Exposition Art Blog

Kathleen Gemberling Adkison - Abstract Expressionism


Kathleen Gemberling Adkison (July 5, 1917 - 2010), was an American abstract painter.
Like Jackson Pollock, Adkison worked with her canvas on the floor. She is recognized as among the first female to do so. However, her focus is based on the natural beauty of rocks, trees, tall grasses and other images she perceived from her hikes with her husband.
Adkison was a critically acclaimed artist and highly recognized for her work. She was among only eight women included in Northwest Art Today at the 1962 Seattle World's Fair. She died in August 2010

















Mordecai Ardon - Mystery Landscape Painting


Mordecai Ardon (1896 –1992) was an Israeli painter.
Ardon was born Max Bronstein in 1896 in Tuchów, Galicia (then Austria-Hungary, now Poland). In 1933 he emigrated to Jerusalem in Mandate Palestine. He was granted Palestinian citizenship in 1936 and changed his name to Mordecai Ardon.
Beginning in the 1950s Ardon adopted a complex system of symbolic images in his paintings, taken from the Jewish Mystical tradition (Kabbalah), from the Bible and from a tangible reality. In his painting "Gates of Light", for example, he expressed "the inner mystery and timelessness of the landscape." His work seeks to impart a cosmic dimension to the present, linking it to antiquity and mystery. The same approach can be found in "At the Gates of Jerusalem" (1967), which shows the attempt to "convey his feelings about the cosmic significance of Israel’s return to the Old City of Jerusalem during the Six-Day War". "Bird near a yellow wall" (1950) demonstrates his simplistic involvement with the Holocaust, a subject to which he was one of the few Israeli artists to devote a phase of his work, at that time.As a teacher and director of the "New Bezalel", Ardon conveyed his sense of social involvement, his tendency towards Jewish mysticism and local mythology, and the combination of personal national symbols with reality-always stressing masterful technique. Wikipedia
















Jorge Oteiza Embil - Space and Emptiness


"Jorge Oteiza Embil, Basque sculptor (born Oct. 21, 1908, Orio, Spain—died April 9, 2003, San Sebastián, Spain), examined the nature of space and emptiness in monumental minimalist sculptures that were influential in the art world of the mid-20th century. Oteiza began sculpting while studying medicine in Madrid. In 1935–48 he lived in South America, and the pre-Columbian art that he saw there informed his later work. Oteiza won the grand prize for sculpture at the 1957 São Paulo (Braz.) Bienal, but in 1959 he announced his retirement from sculpting. He continued to create small sculptures, however, in addition to publishing books on art theory and volumes of poetry. Orteiza’s frieze for the Aránzazu Basilica in Spain’s Guipúzcoa province, commissioned in 1950, aroused opposition but was finally completed in 1969. He was awarded the Spanish Medal of Fine Arts (1985), the Prince of Asturias Art Prize (1988), and the Gold Medal of Navarre (1992)."(britannica.com)



















Eduardo Chillida - Abstract Sculpture


"Eduardo Chillida was born on January 10, 1924, in San Sebastián, Spain. He began his career in 1943 studying architecture at the University of Madrid, but in 1947 he turned to drawing and sculpture and by 1948 had moved to Paris, then the world capital of the arts. Although he abandoned his studies, his oeuvre betrays his architectural training, displaying an underlying sense of structural organization as well as discipline in materials, planning of spatial relationships, and scaling of elements. Through the years the artist turned to materials that informed his investigations of conceptual questions and metaphysical concerns. Chillida’s early attempts in stone and plaster oscillated between the human and the natural world using figures and landscape imagery. His return to Spain’s Basque country in 1951 signaled a change in vision and medium, focusing more on the metamorphosis of space and the definition of spatial volume through form. Chillida soon abandoned the plaster he had used in his Paris works in favor of iron, then wood and steel. These materials represent Basque traditions in industry, architecture, and agriculture, as well as recall the landscape and “black light” of the region.Travels to Greece; Rome, Umbria, Tuscany, all in Italy; and Provence in France in the 1960s ignited what would be a lifelong interest in the relationship between light and architecture. Chillida began using alabaster for its illuminated yet veiled appearance, such as in the sculpture How profound is the Air (1996). Despite his use of varied mediums, Chillida’s intentions of simplicity and balance never allowed for the material to take on a form foreign to its nature. Consistently driven by the quality of space, density, and rhythm, his works consider ways in which mass and volume contain space. His public works, which exist on a more massive scale, not only inhabit space but also determine a qualifying space of their own."(guggenheim.org)