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The artwork in the Out of Order Exhibit was created in a warehouse for a one day, one time exhibit in Santa Rosa, CA. It is colorful, inspiring, imaginative, provocative. Enjoy, but also beware.
Kiki Kogelnik (Bleiburg, January 22, 1935 - Vienna, February 1, 1997) was an Austrian painter, sculptor and printmaker. Kogelnik is considered Austria’s most important Pop-related artist, although she was known to take issue with being included in Pop art movement. During the early 1960s Kogelnik began to use life-size cutout paper stencils of her friends to produce her paintings. In later works, the human body is depicted in increasingly fragmented and manipulated form, until in the 1990s much of her work portrayed highly abstracted yet expressive faces.
[Colour screen-print, 61 x 81 cm]
gandalfsgalleymodern.blogspot.com/2011/09/kiki-kogelnik-l...
art journal l'école buissonnière sous la houlette de Françoise Melzani (http://www.couleursetmixedmedia.com/)
et Céline Carbonel (http://www.grain-de-voie.com/)
détail dans mon blog
Norman ironwork on the door of All Saints Church. The Church of England parish church of All Saints dates from the 12th century, and the clerestorey and possibly the west end of the nave survive from this period. A Norman doorway survives, although not in its original position, in the baptistery.The chancel and north transept are 13th century and the west chapel is 14th century. The north chapel is a late mediaeval Perpendicular Gothic addition[6] with 15th-century windows.All Saints has a central bell tower, which was reduced in height in 1645 after it was damaged by a cannon-ball in the English Civil War.Faringdon was fought over because it commands the road to the Radcot Bridge over the River Thames.
Madonna and Child (c.1482-83) by Francesco di Simone Ferrucci at the Virginia Museum of Fine Arts.
1. underwater sketch, 2. Untitled, 3. we don't see eye to eye , 4. Singer, 5. lady butterfly, 6. Spring, 7. melancholy, 8. Mac Retna Reyes, 9. torrit me, 10. Blue shade, 11. Forsaking the path that's laid, 12. doro, 13. Raven.
An artist waiting for customers at Pike Place Market in Seattle.
LEICA MP with 50mm Summicron DR on Ilford HP5+ at ISO 1600 dev in Rodinal 1:25
a collage to go as one of the backgrounds for my imagery inspired by 'the book thief' by markus zusak. it's a beautiful book.
As much as I want to be an art journaler I find it very difficult to add words to my pages. Here I know what I want to say, I just don't want to be unhappy with the look of the letters.
some nice fire right here, top left was shining from the sun, couldn't get a better photo than this.
Quilled art piece created by Kathleen Usova of deviantART.com.
Blogged: www.allthingspaper.net/2012/07/dodge-dart-inspired-by-you...
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Juuichimen Kannon 十一面観音
Sk: Ekadasamukha. Eleven-headed Kannon; a form of *Kannon 観音 with eleven miniature faces around the top of his head. One of the Six Kannon *Roku Kannon 六観音 and responsible for the human realm. In painting and sculpture, Juuichimen Kannon may be shown seated or standing, but standing images are more common, especially in sculpture. The deity usually is shown with two arms, although sometimes with four. When two armed, he usually carries a water jar with a lotus in his left hand which makes a mudra of the absence of fear *semui-in 施無畏印, and with his right hand makes the mudra of the granting of wishes *yogan-in 与願印. The number of faces is usually eleven, though this number may or may not include the main face of the image (thus making the total number eleven or twelve). A form with nine faces, Kumen Kannon 九面観音 also exists (ex. 8c *danzou 檀像 in Houryuuji 法隆寺). The placement of the heads varies. Bodhisattva heads bosatsumen 菩薩面 are situated in either one or two tiers with the head of a Buddha butsumen 仏面 at the top. The faces of the bodhisattvas usually include three benign faces jihimen 慈悲面, three angry faces shinnumen 瞋怒面, three plain faces with fangs kugejoushutsumen 狗牙上出面; also known as gejoushutsumen 牙上出面 and, at the back, a laughing face daishoumen 大笑面; also known as bouaku daishoumen 暴悪大笑面, daibakushoumen 大爆笑面. A small standing image of *Amida 阿弥陀, referred to as a *kebutsu 化仏, may be added in front of his crown as well.
There are different theories to account for the meaning of Juuichimen's multiple heads. On a folk level, there is a story that his head split into many because of his worry over sentient beings. On a higher level, he removes the eleven impediments of sentient beings. The positioning of the heads clearly indicates, that the elevated head of the Buddha rises above the others and iconography evokes the ten stages of the bodhisattva path, with the Buddha as the final result. The encapsulation of these processes into one image shows the presence of all within the bodhisattva, and suggests the fully enlightened bodhisattva as the ideal.
The origin of the iconography is unclear, but in India, multi-headed, multi-armed figures were used by the 7c to express the complex religious truths and practices of Buddhism. Although few examples are extant in India, a sculpted 7-8c image of Juuichimen Kannon with four arms in the cave #41 at Kanheri is well-known. In China, Juuichimen was commonly portrayed from the early Tang dynasty (early 7c), and the extant examples are found in paintings in Dunhuang 敦煌 (Jp: Tonkou caves #321 and #334) as well as in bronze and stone sculptures. In Japan, belief in the power of Juuichimen Kannon is recorded from the mid 7c, and the deity was propitiated especially for aid in convalescense from illnesses. Sculptural and painted images were common in the Nara period (8c) and became extremely popular in the Heian period (9-12c). There are numerous extant examples, many of fine quality, such as a painted image on the walls of the *Kondou 金堂 (late 7c) in Houryuuji 法隆寺, Nara (burnt down in 1949). Devotion centered upon the practice of group confessions before an image of the deity, the most famous of which was the shuni-e 修二会 ceremony of the *Nigatsudou 二月堂 in Toudaiji 東大寺, Nara (commonly known as omizutori お水取り), which began in 752 and continues to the present day. In Esoteric Buddhism ｍikkyou 密教, Juuichimen appears in the *Taizoukai mandara 胎蔵界曼荼羅. In Shinto art *Shintou bijutsu 神道美術, Juuichimen Kannon is a common choice as the *honjibutsu 本地仏 (Buddhist counterpart) of female Shinto deities *kami 神 and is one of the two most common choices as honjibutsu of the Sun Goddess Amaterasu Oomikami 天照大神 (the other being *Dainichi 大日). Juuichimen Kannon may be painted; 1) alone, as in the large Kamakura period (14c) painting held by Shidoji 志度寺 in Kagawa prefecture; 2) in his paradise *Fudaraku 補陀洛 (on a rock in the ocean) often accompained by Zenzai Douji 善財童子; or 3) in a setting like that of the large panel painting in Kaijuusenji 海住山寺, Kyoto, in which the deity descends from his paradise across the sea to welcome the deceased, *raigou 来迎, accompanied by the 25 bodhisattvas. In addition, the fame of distinct sculptural images of Juuichimen Kannon also lead their being the subject of paintings. One such example is the principal image of Hasedera 長谷寺 in Nara, which as a special feature holds a pewter staff *shakujou 錫杖 in its right hand and a lotus in a vase in its left. This very large image stands on a smooth, flat stone uncovered in a landslide, (instead of the lotus pedestal *rengeza 蓮華座, on which the deity first appeared). The story of the making of the image appears in the illustrated history of the temple *shaji engi-e 社寺縁起絵.
I've begun to incorporate what I'm calling "tracings" into my work. I gesso over images just enough so that I can still partially see them. Then I trace over the basics with pen but redesign the rest. The figure of the woman was from an old b/w photo, and the images of the egg and of the needle and thread were from a book and a magazine, respectively. It sort of feels like I'm "cheating," but there's something incredibly engrossing about reinventing something that already exists by putting your own personal spin on it.
Frank Duveneck (October 9, 1848 – January 3, 1919) was an American figure and portrait painter. His work, at first ignored, when shown in Boston and elsewhere about 1875, attracted great attention, and many pupils flocked to him in Germany and Italy, where he made long visits. Henry James called him "the unsuspected genius" and at the age of 27 he was a celebrated artist.
In 1878 Duveneck opened a school in Munich, and in the village of Polling in Bavaria. His students, known as the "Duveneck Boys", included Twachtman, Otto Bacher, Julius Rolshoven, and Herman Wessel. In 1886 he married one of his students who was much admired by Henry James, Boston-born Elizabeth Boott. They lived in Bellosguardo for two years where she produced a son. She died later in Paris of pneumonia. Duveneck was devastated.
After returning from Italy to America, he gave some attention to sculpture, and modelled a fine monument to his wife, now in the English cemetery in Florence. Despite this activity, Elizabeth's death marked a slowing in his productivity, a wealthy man, he chose to lead a life of relative obscurity. He lived in Covington until his death in 1919 and taught at the Art Academy of Cincinnati.