Monica D. Murgia

Where art, creativity, and fashion meet
February 21st, 2013

Caio Fonseca

I love art in unexpected places. Last night, I was working late grading projects and printing handouts.  It seems like as soon as I wake up, my to-do list occupies me until I realize that it is 10:30pm.  Where does the day go?  I left the campus wondering what happened to my day.  I hadn’t even made the phone calls I was supposed to make in the afternoon!  The last thing on my mind was art.  I was mentally scolding myself for not accomplishing more.  Of course my train of thought was broken when I glanced across the street and saw this painting.

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The red foreground and dancing shapes were just too tempting.  I had to walk over and take a better look. What a spectacular choice to decorate this lobby.  The red is such a nice contrast to the green marble walls.  And the white shapes were so graphic and curvilinear, it seemed that they moving as I walked towards them.  Once inside the lobby, I thought the shapes comprised some sort of animal.  At first I saw a whale.  Then an elephant.  Then a rhinoceros.  That’s what I love about abstract art – what you see depends on what you’re looking for.

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I kept looking, and noticed tiny, whispering lines across the canvas.  It made me think of music.  Then I started to notice multi-hued drip marks all around the canvas.  Action painting always makes me think of a rhythm, too.  The people in the photo above were talking about how they saw a guitar in the center, and the whispering lines were it’s strings.

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The work is by American artist Caio Fonseca.  From the signage, it looks like the work is untitled.  Fonseca was born in New York and has a studio on Fifth Street.  He also has a studio in Pietrasanta, Italy.

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Fonseca’s website doesn’t mention much about what inspires him.  But if I had to take a guess, it would be music!  Everything about the painting reminds me of music – reading it, listening to it, creating it.

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The lines remind me of reading sheet music.  The splatters of paint make me think of a rhythmical application, and the colors sort of harmonize together.  I listened to a great interview.  Fonseca talks about how he applies the paint.  He lays down color and then subtracts it by layering white on top.  He also adds wax with pigment and smears it around the surface.  He explains that he likes abstraction, and that he likes to create scratches and lines on the surface to connect the shapes around the canvas to one another.  He said that these lines are “sort of like phrase marks in music“.

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Fonseca also goes on to compare abstract art to music.  (!!!!!!!!!)  He says that you can listen to music, and don’t ask what it means.  You allow yourself to experience the music, to allow it to make you feel something.  That is how we should experience art, too.

I really recommend seeing this painting in person.  It’s on 42nd Street between 5th and 6th Avenue in the Brookfield building.  The interview with Fonseca is also worth watching – he’s so interesting!

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October 4th, 2012

John Little & Wesley Simpson Textiles

Two days ago, I received an email from a reader.  Laura had recently purchased this original textile design by John Little.  (I’ve written several posts on Little, one on his abstract art, the other on his textile designs)  When I first saw Little’s abstract paintings, I felt a connection to his work.  I couldn’t place exactly what it was.

 

Then, I read his biography and discovered he had been a textile designer during the Great Depression and throughout his career as a painter.  There is a vast difference between Little’s abstract paintings and textile designs.  His textiles are more representational (i.e. they depict recognizable objects, figures, or have some sort of pattern).  Laura’s purchase is a great example of this.  Entitled “Personalities“, it seems like a chess set came to life, with each of the game pieces expressing a part of their character.

 

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Personalities by John Little.  Image courtesy of Laura Richardson.

 

All of Little’s textile designs that I’ve seen are gouache on paper.  So, what does that mean?  Gouache is a paint that is similar to watercolor, but is heavier and more opaque.  It tends to dry in a slightly different value that when it is wet.  So since the color can change, painting with gouache is usually done in one sitting.  (If you tried to resume painting after gouache has dried, it can be difficult to match the color.  You may think you have mixed a perfect match, only to find that the fresh paint will dry as a different value.)

 

In terms of art market value, works on paper are “worth” much less than oil paintings.  This is because paper is extremely fragile.  Paper tends to deteriorate rapidly over time, especially if the paper is exposed to an acidic environment or one that has a great variation in humidity.  Think about old magazines and newspapers that have been stored carelessly in an attic or basement.  They become fragile and damage easily.  Oil paintings tend to be more durable.  (Oil paint never really dries.  This type of paint dries in layers.  So even when the surface dries to the touch, the layers underneath are still wet.  It takes over 20 years for the oil to fully solidify!)

 

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Personalities by John Little.  Image courtesy of Laura Richardson.

 

This is just an explanation of determining market value, and not the significance of the work.  To me, Little’s textile designs are more interesting than his oil paintings.  There were lots of abstract painters during the Post War period, doing similar things.  And yes, there were a lot of artists crossing over to textile designs after World War II.

 

But somehow, the textile designs communicate more about the artist.  As much as I like Little’s oil paintings, them seem to echo the abstract expressionist movement than reveal something about Little’s “personality”.   Laura’s textile design shows so much about Little: he was creative; he had an active imagination; he could create stories out of common objects; and he had an interesting use of color, shape, and pattern.  You might not get these ideas from his painting “Tropic of Cancer

 

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Tropic of Cancer by John Little.  Image courtesy of AskArt.com

 

Of course, my curiosity got the best of me!  I looked around a bit more, and found some more examples of John Little’s textile designs.  They are currently being sold by the Gordon Harrison Gallery.

 

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Textile Design by John Little.  Image courtesy of Gordon Harrison Gallery.

 

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Textile Design by John Little.  Image courtesy of Gordon Harrison Gallery.

And if the textile excitement hadn’t been enough, I was contacted by another one of my readers, Linda, after writing about my own scarf by Wesley Simpson.  My scarf is called “Downtown” and has a repeat of a furniture store and apartment building.

 

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Downtown by Wesley Simpson.  

 

John Little and Wesley Simpson had a lot in common.  During the Great Depression, Simpson established his own business as a textile converter.  This means that designs were produced in-house or via freelance artists, and then the actual printing was contracted to outside factories.  Simpson was the chief stylist of his company, which came to be known as Wesley Simpson Custom Fabrics, Inc.  The company operated from 1932 to 1950.  (John Little started a wallpaper and textile printing company during the Great Depression.  He ran the John Little Studios: Fabric and Wallpaper Design until 1950, and later collaborated with Greeff, an English textile company.)

 

Linda had owned these Wesley Simpson scarves for years, but was never able to find any information on him or his company.  She reached out to me and showed me her BEAUTIFUL scarves, designed for Simpson by Marcel Vertes :

 

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Images courtesy of Linda Chapple.
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Image courtesy of Linda Chapple.

 

I’ll be writing a follow-up post this week about Marcel Vertes.  He was just too important not to dedicate an entire post in his honor.  Stay tuned!
A special thanks to Laura Richardson and Linda Chapple for reading and sharing their fantastic collections!
Linda also sells vintage online:

 

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June 20th, 2012

(Re)purposeful

Yesterday, I wrote about the importance of buying American-made products and supporting local businesses.  The theme continues today!

This week, I was visiting a friend and stumbled upon the newly opened Harlem Wine Gallery.  What really caught my eye as I walked by was the artwork by Juan Carlos Pinto.  I decided to stop in and take a look.

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Art by Juan Carlos Pinto. Image courtesy of the Harlem Wine Gallery.

Pinto is a native Guatemalan who has been living in New York for the last 10 years.   He uses old Metro cards and maps to create collage art.  Each work depicts a scene from the city or a masterfully constructed portrait.

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Art by Juan Carlos Pinto. Image courtesy of the Harlem Wine Gallery.

Pinto’s artist statement describes his use of such a unique media:

Pinto’s use of plastic is unique and pulsates with hidden significance.  The idea of using these non-biodegradable cards is to reinforce recycling and prolonging its use indefinitely while providing the artist with a source free material. It is also a way of reminding us about the danger this material can cause if left to seep into the earth.

He even uses the Metro cards for his signature.  What a great way to re-purpose discarded plastic.

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Art by Juan Carlos Pinto. Note his signature. Image courtesy of the Harlem Wine Gallery.

Gallery owner Ken Forte was very friendly, and chatted with me about the concept of his new business.  He wants to support local artists and build a neighborhood community that appreciates the arts.  As time passes, different local artists will be exhibited in the space.

It is also such a interesting way to get the community interested in art.  You may stop for a bottle of wine, but leave with new friends and a great piece of art.

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Art by Juan Carlos Pinto. Image courtesy of the Harlem Wine Gallery.

Pinto’s artwork is available for purchase through the Harlem Wine Gallery.  Be sure to make a visit to the location (752 St. Nicholas Ave) or call 212-281-9463.

New to buying art?  Proper etiquette is to  ALWAYS buy from the gallery.  Never approach the artist directly.    Galleries spend a lot of money publicizing the artist, renting the space, and covering the additional overhead of the business.   Buying from the gallery supports a local business AND the artist at the same time.

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Art by Juan Carlos Pinto. Image courtesy of the Harlem Wine Gallery.

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Art by Juan Carlos Pinto. Image courtesy of the Harlem Wine Gallery.

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