View allAll Photos Tagged Hunger
Untitled (Hunger 16), 1996, 7" x 7" x 4", tempera on ceramic bowl, private collection.
This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997. Recently, as I was writing some thoughts on my work to a colleague, it occurred that I had not explained publicly my thinking about and reason for making this work. This seems pretty important given the problematic territory that this work wanders into. What follows is an excerpt from my correspondence:
In 1995 the “special needs” school that our daughter Temma had been attending for 6 years – Lakeview Learning Center – was preparing to close. I was working at the school on a large painting (titled Big Picture) of the classroom for “severely and profoundly disabled” children that Temma was part of. While working on this large painting I was given a collection of miscellaneous photographs documenting the students in their daily life at the school. Also around this time I was offered an exhibition with a gallery in South Korea, the country where I grew up (my parents were medical missionaries). I decided to make work for this show based on the photographs that I had been given of students from Lakeview Learning Center as a way of making present a population that was largely invisible / marginalized in Korea at that time. My goal in making these paintings was to select photographs that (for me) most powerfully expressed the humanity of these children. In making the paintings my intent was to try to represent them as best as I could in accordance to how I perceived them via the photographs: that is, as completely and compellingly human. Despite my ambivalence about using other people’s photographs as sources for paintings, these photographs – apparently taken by the staff of the school - offered a kind of “objective” perspective on the children somewhat fitting for my relative distance from them personally. That said, to the extent that these children were part of a community of which my daughter was a part I felt it was appropriate to make paintings based representing them.
This latter point is important in relation to the fundamental intent of this project. While I was attempting to portray the children in all their individuality evident in the photographic sources, I was doing so with the primary goal of presenting them as a community: a community as evidently diverse and complex (in various respects) as any other.
There is a well-known (in Korea) poem by the Korean Catholic “Minjung” writer Kim Chi Ha that has an essentially Eucharistic refrain: “God is rice”. In allusion to that poem I decided to do a series of 21 paintings on Korean rice bowls (a very commonly used kind of bowl). More specifically, as an allusion to the marginalization of this population I made the paintings on the bottom / underside (typically unseen) surface of the bowls. In using the rice bowl I not only wanted to draw a connection to Kim Chi Ha’s poem, but further to the movement of Minjung Art that had grown in vitality at the ending period of Korea’s long dictatorship (the early ‘80s). The Minjung Art movement (which, especially in the person of the artist Im Ok Sang, had been very influential for me) made the empowerment of the poor and the marginalized their priority. My hope was to situate the subject of the work I was making – at that time still a largely marginalized community - in the context of the Minjung political imperative.
In this work I was attempting to represent these children as faithfully as I could. It might be helpful to unpack my thinking “representation” a bit: Painting, particularly realistic / representational painting is frequently thought of / received in relation to the convention of “mastery”. That is, when one makes a realistic painting it might be understood as an artists’ claim of mastery and, implicitly, as their claim to an authority over the subject represented. I do not have any interest in that way of approaching painting. I am interested in painting that is a kind of conversation with the material used to make it (as opposed to painting as about control or domination of the material). No less importantly, I’m interested in painting as a regarding of the subject in humility: an attempt to represent the subject as honestly, accurately and respectfully as possible. Put another way: painting for me is learning how to make this painting in relation to trying to understand and represent this subject.
Taking that word representation a bit further: it is of course a reasonable question to ask whether one has the right to represent (make or take a picture of) another person – particularly someone who is not able to give consent. And it is reasonable to question whether I – even as the parent of a member of that community and trusted by the staff of that community – have the right to represent the students. But no less important is the other side of this question: the right of each person to be represented (both literally, in the sense of being pictured, and - via metaphoric implication - politically). In the case of this particular population and the particular context in which these paintings were being shown my intention was to make and show these representational paintings of these children as a claim to their right (authority) to be represented: Particularly towards the goal of advocating the presence of members of this population as they existed in that country at that time.
Click the following link for an essay on this and other work included in an exhibition at Art Space Seoul in Seoul, South Korea in 1997.
Came upon this bald eagle at sunrise a few weeks ago at Bombay Hook. The sun was up and to the right of him so I tried to find a spot where I could position the bird to the left and capture something a little different than a straight silhouette shot....all the while hoping he would stay.
He did.
Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) in THE HUNGER GAMES: CATCHING FIRE. Photo credit: Murray Close
Another little build for the library display. Hunger games (not a scene, just some of the elements put together).
Ann/Anne series///
有負擔的愛和孤寂的自由都是一樣的殘缺，
這一生可能很難擁有所謂的完美。
愛還是有負擔，自由還是孤寂的，只能使他們彼此相逼近，
在愛裡充分自由，在自由裡也擁有愛。
Either a love carried with burden or a freedom loaded with loneliness is fragmentary.
Yet in real life it's hard to embrace the perfection people wistfully thought exists.
Love always carries with it burden; freedom is accompanied by loneliness still.
The only thing to do is bringing them as close as possible to each other.
To feel free in love and embrace love in freedom.
我們渴望愛情，同時也渴求著自由，保護著精神我，等待百分之百的愛情去
沈浸百分之百的精神我。
We all hunger for love yet desire for freedom at the same time.
We protect the spiritual I and wait for the hundred percent love to
bathe in the hundred percent spiritual I.
一種擁抱的感覺，情感逝去的自我擁抱。浸濕的衣袖和肌膚的緊密，一種緊貼的黏膩，自我對話的方式。
It’s the feeling of embrace, the self-embrace when passion faded.
The closeness of soaked sleeves to the skin,
the stickiness of attachment,
a way of talking to oneself.
.
Untitled (Hunger 14), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4"
This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997. Recently, as I was writing some thoughts on my work to a colleague, it occurred that I had not explained publicly my thinking about and reason for making this work. This seems pretty important given the problematic territory that this work wanders into. What follows is an excerpt from my correspondence:
Around 1995 the “special needs” school that our daughter Temma had been attending for 6 years – Lakeview Learning Center – was preparing to close. I was working at the school on a large painting (titled Big Picture) of the classroom for “severely and profoundly disabled” children that Temma was part of. While working on this large painting I was given a collection of miscellaneous photographs documenting the students in their daily life at the school. Also around this time I was offered an exhibition with a gallery in South Korea, the country where I grew up (my parents were medical missionaries). I decided to make work for this show based on the photographs that I had been given of students from Lakeview Learning Center as a way of making present a population that was largely invisible / marginalized in Korea at that time. My goal in making these paintings was to select photographs that (for me) most powerfully expressed the humanity of these children. In making the paintings my intent was to try to represent them as best as I could in accordance to how I perceived them via the photographs: that is, as completely and compellingly human. Despite my ambivalence about using other people’s photographs as sources for paintings, these photographs – apparently taken by the staff of the school - offered a kind of “objective” perspective on the children somewhat fitting for my relative distance from them personally. That said, to the extent that these children were part of a community of which my daughter was a part I felt it was appropriate to make paintings based representing them.
This latter point is important in relation to the fundamental intent of this project. While I was attempting to portray the children in all their individuality evident in the photographic sources, I was doing so with the primary goal of presenting them as a community: a community as evidently diverse and complex (in various respects) as any other.
There is a well-known (in Korea) poem by the Korean Catholic “Minjung” writer Kim Chi Ha that has an essentially Eucharistic refrain: “God is rice”. In allusion to that poem I decided to do a series of 21 paintings on Korean rice bowls (a very commonly used kind of bowl). More specifically, as an allusion to the marginalization of this population I made the paintings on the bottom / underside (typically unseen) surface of the bowls. In using the rice bowl I not only wanted to draw a connection to Kim Chi Ha’s poem, but further to the movement of Minjung Art that had grown in vitality at the ending period of Korea’s long dictatorship (the early ‘80s). The Minjung Art movement (which, especially in the person of the artist Im Ok Sang, had been very influential for me) made the empowerment of the poor and the marginalized their priority. My hope was to situate the subject of the work I was making – at that time still a largely marginalized community - in the context of the Minjung political imperative.
In this work I was attempting to represent these children as faithfully as I could. It might be helpful to unpack my thinking “representation” a bit: Painting, particularly realistic / representational painting is frequently thought of / received in relation to the convention of “mastery”. That is, when one makes a realistic painting it might be understood as an artists’ claim of mastery and, implicitly, as their claim to an authority over the subject represented. I do not have any interest in that way of approaching painting. I am interested in painting that is a kind of conversation with the material used to make it (as opposed to painting as about control or domination of the material). No less importantly, I’m interested in painting as a regarding of the subject in humility: an attempt to represent the subject as honestly, accurately and respectfully as possible. Put another way: painting for me is learning how to make this painting in relation to trying to understand and represent this subject.
Taking that word representation a bit further: it is of course a reasonable question to ask whether one has the right to represent (make or take a picture of) another person – particularly someone who is not able to give consent. And it is reasonable to question whether I – even as the parent of a member of that community and trusted by the staff of that community – have the right to represent the students. But no less important is the other side of this question: the right of each person to be represented (both literally, in the sense of being pictured, and - via metaphoric implication - politically). In the case of this particular population and the particular context in which these paintings were being shown my intention was to make and show these representational paintings of these children as a claim to their right (authority) to be represented: Particularly towards the goal of advocating the presence of members of this population as they existed in that country at that time.
282/365 - Oct. 9, 2010: The Hunger Games ...
Even though the first book came out a few years ago, it seems that as soon as the last one came out, this series became all the rage. So, with the holds being in the crazy digits at the library, I was grateful that a friend lent hers to me. Overall, good reads!
(Post processed in Lightroom using preset "RAW_COLOR_EVERYDAT_LIGHTEN".)
Ummm...I may have gone just a little overboard with the Hunger Games movie merchandise. Haha! I can't help it! I love the books and can't wait for the movie!!
If you want to get sorted into a District and get your free DIP (ID), go to The Hunger Games movie facebook: www.facebook.com/thehungergamesmovie?ref=ts#!/thehungerga...
The picture on the left has my personal District 11 T-shirt (front), arena parachute necklace (it opens and contains a canister that you can put things in), Mockingjay earrings, Mockingjay pin, my DIP (ID) for District 11, large holographic bookmark, four small magnetic bookmarks.
The picture on the right has my personal District 11 T-shirt (back), Katniss action figure, Hunger Games bag and socks, and the back of the bookmarks.
I took this with my iPhone, so the quality's not the greatest. Sorry about that!
May the odds be ever in your favor. Happy Hunger Games!!
Hunger Games Trilogy Slip Case Softcover Book set at Target Stores $19.99. Pics by Mike Mozart of TheToyChannel and JeepersMedia on YouTube. Hunger Games, Hunger Games: Catching Fire, Hunger Games: Mocking Jay.
Saarbrücken, »Garage«, 19.02.2019 (Photo: Zippo Zimmermann, www.designladen.com – unauthorized use prohibited)
Hunger Games Trilogy Slip Case Softcover Book set at Target Stores $19.99. Pics by Mike Mozart of TheToyChannel and JeepersMedia on YouTube. Hunger Games, Hunger Games: Catching Fire, Hunger Games: Mocking Jay.
Another little build for the library display. Hunger games (not a scene, just some of the elements put together).
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I made this cake for my boyfriend's son who when I asked what he wanted simply said... "a Mockingjay Pin!".
I had no idea what this was having not read the books or seen the film so had to do some research :)
The Mockingjay Pin is hand modelled out of fondant except the arrow which is a cocktail stick.
The cake board is covered using printed pages from the book.
Hunger Games Trilogy Slip Case Softcover Book set at Target Stores $19.99. Pics by Mike Mozart of TheToyChannel and JeepersMedia on YouTube. Hunger Games, Hunger Games: Catching Fire, Hunger Games: Mocking Jay.
My dogs are apparently on a hunger strike..... As far as why I'm not sure.....
Higher wage? Union maybe???