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Ann investigates visual memory and the traces of human activity embodied within objects. In creating this installation she has deconstructed the elements that dominated her previous wall paintings and re-imagined them in contrasting sculptural forms that have a solid, physical presence free of constraint. The whole is presented as a puzzle challenging our visual perception.
mail@amsutton-visualartist.com
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08/04/2017 : Le Puy-Sainte-Réparade, Château La Coste : exposition Mountains and Seas (Ai Weiwei)
All Fingers Must Point Down
Today we celebrate a man who played the trumpet like it was murmuring secrets it wasn’t sure it should tell. That’s the beautiful Chet Baker.
Chet Baker came out of the West Coast, but his sound didn’t belong to any coast. It drifted. Like cigarette smoke in a cheap motel room, or a love letter folded one too many times. He had a horn that didn’t shout or testify, it confessed. Real quiet-like. You leaned in, and by the time you realized what was happening, the song had already moved into your bones. They said he looked like a movie star, and maybe that was part of the trouble. Folks hear that trumpet and think it’s all moonlight and convertibles, but underneath there’s a lot of gravel road. Baker sang the way some people talk when they’re alone. No armor. No tricks. Just a voice hanging there, asking if anyone’s listening. His sweet soft sugar-cotton candy voice takes you back and forth from the moon in an endless loop. Have you ever listened to his Bobby Scott and Ric Marlow version of “A Taste of Honey”? if thats not a cosmic orgasm I don’t know what is.
In jazz, everybody’s running races -faster, higher, louder. Baker? He walked. Sometimes he barely got there at all, but the space between the notes told you more than the notes ever could. Miles Davis knew that. Lester Young knew that. When you play less, you say more. That’s an old law, older than electricity. Baker’s life went every which way, like a radio signal fading in and out as you cross state lines. Fame came early, wisdom came late, and peace came when it felt like it. That trumpet carried the weight of it all. Every cracked note, every soft landing, every fall you don’t see coming until you’re already on the ground.
You see, Chet Baker had struggles the way some people have shadows, they followed him everywhere, even at noon. He wrestled with addiction for most of his life, and it wasn’t the romantic kind people like to dress up after the fact. It took things from him. Time. Trust. Chances. Even his ability to play the horn the way he once had. There were arrests, long disappearances, years where the music barely survived the man. He’d fall off the map, then show up again somewhere in Europe, battered but still blowing, still singing like the truth hadn’t let him go. And that voice by the later years, it wasn’t smooth anymore. It was weathered. Worn down. But sometimes wear tells you more than polish ever could. When Baker sang then, it sounded like someone who knew exactly what things cost. As for the end there’s a lot of noise around it, and not all of it’s honest.
Chet Baker died in 1988 in Amsterdam after falling from a hotel window. The official ruling was accidental. People have argued about it ever since, because people like their stories tied up neat, with a bow and a moral. But life doesn’t usually work that way, and neither did Baker.
So when you hear Chet Baker play, don’t listen for perfection. Listen for truth. Listen for the sound of a man standing in the doorway, half in the light, half in the dark, blowing a melody that knows it won’t last forever but plays it anyway.
ink, watercolor on paper
contact ibarraloana@gmail.com
Portrait of Henri Matisse (1869-1954), French painter and sculptor whose works include the mural Dance II at the Barnes Foundation in Pennsylvania.
Ann investigates visual memory and the traces of human activity embodied within objects. In creating this installation she has deconstructed the elements that dominated her previous wall paintings and re-imagined them in contrasting sculptural forms that have a solid, physical presence free of constraint. The whole is presented as a puzzle challenging our visual perception.
mail@amsutton-visualartist.com
Los Angeles Installation Artist, Jane Castillo, shares some of her time with Atelier Visit. Her interview was filmed in her home Studio in February 2010.
David Shrigley the 43 year old UK visual artist has provided an interview to MetroUK about his injection of humour into his work. Shrigley works with various media and is renowned for his humourous cartoons released as postcards and in softcover books. Shrigley’s work is said to have two major characteristics, an odd viewpoint and a limited technique. His use of free hand lines are crude and incorporated with the use of ruler, and the annotations to his drawings are frequently crossed out and suggestive of poor execution. In the interview Shrigley states “My work is really quite bleak a lot of the time and quite nasty as well, so maybe adding comedy into the mix makes it slightly less so… I’m not really interested in making people laugh that much; I just want to engage people and tell them something different.” Shrigley has produced a number of drawings published by the New Statesman. “I did it as an exercise to be a political cartoonist… I’m not really equipped to do that, in the sense that I can’t draw – I’m not an illustrator. I can’t draw caricatures of anybody…”
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For the record, this is the intended orientation of this painting. Sometimes I'm not sure until I've lived with a piece for a while.
Visual artist Cande Aguilar in his studio. Oct. 8, 2013
© Imanol Miranda. Do not use without permission.
VA, 1980 (selenium toned gelatin-silver print)
george-elsasser.blogspot.com/2010/01/intersections-20-yea...
Michael T. Klare the American Professor of Peace and World Security Studies has published an article on TomDispatch questioning if Barack Obama is morphing into Dick Cheney, highlighting four ways he is pursuing Cheney’s geopolitics of global energy. In the article Klare states “As details of his administration’s global war against terrorists, insurgents, and hostile warlords have become more widely known -- a war that involves a mélange of drone attacks, covert operations, and presidentially selected assassinations -- President Obama has been compared to President George W. Bush in his appetite for military action. …When it comes to international energy politics, however, it is not Bush but his vice president, Dick Cheney, who has been providing the role model for the president. …it is possible to reconstruct the geopolitical blueprint that Cheney followed …a blueprint that President Obama, eerily enough, now appears to be implementing, despite the many risks involved.1. Promote domestic oil and gas production at any cost to reduce America’s dependence on unfriendly foreign suppliers... 2. Keep control over the oil flow from the Persian Gulf … in order to retain an “economic stranglehold” over other major oil importers. 3. Dominate the sea lanes of Asia, so as to control the flow of oil and other raw materials to America’s potential economic rivals, China and Japan. 4. Promote energy “diversification” in Europe, especially through increased reliance on oil and natural gas supplies from the former Soviet republics of the Caspian Sea basin… This four-part geopolitical blueprint, relentlessly pursued by Cheney while vice president, is now being implemented in every respect by President Obama.” Inspired by Tom Dispatch ow.ly/cf7Nz image source Twitter ow.ly/cf7MZ
Ushuaia is the southernmost city in the world and capital of the Province of Tierra del Fuego, Antarctica and the South Atlantic Islands.
Anthony Stephen 'Tony' Burke the 42 year old Australian politician and the current Minister for Sustainability and Environment announced that Australia is to create an enormous network of marine park reserves to protect waters from oil and gas exploration and limiting commercial fishing. In an article on Aljazeera, Burke states "The Coral Sea marine national park ... combined with the Great Barrier Reef area, becomes the largest marine protected area in the world". The article states Australia's marine reserves will increase from 27 to 60 under the new scheme, covering more than 3 million sq km, or one third of the island nation's waters. The announcement of the network was made a week before more than 130 heads of state and government will gather in Rio de Janeiro for the United Nations' sustainable development conference as part of global efforts to curb climate change, one of the biggest conferences in UN history. … The protection plan will ban oil and gas exploration in all marine national parks, including across the Coral Sea and off Margaret River, a popular tourist and wine-growing area in the southwest. Burke acknowledged the plan would also have an impact on the fishing industry. The plan attracted immediate criticism from some environmental groups, as well as independent and opposition politicians and lobby groups.” Inspired by Aljazeera ow.ly/bWcnW image source Adam Carr ow.ly/bWcnb
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08/08/2021 : Avignon, rue Violette : extension de la Collection Lambert (Berger & Berger, 2015)
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-cam
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Me estás oyendo inútil?
It’s 🎂Paquita La Del Barrio 🎂 tajm
Paquita la del Barrio, meaning Paquita from the Block, is a ranchera mexican singer born in the beautiful Coast of Veracruz, Mexico. Paquita’s songs usually take a stance against Mexico's sexist male culture. She is known for her often confrontational presence and her signature phrase; “Me estás oyendo, inútil?" -"Are you listening to me, you good-for-nothing?"- (with which she often teases male spectators in her shows).
Paquita once and repeatedly times said -“I will never be on men’s side. I am defending women. It is very important. I am a woman. I speak of my experiences."
Her best-known song is "Rata de dos patas" "Two-legged rat", in which she compares an ex-lover to a variety of vermin and other untrustworthy animals.
Paquita La Del Barrio has gained the love of the mexican women, from the poorest to the richest, she has created a place to gather women and together sing out anger, frustration, disappointment, sadness, I call that a silence that burns.
Watercolor ink on paper
contact ibarraloana@gmail.com
A Glitch "Aphrodite (Ἀφροδίτη) ~ Ètude IV”
by ™℗®© Louis M o n t i e l
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You know, applause is a funny thing. It arrives all at once and disappears just as fast. Like summer rain on hot pavement. Like a flower scent fading into the night. Like the final class of flamenco before the long dry season.
The guitars have gone quiet now.
For months, there were three days every week marked by the steady beat of heels on wood. Three days a week, about seven hours of practice, compás, sweat, frustration, triumph, and the eternal search for that one turn that always seemed to arrive a fraction of a second too late. And then suddenly, the last class. The last braceo. The last "otra vez." The last glance in the mirror. The last applause. Not the thunderous applause of a sold-out theater. No, something rarer. The applause of fellow dancers and your own. People who know exactly how many repetitions, sore muscles, missed concerts, and stubborn corrections are hidden inside a single minute of dance. The season closes its curtain.
Yesterday there were seven hours a week. Today there are zero. Zero hours. Zero classes. Zero excuses to wear the shoes that somehow know more secrets than the feet inside them. Until September. September! A month hanging out there on the horizon like a distant town seen from the window of a slow-moving train. Between now and then lies a strange territory. A wilderness of Tuesdays without alegrias. Thursdays without farrucas. Weekends without hearing someone say, "Harder! Slower! Clean it up."
Some people call it summer. For a flamenco student, it feels suspiciously close to hell. Not the fiery kind. The quieter kind. The kind where you hear phantom palmas in the supermarket and start marking footwork while waiting for the kettle to boil. But that's how these things go. The applause fades. The studio empties. The dust settles. And somewhere beneath the silence, the rhythm waits. Because compás is patient. September will come. The shoes will come out of the closet. The guitars will wake up. And the first class back will feel like finding an old friend standing exactly where you left them. Until then, I hold on to that final applause. It wasn't goodbye. I guess it was simply an intermission.
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com