More specifically, how we see the world and translate it into art.
I was walking by one of those somewhat tacky rainbow “wind spinners” in my neighborhood last night and thought about how someone many moons ago conceptualized that idea(original wind spinners, not this computer generated rainbow unicorn one), probably involved lots of Maths (let me be British for a minute!), science, precision, studied the changes in wind patterns and how it would play off the foil and was able to manifest their idea into a tangible creation.
My subsequent thoughts were how I myself am not very “math” minded. -kicks up dirt- But I feel like, depending on your interests, if you’ve recently read something impactful, seen a movie that intrigued you, done psychedelic drugs, or are engrossed in a specific project- that it can affect how you see the world. Even if temporary, it’s a residue that sticks with you—like leaving an espionage flick only to think everyone in the Common has a sight pointed at your head, or a scary movie where you check under your bed five times and triple lock the doors that night. And I imagine to a certain degree, some of the way in which we see the world is hard-wired. More math inclined individuals, like architects, might see things as lines, shapes, angles, trying to find pattern and order in things, objects against negative and positive spaces and configurations whereas I think my field of vision is more inclined to pick up on colors, textures, and Dippin’ Dots™ kiosks.
Banksy
When I used to spray paint, I created so many vectors and stencils that I began to see the world as a vector of sorts without much mental effort. I could flatten a scene/image, determine the negative and positive spaces, and think about objects in topographical layers according to subtle depth and color shift if I needed to.
If you look at the various artistic movements throughout history, they almost act like different chapters —documenting artists’ changing interpretations of their environment over time. Different CHAPTERS in this BOOK we call LIFE. Deep, baby. Painterly more forgiving strokes of the Impressionists, the Fauvists’ ability to present subjects in unusual hues— jawline shadows in blues, water in yellows, things not seen in nature but are still somehow tied together into a cohesive piece. And then later on when things really got batty with Surrealists’ ability to pull from dreamscapes, and whatever was happening in abstract expressionism.
Let’s take a quick look at one of Picasso’s pieces, Maya with Doll (note:this piece was actually stolen, so if you see it-give it back!) What an interesting somewhat cubist manipulation of form, color and exaggeration of aspects. I could never interpret the world as he did even if I tried, I wouldn’t know where to even begin—what parts of a form to magnify, distort, or diminish. When I was in highschool, I remember thinking of Picasso as a crutch. I figured my inability to represent properly proportioned figures with a No. 2 pencil could fall under the Picasso umbrella, veiling itself as artistic style, expression. .. My teacher wasn’t buying it, B+.
A good book to look through if you are interested in the way different movements formed around the world over time and connect is Phaidon’s 30,000 Years of Art. I’m still plugging away in B.C., but it’s a great resource to have.
This a.m. I came across an article about Xavier Veilhan, whose most recent work at Versailles I linked to a few months back . He is able to see the world in terms of facets, and as the article suggests…MULTI-FACETS. The cynic in me wonders how much stems from his own imagination and how much can be assisted with the use of computer modeling and the likes? But there is a definite creative presence and sensitivity towards the viewer in his work:
“My approach on shows in general is not to produce pieces, but to produce an experience of the show in the viewer’s mind. My starting point is the feeling of the memory that the viewer will have more than the actual object. I was always very interested in the history of “Exposition Universelle,” or any kind of show, even a non-art show. The history of exhibition is very important to me and the show itself is more important than the elements that build it. Visiting an exhibition is like driving through a landscape with visual elements appearing; and what I like is to make a kind of dramatic compilation of those elements; they will reach the viewer’s mind.”
It’s interesting how something so seemingly geometric and cold can have such a human aspect to it.
Just read an interview with Veilhan in Art Observed:
X.V.: I don’t have the approach that a lot of people have: the separation between science dur and soft science? Mathematics on one hand and how do you say? AO: Humanities on the other X.V.: Exactly… I like Socrates and Plato you know… AO: Back when there was no separation right? X.V.: Exactly. I am reading a lot on mathematics of random, it’s quite interesting… You know, the periodic table also is interesting. Everything is on this sheet of paper it’s a list of everything; it’s a conceptual piece (Laughs…) actually. That’s the kind of thing I like but don’t ask me why. AO: Why? X.V.: [Laughs] Even elements that don’t disintegrate are all made out of smaller parts. Body made out of atoms for example that are much older than the body and will survive after the body. It’s beautiful. — Quite a lengthy and in-depth interview worth reading, but I’ll leave you with this last exchange which I found insightful: — AO: What is the relationship between photographic practice and your sculptural pieces?
X.V.: Well there are many renditions. First I use the scanning technique a little bit like a 3 dimensional photograph, but related to the original photography: back in 1870 when photography appeared, it was used for landscapes or monuments. But then, when the technique allowed it, people started to pose for photographs, and they had to pose for quite a while…. My models had to stand still for 45 minutes, which lets them get into a certain “their own” position. There is no psychology added from me. The second thing is the approach that tourists have to Versailles: going through the medium of photography. People are not looking at things, but taking pictures of them. And I am interested in this kind of delay. You take a picture, especially at the numeric age, and it is not something you really saw, its not something that you will look at 10 years after, it is to look at when you are in the plane going back home. This kind of delay is what I am interested in. All the kind of games that people are playing with photography, like posing, faking the sculpture, playing different 3 dimensional games… That I like a lot, because it is a kind of post visual and physical contact they have with the monument.
Went to the ICA last Thursday night(free!) after work as I try to do every so often. Since it’s only a 5 minute diversion off my normal work—>home trajectory, I try and stop in-or at least sit on the bleachers out back to unwind from time to time.
What’s Going On There?
New mixed media installation on the ground floor by Francesca DiMattio entitled Banquet.
“The New York-based painter combines imagery from a wide range of architectural, decorative, and art historical sources. She laces together underlying patterns to construct these complicated compositions, lending a sense of logic to her seemingly chaotic assemblages. The artist has described her working practice as “getting into trouble and getting out of it.”
I really liked it for some reason. Some parts of it are poorly blown up photocopies of furniture, other parts art hand painted bouquets, and colorful stripes, but for some reason it all works and is well suited for the space.
Checked out the Dr. Lakra exhibit(note: I’m being kind with the chosen representative photos, which I consider to be some of the better work). I’m not sure its my bag.
“Jerónimo López Ramírez, also known as Dr. Lakra, is an renowned tattoo artist who lives and works in Oaxaca, Mexico. Under his pseudonym, loosely translating as “Dr. Delinquent,” he draws over vintage printed materials and found objects rather than skin, manipulating images of pin-up girls, 1940s Mexican businessmen, luchadores, and Japanese sumo wrestlers.”
It’s confusing- because he is clearly a talented painter and tattoo artist, he created large murals on several of the ICA walls. But the exhibit, as described above, focuses primarily on his talents defacing pin-up girls, posters, and magazine cut outs with a Bic. It just comes off as being a cheap trick or something, better suited for a small gallery out West, not the ICA in Boston.
I can’t help but shake the fact that it reminds me of the Westchester, NY power outage of ‘97 when we were left in the dark for days and drew pirate eye patches, “MOM” tattoos and blackened the teeth of every child in an LLBean catalog, realtor glamour shot brochure, and family in a Caldor flyer within reach. We left no unsolicited direct mailing unturned.
Maybe I’m missing something.
No..on second thought, I don’t think I am.
Charles LeDray’sworkworkworkworkwork is also currently on display at the ICA, but was closed for a private viewing during my most recent visit.
“For over 20 years, New York-based artist Charles LeDray has created handmade sculptures in stitched fabric, carved bone, and wheel-thrown clay. LeDray painstakingly fashions smaller-than-life formal suits, embroidered patches, ties, and hats, as well as scaled-down chests of drawers, doors, thousands of unique, thimble-sized vessels, and even complex models of the solar system.
The exhibitiongathers approximately 50 sculptures and installations, from seminal early works to the first U.S. presentation ofMENS SUITS (2006-2009), his highly acclaimed project presenting three complex, small-scale vignettes of second-hand clothing shops. The ICA will also premiere Throwing Shadows (2008-2010), an extraordinary new ceramic work including more than 3,000 vessels made of black porcelain, each less than two inches tall.”
Might be interesting, but I’m not sure it’s enough to lure me back.
Also, just learned from the ICA site that there is a cool text projection by Jenny Holzer and Miguel Gutierrez happening tonight from nightfall until 11pm. Might be neat to check out if you are in the area.
Boston really seems to be trying to make something of that area down by Fan Pier. I recently noticed signs for “Louis”, which is housed in a fashionable building within a stones through of the museum. I stopped by and learned it is a high-end clothing/home goods, hair salon(?), optician, and restaurant. I’m not sure whats happening there. It was one of those places where you turn over a cute shoe, learn its $1,700 and then have to keep looking at it as if “no, that’s cool-I’m someone that could afford that.” I saw a ridiculous porcelain koala bank that you would expect to find in the SALE bin of Urban Outfitters next to a dead, flattened unmatched cork wedge, a lawn gnome candle and a 365 sex positions calendar. “Sure, I guess I can justify throwing down $5 for this thing.”
I turned the quirky “money-box” over at Louis to discover it, along with its other koala brethren displayed at ankle height were $580. I hope a fat baby arm comes along and knocks them all off the table.
So, back to the ICA. The museum is also the home of my favorite photograph of the moment, Untitled (2002) by Roe Ethridge.
“Untitled is part of a series Ethridge began in 2000 depicting pigeons. Using a high-speed flash to capture a pigeon in mid-flight, Ethridge reveals the unexpected beauty of this ubiquitous bird. This, however, is no ordinary pigeon, but a trained “extra” rented from Universal Studios. Set against a blue studio backdrop that mimics the natural color of the sky, Ethridge reveals its graceful perfection.”
I love the photo because he captured a great moment, the colors are so vivid, and it is also displayed in the perfect frame. Maybe I can get the museum to loan it out to me…or trade them a Snickers Bar, a finger puppet, $5 in rolled coins..*looks in purse*…and 7 bobby pins for it! Call me.
I couldn’t help but notice a quote by Roe on a placard next to his other photograph in the permanent collection, Holly at Marlow and Sons(2004).
“On one hand, everyone knows how to take a picture..At the same time, it can be the most overwrought, specialized technical form. There is something about that conflict there in my own work.”
Roe seems like he’d be a cool guy, I’d like to grab a beer with him.
Whenever I see a piece of art, hear a song, read a writer’s work, or am talking to a client on the phone- I can’t help but piece together in my head what I think they might look like. I am hesistant to hop on google to confirm my suspicions because more often than not, there is a huge disconnect between my imagination and real life.. sometimes it ruins it for me. Case in point, I think Romy Madley Croft of The xx has a beautiful voice. She must be a real looker. So I googled, and this happened..
Oh.
Anyway, if you haven’t been to the ICA— you should go. What else are you doing on a Thursday night after work? Jaeger Bombs at Tequila Rain? Thought so.
Quick post. When I was a wee-bug I didn’t have much interest in museums, but I loved books, libraries and was a serious gold star member of Scholastic Book Club.
Man, I used to order so many books. Tactic? Doe eyes, often dad pant-leg tugging, sometimes binding contracts in crayon that vowed I would never smoke cigarettes(true story) and I was able to order what I wanted. I found the success rate of these tactics to have waned exponentially as years passed and my “want” list shifted from Box Car Children to Lexus hardtop convertibles.
Anyway, one of the earliest illustrators I admired was Graeme Base. He was responsible for Animalia, Sign of the Seahorse, and The Eleventh Hour.
His work was always so detailed and creative, I really admired it. I could look at Animalia for hours, as it was an alphabet book where every page had hundreds of objects pertaining to that particular letter. I even violated my “will not write in books” rule for The Eleventh Hour which was a mystery story that required unlocking codes, and eventually tearing open a secret section at the end. I guess I violated two of my book rules 1.)thou shall not write in books 2.) thou shall not tear pages out of books.
From Graeme, the next individual that earned their place on my time line would have to be Keith Haring..many moons later.
Has Creativity Been Stunted as a Result of Modern Technology?
As of late, I have been feeling a little sapped of creativity. A bit weary, lacking passion, and caught up in the motions.
My interest/future in the arts is more from the business side of things, and helping artists do what they do best— but I do like to dabble in graffiti and most recently painting from time to time, a healthy hobby I’d say.
A few weeks ago, I finished a painting I had been “meditating” over for months and trying to think up what to do next…
Interpreting the human form is not my forte, but I do like nature. A fox? Squid? Lemur? Everything just felt a bit played out..which brings me to my conundrum..
Q:Why are things starting to feel “played out”?
A: The internet has opened up an entire new world of references. Blessing and a curse. But now when I think of a “fox” for example, my crazy mind darts to hundreds of images/fragments of foxes I’ve seen throughout history, in art blogs, at museums, in advertising, in movies..aaaand I shut down. I am stunted by the fact that I feel like I can’t give it a different spin.
I think back to when I was little..before the internet. When I would sit in my backyard and catch frogs and think about dragons driving ice cream trucks and how a piece of red tissue paper could transform my guinea pig into little red riding hood. I used to be able to take little moments in my life, most likely mundane to anyone else, and excitedly scrawl them into full-length illustrated books that looking back really made no sense, but I am not sure they needed to.
So here I am, mid 20’s, burned out and feeling unable to invent and conjure wholly unique ideas. Kind of like that awful scene in The Garden State where Natalie Portman dances painfully and spews a string of nonsense so she can have a totally “original moment”.
Follow me in a different direction —
I stumbled upon LA artist Greg Simkin’s site the other day, and really love his work.
From Greg’s Artist Bio:
“I haven’t always liked stretching canvas and never thought I would be doing it on a regular basis but these days, it has become more of an adventure than a chore. It is the sponge that soaks up all the thoughts going on in my head. Having an overactive imagination since a very young age, it has always made sense to me that any artwork I develop should be composed of these vivid thoughts. What used to take form in crayons and pencil, evolved into pen and ink drawings, spray painted murals and computer graphics, and has further morphed into the acrylic paintings I create these days. My childhood obsessions with Disney cartoons, Lorne Greens’ New Wilderness and books such as Watership Down and The Phantom Tollbooth have become fodder for my work as it develops today.
I have become increasingly interested in the rabbit holes we fall down when daydreaming. So many have created worlds in their art in which to escape and inhabit, and for others to enjoy. We have seen glimpses of them in Narnia, Wonderland, Middle Earth, Neverland, and Hanalee. As homage to these types and shadows of other lands, I have attached the all-encompassing title, “The Outside”. As our imagination takes over, we tend to leave what is ordinary and go outside of ourselves to visit these places. This is why I paint and what has inspired me over the years to grow as an artist. It is the constant search for what else is on the outside. “
Okay, bring it back.
Greg’s bio, intense discussions at Texas Roadhouse(6oz filet and two sides $16 allimsayin) over yeast rolls and 22oz beers, and speaking to various gallery owners about my current situation has led me to realize:
People will always be painting bowls of fruit.
I recently caught up with Frank Paluch, Owner and Director of Perimeter Gallery in Chicago. His thoughts were this- “No one came down the sky and told artists to be creative and make something that has no reference to anything else. Nobody will ever be Rubens or paint as loosely as Pollock. It’s all been done..what’s left is your take on things and your ability/talent to apply it to the situation you’re in.”
Well said.
This won’t be an overnight transformation, but I am willing to loosen my grip, let the world come to me, reflect on my past experiences, pay more attention to my dreams and the shapes in the clouds and see what happens.
In recent years, I feel like clever advertising has really been lacking in The States. I single us out based on my impression that all these American Pie VII flicks, Rob Schneider, toilet humor, Smirnoff icings have seemed to dumb us down a bit as a culture. Toilet humor/gimmicks/cheap gags have replaced wit in many cases. Or at least it seems we as consumers are being perceived as less complex? Not sure how to fully articulate my sentiment, but lets take a quick look at two examples I thought of offhand.
Dr. Manhattan hits the Thames in London for The Watchmen:
and then…we laud initiatives like this in the US:
Okay, I understand this fish has a facebook group, a ringtone, a harem of vinyl trout ladies and has created a general “buzz”, but I can’t tip my hat to it.
If you are singing the jingle at your desk, you might as well ‘x’ out-we clearly have differing tastes.
One woman’s opinion.
Regardless, I was walking home from work the other evening when I noticed this:
I personally love it. I’m not holding it up as the piece de resistance of advertising, or halo-ridden indication of some second coming of Christ, I just like it. simple. I have since seen the posters around Park Street, on T-cars and plastered on the Aquarium itself advertising the many different personalities of the New England Aquarium penguins. Great initiative!
Clever, made me smile, and after a bit of research I realized Mullen was behind the ads. I wish I could say I was surprised, but the advertising firm has actually has had some tricks up their sleeves over the years with clients including Zappos, Monster, and JetBlue to name a few. As a marketing major often jaded by the advertising industry, I DO tip my hat in this instance to the Boston-based firm.
It makes me want to go see these characters at The New England Aquarium and check-out “Plum Pudding” in person.
Before I go, I can’t help but be reminded of the time my friends and I went to the aquarium to see the seals, one of which was floating on the bottom of the tank.. on its back.. under a death shroud of phytoplankton.
I began frantically Googling “how long can seals hold their breath”, while my wicked friends went up to the name plates taking bets on which seal kicked the bucket.
“Hm, looks like it has the same markings as Isaac, totally done for”
“Oh, Madea was born in 1985? I have this in the bag.”
(Don’t worry- seal X eventually shimmied away in a very alive manner.)
Glad my seal experience was not the basis for the New England Aquarium’s latest campaign and that they went with the penguins.
Just when I was bumming over Boston’s lack of street art, a friend(thanks Earl!) sent me along the newest work by Blu, entitled Big Bang Big Boom.
After watching the earth be created and destroyed over the course of 10 minutes, I think I’ve gotten my urban art fix(albeit non-Boston graffiti) for a minute.
It’s Impossible that’s sure. So let’s start working.
“To me, it’s really so simple, that life should be lived on the edge. You have to exercise rebellion. To refuse to tape yourself to the rules, to refuse your own success, to refuse to repeat yourself, to see every day, every year, every idea as a true challenge. Then you will live your life on the tightrope.”
OnDemand usually has the most awful Free Movies like Jawbreaker and Hostel pt. 2, but ever since they incorporated the Sundance Channel into the mix, things have been looking up.
This month they are serving up Man on Wire , a film I had actually been meaning to see. Comcast saved me from having to befriend someone wretched just because they have a Netflix account, phew.
The film tells the story of Philippe Petit, an eccentric gent who in August of 1974, illegally rigged a wire in between the WTC buildings and ventured across..8 times. I’m not one for movie reviews, so I will leave you with the following..
Tips for viewing Man on Wire:
A good portion of the movie is in French(see also: laden with subtitles). You can’t attempt Smiley Face potatoes in the kitchen and have the film on as background noise in the living room. Trust me, I tried.
Great midweek, post-work, rainy day flick best enjoyed with a bottle glass of wine. decompresssss..
Watch with favorite animal or mute friend.
Not a good date movie, don’t bother.
C’est tout!
In local news, don’t forget SoWa First Friday at 450 Harrison Avenue is happening this evening. Enjoy the long weekend! ♥
