Joseph Glasco - American Abstract Expressionist painter

Joseph Glasco (1925 – May 31, 1996) was an American Abstract Expressionist painter and sculptor.Joseph Glasco was born in Pauls Valley, Oklahoma, but grew up in Texas. His parents were Lowell and Pauline Glasco.He had three brothers, Gregory, Gordon Michael, and two sisters, Anne Brawley and Marion Glasco (married to oilman C. Fred Chambers).Glasco graduated from the University of Texas at Austin. Shortly after, he enlisted in the United States Army during World War II, and he served in the Battle of the Bulge. After the war, he enrolled at the Portsmouth Art School in Bristol, England. He also studied at the School of Painting and Sculpture, in San Miguel de Allende, Mexico. He subsequently attended the Art Students League of New York.Glasco was the lover of the writer William Goyen and in Clark Davis' biography of Goyen called It Starts With Trouble (University of Texas Press, 2015) , he documents their relationship. Glasco retired in Galveston, Texas in 1972, where he maintained a studio on The Strand near the Strand Emporium, and lived as a virtual recluse.Glasco died on May 31, 1996 in Galveston, Texas.Wikipedia


Agustín Cárdenas

Agustín Cárdenas Alfonso (April 10, 1927, Matanzas, Cuba – February 9, 2001, Havana, Cuba) was a Cuban sculptor who was active in the Surrealist movement in Paris. His sculpture was influenced by Brâncuși, Henry Moore, and Jean Arp. Poet
"Cárdenas was born in Matanzas, Cuba in 1927 and studied at the Academia de Bellas Artes de San Alejandro in Havana from 1943 to 1949. His first individual show was held at the Palacio de Bellas Artes in Havana in 1955, and that same year he traveled to Paris on a scholarship. His wood and stone sculptures are biomorphic and expertly realized, provocative both intellectually and sensually. The affinity that the surrealists felt for his work led to his first Paris exhibition at the Galerie L'Etoile Scellle in 1956. Since then, Cárdenas has been exhibited widely in Europe, the Americas, and Asia. At the 1961 Biennale de Paris he was awarded the prize in sculpture. Among his many individual shows have been FIAC, Paris (1980,1984), Museo de Bellas Artes, Caracas (1982), and International Gallery, Chicago (1990). His works appear in many museums and private collections, including Fond National d'Art Contemporain, Montreal, Museum of Modern Art, Tel Aviv, Hakone Museum, Japan, Museo de Bellas Artes, Caracas, and Musee d'Art Moderne de la ville de Paris.
Cárdenas lived in Paris since 1955, and worked in Paris and Carrara, Italy. Under the auspices of the magazine Avance the First Exhibition of Modern Art was held in Havana. The magazine helped foment the changes in direction being taken by the visual arts in a context that Marinello defined as the "critical decade". Since his days at the San Alejandro Academy, the "master of masters" of Cuban sculpture, Juan José Sicre, recognized in Cárdenas the vigor and creative imagination that accompanied him throughout his career, from his early work at the end of the 1940’s through the experience of "Los Once" to the mature, definitive work of his Parisian period. In 1995 he was awarded the National Fine Arts Award, along with another outstanding Cuban sculptor, Rita Longa. He worked wood, marble and bronze with the same ease and sureness and with a poetic freshness that demonstrated that traditional media are not at odds with each other. He was comfortable dialoging ideologically with Brancusi or Henry Moore, with all the vitality afforded by an island whose sense of itself derives from its creative involvement in the linguistic codes of contemporaneity. Cárdenas’ impeccably finished, imaginative and truly poetic work has a parallel in painting in the work of another great Cuban artist, Wifredo Lam. Agustín Cárdenas’ farewell leaves a void, as each great artist does, but the compensation is his universal legacy, in which he was able to capture, in the words of Ricardo Pau-Llosa, "the apprehension of those intangible forces that give life form." Cárdenas spent the last few years of his life in Havana, where he died in 2001."(

Donald Lester Reitz - Ceramic art

Donald Lester Reitz (November 7, 1929 – March 19, 2014) was an American ceramic artist, recognized for inspiring a reemergence of salt glaze pottery in United States. He was a teacher of ceramic art at the University of Wisconsin–Madison from 1962 until 1988. During this period, he adapted the pottery firing technique developed in the Middle Ages, which involved pouring salt into the pottery kiln during the firing stage. The method was taught in European ceramic art schools, but largely unknown in United States studio pottery.In 1982, Reitz was in a serious car accident involving a truck and was hospitalized for several months. While recovering from his injury, he began to create a series of ceramic pieces that came to be known by a collective name, Sara Period. In 2007, Reitz suffered a heart attack and would undergo close to a dozen surgeries, including a valve replacement. He continued producing works with the help of studio assistants.Reitz died on March 19, 2014, at the age of 84 of heart failure and was eulogized by The New York Times and the American Craft Council. His works are featured in several museums including the Smithsonian Institution, American Museum of Ceramic Art, and Museum of Fine Arts, Boston.
Later in the 1980s and 90s, he became involved with wood firing ceramics as a collaboration with several artists, traveling to many ceramics studios to utilize different kilns for their varied effects. In 1988, he retired from the University of Wisconsin, but continued to work at his private studio in Clarkdale, Arizona.
Reitz was named on Ceramics Monthly's list of "greatest living ceramic artists worldwide" in 1988 and 2001. In 2002, he was awarded the American Craft Council's Gold Medal award.In 2007, he suffered a heart attack and underwent a series of eleven surgeries, including a valve replacement. However, he continued producing works for several more years, this time, with the help of studio assistants and collaborative artists. He would take elements they molded in cylindrical shapes, modify and assemble them into abstract sculptures, statuettes and table top pieces.Wikipedia

Gelsen Gas

Angel Sanchez Gas (1933-2015) was popularly known as Gelsen Gas, an alliterative pseudonym. He was a multifaceted and interdisciplinary artist, theater director, film director, film producer, actor, painter, poet, sculptor and inventor, based in Mexico City, Mexico. His career and style are highly diversified and hard to classify.He is most commonly known for his paintings and geometrically constructed artworks. Among his most famous works are the film 'Anticlimax' (1969) featuring Alejandro Jodorowsky, his painting 'Homenaje a Magritte' (1969), an homage to the Belgian surrealist artist René François Ghislain Magritte and his self-portrait 'Autogelsen' (1971).Gas was born in Mexico City, Mexico. His parents were Ángel Sánchez Bellido and Leonor Gas Murillo.The painting Homenaje a Magritte and a collection of Gelsen Gas sculptures are part of a permanent collection of the Museo de Arte Moderno (the Museum of Modern Art) in Mexico City which also includes the work of the artists Frida Kahlo, Olga Costa, Diego Rivera and David Alfaro Siqueiros.
He also wrote and directed the film Anticlimax (1969) which was the sole movie made in his career but became a cult classic in the 1970s. The film was produced in black-and-white, 80 min. (no subtitles; minimal dialogue).Anticlimax was shown at the Guggenheim Museum's First Comprehensive Survey of Experimental Filmmaking in Mexico in 1999.Wikipedia

Nancy Graves

Nancy Graves (December 23, 1939 – October 21, 1995) was an American sculptor, painter, printmaker, and sometime-filmmaker known for her focus on natural phenomena like camels or maps of the moon. Her works are included in many public collections, including those of the National Gallery of Art (Washington, D.C.), the Brooklyn Museum of Art, the Smithsonian American Art Museum, the National Gallery of Australia (Canberra), Walker Art Center (Minneapolis),and the Museum of Fine Arts (St. Petersburg).When Graves was just 29, she was given a solo exhibition at the Whitney Museum of American Art. At the time she was the youngest artist, and fifth woman to achieve this honor.A prolific artist who worked in painting, sculpture, printmaking and film, Graves first made her presence felt on the New York art scene in the late 1960s and 70's, with life-size sculptures of camels that seemed as accurate as a natural history display. Like-minded artists included Eva Hesse, Close, Bruce Nauman, Keith Sonnier, and Serra, to whom Graves was married from 1965 to 1970.Her work has strong ties to the Alexander Calder's stabiles and to the sculptures of David Smith, with their welded parts and found objects; she collected works by both artists.Her most famous sculpture, Camels, was first displayed in the Whitney Museum of American Art.

The sculpture features three separate camels, each made of many materials, among them burlap, wax, figerglass, and animal skin. Each camel is also painted with acrylics and oil colors to appear realistic.
 The camels are now stored in the National Gallery of Canada, and two later "siblings" reside in the Ludwig Forum für Internationale Kunst in Aachen, Germany. Working in Fiberglas, latex, marble dust and other unorthodox materials, Graves later moved on to camel skeletons and bones, which she dispersed about the floor or hung from ceilings. In Variability of Similar Forms (1970), from drawings that Graves made of Pleistocene camel skeletons, she sculpted 36 individual leg bones in various positions, each nearly the height of a man, and arranged them upright in an irregular pattern on a wooden base. In the early 1970s, she made five films. Two of them, Goulimine, 1970 and Izy Boukir, recorded the movement of camels in Morocco, reflecting the influence of Eadweard Muybridge's motion-study photography. In 1976, German art collector Peter Ludwig commissioned a wax variation of a 1969 sculpture of camel bones.Graves began showing open-form polychrome sculptures in 1980, one prime example being Trace, a very large tree whose trunk was made from ribbons of bronze with foliage of steel mesh. Also in the early 1980s, she began to produce the works for which she became most widely known: the colorfully painted, playfully disjunctive assemblages of found objects cast in bronze, including plants, mechanical parts, tools, architectural elements, food products and much more.Wikipedia