A visit to well known NY gallery of an artist’s solo show of still lifes. I was surprised he didn’t get the connotations of his visual language. It was like talking to someone who didn’t get that they were making a double entendre.
Newberry discusses phallic shapes in painting with reference to Velazquez “The Signing of Breda” contrasted with some florals by Georgia O’Keeffe.
And The Center for Ethics and Entrepreneurship’s YouTube channel. Each 2 or 3 minutes.
TuftsPUBLIC: Jenny Polak: ICE Escape Signs
Tufts University is running a protest against ICE–in the guise of being art. Everyone involved in this project may be well intentioned, but what does this have to do with art? The message of the protest has nothing to do with art, but as art it’s one I am disgusted by: the anti-conceptual degradation of art.
Art has a very special aura of the sublime, the ultimate, and the universality of a higher nature. The best in art is evolutionary. It elevates our knowledge, expands our emotional capabilities, and enriches our senses. For instance, Monet furthering our knowledge of colors of shadows and natural light. Michelangelo showed us what a fearless stance against huge obstacles looks like (The David), and he did so with his revolutionary means of transcribing touch to sight. And Polyclitus showed us how the science of beauty works through proportions. These artists and many more, both in history and contemporary times, amongst whom I am proud to count myself, contribute towards giving art profound meaning.
The Tufts project by Jenny Polak does two things that are now-classic postmodern sabotage. They use the esteemed status of art, made possible by great artists, to elevate a protest to a grander status. And by dedicating their reputation, resources, and their art department to juvenile protest posters scattered around the campus they suck the life out of aesthetic innovation, advancement, and the soul of art.
Idyllwild, July 20, 2019
Below is from the Tufts University website.
TuftsPUBLIC: Jenny Polak: ICE Escape Signs
Weems Atrium / SMFA, Media Wall / Aidekman
Various Locations throughout Medford Campus
JENNY POLAK: ICE Escape Signs is the 2018-2019 Tufts PUBLIC project, a program of yearlong, temporary public art projects designed for spaces outside the Art Galleries and throughout the school’s Medford/Somerville and SMFA campuses.
Jenny Polak makes site and community responsive art that reframes immigrant-citizen relations, amplifying demands for social justice. Originally from England, her work draws on her background in architecture and socially engaged projects, as well as her own family history of migration. She focuses on detention centers, racial profiling, and strategies for surviving hostile authorities. As an exhibiting artist in the upcoming exhibition Walls Turned Sides: Artists Confront the Justice System (coming to TUAG Spring 2020), Polak will work with the Tufts community to create a series of site-respondent signs throughout campus beginning in the fall as part of her ongoing series – ICE Escape Signs. A decentered public art project, ICE Escape Signs are designed for specific floorplans and draw attention to the fact that people are living in daily fear of being caught in a raid by Immigration and Customs Enforcement (ICE).
Don’t Let the Moment Pass and Go For It!
Several months ago …
Last night I went to bed early after a long day of painting edits, only some of which were successful. While painting I had been streaming movies and TV episodes in the background. One scene in particular caught my eye. It was of a couple kissing, joining lips in classic Hollywood fashion. The scene was stuck in my head when I went to bed around 9 p.m. I woke up at 9:30 p.m., only a half hour later, with that image still in my mind, and I thought, “Why don’t I paint a kiss?”
Right then I messaged my favorite female muse, who lives in Hollywood, and asked her about the project. Then we discussed who would be the right guy for it. The face had to be stone-like in structure, a big nose (I like painting big noses), and masculine. I remembered a male model that posed for some of my other projects a few years ago, and he, I believed, lived in Hollywood. I messaged him about the project, and he told me that he was leaving Hollywood in the morning (today!) for good. He gave the actor’s dream everything he had, and he was also going to be a dad, and he and his mate were heading to a cabin in the woods in Michigan. I searched his FB page and saw pictures of a vibrant, beautiful woman. I asked: “Are you already packed? Would you, could you, pose with your mate tonight for the “Kiss” painting?” He said: “Yes!” My muse loved that I decided to do the project with them, but she also thought I was crazy for doing such a spontaneous thing.
My brother committed suicide and this is a memorial drawing.
A Reddit commentator gave condolences and then wrote “I love the grain of the table magnified by the water in the glass.” That names so well the visual.
The Problem with Glass
Michelangelo paints and draws humans not so much how he sees them but what his hands would feel massaging their bodies. Bone stands out and soft spots become indented. Glass is tricky because we literally see through it but if you draw it that way it doesn’t feel tactically real. See if you can observe that the patterns inside the glass float up to the front side of the glass; as if you could reach out and tap the glass.
One of the most rewarding studies of painting and drawing is discovering how a thought, perception, or emotion is transformed into a purely visual medium. Michelangelo’s drawings serve as examples of translating the perception of touch to sight. In other words, his drawings convey to our sight not what we would see but what we would touch.Continue reading “Michelangelo’s Drawings: The Conceptual Transformation from Touch to Sight”
Freedom and Gravitas
For many people, the sexy, entitled lifestyle of living on the luxurious mile-long stretch of Pacific coastline in La Jolla, California in the 1960s was the height of success. For me as a kid it was exhilarating to build up a salty sunburned sweat, leap into the air, and be able to execute a brutal backhand overhead smash on the tennis court. (Later I ended up playing pro tennis to pay for my art education in Holland). Afterwards, to cool off, I’d ditch my shoes and socks and run a few hundred feet from the tennis court and plunge underneath the perfect wave crests made famous by the Beach Boys, All Over La Jolla … Surfin’ USA! The feeling of freedom was omnipresent; no rules, no school if you didn’t feel like going; no homework; and no curfew. It was as if kids had a built in automatic path, their destiny awaiting them, meanwhile they could do anything. There was also stuff you couldn’t talk about … which was way too complex for a kid to cope with. And later shushed because it involved people still alive. I lived in a world of physical fun with an ominous feeling that not all was well when you scratched the surface.Continue reading “Icarus Landing: Incorporating and Transcending Two Major Traditions in Western Civilization”
The Problem: A Bright Sky
In real life the daylight sky is bright, much brighter than the landscape’s trees, vegetation, mountains, and water. Think of it as a large lamp. But when you paint a landscape truthfully the effect backfires, the sky will be bright but the earth part will be dull and muddy. Light on the green trees, stone buildings, and red flowers can’t complete with the sky’s light. Even though you are seeing a sun filled landscape, your painting won’t feel that way, but you’ll feel disappointed with your skills.