Sunday, January 31, 2010
Saturday, January 23, 2010
Saturday, October 31, 2009
Monday, October 26, 2009
|colour woodcut printed from six woodblocks on hand-coloured paper|
Friday, September 4, 2009
Thursday, August 20, 2009
Here's a coincidence: just this morning I posted about my own painting called Love Letter (To Mondrian) on my website journal. I had no idea Vermeer's image would pop up when I googled the show in British Columbia...
Perhaps love is in the air?
Monday, August 3, 2009
Monday, July 27, 2009
Saturday, July 25, 2009
Sunday, July 12, 2009
Saturday, July 4, 2009
Thursday, June 25, 2009
Below is a short video of the making of the images and how the feature looks in Google Earth (for a larger image, watch it here).
Tuesday, June 16, 2009
At 8:00am, with no warning to the passengers passing through the station, a recording of Julie Andrews singing 'Do, Re, Mi' begins to play on the public address system. As the surprised travelers look on, some 200 dancers begin to appear from the crowd and station entrances. They created the performance with just two rehearsals.
Saturday, June 13, 2009
Through the month of June
Thursday, June 11, 2009
Wednesday, June 10, 2009
On Sunday, Sue Danielson, Joan Cox, Peter and Jillian Hensley and I sat around my long table spread with books and postcards that related, obviously or obliquely, to narrative in art, drinking coffee and munching carrot cake. From the get-go, the ideas just flew.
One of my favorite moments was when Jillian wondered aloud how the all-white painting she once saw in a museum many years ago could possibly contain a story. She found the piece annoying in its blankness, so carefully and evenly painted, and couldn't see how it amounted to anything.
After some discussion she surprised herself by musing that for one thing, perhaps the reason she saw only white was because she had zoomed in so far the subject couldn't be made out, and that if she could only draw back a bit it would begin to reappear...this imagining, she suprised herself further by realizing, created in effect a kind of content, and a story.
The eyes of the artists in the room glistened at the recognition of a potentially mineable idea. You could almost hear the little gray cells expanding, along with our definition of narrative.
But before we got much further down that road, Peter began to express his experience of abstract art - a Mondrian grid painting, for example - as "arresting" his eye and further, his thoughts, because it presents no imagery that can be immediately interpreted. Thus for him, a purely abstract painting effectively interrupts the mind's search for a narrative. Aha. A view, then, in support of abstract art as non-narrative? Joni for one found this idea particularly compelling as a sort of Buddhist approach that enabled her to see the contrast between story and, at least initially, no story.
More expansion. More coffee.
We continued, engrossed, nibbling spanokopita and mushroom turnovers. I held up Mondrian and Velazquez, Asterix and Jacob Lawrence, and we followed our thoughts out loud, ultimately deciding, after three hours, that we had barely scratched the surface. A most satisfying Cafe. Thanks to all who were there.
Wish you had been? Look for Part Two of this topic, I have a feeling it will be back. Comments, thoughts? Post here or Email me.
Suprematist Composition: White on White
Kazimir Malevich (Russian, born Ukraine. 1878-1935)1918 Oil on Canvas, 31 1'4 x 31 1/4"