There is a magnificent show in the heart of Los Angeles on La Cienega through December 26th that will be one of the most humanist, empathetic, and beautiful exhibitions you will have experienced within the last decade. Tanya Ragir fearlessly dives into our hopes and dreams, regrets, loss, love, and even chaos. Her pieces are the answers to questions about how to handle pain, how to cope, and how to find meaning. My written review of the show here.
LAAA | Gallery 825 in West Hollywood
The exhibition will run from October 26 – December 26
My YouTube 3-min video here.
Have you ever spent a melancholy morning walking on a beach or in the woods? Aimlessly contemplating little things like like a leaf, a struggling flower, or a stone, perhaps picking it up to feel its texture? Perhaps thinking about the pieces of your life, some that have caused you heartache? Maybe contemplating an odd feeling that nature can’t give you any answers?
There is a magnificent show in the heart of Los Angeles on La Cienega through December 26th that will be one of the most humanist, empathetic, and beautiful exhibitions you will have experienced within the last decade. Tanya Ragir fearlessly dives into our hopes and dreams, regrets, loss, love, and even chaos. Her pieces are the answers to questions about how to handle pain, how to cope, and how to find meaning.
It is not a show to be entertained by or to be blown away by, it is not a social event nor does it give you prestigious points–it is a quiet pilgrimage for the health and well-being of your soul. Ragir has picked up pieces of broken concrete, wood, and leaves merging them with sections of the female figure molded in ceramic clay creating one-of-a-kind pieces.
It strikes me the difference between a solitary walk in nature and visiting this show is that the sculptures are a conduit of communication–they are another person relating to your fragility, showing you respect and honor for your hardships, and gratitude for your gifts of beauty and kindness.
Please carve out a block of time, take a sabbatical, and visit this show. Your spirit will thank you.
Los Angeles Art Association
at Gallery 825
825 N. La Cienega Blvd.
Los Angeles, CA 90069
And The Center for Ethics and Entrepreneurship’s YouTube channel. Each 2 or 3 minutes.
My friend Karl died last year and his husband Mark Coel sent me an image of a pendant he had made honoring their relationship. At first look, the pendant is of a male angel with wings, but then I recognized the outstretched arms and realized the figure was based on my painting Icarus Landing. Mark wrote that the wings were owl wings, an endearment they shared, and that Icarus Landing was Karl’s favorite painting. The pendant was fashioned from their wedding rings.
The 5th Century B.C. sculptor, Polyclitus, wrote the famous treatise about what methods make the beautiful (to kallos) and good (to eu) in art, unfortunately now lost. We know something of it through historians such as Pliny and Plutarch. Often mentioned is Polyclitus’ belief in measurements of one finger joint with the next, then the fingers to metacarpus (base of the hand), and it to the wrist, and all of these to the forearm, the forearm to the arm, and so on.
Polyclitus, in his treatise, also dealt with issues other than proportions such as the organic balance of tension and relaxation of body parts.
Polyclitus called this sculpture, The Canon. I think it is wonderful that he wrote a treatise on art and “put his money where is mouth is” by showing what he meant as well.
Notice in the sculpture that he emphasized the man’s little finger, a little like an exclamation mark.
Polyclitus was working the proportions of the natural forms. For example, his fingers look natural, as do other parts of the body, and as does the whole of the body. The forms weren’t generic shapes of measurements.
Contrast The Canon with this Egyptian sculpture, in which the rudimentary proportion of the overall figure is balanced. However, when we take a detailed look the forms they remain generic and unnatural–as if they are rounded blocks.
It is also important to note that beauty is connected with pleasing proportions. The antithesis is that ugliness is unbalanced proportions. Think of an hunchback with a hump on one side of his back and topped off by a malformed and unsymmetrical head.
I hope you enjoyed seeing math in art in a fresh way.
New York, March 6, 2007
Pandora’s Box Part 3
by Michael Newberry
There is a newly-discovered version of the legend of Pandora’s Box. In this third version insanity, despair, and hatred had overrun the world and Pandora, driven by a sense of hope, opened the box by unlocking it with a key. Out from the box rose up all the glories of humanity and they spread throughout the world with undiminished splendor. Pandora discovered that the glories had never disappeared, but it was humankind that had lost the key to identifying the magnificence that lay before them.
The form of art and its function in human life are central to the debate between postmodern art and art. In the first two parts of this series I essayed 1) how postmodern art shocks your epistemological processes through its anti-art means, and 2) how it shocks your psychological processes by expressing disturbing content as the ends. Along these lines, I will go deeper in examining the theoretical basis of postmodern art and then, I would like to show you that an alternative to postmodern art exists, today, in the here and now.Continue reading “Pandora’s Box Part 3”