Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...
In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...
'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...
John Tweddle, born in Pinckneyville, Kentucky in 1938, moved to New York City as the 1960s drew to a close. His first exhibition at Green Gallery with legendary Richard Bellamy, who remained a staunch supporter the rest of his life, caught the attention of Robert Scull, an early champion of Jasper Johns, James Rosenquist and Andy Warhol. Scull proceeded to collect Tweddle’s work in depth.
Informed by his Southern childhood, Tweddle drew liberally from the 'low art' traditions of cartoons and comic books while mounting an intellectually rigorous exploration of capitalism, iconography and the counterculture revolution. The resultant work—bold, primal, deliberately naive—drew upon an authentic American experience far removed from the cultural loci of New York. However, as the decade wore on and Tweddle found himself more deeply entrenched in the artistic establishment, his canvases evinced a growing concern with the interplay of art and commerce. By 1980, Tweddle had retreated from New York’s cultural milieu, preferring instead to work in relative isolation.
These paintings from the 1960s and 1970s capture a particularly fertile period in the artist’s career. In Grace Glueck’s review of his 1983 exhibition at the Blum Helman Gallery, she notes that Tweddle’s 'structure is iconic, usually consisting of a vignette with a narrative subject, ringed by formal borders that incorporate all manner of signs and symbols.' Central among his recurring motifs is the dollar sign, which serves as a visual shorthand for Tweddle’s own discomfort with the commodification of art. Tweddle arranges these symbols of contemporary culture into intricate and meticulously plotted patterns reminiscent of patchwork quilting, navajo tapestry and aboriginal bark painting. Thus rooted in folk art tradition, Tweddle’s rough-edged brushwork and dusty palette of ochre and green render icons of the American landscape with a dark and chaotic complexity.
John Tweddle has exhibited at such institutions as MoMA P.S.1 and the Museum of Modern Art in New York and the Bonnefantenmuseum, Maastricht and his work can be found in the permanent collection of the Metropolitan Museum of Art in New York. Tweddle, who has twice received grants from national endowment for the Arts, lives and works in New Mexico.
Born 1938, Pinckneyville, Kentucky
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.