News Art Blog

On October 3, 1948, at 3:50 pm, Peter Blume finished his epic painting, years in the making, titled The Rock (shown above). “After a turbulent decade in which Peter Blume embarked on false starts, endured debilitating anxiety, experienced self-doubt, and found his faith in the creative process renewed,” Robert Cozzolino writes in the catalog to the new exhibition Peter Blume: Nature and Metamorphosis, finishing The Rock must have been a great relief. Blume recorded that date and time the way many record the
birth of their children, for The Rock was his precious baby, but completing it marked a rebirth of sorts for Blume as a different kind of artist. Shaped by political and artistic currents of the first half of the 20^th century, Blume emerges as a difficult to categorize artist, but also as a fascinating visionary who struggled to paint a personal reality clinging to the foundation of hope. Please come over to Picture This at Big Think to read more of "How Peter Blume Painted His Personal Reality of Hope."

Now that Hurricane Isaac is off to wreck havoc on New Orleans, the 2012 Republican National Convention can get down to business. The list of people scheduled to parade across my television screen features the usual suspects (Mitt Romney, Paul Ryan, and Chris Christie) and even some unusual suspects (Lynyrd Skynyrd and Kid Rock), but one unlisted and highly unusual name really caught my eye—American architect Frank Lloyd Wright. The backdrop of the speaker’s stage (shown above)—the eye of the 4-day political hurricane—features interconnecting horizontal shapes and bands of windows meant to pay homage to Wright’s “Prairie style.” The designers hoped to convey the warmth, Midwestern flavor, and quintessential Americanness of Wright’s vision, but the additional connotations Wright brings may pose problems for Republicans or slyly send messages to supporters—all depending on how you see Wright and the GOP. Please come over to Picture This at Big Think to read more of "What’s Frank Lloyd Wright Doing at theRepublican National Convention?"

Imitation is the sincerest form of flattery, especially in the arts. Paint, sculpt, or build it right and others will try to follow your path. That truth makes Frank Lloyd Wright’s iconic home known as Fallingwater unique in that it has never been copied. “Fallingwater has no progeny,” Lynda Waggoner writes in Fallingwater, published to celebrate the 75^th year of the home’s existence. “It is a singular work that appeared almost without warning, its legacy difficult to define.” Despite that difficulty, Waggoner and other essayists define the legacy of Fallingwater by looking back to its origin in 1936 and then looking forward to how Wright’s integration of artifice and nature continues to matter, maybe more now than ever. Please come over to Picture This at Big Think to read more of "Why Fallingwater Still Matters 75 Years Later."

[Image: View of Fallingwater from below second falls. © Christopher Little from Fallingwater by Lynda Waggoner, Rizzoli 2011.]

[Many thanks to Rizzoli for providing me with the image above and a review copy of Fallingwater by Lynda Waggoner.]

From neon-lit “La-La Land” to dark, gritty L.A. Confidential and L.A. Noire, the city of angels—Los Angeles—has occupied a place in the public’s imagination in many forms. In Julius Shulman Los Angeles: The Birth of a Modern Metropolis by Sam Lubell and Douglas Woods, we see through the eyes of a true lover of the city. “My father Julius Shulman grew up with Los Angeles,” Judy McKee, Shulman’s daughter, suggests in her tender foreword. In a stunning array of black and white as well as color photographs, Julius Shulman Los Angeles tells a love story between a talented photographer and his home city, the “girl next door” that became the love of his life and to whom he devoted his talents. Please come over to Picture This at Big Think to read more of "Julius Shulman’s Los Angeles Love Story."

[Image: © Craig Krull Gallery, Santa Monica, Julius Shulman Los Angeles: The Birth of a Modern Metropolis by Sam Lubell and Douglas Woods, Rizzoli New York, 2011. Richard Neutra’s Kuhn House, 1936; Shulman’s first photograph of modern architecture.]

[Many thanks to Rizzoli for providing me with the image above from and a review copy of Julius Shulman Los Angeles: The Birth of a Modern Metropolis by Sam Lubell and Douglas Woods.]