Attentive questions and answers
Tuesday, May 9, 2017
Maintaining an Art Museum Lecture:
Date attended: April 8th, 2017
Enjoying the reception after with Chris.
Art Street 2017
Original run: February 3rd through 25th, 2017
Date attended: February 22nd, 2017
From M5 arts, and covering over 65,000 square feet, Art Street is the next community art collaborative project after Art Hotel, and is a new venue for showcasing the local and divergent creative styles not in a traditional setting. Housed in a warehouse, this free event showcases over 100 artist's works installed in a colorful and diverse arrangements. Not only are you an onlooker of the art, but the aspect of being this close and personal with the art, makes it more like you are part of it. Installations that evoke social commentary and have people interacting with each other, like a giant kaleidoscope for one to view, and another to actively rotate it, expressing its true focus in motion.As you walk own the figurative "street' within the building, you are exposed to a miniature city of color, lights, and expression, with every nook and cranny a shop for a different expressive experience. Artists even actively at work can be seen working, their creative process concurrently coinciding with your viewing, looking as a view into the mind of someone else. Installations grab your attention and let you step into another world like Trent Dean's minimalistic and geometric room of pure whiteness and shape, not unlike Robert Morris. At times, there was involvement with the onlookers with different projects like collaborative clay sculpture, creating unique sculptures of amalgamating so many people's thoughts and visual ideas, much like the entire show itself.
Waiting around and posing in front of the wall canvases.
...But the payoff is fantastic.
And, as we leave, we see his piece has advanced even further, but still in-progress.
Date attended: February 22nd, 2017
From M5 arts, and covering over 65,000 square feet, Art Street is the next community art collaborative project after Art Hotel, and is a new venue for showcasing the local and divergent creative styles not in a traditional setting. Housed in a warehouse, this free event showcases over 100 artist's works installed in a colorful and diverse arrangements. Not only are you an onlooker of the art, but the aspect of being this close and personal with the art, makes it more like you are part of it. Installations that evoke social commentary and have people interacting with each other, like a giant kaleidoscope for one to view, and another to actively rotate it, expressing its true focus in motion.As you walk own the figurative "street' within the building, you are exposed to a miniature city of color, lights, and expression, with every nook and cranny a shop for a different expressive experience. Artists even actively at work can be seen working, their creative process concurrently coinciding with your viewing, looking as a view into the mind of someone else. Installations grab your attention and let you step into another world like Trent Dean's minimalistic and geometric room of pure whiteness and shape, not unlike Robert Morris. At times, there was involvement with the onlookers with different projects like collaborative clay sculpture, creating unique sculptures of amalgamating so many people's thoughts and visual ideas, much like the entire show itself.
We've made it.
Waiting around and posing in front of the wall canvases.
Watching the creative process at work is always fascinating to witness.
Fusing technology and color.
An audio and visual sensory experience that resonates through you entire being.
It's a team effort to view this piece...
...But the payoff is fantastic.
And, as we leave, we see his piece has advanced even further, but still in-progress.
JAPANAMERICA: Points of Conflict with Nancy E. Green
Date of lecture: April 30th, 2017.
Nancy E. Green, as the Gale curator of American Prints and Drawings from 1800 to 1945 at the Herbert F. Johnson Museum at Cornell University, showcases a look into the cultural and aesthetic arrival from Japan arising from the late 1800s to throughout the 1900s, and how it has ingrained itself with our curiosity at the time.
Nancy E. Green, as the Gale curator of American Prints and Drawings from 1800 to 1945 at the Herbert F. Johnson Museum at Cornell University, showcases a look into the cultural and aesthetic arrival from Japan arising from the late 1800s to throughout the 1900s, and how it has ingrained itself with our curiosity at the time.
3-panel screen with traditional Japanese attire was exotic and desirable.
Two gifts from Japan to the US, made entirely out of white, black, and blue pearls.
Small talk after the lecture.
San Fransisco Asian Art Museum: not just Ancient Relics.
Date of attendance: March 23rd, 2017
The San Fransisco Asian Art museum not only has a majority of its space dedicated to the ancient pieces of long-gone dynastic rulings, it also houses a few examples of pottery and sculptural art from recent decades as well.
Into the Fold: Contemporary Japanese Ceramics
Original date of attendance: January 22, 2017
Gallery original showtime: January 22-May 7, 2017
Into the Fold brings to life some of the most long-forgotten aspects of Japan's ancient cultural history through pottery and ceramics, reviving it into the modern day, Both classic styles of pottery and modern, avant-garde experimental techniques in this timeless medium are explored here in the diverse sets. Japan, knowing how to strike a balance of modernizing, but never forgetting their cultural past and integrating it smoothly with their advancing society, made an effort to focus on these ancient themes after their pre-World War 2 archeological discoveries of these objects of antiquity. One of these efforts was the Minegi or Folk Art movement established in 1926, which in response to the arts and crafts movement in Europe and the US, looked at the more humble and overlooked objects for utility like pots and ceramics, creating a phrase for this expression of giving daily objects life as "Yo no bi", or ,"beauty of necessity/usage". potters and ceramicists were inspired to preserve and shape these old themes into the future, and after the War, were designated "Living National Treasures" by the Japanese government for their creations. Soon afterward, the Sodeisha avant-garde ceramic association was founded in Kyoto, and sought to challenge the traditional connotations with shape and function with ceramic art, calling this style "objet-yaki" or "ceramic objects", bringing pottery more into the side of fine art. Artists such as Tomimoto Kenkichi, with his distinct polychrome porcelain style, to Tsujimura Shiro, with his rough-yet classically unique style rooted firmly in the ancient techniques. Shiro's Ash-glazed vessel was inspired by the 16th century Momoyama-era visuals, using very similar firing to this time period, while also letting the firing process fluctuate and leave the eventual design that exits the kiln up to chance and fate, giving each of his works an unexpected element to them. Female artists in japan for ceramics also were on the rise in post war japan, although most could not get a formal apprenticeship for this field, relying mostly on university classes to hone their craft. It can be seen with Ono Hakuko's stunning vase, encapsulating golden and silver basic geocentric patterns under a transparent blue glaze, giving an effect of solidified water flowing with shining shapes. as time has gone on, female Japanese ceramic artists have steadily increased.
Gallery original showtime: January 22-May 7, 2017
Into the Fold brings to life some of the most long-forgotten aspects of Japan's ancient cultural history through pottery and ceramics, reviving it into the modern day, Both classic styles of pottery and modern, avant-garde experimental techniques in this timeless medium are explored here in the diverse sets. Japan, knowing how to strike a balance of modernizing, but never forgetting their cultural past and integrating it smoothly with their advancing society, made an effort to focus on these ancient themes after their pre-World War 2 archeological discoveries of these objects of antiquity. One of these efforts was the Minegi or Folk Art movement established in 1926, which in response to the arts and crafts movement in Europe and the US, looked at the more humble and overlooked objects for utility like pots and ceramics, creating a phrase for this expression of giving daily objects life as "Yo no bi", or ,"beauty of necessity/usage". potters and ceramicists were inspired to preserve and shape these old themes into the future, and after the War, were designated "Living National Treasures" by the Japanese government for their creations. Soon afterward, the Sodeisha avant-garde ceramic association was founded in Kyoto, and sought to challenge the traditional connotations with shape and function with ceramic art, calling this style "objet-yaki" or "ceramic objects", bringing pottery more into the side of fine art. Artists such as Tomimoto Kenkichi, with his distinct polychrome porcelain style, to Tsujimura Shiro, with his rough-yet classically unique style rooted firmly in the ancient techniques. Shiro's Ash-glazed vessel was inspired by the 16th century Momoyama-era visuals, using very similar firing to this time period, while also letting the firing process fluctuate and leave the eventual design that exits the kiln up to chance and fate, giving each of his works an unexpected element to them. Female artists in japan for ceramics also were on the rise in post war japan, although most could not get a formal apprenticeship for this field, relying mostly on university classes to hone their craft. It can be seen with Ono Hakuko's stunning vase, encapsulating golden and silver basic geocentric patterns under a transparent blue glaze, giving an effect of solidified water flowing with shining shapes. as time has gone on, female Japanese ceramic artists have steadily increased.
Miyashita Zenji.
Between Night and Morning (Yoru To Asa No Aida)
2012
Stoneware with colored clay
Ono Hakuko.
Vase (Yuri Kinginsai Tsubo)
circa 1990.
Glazed porcelain with underglaze gold and silver decoration.
Tsujimura Shiro
Large Natural Ash-Glazed Vessel (Shizen-Yu Otsubo)
circa 1985
Stoneware with natural ash drip glaze.
Large Natural Ash-Glazed Vessel (Shizen-Yu Otsubo)
circa 1985
Stoneware with natural ash drip glaze.
With the iconic vessel.
Hayashi Yasuo,
Quickening A,
1990.
Black englobing, inlaid glazed stoneware,
Collection of Carol and Jeffrey Horvit
Quickening A,
1990.
Black englobing, inlaid glazed stoneware,
Collection of Carol and Jeffrey Horvit
Thursday, April 27, 2017
A Minimal Taste and Beyond: From the Traditional to the Unconventional
Original visit: March 23rd, 2017
From within the picture frame to outside in the tactile, three-dimensional world, the amount of sheer variety of styles and mediums that the San Francisco Museum of Modern Art houses is a stunning sensory sensation to experience. More traditional art displayed here has its overwhelming grandeur and familiarity, but with the always surprising and unique use of the frame to capture even the most gestural, colorful, and emotional works. Artists such as Mark Rothco and his simplistic use of color-fields to invoke onlookers with a raw reaction of clashing color gave myself and others a sense of wonder and inquisitiveness into ourselves. Other traditional canvas works like Charles Howard’s “Abstraction in Flight” play with familiar yet still simplistic forms and colors to give a surreal, yet strangely calm practicality of the World War 2 era aerial warfare behind the paint. These examples of the familiar plane of artistic expression are shattered when, just a few floors away, more exotic and drastic shifts in style and medium await to be seen.
Mark
Rothco
From within the picture frame to outside in the tactile, three-dimensional world, the amount of sheer variety of styles and mediums that the San Francisco Museum of Modern Art houses is a stunning sensory sensation to experience. More traditional art displayed here has its overwhelming grandeur and familiarity, but with the always surprising and unique use of the frame to capture even the most gestural, colorful, and emotional works. Artists such as Mark Rothco and his simplistic use of color-fields to invoke onlookers with a raw reaction of clashing color gave myself and others a sense of wonder and inquisitiveness into ourselves. Other traditional canvas works like Charles Howard’s “Abstraction in Flight” play with familiar yet still simplistic forms and colors to give a surreal, yet strangely calm practicality of the World War 2 era aerial warfare behind the paint. These examples of the familiar plane of artistic expression are shattered when, just a few floors away, more exotic and drastic shifts in style and medium await to be seen.
Standing in front of the art is one
vantage point, but there are artists that break out of these conventional molds
of art and branch out into the bold territory of the three-dimensional space,
extending out and using the physical world that we reside in to give tactical
and physical connections to our own place in space. We view and interact with
such pieces like Sol LeWitt’s fractal-like wooden sculpt, only named by the
dimensions used to create it, “12 x 32 x
12”, circling around it to see how all the edges and pieces change and shift as
our perspective moves and twists the numerous cells of empty space, like
looking at a skeletal building. Not only are there changes in dimensional form
with art, there are changes with what constitutes the makeup and physical
material that constructs the forms that dot the halls of this treasure trove of
color and shape. Frank Stella’s unusual and dynamic canvas of soldered and
welded metal, “The Chase, Third Day” invites the viewer to carefully approach
and study the frozen explosion of sharp and soft edges extending out into space
with equally bombastic color infused onto every surface, nook, and cranny along
its volume. With a surprising and puzzling use of fluorescent light fixtures, a
few of Dan Flavin’s seven-hundred art pieces like this brightly illuminate the
space around the viewer with common urban sight in a unique display of form and
mixing of basic color, colliding with art and technology to make the entire
room a collage of color and light. The fusion of old and new ideas within this
cathedral of modern design is one that cannot be missed on any tour of the
California Bay Area.
Dan
Flavin
“untitled
(to Barnett Newman) two”
Red, yellow, and blue fluorescent lights.
Red, yellow, and blue fluorescent lights.
1971
“No.
14”
Oil
on Canvas
1960
Charles
Howard
“Abstraction
in Flight”
Oil
on Canvas
1942
Frank
Stella
“The
Chase, Third Day”
Mixed
media on etched magnesium and aluminum
1989
Sol
LeWitt
12
x 23 x 12
1996
Wood
and Paint
Subscribe to:
Posts (Atom)