Sunday, July 17, 2022

The year summer got serious - btbirkett@gmail.com - Gmail

The year summer got serious - btbirkett@gmail.com - Gmail

Extreme heat has engulfed parts of Europe, the US and China. By early last week, at least 86 Chinese cities had issued heat alerts. A so-called heat dome has formed over the Southwest and central US, breaking long-standing temperature records and intensifying what had already been an extremely hot summer. In Europe, the heat wave has been described as the worst in over 200 years, causing wildfires across Spain, Portugal and France. The situation in France and the UK is expected to be particularly intense until Tuesday, with the first-ever “Red Extreme” heat alert issued by Britain’s Met Office

If you judged by the tabloids, you’d think that a heat wave was fun. Pictures show people sunbathing in the park or relaxing at the beach, and headlines draw comparisons with tropical paradises: “UK warmer than parts of the Maldives.” One 2021 study showed how climate change was almost entirely absent from newspaper coverage of the 2018 heat wave. But this is dangerous — and only going to get worse.

What’s particularly concerning is the rise of dangerous humid-heat temperatures, as explored by David Fickling and Ruth Pollard in this feature. It was thought that the fatal 35 degrees Celsius (95 degrees Fahrenheit) wet-bulb threshold — the point at which the human body can’t cool itself down and even healthy people with unlimited shade and water will die of heatstroke — almost never occurred in the current climate. But as a 2020 study (and the map below) reveals, humid heat above 35 degrees C has already been happening — from the Persian Gulf and the Red Sea to Pakistan, India, Australia, Venezuela and both Mexican coasts. Wet-bulb temperatures above 31 degrees C have turned up in dozens of places across tropical South and Southeast Asia, China, West Africa, southern Europe, and the Americas, extending to the suburbs of New York and Naples, Italy.

Writing this from an air-conditioned office, it’s easy to forget that there’s no escape from the heat for some. Outdoor workers, for example, are particularly at risk of heat-related illnesses. This map shows how many workdays per year have been unsafe historically due to the combination of temperature and humidity exceeding 100 degrees F.

And here’s how many workdays might be at risk, and where, in 2050, if no action was taken on climate change:

Only two states have permanent, enforceable heat-protection standards for outdoor workers: California and Washington. That means most are unprotected, including those in Texas and Florida, where the heat is most extreme.

Meanwhile, in the UK and other typically temperate parts of Europe, even being inside your own home might not be enough to escape dangerously high temperatures. Homes in these regions are designed to keep the heat in during winter and don’t come with air conditioning. In the UK, a fifth of all homes are said to overheat in the summer, meaning indoor temperatures exceed 28 degrees C (82.4 degrees F) more than 1% of the time the space is occupied, or 26 degrees C (78.8 degrees F) in bedrooms.

Europe’s heat wave is making its energy crisis even more critical. As households and businesses turn on their air conditioners, electricity demand has jumped and wholesale power prices have surged. But what’s worse than the heat wave is the little-discussed drought spreading from Germany to PortugalJavier Blas explains that the lack of rain is making Europe even more reliant on Russian gas by reducing hydropower generation, interrupting the flow of fuel along the Rhine to Germany’s coal-fired power stations and making it harder to cool nuclear plants.

For a visual on the drought, check out the levels on the Rhine right now. During July, it typically flows through the town of Kaub at a depth of about 2.5 meters (8.2 feet). Right now, it’s only 89 centimeters (35 inches) deep.

Extreme heat and drought is also bad news for another essential: food. In India, for example, unusually hot weather in May has caused the nation to cut its wheat production forecast by 6 million metric tons. There is a solution Amanda Little says we should embrace. As the world warms, genetically modified crops — such as a new strain of drought-resistant wheat — are going to be essential to sustainable agriculture’s future.

If you’re enjoying the sunshine this weekend, remember to take the heat seriously. Drink plenty of water, seek shade, wear sunscreen. Some climate activists have suggested that we name our heat waves in a nudge to get people to take proper precautions. Would it work? Stephen Carter is skeptical. We don’t, for example, know much about what naming hurricanes does practically. What we do know is a little concerning: A 2014 paper found that hurricanes with “feminine” names result in greater damage than those with “masculine” names. Why? The authors suggest that those in the storm’s path take fewer precautions because they expect feminine-named storms to be less severe.

More Climate Reading


crypto 10 Sunday Reads - btbirkett@gmail.com - Gmail

10 Sunday Reads - btbirkett@gmail.com - Gmail

• Inside Celsius: how one of crypto’s biggest lenders ground to a halt Former employees and internal documents suggest a reckless pursuit of high returns put the company in a poor position to ride out this year’s market turbulence  (Financial Timessee also Crypto collapse: 3AC, Voyager, Celsius, and other DeFi casualties: All Bankman-Fried can do is buy time. The entire cryptosystem is imploding. People are finally realizing that most of the money they thought they had in crypto was imaginary. You didn’t lose money in the crash — you lost your money when you bought crypto. (Amy Castor)

Thursday, July 14, 2022

Mexican Cooking - Hurtling Toward Double Digits — What Happens Now? - btbirkett@gmail.com - Gmail

Hurtling Toward Double Digits — What Happens Now? - btbirkett@gmail.com - Gmail

If you can't make it to the Valley of Mexico, you can duplicate the experience at home with the aid of cook books from the inimitable Diana Kennedy, the British cookery writer, now 99, who has won the Order of the Aztec Eagle for her tireless work colleting traditional Mexican recipes. So much better than Tex-Mex. Her classic is probably The Art of Mexican Cooking.

Monday, July 11, 2022

IN THE BERKSHIRES | On View at Galleries & Museums & Outdoor Sculpture

IN THE BERKSHIRES | On View at Galleries & Museums & Outdoor Sculpture
Sergei Isupov Past & Present installation view

IN THE BERKSHIRES
NORTH ADAMS | W. STOCKBRIDGE | CUMMINGTON
SUMMER 2022
Ferrin Contemporary
SUMMER IN THE BERKSHIRES
at the gallery | in museums | outdoor sculpture

SERGEI ISUPOV
PAST & PRESENT | EARTH & SKY | 
MISS COMET
North Adams | West Stockbridge | Cummington

Internationally renowned artist Sergei Isupov has had a busy, creative six months with  and new work on view throughout the Berkshires.

The fire sculpture performance at TurnPark Art Space was a huge success, and the outpouring of interest prompted us to extend his solo show PAST & PRESENT at Ferrin Contemporary. The EARTH & SKY sculpture is on view at TurnPark Art Space in the outdoor sculpture park along with a beautiful solo exhibition, Proximal Duality in the airy gallery through October.

MISS COMET, is the first mosaic public sculpture by Sergei Isupov and Kadri Parnamets and one of 9 sculptures on view in REFLECTIONS on Main Street in Cummington, the tiny Hilltown village on the eastern edge of the Berkshires where they live and work. Made from ceramic shards, donated by the community, found in pottters' shard piles and "mudsharked" from the river that runs behind his studio, the 8' upside down head is on view in front of Project Art, where Isupov's studio and gallery is open to visitors by appointment.

PAST & PRESENT
solo exhibition of recent works at
Ferrin Contemporary, North Adams, MA
visit us on the MASS MOCA campus.

open daily, closed Tuesdays or other times, by appointment.


Above: Sergei Isupov and Past & Present, a wall installation of head sculptures presented on a painted collage of Greek text - photo John Polak.
On June 11, TurnPark Art Space hosted Sergei Isupov and master kiln builder Andres Allik for a truly unique spectacle: the first petal kiln firing in New England. To build Earth&Fire Isupov used 800 lbs of clay to build a nine foot sculpture that was revealed at peak temperature. WATCH the 2 minute time lapse video above for a glimpse at this incredible project and learn more HERE.
 

AT PROJECT ART
gallery, studio and gardens


MISS COMET
one of nine public sculptures in
REFLECTIONS | Main Street, Cummington, MA.

VISIT PROJECT ART
Hilltown 6 Pottery Tour - July 23-24
Hilltown Open Studio Tour - October 2-3

54 Main Street, Cummington, MA
open by appointment

MORE ...
 

 
AT TURNPARK
sculpture park & gallery
Sergei Isupov: PROXIMAL DUALITY
solo exhibition of sculpture and drawings
curated by Grigori Fayteyev
through October 31

2 Moscow Rd, West Stockbridge, MA 
Wednesday - Monday, 10 - 5 pm
PAST & PRESENT | CATALOG

click HERE for link to the online CATALOG of PAST & PRESENT 
on view at FERRIN CONTEMPORARY.
AT FERRIN CONTEMPORARY

BOBBY SILVERMAN: NEW WORK



In our 2021 exhibition MELTING POINT, co-curated by Katya Heller and Leslie Ferrin, Bobby Silverman featured a new series of works that paired vessels and tiles. Wildly successful and energized by the response, he returned to his New York studio with the freedom to experiment and explore with stunning results. During the summer of 2022, we are pleased to present selected works at our two galleries in North Adams and New York.

Writing about his process, he explains 
"I began adding other materials to the mix including cast resin, glass, chrome, and automotive paint. These additional materials possess their own specific properties that complement and illuminate ceramic surfaces. This approach allows me to investigate the idiosyncratic nature of ceramic materials and its phenomenological properties such as luminosity, translucency, gravity, and reflection."
- Bobby Silverman


BOBBY SILVERMAN: NEW WORK
Ferrin Contemporary | North Adams, MA
Heller Gallery | New York, NY

PREVIEW NIGHT & OPEN STUDIOS
BUILDING 13 | MASS MoCA

Thursday, July 14, 5–7 pm

Ferrin Contemporary Preview
OUR AMERICA/WHOSE AMERICA?
group exhibition featuring contemporary artists responding to racial stereotypes found in historic, commercial ceramics.

Open Studios at Assets for Artists - July 14 & August 11
The Chalet Thursday nights through Sept. 8
all on the MASS MoCA campus, North Adams

Above: Salvador Jiménez-Flores, A Hand Gesture to Systemic Racism: Al que le quede el saco que se lo ponga
ON VIEW IN BERKSHIRE MUSEUMS

Landmark exhibition examining the role of published images in shaping attitudes toward race and culture featuring contemporary works by Elizabeth AlexanderGarth JohnsonPaul Scott and objects from the Ferrin Contemporary collection of souvenirs, transferware and figurines.

Norman Rockwell Museum, Stockbridge, MA
On view through October 30

Open daily, closed Wednesdays

Above: Elizabeth Alexander, A Mightier Work is Ahead: Jackson at Antietam #2, altered plate from the 'Jackson and Lee: Legends in Gray' collection of commemorative plates, 2022.
LAST CHANCE - CLOSING IN JULY
Breach: Logbook 20/Nebulous
Form & Relation: Contemporary Native Ceramics
This Land: American Engagement with the Natural World
Hood Museum of Art, Hanover, NH

on view through July 23


Breech: Logbook 22
Picture Gallery at the Saint-Gaudens National Historical Park, Cornish, NH
on view through July 12


KUKULI VELARDE: CORPUS
Halsey Institute of Contemporary Art, College of Charleston School of the Arts, Charleston, SC
on view through July 16

Sunday, July 10, 2022

This summer’s hottest artists at refreshing prices | Christie's

This summer’s hottest artists at refreshing prices | Christie's

This summer’s hottest artists at refreshing prices

Ernie Barnes, Shara Hughes and Faith Ringgold are just a few contemporary highlights coming to Christie’s New York this July

Shara Hughes 

Shara Hughes turned heads when her painting Spins from Swiss sold for a record $2,940,000 at Christie’s 21st Century Evening Sale earlier this year. Coaxed into her saturated colour palette, her subjects transform into what she refers to as ‘psychological or imagined landscapes’ — a term that owes as much to her sense of colour and form as her knowledge of art history.

Shara Hughes (b. 1981), Split Ends, 2016. Archival pigment print in colours. 23⅞ x 21 in (60.6 x 53.3 cm). Estimate $7,000-10,000. Offered in Contemporary Edition from 8-19 July 2022 at Christie’s Online
Shara Hughes (b. 1981), Split Ends, 2016. Archival pigment print in colours. 23⅞ x 21 in (60.6 x 53.3 cm). Estimate: $7,000-10,000. Offered in Contemporary Edition from 8-19 July 2022 at Christie’s Online

These gestural compositions, as described in the New Yorker, ‘use every trick in the book to seduce, but still manage to come off as guileless visions of not-so-far-away worlds.’ In this sense, her work offers a curative escape, particularly in the post-pandemic environment.

Nina Chanel Abney 

Born in Illinois, Nina Chanel Abney is known for her large-scale works depicting culturally relevant and often sensitive themes. ‘I’m always picking hot topics,’ she said to Vanity Fair. ‘But I’m not going to give you one story, because I’m more than one thing. Whatever I feel like painting, I just paint it. For me, nothing is off limits.’

Nina Chanel Abney (b. 1982), Temporary Friends, 2019. Five relief prints in colours. Each Sheet 39¼ x 29½ in (99. 6 x 74.9 cm). Estimate $60,000-80,000. Offered in Trespassing from 8-21 July 2022 at Christie’s Online
Nina Chanel Abney (b. 1982), Temporary Friends, 2019. Five relief prints in colours. Each Sheet: 39¼ x 29½ in (99. 6 x 74.9 cm). Estimate: $60,000-80,000. Offered in Trespassing from 8-21 July 2022 at Christie’s Online

Through an array of angular shapes and colourful, symbol-heavy compositions, in her prints and works on paper she often explores race, gender and celebrity as they contributes to culture and society outside white, heteronormative perspectives. Recently setting an auction record of $990,000 in May 2021, her art has appeared everywhere from the cover of the New Yorker, to the album art of rapper Meek Mill.

Ernie Barnes 

First there were gasps, and then there were cheers when the hammer came down on Ernie Barnes’ The Sugar Shack this past May at Christie’s New York. A record for the artist, the work sold for an astonishing $15,275,000, it shattered its high estimate and ushering in a new era of demand for the artist.

Ernie Barnes (1938-2009), Juba Dis an Juba Dat, 1972. Acrylic on canvas, in artists frame. 24 ¾ x 30 ½ in. (62.8 x 77.5 cm). Estimate $100,000-150,000. Offered in First Open  Post-War & Contemporary Art from 8-20 July 2022 at Christie’s Online
Ernie Barnes (1938-2009), Juba Dis an Juba Dat, 1972. Acrylic on canvas, in artist's frame. 24 ¾ x 30 ½ in. (62.8 x 77.5 cm). Estimate: $100,000-150,000. Offered in First Open | Post-War & Contemporary Art from 8-20 July 2022 at Christie’s Online

Born in 1938, Barnes, a native of North Carolina, studied art at North Carolina College at Durham under a full athletic scholarship. After his graduation, he went on to have a six-year stint as a professional football player in the American Football League. Though he maintained a relative ambivalence to his career as an athlete, he recognized that his portrayal of bodies in motion owes to his first-hand experience with physical torment of the sport.

While recognized as the finest sports painter later in his life, in the early 2000s, Barnes recently has become more of a focus institutionally, gaining prominence within the wider mainstream art world and market.

Faith Ringgold 

Faith Ringgold is widely recognized as one of the most important American artists alive today, with her recent show Faith Ringgold: American People at the New Museum demonstrating her vanguard status in establishing a place for Black women artists in the art world. As Holland Cotter wrote of the show for the New York Times: ‘Half a century ago, a presence like hers had to fight to exist in the mainstream art world. Look around now, and you see it, not everywhere yet, but more and more. Faith Ringgold, artist-agitator-seer, can be thanked for that.’

Faith Ringgold (b. 1930), Somebody Stole My Broken Heart, 2007. Screenprint in colours. Image 22½ x 18⅝ in (57.2 x 47.3 cm) Sheet 30⅛ x 22¼ in (765 x 565 mm). Estimate $3,000-5,000. Offered in Contemporary Edition from 8-19 July 2022 at Christie’s Online
Faith Ringgold (b. 1930), Somebody Stole My Broken Heart, 2007. Screenprint in colours. Image: 22½ x 18⅝ in (57.2 x 47.3 cm) Sheet: 30⅛ x 22¼ in (765 x 565 mm). Estimate: $3,000-5,000. Offered in Contemporary Edition from 8-19 July 2022 at Christie’s Online

She bridges the multidisciplinary art of the Harlem Renaissance and the politically active work being made by Black artists today. Ringgold has left an indelible mark on American culture, and she continues to inspire generations of artists as she has since the Civil Rights Era.

Lynne Drexler 

Lynne Drexler’s kaleidoscopic landscapes belong somewhere in between artistic movements. Born in 1928, and a student of Hans Hofmann and Robert Motherwell, she is sometimes labelled as a post-Impressionist, other times as an abstract landscape painter; but however her vision is classified, it is entirely unique. This importance is not lost on her audience, either: her painting Herbert’s Garden brought a hammer price of $1,500,000 at Christie’s in May, shattering her previous record at auction. Beyond this, her top five auction prices have all been achieved since March 2022, suggesting that her market is just beginning to take off.

Lynne Drexler (1928-1999), Untitled, 1960. Oil on canvas. 48 x 66¼ in (122 x 168.3 cm). Estimate $40,000-60,000. Offered in First Open  Post-War & Contemporary Art from 8-20 July 2022 at Christie’s Online
Lynne Drexler (1928-1999), Untitled, 1960. Oil on canvas. 48 x 66¼ in (122 x 168.3 cm). Estimate: $40,000-60,000. Offered in First Open | Post-War & Contemporary Art from 8-20 July 2022 at Christie’s Online

Characterised by repetitive, sometimes frantic arrays of brushstrokes, her paintings are a masterclass in using colour to convey feeling, cradling the viewer in the distinctly fragmentary forms of nature. 

Lynne Drexler (1928-1999), Untitled, 1961. Oil on canvas. 26 x 10 in (66 x 25.4 cm). Estimate $15,000-25,000. Offered in First Open  Post-War & Contemporary Art from 8-20 July 2022 at Christie’s Online
Lynne Drexler (1928-1999), Untitled, 1961. Oil on canvas. 26 x 10 in (66 x 25.4 cm). Estimate: $15,000-25,000. Offered in First Open | Post-War & Contemporary Art from 8-20 July 2022 at Christie’s Online

Her works have a synesthetic quality — and indeed her inspirations come from music as well as art — as they present landscape and still life through colour as means of composing shape.

Stanley Whitney

Stanley Whitney’s first retrospective is expected to appear in 2023 at the Buffalo AKG Art Museum (formerly the Albright-Knox Art Gallery). Among its central themes will be Whitney’s exploration of colour, the complex entity he has dedicated his artistic life to understanding. His 2005 painting Great Balls of Fire sold in February 2022 at Christie’s London for £1,482,000, almost tripling its high estimate.

Stanley Whitney (b. 1946), Untitled, 2003. Oil on linen. 12 x 12 in (30.5 x 30.5 cm). Estimate $40,000-60,000. Offered in First Open  Post-War & Contemporary Art from 8-20 July 2022 at Christie’s Online
Stanley Whitney (b. 1946), Untitled, 2003. Oil on linen. 12 x 12 in (30.5 x 30.5 cm). Estimate: $40,000-60,000. Offered in First Open | Post-War & Contemporary Art from 8-20 July 2022 at Christie’s Online

Taking cues from Minimalism and Colour Field painting, as well as music and other threads of culture, Whitney’s process-based paintings present and juxtapose various shades in vibrant grids. Each colour, according to Whitney, inspires a distinct feeling. Presented together, as in his works, distinct colours come in contact in complex ways.

Tschabalala Self 

In 2019 Tschabalala Self’s painting Sapphire sold for £395,250 at Christie’s London — a record for her at auction at the time. Combining elements of painting, printmaking and bricolage, her work exists in a scission between two-dimensional abstraction and sculpture. Sapphire, comprising pieces of painted fabric quilted to form the image of a Black female figure, shows her interest in how an audience interprets the iconography of representation.

Tschabalala Self (b. 1990), Sapphire, 2015. Quilted fabric multiple. 54⅛ x 39¼ in (1375 x 997 mm). Estimate $8,000-12,000. Offered in Contemporary Edition from 8-19 July 2022 at Christie’s Online
Tschabalala Self (b. 1990), Sapphire, 2015. Quilted fabric multiple. 54⅛ x 39¼ in (1375 x 997 mm). Estimate: $8,000-12,000. Offered in Contemporary Edition from 8-19 July 2022 at Christie’s Online

Self explores the way in which individual elements contribute to the gendering and racializing of a body. She harnesses stereotypes and cultural symbology to unearth discrepancies between perceived and actual perspectives on the body.

Julian Opie 

Having been exhibited in London, Tokyo and New York, to name just a few, Julian Opie’s unique blend of Minimalism and Pop Art has captivated audiences since he emerged in the 1980s. Originally working out of the tradition of New British Sculpture, Opie has since executed his characteristic outline-based portraits in a variety of mediums from painting, to installation, and even album art.

Julian Opie (b. 1958), New York Couples 1-8, 2019. Set of eight screenprints with inkjet and collage. Each Image 44 x 30½ in (111.7 x 77.4 cm), Each Sheet 48¼ x 34⅞ in (122.5 x 88.5 cm). Estimate $100,000-$150,000. Offered in Contemporary Edition from 8-19 July 2022 at Christie’s Online
Julian Opie (b. 1958), New York Couples 1-8, 2019. Set of eight screenprints with inkjet and collage. Each Image: 44 x 30½ in (111.7 x 77.4 cm), Each Sheet: 48¼ x 34⅞ in (122.5 x 88.5 cm). Estimate: $100,000-$150,000. Offered in Contemporary Edition from 8-19 July 2022 at Christie’s Online

‘The process of reading things as simulations but knowing at the same time that they are real is quite central to my work,’ he has said. He demonstrates this in practice by continuing to reinvent himself for changing times, presenting his audience with new tools for understanding their own perception of art and the world.

H.R. Giger 

H.R. Giger is best known for his iconic visual design work on Alien (1979), the Ridley Scott science fiction movie. Alien has been called the most gripping sci-fi movie ever made, and a great deal of that comes from its singular practical effects — rather than technological special effects, whose impact fades with time. Geiger’s team created the aliens using rubber suits and puppets, whose artistry holds up to this day.

H.R. Giger (1940-2014), The Tourist IX, Hanging Alien Looking Dying Spider,1982. Acrylic and airbrush on paper. 55¾ x 31 in (144 x 80 cm). Estimate $30,000-50,000. Offered in First Open  Post-War & Contemporary Art from 8-20 July 2022 at Christie’s Online
H.R. Giger (1940-2014), The Tourist IX, Hanging Alien Looking Dying Spider,1982. Acrylic and airbrush on paper. 55¾ x 31 in (144 x 80 cm). Estimate: $30,000-50,000. Offered in First Open | Post-War & Contemporary Art from 8-20 July 2022 at Christie’s Online

Born in 1940 in Chur, Switzerland, Giger rose to fame for his ink and airbrush depictions of biomechanical creatures. His work has bridged the gap between science fiction and popular culture, as other artists have adapted it to furniture, stage decoration, album covers and tattoos.

H.R. Giger (1940-2014), Ugly, 1979. Acrylic and airbrush on paper. 27¼ x 39¼ in. (70 x 100 cm). Estimate $20,000-30,000. Offered in First Open  Post-War & Contemporary Art from 8-20 July 2022 at Christie’s Online
H.R. Giger (1940-2014), Ugly, 1979. Acrylic and airbrush on paper. 27¼ x 39¼ in. (70 x 100 cm). Estimate: $20,000-30,000. Offered in First Open | Post-War & Contemporary Art from 8-20 July 2022 at Christie’s Online

Beyond this, his ability to depict grotesque forms with otherworldly, yet recognizably human beauty has been the key to his cultural resonance. The Tourist IX, made with his process of airbrushing, is a perfect example of this, marrying human and alien forms in a juxtaposition at once uncomfortable and entirely captivating.

Javier Calleja 

Javier Calleja’s wide-eyed characters embody the fusion of a saccharine facade, with a subversive personality. Born in Málaga, Spain, Calleja began working in the 1990s in opposition to what he calls ‘the intellectualism of contemporary art.’ Preferring instead to portray characters that do no need to be explained, his paintings are buoyed by a sarcasm owing to this simplicity of expression.

Javier Calleja (b. 1971), Redhead, 2014. Screenprint in colours with hand-colouring. 30 x 22¼ in (76.2 x 56.5 cm). Estimate $10,000-15,000. Offered in Trespassing from 8-21 July 2022 at Christie’s Online
Javier Calleja (b. 1971), Redhead, 2014. Screenprint in colours with hand-colouring. 30 x 22¼ in (76.2 x 56.5 cm). Estimate: $10,000-15,000. Offered in Trespassing from 8-21 July 2022 at Christie’s Online

Much like contemporary art heavyweights such as Yoshitomo Nara or KAWS, the lightness of being his characters possess balances the cynical against the playful, the ironic against the overt. Redhead, printed in 2014, is no exception, demonstrating the artist’s continual refinement of his characteristic style.