Tag Archives: Friday Night Gallery Chat

A Painter – Gauguin

 ” A Pale Green Mermaid Blog “

  

Paul Gauguin’s work was a precursor to abstract art – see how he uses flat planes of sharp color to mold a figure and show its volume.  His use of artifact like symbols gleaned from the world that surrounded him adds another dimension to his painting.

If you want to paint and are not yet interested in taking classes, you can paint a copy of a painting by an artist you admire.  IHistorically this has been standard practice, used to hone skills.  I have painted Gauguin copies and one mural of his work, through this method you will see parts of the painting that are not privy to the casual viewer.

 

Take a shot at it you might surprise yourself…

 Happy Friday!

  

Self portrait by Mr. Gauguin,

gauguin-vangogh.jpg Gaugin-Van-Gogh image by pussycat37

Art requires philosophy, just as philosophy requires art. Otherwise, what would become of beauty?

Paul Gauguin

 

Images Courtesy of Google

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A Painter – Michelangelo

” A Pale Green Mermaid Blog “ 

 

 

 

 

 

 

 

 

The Sistine  chapel ceiling that Michelangelo painted had become so dirty that the figures were  practically hidden under a layer of grime – above a before cleaning and after cleaning example.

The  elegance and nonchalant grace of his figures portrays a skill level in painting that few achieve – what made his work dense artistically is his use of color and sculpture infused muscle rendering.

Have  eye-catching night!

From Wikipedia below,

Michelangelo di Lodovico Buonarroti Simoni

Born 6 March 1475(1475-03-06)
near
Arezzo, in Caprese, Tuscany
Died 18 February 1564 (aged 88)
Rome

 

IMAGES COURTESY OF GOOGLE

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Weekly Gallery Chat Says GoodBye To King Tut’s Tomb

 

” A Pale Green Mermaid Blog “

  

As we bid a fond farewell to King Tut’s tomb let us take a look back at some of the items  not discussed and read a final warning to all who spend their time discovering…

( Look for me in the Yucatan peninsula in about 5 years  – I know there is an undiscovered mayan pyramid yet… to be found…I am dead serious…)

 

 

 

 

 

Egypt Feature Story below  from  www.touregypt.net

Politics and the King Tut Discovery

by Jimmy Dunn

Howard Carter, Pierre Lacau and members of the Egyptian government in front of the tomb of Seti II Politics have always taken an important part in Egyptian archaeology, as they continue to do today. As we gaze upon the wonders of the Tutankhamun treasures, it should come as no big surprise that politics also played a big part in that discovery, becoming in fact the real curse of King Tut’s tomb.

In general, many of the worlds greatest scholars, even today, are not some of the world’s greatest politicians, even though their work often comes under political scrutiny. This can also be said about Howard Carter, so the death of his financier and the more politically savvy Lord Carnarvon on April 5, 1923 could not have come at a worst time. Afterwards, irregardless of how proficient Howard Carter was as an excavator, he proved to be a very poor diplomat at a time when the whole Tut Article from The Times of Londontomb affair had become a very tricky political situation.

The disaster was actually initiated by Lord Carnarvon himself when, on January 9th, 1923, he signed a contract with The Times of London, giving them exclusive rights to the details of the Tutankhamun discovery. It seemed like a good idea at the time, both financially and practically, but in reality it turned out otherwise. First of all, the agreement with The Times was felt to be an affront by not only the news media in Egypt, but the news media throughout the rest of the world as well. One must always keep in mind that this was a time of limited media, before the age of television, radio and the numerous media that so impact our world today. Thereafter, Howard Carter and his team had to suffer what might be called guerilla warfare and general mischief making from the desperate Time’s competitors. One of them, the Daily Mail, even employed one of Carters old rivals, Arthur Weigall, as their special correspondent.

According to Aruther Mace, a member of the Tutankhamun excavation team, in a letter to his wife Winifred:

“…the atmosphere of Luxor is rather nerve-wracking at present. The Winter Palace is a scream. No one talks of anything but the tomb, newspaper men swarm, and you daren’t say a word without looking round everywhere to see if anyone is listening. Some of them are trying to make mischief between Carnarvon and the Department of Antiquities, and all Luxor takes sides on way or the other. Archaeology plus journalism is bad enough, but when you add Politics it becomes a little to much…”

Furthermore, this was a difficult time in Egypt. There was a serious and growing movement for an independent Egyptian state, even though it would take another three decades to achieve. For those involved in the movement, known as Nationalists, the Times agreement provided a big Artical from a competing newspaper of the timesstick with which to beat not only the British “colonialists”, but foreigners in general. It would eventually result in the Tut expedition’s undoing, at least for a while.

After the official “discovery” of the tomb on February 16, 1923, and the revelation that the boy king laid undisturbed within his tomb, there was a growing pressure to make the find public. There was also the legal question of the treasure’s division. If the tomb was classified as “intact”, the Egyptian Government would, under the terms of the concession, be entitled to deny the excavators’ claims to any share of the objects that were recovered.

Indeed, the issue of how best to deal with the discovery created difficulties between Carter and Carnarvon which ultimately resulted in a falling out between the two men. On February 23rd, 1923, Carter went so far as to demand that Carnarvon never enter his house again. Yet, that did not prevent the cloud of doom that fell over the expedition camp following Lord Carnarvon‘s death some months later. Lord Carnarvon had not only been their sponsor, but an influential one as well.

Howard Carter and Lord Carnarvon in the tombBetween the first and second excavation season, Carter spend the summer in England, where he managed to persuade Lady Carnarvon to renew the concession under her own name. She readily agreed to this, but she also renewed the Times contract which had been the cause of so much grief the previous season.

By October of 1923, Carter was back in Egypt to begin his second season at the tomb, but thanks to his poor handling of the political situation, even more problems would arise this season. It began when Carter, with a clear aim of circumventing a call from journalists that all or none be present when an announcement on the find was made, decided that Merton, the Time’s correspondent, would no longer be regarded as a journalist but as a member of the excavation team. Hence, the Times would still get the news first.

At the same time, the Egyptian Government, and in particular Pierre Lacau who was now the Director General of the Antiquities Service, had been under increasing pressure to take action over the Times monopoly, especially by the Nationalists who resented considerably the lack of Egyptian involvement in the Tut excavation. At the time, a sound political move would have been for Carter to immediately brief the Egyptian press, which would have probably gone a long way in smoothing over the situation. Yet stubbornly, Carter refused to budge on the matter. It would not take long for the tension between Carter and Lacau to escalate into downright unpleasantness.

Matters finally came to a head following the official lifting of the sarcophagus lid on February 12th, 1924. Carter intended to allow the wives of the expedition members to visit the tomb the following day. However, this was thwarted by the newly appointed Nationalist Minister of Public Works, Morcos Bey Hanna. Hanna was certainly no friend of the English, who had attempted to have him hanged for his political activities some years before, and Carter could see nothing in the Minister’s action except a personal affront to himself, his colleagues and to England. On the other hand, Mace, one of Carter’s principal team members, simply saw it as petty jealousy, “spoiling the dream of every Egyptologist”.

In a letter to his mother, Winifred Mace remarked:

“The whole is a disagreeable business and Carter is such an autocrat that to be thwarted at every turn takes all reason from him.”

Thus, “looking desperately ill and in a fury”, Carter carried out an earlier threat and closed the tomb, leaving the sarcophagus lid hanging precariously by its ropes. He then posted a notice in A pamphlet privately printed by Howard Carterthe lobby of the Winter Palace in Luxor explaining the reason for his actions:

“Owing to the impossible restrictions and discourtesies of the Egyptian Public Works Department and its antiquity service, all my collaborators, as a protest, have refused to work any further upon their scientific investigations in the tomb”.

That was Howard Carter‘s biggest mistake. By closing the tomb, he had played into Lacau’s hands, violating the terms of his concession and allowing Lacau to void the agreement. Afterwards, the Egyptian Government declared that it would finish the work. Legal action on the part of Carter to re-establish the concession came to nothing, and he, fuming with indignation and frustration at having been so completely outmaneuvered, soon left for England and an American lecture tour.

Meanwhile, in Egypt things when from bad to worst, with the discovery of a gessoed wooden head of the boy king packed as if ready to be shipped out of the country. Furthermore, Carter privately published a pamphlet containing “a full statement of the facts which have led us to the present position with the Egyptian government”. One of the appendices removed by Carter from many copies of the booklet contained embarrassing transcripts of Herbert Winlock’s coded telegrams and letters warning Carter of problems. The printing of this ill-judged pamphlet cost Carter the support of many friends and allies.

Were it not for the terrorist murder of the British Sirdar, Sir Lee Stack, on November 19th, Carter might very well have never returned to Egypt. Afterwards, the British tightened their control over Egypt, which included disbanding the Nationalist Government, which allowed Carter to return to his excavation, though now on Egyptian terms.

Howard Carter Working in the Tomb of TutankhamunHe received the new concession, still in Lady Carnarvon’s name, on January 13th, 1925. Under the new agreement, The Times of London would loose its monopoly on the discovery news, and the Carnarvon estate, despite vague promises of one or two duplicates when the tomb had been fully cleared, was required to abandon any formal claim to the king’s treasures. As compensation for the expenses incurred during the excavation, the Carnarvon estate was given the sum of 36,000 pounds sterling in 1930, which marked the end of the Carnarvon financial commitment to the excavation. The final seasons would be financed by the Egyptian government and by Howard Carter himself.

In the end, there was considerable relief when Carter took back the excavation, even by Lacau. It was a monumental task, and as Winlock remarked, “there is no better person to whom this dedicated stuff could have been entrusted”. While Carter may not have been a good politician, he was unquestionably a great excavator, and in truth, it was a job that no one else wanted. Work on clearing the tomb and conserving the objects would continue for  more than seven years, and the study of its contents and preparation for publication would hang as a burden around Carter’s neck for the rest of his life.

 

 

Adieu King Tutankhamun

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Gallery Chat Special / A Walk Through King Tut’s Tomb With Howard Carter / Egyptomania

” A Pale Green Mermaid Blog “

 

In 1923 Howard Carter opened King Tutankhamun’s tomb.  One paper was given the exclusive rights to cover the story. Across the US a fever was created for pictures and stories about the young Egyptian king’s tomb.

Contents bill for The Times advertising the first pictures of the excavation of the tomb of Tutankhamun which were published on January 30, 1923.

The TIMES of London was the sole proprietor of BW photographs, articles and interviews.  Above is a billboard poster announcing the Times  accomplishment.

The silent film industry presented an exotic ideal of egyptian dress in films,

architecture was influenced by the tombs of Egypt particularly the Rosicrucian society,

 

Why this reminds me of my one and only chance (please excuse my old buzzard drinking at rundown bar diatribe) to climb the pyramid, I’m sure I’ve mentioned this before but I still, STILL can’t believe that I chickened out on this one…this one being, there was a trip to Egypt -$500 dollars that’s right and it included  RT airfare hotel breakfast for one week with a quick climb up one of the pyramids that included  a personal guide, idiot ,I WAS AN IDIOT, to pass that up – anyway this story was brought to the surface by the mention of the Rosicrucian society, as to the fact being that, while on a road trip with a friend to California, trying to drive straight out – asap – we ran across, while on one of our many midnight caffeine drenched hurtles no lees than Elvis Presley’s first home, a tiny white house with a white fence, the only thing  spotlighted  in town at midnight, then the next night round the same time we hit, purely by happenstance as we had no plan except speed, a temple of the Rosicrucian society with a SPHINX just about my size, I’m 5’9!/2″, me being me at midnight – stopped the red Toyota stick we were driving and I climbed up and perched myself face to face with The SPHINX!!!  Or at least a replica of it, I can still feel the stone of its hat underneath my fingertips as I waited for this moment to be caught on film… these things happen in the wee hours, anyway,

Egyptomania still exist today as 3,000 year old images make our hearts race and our eyes widen.

 

 

EGYPTOMANIA!!!!!

 Built in 1923

 

All images from Google 

 

Syonara!

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New Art Movement – Sampeled Visual Post Raphaelites

” A Pale Orange Mermaid Blog “

  

Let’ s start a new art movement, it’s easy.  Take a few ideas a couple of artists write a treatise,  proclaim your existence , mix vigorously…and VIOLA a new movement has formed!

 

 

 

tr.v. sam·pled, sam·pling, sam·ples 1. To take a sample of, especially to test or examine by a sample: the restaurant critic who must sample a little of everything.

2. To use or incorporate (an audio segment of an original recording) in a new recording: a song that samples the bass line of a 1970s disco tune.

adj. Serving as a representative or example: sample test questions; a sample piece of fabric.
 
vi·su·al //   (vzhl)
adj. 1. Of or relating to the sense of sight: a visual organ; visual receptors on the retina.

2. Seen or able to be seen by the eye; visible: a visual presentation; a design with a dramatic visual effect.3. Optical.4. Done, maintained, or executed by sight only: visual navigation.5. Having the nature of or producing an image in the mind: a visual memory of the scene.6. Of or relating to a method of instruction involving sight.

n. A picture, chart, or other presentation that appeals to the sense of sight, used in promotion or for illustration or narration. Often used in the plural: an ad campaign with striking visuals; trying to capture a poem in a cinematic visual.

 
post 1 //   (pst)
n. 1. A long piece of wood or other material set upright into the ground to serve as a marker or support.

2. A similar vertical support or structure, as: a. A support for a beam in the framework of a building.b. A terminal of a battery.3. Sports A goal post.4. The starting point at a racetrack.5. The slender barlike part of a stud earring that passes through the ear and is secured at the back with a small cap or clip.6. An electronic message sent to a newsgroup: ignored several inflammatory posts.

tr.v. post·ed, post·ing, posts 1. a. To display (an announcement) in a place of public view.

b. To cover (a wall, for example) with posters.2. To announce by or as if by posters: post banns.3. Computer Science To send (an electronic message) to a newsgroup: posted a response to a question about car engines.4. To put up signs on (property) warning against trespassing.5. To denounce publicly: post a man as a thief.6. To publish (a name) on a list.7. Games To gain (points or a point) in a game or contest; score.

  

Pre-Raph·a·el·ite also pre-Raph·a·el·ite //   (pr-rf-lt, -rf-)

n. A painter or writer belonging to or influenced by the Pre-Raphaelite Brotherhood, a society founded in England in 1848 to advance the style and spirit of Italian painting before Raphael. adj. Of, relating to, or characteristic of the Pre-Raphaelites.
 
Mix and start making some art!
All I need are some followers…anyone????
PEACE   Have a great Weekend!
Images from Google by the pre-Raphaelite painters
 
 

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Art, Rough Around The Edges Is What Makes It Real

” A Pale Green Mermaid Blog “

 

A small  piece of art that is from the ether, heart the essence of who that spirit is makes a vibration that clouds around and through the expression of that piece which then connects to the viewer.  That sense of awe or wonder that art can create is a physical manifestation of that  wave, tone, color feeling. (Hogwash you say? Perhaps -read on anyway)

Never listen to anyone who tries to tell you can or cannot do something in the arts.  only by attempting to conclude your aspiration will you ever know if it is possible , more importantly, is it what you saw or felt in your mind , does it make sense to you? 

If it does then there is a reason for it existing in this world and it contributes.

So anyone whether you are in your 40th year in the arts or just beginning, do it – take that jump into the unknown, you might surprise yourself!

Peace and Happy Art Making  

 

 The fun of life is falling flat on your face and having a great good laugh  while you get up…again and again…

 

(I love this disc)

 

Song  WALKING AND FALLING     Artist LAURIE ANDERSON

 

I wanted you. And I was looking for you. But I couldn’t find you. I wanted you. And I was looking for you all day. But I couldn’t find you. I couldn’t find you. You’re walking. And you don’t always realize it, but you’re always falling. With each step you fall forward slightly. And then catch yourself from falling. Over and over, you’re falling. And then catching yourself from falling. And this is how you can be walking and falling at the same time.

 

Now that reminds me of one of my many fantasies, to see Bruce Springsteen and Laurie Anderson collaborate on an album, They are very similar, at the center of their music -so this is me making a blind date between Bruce and Laurie – come on guys, it’s a great idea!

 

PEACE

 

 www.laurieanderson.com

www.brucespringsteen.net

 

Images from Google

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Weekly Gallery Chat – Charles Renee Mackintosh – Watercolors

” A Pale Green Mermaid Blog “

 

Charles Renee Mackintosh created stylized ethereal eastern flavored watercolors and was part of the  symbolist movement as well as being heavily influenced by the arts and crafts movement.  His work also included sculptures, furniture and ceramics.

He was an architect whose designs reflected the art nouveau tenets of fluidity and organic gracefulness.

 

Here is an example,

 

See how massive the stone is depicted yet it has an other worldly essence captured as well.

here’s another,

You can see the stylized basis of his forms in this painting and the art nouveau influences.

another,

Look how the methods he uses in his painting bleed into his architectural endeavors – beautiful lines…

 

Have a great night!

 

Charles Rennie Mackintosh (June 7, 1868 – December 10, 1928) was a Scottish architect, designer, and watercolourist. He was a designer in the Arts and Crafts movement and also the main exponent of  Art Nouveau in the United Kingdom. He had a considerable influence on European design.                       FROM WIKIPEDIA

Images from Google

ERROR update   Wait a minute that second painting was a Schiele (Egon that is) or Gustave Klimt, I will have to do some research… So now the second painting is a MACKINTOSH!!

I hold those three artists in my mind as three of my all time favorites and in a class alone so I do interchange them while thinking!!!

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Weekly Gallery Chat – Haitian Art

” A Pale Green Mermaid Blog “

 

Haitian art, as all art , reflects the inner energy and ideals of a population.  What their hopes and fears are how they see the world.

 Here is one example,

another,

The colors remind me of medieval religious art,

The work is very voluptuous it makes me curious about what Haiti actually looks like.

 

Good Night.

 

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Weekly Gallery Chat – “Cupid “

” A Pale Green Mermaid Blog “

 

Cupid was depicted frequently in Roman Art.  The popularity of this myth down through the ages and its widespread use today as a symbol of love and desire shows how images in art can ultimately work their way into the everyday culture of  existence through symbolic  presentations.

 

Cupid hard at work,

 

Here is cupid’s mother Venus,

 

Today’s version of cupid,

 

Have a great night…maybe you will be hit with one of cupid’s arrows?

 

Peace

 

Images from google, paintings by Botticelli

Sandro Botticelli
Alleged self-portrait of Botticelli, in his Adoration of the Magi. Uffizi, Florence.
Birth name Alessandro di Mariano Filipepi
Born c. 1445[1]
Florence, Italy
Died May 17, 1510 (aged 64–65)
Florence, Italy
Nationality Italian
Field Painting
Training Filippo Lippi
Andrea del Verrocchio
Movement Italian Renaissance
Works Primavera
The Birth of Venus

 

Cupid in Roman Mythology
Cupid was the god of love in Roman mythology. The name Cupid is a variation on Cupido (“desire”), and this god was also known by the name Amor (“love”). It was commonly believed that Cupid was the son of
Venus – the Roman goddess of love – and this association between Venus and Cupid was quite popular in myth, poetry, literature, and art.

From www.loggia.com

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Friday Night Gallery Chat, “Bringing Up Baby “

” A Pale Green Mermaid Blog “

 

Cinema reaches the level of art when all elements of production meld into one intrinsic experience.  One example of that are the screwball comedies of the thirties and forties.

“Bringing Up Baby ” is one that comes to mind starring Katherine Hepburn and Cary Grant, two actors for whom the expression of their work was seamless. 

I will let you discover the convoluted plot for yourself but if you rent it you will have seen a piece of screwball comedy at its height,

 

Have a laugh out loud night!

 Images courtsey of Google

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Friday (Sometimes Saturday) Gallery Chat – Margaret Bourke White /Photographer

“A Pale Green Mermaid Blog”

 

Good Evening!

Margaret Bourke White was a photographer in the 30’s to 40’s she is well-known for her WW2 photographs, being one of the few female war correspondents. What I want to talk about is the quality of her photographs and the general demise of high quality photography.

When you look at a photograph, what gives it magnitude and presence is its capability to capture a moment in time.  The subject matter is important but the texture and depth of the print itself are equally important.

When you look at a silver halide photograph notice the grey shadows in the white  accents of the print and the textures in the blacks of the image, in-between are a thousand other layers and patterns of white and grey.

Look at the image below from Ms. Bourke White’s work,

Margaret Bourke-White, Portrait of Sharecropper and Wife

The textures in the darkest black  and the whitest highlight is what makes photography an almost mystical experience, A multilayered moment caught on film.

Here is another image,

These images are just phenomenal in both the cropping ( what a photographer decides will be the edge s of the photograph) and the printing .

These subtle nuances that are lost in digital photography are the same ones that are lost in compressed music.  Homogenization of the world around us is an ever present danger.

Viewing photographs in person by going to a museum will afford an even clearer idea of what I am speaking about.

 

Have a great weekend and drop by your local museum if you have time!

  www.artnet.com     images from art net

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Friday Night Gallery Chat / Egyptian Amulets

” A Pale Green Mermaid Blog “

 

Good Afternoon,

Amulets were placed in the linen wrapping of Egyptian mummies worn as jewlery and carried as tailsmans by the ancient egyptians.  

You can find amulets in many museum  shops, I have one on my computer stand – Bastet the cat goddess of creativity.  They are hand carved and can be held in your palm. 

 My old “dog tags’ were a cartouche of my name in silver and an Udjat until I lost that necklace. ( boo-hoo, my favorite…)

Below are a few of the most popular amulets,

SCARAB,

Eye of Horus- UDJAT,

BASTET,

ANKH,

Images From Goggle

 

The images are small but eloquent.

Have a Purrrrfect weekend!

FROM  www.metmuseum.org  Egyptian Amulets/Thematic Essay  (Goggle search)

An amulet is a small object that a person wears, carries, or offers to a deity because he or she believes that it will magically bestow a particular power or form of protection. The conviction that a symbol, form, or concept provides protection, promotes well-being, or brings good luck is common to all societies: in our own, we commonly wear religious symbols, carry a favorite penny, or a rabbit’s foot. In ancient Egypt, amulets might be carried, used in necklaces, bracelets, or rings, and—especially—placed among a mummy’s bandages to ensure the deceased a safe, healthy, and productive afterlife.

 

Egyptian amulets functioned in a number of ways. Symbols and deities generally conferred the powers they represent. Small models that represent known objects, such as headrests or arms and legs, served to make sure those items were available to the individual or that a specific need could be addressed. Magic contained in an amulet could be understood not only from its shape. Material, color, scarcity, the grouping of several forms, and words said or ingredients rubbed over the amulet could all be the source for magic granting the possessor’s wish.

 

From    www.angelrainbows.com
Egypt Egyptian Ancient Culture
Amulets Ankhs and Talismans Alchemy

Examination of funerary objects, tomb paintings, and inscriptions suggested that as a culture the Egyptians were inordinately concerned with ensuring that their eternal life was as agreeable as their daily life. The continuance of the personality in the afterlife was of paramount importance so the body was mummified, placed in a tomb, and given regular food offerings.

The Ankh was the Egyptian symbol for eternal life. Comprised of a spirit circle on top of a mundane cross, this Egyptian hieroglyph was an alchemical symbol, depicting the ascension of the soul over wordly boundaries.

By quickening the spirit with infusions of spiritual awareness, the life force rose to higher, more refined levels of Beingness. Various Egyptian gods and goddesses were often depicted holding an ankh before someone’s lips or the king’s nose, indicating that they were the purveyors of the Breath of Life necessary in both this life and the afterlife.

True ascendancy was achieved only when the Above totally permeates personal essence Below, raising substance to the level of quintessence. The two became one not only in the melding of male and female polarities; but; also in the mergence of the awakened, individual divinity with the totality of Universal Spirit.

Learning how to flow with evolutionary currents allowed one to effortlessly float in the cleansing waters; thus, bypassing the need to undergo the suffering of the crucifixion where the karmic crucible transmutes fixed patterns of negativity.

 

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Friday Night Gallery Chat / Returns! Viola and Paik

” A Pale Green Mermaid Blog”

 

Good evening ,when I last left you we were discussing the work of Bill Viola and Nam June Paik – hopefully you have attempted to form an opinion on what you think is the crux of their work.

Video installation for Nam June Paik and Media/Installation for Bill Viola.

 

Nam June Paik is an interesting artist and always has a new idea or concept for his work, the elements are disparate and symbolic.  There is a tinge of spirituality to his work  mixed with reflection.

here is another example,

Image from wikipedia

Detail of Electronic Superhighway: Continental U.S., Alaska, Hawaii
 
I think his work is truly beautiful  with a strong sense of placement.

 

From Wikipedia

Nam June Paik (July 20, 1932January 29, 2006) was a Korean-born American artist. He worked with a variety of media and is considered to be the first video artist.[1] He may have been the author of the phrase “Information Superhighway”, which, according to his own account, he used in a Rockefeller Foundation paper in 1974[2].

Nam June Paik

The picture was taken by Lim Young-kyun in 1983 while Nam June Paik was in New York City
Korean name
Hangul 백남준
Hanja
Revised Romanization  class=”hiddenSpellError” pre=””>Baek Nam-jun
McCune–Reischauer   

 

Bill Viola was more of a straight contemporary artist for whom process was more important than the art, by that I mean- the actual engagement  with the medium, the working on the piece was more important to him than the end result. 

Sometimes in art the underlying meaning to the artist and the viewer is more significant than the piece itself.

Art is not a simple thing there are many layered interpretations, if it is done well…

an example,

From Wikipedia,

Bill Viola (born United States of America, 1951) is a contemporary video artist. Viola is considered a leading figure in the generation of artists whose artistic expression depends upon electronic sound and image technology New Media.[1]

 

Have a pizza ladened night!

I know I am going to stuff myself silly!

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Friday Night Gallery Chat – Cherokee Art, American Indian

” A Pale Green Mermaid Blog”

 

Good evening,

Thought I would talk about Cherokee art ( American Indian), I recently, a few years ago found out that I have a tiny bit of Cherokee in me!  

A tale from the Cherokee,

Two Wolves

A Cherokee Legend

An old Cherokee is teaching his grandson about life. “A fight is going on inside me,” he said to the boy.

“It is a terrible fight and it is between two wolves. One is evil – he is anger, envy, sorrow, regret, greed, arrogance, self-pity, guilt, resentment, inferiority, lies, false pride, superiority, and ego.” He continued, “The other is good – he is joy, peace, love, hope, serenity, humility, kindness, benevolence, empathy, generosity, truth, compassion, and faith. The same fight is going on inside you – and inside every other person, too.”

The grandson thought about it for a minute and then asked his grandfather, “Which wolf will win?”

The old Cherokee simply replied, “The one you feed.”

 Here is another legend,

The Legend of the Cherokee Rose

Retold by Barbara Shining Woman Warren

In the latter half of 1838, Cherokee People who had not voluntarily moved west earlier were forced to leave their homes in the East.

The trail to the West was long and treacherous and many were dying along the way. The People’s hearts were heavy with sadness and their tears mingled with the dust of the trail.

The Elders knew that the survival of the children depended upon the strength of the women. One evening around the campfire, the Elders called upon Heaven Dweller, ga lv la di e hi. They told Him of the People’s suffering and tears. They were afraid the children would not survive to rebuild the Cherokee Nation.

Gal v la di e hi spoke to them, “To let you know how much I care, I will give you a sign. In the morning, tell the women to look back along the trail. Where their tears have fallen, I will cause to grow a plant that will have seven leaves for the seven clans of the Cherokee. Amidst the plant will be a delicate white rose with five petals. In the center of the blossom will be a pile of gold to remind the Cherokee of the white man’s greed for the gold found on the Cherokee homeland. This plant will be sturdy and strong with stickers on all the stems. It will defy anything which tries to destroy it.”

The next morning the Elders told the women to look back down the trail. A plant was growing fast and covering the trail where they had walked. As the women watched, blossoms formed and slowly opened. They forgot their sadness. Like the plant the women began to feel strong and beautiful. As the plant protected its blossoms, they knew they would have the courage and determination to protect their children who would begin a new Nation in the West.

from www.native-languages.org

 

Words paint a picture as clear as pigment does in painting and silver does in photography.  The American indian’ s story is one of strength and defiance in  the face of almost insurmountable odds, still their art survives.

 

Good night…

 

From First People Website

 

Note:

The Cherokee (ᏣᎳᎩ) are a Native American people from the Southeastern United States (principally Georgia, the Carolinas and Eastern Tennessee). Linguistically, they are connected to speakers of the Iroquoian language family.

 

More info www.native-languages.org    then look for Cherokee

www.firstpeople.us

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Friday Night Gallery Chat / Tibetan Art

 ” A Pale Green Mermaid Blog “

  

Good Evening, Tibetan art is rich in  luxurious velvety luscious forms and colors.  It is based on the spiritual element which is foremost in Tibetan culture. 

The sand paintings they create ( see below) use brightly colored grains of sand poured meticulously by hand on to a board.   The one I saw being made took one week ( in a museum setting) at the end of the week, the board is slanted and all the sand falls into a single pile.

How’s that for devotion to your craft!

Sand Painting,

The slanting of the sand painting displays the temporal condition of time. 

(Temporal Definition: not eternal; “temporal matters of but fleeting moment”- F.D.Roosevelt )


 

Monks train to become like  Buddah by becoming a Boddhistiva a common theme in early Tibetan art,

Mahayana Buddhist influence

As Mahayana Buddhism emerged as a separate school in the 4th century BC it emphasized the role of bodhisattvas, compassionate beings who forego their personal escape to Nirvana in order to assist others. From an early time various bodhisattvas were also subjects of statuary art. Tibetan Buddhism, as an offspring of Mahayana Buddhism, inherited this tradition. But the additional dominating presence of the Vajrayana (or Buddhist tantra) may have had an overriding importance in the artistic culture. A common bodhisattva depicted in Tibetan art is the deity Chenrezig (Avalokitesvara), often portrayed as a thousand-armed saint.  From Wikipedia

Bodhisattva *
A bodhisattva can be defined as an individual who discovers the source of the Ultimate Truth better known as nirvana, but postpones his own enlightenment until he has guided all his fellow beings to this same source of fulfillment. The path of the bodhisattva is thus one of self-denial and selflessness.

 

Avalokitesvara
 
Four-armed Tibetan Chenrezig form of Avalokiteśvara

Four-armed Tibetan Chenrezig form of Avalokiteśvara
Sanskrit:  अवलोकितेश्वर (Avalokiteśvara)
   
Burmese:  လောကနတ် (lo:ka. na’) or လောကနာထ (lo: ka .na hta.)
Bengali:  অবলোকিতেশ্বর
Chinese:  觀世音 (guānshìyīn)
or 觀音 (guānyīn)
Japanese:  観世音2 (kanzeon)
or 観音 (kannon)
Thai:  อวโลกิเตศวร (Avalokitesuarn), เจ้าแม่กวนอิม (Chao mae Kuan Im)(Meaning : Great Mother Kuan Im)
Tibetan:  སྤྱན་རས་གཟིགས་ (spyan-ras-gzigs; chenrezig, chenrezi)
Korean:  관세음보살 (gwanseeum bosal)
Vietnamese:  Quan Thế Âm
Information
Venerated by:  Mahayana, Vajrayana, Theravada (unofficial)
Attributes:  Great Compassion

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Have a spiritual night!

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