Nara grew up in Aomori Prefecture, Japan, about 300 miles north of the Tochigi Prefecture. His exposure to Western music on the American military radio station Far East Network in Honshu influenced his artistic imagination early. Later, he would provide cover art for bands including Shonen Knife, R.E.M., and Bloodthirsty Butchers.
Influenced by the international modern art movements that had recently swept across Europe, he blended cubism, which used geometric shapes to create abstract images, and fauvism, which favoured the use of bold colours to suggest shapes, with interest in ethnography to create a unique style of portraiture that sought to reveal the subject more thoroughly than the simple rendering of physical features.
Nikolai Mikhailovich Suetin (1897-1954) was a Russian artist, ceramicist, and designer. He was born in Metlevsk Station Kaluga. He was the husband of Anna Leporskaia. Between 1918-22, he studied Vitebsk Art School. He became a member of Kazimir Malevich’s Posnovis/Unovis group in 1919, and, with Il’ia Chashnik, was one of Malevich’s closest collaborators.
In 1965, Kusama erected the first of her now-famous immersive environments. Infinity Mirror Room – Phalli’s Field (Floor Show) fused her interests in repetition, sexual exploration, psychology, and perception by filling a roughly 25-square-meter mirrored room with a thick carpet of soft, twisting phalluses camouflaged in the artist’s signature polka dots.
Paul Rand, was a seminal figure in graphic design who made innovative visual identities for some of America’s major corporations and book and magazine publishers
We all have seen the designs of Paul Rand at some stage of our lives. He had a career spanning nearly seven decades. There is the seminal logo for IBM and the logo for ABC. There is the Westinghouse logo, the logo for NeXT computers. There are posters and packaging, book covers, record covers and a multitude of magazine covers.
The wrongness of images, or our apperceptions of them: What appears to be a painting is actually a photograph. What appear to be two-dimensional painted lines, curves, rectangles, arabesques, planes of color, or abstract geometries with trompe l’oeil shadows are in fact three-dimensional objects carefully arranged, brightly illuminated, and flattened into a beguiling single plane by the lens of a camera.
Painter James Bishop has died at age 93. His lyrical abstractions juxtapose fields of colour or expanses of primed and painted canvas. He often worked on found materials, displaying careful attention to his substrate’s surface. In an essay for our October 2008 issue, artist and critic Joe Fyfe responded to a retrospective at the Art Institute of Chicago that centred Bishop’s work on paper. “Bishop’s paintings on paper arise from a carefully determined process and an openness to accident,” Fyfe writes. “Working on a small scale, often in series, he achieves a gentle grandeur.”