News Art Blog

By the 1960s, the two most criticized art forms in America were modern art and television.  Some critics called modern art mystifying junk, while others targeted TV as anything from trash to a threat to democracy. Revolution of the Eye: Modern Art and the Birth of American Television at The Jewish Museum, New York, hopes to redeem both media by exploring how modern art provided an ethos and aesthetic for early television — a debt repaid later as television, in turn, inspired a new generation of modern artists, including Andy Warhol, who began as a modernist-influenced graphic designer for, among other clients, television networks. By looking back at modern art and television’s mutual love affair from the 1940s to the 1970s, Revolution of the Eye challenges us to reflect on the artistic aspirations of TV’s latest golden age. Please come over to Picture This at Big Think to read more of "Eye Opening: Modern Art and the Early Days of American Television."

While advanced math and Shakespeare combine to make a nightmare curriculum for some students, for artist Man Ray, one of the most intriguing minds of 20^th century art, they were “such stuff as dreams are made on,” or at least art could be made from. A new exhibition at The Phillips Collection reunites the objects and photographs with the suite of paintings they inspired Man Ray to create and title Shakespearean Equations. Man Ray—Human Equations: A Journey from Mathematics to Shakespeare traces the artist’s travels between disciplines, between war-torn continents, and between media that became not only a journey from arithmetic to the Bard, but also a journey of artistic self-discovery. Please come over to Picture This at Big Think to read more of "How Man Ray Made Art of Math and Shakespeare."

“I don’t have students,” Man Ray allegedly told Lee Miller when she finally tracked the Surrealist down in a Parisian bar after he eluded her visit to his front door looking for tutelage. Miller became Man Ray’s student, then his lover, then his muse, and, eventually, as Man Ray/Lee Miller, Partners in Surrealism, a new exhibit at the Peabody Essex Museum, argues, his equal partner. A victim of her own beauty (her husband, artist Roland Penrose, compared meeting Lee for the first time to being “struck by lightning”), Miller continues to toil under the label of “muse” that diminishes her own artistry. This exhibition lifts that label and strikes you with the lightning bolt of realization that Miller and Man Ray developed a deep, profound relationship on multiple levels—artistic, emotional, and philosophical—that we’re still trying to understand. Please come over to Picture This at Big Think to read more of "Can Lee Miller Ever Be More than Man Ray’s Muse?"

[Image: Man Ray (1890–1976); A l’heure de l’observatoire–les amoureux (Observatory Time–The Lovers), 1964, after a canvas of c.1931; Color photograph; 19 5/8 x 48 3/4 in. (50 x 124 cm); The Israel Museum, Jerusalem; © 2011 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris/ Photo © The Israel Museum by Avshalom Avital.]

[Many thanks to the Peabody Essex Museum for providing me with a review copy of the catalog and other press materials related to Man Ray/Lee Miller, Partners in Surrealism, which runs through December 4, 2011.]

“Scandinavian Pain” burns crimson in the night in one photo by Ragnar Kjartansson featured in the new exhibition North by New York: New Nordic Art in celebration of the centenary of the creation of The American-Scandinavian Foundation. That phrase could serve as the motto for much of the work that appears in this choice selection of contemporary Nordic art curated by Robert Storr and Francesca Pietropaolo. This cross-section of modern angst from the territory of Munch, Ibsen, and Sibelius updates that Nordic sensibility for a new age and shows how these artists use new media to convey that old message. As Mieskuoro Huutajat, also known as the Screaming Men’s Choir (image above), prove, this new wave of hot art from a cold climate is something to shout about. Please come over to Picture This at Big Think to read more of "Is the Hottest New Art Coming from Chilly Nordic Countries?"

[Image: Petri Sirviö featuring Mieskuoro Huutajat (Screaming Men’s Choir), Sorry Speech, 2010. Video stills—4 images total; 3-channel video installation, 3 min. synchronized loops, sound. Courtesy of the artist.]

[Many thanks to The American-Scandinavian Foundation for providing the image above from and a review copy of the catalog to North by New York: New Nordic Art, which runs through August 19, 2011.]