Art Tattler International

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Art Tattler is “a journalistic-style reiterative web-based intervention of the organizational and curatorial aspects of exhibitions around the world.” It publishes a comprehensive directory of extended form exhibition listings, and also provides commentary in the form of solicited & unsolicited, signed criticism, reviews, opinions and essays.

  • Mike Miller, Publisher & Webmaster 
  • Hallie Smith, Editor 
  • Blair Schulman, Associate Editor

A few favorites from the archives:

Primitivists from Early 20th Century German, Expressionism Begins

(Bauernhöft in Marschlandschaft  (Farmouhouse in Marshland Landscape), ca. 1914. Watercolor. © Nolde, Stiftung Seebull, Photograph Sammlung Hermann Gerlinger).

German Expressionist Works on Paper, an Explosion of Modernism

(Procuress (Kupplerin), 1923. Lithograph, composition (irreg.): 19 1/16 x 14 1/2” (48.4 x 36.8 cm); sheet (irreg.): 23 5/8 x 18 5/16” (60 x 46.5 cm). Riva Castleman Endowment Fund)

A Posthumous Consideration of Cy Twombly at MOCA-LA

(Ferragasto III, Rom, 1961. Oil, wax crayon, lead pencil on canvas, 165 x 200.5 cm. Daros Collection. Schweiz, © Cy Twombly.)

Origins of Color Field Painting and American Post War Abstraction

(Morris Lewis, Floral V [detail], 1959-60. Denver, courtesy of the American Federation of the Arts]

Ernst Kirchner, die Brucke, the Berlin Street, WWI Existentialism

(Reclining Woman in White Chemise, ca. 1909. Oil on canvas, 95 x 121 cm. Stadel Museum, Frankfurt am Main.)

Art Tattler International

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I am an excitable person who only understands life lyrically, musically, in whom feelings are much stronger as reason. I am so thirsty for the marvelous that only the marvelous has power over me. Anything I can not transform into something marvelous, I let go. Reality doesn’t impress me. I only believe in intoxication, in ecstasy, and when ordinary life shackles me, I escape, one way or another. No more walls.

Anaïs Nin

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Lee Krasner, Vernal Yellow (from Solstice Series), 1980. Oil, collage on canvas, 150 x 178. Ludwig Collection.

During the mid-fifties, Lee Krasner created a number of collaged paintings using drawings and paintings she had previously discarded. Twenty-five years later she used the same technique for a series that was exhibited in 1980 at the Pace Gallery in New York under the title “Solstice”. Vernal Yellow is from that series. For this work the artist integrated cut-out fragments of figurative charcoals from the 1930s, as well as non-representational lithographs into the canvas. A great tension can be felt between the lines and colours, between abstraction and figuration, as well as between surface and space. And throughout the whole one can feel the strongly pulsating rhythms of the artist’s spontaneous brushwork and of the elements she collaged in.

(Courtesy Museum Ludwig: From Abstract Expressionism to Colour Field Painting)

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Ideally a painter (and, generally, an artist) should not become conscious of his insights: without taking the detour through his reflective processes, and incomprehensibly to himself, all his progress should enter so swiftly into the work that he is unable to recognize them in the moment of transition. Alas, the artist who waits in ambush there, watching, detaining them, will find them transformed like the beautiful gold in the fairy tale which cannot remain gold because some small detail was not taken care of.

Rainer Maria Rilke