LMNY's BLOG

Dust Bowl From Wikipedia, the free encyclopedia  http://en.wikipedia.org/wiki/Dust_Bowl For other uses, see Dust Bowl (disambiguation). The Dust Bowl, also known as the Dirty Thirties, was a period of severe dust storms that greatly damaged the ecology and agriculture of the US and Canadian prairies during the 1930s; severe drought and a failure to apply dryland farming methods to prevent wind erosion (the Aeolian processes) caused the phenomenon. The drought came in three waves, 1934, 1936, and 1939–40, but some regions of the high plains experienced drought conditions for as many as eight years.[1] With insufficient understanding of the ecology of the plains, farmers had conducted extensive deep plowing of the virgin topsoil of the Great Plains during the previous decade; this had displaced the native, deep-rooted grasses that normally trapped soil and moisture even during periods of drought and high winds. The rapid mechanization of farm equipment, especially small gasoline tr...

OFFICIAL website http://www.egglestontrust.com/ but also anthony luke's not-just-another-photoblog Blog “ Eggleston’s  spare and  richly hued  pictures   have  cast a spell  on everyone from  Sofia Coppola , David  Lynch, and Larry  Clark  to Nan  Goldin , Wolfgang  Tillmans , and  Juergen Teller .”       Style.com William J. Eggleston was born in Memphis, Tennesse, but grew up in the small Mississippi town of Sumner. He became known as "the father of color photography" for his striking photos of people, events and landscapes in the South. read about source: http://anthonylukephotography.blogspot.com/2011/08/photographer-profile-william-eggleston.html

http://www.tibordenagy.com/exhibitions/404-e-14th/ [404 East 14th Street] was a very important place in my life, it was probably the main studio for my work in New York. It was probably the best studio I had in the 60's and the one where I did the most work. It affected the work and it also affected the thinking, I became interested in making large-scale objects in the form of buildings and so on. — Claes Oldenburg The gallery is pleased to present a group exhibition of works by sixteen artists who have at one time lived, or had studios, at 404 East 14th Street in New York’s East Village. Beginning in the 1960s, it was among the first in New York to become an artist building, and remains so today. Although stylistically distinct, the artists who have lived or worked there over the years are nevertheless bound together in their shared experience of this uniquely vibrant, artistic scene.  The exhibition will comprise paintings, sculpture, and photographs by the various artists, in...

GALLERY EXHIBITION Ashley Bickerton September 11 – October 26, 2013 201 Chrystie Street New York, 3 September 2013—Lehmann Maupin is pleased to present Ashley Bickerton’s fourth solo show at the gallery, on view at 201 Chrystie Street from 11 September – 26 October 2013. The artist will be present for an opening reception on Wednesday, 11 September from 6 to 8 PM. From the beginning of his career, Bickerton has challenged traditional art forms, following the lineage of conceptualists who have considered the potential of readymade objects and images in visual culture. In the early 80’s, he embarked on what has become a career-long process of experimenting with the hybridization of forms, materials and methods that blur boundaries between painting, sculpture and photography and the artwork as commodity. He has often oscillated between abstraction and figuration, always with a conceptual base, and increasingly is exploring the differences between representation in western and ...

Stella was born to a middle-class family in Italy, in  Muro Lucano , a village near Naples, but came to  New York City  in 1896 to study medicine. [1]  However, he quickly abandoned his medical studies and turned instead to art, studying at the  Art Students League  and the New York School of Art under  William Merritt Chase . His first paintings were  Rembrandtesque  depictions of city slum life. A remarkable draftsman, he made drawings throughout the various phases of his career, beginning as an  academic   realist  with a particular interest in immigrant and ethnic life. From 1905 to 1909, he worked as an illustrator, publishing his realist drawings in magazines. "He prowled the streets, sketch pad and pencil in hand, alert to catch the pose of the moment, the detail of costume or manner that told the story of a life." [2]  In 1908, he was commissioned for a series on industrial Pittsburgh, later published in  T...

SOURCE:  http://www.gregcookland.com/marsdenhartley.html excerpt concerning the painterMARSDEN HARTLEY .. Marsden Hartley and Gloucester September 2005 1 Marsden Hartley arrived in Gloucester, Massachusetts, from New York, by way of boat from Boston, in mid-July, 1931. The painter and poet had suffered a debilitating case of bronchitis over the past winter and hadn't painted in nearly a year. He was losing his hearing. He felt alienated from American culture and longed for Europe. He wondered if art was worth the trouble. Gloucester has attracted more than its fair share of artists over the years, but unlike most of them, Hartley wasn't much drawn to the city's gritty waterfront. "There is little for me to work from," he complained in a letter to his niece in August, "though I go every day to Dogtown." Hartley was fascinated with Dogtown, an abandoned colonial village now hidden in the woods at the center of Gloucester. He wanted to stake out untrave...

ART REVIEW ‘Dogtown’ show captures a landscape of loneliness Marsden Hartley’s unease, unmatched talent distilled in Cape Ann Museum exhibition By  Sebastian Smee  |  GLOBE STAFF      JUNE 19, 2012 http://www.bostonglobe.com/arts/theater-art/2012/06/18/marsden-hartley-turns-dejection-into-great-art-dogtown-show-cape-ann-museum/LPY52ub1yxNjynzMPjmg3I/story.html “The Old Bars, Dogtown’’ (1936). GLOUCESTER — By the time the painter Marsden Hartley first set eyes on Dogtown in 1920, this elevated parcel of land in the heart of Cape Ann already had a long and unnerving history. Just over a decade later, he made two series of paintings that are the subject of “Soliloquy in Dogtown,” a tight but captivating exhibition at the Cape Ann Museum in Gloucester. Hartley (1877-1943) described Dogtown as “ weird stretch of landscape . . . all boulders and shrubs.” It was, he said, “almost hostile to the common eye” and “like a cross b...