Street sign for the exhibition Machine Art / Photograph by William O. Lyman
Previous March 5 posts:
Previous March 5 posts:
1910 / Color Lithograph / 78 7/10”x51 1/5” / Various collections
Previous March 1 posts:
1984 / Silkscreen ink and polymer paint on paper / 56 1/10”x39 1/2” /
Haugar Vestfold Art Museum, Tønsberg, Norway
Previous February 22 posts:
Cy Twombly (1928-2011) Iconic large-scale marks scribbled and smeared on raw canvas or linen
Andy Warhol (1928-1987) Artist, director and producer explored popular culture in his work
John Cavanaugh (1921-1985)
American sculptor worked primarily in lead
Robert Rauschenberg (1925-2008)
Influential American artist employed a vast array of media and materials
Erté (1892-1990) Russian-born French artist, illustrator, and designer
Claude Cahun (1894-1954)
Startlingly original and enigmatic photographic images
Grant Wood (1891-1942) One of three leaders of the American Regionalist movement
Hubert Stowitts (1892-1953) Dancer, film actor, painter, designer, and metaphysician
Charles was a designer with an eye for form. Ray was an artist with an eye for color. They complemented each other on projects like coat hangers, films, their namesake chairs, and large architectural projects. Through four decades of creative work, they revolutionized design and created an indelible mark on American History. The duo was not without faults, but the pair proved to be inseparable and inspirational. They were the Eameses.
The Eames studio—part workshop, part circus— was a partnership of two free spirits: one, an architecture school dropout who never got his license; the other, a painter trained by Hans Hofmann who used objects or any other surface as her canvases. They shunned the term “artist” as pompous.
Charles and Ray Eames arrived in Los Angeles in 1941, a year after they met at the Cranbrook Academy of Art. Charles was married to his first wife, Catherine at the time, but Ray began assisting him and Eero Saarinen in their designs for the Museum of Modern Art’s Organic Design in Home Furnishings Competition, and soon he divorced Catherine and married Ray.
There is always a karmic danger in marrying someone with whom you committed adultery. The women at the company almost uniformly describe him as charismatic. At one point (that we know of), Charles was looking to leave Ray, and was only stopped because the woman confesses, she couldn’t do that to Ray. (https://ageofthegeek.org/2011/11/23/eames-the-architect-and-the-painter-or-why-feminism-matters/ ), Pasadena Art & Science Beat,
Their partnership, which obliterated the distinctions between private and professional lives, inspired numerous contemporary working marriages…Charles and Ray, architect and artist, wanted to do everything — disciplinary boundaries meant nothing to them — and, by and large, succeeded.
Bridget Riley CH CBE (Born 1931)
British painter and designer central to the Op art movement of the 1960s
Eva Hesse (1936-1970)
German-born American sculptor who brought organic, emotional, and kinetic aspects to minimalism