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visual arts : page 2.........
.. .. Over the last eight years, the ballet under Mansfield has repeatedly broken new ground, beginning with a post-modern dance called "Numb," performed at Atlanta's 1996 Cultural Olympiad. ... The dancers all wore black.. their movements bore little resemblance to classical dance and the unfamiliar music was a long way from Tchaikosvky (in fact, it was by the alternative rock band Portishead).
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The
company hit its genre-blending stride with "Bluegrass Ballet," staged with
bluegrass star Del McCoury and his band -a huge success two years ago at
Shaftman Performance Hall.
Then came "Aerial Ballet" - in which the RBT dancers performed while soaring above Kirk Alley by means of mountain-climbing harnesses anchored to the roof of Center in the Square. /// "I think Jenny's a genius," Ann Hopkins [on the board of directors] said. "She has these ideas that you think are just crazy, and they turn out to be fabulous." Even aerial ballet: "It was unbelievable how beautiful it was." "We have a visionary board," said Mansfield, 34. "They like the idea behind all the crazy stuff we've been doing, which is opening dance to new audiences. " from
article Flying high - by Kevin Kittredge,
quotes and photo from Roanoke Ballet Theatre site |
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All the arts -- painting, sculpture, architecture, urban design, interior design, graphic design, photography, film, fashion, the theater, and opera -- have played a role in creating the enduring spirit of Paris... It remains a world center of innovation in art, architecture, and design.. Assembled under the editorial direction of Michel Laclotte, former director of the Musée du Louvre, and with the participation of outstanding scholars on both sides of the Atlantic, The Art and Spirit of Paris spans more than 6,000 years of cultural history. In two volumes.. 1,500 illustrations, the authors chronicle the history of the visual arts in Paris, tracing their evolution and that of the social systems that supported them. [Amazon.com] "The
Great Wheel of Paris" - lithograph by Albert Dorfinant created to publicize
the Exposition Universelle of 1900
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Euterpe - by Wim Delvoye 2002 steel, x-ray photographs, glass, lead, 78 3/4 x 31.5 inches
from series of nine stained-glass windows made with
medical x-rays and other images
sandwiched between vintage colored glass -
plus some custom-made x-ray images of couples having sex....
titled after the nine muses: Clio, Calliope, Euterpe,
Polyhymnia, Melopomene etc)
**********Dulcinea by Nancy Davidson
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Pope's Apology, 1998,
pencil, oil and acrylic on canvas -
from book: Recent Forgeries
unidentified work from SignLanguage
artwork by Viggo Mortenson [right]
from musingsofviggo.com
Maybe I'm an artist to combat oblivion. I like to remember the impressions I've got. Lots of actors talk about how hard it is for them to get rid of the characters they have played and I simply don't get it. Details get lost with time, you forget about what you've been doing. Movies happen so fast. ... Cinema is interesting because it is a team work, but it is also a work that belongs to the director, not the actor. On the other hand, in painting, poetry and photography, both the process and the result belong to oneself.
The difference lies in the speed. Once they have started, movies and plays can't be stopped. But when you work by yourself, you are able to ease the pace more often; sometimes you keep still for a long time.
To be an actor or a photographer or whatever gives you the chance to pay more attention to everything that surrounds you. I never think about the outcome. Once, a friend of mine told me that travelling hopefully is more important than reaching your destination. To me, since then, it is not so important where I am but how I feel.
Viggo Mortensen[Fotogramas, February 2002 - quotes and portrait from The Many Faces Of Viggo Mortensen specialrealms.com]
**books by Viggo Mortenson - writings, paintings, collages, assemblages,
********found objects, photographs:****Recent Forgeries****SignLanguage
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Tracey Emin's life and art are inextricably entwined. In Tracey Emin's CV C*** Vernacular, 1997 (Tate Modern) [above left] she tells us the story of her life in a dead pan voice: birth in London, childhood in Margate, rape at 13, subsequent promiscuity, truancy from school, two abortions, emotional suicide and consequent destruction of her art. We also learn about her first class degree from Maidstone College of Art (1986), time at the Royal College of Art (1989), friendship with artist Sarah Lucas, and signing to Jay Jopling's gallery, White Cube.
The camera pans around her flat in Waterloo (she has since moved to the East End) and signs of the artist are visible among the everyday objects, including her trademark bag with EMIN appliquéd on the side.
The final shot is of her naked and curled up foetus-like on the floor while her mother sits on the sofa behind. She is stripped bare and unflinchingly honest about details of her life that most people would try their best to hide. ...
She also notoriously exhibited My Bed (1998) [center], complete with dirty sheets, bloody knickers and used condoms, when she was nominated for the Turner Prize in 1999.
from "Tracey Emin" by Lara Grieve - a bbc.co.uk profile
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"There should be something revelatory about art. It should be totally creative
and open doors for new thoughts and experiences."Tracey Emin is a professor of confessional art at the European Graduate School :
above quote from her page.......~ ~
The other day, as [Tracey Emin] worked in her studio on a tapestry emblazoned with the words "Psycho Slut," she was dressed in a low-cut lingerie top beneath an open red cardigan. "If I was in denial about my sexuality, I'd be in denial about aspects of my work, which deals with personal revelations," she said.
......> from article:* The Artist Is a Glamour Puss, NY Times Ap 18, 1999
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Parkett #63: Collaborations: Tracey Emin, William Kentridge, Gregor Schneider
Art From the UK: Angela Bulloch, Willie Doherty, Tracey Emin, Douglas Gordon, Mona Hatoum, Abigail Lane, Sarah Lucas, Sam Taylor-Wood, Rachel Whitread. Gilda Williams, David Bussel, Dirk Snauwaert, Angela Bullock, Douglas Gordon, Tracey Emin.
*related pages:.......sexuality.......the shadow self
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It took me years to create images that could convey the idea that the female body experience is as active and as central to what it means to be human as is that of the male and, in fact, can be explored aesthetically as one pathway to an understanding of the universal. The incorporation of the vulval iconography was certainly intended to challenge the pervasive definitions of women and of female sexuality as passive.
But, more significantly, in the context of this work of art [The Dinner Party], it implies that the various women represented, though separated by culture, time, geography, experience, and individual choices (not to mention that some are mythical, others real) are unified primarily by their gender, which in my opinion, is the main reason that so many were and are unknown. ... JudyChicago
"The Dinner Party is a work of art, triangular in configuration, 48 feet on each side, that employs numerous media, including ceramics, china-painting, and needlework, to honor women's achievements. An immense open table covered with fine white cloths is set with 39 place settings, thirteen on a side, each commemorating a goddess, historic personage, or important woman."
Primordial Goddess Plate [above center]: China-paint on porcelain, 14" in diameter from The Dinner Party
< text and images from Judy Chicago site Through the Flower
The Dinner Party: A Symbol of Our Heritage - by Judy Chicago
Through the Flower: My Struggle As a Woman Artist - by Judy Chicago, Anais Nin (Introduction)
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David Lynch
< painting: Clouds With Plants and Rain
What I'm trying to do with each canvas is create a situation in which the paint can be itself, which means letting go of any rationalization. ... I never end up with what I set out to do. Whether it's a film or a painting, I always start with a script, but I don't ever follow it all the way through to the end. A lot more happens when you open yourself up to the work and let yourself act and react to it. Every work 'talks' to you, and if you listen to it, it will take you places you never dreamed of. It's this interaction that makes the work richer. ...
I hate slick and pretty things. I prefer mistakes and accidents. Which is why I like things like cuts and bruises ? they're like little flowers. I've always said that if you have a name for something, like 'cut' or 'bruise,' people will automatically be disturbed by it. But when you see the same thing in nature, and you don't know what it is, it can be very beautiful.
David Lynch - quote and painting from The City of Absurdity site
Filmmaker and visual artist David Lynch is on the faculty of the European Graduate School - his page
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The Complete Leaded-Glass Windows
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....I would try to find the most absurd opposites or extreme opposites... There isn't a rule.
I don't want to keep any rules. That's why my art might be so good, because I have no fear. ...
Life doesn't last. Art doesn't last. It doesn't matter.Eva Hesse - from article: Fragile Work, Fragile Life by Scarlet Cheng. LA Times, February 17, 2002
images: Eva Hesse [1936-70] ; her sculptures: Repetition [center] and Sans II
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In a presentation to the National Council on the Arts, Julie Taymor said the limitations of the theater, the lack of merely realistic effects, are creatively stimulating. "When you are limited in your ability to present a realistic image you have to use your imagination more fully," she explained.
"Imagination is much better than reality. You call upon all the various images you have gathered. I've never been to Africa, but when I think of it, I think of the National Geographics I've read and the movies, TV shows and animals I've seen.
"Then I add my understanding of grass and air that I felt as a child on Martha's Vineyard. I put all that together, play with scale and come up with the 'grass heads.'
"If you were making a movie, would you be allowed to do that? No, because you might as well go to Africa and shoot the savannah." 
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..from interview with Julie Taymor by Douglas Eby
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