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Art

MODERNISM ADORED: 20th Century Art A New Online Exhibition Now Open

April 27, 2024 The Silo Leave a comment

“Art cannot be modern. Art is primordially eternal.” Egon Schiele

New York City, New York, April 2024. Our friends at Helicline Fine Art proudly announces the opening of its new online exhibition, Modernism Adored: 20th Century Art, a celebration of the revolutionary artistic movements that defined the 20th century. The exhibition runs through June 30 and features a curated selection of paintings, drawings and sculptures from important to rediscovered artists, Modernism Adored explores essential movements that shaped the artistic landscape during the 20th century from ashcan, cubism, art deco, Vorticism, WPA, abstraction, abstract expressionism, caricature and outsider art. It brings together a diverse range of artwork that reflects the spirit of innovation and creativity that defined these pivotal periods in art history. As we are a NYC based gallery, the history of New York inspires us to include art that glorifies our great city.

“We are thrilled to present Modernism Adored: 20th Century Art. This is stuff in our hearts and we are honored to share it with collectors and curators throughout America and worldwide,” said Helicline proprietors Keith Sherman and Roy Goldberg. They continued, “This exhibition is our “eye,” it exemplifies the enduring impact of modernism in art and provides a unique opportunity to witness the evolution of artistic expression over the course of the 20th century.”

Highlights of Modernism Adored: 20th Century Art include three early Stuart Davis drawings, Vorticist linocuts by Sybil Andrews and Lill Tschudi, Maurice Guiraud-Riviere’s breathtaking “La Comete” silvered bronze, several works by Al Hirschfeld, abstracts by Florence Henri and O. Louis Guglielmi, a Charles Demuth drawing of bathers, an early Daniel Celentano oil, a precisionist industrial scene by Simon Wachtel, and much more.

Artists in the exhibition include: Sybil Andrews, Maurice Becker, A. Aubrey Bodine, Jo Cain, Staats Cotsworth, Daniel Celentano, Robert Cronbach, James Daugherty, Stuart Davis, Charles Demuth, Donald Deskey, George Pearse Ennis, William Gropper, O. Louis Guglielmi, Harold Haydon, Florence Henri, Al Hirschfeld, Mervyn Jules, Max Kalish, William Kienbusch, Georgina Klitgaard, Henry Koerner, Leon Kroll, Vladimir Lebedev, Carlos Lopez, James McCracken, Alfred Mira, Irene Rice Periera, Antonio Petruccelli, Arthur Rosenman Ross, Hilla Rebay, Maurice Guiraud-Riviere, Joseph Solman, Lill Tschudi, Gerrit Van Sinclair, Samuel Wachtel, Katherine Wiggins, John Winters and Purvis Young.

There is great debate about what modern art is.
Numerous descriptions abound. It is a series of genres from the mid-19th century to the present that challenged the Western standards of fine art and embraced new forms of expression. It is often seen as beginning with realism, which rejected the traditional subjects of art and focused on common people.

Others say modernism was a movement in the arts in the first half of the 20^th Century that rejected traditional values and techniques and emphasized the importance of individual experience. A broader perspective, which we at Helicline embrace, modernism was a break with the past and the concurrent search for new forms of expression. It is in fact, constant reinvention, and it’s significant because it fundamentally asks us to change our perspectives as time passes.

“The strangeness will wear off and I think we will discover the deeper meaning in modern art.” Jackson Pollock

Why Modern Art Continues To Influence Contemporary Artists

The 20th century distinguished itself from the previous century with a new form of industrial revolution- one tied much more intimately to an advancing technology that propelled society into a state of speed and frenzy. Not just the streamlining of railway trains and automobiles or the advancements in transcontinental travel brought on by first lighter than airships, then seaplanes and jet airliners- the motion of advancement and relocation had a seminal effect on culture and thought. The skyscraper and new vertical constructions created its own influence and metamorphosis: hundreds of families could now be housed in a singular structure adding a homogeneity and imposing bold linear designs and influences. Two world wars and a multitude of others pushed existentialism into the minds of many academics and thus filtered into other areas of discipline such as literature, music and design. The development of the transistor created miniaturization and gadgetry that became an essential component to living spaces and personal effects. Television became a manifestation of any imaginable visual image and transfixed society into another state of readiness- a state ready for instant and dense media served quickly and directly. All of these things (and more) gave rise to new forms of art- most often recognized by the general public in modern abstract paintings. The ‘sense’ of all the above was captured by artists using new ways of communicating through their work: immediacy (action painting) and abstraction were more aligned with the zeitgeist then earlier classical forms of artwork.

Untitled abstract 11 Jarrod Barker 2024

The 21st century has seen many parallel and analogous developments. Though we are ‘only 24 years’ into this latest age, the concept of quick advancement and speed is in full effect. From the maturation of the digital age (the internet) and digital communication (email) to rapidly advancing personal communication (smartphones) and powerful and inexpensive computers to today’s exhilarating advancements in AI (artificial intelligence) and robotics. These ‘re-mapped’ and repeated driving forces from the last century continue and their effects most readily recognized are still key components of contemporary ‘neo-modern’ artwork.

MORE ABOUT HELICLINE FINE ART:
Helicline Fine Art, founded in 2008 by Roy Goldberg and Keith Sherman, specializes in American and European modernism. The gallery’s core offerings are works from the WPA period. Additionally, Helicline offers American scene, social realism, mural studies, industrial landscapes, regionalism, abstracts, and other artwork. Located in a private space in midtown Manhattan, Helicline is open by appointment. The artworks on the site represent a sampling of available works. Helicline’s offerings are also available on artsy.net and 1stDibs.com.

Caption for image at the top of this article: Simon Wachtel (1900 – 1965)Factory Yards N. 336 x 24 inchesOil on canvas, c.1930s Signed lower right

Culture

Eames: Iconic Husband & Wife 20th/21st Century Designers

August 2, 2023 The Silo Leave a comment

The next time that you sit down to a table in a local restaurant for a nice meal with friends, rest in a waiting room, or even thumb through an Ikea catalogue (apologies to those that ‘yuck’ on that idea)—take note of the furniture that stands before your eyes…have you ever given it more thought than the function it is about to perform for you? It has been designed by someone, who, perhaps, has been hired to make sure it is (hopefully) structurally sound, aesthetically appealing (again, hopefully), and possibly economically purchased, therefore mass produced.

Is it a work of art? Do you consider it the work of a master?

Often little attention is given to the ingenuity and craftsmanship of design, so in order to pay it a little respect, I would like to introduce you to a pair whose work you might be somewhat familiar, or dare I say “comfortable” with, Charles Eames and his wife Ray Kaiser Charles Eames (American, b.1907), studied architecture at the Washington University in Illinois, during a time of great innovation in the discipline.

Great advances in building technology at the turn of the 20^th century, namely steel reinforced concrete, allowed architects the design freedom to build taller buildings on a steel skeleton permitting the use of more glass and therefore, more natural light and a better view of the outdoors. After graduation in the late 1920s, Eames was fortunate enough to tour Europe and see the revolutionary designs of such masters in his field as Le Corbusier, Mies Van der Rohe and Walter Gropius. Although this was a time of reconstruction after the Great War and utilitarianism was the mode, steel technology allowed this group of architects the freedom to use more organic forms in their designs and, as a result of the option to employ more glass in their structures, buildings that were based more around their external surroundings.

Eames’ own work really began to take off when he joined forces with his second wife, Ray Kaiser (American, b.1912). Ray was a student of famous painter Hans Hoffman and had keen interest in all the arts, including film and dance. The pair, finding it difficult to secure work during the depression, settled in Los Angeles, Eames finding work designing sets for MGM and Kaiser creating covers for architectural magazines.

Secretly, in the evenings, the couple conducted plywood experiments in their apartment turned studio.

Their aim, along with several collaborators, was to make functional furniture with an attractive design that could be produced cheaply and quickly on a massive scale. Their experiments and designs proved to be successful and the Eames began to get contracts for their moulded plywood furniture that combined an organic aesthetic with technical ingenuity. Branching out from wood, the couple also pioneered such technologies that are widely used today, such as fibreglass, plastic resin, and wire mess chairs. Most notable is the 1956 Lounge Chair, made from leather and plywood, a design that is still quite popular in rec rooms today.

For the sake of the Eames lasting legacy in the history of modern architecture, it is necessary to mention the Eames House was constructed in 1949. The design for this landmark structure was proposed by the husband and wife team for the famous Case Study house program for Arts and Architecture magazine. The goal of this program was to have an architect design a modern house, elaborating on its functional requirements and then actually build the home. The house proposed by the Eames reflected their needs as a young married couple looking for a place to live, work and entertain.

They choose a site along the Pacific coast, and using mostly pre-fabricated steel and glass walls, constructed a home heavily influenced by cubist painter Mondrian’s “Composition in Red, Yellow and Blue”.

As a result, of the replacement of concrete walls for glass, the inhabitant of the home is afforded a spectacular view of the coastal property and exterior greenery, meanwhile, taking advantage of the natural light that is allowed to stream throughout the house. Of all of the proposals that were submitted for the Case Study houses, the Eames House is considered to be the most successful, as it not only made a definite architectural statement, but also functioned quite well as a comfortable and practical living space. The property is still maintained by the Eames family, who continue to use it as an occasional residence, and it was designated a National Historic Landmark in 2006.

So… consider this: although you might not find the Eames furniture in your hospital waiting room, rec room,or local restaurant, many mass produced models still bear their innovative legacy, either in their design, comfort or materials. For the Silo, Eve Yantha.

Art

20th Century Masters: Picasso’s Guernica

April 27, 2022 The Silo 1 Comment

“Art is a lie that makes us realize the truth” –Pablo Picasso

Pablo Picasso (Spanish, 1881-1973) was one of the most well-known artists of the 20^th century. Throughout his long and prolific career, Picasso both innovated and participated in important artistic movements such as realism, cubism and surrealism. In comparison to Vincent van Gogh, the infamous starving artist, Picasso was one of the first modern artists to achieve great wealth and celebrity in his lifetime.

Possibly the most important work that Picasso produced was Guernica (1937).

This large scale black and white mural (approximately 12 x 26 feet), was commissioned for the Spanish Pavilion in the 1937 World’s Fair in Paris and was completed by Picasso in under a month. In it, the artist depicted a catastrophic incident from the Spanish Civil War, wherein the Nazis conducted carpet bombing experiments on the town of Guernica, in the Basque region of Spain.

Historically, Spain had been ruled by a monarchy up until the 1930s, at which time it was replaced by a republican government that promised social and economic reform and a redistribution of goods and land. Spanish conservatives disliked this idea and headed by General Francisco Franco, they launched an insurrection that led to the Spanish Civil War. Aided by the Fascists and Nazis, General Franco assumed dictatorship of the country and ruled until his death in 1975.

During this time of turmoil, Picasso was not in Spain but working in Paris.

This is important to note when considering his choice of palette. He would have been paying attention to the events taking place in his native country largely through newspapers, transforming the black and white newsreel into a large scale canvas. Also, by choosing a dichromatic colour scheme, Picasso allowed the subject matter to stand out over colour.

Prominently positioned in this work is the Minotaur (a half-bull/half-man monster), an important symbol for Spanish people representing the tyranny of General Franco and his Nazi and Fascist supporters. Picasso used distortion in the imagery and figures to portray the horrors and suffering of innocent civilians massacred by the carpet bombing. This, in combination with the palette, evokes in the viewer the sensation of a stark nightmare, tying the work to the surrealist movement.

On a final note, Picasso was adamant that this work not be displayed in Spain until democracy was restored.

On loan to the Museum of Modern Art in New York, Guernica was returned to Spain in 1981. For the Silo, Eve Yantha.

Art

Picasso Exhibit At AGO Was Invigorating

August 21, 2012 The Silo 1 Comment

Time flies. Seven years ago, The Silo visited the AGO’s Picasso exhibition. We were not disappointed. Approximately ¼ of the entire second floor was dedicated for displaying works from Picasso’s private collection. That’s right- these are the pieces that Pablo himself deemed specially significant for archiving and for his personal reflection. We were not disappointed.

detailandblowupPicasso — Blowup and detail from Portait de Dora Maar (Portrait of Dora Maar), 1937. Oil on canvas, 92x65cm

Organized by the Art Gallery of Ontario (AGO) and the Musee National Picasso , Paris- the exhibition is chronologically organized with each period having its own dedicated gallery space and covers the following phases of Picasso’s VASTLY productive lifetime: From Spain to Paris 1900-1905 Ancient, African and Oceanic Inspirations 1906-1909 Cubism, Collage and Constructions 1909-1915 Classicism, Marriage and Family 1914-1924 Surreal Anxiety and Desire 1924-1934 War Paintings 1936-1951 and lastly The Joy of Life and Last Years 1950-1972

According to the Picasso’s Picassos (Picasso’s Early Life and Art) on pg 2 of the AGO’s exhibition catalog, Pablo Picasso was recognized as “an artistic prodigy and began…formal artistic training when he was only seven years old” with his father, who was a painter and an art teacher. For the next 85 (!) years Picasso would go on to not only change the art world, but would leave behind a vast legacy that is as fresh and relevant today as it ever was. Strolling around this fine exhibition and noticing how the other visitors were dressed is proof enough for this writer that Picasso’s influence on society is far from over. For the Silo, Jarrod Barker.