closing time

while finishing my associates degree at little snow college in ephraim, ut, the library would always play closing time by semisonic when the library was kicking people out for the night. so i find this song appropriate for another semester spent. though i haven't blogged a great deal i have thought more about digital media and how integrated into my life and art it has become. though i would classify myself as a painter, my inspiration comes from life or at least the representation of life as seen in film, the internet, other audio, etc.. all media works towards this total art work, gesamtkunstwerk, if you will. i realize that all this is a jumble of thoughts but it is finals week and let just say i have had less than the desired amount of sleep. so

closing time- time for you to go out, go out into the world.

fun filled hours

instead of studying for my greek and roman final i found tons of things to occupy my time.

the snow has been lazily drifting to the ground the past couple days and so i found this site appropriate to the weather. make your own snowflake, a simple joy.

http://www.zefrank.com/snowflake/

the fun little kaleidoscopes that once we held to our eye to see now can be recreated online..

http://www.zefrank.com/dtoy_vs_byokal/index.html

have some crazy fun playing with your mama

http://www.zefrank.com/yourmama.html

websites

so, for our final project we are to design a website, i will be the first to admit that i have felt a little overwhelmed by the project. digital has been apart of my life since the 3rd or 4th grade, yet when i start to really think artistically i often get stumped. well, because of this i went to the internet for ideas and what did i find, but 50 coolest websites of 2005 as rated by Time magazine. here is the link to check it out.

http://www.time.com/time/2005/websites/

inspiration can come from anything, just seek for it and keep your eyes open.

figure 9

The Figure 9 contemporary figurative painters exhibit on display in the Art Gallery at the State University in Oneonta consisted of works by nine contemporary artists. The paintings and drawings ranged from full-body nudes to portraits. The work was presented as a contemporary gallery and the works complimented each other on the walls despite the difference in technique, composition and design.
One artist that I found particularly interesting and compelling was Susan Moore. Her large scale paintings have incredible surface texture, with layer upon layer built from the canvas. The two pieces in the exhibit were made with oil stick and featured the female figure. The same woman may have been used in both pieces, one depicting a torso shot and the other a close portrait. Her style and color palette reflects the earth, soft browns and deep reds, yellow ochre and forest green. All the colors combined to create depth and intensity on the canvas. The piece featured below I found especially powerful. The figure is slightly deformed, yet radiates pure beauty. Moore captures the essence of the woman in her painting.

I think that figurative work becomes so power because it is so personal, we each have bodies and imperfections. That simple truth connects us as people and as individuals. The artists’ understanding and skill of rendering human anatomy is one aspect of their art, but the other is capturing emotion and personality. The artist’s of this exhibit have successfully accomplished this task.

Another artist, Costa Vavagiakis so meticulously rendered the face that the paint literally becomes irrelevant. The luminous, almost paper thin flesh is so frail and translucent that blue veins can be seen from the surface. Small details like beauty marks and freckles are included and all aspects of the person are perfectly transferred to the canvas. He truly has not only mastered anatomy, but has pushed paint to create realistic qualities.

While the exhibit was beautiful, there was little interpretation, even titles were absent. I did enjoy the display of the paintings and it was nice to focus entirely on the art and detail of each work without other text. However, as I was entirely fascinated with Susan Moore’s work, I would have liked a little more insight into her process and personal connection to her work. Having an artist’s perspective on their work adds another depth to an exhibit and this exhibition was lacking that depth.

the terrorist

This film about a young woman, Malli, is very mysterious and contemplative. The story, though fiction, is based on situations that could indeed occur in present day. Even more, the plot centered on the character development of Malli, not on the actual suicide-mission that she was to complete. I have noticed a huge difference between the glamorized “western” films that America loves and this type of film. The film consists of symbolism, in-depth meaning, intense characters, etc, compared to pizzazz and glam that I am used to watching. I was intrigued by the character, Malli, who steadily changed before our eyes. She is three years my junior, volunteers for a mission in which she will not return; a mission that will bring an honor and prestige to her name, but will cost her life and future lives that may come from her.
I realize that being so young she has likely grown completely surrounded by secrecy, gun-fire and death. Such a life seemingly warrants a hardened, guarded person, desensitized by the travesties that surround someone like Malli. Yet, I am surprised by her ability to trust. She trusts Lotus with her life as he guides her to the ferry. Possibly this ability derives from her time with the wounded rebel whom she begins to care for very deeply; which is interesting that in such skeptical times she is able to do so.
Though there is definitely an unclear timeline as to when all of the events occurred, the sum of all of the events seems to be what changes Malli in the final scenes. As the film progresses from the opening scenes where Malli murders two people, one being a rebel, to her being selected for the mission. While the rest of the film consists of her travels and preparation to complete her mission, most of her changing occurs during this time.

I think that while Malli seems like a hardened soldier, that after she meets the soldier, she starts to soften, or rather, her need to be so guarded is not present. That aspect that would have been part of her life had she been a student or anything besides a soldier. From that point, she goes undercover as a student and becomes part of this family; she takes on another life, one of normality. This is where I saw the biggest changes; the wheels begin to turn more rapidly, as Malli realizes that this could be a possibility for her. The possibilities continue as Vasu suggests that she is pregnant. Malli doesn’t think of her life alone, but of someone who may be growing inside her. Whether she is pregnant or not, the point being is that is another aspect of life that she will miss if she successfully completes her mission.
The filming captured the beauty of the landscape, a landscape that suggests freedom and ignorance of the conflict that is present. Also, I was captivated by the flashbacks that seemed to be connected with Malli and water, either when she was showering or sitting by the river, or even staring out at the rain. Possibly as a reminder that life continues, just as the water cycles or runs down a river. Either way, the imagery was beautiful and allowed viewers to understand that the moments to follow were to be contemplated, just as Malli was doing.
I found the ending to be perfect, maybe predictable, but definitely leaves much to the imagination. As I was further thinking about the ending, I realized that to have pressed the detonator would have been the easier solution, but to live, that was indeed the difficult choice to make. For I think that to live, she lives with the haunting memories that are her life, but also, it is likely that the organization for which she was enlisted will likely not allow her to live after what she knows. Just as she murdered the rebel in the first scenes, she too now is a rebel, a traitor and will likely be treated the same way.

the corning museum of glass

The Corning Museum of Glass in Corning, New York is full of beauty and wonder. From ancient pieces to contemporary artists, the institution is dedicated not only to the story of glass, but the science and art as well. The museum is centered on the education of glass, using hands-on opportunities, tours, and other educational programs. The main permanent collection is on display in a timeline sort of fashion, depicting glass from its earliest existence through various stages all while maintaining the storyline of glass’s history.
A changing exhibit, “Botanical Wonders: The Story of the Harvard Glass Flowers”, focused on the work of a father and son. Leopold and Rudolph Blaschka created intricate and very delicate models of plants, insects, and even some ocean wildlife. Their work contributed greatly to the education of Harvard students in plant study. Until their glass models, students studied from live or dried models of plants. Of course, live models only lasted a short season and if dried would lose color and therefore became unreliable as a means of study and comparison. The Blaschka’s created the most realistic depictions of the live specimens that they continue to amaze. Honestly, it is difficult to tell which plants are made of glass.

The Contemporary exhibit featured artists who have pushed the limits of glass. Their impressive work was often accompanied by the artists’ own words which added another dimension to their work. Stanislav Libensky said, “Transparency is one of the most important and most characteristic aspects of glass. It is penetrating; it dematerializes the material and connects it with the atmosphere.” His piece used the world around as seen and reflected through his glass sculpture as completing his art piece. The object or sculpture needs to become part of the atmosphere to really take personality and life. Lany Bell said, “…most of [my work] …require the viewer to interact with the work in the actual space it is presented. They become part of it.”
While looking at Bert Frijns piece, “Spiral Forms” of four vessels nested one inside another, this aspect of sculpture and atmosphere came more pronounced. Frijns said, “Generally, people look through transparent glass without really thinking about it, just as we look through the glass of this case to see objects inside.” It, being transparency, exists, though it cannot be seen. He wants us to see transparency to make it visible, because it is part of our environment.

Susan Plum said, “Glass is a metaphor for light and a way to ‘concretize the invisible’.” The artists’ work whatever the design used the environment, whether people, light, other objects, to make visible the transparency of their medium. One piece is a web of glass, twisting and joining to form a four foot sphere. The webbed orb is light to lift, yet is slowly breaking because the weight of itself is nearly too much to support. While the artist may not have intended for such an outcome, the piece is reacting to its environment, to gravity and therefore interacts with the world around.

The common thread through all the exhibits was to better understand this art form that has been around since Roman times. The museum made learning accessible and comfortable for all ages. The glass pieces in their collection are beautiful and illustrate the historical, social and artistic story of glass.

you can be pollock too

http://www.jacksonpollock.org

check it out, the fun never ends....

posts, posts, posts

alrighty, so i have recently added two lengthy posts about art events that i have attended. i think they seem to be an intellectual addition to my blog so cheerio!

Martin Ramirez: Mexico, Motifs and Meaning

Brooke Davis Anderson, a 1984 Hartwick College graduate, lectured on Martin Ramirez, a self-taught artist. Anderson passionately spoke of the artist and the man that she has thoroughly researched and analyzed. It is apparent that she loves what she does by the way that she talks of her work. I felt her enthusiasm for this artist, not only for his intense life, but also his moving art.
He truly had an interesting life. Martin Ramirez was born in Mexico in 1895; he later married and began a family. Like many others of the time, he crossed the borders illegally to work in the United States. He worked for the railroads for awhile, but the Depression made working hard, while Ramirez’s friends returned to Mexico, he stayed. He was arrested for supposed erratic behavior and sent to an asylum. There he was recorded to be manic-depressive and paranoid schizophrenic. However it was during his stay in the asylum that he created his art.

Though his art is made of simple lines and design, the attention to detail is incredible. The paintings depict railroads, rolling hills, horse and rider, paths to Mexico, and images of the Virgin. His paintings seem almost child-like, yet every line is deliberately placed and the composition seems thoughtfully considered from the beginning. Considering that he was in an asylum at the time, his materials consisted of anything that he could find. Ramirez used a bread, mashed potato, and saliva glue to construct his large scrap paper drawings and then painted his design using a matchstick to apply the melted crayon. His art takes on another dimension when considering the materials he used and again, the deliberate process in which he created. He used tongue-depressors and bowls to execute his curvilinear forms.

He not only used the world around him to create his work, but most importantly his work embodies his world- Mexico, his religion, his dreams. He is thought to have created over 300 works of art and each of these works depicts an aspect of his life. He may have had mental disabilities, but they did not detract or deter his ability to create what Anderson said is, “first and foremost…great art”.

I was intrigued by Anderson’s remarks on the early analysis of the tunnel and train representing sexual exploration. It seems such an easy assumption, considering there are a large number of artists who include that aspect to their work. However, I found it refreshing that the train doesn’t represent a phallus, but simply a train and the tunnel, just a tunnel. I was incredibly impressed by Martin Ramirez’s work; it is simplistic in design, but utterly moving and complex in content. He drew from life, from memory, and created a curvilinear world that viewers can relate visually to their own memories. I have never been to Mexico, but I can fully comprehend the value and meaning of returning to home, to family.

Also, I found Brooke Anderson’s passion and excitement for Martin Ramirez infectious. I truly love to see people talk about topics that they obviously love. She captured my attention and made me very interested in the topic at hand. It is obvious that her success in her research of Ramirez stems from her whole-hearted approach and attention to discovering the artist within the art. She is a great example of successful Hartwick graduates.

Devi Review

Devi (the goddess) directed by Satyajit Ray is centered on family, divinity and above all- tradition. The patriarch of the family believes a night-vision and places his daughter-in-law in a temple believing her to be the goddess Kali. The family each deals with this revelation differently. Each individual not only must decide if she is in fact a reincarnation, but more importantly each must come to terms with their own faith and beliefs.
The father, widowed and pious, depends upon the assistance of his daughter-in-law, Doya. Not only does the father become a symbol of tradition, but so does Doya as she willingly accepts her role as daughter and caregiver. However Uma, Doya’s husband, is quite different from his wife and father. He is an educated man, with aspirations of much more than praying to the gods. He, in a sense, becomes a symbol of westernization, of the future, of change. After the father’s great vision the balance between tradition and change is tipped, as father and son tug-of-war for one woman.

Doya is placed as a living statue of Kali-incarnate and not only do others have to struggle to determine her divinity, but she as well must make up her own mind. When first the father came to kneel at her feet she writhed against the wall, literally scratching into the walls, yet as various believers come to kneel at her feet she can only look on, unwilling to do more than neutrally watch. She continues to watch as people, young and old, are healed while she does nothing.
Yet, divinity is not meant for mere mortals, as is shown with Doya’s insanity at the weight and burden of divinity. It is not until her nephew is placed in her arms does the reality of this faux-divinity come to a head. She can only maintain such antics until she is placed with the reality of death. It is only at the end when Doya escapes to the fields, do viewers take a breath. A breath of relief of her freedom, but of bitter relief such literal freedom came at the expense of her sanity.
All the while Uma is grappling for her freedom. He not only has to go against his father’s faith and vision, but also convince his wife that she is not a goddess. Though he was raised with the same concept of deity, he has chosen a different belief, a “learning of a different kind.” He refuses to have his wife believe and accept the role which has been placed upon her as a divine being. Yet, as so many revolutionaries have found, change is not easily installed in the minds of traditionalist. His pleas and actions are hardly heard. Yet, they speak volumes to the cause of change.

Watching this as a Western female in the 21st century, I found myself struggling to maintain myself while I watched her. I felt such pity at the position in which she was placed, but even more I was a bit saddened that she could not simply say, “Enough is enough.” Yet, that is not my culture and it is simply my ignorant nature. The film’s plot and cinematography were a complex interplay of symbols, cultural traditions and faith. It truly is “learning of a different kind.”

rolling, rolling, rolling

the ball continues to steadily roll down the hill, though slowly. already 19 people have posted to the blog. i am really excited with the results so far and i am optimistic that people will continue to participate. i am finding that it is not that people don't want to participate, they simply forget to send me a picture! :o)
i am mostly just glad that i finally was able to put the piece into motion. sometimes the hardest part about art is getting started.

off and running

ok, so finally the face project is going. I have started the crazy chain of events that will hopefully end up as an art piece! Who knows, I tried to be myself and really put myself out there for public inspection. We shall just have to see what happens. Oh, so if anyone is interested this blog: art for life, is just to record my art piece which is actually http://faceoftheinternet.blogspot.com if any of you are interested to check it out. The project has only been going for a whole day and I have two pictures, alright 50% of the images are mine, but that isn't the point.

thoughts

so, I have slowly been easing into this digital art piece, and I realize now that I need to fully throw myself into the project. Otherwise, it will continue to be my face and only my face. I am going to work out the kinks this week, at least the kinks I know off, and hopefully this little statement will take of running, ok at least speed-walking.

for life

undoubtedly there are those who will cease to understand the purpose of art, of creation, of reinvention. while those people may attempt to rain on my sunny day, they fail to realize that instead of sitting underneath my umbrella safe and dry, i will gaily dance under the downpour until the water drips from my eyelashes and the risk of getting wet has completely consumed my actions.