Artist: Joel Barletta (1924 – 2012 ) American

Artist: Joel Barletta (1924 – 2012 ) American
Titled: “Yellow #12,”
Dated: 1965, signed Barletta , verso
Medium: Oil on canvas:
Measure: 60″h x 48″w inches
Farhat Art Museum Collection
JOEL BARLETTA
Joel Barletta was active / lived in California, New Jersey. Joel Barletta was known for geometric abstraction.
 
Painter. Born in New Jersey: attended the Newark School of Fine and Industrial Arts, the Art Students League of New York, and CSFA. His paintings of the mid-1950’s were big, craggy abstractions in which dramatic sweeps of pigment contrasted with the movement of energetic black-and-white lines. Around1957 his paintings assumed somewhat more recognizable landscape forms. Built in flowing. horizontal layers that suggested mountains, canyons and buttes. In the early 1960’s these became more fluid and atmospheric, and by the late 1960’s his canvases become monochromatic fields, divided diagonally into two or three broad geometric planes that differed only in subtle ( something almost subliminal) nuance of value and intensity. Barely was one of the early exhibitors at the Dilexi Gallery in the late 1950’s.
 
His works are in the collections of the Oakland Museum of California and the San Francisco Museum of Modern Art. He has exhibited at the Whitney Museum of American Art in 1965.
 
Reference / source:
Art in the San Francisco Bay Area 1945-1980
An Illustrated History by Thomas Albright

أعمال الفنان دان كريستنسن..توليف حركي بين الشكل واللون

(Dan Christensen)يقوم الفنان «دان كريستنسنDan Christensen 1971 dated 104x 83 inches

بتوليف حركي بين الشكل واللون، لنسج علاقات متشابكة تتطور بصريا، وفق ابتكارات الحركة وتوهجات الالوان التي تجبر الرائي على اعادة النظر اكثر من مرة. لانفصال الاشياء فيها وتلاحمها في المعاني اللونية، المتناقضة والمختلفة، مستخدما احيانا خربشات تلقائية عفوية وعميقة، واحيانا اخرى تكون بمثابة مستطيلات ومربعات ومثلثات. لتعزيز التعبير التجريدي المتجانس منه والغير المتجانس، بتذبذب يتميز بابراز العلاقة اللونية مع الشكل المعقد. لبساطة الخطوط في التعبير المجرد عن حالة لا مكانية غير مستقرة، يدمج من خلالها الالوان الزاهية. ليفك الجمود عن الفراغات التي تحتضن اغلب اعماله الفنية. فالتكوينات الغير واعية تؤدي الى ضبط النفس المؤدي الى الوضوح في الفكرة، وتميز المساحات التي تستقطب الضوء الذي يبرز قيمة الخطوط وجوهر التخيلات للاشكال التجريدية عبر التشابه، والتماثل والتناقض، والتناغم والايقاعات ذات المسار الفني الذي ينتمي الى التجريد التعبيري وبالعكس. ليثير الدهشة ويدفع النفس نحو المتعة، وباختزال ذي مسح بصري يؤدي الى الاستكشاف والاحساس بالتجريد ذي عدة تعبيرات بين الكثير من الخطوط والالوان، والحركة بينهما والاحساس بمتاهة الوجود.
ما بين عفوية الاحجام الصغيرة والكبيرة يعوم الضوء بين الالوان المؤثرة على الشعور التعبيري، الغير موضوعي والمشحون بمعانٍ ذاتية، ينبذها الفنان ويترجمها في اللاوعي التعبيري، والتجريد المتجذر في المراوغات البصرية بين الاشكال والاشكال التي تنفصل وتتلاحم. للخروج من ازمة ما ترتبط بالانفعالات الحسية عند الفنان «دان كريستنسن» وكأنه يتناقض بين الانماط التعبيرية والتجريدية بخلق تعبير تجريدي تشترك فيه نسب الضوء، وتدرجات الالوان في الخطوط التلقائية الموحية بالقوة في الكثير من الاحيان، كنوع من فلسفة تشع بالوجودية. لتمحو ما في النفس من شوائب تختزل تأثيرات الحروب على الانسان، ولتعطي لوحاته المعنى للحياة، وغموضها المؤدي الى نقطة محورية ذات خصائص جمالية، ترتبط بالشفافية والكثافة والسماكة. لابراز انات اللون والايقاعات الصامتة التي تعكس ديناميكية النمط التعبيري، التجريدي وحيويته التي لا تفتقر للايحاءات والايماءات التي تخفي خلفيات فنية ذات معانٍ ابداعية رغم التعبير النفسي البسيط الذي يحمله المغزى الفني للوحات «دان كريستنسن»
يسلط «دان كريستنسن» الضوء على الحقول البصرية كانها مغناطسية تشد الالوان بازدواجية يوظفها في امتداد الالوان الحارة والباردة، وبتناقض سلبي ايجابي يعكس مجازية وجود الانسان في الحياة، وفلسفة الفهم المادي للقوى الداخلية التي تثير زوبعاتها عدة تأثيرات، تهيمن على اللوحة وتكويناتها التي تركز على السطوح، تاركة الفراغات للعمق وللاحساس بالاحجام التي تختزن الكثير من الافكار والمشاعر، الالم، والفرح، والمأساة، والاوجاع، واللاوعي الذي يتجسد في التعبير التجريدي، وهيمنات الحركة العشوائية في بعض منها والمؤثرة على مشهديات لوحاته بشكل عام. فالتدفق الايقاعي في المتناقضات بين الاشكال يولد حركة تمثل حركة النفس الانسانية داخل الجسد، وكأن اللوحة هي الانسان الذي يحيا على الارض، بنزاعات وحروب تؤثر على مساراته في الحياة، وترافقه حتى الموت. فهل التجريد التعبيري فرويدي في بعض منه؟.
يتلاعب الفنان «دان كريستنسن» بايماءات الشكل واللون، وبحركة الخطوط على خلفيات تمثل الاكتمال والنقصان في اللوحة التشكيلية النفسية بشكل خاص. التي قد تتخطى اللاوعي بالانفعالات التي تبرز شدة التعلق بالخطوط الرئيسية للحياة في مصطلحين هما التعبير والتجريد الذي يصعب ابرازهما معا في التعبير التجريدي، وبالعكس ما لم يمتلك الفنان خاصية ما يحاول من خلالها فك لغز الخط الذي يترجم ما في النفس من مخاوف وطمأنينة، وما في لون من اختلافات في المعاني المداعبة للشعور بجمالية الفن ومؤثراته النفسية على بث المزيد من التساؤلات الفنية نحو التجريد التعبيري وماهيته الخاصة عند كل فنان.
الفنان التشكيلي «دان كريستنسن» Dan Christensen (1942 – 2007) من مجموعة متحف فرحات
ضحى عبدالرؤوف المل

Artist: Wilbert Verhelst (1923- 2013 ) American

Artist: Wilbert Verhelst (1923- 2013 ) American
Date 1954 and signed lower leftWILBERT (BILL) VERHELST (CO:TX, 1923-2012)
Title: Butterflies
Size: 30″x40″ (height x width) oil on canvas
Exhibited: 1956 Sarasota Art Association – Sixth Annual National Exhibition
Farhat Art Museum Collection

Artist Information:
Wilbert Verhelst was born in Sheboygan, Wisconsin in 1923. He was a museum curator, sculptor, painter and teacher and earned his BFA in 1950 and MFA in 1956 from the University of Denver. He served the Denver Art Museum as an assistant curator, associate curator and teacher from 1952 until 1957. He then became the director of the Sioux City Art Center for a year before returning to the Denver Art Museum as a curator from 1958 to 1960. In 1968, Verhelst joined Roger Kotoske and Beverly and Bernie Rosen to form the Denver Sculpture Symposium which created Burns Sculpture Park at Colorado Boulevard and Alameda Avenue in Denver. Verhelst eventually relocated to Texas where he helped create the Texas Sculpture Symposium in 1978 and established and taught at the sculpture department at Southern Methodist University. Verhelst received many sculptural commissions for public buildings in Colorado, Texas and Louisiana. He shared his knowledge in his own book Sculpture: Tools, Materials and Techniques, published by Prentice Hall in 1973, in addition to influencing young artists through his many years of teaching. Verhelst died in Dallas, Texas in 2012.

Exhibited: San Francisco AA, 1953, 1957; Mississippi AA, 1950; Sarasota AA, 1956; AGAA, 1949; Utah State Univ., 1957; Denver Art Mus., 1949, 1950, 1952-56; Joslyn Mem. Mus., 1950, 1958; Nelson Gal. Art, 1950, 1957; Mus. New Mexico, 1957; WAC, 1958; Des Moines Art Center, 1958. Award: Art Faculty award, Univ. Denver, 1949.

Keywords: Mid Century Modern, Abstract, Geometric, Atomic Ranch, Retro, Original, Painting, Butterflies, Butterfly, Modernist,
50’s, Eames, Madmen, Design

Wilbert Verhelst, one of the nations major sculptures, is also one of the few of his professional stature who is both native born and educated. He was born in 1923 in Wisconsin and received his B.F.A. and M.A. from the University of Denver.

His sculpture has been the subject of major exhibitions at institutions such as the San Francisco Museum of Art, the Denver Art Museum, the Museum of New Mexico, and Southern Methodist University’s Pollock Gallery.

Verhelst has made Dallas his home since the early 1960s. His larger works grace many private and public buildings in the Western United States, while his less massive works may be seen in public and private collections.

A superb example of one of his larger works is a 35-foot sculptured fountain commissioned by PepsiCo for the corporate headquarters of their Dallas-based subsidiary, Frito-Lay, Inc.

The Artist has been recognized for his blending of intellectualism with superb technique and mastery of materials. His book, Sculpture: Tools, Materials and Techniques, is considered by many to be the definitive treatment by an American of sculptural technique and materials. It is utilized as a textbook in major art schools throughout the country.

Verhelst, in 1964 joined the faculty of Southern Methodist University where he holds the rank of Professor and directs the sculpture program at the Meadows School of the Arts.

Artist; Scott Macleod (1956- ) American

18342816_10158667144005553_326170907868125217_nArtist; Scott Macleod (1956-
Artist Statement:
TARGETS
I was making sculptures & installations at a symposium1 in the Czech Republic in 1996.
One day I found a dartboard in a second-hand shop & realized that it was made of tightly-rolled paper, a kind of heavy paper or thin cardboard. I thought that I might be able to make something interesting by unwinding this dartboard.
The next day I carefully unwound most of the dartboard onto the third story floor of an 18th-century tower of the castle, leaving a small section at the very center, the bulls-eye.
I liked the result even more than than I’d imagined: to me it looked very much like a topographical map & it looked especially good in that room. This is one of my favorite installations ever, partly because it was such a simple idea. The piece remained in place for several weeks after I returned to the USA.
I liked this piece & wanted to make another one, but didn’t get a chance until 2001 when curator Jay Jensen of the Contemporary Museum in Honolulu, Hawai’i wanted to buy one for that museum. He asked me to make a couple samples & send him photos of them. I didn’t have enough room to leave them unrolled after taking photos, so I had, for the first time, to roll them up again. When I did this, I realized that, in a different way, these were as interesting when re-rolled as they were unrolled.
1 Mapováni Prostoru (Mapping Space), a symposium organized by Helena Hrdličková, then director of Galerie u Bilého jednorožce (the White Unicorn Gallery), the civic gallery of the Bohemian city of Klatovy. The symposium was held on the grounds of Hrad Klenová (Klenova Castle), about 20km away.
Because I couldn’t rewind them nearly as tightly as they’d originally been wound by machine, the painted dartboard patterns quickly degraded, often in a kind of spiralling away, like smoke from a chimney.
Sometimes, reversals of this disintegrating pattern occur: I think it’s the same type of phenomenon as when the wheels of a moving automobile look like they’re rotating in reverse even though the car is traveling forward. There is probably a mathematical algorithm that describes this effect. This reversal takes several distinct typical forms.
While the basic idea & method of crafting these objects remains consistent, I have discovered that there is great variety in what can be accomplished. Having made nearly 100 of these so far, I have a better understanding of what is possible, & better control over the material, But my control over the end result is still vague and intuitive, so I am still constantly surprised & delighted by what I have made, & am still discovering new possibilities for this work.
Scott MacLeod August 4, 2007