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14 years ago
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In an overflowing salesroom at Christie’s, six bidders vied for “Nude, Green Leaves and Bust,” which depicts the artist’s mistress Marie-Thérèse Walter, reclining naked. When the canvas last changed hands, in 1951, it sold for $19,800. But this time, “Nude, Green Leaves and Bust” brought $106.5 million.

Like many of his generation — Mr. Nouvel is 64 — he retains a stubborn, some might say naïve, belief that architecture should make us alert to the conflicts that shape the modern city rather than conceal them.
That attitude is apparent in the mixed signals the building sends. Seen from across the West Side Highway, the tower’s twinkling facade, with its hundreds of irregularly shaped windows tilted at odd angles to reflect fragments of sky or the surrounding city, offers a striking counterpoint to the soft, sail-like curves of Mr. Gehry’s creation. Rows of older brick buildings flank them to the north and south, and the contrast between glass and masonry, straight and curved lines, creates a nice rhythm along what was once a bleak strip of decrepit offices and warehouses.

I stumbled upon my method of “throw painting” in 1987 while still a student of figurative art. Plopping various amounts of black and white acrylic into a spoon and hurling the contents would yield unpredictable patterns on the canvas. It was like assembling a puzzle, of which the image could not have been foreseen beforehand.
And discovering imagery was my primary interest. Although this method of paint application had previously been identified with formalist abstraction, I utilized it for its image making potential. I was excited by the hallucinatory early James Ensor, early and late Jackson Pollock and the recent work of Malcolm Morley. In these artists scenes emerged from the materiality of the paint, in a fluctuating dance between surface and depth. If I were to simply state my goal, I’d echo Morley’s remark that he wanted to depict reality as if “ the world were made of paint”.


"I feel as if I have been born again," he said, as some of France's leading collectors and curators jostled for position to see his collages. "Now I feel like a prince. A pauper can become a prince. But he can go back to being a pauper too."...
Barledeanu describes himself as a "director" of his own films and considers each collage to be a movie in itself. While many are light-hearted, others are darker, infused with black humour and often focusing on the man he calls his "greatest fear". "I knew that if he knew about my work Ceausescu would not sleep in peace in his grave," he said. "If people had found out about my work they could have chopped my head off … But this is my revenge."...
Whatever the world thinks, Barladeanu says he will carry on working regardless. "It's like eating pie or sandwiches. It fulfils me," he said in his fast-paced Romanian slang. "If I were reincarnated in another life I would still be making collages, and if I could take them to the moon I would."

John Bramblitt didn’t start painting until he lost his sight. It was a difficult time. Bramblitt was in his late 20’s and unaware that his sight was seriously degrading until he was sideswiped by an unseen car. He was also worried about having the severe epileptic seizures that had already taken their toll on his vision. And he was angry. In fact, he believes that taking up painting after losing his sight was mostly an act of defiance....
According to Bramblitt, “White feels thicker on my fingers, almost like toothpaste, and black feels slicker and thinner. To mix a gray, I’ll try to get the paint to have a feel of medium viscosity”.
He has hewed to the old decorating dictum that says that the more stuff you put in a room (albeit artfully arranged stuff), the bigger it seems.