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Supermoons are both super and common, but they’re only a tiny slice of our nearest neighbor’s magnificent journey. Image credit: ESA / NASA and the International Space Station. “O, swear […]
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 20th 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.
With a $20,000 check and instructions to bring back “some good paintings” from friend and financier Dr. Albert C. Barnes, American artist William Glackens set off for Paris in 1912 with carte blanche to buy the very best modern art he could find. Long a champion and connoisseur of European and American modernism, Glackens sent back to Barnes 33 works by now-renowned artists such as Paul Cézanne, Pierre-Auguste Renoir, Pablo Picasso, and Vincent Van Gogh that helped shape the collection that eventually became The Barnes Foundation.
“Don’t just stand there, let’s get to it. Strike a pose, there’s nothing to it,” Madonna lied and “Vogue”-ed way back in 1990. Contrary to popular opinion, posing is hard work, made even harder by the requirement to look effortless. The reigning “Queen of Pose,” Canadian supermodel Coco Rocha has been clocked at 160 different poses per minute and viral videoed striking 50 poses in 30 seconds. When photographer Steven Sebring approached Rocha back in 2010 with the idea of a project involving one model striking a thousand different poses captured using Sebring’s revolutionary, 360-degree photographic technology, it seemed a match made in modeling heaven. Study of Pose: 1,000 Poses by Coco Rocha tests the limits of expression by the human form while capitalizing on the latest in technology to produce no less than a new manifesto on posing the human body as an object to be both admired and accepted for all its truth and beauty.