"Newberry's work speaks to the senses, the intellect, and the passions of those who do not need the judgment of history to tell them what is great, but who can themselves make the judgment of history today." Stephen Hicks, Ph.D., Professor of Philosophy
“Slipper is one of my favourites by artist Michael Newberry, who like all great literary and visual artists has the ability to conceive and create scenes of total originality that – just like the great myths and legends that had the dramatic power to last thousands of years in the retelling — once seen (or read) the world is inconceivable without them. In the simplest terms, such artists (and such myths) portray great and original scenes that so perfectly animate their theme the world was almost waiting for the artist to create them.
“Newberry does this with his Icarus Landing – the figure that conquers the fall of both Christ and Icarus, and puts man back in charge over his universe. He does it again with Artemis. And he does it too with Slipper, whose exuberance bursts out like a bullet in flight heading straight for the furthest horizon.
“Why have I chosen it for my first artistic post of the year? Because it encapsulates the sense of life I like to express in my architecture. The exuberance. The light. The feeling of release. The movement. The exaltation. It’s not an expression of repose I aim for in my work (which is what all the textbooks tell us we should aim for in our architecture – creating a sense of repose and then letting our buildings sink down into a sea of subdued magnolias, or pongas), it’s the controlled explosion of joy Newberry captures so perfectly here, and that’s so desperately hard to do well.
“It’s not so easy, but it’s the most fun when you can pull it off.”
(Authors note: This is one in a series of reviews of what is going on in contemporary museums of art. Like many of you I go to a contemporary art museum with an excited expectation that I am going to see today’s best living artists. Please keep that in mind after your read these reviews as it might seem that I purposefully sought out isolated freak shows–nope, just visiting the most respected museums of contemporary art and reporting what I see.)
The recently-established National Museum of Contemporary Art in Athens gives us a look inside media manipulation with Pierre Huyghe’s The Third Memory. It is a documentary-like presentation about a notorious 1972 bank robbery in Brooklyn. The audio-visual installation, on loan from the collection of the Centre Georges Pompidou, Paris.
The Third Memory contains side by side two synchronized video projections that last about ten minutes, and reference materials and clips. The video projections juxtapose Huyghe’s reenactment/documentary-like reconstruction of a bank robbery that took place in Brooklyn, New York in 1972, and footage from Sidney Lumet’s Dog Day Afternoon (1975), a movie about that robbery. In Huyghe’s work the actual robber, John Wojtowicz, many years older and out of prison, retells, acts out, and analyzes the robbery on the sets used in Lumet’s movie. About The Third Memory Huyghe says it is “…the story of a man who was robbed, who was dispossessed, of his own image … the “author of an action” is given the opportunity to “speak up…in order to regain his place at the centre of the plot…”
The nude in art is one of the greatest means of expressing individuality. It bypasses the status of clothes and symbols and drives the focus towards character through body and facial expression. The nude asks the viewer to share their deeper, more personal thoughts about how they feel about who they are, their dreams, and their deepest beliefs.
Looking at Peter Schipperheyn’s Zarathustra we see a larger-than-life-sized man, arching back, and his head thrown back at an intense angle – the chin raised above the forehead. The body’s tone is taut, yet there is relaxed fluidity from limb to limb. He has the body of a world-class athlete, such as the current tennis great, Roger Federer. The most prominent gesture is the back of the closed fist meeting the open, extended hand.
An abstract aspect of this sculpture is the arc of the entire body – from the heel to the tip of the head. It conjures up the form of a bow, or of a tree limb a limb pulled back. This, combined with the smack of the hand, creates the sense of a springing force. The raised heel is understated, yet very challenging for the artist – it would be much easier to sculpt the feet flat-footed. The raised heel shifts the lower body forward, balancing the backwards arc, and enhancing the athletic litheness. This curve gently pushes the crotch forward, giving the sense of unselfconscious ease.
This was lecture by Rick hosted through the ICC Speaker Series on the Future of Art as he saw it and featured the work of Artist Michael Newberry. This was taped at the beautiful Creekstone Inn in Idyllwild, California, January 14th, 2016 Video 90-min
My dear friend Rick Barker gave this talk one year from passing away due to complications with Parkinson’s Disease. The talk is about my art and its context but from Rick’s perspective, a life long interest in human evolution. He wrote Transcending Evolution: A Christian Guide to Understanding, Accepting, and Transcending Evolution available at Amazon. I met him in the Idyllwild dog park when I first moved there. It was rewarding to be surrounded by sights, sounds, and smells of playful dogs, pines, and mountains, earthy dirt, and talk with him of philosophy and aesthetics. I lent him one of my paintings, Arabesque Series: Female Couple. He was terribly ill in the hospital in his last week and wanted to die at home, the next day he died; he was found on the floor with his head uplifted towards my painting.
How Michael Newberry rediscovered the role of color in creating the illusion of depth and space.
The Grizzly Professor
Edgar Ewing came through the door. The students beheld a tweed suit topped with a grizzly gray mustache and sparkling blue eyes. He moved with the melody of confidence and the whimsy of delight. He set down his case on the table, spread his arms, and smiled at the the classroom of freshman students. “Making art,” he announced “is like making love.”
The students looked at one another with sidelong smiles, most of them inexperienced with one or the other part of the metaphor, and certainly not fathoming the connection between the two. It was the first day of a fundamentals of oil painting class at USC. The year was 1974. To read more and see large images at Medium
Fun disturbing Postmodern News. Art professor Rie Hachiyanagi at Mount Holyoke College was charged with the attempted murder of her colleague for unrequited love. Reportedly she bashed in the face of her victim with a “rock, garden shears and a fireplace poker” breaking several facial bones!
Of course, she is innocent until proven guilty. But it is interesting to contrast the vicious violence of the act with her gentle flowery poetic and humble artist’s statement: “My work in performance and installation expresses both the concrete actuality and the ephemerality of life. Art is an experience set in a specific time and place.Such poetic occasions define the shape of my existence. “The process of making paper by hand allows me to be humble,As plant fiber and its beauty must be generated from nature.Our hands have brought paper into being.In paper resides a communion of nature and humanity.”
Look at the creepshit of her artwork installations. This woman was the Professor of Art; Chair of Art Studio of a Massachusetts University teaching impressionable teenagers how art is made and how it works. Postmodernists are a pathological cult of oblivion, they should never be allowed teaching art or near children, because their outlook is rotten to the core.