Jasper Johns, Claes Oldenburg, Robert Indiana, Andy Warhol, and Martial Raysse, gathered in a room at Hirshhorn. Jasper Johns – 0 through 9: it’s a whole universe there, of digits, and of people, and of weird animals, and some birds, and funny, strange events. Digits defining people, people in metamorphosis to become animals and birds, a miraculous geometry of shapes, and colors, and white drops of snow, drops of snow in sudden metamorphosis to red. Drops of red snow. Near Jasper Johns, a Claes Oldenberg: this Ghost Version of a Soft Bathtub. It is interesting, I noted the head (so, the Ghost) only after taking the photo. Actually I noted the head only in the photo, I wasn’t able to observe it just watching the work. It’s an interesting point, and it goes well with the argument of photorealists, that one should start with a photo to get all interesting details of reality. Robert Indiana then, the wizard discovering icons in digits and words. Here building ironic icons: Beware-Danger American Dream. This artwork of Warhol that I had seen so many times in reproductions, now I was in front of it. Everything Warhol creates, he pours a drop of godness. On the opposite wall, another Oldenburg, this 7-UP that I knew from some art books. And finally this green Venus Made in Japan, laying on soft cushions. I felt I needed to record the whole in a video, to keep the memory forever: Warhol, Johns, Oldenburg, Indiana, Raysse.
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Here is a series of Spectral work that I have painted over the last 2 years. More works can be viewed at www.danilorhodies.com and http I am a visual artist that specializes in the exploration of various movements of 20th century art, combining them from a design perspective to make work that is relevant to today’s aesthetic sensibilities. Geometry Symmetry and Color play a major role in this evolution. Influences of Paul Klee, Piet Mondrian, Vasily Kandinsky, Giacomo Balla, Kenneth Noland, Jasper Johns, among others, can be identified in this process as well as the Pop Art, Bauhaus and Futurist movements of the early to mid 20th century.
Excerpt from Mr. Hoover and I by Emile de Antonio, writer, director and producer of documentary films, usually detailing political or social events circa 1960s – 1980s. He was born in 1919 in Scranton, Pennsylvania. He attended Harvard with John F. Kennedy and would later go on to make a film about Kennedy’s assassination called Rush to Judgment. After serving in the military during World War II, de Antonio frequented the art crowd, often associating with such Pop artists as Jasper Johns, Robert Rauschenberg, and Andy Warhol, in whose film Drink de Antonio appears. De Antonio chronicled this art scene in his documentary Painters Painting (1972). In 1959 de Antonio developed G-String Productions in order to distribute the Beat Generation film Pull My Daisy. It was at this time that de Antonio discovered filmmaking. His first film, Point of Order, a compilation film made in 1964, regards Joseph mccarthy and the Army-mccarthy hearings. De Antonio went on to make many politically motivated films that attracted a substantial amount of controversy and also tended to align himself with Marxist thought. Most, if not all, of his films criticize aspects of American culture or politics or reflect a certain degree of political dissension, because of which, along with his Marxist affiliation, the FBI documented 10000 pages of de Antonio’s activities. Camera: Morgan Wesson, Mathew Mindlin. 2nd Unit: William Rexer. Editor: George Spyros. Assoc. Producer: Michael Thomas. Special Thanks: Ron Mann
Excerpt from Mr. Hoover and I by Emile de Antonio, writer, director and producer of documentary films, usually detailing political or social events circa 1960s – 1980s. He was born in 1919 in Scranton, Pennsylvania. He attended Harvard with John F. Kennedy and would later go on to make a film about Kennedy’s assassination called Rush to Judgment. After serving in the military during World War II, de Antonio frequented the art crowd, often associating with such Pop artists as Jasper Johns, Robert Rauschenberg, and Andy Warhol, in whose film Drink de Antonio appears. De Antonio chronicled this art scene in his documentary Painters Painting (1972). In 1959 de Antonio developed G-String Productions in order to distribute the Beat Generation film Pull My Daisy. It was at this time that de Antonio discovered filmmaking. His first film, Point of Order, a compilation film made in 1964, regards Joseph mccarthy and the Army-mccarthy hearings. De Antonio went on to make many politically motivated films that attracted a substantial amount of controversy and also tended to align himself with Marxist thought. Most, if not all, of his films criticize aspects of American culture or politics or reflect a certain degree of political dissension, because of which, along with his Marxist affiliation, the FBI documented 10000 pages of de Antonio’s activities. Camera: Morgan Wesson, Mathew Mindlin. 2nd Unit: William Rexer. Editor: George Spyros. Assoc. Producer: Michael Thomas. Special Thanks: Ron Mann
Excerpt from Mr. Hoover and I by Emile de Antonio, writer, director and producer of documentary films, usually detailing political or social events circa 1960s – 1980s. He was born in 1919 in Scranton, Pennsylvania. He attended Harvard with John F. Kennedy and would later go on to make a film about Kennedy’s assassination called Rush to Judgment. After serving in the military during World War II, de Antonio frequented the art crowd, often associating with such Pop artists as Jasper Johns, Robert Rauschenberg, and Andy Warhol, in whose film Drink de Antonio appears. De Antonio chronicled this art scene in his documentary Painters Painting (1972). In 1959 de Antonio developed G-String Productions in order to distribute the Beat Generation film Pull My Daisy. It was at this time that de Antonio discovered filmmaking. His first film, Point of Order, a compilation film made in 1964, regards Joseph mccarthy and the Army-mccarthy hearings. De Antonio went on to make many politically motivated films that attracted a substantial amount of controversy and also tended to align himself with Marxist thought. Most, if not all, of his films criticize aspects of American culture or politics or reflect a certain degree of political dissension, because of which, along with his Marxist affiliation, the FBI documented 10000 pages of de Antonio’s activities. Camera: Morgan Wesson, Mathew Mindlin. 2nd Unit: William Rexer. Editor: George Spyros. Assoc. Producer: Michael Thomas. Special Thanks: Ron Mann