tag:blogger.com,1999:blog-21153793630475480072024-03-13T04:21:41.804-07:00View from the StudioJohn Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.comBlogger29125tag:blogger.com,1999:blog-2115379363047548007.post-79725553349314289712020-10-29T19:18:00.000-07:002020-10-29T19:18:03.785-07:00The odyssey of the gods: the art of Henry Bermudez<p><span style="-webkit-text-size-adjust: auto; font-size: 17px;"> There is an experience to the art of Henry Bermudez that initially baffles us. It is clearly rife with symbols of a religious nature, but why?</span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">My earliest sense of Henry’s work was that it was surrealistic, and I have long held the appearance of surrealism to be a sign of a troubled time. To me, European surrealism was an invention that envied the power of religious art. By its own manifesto it attempted to reintroduce the mysterious and magical aspects of gods and spirits. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">In my eyes, that wasn’t what the surrealists achieved — even Da Chirico, who is my favorite, achieves the metaphysical, but the gods are missing. Much of European surrealism amounts to the dilemma that began the movement: a kind of “Waiting for Godot” by visual means. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">But off in the ex-colonies of Spain, a very different thing happened. There the religion of the conqueror and his conquered religions entered into strange embraces. The mystical believers among the natives entered into syncretisms that sometimes offered hope and peace, even in dangerously innocent ways. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">Henry Bermudez becomes the pilgrim of all these gods, searching the world on an odyssey to map the odyssey of the gods. He is the only person like that that I know. Even without having had to leave the socialist demise of his native Venezuela, Henry would still have had enough exploration in his life to be the friend of all the gods. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">In this way, Henry Bermudez is the international artist, but for more reasons than only his travels. He has fashioned a quest for the meanings of history, for the substance of why people acted with belief but behaved like monsters. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">You should have a gentle man like this at the United Nations, or at least his art, for it is a record of the knots in our hearts. Nothing can really be understood or propitiated without facing his forest, his gold diggers’ sky of gold, his Aztec feathered serpent wrapping itself around Giotto’s crucifix to die out of love for its people by imitating the religion of Columbus. You would really break down in tears to realize the impossible knots of pain the gods go through for us, trying to save everyone from all sides, but failing so much. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">These are very fragile codices. Henry’s work becomes more and more made of paper cutouts, hung on the wall by push pins, ready to travel again, rolled up for easy and lightweight transport. The spirit gets light, the soul ascends to somewhere else. The gods decide and try to set things right. </span></p>John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-8167510243206641912020-10-19T08:48:00.004-07:002020-10-26T10:32:33.739-07:00From “Four Essays”<p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">Essay1. Some thoughts on perception, modal thought and drawing</span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">(Early in the essay below I refer to the discovery of a sort of limit to perception that consists of 5 to 7 things. We have conducted experiments in the past, as have scientists before us, that demonstrate the eyes can only recognize or count 5 to 7 objects at a glance.)</span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">When I was a student at the Academy, a friend who would later be best man at my wedding gave me a New York Times article about a study Oliver Sacks had done of an artist who had suffered a minor concussion from a bicycle accident. The patient had showed up complaining of a loss of his sense of color vision. The world to him was now a matter of light and dark, a black and white photograph of gray tones. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">Studying one individual with a brain-accident induced malady is pretty much the early history of neurology. In this instance, the injury to this painter’s brain revealed a very interesting and fascinating pathway artists and viewers of the world use. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">Apparently, the rods, which are light/dark receptors in our retinas send information to our brain separately from the information our color sensitive cones do. Not only that, but the black and white receptors (the rods) send their information in first. Whether the circuit length is shorter and thus requires a briefer moment to travel, or whether color detection itself is slower, I don’t know. But the effect in the brain, which we experience as an instantaneous duality of values as well as color is actually layered in time. The black and white version draws a picture, which the color sensitive cones then fill in, almost like a coloring book picture. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">While this has little to teach us about making art, it does explain why we can both comprehend and independently enjoy things like black and white photography, or non-polychromed sculpture. And it also explains why artists have long ago separated drawing from color, building the drawing first in order to cover that with paint of appropriate color. Many of you may have heard of glazing, or grisaille underpainting, which is then layered with thin washes of color. There has been a natural division of labor sponsored by this branching set of visual data that comes from our eyes. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">It wasn’t until the Impressionists stepped outdoors into the sunlight that painting took on the sudden all-at-once nature we and children both know about. Color itself changes as it turns in the separate colors of daylight, here reflecting a bluer version of itself and there a more yellow version. By this means an alert observer can record the changing color field before her and realize — without resorting to value — a picture of form and space. Now, we would be foolish not to include some value differences as well, because for one thing, our paint colors don’t all come with identical values. The blues are often dark, and yellow is brilliant. Of course, to some degree, that also reflects the value ratio between the blue sky and brilliant sunlight. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">You will also notice something interesting when you are out at night. Perhaps you remember this as the pageant of nature when you watched a sunset in summer and went on sipping wine into the night. What happened in that interval besides bliss? You will remember that the color receptivity of your eyes went from a stunning maximum during sunset, to an almost black and white monochrome of dark blues and greens. Is color simply a weaker signal in physics, or do our eyes not detect it as well as light and dark? </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">Cameras devoted to study this use films and filters to study particular regions of the spectrum. These tell us that of all the radiating signals and reflections in the universe, we “see” a very small section of the entire spectrum. The part we see is spread out in rainbows, which you will be happy to know were not understood by Aristotle. But because he described the colors he saw in rainbows so oddly, we might conclude that he may have been color blind. And not only he, but Homer, the Greek poet of the Illiad and Odessey, may have not seen the color of the sky. I only have the evidence of a linguist for this last opinion of Homer, because blue has no name in those works, suggesting the color was unknown to its author. We do know that Homer was aware of a form of blindness brought on by stress — almost a form of visual amnesia. So there may indeed be some special reason Homer knew something might be wrong with his own vision, but that is only a half-hearted suggestion. Cases of battle blindness have been observed throughout history. But let us not dwell long on this. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">I want to return attention to the notion of modal thought. Oliver Sacks postulates a model of the brain that is separated into modes of thought. You might consider this the question of what does the mind do in the brain? We all have this ability to enjoy black and white drawing, apart from color, so those two modes can be enjoyed separately or together. But what about sound and drawing? While we are busy with a spatial task such as drawing or painting, the ambient sounds around us easily fade into silence. A radio seems no longer to be on, and time ironically both slows down and speeds up. If a phone rings, we wake up, but for much of our work the mode of thought that absorbs our attention is on the task at hand. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">That tells us something important about how we are thinking. The right brain is too strict an idea of the brain’s organization, but in a loose way it gathers the notion of modal thought into a label we can use. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">I want to address the notion many of us have had that drawing the way we have been is somehow linked to our subconscious mind. I have an appreciation of what we seem to mean by that term subconscious, but I would like you to know that visual thought is not subconscious. It is actually equally conscious to our word-ear mode of thought, and often more adroit and faster to process things. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">As one example of what I mean, I quote a footnote in Oliver Sacks’s memoir concerning an experiment on thought and brain. The details of the study do not matter as much to this discussion as the record of timing and motive. Here is the quote:</span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">“It was at Mount Zion that Libet performed his astounding experiments showing that if subjects were asked to make a fist or to perform another voluntary action, their brains would register a ‘decision’ nearly half a second before there was any conscious decision to act. While his subjects felt that they had consciously and of their own free will made a movement, their brains had made a decision, seemingly, long before they did.”</span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">If you relate this evidence to how unusually random you think you were as you drew, and then how you felt you were getting to something, and then how you pulled up and stopped, you will realize that something more deliberate than vague unconsciousness may well have been guiding you. Because this exercise in drawing is made to baffle the left brain sense of let’s-go-slow-like-a-sentence-goes, we also attempted and usually achieved a global view of the drawing space — that all-at-once notice of everything there. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">So here is what we have been proposing: that there is a discreet number of things we can see in one glance (5-7), on which the notion of composition must rest. That there are only a few basic compositions used in human history, and that visual art, right from its expression of composition has gotten the age it is in just right. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><br /><span class="s1"></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">When Jackson Pollock paints all over, he is painting one object made of many parts. That unity (a formal art term we will discuss) is the one thing we notice at first. Remember that even though composition can rest on as many as 5 to 7 elements, it doesn’t have to. Anything less than 5 is all the better. Photographers among you may have heard of the rule of three in composition. When you take in a view from the beach, it is easy to see how the world naturally arranged itself into the rule of three: the beach, the water, the sky. But wait, here come two people crossing the view and another in the water. We now have 3+2+1, or, if you view them as a couple, 3+1+1. In either case, we are still within the compositional framework of 5 to 7. Now you might say to me, there are 14 people in the water. At that point we consider it a crowd, which in the glance of things we again categorize as 1. </span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1"><br /></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">Of course, we love to walk up to paintings and study them in isolated vignettes. There your crowd dissolves into a constellation of figures, and they must compose themselves in ways we find appropriate to what we intend. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">So we have established some matters of perception that are always with us, and the notion of self-isolating modes of thought that assist us in focus and special creative tasks. But what about the higher reasons for art? What of this knowledge will ever create the overwhelming response in our audience we should rightly want to achieve? Haven’t we all been moved, especially when quite young, by art? And why is it that otherwise sane people can be heard crying and weeping during part of an opera? What is all this about? And is emotion like that not due to thought? Yet, who is thinking? And what is the empathy that makes such experience in the face of art possible?</span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">I will leave this for you to wonder about. If you have theories, and I know some of you must, don’t hesitate to send them to us. We will be returning to this discussion further on in the course, even if silence prevails right now. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">And please send me your projects, in drawing, or painting, as you are emboldened to trust your visual mind, and the speed at which it thinks. I look forward to everything you do. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 20.3px;"><span class="s1"></span><br /></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1">All the best,</span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 17px; font-stretch: normal; line-height: normal; margin: 0px;">John Sevcik </p>John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-44136917457638446492018-04-23T19:07:00.000-07:002018-04-23T19:07:34.182-07:00Aphorisms, after reading Plato<br />
Art is a form of discovery.<br />
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Where knowledge ends, art begins.<br />
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At the limit of seeing, a universe unfolds.<br />
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Facility will never blunder into a new world.<br />
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There is no evolution in art, just a succession of different artists.<br />
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What is behind the painting? What is inside the artist? What is inside us as human beings?<br />
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“Who are we, where have we come from, where are we going?” Gauguin)<br />
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What is the now?<br />
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If time stops in a picture, is that moment infinite?<br />
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If memory exists, why not a glimpse of the future?<br />
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Socrates claimed artists are possessed by a divine madness — inspiration.<br />
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Manet, described by his model, worked in a mad attack everywhere on the canvas at once.<br />
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The speed of the eye’s idea has been glimpsed in the work of photographers. It is as brief as a second, maybe a fraction thereof.<br />
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Paint for money and you will have money.<br />
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If you would study, study what you do. There is a truth and magic to each person.<br />
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The deepest things are the most protected property we own. Most people would prefer to remain private.<br />
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Art is essentially a profound vulnerability. You open yourself to view, and feel criticism will follow, but people appreciate you instead for speaking up for them, for showing the way.<br />
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What is this way we are curious about? Why does it stun us to see certain paintings? Why have we woken up? Why were we sleeping before?<br />
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The mind returns to elaborate, but the idea comes all at once.<br />
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The most difficult part is the waiting.<br />
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While we are waiting, the mind is working in secret.<br />
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The more you allow, the more you will do.<br />
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Leo Castelli began with one artist, then that artist’s friends, and so forth. Friendships curate everything, the way love curates the human genome.<br />
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Just because there is a sequence, doesn’t mean it is progress.<br />
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Individuals each bring something unique. This is the true cause of discoveries.<br />
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You were born as a new discovery of human life. So you will turn out in some way or another.<br />
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Life is a technology higher than anything else. It is protected by the force of cuteness. Love is its engine; tenderness its power.<br />
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Socrates spoke of two kinds of art: copies of copies and a philosophic creative art. The higher of these is the latter. And that is not all: such art serves the muse and knows the idea of beauty as well as the good.<br />
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There is a mystical source to inspiration which is best cultivated through the act of surrender. This makes art difficult to a person in the throes of ego. The evidence for this is that just when a writer or artist feels bereft of ideas or depressed or in a low ebb of energy, the fallow field blooms before him as if animated by some other force outside himself. Composers of music especially navigate between the antipodes of creation and uselessness.<br />
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John SevcikJohn Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-49268614220164980092018-04-04T07:59:00.000-07:002018-04-04T07:59:09.063-07:00The Restless Spirit <span style="color: #454545; font-family: "uictfonttextstylebody"; font-size: 17px;">Salon style art exhibits — why do they seem to work in Lascaux, but not in modern times? Is it that the framing of paintings, as well as rooms, makes too much of the repetition of the right angle? Is it that the proliferation of painting styles has less unity than the millennia-constant style of the ancient cave dweller?</span><br />
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Or is there something else, more pernicious to art styles and more stimulative to experimentation present in the salon style show? What, after all, happens when we assemble a wall of paintings by different hands in a large gallery? Our eyes begin a natural critique which speeds through our nervous system far in advance of any words we can conjure to describe it. The result can easily be a malaise, caused by the feeling that one or another painting subverts the high opinion we hitherto had of another that hangs next to them. Alone without companions nearby, that painting had once held you enthralled, but now, what tinsel and trifle is it when compared directly to a masterpiece next to it? And that masterpiece then falls by comparison to another painting above it? Horrors — soon an entire century of painting comes into question. </div>
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It is perhaps this natural result of collective comparison and contrast — this free market in aesthetic criticism — that gave rise to modern painting in the first place. Perhaps without the 19th century's love of public displays of art filled rooms, without its Lascaux-like hallucinogen of nudes and drama and still lives and landscapes, without the exuberant wish to top plenty with even more plenty, without the never enough willpower of impressing to the maximum, without these drives, perhaps our young artists would never have cracked the code of their own discontent with what had already been done in art. </div>
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It is exciting to think that more fascinating comparisons are in store for us, if we ever subject the twentieth and now the twenty-first century's art to a similar treatment, cheek and jowl, up there salon style, to encourage or irritate as the case may be. Perhaps the great reassessment of art and art history never really happened in the 1950s as we are told, but that the earthquake of reassessment happened a hundred years earlier. </div>
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Un-compared, untested, unquestioned modern masterworks hang in isolation rooms, either enormously large to fill the eye and deny any room for comparison, or separate from the questioning appearance of any other styles of painting. Where in this have we really embraced critical thought, granted appreciation freely and autonomously instead of been forced by a megalomaniacal cult of one artist at a time being placed in the temple of our eye? </div>
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Art history is perhaps only this worship and its discontent. The comparison will come along from time to time. The results will be creative and unpredictable. And all of it is exciting, for we are seen in our art and need it for steering. Don't ask me how or why, but this seems one of the existential truths of the human condition. <br />
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John Sevcik</div>
John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-39599243265423640882017-04-21T18:04:00.000-07:002017-04-21T18:04:57.287-07:00Patrick Connors at Gross McCleaf GalleryIn the mid 1970's I met Patrick Connors at the Pennsylvania Academy of the Fine Arts, when he was a student and I was a young playwright and poet. His canvas, as I remember, was given to vague imaginary beginnings that had atmosphere and spirit in them, and a sublime feeling. He was, I felt, a romantic in the modern age.<br />
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As this exceptional show demonstrates, Patrick has since evolved to indeed become a new American Romantic.<br />
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Patrick's gift is devoted to the Philadelphia landscape, as George Inness was at first uniquely motivated by Montclair, NJ.<br />
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If you want to revel in the unique feelings of this romantic city that invented Independence and the Constitution, the rights of man and a devotion to learning, the life of economies and the life of the soul, you should check into the vision of this artist.<br />
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More is meditated on in this show than you will find at most galleries. There is a series of larger paintings that center on Laurel Hill Cemetery, one in particular like an Arnold Bocklin, but also showing some debt to Daniel Garber's quarry paintings in its composition. These are not lessons in influence taken for technical reasons, but in the drive to evoke our native mystery of nature and civilization.<br />
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And then there are the small paintings that arise like transcendent moments of twilight over the Schuylkill River. These are some of the most affecting views I have seen of this lovely river's spirit. If you look at these paintings, you can feel why it is good to live here, and how much this region offers the sustenance of the soul.<br />
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Patrick Connors<br />
Reveries<br />
April 5-28, 2017<br />
At Gross McCleaf Gallery, PhiladelphiaJohn Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com1tag:blogger.com,1999:blog-2115379363047548007.post-13983215655797263142016-12-22T19:45:00.000-08:002016-12-22T19:45:08.006-08:00Fred Danziger at Roger LaPelle GalleriesFred Danziger began as a studio artist with some profound concerns about the nature of man. As the years passed, he leavened this into witty canvases that posed visual and verbal conundrums. They resembled Cornell Boxes but they were almost entirely painted, sometimes including a real object or two. He has always been leery of what he thinks of as the wilderness of the New York school and its attendant gallery system. That early vision of robotic and tortured anatomy perhaps made him an artist who couldn't see the charm of abstract expressionism.<br />
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As such, his last three years have been spent seriously practicing plein air painting. This is the work<br />
in his current show at Roger LaPelle Gallery here in Philadelphia, his eighteenth show at the same gallery over a long career.<br />
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What is immediately moving about these paintings is their open wonder at the world, given us via Fred's gentle and non-ironic eye. These are clear visions of a grateful and innocent heart. They have an almost folk simplicity, combined with color work that is sophisticated, yet not obtrusive to the intent of showing and seeing.<br />
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This is a vulnerable show, not pretentious or self-important, yet by that grace it amounts to all that matters in art. The artist whose work will always beguile us is one so beguiled with the world in front of him.<br />
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This is a refreshing show that I am glad to have seen. <br />
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"Maine: place and time"<br />
Recent paintings by Fred Danziger<br />
Roger LaPelle Galleries<br />
Philadelphia, PA<br />
Dec 2, 2016 – January 29, 2017John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-47171139111764823022015-04-22T06:41:00.000-07:002015-04-22T06:41:55.840-07:00Leigh Werrell, Bettina Nelson and Mary Putman at Gross McCleaf Gallery<br />
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Leigh Werrell's paintings and Bettina Nelson's collages share the show's title of "A Likely Story," one of those clever word plays that has an ironic as well as earnest reading. Likely stories abound, and the seeking is a large part of the fun. It is why I write these occasional blog reviews. <br />
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<span lang="EN" style="color: black; mso-ansi-language: EN;">Leigh
Werrell's paintings include gouaches that notice life in the sense of
environments peopled with explorers. People are simple, and the world is
complex, you might think at first, while looking at these charming works. The
paintings seem apropos our time and human experience. The charm is a little
like the charm of Sarah McEneaney or Katherine Bradford. <br />
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One of the overlooked compositional schemes is that of cave paintings. Using a
naturally occurring architecture of surprise turns and mysterious peril, those
artists long ago made early installations. The caves were ready museums devoted
to exploration and surprise discoveries, even the sort one makes in dreams. So
it can seem that our era has revived installation, while also inspiring some
new idea in the painter's notion of composition. <br />
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Leigh Werrell's paintings authentically and originally trace the adventure of
youth in a new world, something art refreshes in us, but here really lets us
notice and feel delight in.
Her paintings may arise from that milieu of installations as well as the sense
of a world filled with discoveries and discoveries to come. </span></div>
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<span lang="EN" style="color: black; mso-ansi-language: EN;">Bettina Nelson uses the process of discovered things in her beautiful, small collage pieces. They achieve enough imagery that the mood can be assigned to both subject and means as an abstract expression.</span><br />
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The gallery itself is one of the more complex art spaces in the city of
Philadelphia. The visitor ascends from street level up a central stairway. The
furthest of the galleries repeats the strong classical aspect of that first
ascent by the powerful one point perspective paintings of Mary Putman.<span style="mso-spacerun: yes;"> </span>The way there meanders in a route of
discoveries. Even the racks in another gallery upstairs from this add to the
exploratory excitement of a visit. This architecture helps choose the work, and
it is an interesting journey of contrasting and complimentary exhibits. <br />
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For information and the gallery's complete show <a href="http://www.grossmccleaf.com/currentexhibition.html">http://www.grossmccleaf.com/currentexhibition.html</a></div>
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John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-72314087214498594822014-12-10T13:10:00.001-08:002014-12-10T13:10:25.426-08:00Civilized Discourse<div class="separator" style="clear: both; text-align: center;">
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<img alt="Giovanni Casadei, One Stem" src="http://www.grossmccleaf.com/images/casadei-onestem.jpg" height="307" width="400" /></div>
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<span style="font-size: x-small;">Giovanni<em> </em>Casadei, <em>One Stem</em>, oil on panel, 7 x 9 in.</span></div>
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There is a light to civilization as well as a darkness. We forget in our critique of empires that what they protect and preserve comes from a sense of the good life. </div>
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Giovanni Casadei's beautiful still lives at Gross McCleaf Gallery this month benefit from the artist's sense of civilized life. His Mediterranean sense of cultivation came with him to America. Those who know him know his cooking and his craft approach to all phases of life, his tango, his communal and amicable spirit. These all gather people and friends to him, and the same warmth and passion emanate from the warm light of his paintings, like sunlight from a Florence or Sienna of the spirit. </div>
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The great change in these recent paintings come from a stronger admission of darks, of those mortal dangers in life against which he must level stronger impastos of light and color. The dynamic result is as poised and graceful as the artist, making order and calm and enjoyment the heart of life. </div>
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Douglas Martenson's landscapes in the neighboring gallery present a well chosen opposite to this. Where Martenson's world is outdoors, autumnal, and cold in temperature, Giovanni's still lives are the warmth of the home. They make a good pair of forces to consider and contemplate. </div>
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A highly recommended show.</div>
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<em>Painting Arcadia</em>, and <em>Everyday Light</em></div>
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Through December 31, 2014</div>
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Gross McCleaf Gallery</div>
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127 S 16th St, Philadelphia, PA 19102</div>
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<span>(215) 665-8138</span></div>
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John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-3227743276488609482014-07-12T09:04:00.000-07:002014-12-10T13:15:02.115-08:00John Sevcik Talks about Art, Paint and History<br />
John Sevcik talks about art, paint and history to afternoon
Painting Studio class, <st1:date day="18" month="9" year="2013">9-18-13</st1:date>,
at Fleisher.<br />
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Present: <i style="mso-bidi-font-style: normal;">Peter Chance,
Ebony Collier, Julie Garrard, Monsceratte Fischer, eventually Bruce Segal, and
Wendy Rush</i><br />
<i style="mso-bidi-font-style: normal;"><o:p></o:p></i> </div>
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I would like to begin by singing the praises of Rodin, whose
museum I went to on my birthday to re-evaluate what I had long felt. There had
been some mention in this class last semester, due to an interview of <span lang="EN" style="mso-ansi-language: EN;">Kirk Varnedoe </span>by Charlie Rose, that
Rodin was only a sculptor for adolescent
boys, and that now we were on to art about nothing. Rodin is about life, and
many things besides romance. He is a compendium of humanity. Maybe heaven and
hell are over for most people here, maybe pride is no longer practiced, maybe
the great subjects of art are passé. </div>
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Even though you are painters, I am thinking of leading you
over there sometime this semester to look at art that is about the human being,
in human terms, by a great artist. What he does is like the movies at their
greatest – he shows the human being in terms we can understand. And the movies
learned all of this from sculptors like Rodin, and painters, who pre-envisioned
scenes based on stories from the Bible and later scenes from fiction.</div>
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It is little surprise to me that the collector (Jules Mastbaum)
who gave us our <st1:place><st1:placename>Rodin</st1:placename> <st1:placetype>Museum</st1:placetype></st1:place>
made his fortune in the real estate of building the largest movie house chain
ever. He saw the movies early in their history, and he believed in movies. So
he became a movie house mogul. There is a direct connection between his love of
movies, and his love of Rodin, in my opinion. <span style="mso-spacerun: yes;"> </span></div>
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Rodin is rightly judged the first sculptor since
Michelangelo to reach so high. If I don’t take you, at least go yourselves. Go
look at the sculpture of John the Baptist, at how his one eye is suspiciously
looking sideways, frightened of what people think of him, and how the other eye
gazes forward with the sureness of blind infinity, faith-filled. And then walk
around behind the sculpture and see the weak, suspicious, frightened shoulder, <i style="mso-bidi-font-style: normal;">versus</i> the powerful shoulder of faith.
Rodin can demonstrate in the walk, in the manner, the split personality both of
faith and doubt, crazy certitude and paranoid fear. It is a maquette for our
time, considering what continues to go on in the name of religion. </div>
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Rodin is wrongly criticized. When he made “The Age of
Bronze”, which stands outside in a niche of the wall, people – critics –
declared it cast from life. My own teacher Lou Sloan at the Academy still told
that story about the Academy’s original plaster cast of the clay model – that
it was simply realistic, a life cast, and that was why no one liked it. There
was no emphasis, no exaggeration. These are important questions about art, too,
but the libel was continuing a century after it was started. And by a very nice
man. Lou Sloan was one of the kindest of the instructors at the Academy. </div>
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But we are here to study painting. </div>
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The history of paint helps explain why we are here, and the
nature of paint is available to us in all the old ways, as well as the modern
one of direct painting. Remember that the large brush is the one to start with,
even a rag or paper towel. </div>
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The application of paint to a surface by human motion is
similar, yet unlike, other natural forces at work that weather stone, erode landscape,
or build granite. If you’ve gone to the <st1:place>New England</st1:place>
coast and seen granite, you will appreciate how colors – but no, you don’t have
to go to <st1:place>New England</st1:place>. Everyone has a granite counter top
now and you can see a polished cross section of pattern made by the actions of
earth’s natural forces.</div>
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If you’ve walked along the beach near the surf, you may have
noticed the line of spume where each wave ends to draw a beautiful varying arc
which supplants, or joins, or is rewritten by a following wave; and that line
seems organic and varies with beautiful sensitivity.</div>
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Now paint has a history in the hands of people, who first
picked it up as dirt (iron oxide) and charcoal, and chalk, to draw in caves
their memories of the world outside. Later, paint used a binder of egg yolks
and made medieval paintings that are like modern acrylic paint, which was
developed originally as a modern tempera paint – flat, matte, not built up in
impasto. Then oil paint was discovered, which was used to glaze the egg tempera
with filtering colors, achieving brilliance and control via transparency. Lapis
Lazuli, a semi-precious stone, was one of the pigments milled down to create
such glazes, and it was and is an expensive though permanent paint to this day.</div>
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Then oil paint succeeded in taking over on its own, and by a
hundred years ago was almost modern as we know it. We now have opaque and
transparent paints which were already used alternately in the same painting by
Titian, during the late Renaissance. <br />
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What are transparent and opaque paints? Well, if you look
down at the studio floor you will see many effects we use, even the old dirt
and varnish in areas which imitate old paintings with darkened varnish. Edvard
Munch, by the way, was not loath to admit that his own paintings were finished
by the Norweigian weather in winter. His studio had no ceiling, no roof – it
was like an open pen. People burned wood in wood burning stoves all winter
there, the snow would fall through the smoke and carry soot onto the face up
paintings and glaze them with a unifying shade of carbon.</div>
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Soot is much finer than the charcoal you use to draw, your
vine charcoal. And we now know why, thanks to science, thanks to physics. We
have long known carbon atoms make strong cages, crystals, like this (using fingers
of hand), which are very hard and don’t smudge, break, or come loose. The
carbon atoms are far apart and light goes through the crystal for reasons I and
engaged couples don’t understand but wonder at.</div>
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Carbon atoms in sheets create graphite, which slides off and
looks nice to draw and write with.</div>
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But charcoal and soot are related in this way: they are
different sized balls of carbon atoms like graphite sheets rolled into spheres,
and depending on how many carbon atoms per sphere you get varying sorts and
softnesses of carbon for drawing. (By the way, the compressed charcoal I don’t
recommend you use is made of soot and binder, and because the particles are so
small, you cannot erase them out of your paper.) </div>
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Soot of very fine particles can be easily harvested from a
wood burning stove flue, which I’ve done, and which is why I identify it as
Munch’s preferred final layer. When you watch – they don’t exist anymore – a
smoker with a cigarette, holding it like fashion, the smoke rising in a slender
column, and then it twirls at the end? That’s the carbon atoms joining together
into soot and conserving their angular momentum like an ice dancer who pulls in
her arms to speed up the spin. You are seeing an effect of atomic motion,
molecular motion, before your eyes, as you compromise your lungs with second
hand cigarette smoke: more dangerous, by the way, than first hand cigarette
smoke, because fluorescent lights make it radioactive. Really.</div>
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So is painting part of science? Is it only physics? Is
drawing technology? And isn’t the mind and body of an artist made of atoms and
molecules and their relationships to each other and those of the universe, its
infinity and fate? Munch, in his open air studio, harnessed a natural event to
add that believability old varnish often hid paintings in. If vague enough, the
imagination of the viewer’s eye often improves a painting, or believes more
fully what it thinks it sees in the paint.</div>
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Munch is the painter of – famously – <i style="mso-bidi-font-style: normal;">The Scream</i>,<i style="mso-bidi-font-style: normal;"> </i>which is a
perfect summation of <st1:place>Europe</st1:place> at the time: a place rife
with neurosis and the discovery and naming of it. Why were women especially
thought neurotically mysterious? Well, they may have wanted more say, the vote,
independence, education, their own money . . . yet, Nietzsche<span style="mso-spacerun: yes;"> </span>couldn’t imagine any of that – it was an
open, unsolvable question cried out by tragic, clueless men in the dark
(probably alone), “What do women want!?”</div>
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According to Freud they wanted sex, or a penis. To Jung they
wanted an archetype to go with the patriarchy he didn’t notice. To Ibsen, Nora
leaves home and shatters marriage and the 19<sup>th</sup> century. Munch, too,
can’t figure out what is happening, and finally, not asking women’s advice, the
men of the world convene two world wars and finally let women vote, though they
still don’t hold many offices.</div>
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Now paint – the way you paint – is controlled by the times
you live in. Even if you could not make sense of oppressed women in the 19<sup>th</sup>
century, you could start feeling nervous, paint mermaids and Lorelei preying on
single men, depict Nora shattering the Civil order by walking out of the home
and the role of wife.</div>
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When Jackson Pollock and Lee Krasner – very intelligent
people – appear in 1950, right after the bomb has obliterated two cities of
people in <st1:country-region><st1:place>Japan</st1:place></st1:country-region>,
the world is tense with something new. And art gets it right away.</div>
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This floor shows the action of painters dropping paint,
cleaning up. Here is a series of opaque white blobs, here the action of falling
paint. Here someone wiped paint off – it was white and still shows through,
leaving a graying ghost through which we also see the fogged over floor below –
this is like a scumble. A glaze is a scumble that is transparent. A scumble is
a glaze that’s semi-opaque, like this fog. (This is not technically true, but I
say it to alleviate the fear and love people have for the lost art of glazing.
I want you to understand these are thin layers of paint, first and foremost.
How to achieve them is much easier, once you have demystified their existence.)</div>
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You look here and you see artists have left a series of
marks, mark making. Unconscious? Intentional? Well, let’s notice this light
green smear – like a cat’s face and body, twisting in space. The soft edges let
you imagine it. Is it intentional? Is it in the science of dropping paint that
falls at a speed and then gets wiped by some more conscientious student? Or is
it the technology of intent?</div>
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Just a sidebar – science is complex – the all. Technology is
a small part used . . . we’re not sure, yet: maybe wisely, maybe not. </div>
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I contend that just as remarks slip from our brain through
words, cats appear from our towels, and brushes find faces and figures, or the
universe in its atomic furies, or a landscape of the mind at that instant. It
is as conversational, or at least as conversant, as I am with you, talking. </div>
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So even though I set up a still life here, I am more and
more interested in the Rorschach of your time. Begin with paint, and let paint
show you what you see, feel and think. It seems to always work, if you let it.</div>
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When I demonstrate a scribble drawing for my Thursday class,
something from the last 24 hours almost always comes up. It may be the child
alone on a sidewalk I noticed with worry while I was driving to class once, and
then finding her reunited, though drifting from her parents, in my drawing
demo.</div>
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The Rorschach of our time can be the scribble drawing a
student of mine made as one of her first scribble drawings in my class; it displayed
an animal auction that I recognized immediately as taking place at the annual Harrisburgh
farm show, which was indeed where she saw that happen, in exactly the arena I
remembered from her drawing. </div>
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It is like the cumulus clouds you saw in summer when you
were young and had time, and how they are creatures or people, a rabbit, a person,
a horse, a dragon, doing and changing into something else – all due to the
activity of your imagination, and the true hints of form above you.</div>
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It is in paint itself that you can divine the time you live
in and show each other all that matters.</div>
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Remember, however, that the truth may not be welcome in its
time. <i style="mso-bidi-font-style: normal;">Poetry</i> magazine refused all
submissions of love poetry. Emily Dickinson couldn’t get published in her
lifetime. Van Gogh was a failure, if you measure it, as he did, by acceptance.</div>
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Now – ?<span style="mso-spacerun: yes;"> </span>We all love
them. They are finally safe . . .<span style="mso-spacerun: yes;"> </span>and
irrelevant.<span style="mso-spacerun: yes;"> </span></div>
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The past is past.</div>
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The present is yet to be painted.</div>
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John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-68203161641144261312014-02-11T08:25:00.000-08:002014-02-11T13:56:28.118-08:00Man and Meaning: Dick Ranck, Painter and Sculptor<div class="separator" style="clear: both; text-align: center;">
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<a href="http://2.bp.blogspot.com/-rJhbD3pYIEU/UvpszNOzIPI/AAAAAAAAAOY/3rpMGGzhBLE/s1600/Cave+work+(final)+2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-rJhbD3pYIEU/UvpszNOzIPI/AAAAAAAAAOY/3rpMGGzhBLE/s1600/Cave+work+(final)+2.JPG" height="320" width="281" /></a></div>
<span style="font-size: x-small;"> <em>Cave Work</em> by Dick Ranck</span><br />
<br />
There is a painting in this show that Dick began by looking
at a photograph of the cave paintings in <st1:country-region><st1:place>France</st1:place></st1:country-region>.
The beasts he eliminated, the wall is not discernable, the painting was then
rotated to stand on end instead of in landscape orientation. There is what
appears to be a golden figure before us, ¾ length, pointing to the left, the
hand and lower arm not showing, in the direction of some atmospheric blue paint
in the top left corner that we see over the shoulder. This blue mythic field
also encompasses the area of the figure’s head, which is dreaming in a shroud of
the world outside the cave to which it points, while also looking at us and
looking around inside the cave. Myth and mythology are by this sign conjoined,
and it is the ennoblement of man that the works of this show attempt to convey:
The ennoblement of the riddle solver, who is himself a riddle. Socrates is this
man’s first exponent. <br />
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In all these visions the task of man is explicitly made large.
Wood sculptures emerge from the animate spirit their original yoke or crotch or
bend or branching suggest. The modern is as primitively rooted as in ancient
times, Ranck suggests. Both terror and tenderness take turns. The myth of fear
is as real as the myth of courage. The suggestion in such work is that the real
is indeed mythic in its very nature, and not able to be broken down into
surface realisms, or the representation of banal exteriors.</div>
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There are test models for the Trojan Horse here and there,
reminding us of vehicles our cars attempt to duplicate, complete with splitting
wooden wheels, and a recalcitrant technology that nature undercuts. This is
like the god in the machine, a thing long ago laughed off as a theatre device,
but nowadays a more visible result of our courageous stories. Think Industry
foiled by Global Warming; the car foiled by rust; the body aging from time’s
use.</div>
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The work of Gauguin has to come up in looking at these, and
you realize that Gauguin was intuiting abstraction in his own way. Dick Ranck
paints with less distraction by an exotic region across the Pacific. His
wilderness is the woods of <st1:state><st1:place>Vermont</st1:place></st1:state>
and <st1:state><st1:place>Maine</st1:place></st1:state>, his abstraction the
sky and what the mind plays out of it, or on it. </div>
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In this you have both light and air, some exaggeration of
the Id’s wide wishes, the ego’s drive, the toys of children, and the embrace of
love. </div>
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The generation of tattoos and Red Hot Chili Peppers that
thrashed about to wild music during the Super bowl halftime show the evening of
the opening are all coincident with these deeper meditations about our wild
natures. If not civilization, then <st1:city><st1:place>Liberty</st1:place></st1:city>
must stem from and be ordered by these ungovernable spirits. <br />
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John Sevcik</div>
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<i style="mso-bidi-font-style: normal;"> At Richard Rosenfeld
Gallery<o:p></o:p></i></div>
<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i><st1:city><st1:place><i style="mso-bidi-font-style: normal;">Philadelphia</i></st1:place></st1:city><i style="mso-bidi-font-style: normal;"><o:p></o:p></i><br />
<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>Throughout February 2014<o:p></o:p></i><br />
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<i style="mso-bidi-font-style: normal;"><o:p> </o:p></i></div>
John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-20783431326316664902014-02-08T11:28:00.000-08:002014-02-08T11:28:51.376-08:00The Naked and the Nude<br />
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<i style="mso-bidi-font-style: normal;">“No man in my country
has seen a woman naked and painted her as if he knew anything except that she
was naked. No woman in my country is naked except at night.”<o:p></o:p></i></div>
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<span style="mso-spacerun: yes;">
</span>– William Carlos Williams, in the essay <i style="mso-bidi-font-style: normal;">A Matisse</i><o:p></o:p></div>
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<o:p> </o:p></div>
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<o:p></o:p>“In the french sun, on the french grass in a room on <st1:street><st1:address>Fifth
Avenue</st1:address></st1:street> a french girl lies and smiles at the sun
without seeing us.” So concludes Williams after looking at a Matisse on <st1:street><st1:address>a
5<sup>th</sup> Avenue</st1:address></st1:street> wall in <st1:state><st1:place>New
York</st1:place></st1:state>. </div>
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The <span style="mso-spacerun: yes;"> </span>poet is not alone
in noticing a peculiar difference between American versions of the nude and the
continental traditions we have come from. We speak of the figure, as if
something about the human being were mechanical and cast-like. </div>
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The Matisse that occupies Williams’s attention shows the
result of an afternoon Matisse spent outdoors with a model who accepts the
artist’s gaze with the same equanimity as she does the rays of the sun. <st1:country-region><st1:place>France</st1:place></st1:country-region>
calls her a nude. </div>
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I can think of a few nudes in French art that meet our gaze
– <st1:city><st1:place>Olympia</st1:place></st1:city> by Manet; that Ingres
with the long torso looking over her shoulder at the viewer – but the lack of
self-consciousness is indeed the difference, and why wouldn’t it?</div>
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When the Platonist sees the figure, it is the human soul.
When the Puritan sees the figure he sees sin, guilt and judgment. And when we
paint the figure, we are less able to appreciate human goodness, because our
belief in things has continued as a backwater reaction against humanism.</div>
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You might well say, what of the 20<sup>th</sup> century?
Where did humanism get it right in <st1:place>Europe</st1:place>? It was
Puritan and Protestant America that had to come to the rescue and end the
carnage of those wars with more carnage of the figure, the figure of mankind.</div>
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Although we somehow know the human body is beautiful,
because it is an essential aesthetic anyone can appreciate, the sadness is that
the beauty of us is not a sufficient defense from harm or war. Alone, this fact
is astonishing, often to doctors more than artists.</div>
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While I long had an aversion to Philip Pearlstein’s
paintings, even to the way they were made in cells, as in a sort of prison, I
have been changed by what they struggle to show me. While close to the French
model in Williams’ Matisse painting, Pearlstein’s
models do not smile at the sun, nor even gaze; instead they wait until their
time is up.</div>
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This doomed prison of time, of being observed, reminds me so
much of Norman Mailer’s Pacific War novel “The Naked and the
Dead.” But the dead who were really on our minds after the war were the dead in
the concentration camps. To me Pearlstein is heroically rescuing body after body
from time, from death, and there is no French sun, no sun at all, just the
passing of time as at a resurrection or a wake.</div>
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It is the work of art to manage all that lies beyond words,
the heavy truth, or the joy transcendent of life. </div>
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What nude appears in Eric Fischl’s paintings? Again the
wrestling with our Puritan demons. He is either saying “Life includes this;
accept yourself in this. All that is human is good.” Or he is saying “You are
disturbed by your consciousness of the human experience.” Now what? </div>
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You cannot say the honesty of art in <st1:country-region><st1:place>America</st1:place></st1:country-region>
is wrong. On the contrary, we are perhaps uncovering more than what clothes
hide. We are studying the human being in its self-conscious truth. Perhaps an
uncluttered, uncomplicated enjoyment of sunlight is less taxing on our eyes.
But the humanism we seek is one that must defend mankind by revealing to the utmost
who we are in our own blessing.</div>
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Chivalry, invented in <st1:state><st1:place>Provence</st1:place></st1:state>
by the French, may have been created by men for women, or by both for both. It
is possible that chivalry alone conferred the trust French models show Matisse,
and he by that design is trustworthy. He likened his relationship to his adored
models as a love, one in which they shower flower petals on each other. There
is both a sensual admission to that metaphor and a chaste regard – a charm –
which we have heard about and found difficult to master.</div>
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But mastery is possibly the problem. It was a dream of the
19<sup>th</sup> century to establish human will as the spine of mastery. Again,
the 20<sup>th</sup> century saw the fall of supermen and mighty wills.
Coincidentally, almost in opposition to this trend, artists painted more
loosely, found fresh paradigms, were exiled for not being salon masters. To
accommodate them – and Matisse is a prime example – we loosen the definition of
master. Now we mean not will, but discovery; not the old done better, but
creation from the intuition; not contests, but contributions; not the artist’s
ego, but the charm of the subject.</div>
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We have given ourselves over to this study of our times
through art, not because artists lead us, but because art and we lead them.
They are, after all, made of us, in our situation in time.</div>
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To think back to medieval painting and our early tradition
of the figure/ground relationship, we understand it as a formal problem – yes.
But it is also a matter of feudal importance. Land and the person on it – who
is bound to it by fate, history, fealty, narrative, loyalty, economics – is an
essential feature.</div>
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In neoclassical <st1:country-region><st1:place>France</st1:place></st1:country-region>,
the figure/ground relationship follows a different tack. Where the Middle Ages once
burst the confines of feudal obligation by the appearance of miracles,
modernizing <st1:country-region><st1:place>France</st1:place></st1:country-region>
places dreams of past glory against the ground of time. The anachronism of
Socrates is declared lifted and the past is here to help as a form of Academy
in humanism, philosophy and the arts.</div>
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And between these Ages, Neo-Platonism perfects the Italian
Renaissance by replacing the clothed figure with the nude. This, then, is the
most natural state, unadorned with the diamonds and gowns that make bachelorettes
squeal with material glee on our television flat screens.</div>
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The figure/ground debate in <st1:country-region><st1:place>America</st1:place></st1:country-region>
shifts from even these trappings. <st1:city><st1:place>Olympia</st1:place></st1:city>,
a prostitute shown regally luxurious by Manet, is followed in <st1:country-region><st1:place>America</st1:place></st1:country-region>
by a scrutiny of Balthus for evidence of child sexual abuse.</div>
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In fact, the matters of our last 20 years in <st1:country-region><st1:place>America</st1:place></st1:country-region>
are nowhere found more aptly than in the portraits of Anne Harris, which
answer the sarcasm and ironies of John Currin’s vision. These paintings by
Harris are paintings for our time, mostly of women, and girls, by a woman
artist. Here then is the long awaited move – a humane face for the question of
what we mean to ourselves. The figure/ground relationship is almost
non-existent in the traditional sense. What we notice is the figure’s psyche –
the consciousness looking out with some unease about herself, about us, about her
fate in being contained in the body. They are spiritual, if you like that term;
they are of the school of the naked. They are true as the naked is true, and
they are still seeking to be understood, as our human sisters, as what we are,
as how we live bewildered, wry, alone, <span style="mso-spacerun: yes;"> </span>although horribly public.</div>
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Indeed, it may be art that one day makes us incapable of
war, incapable of not understanding one another. This is the process begun long
ago, the process of art and artist seeking to understand more than anatomy,
more than the naked or the nude.</div>
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John Sevcik</div>
John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-7006555949603378552014-01-18T07:41:00.001-08:002014-01-20T10:46:33.548-08:00Bewildered: the paintings of Anne Harris<div class="separator" style="clear: both; text-align: center;">
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<a href="http://4.bp.blogspot.com/-p_cHeATB6Wg/Ut1tLDU19RI/AAAAAAAAAOI/DQu0ccjBdO4/s1600/The+Red+Robe+by+Anne+Harris.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-p_cHeATB6Wg/Ut1tLDU19RI/AAAAAAAAAOI/DQu0ccjBdO4/s1600/The+Red+Robe+by+Anne+Harris.jpg" height="640" width="409" /></a></div>
<span style="font-size: x-small;"> <em>The Red Robe </em>by Anne Harris</span><br />
<span style="font-size: x-small;"></span><br />
Anne Harris paints portraits of what we look like in the
morning, bedraggled, half conscious, before the beauty has been reapplied – the
beauty not only of make-up, but of zest and faith in material culture. In a bed
robe as if going for the newspaper, our mother or wife or neighbor is
confronted by an empathetic look, horrified for a moment by not the absence of
a mask, but the presence of her native mortality. <br />
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The dishevelment need not be strictly early a.m. It can be a return from a party, in front of the mirror before going out, dressed up but not up to it. It is the moment inside the pit of the stomach, subjective, aware, undisguisable.<br />
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These are not simply cultish or ironic portraits. They are
not the fetish of our feared inner state of bewilderment. They are the “if you,
then also I may be so vulnerable.” This is the way they work on us, through
empathy for the subject, which boomerangs to ourselves. The work of this circuit
is enabled by how well they are painted, how deep their expressive humanity,
even how horrified their burlesque of self-recognition is. </div>
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They go where theatre, or great cinematic moments can go,
directly past the critical to the felt sympathy of an inner secret. The secret
revealed is that we are humanly disappointed, with ourselves, perhaps with our
world. You could place these figures in a Beckett play – at the moment the
light goes up, and the protagonist confronts us with all that in the end
matters, our going out in the dishevelment of bedclothes, of tossing in the
stream of time alongside fallen dreams and the dread of what is next.</div>
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John Sevcik</div>
John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-17415212208127849462013-12-20T11:51:00.000-08:002013-12-20T11:51:51.546-08:00The Lense of Vision<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-tlNodYYT21Y/UrSbaIIYuUI/AAAAAAAAAN4/SQVpA8MUyFg/s1600/185_8573.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/-tlNodYYT21Y/UrSbaIIYuUI/AAAAAAAAAN4/SQVpA8MUyFg/s320/185_8573.JPG" width="320" /></a></div>
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<span style="font-size: xx-small;">Moon photographed in 2012 with a 6-inch Newtonian reflector telescope I built </span></div>
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When I once brought my eye to the eyepiece of a telescope
and witnessed the moon, it was not science but wonder that held me transfixed.
And this, too, would not be correct, for what I saw was not suspended in
hallucination, nor a vacant staring; I was instead enlivened by sensation.
Noticing things, specific and concrete, both expanded my wonder and began a
list of observations which descend to science and its purposes. But the
open-eyed shock of near disbelief – the witness of one’s own miraculous vision
– remained for all my life a welcome, if infrequent, occurrence. Art excites
it, yet art seems a secondary illustration taken of vision’s prime effect. It
is like memory rather than the first instance of seeing.</div>
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Oddly, Copley has some of that optical effect in his airless
colonial portraits, and Vermeer practically sits us down in a <i style="mso-bidi-font-style: normal;">camera obscura</i>. It is more due to
optical accuracy that the state of wonder is engendered in us like this, and it
is ironic for the hard observational work – the science – needed for such a
simple accomplishment on the viewer’s behalf. </div>
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So the state of seeing passes through stages – the first
being prized for its sensational magic, and succeeding observations resorting
to noticings, then measurements, finally a dry correspondence like this, or
some account book registration.</div>
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Who will reawaken in us this first light of an object’s
existence in our consciousness? Who can re-create the poetry of the brand new
experience? Or have we forever passed beyond the ability to be thrilled by a
movie of an arriving train? Must we now have a story to include it in?</div>
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Yet, the train arriving still thrills us in person. No story
is necessary. The visceral is enough, yet the more we record it, the less we
have of it. When I again have brought my eye to the lense of the telescope, and
see there the moon in its finery of gray and satin whites, its bombarded
continents and gray dust oceans; when I thereon do gaze languid in my summer
comfort, breathing air that is nowhere present on the moon; when I partake of
wonder at the stony sphere out there and of myself below drawn up by
fascination; then am I at the tip-toe of my life, alive with the wonder of the
all in all.</div>
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<br />John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-47310678564447982682013-10-13T10:02:00.000-07:002013-10-13T10:02:13.252-07:00Eileen Goodman, Lauren Garvey and Aubrey Levinthal at Gross McCleaf Gallery<div class="separator" style="clear: both; text-align: center;">
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<a href="http://2.bp.blogspot.com/-9Hqx9yuUH5E/UlrPXSgTSvI/AAAAAAAAANo/nWojZP4t3m8/s1600/foggy+table,+2013,+aubrey+levinthal,+16+x+16+in.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-9Hqx9yuUH5E/UlrPXSgTSvI/AAAAAAAAANo/nWojZP4t3m8/s400/foggy+table,+2013,+aubrey+levinthal,+16+x+16+in.jpg" width="391" /></a></div>
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<span style="font-size: x-small;">Aubrey Levinthal, <em>Foggy Table</em>, oil on panel, 16 x 16</span></div>
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<span style="font-size: x-small;"></span> </div>
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We went to see Lauren Garvey, Aubrey Levinthal, and Eileen
Goodman’s openings at Gross McCleaf. Levinthal is like the Bonnard of
Philadelphia; her transparent paints and reliance on bright, visionary
underpainting that gleams uncovered<span style="mso-spacerun: yes;">
</span>gives these still lifes a euphoria and splendor. </div>
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Lauren Garvey’s abstract paintings make a more introspective
impression – mysterious, lower chroma meditations that leave charm behind for
something interrogative. They are deeper than Jasper Johns’ abstract painting,
but share his confrontational nature, as if to say “what’s this” of something
the viewer can come to know, but not understand.</div>
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Eileen Goodman’s realist watercolors display the abstract
organization of objects prepared for painting. The added element is done for
color and because it can be included. They then have a relationship akin to the
crowd and a showy outsider. The tone, however, is somber, making these
outsiders conscious and tragic as an Ayn Rand heroine (if there is such a thing;
if not, there should be).</div>
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<i style="mso-bidi-font-style: normal;">Gross McCleaf Gallery<o:p></o:p></i></div>
<div style="text-align: left;">
<st1:street><st1:address><i style="mso-bidi-font-style: normal;">127
S Sixteenth Street</i></st1:address></st1:street><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></div>
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<st1:place><st1:city><i style="mso-bidi-font-style: normal;">Philadelphia</i></st1:city><i style="mso-bidi-font-style: normal;">, </i><st1:state><i style="mso-bidi-font-style: normal;">PA</i></st1:state><i style="mso-bidi-font-style: normal;"> </i><st1:postalcode><i style="mso-bidi-font-style: normal;">19102</i></st1:postalcode></st1:place><i style="mso-bidi-font-style: normal;"> <o:p></o:p></i></div>
<div style="text-align: left;">
<st1:date day="2" month="10" year="2013"><i style="mso-bidi-font-style: normal;">Oct. 2 – 26, 2013</i></st1:date><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></div>
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<br />John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-38251363322011394622013-10-05T09:54:00.000-07:002013-10-05T14:57:26.952-07:00Bill Scott at Hollis Taggart Galleries<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;"> <span style="font-size: xx-small;">The Fourth</span> </span><span style="font-size: xx-small;">Cherry Tree, oil on canvas, 65 x 34 in.</span></div>
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The 21st Century has arrived, and this is what it consists of -- the imagination and empathy of color. What Cezanne did for the apple, Scott does for the viewer. This is partly due to something Rothko took us through on his own behalf, for his own suffering. But the result of painting after another half century of modernist development has landed in America from a unique and apt shore: the city of Philadelphia.<br />
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The difference might be said to be a shift in the last two years from opaque to transluscent paint application. It might be said to be a shift from lower chroma to high chroma paint mixture; but none of this is as important as the unique experience that continues from the former paintings, but blooms into undeniable transport. <br />
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This empathy of tender, brave and luminous paint, a shimmer of radiance lighting the mind, is as new as the iphone is to the telephone, yet just as human. What you have before you is a symphony without elegy. Nothing is impossible to imagine in a state of joy like this. There is no ballast, just lift. The eyes are upward, they see for you around corners, they see the sound of the surf in the sky, in a bath, in the reconfigured impressionism of Renoir.<br />
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You can't really say impressionism, or realism, leads to this; they lead to each other; or better yet, they stem from the same inner source of the artist's inspiration. That one artist can give us such light is like saying a man can be the helmsman of dawn. <br />
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Joy and the ode to joy is all!<br />
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<em><em><strong>In Arcadia</strong></em></em><br />
<em>Bill Scott at Hollis Taggart Galleries</em><br />
<em>3 October to 2 November 2013</em><br />
<em>958 Madison Ave.</em><br />
<em>New York, New York 10021</em><br />
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<em></em><br />John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-47529387064511682932012-04-02T15:11:00.004-07:002012-04-02T16:30:48.362-07:00Empathy, Religion and the Other: the art of Henry Ossawa Tanner<div>The show of Henry Ossawa Tanner currently at the Pennsylvania Academy of the Fine Arts is focused more on his religious paintings, and almost not at all on his paintings of Black American genre subjects. Of these, the most famous is the painting “The Banjo Lesson,” which was shown during the Philadelphia Museum of Art’s 1990-91 show of the artist’s work.<br /><br />Alas, there are only a few of those American genre paintings, for when Tanner left the U.S. for France, he became a painter of religious paintings, and intriguingly, the life of the Muslim quarter in Palestine. In Paris and his retreat north of there in Etaples, he notices the religious life of Christianity in the town square; he pictures fishing as fraught with religious symbolism and metaphor; he paints the supernatural glow of a cool redemptive light that usually visits a humanized world of warmth. Even his early quick portrait of his father Benjamin Tanner, a Bishop in the A.M.E. church, already shows a cool turquoise blue crucifix resting on the breast of the bishop in an otherwise warmly lit ambiance.<br /><br />The humanism of religious people is part of this work’s power, but there are other aspects and ways to its unfolding. The empathy with the other by which he tells the tale of redemption is exemplary. Christ for him is a wonderfully magician-like, mesmeric, tall individual. He is indeed a miracle worker, and his disciples are shown in two different responses to Christ in the painting “The Pilgrims of Emmaus:" the wonder-filled face of astonishment, and the purpose-filled seriousness of deep conviction. Neither of these two understands the mysterious figure seated before them. The grapes on the table tell the proverb of their struggle, their wisdom to come, even their martyrdom. They have yet to endure much in order to understand and imitate the magician of metaphysics.<br /><br />There is inherent in Tanner’s view the appearance of the other as a mystery and private fact of life. Women are, in these paintings, the real religious figures of divinity, deep understanding, and human empathy. The woman standing behind the disciples in “The Pilgrims of Emmaus” seems un-needful of redemption. The mother teaching her son in “Christ and His Mother Studying the Scriptures” seems a true source of love and wonder. The mother in “Mary” looking down at her infant, or off into the light that visits the manger in “Holy Family,” or into the tomb abandoned by the risen Christ on Easter in “The Three Marys,” each seems fully human, fully realized, and without any needs of zealotry or theological conviction.<br /><br />There is so much to notice about this record of human thought, how it actually differs in the sexes as they struggle to understand, or do something about, the fate of living and dying. In the great painting “Return from the Crucifixion,” the stragglers – mostly women – trudge from the scene of the three crosses, over a precipitous landscape of three different lights. The one they tread toward us is a gnarled and knotted hill of despondent grief, the middle one a landscape of dried streambeds searching their lost ways toward nowhere, but the far bluffs catch the promise of day’s last light under a warm blue sky. How has the story of what we are left with after the execution of Christ ever been better portrayed?<br /><br />As to the great painting of “The Resurrection of Lazarus,” I must first applaud it along all these lines mentioned above. Every figure in this painting is perfectly drawn and painted to show a story of human emotion, thought, experience, concern. The light of day coming from the cave entrance is strangely cold and filled with the blaze of justice and divine truth – a truth of power and miracles, but not easy sympathies or understandings. The light in the crowd, the light of Christ and Lazarus and the human scene at the grave is warm and sympathetic. All eyes are turned in fear, or hope, or grief to the missed loved one, and he – does he actually awaken in this painting, sitting propped up in his grave as if tiredly making his way back into life? Or is he actually succumbing to death in the presence of his family? Isn’t this what this great painting is actually about? Not the act of rising, but of dying? And in this moment of mortal passage, what isn’t miraculous about the presence of love, a love that rises even from the grave to live eternally? This, the soul of the person, this tender Lazarus, his hand falling in weakness to its knuckles by his side, this man so unlike a disciple, so uninterested in the miracle itself, only gently conveyed to the pity of us and Christ for our consideration and love – this is our most successful meeting with the other. For these are not people like us in any other way than their humanity. Their dress is different, their living arrangements are different, their climate is different, their hair is different, and yet we love them and understand them.<br /><br />Sermons in words can only get us to think of these things. Paintings like these make us feel the truth for which sermons are written. There is no difference between a miracle and a painting, and when we were children and felt these things were true about paintings, we knew a truth before we were ever taught why it is true.<br /><br />And so we come to this art to know that the human being is a miracle in a miraculous place; the place of those exquisite nocturnal skies, as the one in “Christ and His Disciples on the Road to Bethany” that Tanner spreads out in their infinity, yet close to the playing out of our dramas and concerns. It is both sincere and modern, this view that seems to be about religion, but is actually about inclusion, and scrutiny, and the reckoning with strange powers, and the overarching family of our large and enduring human love, our world-wide community.<br /><br />John Sevcik<br /><br /><em>Henry Ossawa Tanner: Modern Spirit<br />at The Pennsylvania Academy of the Fine Arts<br />Broad and Cherry Streets,<br />Philadelphia, PA<br /><br />Show continues until April 15, 2012</em><br /> </div>John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-54667433651675952692011-08-23T22:55:00.000-07:002019-06-25T12:36:01.668-07:00Remembering Martha’s Vineyard and Wade Johnson<a href="http://1.bp.blogspot.com/-ORdZAFsbVDs/TlSTc7snqNI/AAAAAAAAAFg/xLJ5AT8KziU/s1600/Atlas%2BWas%2Ba%2BWoman.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5644298358272534738" src="https://1.bp.blogspot.com/-ORdZAFsbVDs/TlSTc7snqNI/AAAAAAAAAFg/xLJ5AT8KziU/s320/Atlas%2BWas%2Ba%2BWoman.jpg" style="cursor: hand; display: block; height: 273px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><span style="font-size: 85%;"> <em>Atlas Was a Woman,</em> oil on canvas, 12" x 14"</span><br />
I was painting something partly from memory at the base of the Edgartown Lighthouse a week ago. The day before, I had sat there and seen a woman go out on the beach and spread a blanket, which billowed briefly as she flung it out in the wind and the sun. I had noticed how it conversed with the sails on the horizon, showing a kind of signal apropos of Penelope, perhaps, and the others of Odysseus. Or maybe she is Atlas, and Atlas is a woman. I had long ago considered something about a picnic blanket and the map of the world to be synonymous when we are very small children, and our mothers produce all the geography of our early life, first in the astronomy of their own body, and then in these quadrangles, which they come to occupy later, perhaps alone, as this sun bather was about to do.<br />
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And as I painted, I was listening instead to the wise man of the lighthouse converse with my wife, Lynne, somewhere behind me. Their voices would waft in and out of my consciousness, as painting makes one deaf at times, and I marveled at the calm and intelligent and passionate strains of this Thoreau of our times – a certain Wade Johnson, as I would later meet him – the lighthouse keeper, and in his own words, the light keeper of that little place in the world.<br />
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He would point out that people from all over the world came here, and he didn’t care which side of politics they were on, when he sent them upstairs to witness the view, they came down different. He called it the Wow factor, which brings us all together in the experience of wonder. He said that in life, this vestige of architecture that was originally created for hope and rescue, for the reckoning to safety by early mariners, was still performing its function in a charged political climate.<br />
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He thought the thing to do was bring people together in this way, around the drive to preserve and save this place, and our shared world. He would address his charge of public responsibility onto Conservative and Liberal equally. He would trick some into going up for free, on his invitation, and he said that no matter how hard the case of “what, me pay for that [lighthouse, public project, your salary]?” a visitor suffered, he would always pay as he left, softened by the solvent of sun and far-sightedness into a wiser persona.<br />
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I think it is not only the landscape they saw up there, which moved them; perhaps also the fact they had to duck through a little opening at the top to get on the walkway around the light that humbles like an old monastery door in Greece; and perhaps it was these things together with the time it takes to reflect on the voice and the man who waits below. The ideas of Wade Johnson are so articulate, so freshly wholesome, so knowing and yet hopeful, so innocent, yet so ready to reason. He is highly educated, but stands in the commons, delivering the citizen’s news to his fellow citizens, enlightening and uplifting them, at a moment when the world seems a financial jumble.<br />
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One by one, the world’s citizens look from Wade Johnson’s lighthouse, and before they leave they have a bit more confidence about what can still be done. His is a kind of Common Sense which is native to the people of our country. A little more cooperation, a little more trust in reason, and we might move forward once again.<br />
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I have pleasantly, industriously, sometimes in frustration that opened into progress, spent a few hours painting, lulled by the conversation that drifted over me. Perhaps this leant the painting its particular bliss. I think an earnest voice, a clear voice, a calm and wise voice, is what we need. This is not a man of impatient lectures, nor a man who sees the world as a tomfoolery of hoaxes wrought on us by scientists. No, our tradition of wisdom and common sense, of thoughtful and considerate passion, of hope in the present as well as the future, is created every day the lighthouse keeper is at his post.<br />
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Wade Johnson sees the boats into the harbor and the vacationers back to their play. He oversees the center of the world, the way Thoreau considered Concord Paris. It is just as important to be intelligent where you stand. It doesn’t require a stage, or a special province, nor the city as such. And yet, a lighthouse is a signal – the one where you can find him. This is a sample of America, this is a hope in the world.<br />
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<a href="http://2.bp.blogspot.com/-rUopospi6Zg/TlSXoFKX8WI/AAAAAAAAAFo/FPuupTUwPX4/s1600/I%252C%2BWade%2BJohnson%252C%2Band%2BLynne.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5644302947838325090" src="https://2.bp.blogspot.com/-rUopospi6Zg/TlSXoFKX8WI/AAAAAAAAAFo/FPuupTUwPX4/s320/I%252C%2BWade%2BJohnson%252C%2Band%2BLynne.JPG" style="cursor: hand; display: block; height: 308px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><span style="font-size: 78%;"><em><span style="font-size: 85%;">Me, Wade Johnson, and Lynne</span></em></span><br />
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<em>August 21, 2011 </em><br />
<em>-- Philadelphia</em>John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com1tag:blogger.com,1999:blog-2115379363047548007.post-37771160025446268372010-12-05T10:48:00.000-08:002010-12-05T11:12:39.973-08:00Lynne Campbell, Celia Reisman, and Christine Lafuente<div align="left"><a href="http://3.bp.blogspot.com/_GQWzRFzm-Z8/TPvev9lKbNI/AAAAAAAAAFM/CKN77QbJaKs/s1600/188_8861.JPG"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 320px; DISPLAY: block; HEIGHT: 240px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5547272281602550994" border="0" alt="" src="http://3.bp.blogspot.com/_GQWzRFzm-Z8/TPvev9lKbNI/AAAAAAAAAFM/CKN77QbJaKs/s320/188_8861.JPG" /></a> <span style="font-size:78%;">Lynne Campbell and a series of her paintings<br /><br /></span><br />An interesting thing about this show is its frequent reference to nature, and how the artists relate to that subject in the way they paint.<br /><br />All three are known to frequent Maine, but only two seem to use motifs from that landscape. In Christine Lafuente’s work, oil paintings of dashing brio imbue often quiet scenes with a passion and energy that upends the themes of gray with the thrill of painting. Seeing is as exciting as something very youthful in us, these paintings say, and they notice color as a blazon, as something startling and enlivening.<br /><br />For Celia Reisman, scenes of Maine are a chance to create wonderful rhymes of shape, a chance to simplify form and detail into lovely abstractions that inter-relate across the painted surface. Neither painterly-ness, nor <em>impasto</em>, are her objectives, but a modest stepping away, a replacement of realism with something embroidered out of the real. If there are Platonic shapes and colors, then this is the artist of those. Her edges remember the lilt of line, emphasizing that we follow the way nature and human arrangements compare and contrast with each other, even in something as subtle as a house edge, a lily garden and the landscape beyond, which she holds together in a certain light and design.<br /><br />For Lynne Campbell, the idea of Maine resides in not being there. She equates thinking of with simultaneity. Were she in Maine, she might well be thinking of a wildlife refuge near home, imagining how life goes on in a space we know, but cannot be present in, except by the reverie of painting. The sense of a movie, of time passing from one stage into another, interests her. Time is her distance. This is worth knowing, because it explains the duration and way of looking her paintings encourage. Like Haiku, they seem simple and brief, yet one lingers in their silent grace, appreciating the visible world we often over-number with details and thereby give up as chaos. To her the woods are woods, not single trees blinding us to the ensemble. And yet she picks a focus, and relates something to that. As in Celia’s paintings, and Christine’s, there is a relation between parts that makes us feel, in this case, the serenity of nature’s order.<br /><br />To see like this, and for these reasons, we require artists as guides in the visual adventure of life on earth, and the life of our spirit.<br /><br />John Sevcik<br /><br /><em>At Morpeth Contemporary<br />Hopewell, New Jersey<br />Since November and continuing within the Holiday small works show<br /></em></div>John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-38021541522828590602010-01-11T12:57:00.000-08:002010-01-11T16:46:29.416-08:00Life and the City<a href="http://1.bp.blogspot.com/_GQWzRFzm-Z8/S0u4f59MslI/AAAAAAAAAE8/WCJdPiXTjx8/s1600-h/michael+bartmann.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 320px; DISPLAY: block; HEIGHT: 240px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5425633034370855506" border="0" alt="" src="http://1.bp.blogspot.com/_GQWzRFzm-Z8/S0u4f59MslI/AAAAAAAAAE8/WCJdPiXTjx8/s320/michael+bartmann.jpg" /></a> <span style="font-size:78%;">Michael Bartmann next to one of his paintings<br /></span><br /><br />Michael Bartmann’s paintings at Rosenfeld Gallery this month reflect an ongoing interest in the architectural side-stories of modern urban landscape. These industrial spaces are often views of underpasses, or views from inside abandoned factories that open somehow. Both sorts of views share the idea that a wall both interrupts and opens to another space. In some cases his paint examines a wall as a means to express a certain slice of space itself.<br /><br />His method of layering paint creates enigmatic distances punctuated by scratchings, scrapings, or thickly applied pigment. Amid the overall earth tone of these powerful yet quiet pieces there is a nice sense of color work, which leads one toward the light of day in some area of the painting.<br /><br />This seems to confront an oppressive notion of confinement with release. The architectural element often presents us with a sort of Platonic ideal, which the overall tone and color work also seem to debate. Is this beautiful, or sublime? Is a repeating pattern of daylight cast in receding perspective depressing, or does the change in that light promise release and redemption?<br /><br />In most cases the paintings also remind us of the structure of space, of how it outlasts usefulness, of how a sort of enigma remains behind in our midst capable of evoking the mathematical sublime. As sea shells have a beauty that outlasts their lives, these parts of a city have the noble imprint of some mighty purpose, capable of Roman arches, straight edges, and a function ultimately given over to transparency. What we are reminded of in the end is how daylight reclaims the man-made shadows of these constructions, as water does the confines of a shell.<br /><br />Also on view are Thamer Dawood Sudani’s colorful abstractions that seem to narrate life force as a light filled with incipient symbols, language, and lamp-like exuberance. His family’s story of escape from Iraq gives these hopeful canvases a particular poignancy and heroism. They speak to the question of the invincible human spirit. Only one piece seems able to afford to place this exhilaration in the context of what must have been lost, but, in their way, both artists here deal with what can be dealt with in the appropriate timeline of their experience. In both cases we are surprised at the phenomenon of expression and experience, and moved by the power of the imagination to focus that experience at its most vital and necessary questions.<br /><br />Until January 31, 2010<br /><br />Michael Bartmann and Thamer Dawood Sudani at<br />Rosenfeld Gallery<br />113 Arch Street, Philadelphia, PA 19106<br />215 922 1376John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com4tag:blogger.com,1999:blog-2115379363047548007.post-470358777142931692009-10-24T16:10:00.000-07:002009-10-24T17:28:21.068-07:00The Sleep of Reason and other oracles of artThe sleep of reason was the condition Goya named as beginning the grotesqueries and nightmares he witnessed in his extraordinary book of etchings called <em>Caprices</em>. Even the sardonic use of a lighthearted term shows the nuance of what it means to abdicate thoughtful responsibility. It is also a defensive term to underplay the strength of his indictments via the harrowing journalism of his eye and the wickedly ironic titles of those images. It is not surprising that Goya’s intense realism, his honesty, his risk in speaking out, was rewarded with exile – the one place, short of death, the free artist is allowed to go when taking up a critique of society.<br /><br />To condemn cruelty in the way Goya does, and aristocratic self-indulgence, is a way to make specific the grand pageant of Christian suffering as a matter in his own time. By contrast, Breughel’s oblique criticism of the depredations of the Counter Reformation in Flanders (<em>The</em> <em>Slaughter of the Innocents</em>) is a more cloaked critique that used a contemporary depiction of ancient martyrs to shame the sadists of his day. Goya’s modernism is in his avoidance of this age old method of creating historical metaphors in painting. Goya depicts the disordered state of his own world.<br /><br />It may well be that when all are subjective, when all are in the thrall of some cruel insanity of belief-based hatred, that the subjective response is one of reclaiming reason, reclaiming the objective state. Who can see this way, and from what position?<br /><br />Goya’s privileged position as painter to the King’s court was similar to the access Moliere achieved in the French King’s court of his day. Both men were allowed to grow in their worldly and moral satires, because those kings were themselves enlightened enough to share some of those opinions and allowed themselves to be entertained by others. Similarly, in Breughel’s life, a prince bought most of Breughel’s paintings, enjoying their views of the lives of peasants.<br /><br />In our later age, as kings and court were closed as offices of patronage, someone like Caspar David Friederich, who celebrated the social revolutions in Europe of 1848, became an outcast. A few years later Edvard Munch was jailed for knowing an important anarchist. These are the steady drumbeat of art as conscience, and society does its best to prefer aesthetics to truth and subjectivity to reason. It is perhaps more interested in applying reason in the aid of subjective states than the other way around. Classicism is a nice example of rational depictions of what are irrational stories. Throughout the Christianization of Classicism, or really the classicization of Medievalism, we still see the artist decrying the destruction of kindness by oppression, and celebrating the victory and hope of the soul. In such storytelling, the good outlive the evil in repute. In that tradition, in my lifetime, a Pope helped undo the cruelty of an oppressive system of government by symbolizing the suffering of God, or the soul’s intention, in society. He suffered both exile and attempted murder. When there was a pause in his exile and he appeared in Poland, the chief of state’s knees shook with fear on meeting the Pope; such is the force of truth and the woken state of reason.<br /><br />The dogma of Christ is nothing but love and tolerance. The many smaller dogmas by which people conflict themselves violate the example of Christ and the spirit of the greatest Dogma, which is born of the love of mother and child, the love of spouses, the love of lovers. Love is a human knowledge of humanity so extraordinary that it is enshrined in Divinity, which may as well exist, so strong is our feeling for what is true and good in us. The essential friendship of people, which can be destroyed by lies and hatred, is a likewise sacred thing toward which great literature and painting urge the viewer.<br /><br />The fallen and the risen both know this thing in its true light, or in the shadow from which they envy it. It is as universal a knowledge as many lesser truths like counting and spelling, and so also undergirds religions and the toilings of philosophers, even if their disputations lead to a negation of their original motive.<br /><br />An artist is the likely liquid of a modern age, able to pass among people without a seeming office or position of power, only a commentator off to one side seeking to please by beauty and truth, and discovering the time living in us. Almost by accident a shock occurs. Like Columbus still, we are shocked by the great distance west to Asia, and shocked by the intervening discovery, not able to recognize what, in fact, we have discovered, nor how to treat the people we encounter.<br /><br />In the sleep of reason there is enough wrong to supply delusion on a mass scale, but the objective state in our subjective nature reveals enough that is eternal and true to bring us up again, and again, generation after generation.<br /><br />This is the meaning of culture, its long repetitions, its rediscoveries, its persistence in the face of cruelty.John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-82449368682604470792009-09-19T07:44:00.000-07:002009-09-19T08:12:45.593-07:00The Blue Hour<a href="http://4.bp.blogspot.com/_GQWzRFzm-Z8/SrTyJBRxicI/AAAAAAAAAEU/fKfp3Hw1aUA/s1600-h/The+Blue+Hour.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 240px; DISPLAY: block; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5383193691390314946" border="0" alt="" src="http://4.bp.blogspot.com/_GQWzRFzm-Z8/SrTyJBRxicI/AAAAAAAAAEU/fKfp3Hw1aUA/s320/The+Blue+Hour.jpg" /></a> <div></div><div></div><div></div><div>At Rosenfeld Gallery this month a show of Leslie Fenton’s works of paper, literally torn, wrinkled and opened and dyed and painted and soaked and handled and assembled into beautiful abstract paintings, shows what can be achieved in the inspiration of the imagination working with almost impossible tools.<br /><br />If you place your hands on paper and work it by wonderful alterations, a real artist can summon from the scraps something magnificent, delicate, fierce, or watery. Ms. Fenton has made these materials into paintings that reflect the impossibility of their creation by appearing created by time and processes altogether natural and graceful.<br /><br />A surgeon with the same hands would be highly sought after. This sensitivity to the tissue of sight is practiced on all the pieces in the show, but the one I most prize for its illusion of infinity, and the light of its title is <em>The Blue Hour</em>, a large work that deserves a longer life of exhibition, as might be found in the Philadelphia Museum of Art.<br /><br />The Blue Hour is a term for the interval before dawn, when the sky begins to brighten and illuminate the world in a soft blue hue. People rising early would be known to appreciate it, and be familiar with its magic. This painting allows that experience in daylight, and gives forth the same benediction of a kind infinity returning us to earth from sleep and forgetting.<br /><br />Some have spoken of a morning light in painting. This is an entirely extra territory. With this artist, night, the dark spaces in trees, the color of rock and sand and cloud, make up the world that hasn’t been covered enough. The work is palpable, synesthetic with a new sense, not bas relief, but very much reminding us that something slight and fragile makes up the orchestration of the cosmos.<br /><br />Until October 4, 2009<br /><br />Leslie Fenton<br />Mixed Media on Paper<br />Rosenfeld Gallery<br />113 Arch Street, Philadelphia, PA 19106<br />215 922 1376</div>John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-6260796263733134202009-07-10T08:25:00.000-07:002009-07-10T08:35:18.628-07:00Subjective NaturesArtists are understood to practice subjectivity almost as a professional trait. Their vision, their vocabulary, their language are frequent terms used to warn onlookers that what they are coming to see consists of having to practice a sort of translation into the state of mind of the artist. The artist, for his part, has been trying to enter the state of mind of say “nature,” or spiritual truth, or the sublime, or the truth of gesture and action painting.<br /><br />For the Impressionists, the subjective newness of their art consisted of looking seriously at the modern world as a subject. Their charm was their sense of celebration, via the effects of light on dappled lawns or the dance of light on water, or the very dance of the artist’s brush on canvas. Forms of mental distress were viable means of altering the image, as Van Gogh did, or exile, as Gauguin did, or an evolving abstraction, as Matisse did. The loner could express in a pre-cubist mosaic of colors, as Cezanne did, and the list goes on.<br /><br />Were these things done before? Certainly Goya took other than what we would call the official line on war in his time, and El Greco found a manner of painting that exaggerated the form for spiritual reasons. Mannerism itself was an altered state of reality, and recognized as such.<br /><br />It is the moment when a subjective state seems to be the most real take on things that it takes off in popularity. That may not coincide with the date of the innovation, and so the (clearly subjective) history of art that I propose includes a concept of the oh-so-much-more-real. Comparing an Inness to an Albert Pinkham Ryder one has to admit the more real emotional state of delirium on Ryder’s part, and the more real state of rapture on Inness’s part. It is in these ways that we value them most, not in the factuality or primitivism of their means. And it is because we can be objective about the subjective that we understand the equal merits of great artists. Artists are not all doing the same work, although they work in much the same faith to arrive at their different realities of emphasis.<br /><br />Another way we show we appreciate a great range of subjective states is by the popularity of museums, and the adventure of seeing new art by contemporary artists. Even if befuddled or outraged, the engagement and curiosity of the viewer is a singular force driving the growth of art.<br /><br />Can art run out of subjective states? My experience as a teacher of art suggests no. I practice a rather Hippocratic method of teaching, in which I work with the tendency of a student and try to help realize in technical matters what the prototype of the artist in the student’s work is showing. I have never seen two people in the same subjective state, although I meet with many in the same literal or objective state. It is the habit of students to attempt an escape from the subjective through an appeal to the literal. If only they could get that right, they tell me, it would really look like the model. If only, if only, and yet, the thing they often see as misshapen is really a form of exaggeration, or a nuance of adjustment that announces very clearly what they are trying to say.<br /><br />A long struggle ensues during which I try to save the artist while educating the critic in the artist to know what he may treat as correctable error and what he should respect as a subjective truth. It has been a marvel to me that this art instinct resides in almost all people who come to me. It resembles the inner working of life itself, in the way a particular form of life will weave itself from an inner knowledge of its own design, never getting the chance to see itself in the mirror to make adjustments, as it were. The inward way is already well prepared in both the artist and viewer. For whatever reasons of living and experience, for whatever friction between hope and dismay, for whatever ideal the cynic suffers for, or sad reality the dreamer mourns, a person will take up a cause in art as in life and make a semblance of the things that rouse or delight him for their correspondence with his inner truth. That truth, shared by us in our own workings of life and loss, are recognized as the appropriate matter of art. We see in the subjective truth of art that truth we ourselves harbor in tandem with the artist. We say with this that a larger reality tinges all real things with a certain mood, or energy, or tone of color. And it is about that larger reality we all share and all co-create that we are concerned with in the study and making of art. It is for this reason that the literal fails the test of art, though not that of craft. And it is because we recognize that craft is an attempt to remove the subjective that we relegate it to a second place. Craft alone is not beauty, although laudable in its means. The place it takes, although it fought against it, is the industrial prototype. The more perfectly it is made, the more desirable it becomes as an anonymous matter, a fact worthy of reproduction if one could come by the factory to do it. And it is because the great craft object remains aloof from industry that it threatens the mass produced by its uniqueness, and by the eros it creates in the machinery of reproduction to exploit the design so proffered and denied a license to.<br /><br />It might be thought that design itself is the subjective, and that art and craft are really one, along with the other matters the Bau Haus attempted to unify. This is not so, because design only covers the matters of form as apparent to the eye. The subjective reality of a Ryder, or an Inness, precedes and supercedes design. It works not on the matters of denotation, but through the effects of connotation. If anything, the great paintings denote less by design. Part of their design is in their unfinished state, the unfinished state that emphasizes one dovetail of nature over the others. Were one to look at a wonderful craft piece – say a silver piece by Paul Revere – and a painted version by an artist of that same craft object, one would see the added appeal the painted image has, because of how it imitates, recreates, in fact, the experience of that silver piece, and what it means to the artist. Without the felt addendum of an artist, the craft piece is always complete in itself, available for analysis, appreciation, but exquisitely objective.<br /><br />However, craft pieces are sometimes also considered an art of subjective means. Furniture’s animistic past, silver’s mutability of luster, the quilts of Gees Bend, have language and secrets that fulfill the subjective requirement of art. Should we go back to an earlier definition of art, we would find many activities of people fit under the rubric of art, art as a special knowledge, art as a subjectively discovered means of truth. In its totalities, summed together, these make up a time. If one examines one’s times by a study of contemporary arts, and finds them wanting, one is obligated to set off on the journey of one’s life, to set the objective things right by the subjective truth at one’s disposal. It cannot be that one will be entirely wrong, though he may be considered wrong-headed, literally heading in the wrong direction. But the wrong direction has been proven out before as a right direction, or at least a viable one.<br /><br />An art creates us, so also we create an art.John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-90460428987725814142009-02-07T08:57:00.000-08:002009-02-07T13:19:06.588-08:00Lynne Campbell, painter<a href="http://2.bp.blogspot.com/_GQWzRFzm-Z8/SY2_F8L3keI/AAAAAAAAAC0/KxtfCwQL8v4/s1600-h/Wingohocking+(bluejay)+Medium+Web+view.jpg"><img id="BLOGGER_PHOTO_ID_5300102445261099490" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 313px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_GQWzRFzm-Z8/SY2_F8L3keI/AAAAAAAAAC0/KxtfCwQL8v4/s320/Wingohocking+(bluejay)+Medium+Web+view.jpg" border="0" /></a><span style="font-size:78%;"><em> Wingohocking (bluejay)</em>, 2008, by Lynne Campbell</span><br /><br /><div>The art of this painter, with which I have been familiar for many years now, is perhaps hardest to write of, because I have seen all of it, and because I am so close to the artist. I must be careful not to read into the paintings things I know about the painter, and yet, to explain the artist is sometimes a help in appreciating her art.<br /><br />While still a student at the Pennsylvania Academy of the Fine Arts, Lynne began an interest in the square format, not that she hadn’t created in another format, but it was this shape she began to explore as a window. Notice that the equality of the sides is a very even and calming equilibrium between the vertical and horizontal. It resolves at the outset what classical composition must struggle to obtain. Unlike classical composition, which balances horizontal and vertical by increasing the meaning of the vertical, Lynne’s composition begins in a state of harmony. The implied vertical distance, supplied by classical art’s belief in the divine (think of John the Baptist’s finger pointing upward in Leonardo DaVinci’s painting), or in mannerism’s exaggeration of the vertical (as in El Greco’s figures, streaming heavenward), here is made equal to the horizontal. Such paintings could only be created in an age of post enlightenment; it sees into the world according to nature’s equidistance from us. </div><br /><br /><img id="BLOGGER_PHOTO_ID_5300163470805773314" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 199px; CURSOR: hand; HEIGHT: 200px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_GQWzRFzm-Z8/SY32mGDhLAI/AAAAAAAAADs/KiFNxR5Th64/s200/water+tower.jpg" border="0" /><br /><div></div><div><span style="font-size:78%;"><em>Sighting (silently)</em>, 1993, by Lynne Campbell</span><br /></div><div><br />In her early paintings in this format, Lynne Campbell used the occurrence of manmade structures in the natural or wild landscape as evidence of the mathematical sublime – a term De Chirico used to describe the metaphysical effect of certain large manmade structures in the world and in his paintings. Whatever marks time, or endures time, would give him that effect, thus the clock’s presiding over statues or classical ruins, with a train crossing the horizon far off. Time and timelessness keep track of each other, emphasize each other, in those paintings. </div><br /><br /><img id="BLOGGER_PHOTO_ID_5300162257253555106" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 196px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_GQWzRFzm-Z8/SY31fdOH26I/AAAAAAAAADk/0Qn76Si7wVs/s200/water+tower+distant.jpg" border="0" /> <span style="font-size:78%;"><em>untitled</em>, 1995, by Lynne Campbell</span><br /><br /><br /><br /><div><img id="BLOGGER_PHOTO_ID_5300105559889349458" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 298px; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_GQWzRFzm-Z8/SY3B7PFHC1I/AAAAAAAAAC8/74zwJPsy1jg/s320/Entry+Medium+Web+view.jpg" border="0" /></div><div><span style="font-size:78%;"><em></em></span></div><div><span style="font-size:78%;"><em></em></span></div><div><span style="font-size:78%;"><em></em></span></div><div><span style="font-size:78%;"><em>Entry</em>, 1996, by Lynne Campbell</span><br /></div><br /><div>For Lynne Campbell, who especially loved De Chirico’s paintings then, the mathematical sublime was visible in oil tanks, or water towers. The water towers became an important motif, after the interest in oil tanks seen in refineries. These early compositions had high horizons, and the sources of oil and water seemed to require that. They were studies of the earth as a source of one or another elemental fluid. </div><div><br /></div><img id="BLOGGER_PHOTO_ID_5300108411582439586" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 302px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_GQWzRFzm-Z8/SY3EhOduYKI/AAAAAAAAADE/E45Lx51Xvc8/s320/Return+Medium+Web+view.jpg" border="0" /><span style="font-size:78%;"><em>Return</em>, 1997, by Lynne Campbell</span><br /><br /><div></div><div>With the water towers, an eventual shift took place, and the horizon moved to the bottom of the composition. Water’s other source, the divinity of air and weather, became acknowledged, and it is about that time that she and I became bird watchers. With that interest a new motif became her obsession, the sighting of a bird.<br /><br />And now I will explain how like Agnes Martin these square, abstracted skies, become. They contain the slenderest piece of horizon. There is the equilibrium of the format, and then there is the placement of the bird in that context. The way the space is divided, the way the line of flight enters, or predicts its passage, all balance in a remarkable way. The object of each of these compositions, whether they include energy or the stasis of humidity, is an extraordinary serenity.<br /><br /></div><br /><div></div><img id="BLOGGER_PHOTO_ID_5300110027690875426" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 310px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_GQWzRFzm-Z8/SY3F_S8AGiI/AAAAAAAAADM/IWwTbdvxr24/s320/Late+Medium+Web+view.jpg" border="0" /><span style="font-size:78%;"><em>Late</em>, 2004, by Lynne Campbell<br /></span><br /><br /><div>The serenity of nature is not what she implies in these paintings, but the serenity of the onlooker. She is showing a certain viewpoint, in which we are at the moment between dwelling on a sky-filled landscape and noticing a passing bird. The sense of the cosmos, of the allness of the sky has us absorbed, and the bird noticed is placed in an incredible fit within the viewer’s universe. It is not locked-in so much as released-into. The environment and the inhabitant are as one, imbued with the spirit of each other. It is in this way that the older classical vertical direction has been made imminent. One can see spirit right there before oneself. Centuries of science and understanding have brought us to the potency of the present. These are paintings possible after Emily Dickenson, and after the general awakening about the fragility of the environment. They are a discovery coincident with that which holds that life evolves from its surroundings, that context matters, and that passage moves through the creating air of our life.</div><div><br /></div><br /><div></div><img id="BLOGGER_PHOTO_ID_5300165073895285362" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 317px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_GQWzRFzm-Z8/SY34DaB14nI/AAAAAAAAAD0/ncyYmqVR6HE/s320/Wingohocking+(goldfinch)+Medium+Web+view.jpg" border="0" /> <span style="font-size:78%;"><em>Wingohocking (goldfinch)</em>, 2008, by Lynne Campbell</span><br /><div></div><div><br />Observations like these are timeless because we can understand they were always true, even if they now seem recently new, beginning the wave of the present age. While in the city, the birds were part of the urban environment, passing over rooftops with the complete ease of belonging. Now, though still in the city, they constitute a series named for a street that in Lenape means “a good place to plant.”<br /><br />Edward Sozanski has termed them visual haiku, admitting their spare means and profound effect. As poetry does, they awaken us to a sense of being, and a state of awakened bliss. Though many are summer or winter visions, they grant that first truth of seeing the spirit of life, the spirit most of us assume each spring when we wake up to the sky and the weather in a state of bliss. If a Buddha were to come as the face of nature, he would make us compassionate in the way these paintings of our nature make us feel. </div>John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com2tag:blogger.com,1999:blog-2115379363047548007.post-8214345470175357952008-04-14T19:00:00.000-07:002008-04-14T19:06:13.254-07:00FidelityThe thought that now begins to occupy me concerns the question of how art advertises life here and now. Because our culture has met up with nihilism again in an old form—the form of religious renunciation of life and its happiness—there is a need to revisit the meaning of religion.<br /><br /> Religious narratives of history and being seem to follow the Romantic notion of a lost Eden of Joy, which reappears after death. This literal interpretation is a mistaken hope. What seems more likely is that human perception begins in a form of bliss, matures into a drama of conflicts and ends in an armistice of hope. All of these can be seen as worthwhile stages of life, and it is the celebration of this life to which they add their intimations of immortality. Eden and Heaven are here and now. One can live in them or Hell, as the Buddhist reminds us. And it is in the conscious choice to live fulfilled lives of civilization, cultivation and enjoyment that make immortality present. The ancient Greeks would even consider such people to have become like gods, implying by that the notion of true living. <br /><br /> It is in this sense of art as an advertisement for life that we can make sense of all the partial efforts of consumer advertising, of pop art and op art and expressionism, of abstraction, surrealism and realism, of impressionism or the Baroque or the Renaissance. What the consumer is always being promised—taste, beauty, style, wit—are tools for the ages-old consolations and celebrations of life. Except as they promise to substitute buying for living, they contribute to the herd instinct which is looking for something called happiness. Be it found at the remove of a vacation purchased via Southwest Air or at a restaurant table for two at an expensive venue, it finally comes to the thing for which art has always been creating access—from cuisine to couture to truth and beauty. Art is a means to bring us close to life, but life is in the living of it. Henry Miller essentially said the same. Living and happiness are what the fuss is all about, even to the point that a person can find happiness in truth or the beauty of difficult things.<br /><br /> Experience in art is also less material, by the very nature of art’s simulacrum, by its reduction or abstraction of the world into a two-dimensional vision prepared for the cave of the retina and the deeper cave of consciousness, itself. This has some effect in making art nearer to spiritual ideals, and less the material world it reflects or uses. Because it operates on our sensation so directly, it is tantamount to thoughts and dreams. These are the fields of immortal reflections, the constancy of principles, the repeatable experiment. We hold truth to be self-evident, so also art. It is there or not. We may hold the higher consciousness of ourselves and the world in our hands and not perceive it in a contemporary artwork. It may be there or we may mistake it to be there. Later in life we may understand it all as what our time needed to see. It is a message from the light of day—a Platonic ideal of the Mediterranean climate. The shared vision, the shared meal, the climate whose temperature and pleasure makes people feel intimate with themselves, each other, the day itself, the sun. All of this keeps calling us to live as best we can in the interval allowed us on earth.John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0tag:blogger.com,1999:blog-2115379363047548007.post-25491201029598031412008-04-14T18:50:00.000-07:002008-04-14T18:57:36.780-07:00Elementary Particles“Honey, I shrunk the universe,” I could have said to my wife after writing a previous blog entry here (The Fallibility of Perception). I treat my physics speculations as light humor, because my experience in science was brief and long ago. I once studied astronomy with a real hope of a life in that science, but somehow was lured into art.<br /><br />By coincidence, some aspects of art and science – perhaps the most interesting to us as people – are similar. Both arise out of an interest to describe the universe to ourselves and each other. While a description may satisfy me alone, it cannot be acceptable to others if it seems inconsistent with reality or is disprovable by previously ascertained knowledge.<br /><br />In painting, if the artist neglects the volume of space in which the still life resides, there is a flatness to the painting which lacks the compelling authority of, say, a Paul Chardin, or a Cezanne still life. We are thus familiar in art with the inference of reality. After all, we can see by inspection that the canvas is a flat surface. But stepping back we experience depth in the best paintings. How have we inferred this illusion? It is by the artist’s knowledge of how the eye reads reality. To test this, you can view a good painting with one eye only, and still experience depth. Do this in looking at the world and the world will go flat.<br /><br />In science, there are many cases in which our unaided senses cannot make the correct inference about the universe. Without a prism, we cannot know light is made of colors, although long ago people attempted to deduce this knowledge from the appearance of rainbows.<br /><br />Back to the artist. If the artist combines all the colors in paint, he does not get white light. How come? And so much for artists having anything to say about science, you may add.<br /><br />But it is in the nature of inference that science and art are kindred spirits. Science proposes a model, with an experiment as demonstration, and invites the public to its carnival tent for the entertainment of understanding the magician that is nature.<br /><br />Similarly, the artist shows a concept of the world – admittedly one immediately accessible to the eyes – and says, come in and be dazzled by nature. The audience, always on a quest for entertainment and knowledge, is happy to be awoken by science or art to a sense of its world.<br /><br />The audience has seen apples before, of course, but Cezanne’s apples wake them to the notion of admiration, even love, of apples. The audience has seen the moon before, but after Newton they think of gravity and the tides and the nature of orbital motion. They can envision a human being in orbit around the earth and they can infer the nature of the earth’s travel during a year.<br /><br />In this sense art is specific and science leads to generalization. The audience of a month is enjoying a rather abstract reality. But what is not abstract about a painting? Only because we wish to enjoy illusion and because we wish to enjoy understanding, do we succumb to art and science.<br /><br />Now it is the question of perception that I raised before on this blog, which is the bedrock of both science and art, and which also gives rise to the nature of inference and illusion. In science, perception is aided by experimental instruments (the prism, the Geiger counter), whereas in art it is still the eye itself, once our primary instrument of science. It is the eye that still attempts to imagine concepts like the particle-wave of physics, and the nuclear structure of atoms. It infers these matters by its power of illusion only, because we are assured these elementary particles are not objectively visible – even though vision itself operates on account of the autonomous properties of light.<br /><br />Where science would like to boil things down to a simple explanation, art accepts many explanations, and the notion of local conditions and nuances of perception. (Think of Monet’s haystacks paintings in their many different lights, or the many views of Mont Sainte-Victoire by Cezanne.) And yet science gets more complicated the longer it studies the world. The very concept of an elementary particle, which began long ago in Greek philosophy, has devolved by experiments into a plethora of elementary particles. And it is due to this multitude of elementary particles that the very philosophy of an elementary particle stands to be undone.<br /><br />Not only is the elementary particle a quaint notion by now, the single universe is much in doubt, as well. Once, not so long ago, we had the single sun, the single galaxy, the only solar system, the only earth. Science, by its dogged scrutiny, approaches the perception art has long enjoyed – that the universe is not simplified, it can only be elaborated.<br /><br />The turn in science was not entirely necessary. The photon is considered one of the early elementary particles. After centuries of thought and analysis, science conceded to a sort of binary description of the photon – that particle which conveys a quantum of light, and which is also a wave. Try constructing or imagining an irreducible element (a point) as a wave. Or, try imagining a wave as a single particle. It does not work in our normal way of thinking, but we infer it as a reality, the way we infer love in a Watteau painting – because we see the players in a love story.<br /><br />It is in accepting the description of the photon that physics was on the right path, and in ascribing more and more elements to individual characteristics that it lost its powers of description. It is as though physics has gone ahead and decoupled the photon. Ie., in this experiment we show the wave decay and give off a particle, in the next, the particle decays and gives off a frequency of light energy.<br /><br />Besides the likelihood that there is no ultimate particle, there is the likelihood that there is an elementary particle – already known – that can change identities under differing conditions.<br /><br />Take as a metaphor people. If a human being speaks Russian, and another speaks Chinese, does an extraterrestrial scientist classify them as two distinct species? Then if the Russian immigrated to China, and after some years spoke Chinese, would he have had added to him the C-particle of Chinese and lost the R-particle of Russian? We here know that he was a person in both cases, and that that was his elementary identity, not to be confused with his language behavior, important though that is.<br /><br />What I am trying to describe is a Universe that, even in its most basic sense, demonstrates behavior that is individualistic. True, it can be predicted by polls and quantum dynamics, but so can the likelihood that a Russian will try to learn Chinese while living in China. Being and context may be maintaining freedom and limits across the entire spectrum of existence, not only in the field of human action, or human thought.<br /><br />I am free to think this blog. It is limited to what survives the test of reality. But where reality remains in a fluid state of description we may need to think fresh thoughts. The artist tries the world on through his particular lense. We grow to consider that particular sensibility as one we can share. The way of seeing is also a way of feeling and a way of conceiving the relationship between the human being and the world. That it is subjective makes it no less true.<br /><br />It is possible the electron, the photon, the proton, each has a subjective relationship – subject to the contingencies of its existence – the way a bee moves to the next flower suggested by the breeze, or in opposition to it. We should not expect we are made of rocks, nor that matter is inanimate. Even rock has a fluid past, and nothing about the Universe seems inanimate to an artist. To an artist the moon and earth and sun are dancers, family members, even gods – but certainly not inanimate matter.<br /><br />Spirit is in the very fiber of being. Freedom is the elementary particle. Art exists to celebrate this, and science to discover it.John Sevcikhttp://www.blogger.com/profile/01771570848659431520noreply@blogger.com0