Wednesday, March 4, 2009
Although both of my blogs use Wordpress, on Open Source only blogs that are hosted bu Wordpress are allowed. Mine are self hosted.
So, if you have been directed here from either a search or someone's Blogger blog, please use any of the links below to discover the brand new art theory of Post Conceptual UnGraven Image and the Amazing effects that the art has for people through what is now called Awakened Vision (The Art of Seeing The Divine).
Post Conceptual UnGraven Image website: http://ungravenimage.com
Post Conceptual UnGraven Image Art & Inspiration blog: http://ungravenimage.com/blog
Art of Seeing The Divine website: http://artofseeingthedivine.com
Art of Seeing The Divine blog: http://artofseeingthedivine.com/blog/
Friday, October 31, 2008
Tuesday, October 28, 2008
Not too surprisingly in these days of financial turmoil, people are flocking to religious groups, and especially houses of worship for help. The results are that while donations are down, the needs of the people, especially the lower and middle classes are mounting. These needs are for financial information and marital counseling, as well as financial assistance.
The truly interesting news is how major news sources reporting on religion are actually including real religion in news stories on the topic, such as when a minister relevantly quotes from the Bible.
Mollie also questions how the newspapers are covering the crisis and religion, saying she is reminded of the, “old saw, I believe coined by Tom Lehrer, about how the New York Times would cover the end of the world: “World Ends: Women, Minorities Hardest Hit.”
Mollie’s article inspired me to comment, which I include below:
"I say the New York Times would not cover the end of the world as everyone associated with it would have run somewhere to try to take cover! Just like most everyone else would do.
In times of crisis we look for safety and security. The religious organizations have people in need (including spiritual need, flocking to them now as these groups are seen as offering safety and security from the cares of the world.
Jesus said "Blessed are the poor in spirit." That refers to a kind of humility -- the kind Moses had, which was submitting to the Will of God.
There is NOTHING scripturally correct about being poor. In fact, throughout the Bible there are promises of the many blessings, both spiritual and worldly that will be given to those who love the Lord with all their heart, mind, soul and might.
That willingness to give up everything (part of one's might) is a Job like attribute. One could become materially poor like Job. However, at the end, Job's fortunes were more than fully restored!
So that someone is wealthy, including living in a wealthy community like Greenwich does not immediately indicate that the person does not love the Lord.
However, all Christians and Jews are called upon to give to those who are in physical need. That is lovingkindness. Other religions include this concept also.
Last time i looked we very much had a separation of Church and state, so from a biblical point of view, the government of the USA is not obligated to care for its poor citizens. We have government programs only because citizens, many of whom are Christians or Jews or believe biblical principles, are in favor of such charity programs.
Time when many people are experiencing less financial or material wealth have almost always been times that produced spiritual wealth for the people of the USA. As the financial problems grow, people are flocking together on the Internet into spiritual social networks and groups. Faith and spirituality are flourishing on the web, including through this web site.
If history is an indicator, we can prepare for some new understandings that include the promises and a new outpouring and revelation of The Divine purpose for our lives.
Churches, synagogues, and temples, etc., where people's spiritual needs are being met will survive -- and possibly increase. Perhaps there will be fewer gala events and more pot lucks, but people will support what brings them closer to God.
And giving to those in real need does that."
I wrote the book, The Art of Seeing The Divine to share the new way I have learned to see the world with those who have a "poorer" vision. My purpose its to change the way we actually see the world, to help others see with a new vision that inspires, enlightens, comforts and empowers.
Come and see more at The Art of Seeing The Divine.
Monday, October 27, 2008
90% of the perception of vision actually takes pace in the brain-- by adding visual memories into the brain we learn to understand more. That is how we learned to read, by first learning to decode the simple shapes, then recognizing the shapes in various configurations, and finally by giving the letters names, sounds and as they are configured together meaning: words!
The new e book of The Art of Seeing The Divine is an inspirational visual self- help book, filled with Visual Exercise/Experiences that use art to bring new visual understandings to what a person sees, everywhere.
The information is based on science, including physics as the symbols used as strokes in the art represent the strings, which are the essential strokes or pre-matter of the physical universe.
The essential energy of the universe is also believed to be the very Words of The Creator who spoke the universe into existence,. This basic theology is held by all branches and denominations of Christians and Jews, and it is mentioned in the Koran.
The Abrahamic religions all agree that the words were spoken in Hebrew as it is symbolized in what is known as Torah font. This unique font is binary, alpha-numeric and phonic. It is the only font in any language in the world that is binary, alpha-numeric and phonic for any language in the world.
That the Torah font is phonic means it also references important concepts in most of the worlds spiritual or religious paths, such has good/evil, holy/profane and yin/yang.
People find seeing the energies inspirational and uplifting. There seem to be more potential and possibilities for a life filled with abundance and meaning. The world seems less solid, and more light.
Come and see for yourself at the Art of Seeing The Divine; http://www.artofseeingthedivine.com
Come and see at www.artofseeingthedivine.com
Saturday, September 27, 2008
Not necessarily an original – since personally, I'd take a good reproduction of a van Gogh, Rembrandt, Monet, etc., over some of the “originals” I have seen recently in various galleries.
By original, I mean that the artist's vision is unique and inspiring.
There is a great deal of good art, beautifully rendered work being done today. I know artists who have talent and training and they paint lovely paintings using oils and watercolors, especially. Just one problem, been there seen that. Who is painting what is really new and will change the way I see the world? I want to see that.
A good life is original. Each person has his or her own path. Attempting to follow another's path only manages to take one off one's own path.
It's an interesting thing about paths. We can only take the next step. We cannot undo past steps, but we can correct our course if we have rambled off our path. But, a path is walked one step at a time. Try to run ahead and one goes off one's path.
A step takes time, even though it may seem to go rather fast, such as during a brisk walk.
Imagine a step shown in slow motion. It happens second by second, bit by bit, movement by movement: the lifting up of the leg, leaning forward, the shifting of one's weight… It's an easy accomplishment for the average healthy person, but for a baby becoming a toddler or a person who has a foot or leg injury it takes more concentration. The time seems to stretch out. Taking a simple step demands focus and being present.
No one can walk with the Lord in the past. Nor is it possible to do so in the future. All we have is now.
God is always present in the Now. It is our challenge to let go of our past baggage, worries, concerns, unresolved emotional difficulties with others, anger, and what ever else is running through our minds – and take the bold step of focusing on the immediate now.
Take a deep breath. Concentrate on just breathing in then breathing out. Experience that breath. Look around. What do you see? Not what needs to be done – but what is actually where you are? What is now? (Please, give it a try -- now.)
This blog was inspired by a Collector Family member who wrote me that she is having a problem staying in balance. She is very busy with a life that places many demands on her time.
Being out of balance means not being in the moment of now with the Lord. Even busy people only have now, although it may seem otherwise.
Jesus said, "I do nothing but what the Father does through me." That's about being in the now and focused on the Father.
Paul said, "Pray without ceasing" -- meaning be in communication as prayer is communication that goes both ways. Paul is taking about a constant relationship with God that can only happen in the now.
Hillel said, "If not now, when?" Hillel is asking when can we actually do anything except in the now?
They are all pointing to the same reality. We cannot have a relationship with our Creator except in the now. And, if we are not having a relationship with the Lord in the moment, as we draw each breath, then we are indeed going to feel out of balance. Other words we apply to our lack of being present in the moment (and therefore in relationship with the Creator) are terms such as stressed, harried, out of sorts, upset, etc.
My life is very out of balance in the way of the world. Experts might disapprove of my path. That's their problem. I am focusing on staying on my path.
I am working to stay, moment by moment, step by step on the path that the Lord has for me. Sure, I fail on a daily basis. I stumble, trip and even take spiritual pratfalls. I get lost in my thoughts of the path and future. Then I pick myself up, brush myself off and get my focus back on the Lord and what is now. I ask, What do I do now, Lord? I ask this as often as I can remember to do so, many, many times a day and I have been at it for years. What do I do now? What do I say now? There is always an answer, just not necessarily the one I want. And it is always simple and immediate, dealing with the now.
Most of us ask for guidance during times of crisis. I have learned to ask on an ongoing basis, even when I think I can handle the situation myself. On a moment to moment basis and more of my moments are spent that way. You can do this too.
We can only relate to God (or anyone) in the moment of NOW. We cannot do it in the future or past.
When I have my answer, and act on it, such as late and night, when I get the sense of inspirational feedback, like, Go brush your teeth … then when I break away from the painting or the PC screen, I have a sense of balance of peace of being on my right path. (The teeth brushing thing is generally followed with the move towards bed.)
When I am busy with the many tasks that I wish I could give to the staff I don't have yet, I try to be present in that now, focus on the Lord. Moment by moment. Easy to say, not as easy to accomplish.
For instance, putting together my shipments of prints is a task that is routine but uniquely specific in detail for each package. It is work I could mostly and gladly hand over to a competent assistant. However, it is still my own task and I have learned that there is nothing so mundane or small that the Lord does not wish to be there with you and share it.
A great painting is created one stroke at a time. The inspiration (for me communication with the Lord) that the artist had when each stroke was made shows in a painting. A great symphony is written note by note and again, the inspiration is evident. A great piece of literature…well, you have the idea.
Great works of art out continue to inspire many generations and so seem immortal.
If we live our lives one moment at a time with the Lord, we will live great lives that will inspire others. That is what Jesus, Paul, Hillel and many other great teachers have tried to tell us. In Genesis, it says that Enoch walked perfectly with the Lord and then was no more – in other words, Enoch never died. I find that amazingly inspirational.
Inspirational enough to inspire me to create a whole new theory of art, Post Conceptual UnGraven Image, where the focus is on the stroke: tiny strokes – one stroke at a time in the ever expanding and inspirational now.
Monday, April 7, 2008
The 10th annual Armory show, NYC was held at Pier 94 from March 27-30. Only contemporary art was featured by the participating 150 galleries chosen by this year's selection committee.
According to The Art Newspaper's special fair edition, the sales held up well despite market jitters. The art fairs serve as places where top notch collectors come to see many new works and buy. This is one of the premier fairs in the world to see the best of contemporary art. As such this fair, along with some of the other fairs such as Scope and Pulse that ran concurrently, create a once-a-year survey of contemporary art that no museum, even with an unlimited budget could hope to duplicate.
Prior to attending, I had read various press releases and reports about the fair. I knew that some top galleries had been excluded by the fair this year. The NY Times article by Roberta Smith in weekend Arts sported the headline,” Smooth and Safe at Pier 94”. Generally, this years fair had few surprises and some of the galleries currently in Chelsea had better shows back home than in their booths. Ironically, looking back it seems to me that a few of the galleries missing this year had brought some of the best, cutting edge and thus press receiving work to the fair previously. Of course, the public has no idea what galleries were actually not included as we lack information as to who had applied.
If, as Rebecca Smith indicated some galleries held back the best work of their artists, possibly for Art Basel, others pulled out all the stops. Most galleries feature the works of many of their artists, while a few chose to focus on only one.
For me this year's fair seemed to excel for works by Conceptual, especially Word artists. The art theory that I am founding, UnGraven Image is a next step from Word Art, so obviously I appreciate it. However, most of the mentions in the fairs and shows I have reviewed (and will, as I am also working on Scope and Pulse) have not covered Conceptual artists to the extent I do here. Much of the best work here just happened to be by these artists, perhaps due to the recent show at the Whitney of Lawrence Weiner's work.
The Cheim and Read booth was an installation of Jenny Holzer's work that was the best booth I have seen in any fair so far. Period. OK, I am a fan of Jenny Holzer's, but exciting, powerful display was especially insightful for her work. I hope there is a way for the display to travel to museums or venues as being booth sized that is a viable idea. The booth was totally symmetrical. The blue and red scrolling light image works in the corners (two are visible in the phot below) were repeated in all four corners.) The small "benches" were carved marble to resemble monuments.
Here is just one quote from this display by one of my favorite Word artists, “TRUST VISIONS THAT DON'T FEATURE BUCKETS OF BLOOD”।
Another gallery that had a good booth dedicated to the work of one artist was Ronald Feldman Gallery's tribute to the late Eleanor Antin.
Since there was so much to see, and I had already been to Scope and would next go to Pulse on my day into the city for the fairs, I took notes that would mention basically one artist's work for the galleries I covered. Of course, in relation to some galleries this is especially difficult, but if I had already covered an artist is a review of a show, or am expecting to cover one in an upcoming show, I chose a different artist's work for a good mention. The mentions below are in order of my meandering path.
At Stuart Shave, Jesus Christ Loves You, a rainbow tambourine by Phillip Lai made a musical statement. Thanks to Nadia Berri for introducing me to the artist and this work.
At John Connelly Presents ' booth Ara Peterson made more visual music.
Still dancing to the music of art, despite obvious but minor injuries to her arm and foot, delightful and intrepid Tracy Williams showed me the interesting work of Fiona Banner at her gallery's booth.
Yvon Lambert was Bethan Huws' Untitled is a conversation between Bethan the artist and gallerist Erika. Too true. Do click on the link to see it. Good to see Emilio again, who was helpful explaining the unique presentation of this good conceptual artist. Also giving a nod to a work in the booth by Lawrence Weiner.
At Andrew Kreps , Uwe Henneken's work intrigues by probing the fantasy of reality.
Zach Feuer and I nodded and smiled at each other in his gallery's busy booth. Three colorful, playful sculptures by Tal R get my good mention here, especially one entitled, Sssstick Ball Ball Ssstick Ball Ball.
At Gallerie Thaddaeus Ropac Elaine Stortevant's Warhol Black Marilyn 2008, silkscreen, acrylic on canvas is a retake on Warhol's iconic work brought Andy Warhol into this fair dedicated to contemporary art. He casts a long shadow.
Choosing from Pace Wildenstein's artists was at first difficult, but I choose to mention Elizabeth Murray in tribute.
At Greenberg Van Doren I found especially appreciated the work of Ben Edwards.
I enjoyed discussing John Bangston's work with Katie at Jack Shainman Gallery's booth.
Lehmann Maupin had a splendid display of work by Mickalene Thomas's portraits.
Ratio 3 had Ara Peterson. My focus is always about the stroke, which can be made with a paintbrush, or it can be a button (Tara Donavan), or even a stitch. Ara Peterson's strokes are carved and assembled and colorful inventions.
Matthew Marks had works by several of their artists, including two large diptyches by Andreas Gursky in the artist's frames. Elsewhere, including in the manifesto for UnGraven Image booklet (free to download at www.ungravenimage.com )., I have written about how photography creates a image in a the click of an instant, whereas painters, sculptors and other pure visual artists who create via strokes take time. Gursky fascinates me as he is capturing what I call :strokes' that for him may be people I a crowd, merchandise, or other repetitive images. Usually, I shy from mentioning photography as my background is more painting and some sculpture, but I get Gursky's strokes as the closest photography comes to painting.
At Gallerie Barbara Weiss had silkscreen prints by Thomas Bayrle who creates images from repeated images, which for me a kind of stroke. Again, use the link to see more.
At Bob van Orsouw Gallery portraits by Albrecht Schneider paid homage to Rembrandt's self portrait but left the face blank posing questions of identity. Having recently created an Essence series portrait of Rembrant using his same self portrait for inspiration, I resonated to these works.
Artists Mary Heilman and John Waters were commissioned to create prints for the fair and the proceeds went to charity.
With thanks to Chris Burnside of Cheim and Read for speedily sending the image above that is used with permission of the gallery. Also a nod to Andrew Sheffer for alerting me that such a good photo of the booth would be available.
Saturday, March 1, 2008
The 2008 ADAA Art Show may is in its 20th year, yet it seemed to be more vibrant and energetic than last year, when I first attended.
This year, curators Tom Eccles and Trevor Smith selected artists Spencer Finch, Lisi Raskin, and Pietro Roccosalvafor solo shows in three of the Armory's historic rooms just outside the fair, while in the hall outside was a video and multimedia art installation by multiple contemporary artists. Plus, several forums were held for the benefit of collectors about the art market.
Art is by, about and for people. The Art Dealers Association of America members are basically the top galleries both for primary and secondary works in this country and in the world. Every work in this show is good, most are excellent, and a few are great. Many of the artists and some of the booths deserve full reviews, not just the brief mentions that my time and space allow.
Determined to see all the booths, upon entering I made a quick left into the Mitchell Innes and Nash booth where I begin the task of deciding what work to mention when everything deserves one. Seeing Arshile Gorky’s oil from 1944, From a High Place, I have my first pick. Thanks to a bit of online research, I know what Lucy Mitchell-Innes looks like, so I introduced myself and she is as lovely and welcoming as her photos indicate.
The booth to the left belongs to the Luhring Augustine. I spot Roland Augustine, one of the gallery’s partners and the current president of the ADAA leading visitors down an aisle towards another gallery’s booth.
The Luhring Augustine booth is dedicated to Steve Wolfe’s sculptures which resemble editions of classic books. The charming Kristen and Sophie help me select the one of the Postman Always Rings Twice to especially mention, a good one for me as I am also a fan of mysteries, Hitchcock, and of course words in art!
Moving through the aisles, there are works by Andy Warhol in the many galleries that display Modern Art. Andy Warhol's Mona Lisa, proved that even when Warhol work was not actually in a booth, his influence on Contemporary art is present.
Also everywhere, it seemed were works by artists who, like Warhol, are connected to the Hamptons where I live. I usually mention at least the best, which is easy as I am dropping names like Pollack, Krasner, Chase, Ray Johnson and Max Ernst. The last two prominently featured at Richard L. Feigen & Co. The dynamic Max Ernst painting drew me right into the booth (see below). I appreciate the opportunity granted by the always friendly and knowledgeable Dr. Frances F. L. Beatty to show it here. Also at this booth were three small charming watercolor works by Henri Rousseau that are enchanting.
Tibor de Nagy had another selection featuring Hamptonites, Fairfield Porter, and Jane Freilicher. The James Goodman Gallery had an untitled De Kooning. The booth for the Barbara Krakow gallery featured a Vulgar, a 2007 work by Mel Bochner.
At the Richard Grey Gallery booth, I renew my acquaintance with Paul Grey, ever the gentleman, again standing and offering a smiling handshake (to that point the only one so far to stand or offer a handshake). I first met at last year's show along with Andrew Fabricant who is the chair of the Art Show committee, and sitting with the was Roland Augustine, who I met for the first time as he welcomed me into this booth, too. At that time the gallery was showing work by sculpture Juame Plensa, another artist whose work I appreciate since he sculpts using letters for strokes. This year, the gallery features yet another artist with ties to the Hamptons, Jennifer Bartlett.
The Charles Cowles Gallery itself always has ties to the Hamptons, no matter what good artist is featured. Charles himself mans the desk, always welcoming and friendly as is his staff. Two small works by William T. Wiley were among the notables here.
In the next aisle is Sikkema Jenkins. This is a very special gallery to me, as the first work of art I ever showed in a big NYC gallery was in December 2007 at the Postcards From the Edge show hosted by this gallery. In addition, gallery staff staff is friendly and helpful (I coined the term “gallerytoro” especially include their excellent receptionist Scott my first galleristas review), plus the artists are first rate and even some of by favorites such as Kara Walker. At the Sikkema Jenkins booth, smiling and saying hello were Meg Malloy who is always good to see again and to meet Michael Skimma. for the first time. Their booth was dedicated to the work of gallery artist Amy Sillman‘s *oil on untitled canvas paintings, which conjure up depth and form.
At Greenberg Van Doren, Michael Martin graciously answers my questions about a particularly interesting untitled gouache by Richard Diebenkorn.
As I leave that booth I see up at the front of the aisle the now very familiar figure of a man, amicably chatting with people and leading them towards yet another gallery booth. I consider walking up to say hello, but my attention is drawn away by just a glimpse of the Cheim & Reed booth out of the corner of my eye.
That whole booth is painted black, a perfect background for stunning sculptures on pedestals by Lynda Benglis. I am helped, as usual, by someone friendly from the gallery, this time meeting Daniel Lechner. Standing before the Cheim & Reed booth I am sure that absolutely no other booth can possibly equal this presentation…
Until I discover the D’Amelio Terras booth, with a grouping of several artists’ works that wonderfully resonate with one another in a “suspended art” theme. An ingenious sculpture/mobile by Cornelia Parker merits a special mention. But, now I am sure that no other gallery’s presentation could possible equal this one or Cheim and Reed’s.
I arrived at the show after a long day of travel and other activities in the city, so by the time I enter the final and fourth aisle, I am wishing for a bit of a break. I am tired until I see a Rothko at L. & M. It is not one of his huge works, but it towers spiritually, and momentarily lost in it, I revive.
At ACA Galleries, I chat with Jeffrey Bergen, director/owner and again, one of the delightful people I have met this year in the galleries. We chat as I enjoy the paintings from many of the gallery’s artists and try to select one finally settling on Irene Hardwicke Olivieri who had a solo show that I enjoyed just before I began to give mentions a tad over a year ago.
Nearing the end of the aisle booth Roland Augustine is meeting and greeting and showing more people around. I linger at the O’Hara booth enjoying the Calder mobiles until for a moment Roland is free. I begin to reintroduce myself to him, but he knows who I am. The last time we physically met was in the elevator at the 1018 building, where Luhring Augustine has a new gallery branch. Anyway, Roland offers a big smile along with a solid handshake. We chat for a moment about the George Condo show that I am looking forward to next week.
I move along top the PaceWildensteinbooth.On approach the booth did not seem special, displaying only one work by Richard Tuttle, with Cay Rose stationed at a desk before it. Cay explained the booth was designed by the artist, Richard Tuttle himself. It was specially carpeted and a low wall had been erected, which she leads me behind. Suddenly we are in a peaceful quiet viewing room that seems far from the activity of the show. Yet, another incredibly designed and presented booth.
Across from that, what normally would be the first booth one might enter I had saved for last. Ameringer & Yohe gallery had a tribute to the ADAA’s past president Andre Emmerich who died last year, This presentation included photos of the gallerist and works by three of the blue-chip artists Emmerich had championed: Anthony Caro David Hockney and Morris Louis.
As I reach the exit, I turn around for one last impression of the Art Show, and see near the front aisle, Roland Augustine smiling, chatting and leading yet more guests to another gallery’s booth to see and possibly collect the work of some of the finest Modern and Contemporary artists. He well represents the ADAA and the show: generous, enthusiastic, friendly and always quality.
Special thanks to Susan D’Inverno for speedily and efficiently sending the .jpg of Max Ernst’s painting, plus being helpful as always. Also thanks to Frances F. L. Beatty Ph.d. for permission to use it. It was the only image I asked for as I knew it was not yet online. The rest, especially for the contemporary artists, can be better seen through the links to the gallery sites provided in the article. Also, mentions with an asterisk (*) indicate an image is available at a special slide gallery on artnet