"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
Progressing on my book Evolution Through Art, past the 10k in words, now in the middle of the 5th chapter, The Wizards. Here is a snippet:
For the artists that didn’t turn away they would have to cope with, defend, and manage resentment. For their art they would breath deep, fortify themselves, and let go of certainty and control and dive into a vast alternative universe; exploring where no mind had gone before.
I have been thinking about writing an art book filled with stories, anecdotes, speculation on prehistorical art, real life experiences, and the knowledge of what is it is like to strive for the sublime. Today I started with the title and listing chapter headings.
Psychological Aesthetics and the Exciting Fight to Evolve: Beyond Obstacles, Malevolence, and Ignorance
Leaving One’s Mark: Taming Powerful Animals Through Capturing Them In Art
Imagining the Next Step: Willendorf Venus or I Will See You Later Tonight
Safety in Group Think, Their Fear of the Unknown and the Extent They Will Go Eradicate Evolutionary Nudges
Wisdom, Truth, and Courage Within: Calibrating Perception, Evaluation, and Emotion
To Be or Not To Be? To Break Free or to Conform?
Tears, Love, and Visibility: The Alternate Universe
The Art Instinct: What Makes Humans Unique Animals?
Art is the Power That Religion Wants: Control the Artists you Control the Mass Psyche
Art Transcends Agendas By Touching Individual Souls
Power Without Wisdom Corrupts Completely: Michelangelo in the Quarry; Postmodernist Malevolence
The embedded rocks and still-green tumble weeds were flying towards my tennis shoe covered feet, my outstretched hands steering my downward trajectory were being cut to slivers by the crystal rock veins lining the 40-ft ravine incline—the unexpected push and gravity created a reckless momentum that my brother hoped would be fatal. It was not.
Never turn your back on some people, or they will destroy you.
The Eyes of Rembrandt
If light could kiss this would be the most loving, achingly sensitive kinetic caress. Shadowed waves rose and glided back to the recesses, like invisible currents of air witnessing a glint of moisture and a warming pulse. This is where goodness lives. In the eyes of Rembrandt.
Myths, legends, and stories infiltrate our collective and individual consciousness, and the same holds true for the visual arts. The myth of Icarus, who flew too high then crashed and burned, was mentioned by Apollodorus around 150 BC and has since shown up countless times in visual art.
Icarus Landing, Phaethon, and Ayn Rand
An interesting twist in the legend comes with my 2000 version. The concept was inspired by Ayn Rand, who rewrote the myth of Phaethon in Atlas Shrugged. In the ancient myth, Apollo gives the reins of the sun chariot to his son Phaethon, who is unable to control the flying horses or escape his destiny. Phaethon and the chariot threaten to crash and annihilate Earth. Zeus, watching, kills Phaethon with a bolt of lightning, forcing Apollo to retake the reins and right the sun chariot’s course.
In Rand’s version, her character, Richard Halley, composes an opera in which Phaethon brilliantly succeeds to steer the sun chariot to a glorious course. I loved the concept of taking a tragic myth and changing the outcome to reflect my absolute inner belief that magnificent experiences are the stuff of living. The chariot thing was too archaic for my modern sensibility, but with some thought I landed on the concept of Icarus. After flying wildly high, I thought, Icarus would return to Earth with gentle gratitude, lit by the orange glow of the day’s setting sun. I opted for no wings, just the outstretched arms. Appropriately I painted this while I lived in Greece, and I won’t lie, I loved scaling the rock cliffs in the buff, jumping from rock to rock, as my friend philosopher David Kelley can attest to.
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
Today’s update on Model in the Studio, wip, oil on linen, 42×56” It is very interesting that there is a war going on now in the humanities, arts, and in politics. Essentially it’s reason, perception, truth, science, human values, benevolence, resolution, sense, and evolution vs. misinterpretation, manipulation, lies, opinion, ignorance, snark, malevolence, arbitrary, senseless, and devolution. I could not be happier and I chose wisely. Everything in this painting is in the first group, the 2nd group is post modern crap. Hard work and flourishing or bitter rage? Apparently for many people it’s not an easy choice. #lifelessons #figurativeart #wip #contemporaryart #postmodernism #humanflourishing
From the cave paintings of the Horses Heads to figurative art today, visual art is about perception and subject. We artists, and our ancient ancestors, look at the world around us, focus on important aspects of it, digest it, then, in acts of passion express our view of humanity. Visual art is inextricably linked to human evolution; its best examples further our potential as human beings. Visual art refines our perceptions, explores our emotional potentials, and expands our minds. But for the last century art has been under attack.
In the mid-20th century these three forces––Kant’s philosophy, abstract expressionists, and the CIA––congealed ostensibly to champion freedom and originality, instead accomplished an undermining of art and consequently humanity. The connections and machinations are so complicated and obtuse it is hard to take them seriously, but it does make a difference in understanding them, at least in the sense of whether or not our culture evolves.
Progress is Not Automatic
There are a few things that are embedded in our DNA, like sex and consciousness, but art is one of the most powerful. It has been said that the human species doesn’t have instincts—that we have to make choices, make mistakes, and figure out future directions. We can implode, exploit wars, exterminate populations, and commit suicide. There are no guarantees that philosophers, experts, government institutions, and artists have it right. And we are only a few nuclear explosions away from eradication. It is a sobering obligation that we must choose and possibly be tragically wrong and sometimes be wonderfully right.
Da Vinci, Study of Hands c. 1474, in silverpoint on prepared paper heightened with white (chalk?).
Visual Science and Heart
This sketch by da Vinci represents everything great about humanity and art: skill, discovery, knowledge, light and shadow, science, empathy, humanism, beauty, and effortlessness. An interesting thing is that this work uplifts us and can inspire our farthest reaching aspirations whether for science or heart or both. Da Vinci’s near-contemporary, Vasari, wrote about him:
“Leonardo’s disposition was so lovable that he commanded everyone’s affection… his magnificent presence brought comfort to the most troubled soul; he was so persuasive that he could bend other people to his will. … He was so generous that he fed all his friends, rich or poor… Through his birth Florence received a very great gift, and through his death it sustained an incalculable loss… an artist of outstanding physical beauty who displayed infinite grace in everything he did and who cultivated his genius so brilliantly that all problems he studied were solved with ease.”