Kirsteinfineart Shopify


Which video below do you like better? Vote for #1 or #2 in comments below, then go see The Justice collection at:

Two feel good videos for https://kirsteinfineart.myshopify.com

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Justice: You Know You Want It!


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The Justice Collection gives you a way to speak your truth, with the bold statement of a Chinese Character representing the word Justice. Speak your truth in a variety of ways, with coffee/tea mugs, tshirts, dresses, tops, shower curtains, duvet covers, and more. I invite you to find all these items in my new Shopify store:

 

http://kirsteinfineart.myshopify.com

 

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Click on thumbnails to enlarge.

 

 

 

 

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You’ll love this idea!


 

 

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http://kirsteinfineart.myshopify.com

Hi everyone!

First, I want to let you know that I am getting ready to feature more awesome, creative fine artist painters in the very near future, but I have been recently sick. I think I’m finally getting better because today I had the strength to plant some herbs and flowers. A very God sign (I meant to type good, but God works just as well) ,  I think!

In the meanwhile, I wanted to share my new line of mix and match “Circus Buddies” items to delight your Inner Child! I am opening up a Shopify outlet on my Facebook page Kirsteinfineart in 5 days, but you can get your items at a discount early  click   here.

Browse the collection, and let me know if you have a favorite! If you choose to click the above link, it will take you directly to my manufacturing outlet Fineartamerica. Here is how it works. Click on an image you prefer in all Circus Buddies images. Then look to the right for a menu of all the various items. You will see many choices: pillows, duvet covers, shower curtains, prints, posters, cards, totes, beach towels, etc.

Have fun “shopping” with my Circus Buddies!

I hope to be back in gear in a few more days, so can get out some more artist features! Meanwhile, enjoy your summer!

 

Jan Kirstein

Click on these thumbnails to enlarge.

Reading Cy Twombly: Poetry in Paint


Reading Cy Twombly

By Mary Jacobus

September 16, 2016
ARTS & CULTURE
These images, selected from my book Reading Cy Twombly: Poetry in Paint, indicate the range and provocation of Cy Twombly’s works on canvas and paper, pointing especially to his inventive use of literary quotation and allusion throughout his long career and his relation to poetry as an inspiration for his art.

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Twombly’s working copy of a paperback translation of Three Secret Poems, by the twentieth-century Greek poet George Seferis, shows his hands-on approach to quotation and revision as well as paint stains from his work in progress. A number of marked passages reappear in Twombly’s paintings of the mid-1990s, notably in Quattro Stagioni (1993–94) and Say Goodbye, Catullus, to the Shores of Asia Minor (finally completed in 1994).

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One of a sequence of related drawings, Venus and Adonis (1978) wittily alludes to Shakespeare’s poem of the same title. Along with a series of cleft heart-shaped (buttock-shaped?) and phallic forms poised in suggestive proximity, each drawing contains a flower-like scribble and a foldout book. Perhaps Twombly is alluding to the “flowers” of poetry as well as to Venus’s rival, the boar who gores Adonis with his amorous tusk.

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Il Parnasso (1964) riffs on Raphael’s Renaissance fresco in the papal Stanza della Segnatura. Twombly responds in his own fashion to the auratic cultural icons of Rome, drawing attention to the missing role of painting in the representation of learning and culture. The play of line replaces the playing of Apollo’s lyre at the apex of Raphael’s design. Signing himself in the shuttered rectangular window around which Raphael’s fresco arches, Twombly draws attention to the flat surface of the “wail” or support.

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The early series of works on paper Poems to the Sea (1959) shows Twombly’s use of horizon line, wave signs, and quasi-writing, along with thick creamy paint, to eroticize the abstract play of repetition. In a series that makes reference to Sappho, Twombly also seems to be alluding to the typographical experiment of Mallarmé’s shipwreck poem, Un Coup de Dés, as a sequence of rhythmic marks and blanks. Non-referential signs tussle with the impulse to “read” and “write,” as if words and thoughts were about to be born from the waters of the Mediterranean.

 

 

 

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Synopsis of a Battle (1968) takes Twombly’s blackboard paintings of the late 1960s in the direction of the era’s obsession with space travel, alluding to the blackboard calculations of NASA scientists as well as his own fascination with weightlessness. Abstruse mathematical formulas and recurrent fan shapes suggest orbiting gyrations, rather than battle formations. Cyanotype blueprints for gravity-defying Gemini and Apollo spacecraft were widely available at the time. Here, Twombly designs his own prototype.

 

 

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Twombly’s paired paintings, Bacchus Psilax and Bacchus Mainomenos (2004) show the winged Bacchus morphing into his identical twin, the raging mad god who unleashes a title of blood. Painted during the bloodiest years of the Iraq occupation, when the first and second Battles of Fallujah brought the heaviest urban fighting since the Vietnam War, the Bacchus series has been linked to the fury of Achilles’s twelve-day brutalization of Hector’s body, towed around the grave mount of Patroclus. Twombly’s work elsewhere refers to the destruction of Sumerian cultural heritage.

 

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CY TWOMBLY, HERO AND LEANDRO, PART II, 1981–84. OIL-BASED HOUSE PAINT, OIL PAINT (PAINT STICK) ON CANVAS, 61 3⁄8″ × 80 1⁄2″. © CY TWOMBLY FOUNDATION. PHOTO COURTESY KARSTEN GREVE, ST. MORITZ.

The middle painting from Twombly’s sequence, Hero and Leandro (1981–84), suggests his interest in the whiteout—an obliteration that is also a kind of memory. As the sea washes through the story of Leandro’s drowning, the liquidity of water and paint eradicate the visible. Drawing on another Mediterranean narrative, Twombly combines his lifelong fascination with the sea with the erasure of a forgotten name, hidden in the darkness at lower right—not Leandro’s, but Hero’s.

 

 

 

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CY TWOMBLY, UNTITLED (TO SAPPHO), 1976, OIL, WAX CRAYON ON DRAWING CARDBOARD, 59″ × 53 1⁄4″. © CY TWOMBLY FOUNDATION. COURTESY ARCHIVES FONDAZIONE NICOLA DEL ROSCIO.

Twombly’s “homage” to Sappho in Untitled (To Sappho) (1976) creates an erotic visual poem out of Sappho’s fragmentary epithalamium, using purple (the mark of consummation and death) both to celebrate and to mourn Hyacinthus’s death and transformation into a flower. The juxtaposition of paint and poetry marks the conjunction of the pastoral strain and the pastoral “stain”—painting and sexuality. Twombly’s relation to pastoral suggests, not so much nostalgia as the modern artist’s inextricable entanglement with sociality.

 

 

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CY TWOMBLY, ORPHEUS, 1975, COLLAGE: OIL PAINT, COLOR PENCIL, SCOTCH TAPE ON PAPER, 55 1⁄2″ × 39 3⁄8″. © CY TWOMBLY FOUNDATION. COURTESY ARCHIVES FONDAZIONE NICOLA DEL ROSCIO. PHOTO: MIMMO CAPONE

Twombly’s recurrent preoccupation with Rilke’s Orpheus sonnets emerges in numerous paintings, drawings, and sculptures. His collage Orpheus (1975) quotes from Rilke’s “Be in advance of all parting” (“be a ringing glass that shivers even as it rings”), beneath a repeated broken line that seems to record a break in the fabric of life. Here, an oblique line has its start in the faint pink of erotic passion. Spare and epitaphic, the broken ascent echoes Rilke’s emphasis on “the realm of decline” inhabited by the poet.

This article originally appeared in the Paris Review.

 

 

 

 

 

 

 

 

Nancy Hirsch Lassen: Collectors’ Choice


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https://www.nancyhirschlassenartist.com

ABOUT NANCY HIRSCH LASSEN
Artist’s Statement

I adore color. . .that’s my passion and, I think, my special gift. I especially love the juxtaposition of color and the evolutionary interplay of color on canvas. Purely contemporary, non-representational paintings intrigue me most at present. I begin my process with lots of texture, line, brushstrokes and glazes, then follow the paint’s lead. The challenge is to keep the excitement of the process evident in the final product. . .fresh and exhilarating!

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The Artist

Nancy Hirsch Lassen is a native of Baton Rouge, Louisiana. She discovered her passion for art early on, and pursued a career in art and interior design. She received her BA degree from Newcomb College in 1975, where she spent her junior year attending the University of Madrid studying art history in the Prado. After Newcomb, Nancy remained in New Orleans where she started her own design firm, Interiors & Extras, now in it’s 30th year.

She is currently represented by Bev’s Fine Art in Raleigh, North Carolina, Bay Life in Bay St. Louis, Mississippi, and has produced numerous commissions in New York City. Recently, forty-eight original pieces were commissioned and installed in the new University Medical Center in New Orleans and she was one of twenty finalists in the Bombay Sapphire New Orleans show. She has commissioned works in the Federal Reserve Bank of New Orleans and her paintings have also been featured in movies and television shows filmed in the New Orleans area. Nancy always looks forward to and welcomes exciting and inspiring new projects and commissions.

 

Lee Brewster: To Capture a Moment in Time


 

 

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If an artist can capture a moment in a lightening strike of eloquently drawn lines and painted strokes of pigment, then why do so many artists feel it is necessary to overlabor over creating ? Is a rendition of the moment with dutiful work ethic, and a heavy sense of responsibility always more valuable than a direct moment of complete insight?

By viewing paintings by  Lee Brewster, one can see that it is entirely possible for  an artist to perfectly align with the universe in a delightful harmony, and capture this moment of spontaneous truth. When this happens, you have a major miracle.

This is the work of painter Lee Brewster, who’s baby steps capture the larger heart and soul of reality in a most certain, profound and complete way.

Jan Kirstein

 

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“today in the studio I had one of those sacred moments. it brought me back to why I love art-making & came when I added a thin layer of white to parts of this little paper piece. I can’t say that it’s done, but it is much improved by what was added today. this piece has been sitting in my studio…waiting. i never gave up on it when it was ugly & awkward, because I saw something worth saving in it compositionally. i love the messiness (or mistakes, if you choose to call them that) from the past & that you can still see shadows of them. mostly I love what I learned about life: that for all those times when I didn’t look like much, someone saw something in me worth keeping around & investing in. someone had a vision for what I would become. so…this little piece of paper with black & white marks on it was my teacher today. she’s is imperfectly beautiful & wise & worthy and I’m calling her “grace”

Lee Brewster

Artist

Franklin, TN.

 

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Canal Cheong-Jagerroos: Field of Dreams


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Canal Cheong-Jagerroos’ paintings combine the best of Eastern and Western cultural perspectives to present paintings rich in surface, sensitivity and sensibility. Some of her paintings are created on rolls of rice paper and some hang from the wall in a scroll motif, extending down to and across the floor in a continuing flow of tactile viscerility.   References to Eastern calligraphy combine symbology, characters and scroll format with Western influences of the freedoms inherent in abstract expressionism to envelop the viewer in an ocean of texture, shape, movement and tactile presence.

Jan Kirstein


Canal Cheong-Jagerroos (b.1968) is a Chinese contemporary visual artist who grew up in an artistic family in Macau. She currently lives and works between Helsinki, Nice and Berlin.

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Canal Cheong-Jagerroos has since lived and worked for 25 years in numerous countries from Asia to Europe and Africa before settling with her family in Finland. The unique experience of having lived in such culturally diverse cities and countries, namely; Hong Kong, Shanghai, France, Switzerland, Italy, Africa and Finland has influenced her work greatly. Therefore, whether as consciously or subconsciously, these exceptional cultural experiences have shaped Canal’s later works. Canal has discovered that walking the line between the east and west, facing different cultures, can be both constructive and destructive, but always inspirational.


In 1992, Canal began working in Chinese freehand style brush-strokes inspired by Chinese ancient abstract great master Bada Shenren’s (1626—1705) and influenced by her mentor Laozi (530 BC), a contemporary of Confucius during the 5th century BCE. This has motivated her shift of focus to ancient Chinese symbols and combining them with modern daily elements to extract the utopianism world. In the process of this exploration——through tearing, destroying, separating or even inadvertently trampling on the rice paper on which the artist has already painted, she was then overlapping layers and layers of the paintings with Xuan paper on the canvas. The whole creation process is fully involved with construction, deconstruction, and reconstruct. By using multiple layers of rice paper, acrylic, ink, traditional Chinese pigments and ready made objects which are incorporated together, the artist makes it possible to derive a sense of depth on canvas.; again, by blending ancient Chinese motifs and modern elements, she integrates the past with the present through symbolic creations that depict the peace and harmony of a Utopian world.


Canal Cheong-Jagerroos has won international recognition and acclaim for her unique works of fusing ancient Chinese motifs and contemporary elements. She has enjoyed considerable success over the last 20 years with over 50 worldwide solo and selected exhibitions to her credit. Her artworks have been represented in numerous prestige galleries in Switzerland, France, Italy, Sweden, Finland, Macau, Hong Kong, Africa and she was included in the 55th Venice Biennale in 2013. The majority of Canal’s works are in public and private collections worldwide.

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Canal Cheong-Jagerroos is the co-founder of the ongoing ‘Blue and Red Art project,’ which will be holding exhibitions in numerous museums in China and Finland from 2018 – 2020.

Upcoming Exhibitions:
2017 LA Art Show, Los Angeles, USA
2017 Art Palm Beach, Florida, USA
2017 Art Boca Raton, Florida, USA
2017 Artist In Residency, Beijing, China
2017 ‘Waking / 苏醒’ Solo Exhibition, Being 3 Gallery, Beijing, China
2017 Art Southampton, NY, USA
2017 Finlayson Art Centre, B&RAP, Finland
2017 Basel Art Center, B&RAP, Basel, Switzerland
2018 Xian Art Museum, Xian, B&RAP, China

www.canaljagerroos.com