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jonlurie jonlurie

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Jonathan Lurie  Daily Ritual Artist Statement—Beginning on Jan 1, 2017, every day for one year, I will post a photograph that I made of a work of art on Instagram.

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"Belle Isle" 2016 acrylic and glitter on canvas by Carrie Moyer (b. 1960) at @whitneymuseum the Whitney Museum of American Art in New York as part of the Whitney Biennial 2017. Written near the painting: Carrie Moyer's vibrant paintings unabashedly embrace visual pleasure, juxtaposing luminous, watery veils of paint in bright hues, often mixed with glitter, with precisely outlined areas of flat color. Moyer begins a painting by creating small collages form cut paper, using the bold, graphic shapes as scaffolding for expanses of poured acrylic, a medium she prefers both for its material versatility and its popular connotations: a type of plastic, it gives form to everything from toys to nail polish. Elements in Moyer's recent paintings suggest architecture at times, or landscape and the body at others. As the artist explains, "I'm interested in abstract painting that is experienced both visually and physically. The forms are constantly shifting from the familiar to the strange in a way that seems to escape words." @carrie.moyer.studio #belleisle #whitneymuseum #whitneybiennial2017 #dailyritual #whitneybiennialweek #carriemoyer

"2 Years of Correspondence from Inmate 39807" 2016 oil on linen by Aliza Nisenbaum (b. 1977) at @whitneymuseum the Whitney Museum of American Art in New York as part of the Whitney Biennial 2017. #alizanisenbaum #whitneymuseum #whitneybiennial2017 #dailyritual #whitneybiennialweek #oilonlinen @alizanisenbaum

"Reaching My Plateau" 2016 oil, acrylic spray paint, and dye on canvas by Shara Hughes (b. 1981) at @whitneymuseum the Whitney Museum of American Art in New York as part of the Whitney Biennial 2017. Written near the painting: The lush medleys of color, pattern, and texture within Shara Hughes's landscape paintings are products of both her imagination and her painterly process. Referencing painting's traditional role of offering a window onto another world, Hughes's work often presents framed views of hallucinatory realms. Hughes frequently begins a composition by altering the canvas surface in ways that she then has to improvise against. She might cover part of the canvas in a gesso—a thick, gluelike substance that lends the surface a feeling of solidarity—or she might spray paint the canvas from behind, making marks that emerge murkily from beneath the weave. These opening moves serve as the artist's challenge to herself, concrete realities that she must respond to in her creation of psychological scenes that are part landscape, part abstraction. #sharahughes #reachingmyplateau #whitneymuseum #whitneymuseum #dailyritual #whitneybiennialweek @sharalynne

"Royal Families (Curves, Points and Little Ones)" 2003 oil on canvas by Jo Baer (b. 1929) at @whitneymuseum the Whitney Museum of American Art in New York as part of the Whitney Biennial 2017. Written near the painting: In her more than sixty years as a painter, Jo Baer has engaged with many different styles and movements with declaring allegiance to any of them. Her series "In the Land of the Giants," begun in 2009, developed from her research into the Hurlstone, a prehistoric megalith in County Louth, Ireland. Baer sourced some of her imagery—which includes giants, human figures, animals, classical statuary, and landscapes—on the internet and then developed the works' palette and compositions with digital software and colored pencil. By combining remnants of ancient cultures with fragments of the contemporary world, Baer unites her subjects with her own sense of "deep time" in which fantasy and reality blur wile the past and present intermingle. #jobaer #whitneymuseum #whitneybiennial2017 #dailyritual #whitneybiennialweek

"THE TIMES THAY AINT A CHANGING, FAST ENOUGH!" 2017 acrylic on canvas by Henry Taylor (b. 1958) at @whitneymuseum the Whitney Museum of American Art in New York as part of the Whitney Biennial 2017. Written near the painting: Henry Taylor makes paintings that confront the increasingly visible racial tensions between law enforcement and the communities they serve. "THE TIMES THAY AINT A CHANGING, FAST ENOUGH!" draws on the video Diamond Reynolds captured moments after her fiancé, Philando Castile, has been fatally shot by a police officer in July 2016 in Falcon Heights, Minnesota—an incident that sparked protests nationwide. Taylor's graphic painting insists that such violence an urgent response. #acryliconcanvas #henrytaylor #whitneymuseum #whitneybiennial2017 #dailyritual #whitneybiennialweek

"Veterans Day" 2016 oil on linen by @_celesters_ Celeste Depuy-Spencer (b. 1979) at @whitneymuseum the Whitney Museum of American Art in New York as part of the Whitney Biennial 2017. Written near the painting: With her raw, cartoonish paintings and drawings, Celeste Dupuy-Spencer offers wry, sensitive commentary on the times in which we live. Although unsentimental in her portrayal of the human condition, she renders her subjects with directness and sympathy. Whether depicting Donald Trump supports at a political rally, well-heeled partygoers mingling at a swanky art-filled home, or teenagers in an alley in St. Tammany Parish, Louisiana, each socially charged scene seems to capture some element of shared humanity. In "Veterans Day," she looks at figures who—from her anti-violent, anti nationalist perspective—engaged in acts of meaningful resistance. These include the Abraham Lincoln Brigade, the international volunteers who fought against the forces of Francisco Franco in the Spanish Civil War; Cassius Clay (or Muhammad Ali, as he was later known)' and Karl Marx and Fredrich Engels. #celestedepuyspencer #oilonlinen #veteransday #whitneymuseum #whitneybiennial2017 #dailyritual #whitneybiennialweek

"Elevator" 2017 oil on canvas by Dana Schutz (b. 1976) at @whitneymuseum the Whitney Museum of American Art in New York as part of the Whitney Biennial 2017. Written near the painting: In "Elevator," figures are seen embroiled in a struggle, both with themselves and with larger-than-life insects, denoting a state of anxiety and alarm. The work (whose dimensions mirror those of the Museum's large freight elevator nearby) plays with time, as action and gesture appear suspended. Like a truncated history painting, an epic scene is glimpsed between two doors that may be closing or opening. Schutz deploys transitional space of the elevator as a metaphor for other social spaces that are at once public and private, intimate and estranging, inviting us to consider our position or role amid the chaos. #danaschutz #elevator #whitneymuseum #oiloncanvas #whitneybiennial2017 #dailyritual #whitneybiennialweek

"Untitled" 1952 synthetic polymer paint on canvas by Carmen Herrera (b. 1915) at @themuseumofmodernart the Museum of Modern Art in New York. #carmenherrera #herrera #syntheticpolymerpaintoncanvas #exloringvalue thank you for the many 💜s and 🗯s during the past two weeks exploring the value fundamental in this #dailyritual the #highcontrastweek was a little more popular than #lowcontrastweek the "eye" like contrast. Next up is a week of work from the 2017 Whitney Biennial, that I was able to see (and photograph) a few weeks ago. So please stay tuned. 📺

"Cow's Skull: Red, White, and Blue." 1931 oil on canvas by Georgia O'Keeffe (1887-1986) at @metmuseum the Metropolitan Museum of Art in New York. Written near the painting: Weary of life in the metropolis, O'Keeffe began taking regular retreats to Lake George, New York, and then to New Mexico. After her first extended trip to the Southwest in 1929, her artistic interests shifted from the buildings of New York to the nature of New Mexico. In this work, O'Keeffe isolates a single skull, highlighting its jagged edges, worn surfaces, and bleached color. To O'Keeffe, such bones represented the desert's enduring beauty and the strength of the American spirit, which is alluded to in the striped background. In 1949 O'Keeffe settled permanently in New Mexico until her death in 1986. #georgiaokeeffe #cowsskull #metropolitanmuseumofart #themet #oilpainting #oiloncanvas #exloringvalue #dailyritual #highcontrastweek

"City Point, Vinalhaven" 1937-38 oil on commercially prepared paperboard (academy board) by Marsden Hartley (1877-1943) at @metbreuer the Met Breuer in New York. Written near the painting: To create this work, Hartley used his palette knife to spread and score the paint with considerable gestural freedom. It evokes the rugged terrain and unrelenting force of Maine's elements as encountered in Vinalhaven, a town on Fox Island, which he visited during the summer of 1937 and returned to for a longer stay the following year. The prominent black outlines of the rocky landscape become increasingly thinner as the scene recedes into the distance. Hartley also scored fine, sinuous lines into the black paint, loosely drawing thick outlines around some of the rocks to emphasize their presence. Close examination reveals unexpected fingerprints in the sky, which gives us an intimate proximity to the artist's hand as he gave a finishing smear to the white clouds. #marsdenhartley #oilpainting #maine #metbreuer #exloringvalue #dailyritual #highcontrastweek

"Untitled (Double Rauschenberg)" c. 1950 exposed blueprint paper by Robert Rauschenberg (1925-2008) and Susan Weil (b. 1930) at @themuseumofmodernart the Museum of Modern Art in New York. Written near the piece: To make this work, Rauschenberg presses his body against a large sheet of light-sensitive paper, the kind used by architects and commercial designers. Susan Weil, a fellow artist and his wife at the time, shone a light above him, turning the areas of exposed paper blue; this process was then repeated, creating the doubling effect. "Untitled (Double Rauschenberg)" was part of a series of blueprints that the newly married couple, just back from their first year at Black Mountain College, made in their small walk-up apartment in New York. The blueprints are early examples of Rauschenberg's lifelong interest in exploring new forms of mark-making beyond the traditional means of brushing paint on canvas. #rauschenberg #robertrauschenberg #doublerauschenberg #moma #exloringvalue #blueprint #dailyritual #highcontrastweek

"Improvisations 28 (Second Version), 1912 oil on canvas by Vasily Kandinsky (1866-1944) at @guggenheim the Solomon R. Guggenheim Museum in New York. Written near the painting: Kandinsky described his "Improvisations," a series he painted between 1909 and 1914, as "chiefly unconscious, for the most part suddenly arising expressions of events of an inner character, hence impressions of 'internal nature.'" In "Improvisations 28" it is possible to find abstracted figurative elements relating to both cataclysmic events and redemption: images of a board and waves (signaling the global deluge), a serpent, and, perhaps cannons, as well as an embracing couple, shining sun, and what appears to be a church or tower in the top-right corner. As Kandinsky's style evolved in the years leading up to World War I, the subjects of his paintings changed from more naturalistic scenes to visionary narratives. #kandinsky #vasilykandinsky #improvisation28 #oilpainting #oiloncanvas #exloringvalue #dailyritual #highcontrastweek

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