enrolled in the famed and now-defunct Chouinard Art Institute — although he was initially rejected from art school. It has been 11 art-filled years since Brisbane's Gallery of Modern Art first opened its doors, and the creative riverside hub just keeps going from strength to strength.
Their palette is sun-bleached — peachy, pink and lime — an aesthetic drawn equally from Art Deco, Bauhaus and his native Echo Park, LA. He trained as a ceramicist at the Chouinard Institute and then opened his own studio in Memphis was critiqued in its day as the worst kind of garish, and for toying with aesthetic taboos — the very opposite of form follows function. The sphere of darkness and dread that is evoked by the films reoccurs in the art works.
How had such a radiant work stayed under the art world radar for so long? Soft pastel light dances through the darkened space. Small personal objects, some of them incongruous such as hanging fishing lures, cast shadows. Titled Slide Samples Lures, Myths , it uses photographic slides taken by her father, who immigrated to California from Tehran to study architecture. The piece is not literal but impressionistic about the integration of experience, memory and the past.
At a particular moment, from a specific position, the viewer sees a unique configuration of brightened and flattened patches. Looking becomes a deeply individual, meditative experience that generates ideas about acceptance, change, and the fleeting nature of all things. Directionally, though, her artistic focus contrasted with her Light and Space peers.
I would paint the same in New York as California. The transitions between sections are sometimes seamless, with overlapping melodies or superimposed footage projected across a long screen. Other interludes are more abrupt, with fields of color or sudden breaks in the soundtrack. Corse has been fixated with imbuing art with light since she was a student in the s, a quest that has caused her to study quantum physics as well as pioneer new forms and media in art-making.
Regardless, she has never been the subject of a major solo show—until now. It's rare for an artist to receive her first solo museum show 50 years after accepting her BFA. The first of her long-deserved twin openings happened yesterday at Dia :Beacon , where eight works by Corse are now on long-term view until at least A pioneer of light-based art, Mary Corse is one of the few women associated with the Light and Space movement that originated in Southern California in the s.
Throughout her career Corse has experimented with different ways to physically imbue her paintings with light. Her techniques have included the use of electric light, ceramic tiles, and glass microspheres, with which she creates simple geometric configurations that give structure to the luminescent internal space of her paintings. These works open themselves up to their environment, reflecting and refracting light, and invite a perceptual encounter that is grounded in both vision and movement. The New York—based painter Mary Obering, whose elegant, sumptuous geometric abstractions imbue the spare language of Minimalism with the techniques of the Renaissance, is now represented by the Los Angeles gallery Kayne Griffin Corcoran, which will present a one-person show of her work in September.
Mary Corse is having a big year, with exhibitions this summer at Dia: Beacon and the Whitney Museum that celebrate her unrivaled ability to paint with light. His haul, a new baptistry from an online church supplier in Roanoke, Alabama, greeted me at the door. Although the plastic tub was originally designed as a cleansing pool for adults and babies alike, its jacuzzi-like shape felt more pagan than protestant. For me, it brought to mind a cartoon of an Aztec temple with its two sets of descending stairs—a resemblance that only grew stronger when the artist tipped it to show me the upright posture it would take at the fair.
First us and then the birds. Corse is an authentically Western personality, more about action than chat. My friends and family help me to persevere. The CalArts network helped me to find my way through the muck, to be around artists that are my heroes.
The access to industrial and specialty materials, because of the movie business, is incredible. I love to learn about various craft processes, and I love the endless fake versions of everything.
There are so many worlds in Los Angeles—growing up here, I was able to exist in many of them. That elasticity of experience and perspective is central to all of my work. From chalices used by European religious orders to African figural sculptures, these objects were used in rituals that connect the participant to a larger social and spiritual worldview: a function that is lost when they are brought into the museum.
In a sense, Shire alludes to this loss by making art objects that are used in everyday life, challenging a system where art objects are to be viewed and contemplated but never touched. You have to kneel on the craggy, coral-encrusted rock to reach it. Scoop the water into your palms and it hits your tongue with a bright, bursting alacrity: cold, mineral-y, fresh. It tastes clean. These are the people who stayed. One of the few women associated with the West Coast Light and Space movement of the 's, Corse shared with her contemporary a deep fascination with perception and with the possiblity that light itself could serve as both a subject and material of art.
The Los Angeles photographer, known for his unblinking images of the Southern California landscape, is one of several dozen artists, scholars, writers and scientists across the United States to receive Guggenheim Fellowships — the complete list of which is expected to be released Thursday morning. A lot of my friends have gotten them. And I finally got one. I have travelled to many out-of-the-way places but the Antarctic landscape, or my imagined Antarctica, has been on my mind for as long as I can remember.
It was like a mythical place that was rumored to be real. I visited Antarctica two years ago in January and feel like a part of me is still there. The mixed-media show opens on April 5, It was donated to the institution by the German collectors Dieter and Si Rosenkranz. The work in question is a fetching white monochrome from by Mary Corse, a foundational figure in the male-dominated Light and Space movement started in s Los Angeles. Corse treats light as a subject and material of her paintings, activating them by using refractive glass microspheres that are common in highway paint.
More than railroad ties were painted black and assembled in the center of the room, commandeering the entire space. The exquisitely designed Kayne Griffin Corcoran gallery is worth a visit for its setting alone, with the exterior walls lushly festooned with ivy. Artists shown here include big-hitters like James Turrell, Beverly Pepper and Mary Corse, along with superstar creatives such as film and television auteur David Lynch.
Only on further inspection, when Ryan boarded a kayak and actually entered into the landscape, did the utterly foreign scene begin to make sense. Spanning seven decades of work, this extraordinary gift from Pepper, one of the pioneering Contemporary sculptors, includes hundreds of drawings, prints, works on paper and notebooks — many containing sketches of her major sculptural endeavors.
This exhibition runs through April 19, Rosha has been using color therapy glasses for years now. I tried on a pair and while they may or may not alter a mood, they certainly transform the view, making common sights seem more apparent and extraordinary. Flying in the face of contemporary tendencies toward cool cynicism and overproduction, Dara Friedman offers a compact but dense oeuvre that crackles with intensity. Jutting out into the Derwent, Pharos has something of a secret chamber about it.
And there it is, a corridor and column of light. This is the first of the Turrell works, titled Beside Myself. But she was also radically different, using paint to harness light and make space within her paintings that extends beyond the physical. For years, artist Liza Ryan has carried a camera with her wherever she goes, taking photographs all over her adopted hometown of Los Angeles.
But two years ago, when she travelled by sea to Antarctica to celebrate her 50th birthday, fulfilling a life-long dream, she was stymied, unable to shoot. Occupying the entire top floor of the Louis Vuitton Maison City Center, this permanent work—something of an ocular spa—holds no more than six people at a time and operates on a minute cycle. His outdoor sculpture, a star twisted out of an illuminated street-light pole, will be on long-term view. The collection spans seven decades of work and includes hundreds of drawings, prints, works on paper and notebooks — many containing sketches of her major sculptural endeavors.
The Aspen exhibition follows the opening of "Dara Friedman: Perfect Stranger" last month at the Perez Art Museum Miami, which marked the first career survey of the German-born, Miami-based video artist's career. It drew national attention from the art world and included "Mother Drum" along with works dating back to The show opens in New York next year and will explore the expansive and unique works that Corse has created throughout her career.
The Louisiana-born painter Mary Obering still lives and works in the loft on Wooster Street that she's owned since the early s. It's one of those mythic New York stories, where an artist buys an industrial space downtown for so little that it would be maddening to even mention. For decades, Obering has been producing her boldlyhued geometric paintings there, a twist on the minimal tradition to which the artist belongs. Read more about Pharos here. Torn between a powerful cultural heritage and a national discourse on modernization, alternating between phases of openness and withdrawal, the cultural evolution of Japan in the early s was marked by major social, political and natural events.
Exhibition curator Yuko Hasegawa looks back on these turbulent decades during which Japan oscillated between globalisation and affirmation of its identity. A life-size hot tub in luscious shades of gradient orange and purple installed vertically on a gallery wall took center stage at Kayne Griffin Corcoran's two-person show featuring New York-based Mika Tajima and Berlin-based Jean-Pascal Flavien.
While making very different work, both artists investigate social relationships to built environments and attempt to expose the constructed nature of these designed systems.
The artists postulate in various forms such as architectural interventions or deconstructions of design objects, all in relation to the human subject. What could be more quintessentially L. How can we meaningfully represent—and perhaps disrupt—the opaque processes that turn our most natural gestures and intimate communications into generic bits of data to be harvested? There is an inherent dialogue in the pairing of Jean-Pascal Flavien and Mika Tajima at Los Angeles gallery Kayne Griffin Corcoran, one that explores how our physical environments probe our emotional and social states, and vice versa.
It is easy to think of architecture as fixed and permanent, but their works prove that the spaces we inhabit can be flexible and can afford their human participants a surprising amount of agency. Since his last exhibition of six copper paintings at Earl McGrath Gallery in , David Novros has been working on five monumental paintings which can be seen as his synthesis of early shaped canvas and fresco paintings. The visual impact of Obering's work is considerable.
The viewer must simultaneously register her anachronistic materials and her use of a grid to frame and structure each image. The hieratic and precious aspect of the gold leaf is lifted from its usual context, and placed in a new one, in which something indefinably different seems to be suggested than was indicated by the use of this material during the Renaissance.
There is a hierarchical relationship between the gilded and colored portions of Obering's pieces, but the works also tend to engage the entire exhibition space. The contrast of matte and glossy textures is attractive enough, but what gives the work interest are Ms. Obering's complicated colors, which actually suggest close-up outtakes from painting: a rose-red veined with blue that might derive from the Virgin's dress, a cream touched with pink from an angel's wing. All of this takes a while to register, and its handling is far too deliberate to be transcendent, but it produces an unexpected emotional pull.
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Download PDF faroutmagazine. Why is African American art having a moment? The reasons are as varied as the art itself Datebook June 2, Museums and collectors are taking notice. Public Access Art in America June 1, The photographer Anthony Hernandez tends to measure his work almost exclusively in formal phases.
View More. Download PDF artillerymag. Download PDF news. Download PDF autre. Download PDF museumnetwork. Largest David Lynch retrospective to date on show in Maastricht Deutsche Welle November 30, The director's little-known work as an artist focuses on similarly eerie themes as his films do. Lynch in Traffic CARLA November 1, When film grinds to a halt, you have photography—but painting comes just as close to the prosody of all those stalled sports cars, hermetic and inert—the way David Lynch might paint them as black cartoons.
Download PDF. Critics' Picks: David Lynch Artforum October 18, Lynch pares down the outlandish sensationalism of his best-known work in film and television, presenting lone characters and strange creatures in monochromatic landscapes. Mary Corse: Three exhibitions to see in New York this weekend The Art Newspaper October 4, The brilliant interplay of light, texture, material and technology in the work of the Light and Space artist Mary Corse can only be fully appreciated in person.
James Turrell Artforum October It was in Los Angeles that James Turrell first recognized the kinds of perceptual acuity possible in smoggy, irradiated air. Interview with Peter Shire Purple September Peter Shire, the only American member of the Memphis group in the s, has been working out of his Echo Park atelier for decades, producing huge numbers of colorful artworks that blur the line between domestic objects and abstract sculpture. Unfinished Finish Fetish CARLA September 1, A work like Yaghmai's evokes this SoCal artistic past in its use of translucent plastics, washes of colored light, and a commanding and minimal central structure — a large folding screen — that encourages perambulation.
How to Find James Turrell's Art in the Most Unlikely Corners of the Earth Architectural Digest August 27, Since the s, James Turrell, the year-old American artist who studied perceptual psychology, has been fixated on light and all the ways he can manipulate it with space and color. Charles Harlan at Tif Sigfrids August 26 - October 6, As with the summer swelling of Kudzu that blankets much of the roadside landscape of the Southeastern United States, the physical world is layered and writhing with evidence of the passing of time. Mika Tajima Joins Kayne Griffin Corcoran in Los Angeles ArtNews August 9, Artist Mika Tajima—whose reliably alluring work examines the interplay between science, corporate design, financial markets, emotions, tools of control, art history, and quite a few more topics—is now represented by the Los Angeles gallery Kayne Griffin Corcoran.
Purchase tickets here. Mary Corse: A Survey in Light The Brooklyn Rail July 11, While Minimal artists abandoned painting, finding the category too restrictive, Corse believed the medium could be expanded beyond the flat canvas.