• innerspace | interior design blog

sean scully:  the eighties

13 september-22 october 2016

mnuchin gallery | new york, NY

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sean scully | long night | oil on canvas and wood | 1985

photo credits lisa walsh | innerspace

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sean scully | by night and by day | oil on canvas | 1983

photo credits lisa walsh | innerspace

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sean scully | shelter island | oil on linen | 1982

photo credits lisa walsh | innerspace

carmen herrera:  lines of sight

whitney museum of american art | new york, NY

16 september 2016-2 january 2017

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carmen herrera | estructura roja | plywood and automotive paint | 1966/2012

carmen herrera | untitled | gouache on paper | 1966

photo credits lisa walsh | innerspace

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carmen herrera | azul tres | acrylic on wood | 1971

carmen herrera | untitled | gouache on paper | 1966

photo credits lisa walsh | innerspace

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carmen herrera | amarillo dos | oil on wood | 1971

photo credit lisa walsh | innerspace

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the blanco y verde series, 1959-1971

carmen herrera | blanco y verde | acrylic on canvas | 1966

carmen herrera | blanco y verde | acrylic on canvas with painted frame | 1959

carmen herrera | blanco y verde | acrylic on canvas | 1966-67

carmen herrera | irlanda | acrylic on canvas with painted frame | 1965

carmen herrera | blanco y verde | acrylic on canvas | 1971

carmen herrera | blanco y verde | acrylic on canvas | 1962

carmen herrera | blanco y verde | acrylic on canvas, two panels | 1959

carmen herrera | to:  p.m. | acrylic on canvas | 1967

carmen herrera | blanco y verde | acrylic on canvas | 1967

photo credits lisa walsh | innerspace

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the days of the week series, 1975-1978

carmen herrera | wednesday | acrylic on canvas | 1978

carmen herrera | tuesday | acrylic on canvas | 1978

carmen herrera | sunday | acrylic on canvas | 1978

carmen herrera | friday | acrylic on canvas | 1978

carmen herrera | thursday | acrylic on canvas | 1975

photo credits lisa walsh | innerspace

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the days of the week series, 1975-1978

carmen herrera | blue monday | acrylic on canvas | 1975

carmen herrera | saturday | acrylic on canvas | 1978

photo credits lisa walsh | innerspace

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carmen herrera | siete | acrylic on burlap | 1949

carmen herrera | a city | acrylic on burlap | 1948

photo credits lisa walsh | innerspace

what is your favorite art city?

from this:

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near carrara, italy

photo credits lisa walsh | innerspace

to this:

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statuario marble | master bathroom | miami, FL | interior design by sand studios

photo credits ken hayden and ken hayden via luxesource

during our recent vacation, we planned to visit the sites of some of the marble quarries in the apuan alps, near carrara, italy, on the way from the airport in florence to the beach in forte dei marmi.  but, rain was forecast for the next day.  so, we decided to spend the sunny day at the beach, instead.

we drove through the town of carrara to the roman bridge near miseglia the next afternoon, after it stopped raining.

don’t the marble quarries look interesting?

before we visited the fundació joan miró during our recent trip to barcelona, spain, i would have described joan miró (1893-1983) as a surrealist artist.  although he was influenced by and influenced fauvist, cubist, surrealist, abstract expressionist, and color field artists, his work really shouldn’t be attributed to one art movement.

‘i have no interest whatsoever in any school or any artist. 

i am only interested in the anonymous,

in the result of the unconscious effort of the masses.’

-joan miró (1893-1983)

instead, miró developed his own visual language.

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joan miró (1893-1983) | morning star | from the constellation series | gouache, oil and pastel on paper | 1940

the 23 works from miró’s constellation series (1940-1941), which were exhibited in new york in 1945, influenced american post-war art

‘to me, conquering freedom means conquering simplicity. 

at the very limit,

then, one line, one color can make a painting.’

-joan miró (1893-1983)

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joan miró (1893-1983) | painting on a white background for the cell of a recluse I, II, III | acrylic on canvas | 1968

photo credits lisa walsh | innerspace

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joan miró (1893-1983) | the hope of a condemned man I, II, III | acrylic on canvas | 1974

photo credits lisa walsh | innerspace

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joan miró (1893-1983) | rejected model for the mosaic of pla de l’os | ink, crayon, and etching on paper | 1976

joan miró (1893-1983) | mosaic of pla de l’os | la rambla | barcelona, spain | 1976

photo credits lisa walsh | innerspace

miró spoke not only of painting, but also of anti-painting, which challenged artistic concepts and conventions by deconstructing the process and the painting.

‘i want to assasinate painting.’

-joan miró (1927)

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joan miró (1893-1983) | burnt canvas 5 | acrylic on canvas, later torn and burnt | 1973

photo credits lisa walsh | innerspace

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joan miró (1893-1983) | burnt canvas 5 and burnt canvas 4 | acrylic on canvas, later torn and burnt | 1973

joan miró:  the ladder of escape | tate modern museum | london, united kingdom | 14 april-11 septermber 2011

photo credit andrew dunkley/tate photography via the guardian

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joan miró (1893-1983) | may | acrylic and oil on canvas | 1973

photo credits lisa walsh | innerspace

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joan miró (1893-1983) | fireworks I, II, III | acrylic on canvas | 1974

photo credits lisa walsh | innerspace

do you prefer miró’s work inspired by abstract expressionism?

or, miró’s work that inspired abstract expressionism?