Celebrating a new and much needed coat of paint!
Designed by the Norwegian architect Peter Andreas Blix (1891). Western Norway once had many of these extravagantly romantic hotels, mostly from the late 1800s. Some were victims of savage modernization in the 1960s, some burned down. Many of those still standing struggle to stay on the right side of the shabby-chic divide.
Tell it like it is
The cutthroat business of contemporary art.
Sign for the Christopher Henry Gallery in the Lower East Side of Manhattan, New York. Probably by New Mexico artist Max Carlos Martinez.
L’heure du loup 01
Praia da Torre just before sunrise.
Tile work at the Prince Street subway station, New York.
”The 2004 artwork, Carrying On, is by Janet Zweig. It uses water jet-cut steel, marble, and slate to create a mural along the entire length (totaling 1,200 feet) of both platforms. The 194 different frames in this frieze detail contain images of New Yorkers from all walks of life. As the title suggests, almost all of the images involve carrying something” (Wikipedia).
Paint about what you know
Nikolai Astrup (1880-1928) - Cowshed courting (1904). Part of a large collection of Astrup’s paintings owned by a Norwegian bank, on permanent display at KODE Bergen Art Museums.
At this point Astrup had returned home to his parents in the village of Jølster after a couple of years away studying in Kristiania (Oslo) and Paris. He was 24 and single, but looking. He would marry three years later a 16-year old girl called Engel, the daughter of the farmer across the lake from whom Astrup had rented a room to serve as his atelier.
Kitchen interior (1890) by Frits Thaulow (1879-1906). In the collection of KODE, Bergen Art Museums.
Saturday morning traffic
Navigare necesse; vivere non est necesse - said general Pompeius Magnus, 106 B.C - 48 B.C.
The state we live in
Shock and awe (to the right) and Twins (2006-2009) by American artist Judith Shea (b. 1948). Shea created these two pairs of mannequin-like figures covered in grey felt in response to the events of 11 September 2001, which she we witnessed from her studio in lower Manhattan. They evoke specifically her recollection of the mannequins in the Brooks Brothers storefront facing the World Trade Center that appeared to be staring at the devastation above them. In the collection of the Yale University Art Gallery.