View allAll Photos Tagged processart
The Greys, or Grays, diminuitive but legendarily emotionless beings of super intellect who are said to have been here, on this world, interacting with classified levels of government and science, are the stuff of fascinated legend and great fear.
They are the 'abductors', the ones who've appeared in countless reports as having spirited away many a human being for gruesome experiments. The Travis Walton case in the 1970's is one of the most famous.
Are they here or is it a hoax? The Walton case is hair-raising and points to the very real possibility that Walton was not lying.
It is said, though, that these beings want something that we have and they do not - emotion. They are trying to acquire it through genetic splicing, so it's said. Whatever the case, it indicates that the intuitive and emotional, that we often place as secondary to reason, is the secret to our advancement as a species as reason, by itself, can become almost monstrous. The Greys may be a perfect metaphor for understanding the dangers of the extremes of rationality.
Or, they're just great fun to scare ourselves with .....
Shiraz
Shiraz is the sixth most populous city of Iran and the capital of Fars Province. In 2009 the population of the city was 1,455,073. Shiraz is located in the southwest of Iran on the Roodkhaneye Khoshk seasonal river. Wikipedia
The simultaneous deep underwater and sky references in this image led me nowhere else but to Pink Floyd's infamous masterpiece, "Echoes" for the title. The next line goes " and call to you across the skies". This grand, even epic, piece of music was, for a generation, pretty much the pinnacle of profound musical expression. It certainly stands out for me, as a long, long-time devotee of the band, as one of their greatest creations ever. The title also refers directly to opening oneself up to wider and deeper things, to the universe even, with it's implied open arms. For Paul Thomson of New York City.
Music Link: David Gilmour ( and RIchard Wright ) from Gilmour's album "Live in Gdansk". The You Tube video is mistakenly credited to Pink Floyd. Half of Pink Floyd is indeed represented but it is not officially Pink Floyd. This is probably the greatest version of the song ever recorded. Gilmour and Wright in particular are on fire here. The irony is that it is also pretty much a farewell to Wright, who very sadly died not long after. It is a powerful and moving swan song to the incredible musical partnership that Gilmour and Wright developed over decades.
www.youtube.com/watch?v=Qq_bITDr_90
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I often call this Cabbagetown house "The House of Dreams" after a friend's strong attraction to its image as being a reminder of a series of repeated dreams she had through childhood involving a mysterious house, like this.
A line from the great Roxy Music song, "Mother of Pearl", by Bryan Ferry. Ferry's delight at the time, during the heyday of Roxy, was to depict idealized women as both goddess and mannequin, each either unattainably divine or utterly impervious to human touch. In either case, the feminine is a source of obsession in the heart of the Romantic who believes his love, his obsession, is ultimately unreachable. This image harkened to this incredible song immediately. In the song, Ferry sings the word dilettante pronouncing the last "e" so that it rhymes with "fancy".
"La Derniere Foret" ( The Last Forest ) was a series of paintings that Surrealist Max Ernst created throughout the many phases of his artistic life. As a huge influence on me, and being one of my enduring, favourite artists, I pay homage to him here, once again.
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Another Modigliani-esque woman 'reflect's in a watery 'pool', reflects ON the pool, reflects IN the pool of her own thoughts, inside, and reflects on the manifesting outer world as well. Her right eye is indistinct and doesn't seem to see the outer world, it is turned inward. Her left, the side of analysis and the linear, looks outward into the world. True seeing, it's been said, is a balance of both.
A series of layered, "surrealist" pieces, part of my "Process Art" work, this time done in black and white. Why should powerful and unusual pieces always be in vivid colours? I wanted to try my hand at B&W surrealism as a way to expand my vocabulary - and hopefully come up with something effective.
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Continuing on from "The Kepler Symphony" here is another image with a more 'cosmic' theme. Here we see the Earth from above, several miles up, as if observed through giant windows reflecting back the interior of some unknown craft. If you look closely you can see the impact crater of recent meteor collision rippling out in tsunami waves. Is this the future with the human race watching the destruction of our home world or was this the view of a pre-historic event by a race that was here watching over the development of life on Earth? Science Fiction was in my youth the source of the imagination and speculation that really got me thinking. I'm thinking here of Arthur C. Clarke's incredible novel, "Childhood's End".
Dec 30/2012
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Often scenes of wet streets lit by neon, images like this, bring to mind Jimi Hendrix's "The Wind Cries Mary".
About the processes of creativity,in a digital media context.
Thank you to XstockX for allowing me to use her photograph in his picture.
:-)
Simon
The velocity and intention of shift over turns the accepted, ossified view and provokes the survival-seeing mind to abandon it's hold for a brief moment and see the world in pure wonder. Sometimes all it takes is an odd turn of the head.
A line from the great Pink Floyd epic, "Echoes". The water droplet ripples, particularly reminiscent of Hipgnosis' cover image, and the submarine green immediately brought the song to mind. View Large on Black.
Persepolis (Old Persian= Pārsa, Takht-e Jamshid or Chehel Minar) was the ceremonial capital of the Achaemenid Empire (ca. 550-330 BCE). Persepolis is situated 70 km northeast of the modern city of Shiraz in the Fars Province of modern Iran. In contemporary Persian, the site is known as Takht-e Jamshid (Throne of Jamshid). The earliest remains of Persepolis date from around 515 BCE. To the ancient Persians, the city was known as Pārsa, which means "The City of Persians". Persepolis is a transliteration of the Greek Πέρσης πόλις (Persēs polis: "Persian city").
A series that concerns itself with re-birth, a 're-booting', if you will, of the force, power and beauty of life coming from apparent ending ( death ). Re-birth here can refer to any new cycle that begins after the end of another.
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#2 of 5
Dedicated to the loved ones of all the hundreds of people, men, women and especially children who have been the victims of violent insanity, particularly the people of Newtown, Connecticut. Yearn for Light, call for Light, work for it every day without fail. Each day as we meet the many people in our lives we have a choice - to be a light to them or be a darkness. To be indifferent is as every bit an unkindness as is darkness.
I once read a sign on a church that said, " You may be the only Bible someone reads today ". Take out the religious affiliation if you will, and the spirit of that admonition remains. I might put it as, "You may be the only light that someone sees today".
Can we be lighthouses that stand firm and solid among crashing, pounding waves, shining out our light to warn of the danger of the rocks? Can we hold that light and shine it no matter how monumental that crashing is around us?
Call for Light, lighthouses ! Shine a light for all who died today - Dec. 14, 2012, and shine it every day.
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Stuck in a process, aside
and then art.....
Three areas of text in this picture, that read;
"Individuality
conform con form CON form
blunt rib cage 7
9 AS
Push Tap
Unfriend ly
technocratic fresh
computer shard light house
beam consumerism
conservative proletariat
We conspire to politics
Iris-like repetition"
Text by the artist.
Simon
Large is Better :-)
So much talk these days about our 'surveillance culture' and there's not a bit of doubt that it's true. Everyone seems driven, like lemmings, to share their 'everything', without discretion, on media that are closely monitored. But it is also true that said media have made it possible for there to be leaderless revolutions ( 'Arab Spring' ) and what that simply means is that the little "us's" around the world are also quite capable now of looking right back. This meld of graffiti here seems to remind that the 'streets' are also keenly vigilant. Integrity is the issue now in almost everything. Make no mistake. View Large on Black.
Richard Serra, Sculpture: Forty Years was on display at the Museum of Modern Art (MoMA) from June 3 - September 10, 2007. The exhibition was a forty-year survey of the work of American minimalist sculptor, Richard Serra (b. November 2, 1939, San Francisco). Serra, who was involved in the Process Art movement, is known for working with large scale assemblies of sheet metal (COR-TEN-Steel). The monumental exhibit, which included three new works, spanned the museum's tall-ceilinged second floor, sixth floor, and Abby Aldrich Rockefeller Sculpture Garden, where Torqued Ellipse IV (1998) and Intersection II (1992-93) braved the outdoor elements.
Intersection II (1992-93), a gift of Jo Carole and Ronald S. Lauder, consists of four upright, almost identical conical sections of weatherproof steal--two sections 13'1 1/2" high x 51'9" along the chord x 2 1/8" thick; two sections 13'1 1/2" high x 50'9" along the chord x 2 1/8" thick. The sections tilt their way inviting visitors to travel along three routes between its massive walls, exerting a psychic pressure from the weight, height, and leaning angles, and from their variously dark and rusted surfaces. It is tempered by the elegant precision of their lines and the satisfying logic of their arrangement. The slopes and placements of the great steel curves produce two outer spaces that invert each other at floor and ceiling, one being wide where the other is narrow. Meanwhile the central space is a regular yet biased ellipse.
The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown. The building underwent extensive renovations, closing on May 21, 2002 and reopening to the public in a building redesigned by the Japanese architect Yoshio Taniguchi, on November 20, 2004. The renovation project nearly doubled the space for exhibitions and programs, featuring 630,000 square feet of new and redesigned space.
MoMA's holdings include more than 150,000 individual pieces. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persisence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans.
When David Rockefeller became president of MoMA in 1958, replacing his brother Nelson who took up the position of Governor of New York, he hired the noted architect Philip Johnson to redesign the Museum garden and name it in honor of his mother, the Abby Aldrich Rockefeller Sculpture Garden. The Gardens are framed by the Peggy and David Rockefeller Building, which houses the main exhibition galleries, on the western end of the site; and and The Lewis B. and Dorothy Cullman Education and Research Building, on the eastern end.
In 2007, the Museum of Modern Art was ranked #146 on the AIA 150 America's Favorite Architecture list.
Richard Serra, Sculpture: Forty Years was on display at the Museum of Modern Art (MoMA) from June 3 - September 10, 2007. The exhibition was a forty-year survey of the work of American minimalist sculptor, Richard Serra (b. November 2, 1939, San Francisco). Serra, who was involved in the Process Art movement, is known for working with large scale assemblies of sheet metal (COR-TEN-Steel). The monumental exhibit, which included three new works, spanned the museum's tall-ceilinged second floor, sixth floor, and Abby Aldrich Rockefeller Sculpture Garden, where Torqued Ellipse IV (1998) and Intersection II (1992-93) braved the outdoor elements.
Intersection II (1992-93), a gift of Jo Carole and Ronald S. Lauder, consists of four upright, almost identical conical sections of weatherproof steal--two sections 13'1 1/2" high x 51'9" along the chord x 2 1/8" thick; two sections 13'1 1/2" high x 50'9" along the chord x 2 1/8" thick. The sections tilt their way inviting visitors to travel along three routes between its massive walls, exerting a psychic pressure from the weight, height, and leaning angles, and from their variously dark and rusted surfaces. It is tempered by the elegant precision of their lines and the satisfying logic of their arrangement. The slopes and placements of the great steel curves produce two outer spaces that invert each other at floor and ceiling, one being wide where the other is narrow. Meanwhile the central space is a regular yet biased ellipse.
The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown. The building underwent extensive renovations, closing on May 21, 2002 and reopening to the public in a building redesigned by the Japanese architect Yoshio Taniguchi, on November 20, 2004. The renovation project nearly doubled the space for exhibitions and programs, featuring 630,000 square feet of new and redesigned space.
MoMA's holdings include more than 150,000 individual pieces. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persisence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans.
When David Rockefeller became president of MoMA in 1958, replacing his brother Nelson who took up the position of Governor of New York, he hired the noted architect Philip Johnson to redesign the Museum garden and name it in honor of his mother, the Abby Aldrich Rockefeller Sculpture Garden. The Gardens are framed by the Peggy and David Rockefeller Building, which houses the main exhibition galleries, on the western end of the site; and and The Lewis B. and Dorothy Cullman Education and Research Building, on the eastern end.
In 2007, the Museum of Modern Art was ranked #146 on the AIA 150 America's Favorite Architecture list.
Quoting Syd Barrett here, with the title, seemed rather appropriate. From "Jugband Blues" on Pink Floyd's "A Saucerful of Secrets"
Music Link: Pink Floyd ( Last song recorded with Syd Barrett ) - "Jugband Blues".
www.youtube.com/watch?v=HA5LUwm7Jx8
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The statue-esque figure seems to point to an idealized human looking with clear-eyed perception directly into the present. The building's perspective angles reference the renaissance, which she as ideal seems to evoke. But the perspective is skewed and the dimensions are multiple. Fine filaments of indeterminate origin bring in a non-Euclidean fractal and so we might say this is a view to a new-view renaissance, something we are just about due for. View Large on Black.
A new series of fantastical images drawn from "real" life and manipulated to bring out the potential for a more visionary, imaginative reading of those elements. Imagine away !!!
The Simorgh, or, Simurgh, is a legend of Arabic origin. The famous Sufi book "The Conference of the Birds" describes a pilgrimage of all the thousands of types of birds in search of the great Master Bird of all, the legendary and hard to find, Simorgh. What becomes of their quest is truly astounding and unexpected. The following piece of suggested listening bears a reference to the Simorgh in its title. It would seem, as does the legend, to suit the image.
Music Link: Robert Rich - "The Simorgh Sleeps on Velvet Tongues" from the compilation album "A Throne of Drones". A haunting, phantasmagorical piece of sound painting. Inspired.
www.youtube.com/watch?v=CUHLRcwRr0Y&list=AL94UKMTqg-9...
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The Tomb of Cyrus is the burial place of Cyrus the Great of Persia. The tomb is located in Iran, at the Pasargadae World Heritage Site. It has six broad steps leading to the sepulchre, the chamber of which measures 3.17 m long by 2.11 m wide by 2.11 m high and has a low and narrow entrance. Though there is no firm evidence identifying the tomb as that of Cyrus, Greek historians tell that Alexander III of Macedon believed it was. When Alexander looted and destroyed Persepolis, he paid a visit to the tomb of Cyrus. Arrian, writing in the second century of the common era, recorded that Alexander commanded Aristobulus, one of his warriors, to enter the monument. Inside he found a golden bed, a table set with drinking vessels, a gold coffin, some ornaments studded with precious stones and an inscription on the tomb. No trace of any such inscription survives, and there is considerable disagreement to the exact wording of the text. Strabo reports that it read:
Passer-by, I am Cyrus, who gave the Persians an empire, and was king of Asia.
Grudge me not therefore this monument.
As we watch the fall of dictators, politicians, even corporations without integrity, millenia-long prejudices, the growing failures of the 'old boys' and the primitive solution of war it can it be asked if there might be growing a radical shift that will re-illumine the very structures we've set up for centuries?
One can hope.
Richard Serra, Sculpture: Forty Years was on display at the Museum of Modern Art (MoMA) from June 3 - September 10, 2007. The exhibition was a forty-year survey of the work of American minimalist sculptor, Richard Serra (b. November 2, 1939, San Francisco). Serra, who was involved in the Process Art movement, is known for working with large scale assemblies of sheet metal (COR-TEN-Steel). The monumental exhibit, which included three new works, spanned the museum's tall-ceilinged second floor, sixth floor, and Abby Aldrich Rockefeller Sculpture Garden, where Torqued Ellipse IV (1998) and Intersection II (1992-93) braved the outdoor elements.
Intersection II (1992-93), a gift of Jo Carole and Ronald S. Lauder, consists of four upright, almost identical conical sections of weatherproof steal--two sections 13'1 1/2" high x 51'9" along the chord x 2 1/8" thick; two sections 13'1 1/2" high x 50'9" along the chord x 2 1/8" thick. The sections tilt their way inviting visitors to travel along three routes between its massive walls, exerting a psychic pressure from the weight, height, and leaning angles, and from their variously dark and rusted surfaces. It is tempered by the elegant precision of their lines and the satisfying logic of their arrangement. The slopes and placements of the great steel curves produce two outer spaces that invert each other at floor and ceiling, one being wide where the other is narrow. Meanwhile the central space is a regular yet biased ellipse.
The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown. The building underwent extensive renovations, closing on May 21, 2002 and reopening to the public in a building redesigned by the Japanese architect Yoshio Taniguchi, on November 20, 2004. The renovation project nearly doubled the space for exhibitions and programs, featuring 630,000 square feet of new and redesigned space.
MoMA's holdings include more than 150,000 individual pieces. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persisence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans.
When David Rockefeller became president of MoMA in 1958, replacing his brother Nelson who took up the position of Governor of New York, he hired the noted architect Philip Johnson to redesign the Museum garden and name it in honor of his mother, the Abby Aldrich Rockefeller Sculpture Garden. The Gardens are framed by the Peggy and David Rockefeller Building, which houses the main exhibition galleries, on the western end of the site; and and The Lewis B. and Dorothy Cullman Education and Research Building, on the eastern end.
In 2007, the Museum of Modern Art was ranked #146 on the AIA 150 America's Favorite Architecture list.
stripping down for a quick skinny dip on a hot day
Aug 28 2012, I was interviewed by ABC News today here's the link to the online version there's a link there to a 'Web Extra' extended version:
abclocal.go.com/wabc/story?section=news%2Flifestyle&i...
Got written up in the NY Times today:
www.nytimes.com/2010/03/26/opinion/26fri4.htm l?ref=opinion
EDITORIAL | THE CITY LIFE
Reimagining What Washes Up
By FRANCIS X. CLINES
Published: March 25, 2010
The Hudson River was as mean as usual this winter, roughing up the Manhattan shore and playing into the hands of Tom Loback, a sculptor who works in flotsam and jetsam. Nothing pretentious. Just more of his fragile, gone-tomorrow driftwood works to puzzle and please along the river rocks down from the apartment towers north of West 100th Street.
there's more, very nicely written
Here's an interview I did recently with ABC News Now on my sculpting. Its in
2 parts and came out great. you can go direct to interview here:
abcnews.go.com/video/playerIndex?id=5056399
Created for the Hypothetical Awards Challenge "Me, Myself and I". .
These 5 images are shots of me in my annual Hallowe'en costume, which is a riff on or fantasy of a Mayan King or Nawab. Having delved deep in Mayan studies my fascination is more than superficial. I've been building this costume since 2005 and each year it gets bigger and more complex. I think it ironic that I post these images publicly this year, 2012, a significant date in the Mayan Calendar.
3 of 5.
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The great Pandit Ravi Shankar passed from our world this week leaving a gigantic musical legacy and influence that literally re-shaped the course of music in the Western world. Huge cultural figures as diverse as George Harrison, Philip Glass and Yehudi Menuhin all worked with him, learned from him and were profoundly affected by the classical Indian music Shankar was an unparalleled master of. Each spoke of a soft-spoken man who also maintained an air of quiet authority and wisdom. He was as much a Guru, as he was a musician.
Would Indian music, and indeed even the culture of India, have translated so well into the west if Shankar, a great educator, had not been open to being it's greatest cultural ambassador?
His mastery of the Sitar is deservedly legendary and anyone who ever had the great fortune to see this great Master completely immerse himself in the grand ragas of the North Indian tradition, to breathtaking effect, count themselves as extremely fortunate.
I've done this tribute in the 4 'movements' of North Indian raga: Alap, Jor, Jhala and Gat.
Blessed re-birth to you, Ravi !!! And Thank you !!!
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The Tomb of Cyrus is the burial place of Cyrus the Great of Persia. The tomb is located in Iran, at the Pasargadae World Heritage Site. It has six broad steps leading to the sepulchre, the chamber of which measures 3.17 m long by 2.11 m wide by 2.11 m high and has a low and narrow entrance. Though there is no firm evidence identifying the tomb as that of Cyrus, Greek historians tell that Alexander III of Macedon believed it was. When Alexander looted and destroyed Persepolis, he paid a visit to the tomb of Cyrus. Arrian, writing in the second century of the common era, recorded that Alexander commanded Aristobulus, one of his warriors, to enter the monument. Inside he found a golden bed, a table set with drinking vessels, a gold coffin, some ornaments studded with precious stones and an inscription on the tomb. No trace of any such inscription survives, and there is considerable disagreement to the exact wording of the text. Strabo reports that it read:
Passer-by, I am Cyrus, who gave the Persians an empire, and was king of Asia.
Grudge me not therefore this monument.
A series that concerns itself with re-birth, a 're-booting', if you will, of the force, power and beauty of life coming from apparent ending ( death ). Re-birth here can refer to any new cycle that begins after the end of another.
These metaphors also give voice to my perennial theme of the Fractal vs. the Euclidean, Intuition vs. Rationality or Thought vs. Thinking. We need both to function as whole human beings, but the past 500+ years has seen Western culture place far too much emphasis on 'reason', logic, rationality, captial M Masculine vs. imagination, intuition, feeling and capital F Feminine, so my work leans in the direction of righting that balance. It is what the future needs and it needs it now.
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#4 of 5
The old ways have not only petrified in a rigor mortis of unliving thought, their solid forms are prisons now. Only the mystic, the artist or those we call 'mad' catch glints of light through the tiny cracks in all this solidity. Our muted voices, like deeply buried miners are barely heard underneath these layers. Time to let the light in and watch the bastilles of a former age crumble into dust.
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Dans le cadre d'une résidence croisée France/Québec de co-production au 3e impérial, centre d’essai en art actuel, David Coste déploie une oeuvre évolutive in situ sur le terrain de l’église St-George, à Granby, du 17 août au 31 octobre 2016. Intitulée Disjonction, architectures-démontrables, l’installation prend la forme d’un livre surdimensionné et emprunte à l’architecture, au cinéma, à l’histoire de l’art et à la ville de Granby. Dans ce premier volet, différents dessins associent le château Brownie de Palmer Cox, celui de Disney, le Bates Motel du film Psychose d’Alfred Hitchcock, etc. Les volets à venir poursuivront également la réflexion sur les espaces narratifs qui assemblent la réalité et l’imaginaire.
Pour plus de détails 3e-imperial.org/artistes/david-coste
Persepolis (Old Persian= Pārsa, Takht-e Jamshid or Chehel Minar) was the ceremonial capital of the Achaemenid Empire (ca. 550-330 BCE). Persepolis is situated 70 km northeast of the modern city of Shiraz in the Fars Province of modern Iran. In contemporary Persian, the site is known as Takht-e Jamshid (Throne of Jamshid). The earliest remains of Persepolis date from around 515 BCE. To the ancient Persians, the city was known as Pārsa, which means "The City of Persians". Persepolis is a transliteration of the Greek Πέρσης πόλις (Persēs polis: "Persian city").