Imaginism - New Art Movement January 2007|
Much in the same way that Claude Monet began the “Impressionism” art movement back in the 1860s, as a photographic artist I have pioneered, and continue to pioneer a unique style which I term “Imaginism”.
Unrelated to the Russian poetic movement of the same name, although my images are often presented in association with poetry (either that of my own or others), pertaining to either the individual image or a series.
I hope that this will be the beginning of an era, and that the “Imaginism” art movement (perhaps even in compliment to the existing poetic movement), will bring artists together both photographic and otherwise.
The primarily theme of my own artwork is that of “Erotism”, and although related to “Erotica”, I choose to carefully distinguish one form the other. My work borders on “experimental”, focusing less on the subject and more on the formal aspects of the image, the light, movement and composition. Especially movement, which gives the image an intense atmosphere, masking the formal subject and replacing it with sensuality and suspense.
The objective of “Imaginism” and “Imaginistic Art”, is to encourage the viewer to see beyond what is actually being presented. To see what actually is not being shown. My images have been described as “surreal”, “manifesting within a dream” and even as “a gift from heaven”. Each viewer should and will see my work in a different context, but the one thing in common for all, is that each image conjures a question and will be viewed and remembered beyond its actual physical content.
I would welcome contact from any artist, working in any media, that feels his work fits within this movement, and would be interested in evolving the movement to an international level of recognition.
By photographic artist Thomas Hodges,January 2007
Friday, May 25, 2007 15:12 CDT post by thodges | Permalink |
Art Wars Part 1. The Pencil Menace.|
A long time ago, in a galaxy far, far away.
Art Wars part 1.
The Pencil Menace.
The once neutral system known as the art market, was millennia the base for a constant force of evolving patterns into the aesthetics, reflection and so understanding of mankind. These where peaceful times……...
But dark times lay ahead. The rise of the Dark Age was inevitable. The so-called Dark side of the arts, the Modern Art movement, was powering up their weapons. Slowly, but surely they drew their plans against the art, that for millennia was made from craftsmanship, style, and talent of an artist. They had secretly infiltrated and overruled the majority of the art consul with lies and deception. And once in power, this self acclaimed ruler of creation betrayed and tried to murder any known art from the old era. The concept was from now on to be seen as the ruling art, and the one who holds the concept would be the artist.
Every artist that uses the old force of craftsmanship, style and talent, had to flee across the galaxy, or had to go underground to stay out of the way of the Modern art movement. In utmost secrecy, they already had begun to build their most powerful weapon known to mankind. This death-star of destruction was called, the Modern Art history. The artists of the old era who did survive, and who miraculously made their way into the modern art market, had to challenge this dark-side weapon. A lot of heroically fights where delivered with blazing sabre-pencils. But they would not prevail. Most of them where systematically wiped out by ridicule and falls information, in order that in future times no one ever would understand their art, or it’s meaning. A lot of people where brainwashed over the decades that followed……
But there was still hope.
A prophecy once prevailed that in future times a talented young boy was to be born. One so powerful, that he would be blessed with both empathy and intelligence, next to craftsmanship, style and talent. With his self-consciousness he would paint his way into the Modern Art market, challenge it like no one did before him, eventually reclaim the throne for the evolving old era, and restore the balance of the force, a neutral art market.
Jan G. Marque © 2007
Tuesday, May 15, 2007 01:53 CDT post by janmarque | Permalink |
An Introduction & Art By Randall Klopping|
Spacial Rift –05112007 - Dust & gasses swirling about as they bleed through this rift in space from another universe. Though in the middle of a large void, a Solar Mage has already begun weaving a new star.
My name is Randall Klopping and I would like to show you some of my art. Because I live with both mental & physical disabilities, life for me is very difficult, so I would like to apologize in advance if I do not get to reply to your comments or emails quickly. I try to work as hard as I can each day creating new art, trying to find places to show it so people looking for art can see it and trying to do the best I can communicating with people. From what I've read many choose art according to the artist personality as well as the art. I don't pretend to be anyone fancy or special, I just try to do the best I can and to make sure my art is the best I can make it.
Entering the art world seems a difficult task for almost every artist. For me it is doubly so! I try to study and learn about it but I have a lot of problems with reading comprehension at times. It seems to be very much dependant on Art Shows, Exhibitions and Galleries, which I simply have no money for entry fees or to have prints made to show. I rob part of my grocery budget each month to pay for the membership at Imagekind.com in hope of being able to start to earn some money. While I get full SSI it isn't enough for things like modifying my shower with safety handles, repairs to my truck, paying for someone to help me with cleaning, much less investing in rebuilding my life. I only make it each month with help from my parents, my best friend and my parents' church. My life is constant turmoil and I just want so much to have the dignity of earning my own way in life again! Before I got physically disabled as a passenger in an auto accident, I always managed to a fair degree despite my mental disabilities and that is why I work so hard now.
Monday, May 14, 2007 19:13 CDT post by teknowizard | Permalink |
The Big Question: What Is Art? Part 1|
As a painter I have had a thousand conversations that begin with the question: What is art? Why is that art? Or: Why isn’t that art? And a dozen other variations that all mean the same thing. Sometimes the conversation is with someone without education in the arts who is genuinely looking to me for an answer; sometimes it takes the form of debate with another artist or cognoscenti. But however naïve the person I’m speaking with is, they always have a vague if distorted view of what ‘art’ is, even if only garnered from Charlton Heston & Anthony Quinn movies on television. But it is easy to forget that the Orient has other ideas & here in Thailand no tradition of visual arts whatever. I began thinking about what I intend to write as a result of an earnest request by a Thai person to explain this strange Occidental concept of ‘art’ to her.
The elusive answer is of considerable interest to me & I have therefore studied the conclusions other artists in history have come to, listened to those of my contemporaries & been particularly curious about the reasons given by philosophers. Why would I place more weight on the opinion of philosophers than artists? Because the answer to the question lies in the realm of theory while the act of painting is in the thoroughly distinct realm of practice.
Although I was shown early on by some art appreciation teacher how neatly Michelangelo’s Sistine Chapel ceiling can be divided up into graceful compositional triangles, I believe it only came out that way because the Maestro’s instincts bade it & not because he consciously designed the figural placement according to a geometric formulisation. In this case at least, theory follows practice.
I have a good friend who is a talented & dedicated artist whose work I respect; indeed, I like his paintings so well that I have bought several over the years. (The only real compliment one can offer an artist!). He, however, has an entirely different approach to mine & paints ideas. In other words, his inspiration is the idea the painting illustrates. To me this approach is just that: illustration instead of art. But it is also a good example of where theory & practice diverge since, as an artist, I don’t agree with his approach but find his paintings are none-the-less, often beautiful.
Let’s start by defining terms- dictionary/encyclopaedia descriptions & etymology:
c.1225, "skill as a result of learning or practice," from O.Fr. art, from L. artem, (nom. ars) "art, skill, craft," from PIE *ar-ti- (cf. Skt. rtih "manner, mode;" Gk. arti "just," artios "complete;" Armenian arnam "make," Ger. art "manner, mode"), from base *ar- "fit together, join" (see arm). In M.E. usually with sense of "skill in scholarship and learning" (c.1305), especially in the seven sciences, or liberal arts (divided into the trivium -- grammar, logic, rhetoric -- and the quadrivium --arithmetic, geometry, music, astronomy). This sense remains in Bachelor of Arts, etc. Meaning "human workmanship" (as opposed to nature) is from 1386. Sense of "cunning and trickery" first attested c.1600. Meaning "skill in creative arts" is first recorded 1620; esp. of painting, sculpture, etc., from 1668. Broader sense of the word remains in artless (1589). As an adj. meaning "produced with conscious artistry (as opposed to popular or folk) it is attested from 1890, possibly from infl. of Ger. kunstlied "art song" (cf. art film, 1960; art rock, c.1970). Fine arts, "those which appeal to the mind and the imagination" first recorded 1767. Art brut "art done by prisoners, lunatics, etc.," is 1955, from Fr., lit. "raw art." Artsy "pretentiously artistic" is from 1902. Expression art for art's sake (1836) translates Fr. l'art pour l'art. First record of art critic is from 1865. Arts and crafts "decorative design and handcraft" first attested in the Arts and Crafts Exhibition Society, founded in London, 1888.
The modern use of the word "art", which rose to prominence after 1750 is commonly understood to be skill used to produce an aesthetic result (Hatcher, 1999).
The quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance.
"The use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others"
A statement/criticism more than definition but interesting especially because of its author’s undisputed status as artist: "Supreme art is a traditional statement of certain heroic and/or religious truths, passed on from age to age, modified by individual genius, but never abandoned. The revolt of individualism came because the tradition had become degraded, or rather because a spurious copy had been accepted in its stead."
[William Butler Yeats]
Another statement by a universally recognized authority, Leonardo Da Vinci, said in reference to art: “God creates man translates"
Overall, the etymology & traditional definitions point in one direction with relative clarity, in the words of the philosopher Santayana- “Art is for beauty”. The confusion begins, it seems to me, with Freud, photography, the first world war & its consequent search for new beginnings, we eventually arrive at this kind of definition from Wiki-pedia:
The second, more recent, sense of the word “art” is roughly as an abbreviation for creative art or ‘fine art’ Here we mean that skill is being used to express the artist’s creativity, or to engage the audience’s aesthetic sensibilities, or to draw the audience towards consideration of the “finer” things. Often, if the skill is being used in a lowbrow or practical way, people will consider it a craft instead of art. Likewise, if the skill is being used in a commercial or industrial way, it will be considered Commercial art instead of art. On the other hand, crafts and design are sometimes considered applied art. Some thinkers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference (Novitz, 1992). However, even fine art often has goals beyond just pure creativity and self-expression. The purpose of works of art may be to communicate ideas, such as in politically-, spiritually-, or philosophically-motivated art, to create a sense of beauty (see ‘aesthetics’), to explore the nature of perception, for pleasure, or to generate strong emotions. The purpose may also be seemingly nonexistent.
A definition so broad it hardly seems to qualify as a distinct word, since it essentially allows anything to be labelled as art & anyone to self-designate as artist.
Any philistine can recognise the beauty of a sunset but it takes a Goya to show us the beauty in nightmares. Goya said: Ugliness can be beautiful while prettiness cannot.
I am long accustomed to the response: "Me too", from a great variety of people when they first discover I am an artist. I remember one time, however, when someone I met followed his ‘me too’ with: "I’m a Garbologist!" To the uncomprehending look on my face he explained “A garbage man, that’s my art”. I laughed at what I took to be a joke but as he produced a business card confirming what he claimed, I noted a serious-peeved look, engendered, no doubt, by what he must have taken as a distasteful elitist arrogance on my part.
The archetypical example of the confusion between theory & practice, between novelty & originality, is Duchamp’s urinal proclaimed art by the very right of the artist who recognizes it as such. A brilliant argument, an original & deep aesthetic philosophy but to me entirely separate from the undeniable fact that though it may even be argued the object has innate beauty in its graceful curves, the urinal remains to me, very simply, a urinal. Dadaism & Duchamp’s elegant language caught the imagination & the idea influenced all art of the rest of the twentieth century & yet he himself didn’t appear to take the object-as-art as seriously as the idea, when he signed it with a tongue-in-cheek pseudonym that made play (in French) on the name of a company that built sewers.
I believe that since the aforementioned influences, WWI, photography & Freud confusing everyone, art’s democratization has meant the little training most receive in its study, is neutralised by teachers afraid to state any opinion at all in their teaching. In classes on actual technique at university I even found teachers who refused to answer simple questions about processes like colour theory, for fear of sabotaging my ‘innate natural expression’. I believe that even if there were such a thing as ‘natural expression’ as opposed to a progressive refining of the eye to a sophistication in seeing the beauty in front of it, accompanied by the tools to present them in such a manner that others are surprised & moved to have this hidden beauty pointed out to them, I would still need the tools to express the natural expression!
As far as the aspect of political obligation on the artist’s part, I mean in the sense of making social statement, I think if it happens to coincide with expressive beauty like Picasso’s greatest work: Guernica or any of Kathe Kollwitz’s body of work, that is fine; what am I saying? It is wonderful, wondrous even, like any real inspiration. But making such statements through art should not be a pre-requisite or justification. This, I think, must be true if for no other reason than that we know it doesn’t take great men to make great art. Many are guilty of far worse than absence of social conscience, like the ultimate painter’s painter, Rembrandt Van Rijn who had his wife locked up in an insane-asylum, married his maid & collected his first wife’s pension till her death. Or the brilliant Michelangelo Merisi da Caravaggio who was protected by the Neopolitan city-state from the Roman city-state, where he was wanted for murder. What importance could one little murder have when compared to his divine canvases? He died in a Roman back-alley at 39, in a knife fight.
I once read some bits of the New Testament freshly translated from the original fragmentary papyri written in Aramaic. I think there are but few Aramaic scholars in the world but this book claimed to be the most accurate & literal translation published to date. Boy, it was a tough read, dull & dry lists of rules & events written, apparently, by a hand ill-accustomed to writing. This led me to a curiosity about the King James’ version of the bible & the discovery of Lancelot Andrewes who led the team that translated the 9th century Masoretic Hebrew into gorgeous poetry, or lyrical prose, that became arguably, the greatest piece of literature written in the English language. The fluidity of style points to the fact it belongs to Andrewes personally, rather than any of the many who made up his team. A work greater than any by Shakespeare, Lancelot’s contemporary, at least in the range & breadth of its inspirational impact. I would contend he might epitomise the role of great artist according to my definition: He found the beauty & showed it to everyone else.
Would you like to read part 2 of this essay?
Thursday, May 10, 2007 01:21 CDT post by paulherman | Permalink |
what to capture?
running verbal escapades in my brain
what to spit?
off the tongue
sing the song
of the unsung
i will not be unstrung
you got me spinnin
like a gyro pope
lasso the roam idea foam
imagery imagine what
of the wheel
indeed this is real
shake the bitter flavor
faith is all we have
what else is needed
you speak the words
of the mind inside dream
come into me
i scream rapid eye
moving head back and forth
release the beast of reveal
light speed serpent orb
scripture leaking out
the bleeding ear belly
call and response
skin circles bound in leatherback
swirling oil rainbows behind the grotesque mask
it is all coming back
all that was left to gestate
could we believe
in the flow
hidden in merky crystal ball
con science ness
this is why i was born
this is truth
enter the gate
lift and rise
explode net galaxy laser
dancing light particles
wings of saturn ring dust
implosion explosion spontenous combustion
Wednesday, May 9, 2007 17:37 CDT post by heatherjoi | Permalink |
Modern Art Of Paul Salvator Goldengreen|
Modern Art - Contemporary Painter - Discover a sea of bright colours and highly concentrated symbols
Dreams and Nightmares
There is an utterly new perspective to get an insight into the human soul. These
"Dreams and Nightmares" are not typical in a naturalistic sense. There are deep symbols and a rich sea of colours that show a way to reach into the unconscious mind that is very vital. The symbols are highly concentrated and therefore are not to be interpretated in a near sense but give way to sophisticated interpretation.
Nevertheless this interpretation may be adequately brought to the point and show more from you, your own soul or the artists soul as an e.g. naturalistic picture or naturalistic dream, because there swing with so much connotations that are taken into account now and find a way out of the soul. So the richness of your, my, the human soul as such is brought up to the conscious mind and may evolve with mighty steps towards a future that enables humankind to prevail.
Sunday, May 6, 2007 07:18 CDT post by goldengruen | Permalink |
Videoart Manifest 1966|
EL MANIFIESTO DEL VIDEOARTE
Por Domingo Sarrey
Cuando la independencia del arte y sus creadores reclama la ayuda de las nuevas técnicas emergentes, nuevos sistemas y herramientas de creación artística acuden aportando posibles soportes de expresión hasta ahora inéditos.
Con la evolución desarrollo y futura comercialización masiva de televisores y computadoras llegara en pocos años una nueva revolución social e industrial: La Revolución de la Información.
El Cine y la Televisión no han permitido por sus costes, censuras y privilegios en manos de autoridades que los artistas plásticos participen en su desarrollo con sus aportaciones.
Los creadores somos francotiradores en un sistema capitalista que asume comercializa y devora sólo lo que le conviene y mantiene.
Hemos de estar preparados para defendernos del Sistema infiltrándonos en él a través de los nuevos Caballos de Troya. Preparemos estas armas, utilicemos las cámaras y computadoras, los sistemas de grabación de datos y los audiovisuales. Anticipemos ese futuro, creemos nuevos pinceles y soportes. Así, cuando el sistema haya introducido en todos sus centros y hogares el computador y la televisión, cuando haya preparado programas y contenidos que trataran de manipular nuestros cerebros, nuestra opinión, nuestra moral, nuestros gustos, nuestras compras... y todos nuestros actos. Estarán también presentes, colgadas como cuadros en movimiento, nuestras respuestas audiovisuales.
Viva la libertad en el Arte, viva el arte audiovisual, viva el arte por ordenador, viva el arte por televisión, viva el Videoarte.
16 de Noviembre de 1966. Curso Selectivo.
Facultad de Ciencias de la Universidad Complutense Madrid,
Thursday, May 3, 2007 03:23 CDT post by sarrey | Permalink |
Welcoming The End Of A Long Cold Winter|
It is about 4 am when the sun shines brightly through my studio windows and the turquoise sky becons me to come out and feel the sunshine. Glancing toward the forest crowded with tree skeltons that are still bear from the bitter cold, I pour myself a hot cup of coffee.
Last week, my studio was sitting on a block of ice. Even with ice cleates on my boots, I slid down my driveway fighting to stay balanced waving my old wooden walking stick. I don't need another broken foot. The last one took five years to heal enough for me to run again and I still have to wear special shoes. Ah, but the sky is beautiful this morning!
By 6 am, I was on the deck shaking a little in the cool air. A bald eagle flew by so low that I could see the prey in his mouth. Soon, I was walking down the mountain in the mud. Looking up, always looking up. I couldn't wait to get back and cover a canvas with that bright tourquoise. It is time for the 20 hour daylight again and time to feel the real Alaska.
Wednesday, May 2, 2007 18:14 CDT post by artalaska | Permalink |