Comments on: The Ceiling http://arthistorynewsletter.com/blog/?p=1528 News for Art Historians Tue, 16 Nov 2010 08:57:03 +0000 hourly 1 http://wordpress.org/?v=3.0.1 By: Monica http://arthistorynewsletter.com/blog/?p=1528&cpage=1#comment-138255 Monica Fri, 07 May 2010 22:16:50 +0000 http://arthistorynewsletter.com/blog/?p=1528#comment-138255 This was a very timely post for me! This week I hav been researching more information about Twombly's ceiling to show to my contemporary art students. Thanks for the latest up-to-date discourse on the topic. I especially love your link about Barbara Crawford, the art historian who helped Twombly paint. This was a very timely post for me! This week I hav been researching more information about Twombly’s ceiling to show to my contemporary art students. Thanks for the latest up-to-date discourse on the topic. I especially love your link about Barbara Crawford, the art historian who helped Twombly paint.

]]> By: Kelly Presutti http://arthistorynewsletter.com/blog/?p=1528&cpage=1#comment-138251 Kelly Presutti Fri, 07 May 2010 18:23:43 +0000 http://arthistorynewsletter.com/blog/?p=1528#comment-138251 I was surprised to see something so rich from Twombly as well - the blue is really ravishing (in the letter I linked to, the studio assistants joke, probably after International Klein Blue, that it should be called "Twomblu"). It was also good to learn about his collages - and disappointing that there are apparently none in the Vienna show? The interest in collage along with the recognition of the crucial role scale plays seem to me to both be essential, under-examined factors in understanding even his more familiar works - something about the limits of the scope of illegibility and the layering of registers of form and meaning becomes more apparent. I was surprised to see something so rich from Twombly as well – the blue is really ravishing (in the letter I linked to, the studio assistants joke, probably after International Klein Blue, that it should be called “Twomblu”).

It was also good to learn about his collages – and disappointing that there are apparently none in the Vienna show? The interest in collage along with the recognition of the crucial role scale plays seem to me to both be essential, under-examined factors in understanding even his more familiar works – something about the limits of the scope of illegibility and the layering of registers of form and meaning becomes more apparent.

]]> By: Ben http://arthistorynewsletter.com/blog/?p=1528&cpage=1#comment-138249 Ben Fri, 07 May 2010 15:35:07 +0000 http://arthistorynewsletter.com/blog/?p=1528#comment-138249 I wonder if Daniel Buren would be an example of one who "simply enlarges." (1) Looking through the exhibition catalog for Twombly's Vienna exhibition, "States of Mind" recently, I was struck by how much of the varied work was permeated with moods of luxury, decadence, and aestheticism. One would never have imagined this range, if one knew only of the early works that are usually found in textbooks. I think this later material is actually more engaging and durable. (1) https://studio360.wordpress.com/2010/01/18/can-art-and-football-mix/ I wonder if Daniel Buren would be an example of one who “simply enlarges.” (1)

Looking through the exhibition catalog for Twombly’s Vienna exhibition, “States of Mind” recently, I was struck by how much of the varied work was permeated with moods of luxury, decadence, and aestheticism. One would never have imagined this range, if one knew only of the early works that are usually found in textbooks. I think this later material is actually more engaging and durable.

(1) https://studio360.wordpress.com/2010/01/18/can-art-and-football-mix/

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