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Acrylic on Museum Board. One of a series of paintings that I did inspired by "Inner Chapters", the writings of Chuang Tsu. In one of the stories he describes the flight of a legendary giant bird, and how it is mocked and belittled by the smaller birds of the surrounding area as it soars away from the earth into the heavens. The story culminates with the line, "...This is the difference between Great and Small." I probably read this story in my high school years, and it has stayed with me ever since.
Balthasar de Monconys (1611-1665) was a French physicist and judge, born in Lyon. In 1618, Monconys' parents sent him to a Jesuit boarding school in Salamanca, Spain, as a plague had broken out in Lyon. Monconys was deeply interested in metaphysics and mysticism, and studied the teachings of Pythagoras, Zoroastrism, and Greek and Arab alchemists. From a young age, he dreamed of travelling to India and China. However, he returned to Lyon after finishing his studies. At the age of thirty-four years old he was finally able to leave behind the safety of his library and the theoretical speculation of the laboratory, and become a tireless traveller in Europe and the East.
Monconys travelled to Portugal, England, Germany, Italy, the Netherlands, Istanbul and the Middle East with the son of the Duke of Luynes. Even in his very first journey to Portugal, it is obvious that in each city Monconys is very soon able to connect with mathematicians, clergymen, surgeons, engineers, chemists, physicians and princes, to visit their laboratories and to collect “secrets and experiences”.
After Portugal, Monconys travelled to Italy, and finally departed to the East, to study the ancient religions and denominations, and meet the gymnosophists. In 1647-48 he was in Egypt. Seeking the Zoroasters and followers of Hermes Trismegistus, he reached Mount Sinai. In Egypt, the 17th century European was lost in a labyrinth of small and winding streetlets, and discovered different cults and religions, the diversity of ethnicities and their customs: Turks, Kopts, Jews, Arabs, Mauritans, Maronites, Armenians, and Dervishes. He followed several superstitious suggestions and discovered marvellous books of astronomy in Hebrew, Persian and Arabic. Later on, after his pilgrimage to the Holy Land, he crossed Asia Minor and reached Istanbul, from where he planned to travel to Persia. For once more in his life however, the plague forced him to change his course; he left for Izmir, and returned to Lyon in 1649.
Fron 1663 to 1665 Monconys travelled incessantly between Paris, London, the Netherlands and Germany. He visited princes and philosophers, libraries and laboratories, and maintained frequent correspondence with several scientists. Finally, after consequent asthma attacks he passed away before his travel notes could be published.
His travel journal (1665-1666) was edited and published by his son and by his Jesuit friend J. Berchet. The journal is enriched by drawings which testify to the wide scope of Monconys' interests. Monconys collected a vast corpus of material which includes medical recipes, chemistry forms, material connected to the esoteric sciences, mathematical puzzles, questions of Algebra and Geometry, zoological observations, mechanical applications, descriptions of natural phenomena, chemistry experiments, various machines and devices, medical matters, the philosopher's stone, astronomical measurements, magnifying lenses, thermometres, hydraulic devices, drinks, hydrometres, microscopes, architectural constructions and even matters connected to hygiene or the preparation of liquors.
The third volume includes a hundred and sixty-five medical, chemical and physics experiments with their outcomes as well as a sonnet on the battle of Marathon. There are five detailed indexes for the classification of the material. At the same time, this three-volume work permits the construction of a list of names (more than two hundred and fifty) of scholars, physicians, alchemists, astrologists, mathematicians, empirical scientists and other researches. From Monconys' text and correspondence a highly interesting network emerges, as it is possible for specialists of all disciplines to reconstruct the contacts between scientists and scholars of Western Europe, for a period spanning more than a decade in the mid-17th century.
Monconys' work is written in a monotonous style, but nevertheless possesses a perennial charm, as it is a combination of a travel journal and a laboratory scientist's workbook. The drawings accompanying the text make up a corpus of material unique in travel literature.
Written by Ioli Vingopoulou
Fransız asıllı fizikçi ve yargıç Balthasar de Monconys (1611-1665) (okunuş: Baltazar dö Monkoni) Lyon şehrinde doğar. Yaşadığı kentte 1618 yılında veba salgını baş gösterince, ailesi onu Salamanka şehrine bir Cizvit yatılı okuluna gönderir. Metafizik ve gizemcilik (mistisizm) için yoğun ilgi duyan Monconys, Pythagoras öğretilerini, Zerdüştlüğü, hatta Yunan ve Arap simyacıların eserlerini okur. Daha küçük yaştan beri Hindistan ve Çin'e kadar ulaşmayı düşlemesine karşın eğitimini tamamladıktan sonra Lyon'a geri döner ve nihayet 34 yaşındayken kütüphane güvenliğini ve teorik laboratuvar bilgilerini terkedip kararlı bir biçimde Avrupa ve Doğu'ya seyahat etmeye başlar.
Monconys, Luynes dükünün oğluyla birlikte Portekiz, İngiltere, Almanya, İtalya, Alçak Ülkeler (Hollanda), İstanbul ve Orta Doğu'ya seyahat eder. Daha ilk yolculuğundan (Portekiz'de) uğradığı her şehirde kısa zamanda matematikçi, rahip, cerrah, mühendis, kimyager, doktor ve prens gibi çeşit çeşit insanlarla bağ kurup laboratuvarlarını ziyaret ederek "sır ve tecrübeler" derler. Yazdığı metinde bu süreci izlemekteyiz. Portekiz'den sonra ilk kez olarak İtalya'ya gider ve nihayet çeşitli dogmaları, eski dinleri ve "gymnosophist"leri (çıplak bilgeler) incelemek üzere Doğu'ya doğru yola çıkar. 1647-48 yıllarında Mısır'da bulunmaktadır; Zerdüştçüler ve Hermes-Thot (Hermes Trismegistus) müritleriyle karşılaşmak için Sina dağına kadar ulaşır. Mısır'da 17. yüzyılın bu Batı Avrupalısı daracık sokakların oluşturduğu labirent içinde yitip, türk, kıptî, yahudî, arap, moritanyalı, maruni, ermeni, derviş gibi binbir çeşit dogma ve mezhep, milliyet ve kültürel adet keşfeder. Batıl inançlara uyar, ibranice farsça yada arapça dillerinde yazılmış şahane gökbilim kitapları keşfeder. Kutsal Yerlere hacılık ziyaretinin ardından Anadolu'yu boydan boya geçip İstanbul'a varır. Buradan İran'a gitmeyi planlar. Ancak veba salgını bir kez daha onu kaçmaya zorlar; İzmir'e geçip oradan 1649 yılında Lyon'a döner.
Monconys 1663'ten 1665'e kadar hiç ara vermeden Paris, Londra, Hollanda ve Almanya arasında mekik dokuyup prens ve filozoflarla konuşur, çeşitli kütüphane ve laboratuvarları ziyaret eder ve birçok bilim adamıyla yoğun bir mektuplaşma sürdürür. Ancak sonunda üstüste geçirdiği astım krizlerinden sonra seyahat notlarının kitap olarak basılmış halini göremeden ölür.
Sözkonusu yayın (1665-1666) Monconys'nin oğlu ve dostu Cizvit rahip J. Berchet tarafından hazırlanmıştır. Monconys'nin geniş bir ilgi alanına sahip oluşu günlüğünü tamamlayan desenlerle kanıtlanmaktadır. Derlemiş olduğu çeşitli ve zengin malzeme içinde: ilâç reçeteleri, kimyasal formüller, gizli ilimlerle ilgili malzeme, matematik bilmeceleri, cebir ve geometri problemleri, zoolojiye (hayvan bilimi) ilişkin gözlemler, mekanik uygulamalar, doğa fenomenleri betimlemeleri, kimyasal deneyler, makineler, tıp konuları, felsefe taşı, astronomi ölçümleri, büyüteçler, termometreler, su tesisatıyla ilgili cihazlar, içkiler, hidrometreler, mikroskoplar, mimarî yapılar, hijyen ve likör yapımı gibi konular var.
Kitabın üçüncü cildinde işlenen konular arasında 165 tane fizik kimya ve tıp deneyi ve sonuçları, ve Maraton muharebesi hakkında bir sone yer almaktadır. Bu içeriğin sınıflanması için kitaba beş tane ayrı çözümlemeli dizin eklenmiştir. Aynı zamanda, Monconys'nin üç ciltlik eserinden upuzun bir isimler katalogu da (250'den fazla isim) elde edilebilir. Bu isimler yazar ve düşünür, doktor, simyacı, astrolog, matematikçi, deneyci ve çeşitli uzman araştırmacılara aittir. Monconys'nin metninden ve mektuplaşmalarından, 17. yüzyıl ortalarında özellikle batı Avrupa'da, 20 yıldan fazla bir süre için, tüm bilim uzmanlarının yeniden birleştirebileceği son derece ilginç bir bilimler arası ilişki ağı ortaya çıkmaktadır.
Monconys'nin yazış uslubu tekdüze olmakla birlikte, bir laboratuvar araştırmacısının seyahat günlüğü ile gözlem defterini bir arada bulundurması açısından eşsiz bir cazibeye sahiptir. Metne eşlik eden desenler seyahat edebiyatı yayınlarında rastlanan ender türden bir malzeme oluşturmaktadır.
Yazan: İoli Vingopoulou
when I moved into my new flat, I was absolutely gobsmacked to discover that the previous owners, a really sweet couple, left these two plants for me to be taken care of... so far, these guys are doing well and probably the conversation is floating between them, when I'm not around ;)
russellmoreton.blogspot.co.uk/
Christopher Wilmarth ; Poetics/Duality of Light and gravity
Other Architecture
Constructing Metaphysical Space
Wilmarth's art reveals his essential concern with the mystical and physical properties of light, especially the ways in which light evokes reverie and generates sensations of space and containment.
The Architecture of Natural Light : Henry Plummer
EVANESCENCE
Orchestration of light to mutate through time
Intensity and integrity of Wilmarth's practice/vision.
PROCESSION
Choreography of light/moving eye
VEILS OF GLASS
Refraction of light/diaphanous film
Wilmarth made possibly his strongest, most beautiful works on paper, exploring a new level of expression while retaining continuity with past work.
ATOMIZATION
Sifting of light/through a porous screen
These drawings also contain allusions to the human presence. Their haunting, foreboding quality is prefigured in the grave, austere tones of some of the glass and steel structures.
CANALIZATION
Channelling of light/through a hollow mass
The duality of light and shadow and contrasts between abstraction and representation continue to be central concerns in his final drawings.
ATMOSPHERIC SILENCE
Suffusion of light with a unified mood
Wilmarth's sculptures from the early 1980's are influenced by the poetry of Stephane Mallarme.To affirm Mallarme's emphasis on the spiritual, the artist used a simple ovoid form, evoking a multitude of symbols, including the human head. These ovoids were made of blown glass, which Wilmarth viewed as "frozen breath". The artist pursued this figurative impulse into the mid 1980s, combining the anthropomorphic ovoid shapes with the larger abstract forms of his earlier sculpture.
LUMINESCENCE
Materialization of light in physical matter
Wilmarth composed with planes of delicate colour and light, placing plates of blackened steel behind translucent sheets of etched glass imbued with a luminous, greenish cast.
"He employed a painterly technique that emphasized the tactility and fichness of his materials, which like an alchemist he persistently sought to transform. He continually examined the concept of duality: contrasts between light and shadow, transparency and opacity, heaviness and weightlessness, materiality and ethereality, form and spirit are repeatedly presented; the synthesis of geometric with organic forms, the range between abstraction and representation are constantly explored."
Laura Rosenstock, catalogue essay.
Taken just after a drenching shower, in upland old-growth forest near the northern bluff of the Galien River. Looking generally southward.
To see the amazing, physical-metaphysical process of photosynthesis at its most rampant, stand in a woodland like this just after a summer rain. Everything glows green. The air crackles with oxygen.
The most important chemical formula in the world is
6CO2 + 6H2O → C6H12O6 + 6O2
(Forgive the lack of subscripts. Apparently Flickr does not permit the appropriate HTML coding for them.)
There are some ecosystems (at midocean vents, for instance) that don't rely on this formula, but we and most of the rest of life certainly do. To put its chemical symbols and numerals into plain English: plants and other organisms using this type of photosynthesis take basic chemical compounds—carbon dioxide and water—and somehow transform them, as we animals certainly can't, into both free oxygen and food in the form of sugar.
Note my emphasizing the word "somehow." It's easy to slap that equation up on a blackboard or projection screen and just say, "That, my friends, is how photosynthesis works!" But to actually disambiguate the chain of arcane and convoluted chemical reactions that must take place in sequence, like the workings of a Rube Goldberg machine, is no easy job for either teacher or student.
When presenting horticulturally oriented botany at the adult-education level, I was told to cite the equation, and stop there. But in the upper-level, botany-for biology-majors course I taught in college, we went all the way down the rabbit hole.
But the more I did the latter, the more convinced I became that something important was missing in the textbook explication of chlorophyll, chloroplasts, light reactions, the Calvin Cycle, carbon fixation, RuBisCo, electron donors, ATP, Crassulacean Acid and C4 metabolisms, and all the other processes and paraphernalia of photosynthesis.
I think I've had this unsettled feeling because the historical-geologist side of me knows that direct and indirect fossil evidence suggests something rather arresting. This hyper-complicated process originated not long after—and maybe just after—the Late Heavy Bombardment. This cataclysmic infall of asteroids and meteorites occurred between 4.1 and 3.8 Ga ago, in the late Hadean eon and Eoarchean era.
Despite that truly hellish assault on the Earth's surface, the fossil evidence alluded to above points to something almost unbelievable: an early form of photosynthesis existed by 3.5, and maybe even as far back as 3.8 Ga. How did something as mind-bendingly elaborate as that start so early in the evolution of life, when our planet was populated only with the simplest unicellular microorganisms?
And the kind of oxygen-liberating photosynthesis cited in the formula above, the kind we depend on, was also operating no later than 3.0 Ga ago.
In contrast, plants developed much, much, later. If you have a broad definition of what it is to be a plant, they're a little less than 1.0 Ga old; but if you just restrict them to those that have evolved on land, they're about half of that. And trees—the forerunners of those shown in this image—didn't evolve till the Upper Devonian, about 0.38 Ga (380 Ma) ago.
So, while advanced multicellular life was a slow starter, it seems that Planet Earth was blessed with a remarkably potent and complex chemical pathway, no less magical for being explicable, at a very early date in its development.
Of course, this all begs the question of why. I've thought about this endlessly, and am now quite sure I've figured it out. Just as the Titan Prometheus brought fire to humankind, it was the Roman goddess Flora, descending from some Eoarchean proto-Olympus, who bestowed this priceless gift of life on our little world. I hope that the next edition of botany textbooks will point that out.
#/media/File:Wall_painting_-_Flora_-_Stabiae_(villa_di_Arianna)_-_Napoli_MAN_8834.jpg){kind=link}
To see the other photos and descriptions of this series, go to my Wonders of an Old-Growth Forest album.
For more information about my craft, please visit my profile page.
LUMINOSITY is a fascinating 130 carat handcrafted labradorite pendant that I created swirling and shaping antique bronze toned copper wire by hand, adding peridot, lapis lazuli and topaz chips to enhance the natural beauty, shape and colors of the stone. This labradorite is one of the most vivid of my labradorites. It is a rare labradorite as it flashes many different colors such as a beautiful royal blue, bright yellow, orange and lime green when viewed from different angles in the light. This stone is truly a beautiful gift from Mother Nature. The combination of the elegant, swirly antique bronze wire setting, together with the earthy and dramatic gemstone creates a very versatile piece of wearable art that can be worn with a party dress or your favorite casual jeans. Stylish Care More pendants are sure to add a touch of natural drama to your fashion wardrobe
It measures 1 1/2" across and 3" top to tip including the bail.
The bail is designed to be large enough to accommodate your favorite chain, choker or cord. A 17" antique bronze chain is included.
All purchases are nicely packaged in a gift box.
The following metaphysical healing properties have been collected from various sources. For more specific information please contact an experienced Crystal Therapist.
Labradorite's healing effects:
Labradorite (also called Spectrolite sometimes) is a considered by mystics to be a stone of transformation. It is said to clear, balance and protect the aura. It is purported to help provide clarity and insight into your destiny, as well as attract success. It is used in metaphysics for dream recall, and finding ways to use dreams in daily life. Mystically, energies of stress and anxiety are reduced by labradorite. It helps to stimulate the imagination, enhancing intuition, psychic abilities, strength of will, strengthens and protects the aura. Helps us to understand the destiny that we have chosen.
Physical: Labradorite is said to increase intuition, psychic development, esoteric wisdom, help with subconscious issues, and provide mental illumination. Labradorite is associated with the solar plexus and brow chakras.
This item was for sale yesterday on eBay.
This major retrospective publication confirms Carl Beam (1943 - 2005) as one of Canada's most important artists. Beam broke new ground throughout his career, notably as the first artist of Native Ancestry (Ojibwe), to have his work purchased by the National Gallery of Canada as Contemporary Art. Working in various mediums - photography, oil, acrylic, text on canvas, stone, cement, wood, ceramics and found objects - Beam explored the tensions between Western and Aboriginal relations. Featuring more than 50 of Beam’s most remarkable works from his early career in the 1970s to the end of his production in the early 2000s, this generously illustrated monograph illuminates the artist’s investigations into the metaphysical aspects of Western and Indigenous culture, while powerfully illustrating the wide-ranging physicality of his work.
en.m.wikipedia.org/wiki/Carl_Beam
Carl Beam R.C.A. (May 24, 1943 – July 30, 2005), born Carl Edward Migwans, made Canadian art history as the first artist of Native Ancestry (Ojibwe), to have his work purchased by the National Gallery of Canada as Contemporary Art. A major retrospective of his work, mounted by the National Gallery of Canada, was exhibited in 2010, recognizing Beam as one of Canada's most important artists. He worked in various photographic mediums, mixed media, oil, acrylic, spontaneously scripted text on canvas, works on paper, Plexiglas, stone, cement, wood, handmade ceramic pottery, and found objects, in addition to etching, lithography, and screen process.
Childhood:
Carl Beam was born Carl Edward Migwans on May 24, 1943, in M'Chigeeng First Nation. His mother, Barbara Migwans was the Ojibwe daughter of Dominic Migwans who was then the Chief of the Ojibways of West Bay (later renamed M'Chigeeng First Nation). "The Beam family's true name derives from miigwaans which means little feather or bird."[1] His father Edward Cooper, was an American soldier, who died as a prisoner-of-war in World War II. "He was raised by his grandparents Dominic and Annie for most of his young life. His exceptional qualities were observed by his elders at a young age, and he was given the name "Ahkideh", from aakode' meaning "one who is brave" in the Ojibwe language."[2] He was sent to Garnier Residential School, in Spanish, Ontario, from the age of ten until he left as a young man.
Education:
After working at a variety of jobs, from construction work on the Toronto subway, to working as a millwright in Wawa, Ontario, Beam entered Kootenay School of Art (1971). He went on to earn a Bachelor of Fine Arts from the University of Victoria in 1974, and entered into post-graduate studies at the University of Alberta, (1975–76). He left the University of Alberta over a dispute about his thesis on native art, and returned to Ontario.
(In the late 1970's Carl lived on the second floor in a large house that had been the old Mayor's house of Sault Ste. Marie which was when he was friends with Cecil Young Fox a budding Metis artist who lived on the third floor and was working at Algoma Steel and painting part time. I met him there but he declined to allow us into his place as it was set up to make the photographic prints that an old friend had just taught him how to make and he wanted to guard his process. He told me that that process would likely make his career. Cecil had attended the same school and was a victim of sexual exploitation. We talked at length about his trauma. I met Carl's sister Lina in Iron Bridge and enjoyed an evening of dancing.)
www.flickr.com/photos/21728045@N08/5539225766/in/photolis...
Early Work:
The direction of Carl Beam's visual style was firmly established by the late seventies. In 1979 Beam met and married his wife, Ann Beam. "In developing his work over the years, Beam has been accompanied by his wife, Ann, herself an artist and a former teacher at the Art Gallery of Ontario. Often they have worked as collaborators".[3] At this time he incorporated multiple photographic images onto a single picture plane. "He disregarded the illusory deep space of Renaissance depiction, in favour of a flat tableau, where a dialogue of multiple images could take place".[2] At this time his photographic imagery was achieved primarily via screen process, photo-etching, Polaroid instant prints, and a solvent transfer technique also used by Robert Rauschenberg.
Living in South West USA:
1980, Beam and his family, Ann, and daughter Anong, moved to Arroyo Seco, New Mexico to live and work. "We developed a dialogue together in everyday living, politics, world events, ceramic technique, painting, and all things art, that would continue for the next 26 years".[4] Said Beam of the time "It was in the southwest years later with Ann and Anong, who was a baby, that I saw my first Mimbres bowl, or rather a cupboard full of Mimbres bowls in a gallery on the square in downtown Santa Fe, New Mexico. Some were completely intact, some had been restored, but all shared a bold adventurous design. When I discovered they were done 1,000 years ago, I was completely surprised."[5] Beam and his wife Ann exhibited their ceramic work together in The Painted Pottery of Ann and Carl Beam at the Maxwell Museum of Anthropology, University of New Mexico, Albuquerque, NM.
Ceramic Works and Pottery:
Beam minored in ceramic pottery at the Kootenay School of Art. Despite having received top notch training, he found he lacked the ability to express himself as compared to with canvas or paper. Beam abandoned pottery as an art form but only temporarily. Years later in 1980 while living in Santa Fe, New Mexico, Beam again became interested in handmade pottery via his exposure to Santa Clara pottery and Mimbres bowls as were made by the Anasazi who lived in the area centuries before.
In the words of Ann Beam, “It was the Santa Clara blackwares that got us first” [6] Beam became excited with the adventurous and bold designs he observed in these works. Eventually he met Rose Montaya who further exposed him to her techniques and those passed down from her mother. Having learned much from Rose, Beam was able to find his own clay and paint stones, fire outside with dried dung or wood, and experiment extensively – about 70% of the early works were lost due to trial and error – all works were handmade without a wheel, often unglazed and polished with a stone. His Mimbres bowls were fabricated as a modern version of the ancient Anasazi ones - on the interior they were generally cream colored and quite smooth whereas the exterior appeared almost disregarded and less important (see Figures 1 and 2). Having studied all available exemplars found in museums, art galleries, shops, books, and otherwise, Beam’s contemporary versions were largely influenced by the materials and sophisticated art dialogue present in the Anasazi works he saw. Also in the Anasazi tradition, Beam’s bowls typically featured a bold design around the rim with his own unique images placed in the center. The result of his and Ann's early work was an exhibition in 1982 entitled “The Painted Pottery of Ann and Carl Beam” at the Maxwell Museum of Anthropology of the University of New Mexico in Albuquerque,[7] with other shows to follow later.
Beam preferred the Mimbres bowl because it was a form conducive to his creative expression: “Finally, one form I could use to be absolutely creative in … the hemispherical quality of a large bowl still excites me like no cup, tea pot, plate or other clay shape can do…it is a universe unto itself where anything can happen – the designs are limitless.” [6]
Beam continued to work on and off in pottery, creating bowls, snake pots and other handmade creations almost always decorated with his designs and images. The raven is featured prominently in many of his works – “Migwans”, Beam’s family name, means “feather” or “bird”. His works also feature news events (such as the Anwar Sadat assassination) or self-portraits or the shaman figure and family, a theme often returned to (seen in Figure 1) Beam also shared the techniques learned and developed with others including his cousin David Migwans, now an accomplished artist living in M'Chigeeng First Nation, Manitoulin Island.[8]
Return to Canada:
Although he had achieved a level of success in the United States, with art dealers in both Taos, and Santa Fe, Beam returned to Canada, where he felt his work had an important contribution to make. "A return to Canada in 1983 at first meant no change in format: one ceramic work by Beam of a shaman family, in the collection of the Woodland Cultural Centre in Brantford, Ontario, has the central image Beam favoured in New Mexico, though now one that represents his current situation. Here a shaman figure holds the hands of a figure to either side, likely a veiled reference to his wife, Ann, and his daughter, Anongonse, born in 1980."[9] The family moved to Peterborough, Ontario, and in 1984, Beam was commissioned to make an art work for the Thunder Bay Art Gallery. He titled the piece Exorcism. This became part of a "breakthrough exhibition"[2] for him, which had a catalogue, and was titled Altered Egos the Multi-media Artwork of Carl Beam. It was curated by Elizabeth McLuhan. Living in the east end of Peterborough, Ontario, Beam created an early set of large format etchings, consisting of nine prints. There are many signature images in this print collection, which Beam later used to form the image backbone of his iconic work The North American Iceberg. This work was purchased by the National Gallery of Canada, making Beam the first artist of Native ancestry to have his work purchased into the permanent collection of the National Gallery of Canada as contemporary art.
Mature Style:
By the mid-1980s, Beam was working with new techniques for incorporating photo-imagery into his work. He utilized a heat transfer technique learned from fellow artist Ann Beam, with his work on paper and Plexiglas. He also began working with photo emulsion and mixed media on paper and large scale canvas works. The works contained various juxtapositions of imagery from the spiritual, the natural, and political world, and incorporated his own poetic inscriptions and math equations. "My works are like little puzzles, interesting little games. I play a game of dreaming ourselves as each other. In this we find out that we're all basically human.... My work is not fabricated for the art market. There's no market for intellectual puzzles or works of spiritual emancipation"[10]
The Columbus Project:
The subject matter of his work turned toward the rapidly approaching 500th anniversary in 1992 of Christopher Columbus, and his arrival in North America. He found in this event, a rich source for a discussion on the nature of culture, as well as revisions and versions of history. He created at this time,(1989–1992) a body of work entitled The Columbus Project. Its first stage had exhibition venues in Peterborough, Ontario at both ArtSpace (curated by Shelagh Young), and also the Art Gallery of Peterborough. The second phase of the Columbus Project was an exhibition at The Power Plant in Toronto, curated by Richard Rhodes entitled the Columbus Boat. The exhibition continued on to venues in Italy and the United States. Beam's imagery for the Columbus Project was cross-culturally vast, and contained the primary images of Columbus, and Native peoples, but also images of Martin Luther King, John F. Kennedy, Albert Einstein, and Abraham Lincoln, Italian Christian iconography, diverse animal species, self-portraits and technology (stop lights, rockets). There were two sculptural elements, Voyage a partial reconstruction of the Santa Maria, and the Ampulleta, a 6-foot-tall (1.8 m) hourglass, with one obstructive stone within the sand, as well as several installations, and a video performance of Beam in the Dominican Republic, making a representational graveyard on the beaches where the landing could have taken place.
In 1992 Carl Beam and Ann Beam built an adobe house on Manitoulin Island. "Their adobe house became to a certain extent, a large scale project which evolved naturally out of their earlier experiences with Native American pottery and the building vernacular of the American southwest."[11] Their life experience was incorporated in his exhibition Living in Mother Earth, and her exhibition Sub-division Suite/Earth Builder's Narrative.
The Whale of Our Being:
Beam entered the new millennium with the body of work entitled The Whale of Our Being, in this work "Beam examines the calamitous moral fallout from what he perceives as a profound spiritual absence in contemporary society, symbolized by a great whale of primordial proportions".[12] Featuring large photo emulsion works on canvas, constructions, large scale paper works, and ceramics. "Compared to earlier work, The Whale of Our Being exhibits a positively baroque complexity, a dizzying assortment of references, sometimes printed in overly saturated, fluorescent colour. Mystery, for instance, is pink-Day-Glo-coloured pink. The colour in Summa ranges from Day-Glo yellow-green to orange; the images from Einstein and the Hubble Telescope, and astronaut, and Sitting Bull to and image of the First Nations, and more besides."[13] His imagery had become vast and all inclusive, in The Whale of Our Being "He re-examines the media construction of violence and infamy and the public fascination with celebrity".[14] Said Beam at a panel discussion for the Beyond History exhibition in 1989, "If an artist has a legitimate premise, there is nothing which isn't within their field of enquiry".[15]
Crossroads:
His last body of work was in process until the time of his death in 2005. It was titled Crossroads from the blues song by Robert Johnson. The work included images of pop stars, gangsters, scientists, native leaders, politicians, writers and poets, musicians (Robert Johnson, Bob Dylan, Marilyn Manson, Jerry Garcia, Britney Spears, John Lennon), TV personalities (Martha Stewart), animals, and birds. He had completed Plexiglas works, and 22"x 30" paper works for Crossroads and was in the middle of a suite of etchings at the time of his death.
Carl Beam received the Governor General's Award in Visual and Media Arts in 2005.
It's All Relative Exhibition:
In 2004, the Canadian Clay and Glass Gallery in Waterloo, Ontario, created a traveling exhibition, curated by Virginia Eichorn, of 50 ceramic pieces by Carl Beam, Ann Beam, and Anong Migwans Beam. This marked the first time all three exhibited together. It was his last exhibition during his lifetime. It continues to tour.
Legacy:
Carl Beam was the first artist of Native ancestry to have his work purchased by the National Gallery of Canada as contemporary art (1986), thus opening the door for a generation of Native artists to enter. "Despite Beam's reluctance to be defined as a "Native Artist", his art deals with the struggles of his people."[16] Beam brought an innovative approach to all the media he worked in. "Technically Beam is regarded as an innovator for his intentional blurring of diverse art practises, thereby enabling certain methodologies and techniques to acquire new contexts. His innovative techniques, in fact, have been emulated by a new generation of artists-Native and not."[17] "He evolved his own unique techniques as needed in photo-etching and photo based painting, to name a few, and his passionate discourse on all things political and practical inspired many people."[18] A major retrospective of his work, mounted by the National Gallery of Canada, is on exhibition, having started October 22, 2010, thus recognizing Beam as one of Canada's most important artists. The exhibition is curated by Greg A. Hill, Audain Curator and Head of the Department of Indigenous Art, and is accompanied by a catalogue with essays by Ann Beam, Greg Hill, Gerald McMaster, Virginia Eichhorn, and Alan Corbiere with Crystal Migwans, including paintings, photo-based collage works, constructions, ceramics and videos.[19]
Personal Life:
Beam married his first wife in the early 1960s. They had five children, Clint, Veronica, Leila, Carl Jr., and Jennifer. The marriage was later annulled. Beam married Ann Elena Weatherby, and their daughter is Anong Migwans Beam. Beam died on July 30, 2005, at Ottawa General Hospital, from complications due to diabetes.
Honours
References
^ Virginia Eichorn, It's All Relative Catalog, 2005, p. 5
^ a b c Ann Beam in conversation with Anong Beam, Manitoulin Island, 2008
^ Joan Murray, The Whale of Our Being Catalogue, 2002, p.4
^ Ann Beam, in conversation with Anong Beam, Manitoulin Island, 2008
^ Carl Beam, It's All Relative Catalogue, 2005, p.8
^ a b "It's All Relative", Exhibition Catalogue, Virginia Eichorn, October 2003.
^ Joan Murray, The What of Our Being catalog, 2002
^ www.amtelecom.net/~davidm/bio.html
^ Joan Murray, The What of Our Being catalogue, 2002, p.5
^ Carl Beam in conversation with the author. In Allan J. Ryan, The Trickster Shift: Humour and Irony in Contemporary Native Art, Vancouver and Seattle, UBC Press and University of Washington Press, 1999, p. 151.
^ Virginia Eichorn, It's All Relative Catalog, 2005, p.6
^ Allan J. Ryan, 2005 Governor General's Awards for Excellence in Visual and Media Arts Catalog, p.18,21,
^ Joan Murray, The Whale of Our Being catalogue, 2002, p.3
^ Allan J. Ryan, 2005 Governor General's Awards for Excellence in Visual and Media Arts Catalog, p.21
^ Carl Beam, panel discussion, Beyond History exhibition, Vancouver, 1989
^ Dierdre Hanna, NOW magazine, Vol.9, #26, 1990
^ Virginia Eichorn, It's All Relative Catalog, 2005, p.5
^ Ann Beam in discussion with Anong Beam, Manitoulin Island, 2008
^ Newsletter: On TOUR National Gallery of Canada and Canadian Museum of Contemporary Photography Travelling Exhibitions Newsletter No. 16 - June 2008
^ "Members since 1880". Royal Canadian Academy of Arts. Retrieved 11 September 2013.
A metaphysical/spiritual focused bookstore which has been a part of the local scene for many years seems to be experiencing some hard times. During a walk around I found this in the bushes.
Strictly speaking doctrinal knowledge is independent of the individual. But its actualization is not independent of the human capacity to act as a vehicle for it. He who possesses truth must none the less merit it although it is a free gift. Truth is immutable in itself, but in us it lives, because we live.
If we want truth to live in us we must live in it.
Knowledge only saves us on condition that it enlists all that we are, only when it is a way and when it works and transforms and wounds our nature even as the plough wounds the soil.
To say this is to say that intelligence and metaphysical certainty alone do not save; of themselves they do not prevent titans from falling. This is what explains the psychological and other precautions with which every tradition surrounds the gift of the doctrine.
When metaphysical knowledge is effective it produces love and destroys presumption. It produces love, that is to say the spontaneous directing of the will towards God and the perception of "myself" - and of God - in one's neighbour. It destroys presumption, for knowledge does not allow a man to overestimate himself or to underestimate others. By reducing to ashes all that is not God it orders all things.
All St. Paul says of charity concerns effective knowledge, for the latter is love, and he opposes it to theory inasmuch as theory is human concept. The Apostle desires that truth should be contemplated with our whole being and he calls this totality of contemplation "love".
Metaphysical knowledge is sacred. It is the right of sacred things to require of man all that he is.
Intelligence, since it distinguishes, perceives, as one might put it, proportions. The spiritual man integrates these proportions into his will, into his soul and into his life.
All defects are defects of proportion; they are errors that are lived. To be spiritual means not denying at any point with one's "being" what one affirms with one's knowledge, that is, what one accepts with the intelligence.
Truth lived: incorruptibility and generosity.
Since ignorance is all that we are and not merely our thinking, knowledge will also be all that we are to the extent to which our existential modalities are by their nature able to participate in truth.
Human nature contains dark elements which no intellectual certainty could, ipso facto, eliminate...
Pure intellectuality is as serene as a summer sky - serene with a serenity that is at once infinitely incorruptible and infinitely generous.
Intellectualism which "dries up the heart" has no connection with intellectuality.
The incorruptibility- or inviolability- of truth is bound up neither with contempt nor with avarice.
What is man's certainty? On the level of ideas it may be perfect, but on the level of life it but rarely pierces through illusion.
Everything is ephemeral and every man must die. No man is ignorant of this and no one knows it.
Man may have an interest that is quite illusory in accepting the most transcendent ideas and will readily believe himself to be superior to some other who, not having this interest (perhaps because he is too intelligent or too noble to have it) is sincere enough not to accept them, though he may all the same be more able to understand them than the other who accepts them. Man does not always accept truth because he understands it; often he believes he understands it because he is anxious to accept it.
People often discuss truths whereas they should limit themselves to discussing tastes and tendencies ...
Acuteness of intelligence is only a blessing when it is compensated by greatness and sweetness of the soul. It should not appear as a rupture of the equilibrium or as an excess which splits man in two. A gift of nature requires complementary qualities which allow of its harmonious manifestation; otherwise there is a risk of the lights becoming mingled with darkness.
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Frithjof Schuon
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Quoted in: The Essential Frithjof Schuon (edited by Seyyed Hossein Nasr)
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image:
The char-à-banc was an early horse drawn or motor vehicle with rows of seats to carry passengers on tours. It might be best described as an early touring bus and often had a retractable roof so patrons could enjoy the "wind whistling through their hair" or small bugs in their mouths or up their noses.
The discovery of the char-à-banc proved to be an enlightening, somewhat metaphysical experience. Ok, well maybe not. I've just tried to make it sound more revelatory than it actually is, but I had you going for a moment, right?
We're Here looks at On the Buses today and the char-à-banc kind of qualifies as such.
Keep Updated!!!! :)
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I don't have much to say about this one. I wanted to try something different. I like it.
Thanks to my friend Dylan and my wife Whitney for helping out with this one.
Collection Peggy Guggenheim
[Bibliography]
Peggy Guggenheim's career belongs in the history of 20th century art. Peggy used to say that it was her duty to protect the art of her own time, and she dedicated half of her life to this mission, as well as to the creation of the museum that still carries her name.
Peggy Guggenheim was born in New York on 26 August 1898, the daughter of Benjamin Guggenheim and Florette Seligman. Benjamin Guggenheim was one of seven brothers who, with their father, Meyer (of Swiss origin), created a family fortune in the late 19th century from the mining and smelting of metals, especially silver, copper and lead. The Seligmans were a leading banking family. Peggy grew up in New York. In April 1912 her father died heroically on the SS Titanic.
In her early 20s, Peggy volunteered for work at a bookshop, the Sunwise Turn, in New York and thanks to this began making friends in intellectual and artistic circles, including the man who was to become her first husband in Paris in 1922, Laurence Vail. Vail was a writer and Dada collagist of great talent. He chronicled his tempestuous life with Peggy in a novel, Murder! Murder! of which Peggy wrote: "It was a sort of satire of our life together and, although it was extremely funny, I took offense at several things he said about me."
In 1921 Peggy Guggenheim traveled to Europe. Thanks to Laurence Vail (the father of her two children Sindbad and Pegeen, the painter), Peggy soon found herself at the heart of Parisian bohème and American ex-patriate society. Many of her acquaintances of the time, such as Constantin Brancusi, Djuna Barnes and Marcel Duchamp, were to become lifelong friends. Though she remained on good terms with Vail for the rest of his life, she left him in 1928 for an English intellectual, John Holms, who was the greatest love of her life. There is a lengthy description of John Holms, a war hero with writer's block, in chapter five of Edwin Muir's An Autobiography. Muir wrote: "Holms was the most remarkable man I ever met." Unfortunately, Holms died tragically young in 1934.
In 1937, encouraged by her friend Peggy Waldman, Peggy decided to open an art gallery in London. When she opened her Guggenheim Jeune gallery in January 1938, she was beginning, at 39 years old, a career which would significantly affect the course of post-war art. Her friend Samuel Beckett urged her to dedicate herself to contemporary art as it was âa living thing,â and Marcel Duchamp introduced her to the artists and taught her, as she put it, âthe difference between abstract and Surrealist art.â The first show presented works by Jean Cocteau, while the second was the first one-man show of Vasily Kandinsky in England.
In 1939, tired of her gallery, Peggy conceived âthe idea of opening a modern museum in London,â with her friend Herbert Read as its director (2). From the start the museum was to be formed on historical principles, and a list of all the artists that should be represented, drawn up by Read and later revised by Marcel Duchamp and Nellie van Doesburg, was to become the basis of her collection.
In 1939-40, apparently oblivious of the war, Peggy busily acquired works for the future museum, keeping to her resolve to âbuy a picture a day.â Some of the masterpieces of her collection, such as works by Francis Picabia, Georges Braque, Salvador DalÃ- and Piet Mondrian, were bought at that time. She astonished Fernand Léger by buying his Men in the City on the day that Hitler invaded Norway. She acquired Brancusiâs Bird in Space as the Germans approached Paris, and only then decided to flee the city.
In July 1941, Peggy fled Nazi-occupied France and returned to her native New York, together with Max Ernst, who was to become her second husband a few months later (they separated in 1943).
Peggy immediately began looking for a location for her modern art museum, while she continued to acquire works for her collection. In October 1942 she opened her museum/gallery Art of This Century. Designed by the Rumanian-Austrian architect Frederick Kiesler, the gallery was composed of extraordinarily innovative exhibition rooms and soon became the most stimulating venue for contemporary art in New York City.
Of the opening night, she wrote: âI wore one of my Tanguy earrings and one made by Calder in order to show my impartiality between Surrealist and Abstract Art" . There Peggy exhibited her collection of Cubist, abstract and Surrealist art, which was already substantially that which we see today in Venice. Peggy produced a remarkable catalogue, edited by André Breton, with a cover design by Max Ernst. She held temporary exhibitions of leading European artists, and of several then unknown young Americans such as Robert Motherwell, William Baziotes, Mark Rothko, David Hare, Janet Sobel, Robert de Niro Sr, Clyfford Still, and Jackson Pollock, the âstarâ of the gallery, who was given his first show by Peggy late in 1943. From July 1943 Peggy supported Pollock with a monthly stipend and actively promoted and sold his paintings. She commissioned his largest painting, a Mural, which she later gave to the University of Iowa.
Pollock and the others pioneered American Abstract Expressionism. One of the principal sources of this was Surrealism, which the artists encountered at Art of This Century. More important, however, was the encouragement and support that Peggy, together with her friend and assistant Howard Putzel, gave to the members of this nascent New York avant-garde. Peggy and her collection thus played a vital intermediary role in the development of Americaâs first art movement of international importance.
In 1947 Peggy decided to return in Europe, where her collection was shown for the first time at the 1948 Venice Biennale, in the Greek pavilion. In this way the works of artists such as Arshile Gorky, Jackson Pollock, and Mark Rothko were exhibited for the first time in Europe. The presence of Cubist, abstract, and Surrealist art made the pavilion the most coherent survey of Modernism yet to have been presented in Italy.
Soon after Peggy bought Palazzo Venier dei Leoni, on the Grand Canal in Venice, where she came to live. In 1949 she held an exhibition of sculptures in the garden curated by Giuseppe Marchiori, and from 1951 she opened her collection to the public.
In 1950 Peggy organized the first exhibition of Jackson Pollock in Italy, in the Ala Napoleonica of the Museo Correr in Venice. Her collection was in the meantime exhibited in Florence and Milan, and later in Amsterdam, Brussels, and Zurich. From 1951 Peggy opened her house and her collection to the public annually in the summer months. During her 30-year Venetian life, Peggy Guggenheim continued to collect works of art and to support artists, such as Edmondo Bacci and Tancredi Parmeggiani, whom she met in 1951. In 1962 Peggy Guggenheim was nominated Honorary Citizen of Venice.
In 1969 the Solomon R. Guggenheim Museum in New York invited Peggy Guggenheim to show her collection there. In 1976 she donated her palace and works of art to the Solomon R. Guggenheim Foundation. The Foundation had been created in 1937 by Peggy Guggenheimâs uncle Solomon, in order to operate his collection and museum which, since 1959, has been housed in Frank Lloyd Wrightâs famous spiral structure on 5th Avenue.
Peggy died aged 81 on 23 December 1979. Her ashes are placed in a corner of the garden of Palazzo Venier dei Leoni, next to the place where she customarily buried her beloved dogs. Since this time, the Guggenheim Foundation has converted and expanded Peggy Guggenheim's private house into one of the finest small museums of modern art in the world.
[Info]
Address
Peggy Guggenheim Collection
Palazzo Venier dei Leoni
Dorsoduro 701
I-30123 Venezia
Opening hours
Daily 10 am - 6 pm
Closed Tuesdays and December 25
General information
tel: +39.041.2405.411
fax: +39.041.520.6885
e-mail: info@guggenheim-venice.it
Visitor services
tel: +39.041.2405.440/419
fax: +39.041.520.9083
e-mail: visitorinfo@guggenheim-venice.it
Photography
Photography is permitted without flash. You may not use tripods or monopods.
Animals
Animals of all sizes are not allowed in the galleries and in the gardens.
For information and assistance please contact "Sporting Dog Club".
Call Tel. +39 347 6242550 (Marie) or +39 347 4161321 (Roberto)
or write to sportingdoginvenice@gmail.com
Venice Art for All
The Peggy Guggenheim Collection joins the Venice Art for All project and becomes accessible to all, including people with limited mobility.
Palazzo Venier dei Leoni was probably begun in the 1750s by architect Lorenzo Boschetti, whose only other known building in Venice is the church of San Barnaba.
It is an unfinished palace. A model exists in the Museo Correr, Venice. Its magnificent classical façade would have matched that of Palazzo Corner, opposite, with the triple arch of the ground floor (which is the explanation of the ivy-covered pillars visible today) extended through both the piani nobili above. We do not know precisely why this Venier palace was left unfinished. Money may have run out, or some say that the powerful Corner family living opposite blocked the completion of a building that would have been grander than their own. Another explanation may rest with the unhappy fate of the next door Gothic palace which was demolished in the early 19th century: structural damage to this was blamed in part on the deep foundations of Palazzo Venier dei Leoni.
Nor is it known how the palace came to be associated with "leoni," lions. Although it is said that a lion was once kept in the garden, the name is more likely to have arisen from the yawning lion's heads of Istrian stone which decorate the façade at water level. The Venier family, who claimed descent from the gens Aurelia of ancient Rome (the Emperor Valerian and Gallienus were from this family), were among the oldest Venetian noble families. Over the centuries they provided eighteen Procurators of St Markâs and three Doges. Antonio Venier (Doge, 1382-1400) had such a strong sense of justice that he allowed his own son to languish and die in prison for his crimes. Francesco Venier (Doge, 1553-56) was the subject of a superb portrait by Titian (Madrid, Fundaciòn Thyssen-Bornemisza). Sebastiano Venier was a commander of the Venetian fleet at the Battle of Lepanto (1571) and later became Doge (1577-78). A lively strutting statue of him, by Antonio dal Zotto (1907), can be seen today in the church of Ss. Giovanni e Paolo, Venice.
From 1910 to c. 1924 the house was owned by the flamboyant Marchesa Luisa Casati, hostess to the Ballets Russes, and the subject of numerous portraits by artists as various as Boldini, Troubetzkoy, Man Ray and Augustus John. In 1949, Peggy Guggenheim purchased Palazzo Venier from the heirs of Viscountes Castlerosse and made it her home for the following thirty years. Early in 1951, Peggy Guggenheim opened her home and collection to the public and continued to do so every year until her death in 1979.
In 1980, the Peggy Guggenheim Collection opened for the first time under the management of the Solomon R. Guggenheim Foundation, to which Peggy Guggenheim had given her palazzo and collection during her lifetime.
Palazzo Venier dei Leoni's long low façade, made of Istrian stone and set off against the trees in the garden behind that soften its lines, forms a welcome "caesura" in the stately march of Grand Canal palaces from the Accademia to the Salute.
[Permanent collection]
The core mission of the museum is to present the personal collection of Peggy Guggenheim. The collection holds major works of Cubism, Futurism, Metaphysical painting, European abstraction, avant-garde sculpture, Surrealism, and American Abstract Expressionism, by some of the greatest artists of the 20th century. These include Picasso (The Poet, On the Beach), Braque (The Clarinet), Duchamp (Sad Young Man on a Train), Léger, Brancusi (Maiastra, Bird in Space), Severini (Sea=Dancer), Picabia (Very Rare Picture on Earth), de Chirico (The Red Tower, The Nostalgia of the Poet), Mondrian (Composition No. 1 with Grey and Red 1938 / Composition with Red 1939), Kandinsky (Landscape with Red Spots, No. 2, White Cross), Miro (Seated Woman II), Giacometti Woman with Her Throat Cut, Woman Walking), Klee (Magic Garden), Ernst (The Kiss, Attirement of the Bride), Magritte (Empire of Light), DalÃ- (Birth of Liquid Desires), Pollock (The Moon Woman, Alchemy), Gorky (Untitled), Calder (Arc of Petals) and Marini (Angel of the City).
The museum also exhibits works of art given to the Solomon R. Guggenheim Foundation for its Venetian museum since Peggy Guggenheim's death, as well as long-term loans from private collections.
Hannelore B. and Rudolph B. Schulhof Collection
In October 2012 eighty works of Italian, European and American art of the decades after 1945 were added to the collections of the Solomon R. Guggenheim Foundation in Venice. They were the bequest of Hannelore B. Schulhof, who collected the works with her late husband Rudolph B. Schulhof. They include paintings by Burri, Dubuffet, Fontana, Hofmann, Kelly, Kiefer, Noland, Rothko, and Twombly, as well as sculptures by Calder, Caro, Holzer, Judd and Hepworth. The Hannelore B. and Rudolph B. Schulhof Garden exhibits works from this collection.
Gianni Mattioli Collection
The museum exhibits twenty six masterpieces on long-term loan from the renowned Gianni Mattioli Collection, including famous images of Italian Futurism, such as Materia and Dynamism of a Cyclist by Boccioni, Interventionist Demonstration by Carrà , The Solidity of Fog by Russolo, works by Balla, Severini (Blue Dancer), Sironi, Soffici, Rosai, Depero. The collection includes important early paintings by Morandi and a rare portrait by Modigliani.
Patsy R. and Raymond D. Nasher Sculpture Garden
The Patsy R. and Raymond D. Nasher Sculpture Garden and other outdoor spaces at the Peggy Guggenheim Collection presents works from the permanent collections (by Arp, Duchamp-Villon, Ernst, Flanagan, Giacometti, Gilardi, Goldsworthy, Holzer, Marini, Minguzzi, Mirko, Merz, Moore, Ono, Paladino, Richier, Takis), as well as sculptures on temporary loan from foundations and private collections (by Calder, König , Marini, Nannucci, Smith).
Advertisement for the "Metaphysical Shop" in New Hope, Pennsylvania from a 1990 edition of "En Femme" magazine...
"The Buddha, the Godhead, resides quite as comfortably in the circuits of a digital computer or the gears of a cycle transmission as he does at the top of a mountain or in the petals of a flower." - Zen and the Art of Motorcycle Maintenance, Robert M. Pirsig
"Il Buddha, il Divino, dimora nel circuito di un calcolatore o negli ingranaggi del cambio di una moto con lo stesso agio che in cima a una montagna o nei petali di un fiore." - Lo Zen e l'arte della manutenzione della motocicletta, Robert M. Pirsig
Wagner's later operas and Nietzsche's early philosophy are greatly influenced by Schopenhauer's metaphysics as published in his 'The World as Will and Representation' (1819).
about 9 x 8 inches. Vintage paper from children's book and two pieces from 50s h.s. yearbook. (The black scuffed bits). Gray scale, cubed
Book of Shadows pages I created. These are not pre-punched so they can be customized for most any Book of Shadows. These pages are on parchment paper 8.5 x 11 size.
Day One-hundred and Eighty-Two, it's a Metaphysical Day. Pools can easily turn into metaphysical places, it all depends on how you look at them.
365+1 Day of NEX-7 project
Forgive me for being late on the metaphysical band wagon. Being sick takes alot out of girl. Anyhow, I don't watch the grammys and I won't until Julianna Barwick, Low, Thee Silver Mt. Zion, Karkwa, Final Fantasy, and Parenthetical Girls are all nominated..in the same year..which is kind of funny, right?
Anyhow, any pretentiousness aside...are there that many people that would watch the grammys that don't know who Arcade Fire is? Really? Last summer, they headlined a major music festival (Lollapalooza)...they sold out three nights at the UIC Pavilion here almost instantaneously before they ever got a Grammy.
The real question is...who the heck is Lady Antebellum. Oh, right, some band I wouldn't want to know, about?
I've been listening to Arcade Fire way before the grammys, people. See #2 on this top of the DECADE. www.flickr.com/photos/kirstiecat/4228820156/
Yeah, Arcade Fire deserved a Grammy (if that means anything) but not for Suburbs..for Neon Bible.
Still, I am happy for them. Getting a Grammy shouldn't just be about who sells the most records...there should actually be some critical criteria...even to call something music there should be criteria in this day and age.
**All photos are copyrighted. Please don't use without permisssion**