found art and art found

organic symbolism                           digital                           "©"Greg Patch                                

Art happens, there's a flow that artists' speak of that we all recognize as "that aesthetic". This wall piece has been speaking to me for months in a room where I practice yoga. A combination of time and the work of a person filling in a w/hole... or was the, or those person(s) in that flow naturally as they/he/she filled in a w/hole? In yesterdays' post Donna Hilton points out the mosaic created with blue
and red approximate 15' squares. Was this an intentional or was it a natural or a supra-natural communication that reaches that aesthete. Is this the universal language? Have we been as "stuck" by our alphabets as we have been with our religions, languages and politics? Were they originally marks of a basic universal language eventually diversified and possessed by tribes. As the separation into tribes become one (again?) and we recognize our global, or multiglobal beingness will our understanding evolve a new, or return an ancient, and/or universal alphabet. Will the circle, or spiral, remain unbroken? Is that flow a universal language that died through mankind's wish to possess it and use it to control those not in power; the masses, the laborors, the lower classes, etc.? The classically great artists speak of a control, but also of the flow of creativity as being their guide. What is this guide of aesthetic that we all appreciate. The works that sing to us, the Muses, the gifted, the ones whose art work was done thousands of years ago and still sings and will sing on in a weave of civilization...

when I posted this on FB today Connie Stanmyer replied, I SEE PI. ...

finding the "new" in older work...

While working with the primary and secondary colors in most of my making art life I recently re-discovered this piece my Mom has had while moving her to assisted living. Done in the late 60's I simplified the color to primary and black, simplified the design symbolism of the sun, sky and earth to shapes and lines, and my own image to a lively but simplified line drawing.
As artists looking back at our early work we can find/discover these consistencies and nuances in our work over the years and realize more in depth about what structures, motifs and color/line in our work continue to fascinate us...

Uranian Phalanstery...

...

http://onesunart.blogspot.com/2009/01/uranian-phalanstery.html

undulating~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Aaaahhhh sweet self righteousness...

May tending our own gardens perform righteous acts upon the earth?

May tending our own gardens perform righteous acts upon the earth.

May tending our own gardens perform righteous acts upon the earth.....

I am pleased to make art, to share it and to allow it to go as I let go of what comes through me. Have proven many times to myself the things that happen to me when I try to plug it from gushing all over. Will the outcome be pleasing or filled with the horrors of gobblygook? Give me ten minutes, ten years, perhaps even tens of thousands of years to answer and that answer may be different each time. Am I really using the voice from with in/out or is it that time allows no language to represent itself? Is there really time, but, instead timelessness. 

Is self righteousness of the self but instead a time/timelessness we enter to wield our swords to battle time away, or a friend, or an enemy. I use my self righteousness when I am feeling exactly the opposite - self doubting. I use it when I am battling fatique and want to be not bothered by the other/outer/inner. I use it when I see others dismantle the ground I try to stand upon with their toxic behavior, my toxic behavior. To err is human. For sure? Does that mean when I am righteous that I am inhuman. Oh undulating linguistics. Another wave that we each ride to...

Rudolf Steiner

http://www.kunstmuseum-wolfsburg.de/exhibition/113/Rudolf_Steiner_and_Contemporary_Art

English

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13.05.2010 - 03.10.2010Rudolf Steiner und die Kunst der GegenwartEine Ausstellung des Kunstmuseum Wolfsburg in Kooperation mit dem Kunstmuseum Stuttgart

Noch nie wurde der „Kosmos Steiner“ so umfangreich dargestellt wie durch die beiden Ausstellungen „Rudolf Steiner und die Kunst der Gegenwart“ und „Rudolf Steiner - Die Alchemie des Alltags“. Das zweiteilige Großprojekt greift ein Phänomen auf, das bisher noch wenig Beachtung fand, aber zu einem der spannendsten Kapitel der modernen Kunst und Geistesgeschichte gehört: Bedeutende Künstler, angefangen von Wassily Kandinsky über Piet Mondrian bis zu Joseph Beuys, haben sich immer wieder mit der universellen Ideenwelt von Rudolf Steiner beschäftigt und daraus wertvolle Impulse für ihre Arbeit bezogen. Mit Beginn des 21. Jahrhunderts erhält diese Verbindung durch das steigende Interesse von Gegenwartskünstlern an Steiner eine neue Brisanz. Gleichzeitig erlebt das ganzheitliche Weltbild wie das von Steiner vor dem Hintergrund lebhafter Debatten über ökologische Verantwortung, religiöse Sinnsuche und über ein aus den Fugen geratenes Wirtschaftssystem wieder stärkere Beachtung. 

In einem ersten Teil behandelt die vom Vitra Design Museum zusammengestellte Ausstellung „Die Alchemie des Alltags“ das Wirken dieses bedeutenden Reformers im 20. Jahrhundert in Architektur, Design, Kunst und Gesellschaft. Sie ist die weltweit erste umfassende Retrospektive Steiners außerhalb eines anthroposophischen Kontextes. 

Die vom Kunstmuseum Wolfsburg in Zusammenarbeit mit dem Kunstmuseum Stuttgart erarbeitete Schau „Rudolf Steiner und die Kunst der Gegenwart“ versucht, die universalistische Ideenwelt Steiners anhand der Werke von 15 Künstlern von heute aus neu aufzuschließen.

Dem Steiner-Archiv und der Kunstsammlung Goetheanum in Dornach danken wir für die Unterstützung bei der Recherche. Die Ausstellungen werden durch Volkswagen Financial Services AG und die Kulturstiftung des Bundes unterstützt.



Mit der Ausstellung "Rudolf Steiner und die Kunst der Gegenwart" werden das Kunstmuseum Wolfsburg und das Kunstmuseum Stuttgart die  Verbindungen und Resonanzen sichtbar machen, die im Werk zeitgenössischer Künstler zur  Gedankenwelt Rudolf Steiners bestehen. In ausgewählten Werkpräsentationen und eigens  konzipierten Installationen nähern sich Künstler wie Meris Angioletti, Joseph Beuys, Tony Cragg, Olafur Eliasson, Helmut Federle, Katharina Grosse, Anish Kapoor und Giuseppe Penone der ästhetischen und philosophischen Weltsicht Steiners an. Überraschende Verbindungen und unerwartete Perspektiven werden offengelegt, die die Ästhetik Steiners in einem neuen, aktuellen Licht erscheinen lassen. Dabei interessiert an Steiner nicht dessen Kunstlehre oder seine Position innerhalb der anthroposophischen Bewegung, sondern sein ganzheitliches, kreatives Denken, das der Realität des Geistes und der Präsenz des Unsichtbaren Form und Ausdruck gegeben hat.


Zur Ausstellung erscheint ein Katalog mit Aufsätzen namhafter Autoren in einer deutschen und einer englischen Ausgabe.

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Tags: James Turrell, The Wolfsburg Project, Bridget's Bardo, Ganzfeld Piece, Roden Crater

untitled

today's one of those days...

when my ideals are juxtaposed...

LONG HORIZONS: AN EXPLORATION OF ART AND CLIMATE CHANGE

from http://www.sustainablepractice.org/2010/04/12/long-horizons-an-exploration-of-art-and-climate-change/

 Long Horizons is a collection of personal reflections about art, artists and climate change. Commissioned by the British Council working with Julie’s Bicycle the piece includes contributions from Antony Gormley, Jay Griffiths, Professor Tim Jackson, Professor Diana Liverman and KT Tunstall.

Click here to download Long Horizons as a pdf.

Antony Gormley’s essay appears in The Guardian Review on Saturday February 13th.

You can read the full article by clicking here.

Click here to read a blog post on Long Horizons by Michaela Crimmin, Director of Arts, RSA.

Arts, Climate Change and Sustainability

Climate change is one of the defining issues of the age. It is affecting, or will affect, everyone on the planet, though differences in infrastructure and locality profoundly affect vulnerability. One size will not fit all and local communities will need to find creative solutions that respond to their specific vulnerabilities and needs. The impact of climate change will be social and cultural as well as environmental and economic, and solutions need to be social and cultural as well as technical and scientific.

Arts, Climate Change and Sustainability is a British Council programme aimed at harnessing the inspirational qualities of the arts, along with the trust felt towards artists, to demystify and energise the debate about climate change. By energising and invigorating others, it will help find creative and local solutions to the challenge of climate security and encourage the necessary behavioural change in the UK and internationally. Art and artists can help move the climate change agenda from intellectual understanding to emotional engagement, and then on to action.

Just as the challenge of climate change is international and inter-connected in nature, so is the global arts market, and any attempt to create change needs to happen on a global scale. The British Council, with its vast network, is one of the very few agencies able to create dialogues and communities of interest around this subject with leaders and opinion-formers in governments, funding agencies, NGOs, and our cultural analogues in the UK and worldwide. These institutions and individuals share an interest in the support and promotion of their artists’ work, and we will work with them to strengthen understanding of the role that artists can play in the fight against climate change, and the need to support and encourage that role. This will include working together to facilitate sustainable practices around the international presentation and touring of art and artists.

http://www.britishcouncil.org/climatechange-longhorizons.htm

harmony with what is

Focussing on acting in harmony with what is. The Papel de Amate, Atomi paper, that I'm working with now has incredible innate beauty and character. As a painter to honor that intrinsic quality through my marking with color, allowing form and design to emerge as I work and subtly shift to a new aesthetic that expresses this relationship between myself and where the paper comes from in a respectful and loving way. Allowing the contrast of light and dark to be, and for me discovering the paintings place of balance there.

Am often reminded of how similar my painting art and healing art are. Each seeking to find that balance of aesthetic and/or healing. Tweeking with herbs, diet and lifestyle, or color, line and form to reach equilibrium with the sacred and the individual or artwork...