12 years ago
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Showing posts with label art. Show all posts
Showing posts with label art. Show all posts
Francis Bacon A Terrible Beauty
"Beauty itself is but the sensible image of the Infinite."
Francis Bacon
Mark Rothko
Mark Rothko, abstract expressionist, one of The Irascibles, the angel of the color field: Sep. 25, 1903 - 1970
A Brief Look --- سرزمین من
A While ago, I found an interesting post on internet, under title of "A brief history of Iran in HTML tags. " I got this preview after I pasted those tags on my blogs Html!!!
scroll down
FE 2009
Collaboration of Two Artists, Nin and Telberg
"AND she danced; she danced with the music and with the rhythm of earth's circles; she turned with the earth turning, like a disk, turning all faces to light and to 
darkness evenly, dancing towards daylight."
Anais Nin's first novel, "House of Incest" (1936), ends with this verbal image of release. A later edition of the book, published in 1958, does not, however, end with words, but rather with a visual image, a photomontage by Val Telberg of Sag Harbor. The picture portrays a nude dancer, her wide-flung arms solarized into torches. Superimposed on her torso are blades of grass, and behind the dancing figure is a beckoning doorway.
Nin, who died in 1977 at 73, is best known for her seven volumes of diaries written from 1914 to 1974. When she saw Mr. Telberg's work in 1950, Nin detected a kindred spirit. "She loved his photographs and decided he should illustrate 'House of Incest,' " said Sheryl Conkelton, associate curator of photography at the Museum of Modern Art.
Theirs was a remarkable collaboration of two artists from different disciplines who produced a hybrid work of art combining words and pictures. " 'House of Incest' is the best thing Nin ever did, and Telberg's photomontages really capture the dreamlike state and Surrealist mood," said Benjamin Franklin 5th, a professor of English at the University of South Carolina and an expert on Nin's work.
Nin described Mr. Telberg's photography as a "spiritual X-ray." After seeing his images for her book, she wrote, "I have a feeling you have done it, . . . captured the book's intent without illustrating." In another letter she added, "Your montages are poetic in their own terms -- in their own language." Conference and Exhibition
Mr. Telberg and Nin worked in different media, but they had much in common. Both were cosmopolitan and attracted to Surrealism.
Nin was born in France in 1903, the daughter of musicians. Her Cuban father was a celebrated pianist and composer who deserted the family when Anais was 11. She began her diary on a boat to America, in an attempt to win him back.
Mr. Telberg, was born in Moscow in 1910 before the Russian revolution, was the child of a mother who was an artist and a father who was the last prime minister of Siberia before the Bolshevik takeover. The family fled to Korea and Japan before settling in China, where Mr. Telberg grew up.
Trained as a chemist, he moved to New York in 1938 and began studying painting under artists like George Grosz in 1942 at the Art Students League. A part-time job developing photographs soon lured him away from painting.
"Photography was faster," Mr. Telberg, 84, said in an interview. "The space between conception and performance is very short in photography. Photomontage is more exciting, more immediate than oil painting, which is very laborious." Debt to Abstract Expressionists
His darkroom technique owes much to the improvisatory style of the Abstract Expressionists. "Their attitude of experimentation with new visions and new images appealed to me," he said.
Mr. Telberg created his montages from a stockpile of negatives that he sandwiched together on a lightbox, without preconceived notions of a final product. In a method akin to free association, he layered a variety of negatives in different configurations as a leaping-off point that evolves into a finished composition.
"Val works in the darkroom the way a painter works in the studio," said Jim Richard Wilson, director of the Rathbone Gallery at Sage Junior College in Albany, which originated the exhibition of Mr. Telberg's work.(1994)
Like Nin, Mr. Telberg was interested in Surrealism. "What appealed to me was magic and anything unusual," said the photographer, who was friends with surrealist artists like Pavel Tchelitchew, Salvador Dali and the film maker Maya Deren.
"Val was happy to be included with the Surrealists, because they welcome accidents, use the unconscious, and act on dreams," a photographer, Warren Padula, said.
"But he was not part of a defined group." Mr. Padula, who curated a show of Mr. Telberg's photomontages for the Art House Odeon Gallery in Sag Harbor, added. "He's an American original."
Nin was part of a Parisian literary group in the 30's that included writers like Antonin Artaud, Henry Miller and Lawrence Durrell. "Surrealism," she wrote, "was part of the air we breathed." In "House of Incest," Nin tried to represent the subconscious, based on Jung's dictum to "proceed from the dream outward."
"Nin's greatest contribution was to liberate women through her diary. She opened doors to let women reveal their personal lives," said Suzanne Nalbantian, a professor of English and comparative literature at the C. W. Post campus of L.I.U. "Nin was seductive, erotic, very 20th-century and expressed herself with a freedom that is liberating."
Ms. Nalbantian, organizer of the conference on Nin, wrote "Aesthetic Autobiography" (St. Martin's), dealing with Nin's work.
Nin and Mr. Telberg shared an interest in avant-garde film making. When they met in 1950, "I was yearning to become a film maker, but I couldn't afford the equipment," Mr. Telberg recalled.
Instead he adapted cinematic effects like dissolve and jump-cut to still photography. "Val's photomontages have the feeling of movement that you find in cinema," said his wife, Lelia Katayen, a dancer and choreographer. "They take you from one image in time or place to another until they blend."
"Some critics say a Telberg photomontage is like a whole movie shown simultaneously in one frame," Mr. Padula noted.
Mr. Telberg contributed to a pioneering film, "Between Two Worlds" (1952), directing a dance sequence of superimposed frames projected simultaneously. The photographer also collaborated with Nin's husband, Ian Hugo, an experimental film maker, on the multi-image film "Bells of Atlantis" (1952), based on "House of Incest" and narrated by Nin.
After their brief alliance the careers of the artists diverged. Before her first diary gained acclaim when published in 1966, Nin had great difficulty publishing her novels. Even after she bought a printing press and produced her own editions in Greenwich Village in the 40's, Nin could not persuade critics to review her books.
In the 70's, however, she became a cult figure, a frequent speaker on the college circuit. She was considered a heroine of the women's movement, even though her brand of feminism was nondoctrinaire. Cacharel named a perfume, Anais, after the writer, and a film, "Henry and June," portrayed her friendship with Miller and his wife.
The conference at L.I.U. will offer further evidence of Nin's celebrity. Scholars from around the United States and as far away as Japan will debate Nin's fiction in terms of psychoanalysis and eroticism. Her brother Joaquin Nin-Culmell, a musician, will deliver the keynote address, friends will offer reminiscences, and her husband's films will be screened.
In contrast to Nin's fame, Mr. Telberg was not widely known, even though hewas an important figure in this country for creative, as opposed to "straight" or documentary, photography. His work appears in major collections like the Museum of Modern Art, the Metropolitan Museum of Art and the Getty Museum, but his emotion-laden evocative montages, in which images merge like watercolor, never fit the former fashion for realism.
"I was interested in dream images," Mr. Telberg said. "I was considered crazy."
A 1983 retrospective at the San Francisco Museum of Art paid homage to his montages, but difficulty in classifying his oeuvre delayed recognition. "He doesn't belong in the painter's field, and yet his work is like a painting," his wife said. "Nobody knew where to place him."
"Poets were more interested in my work than photographers," Mr. Telberg said, adding that he was friends in Greenwich Village, before moving to Sag Harbor in 1959, with New York School poets like Frank O'Hara, Kenneth Koch and John Ashbery and the musician John Cage.
O'Hara, an art critic as well as poet, called Mr. Telberg "a painter who turned to photography in order to accomplish the pictures he could not find in paint."
"I try," Mr. Telberg said 40 years ago, "to invent a completely unreal world, new, free and truthful."
source: NY Times archive, museum of New Mexico/fine art, MOMA's web site
A Career Woman’s Short but Sweet Career in the 17th Century
Leyster wasn’t a great artist — not when compared to Rembrandt, Vermeer and other select contemporaries — but she was very, very good. And before her marriage to the painter Jan Miense Molenaer she managed to have an independent career, no small feat for a 17th-century woman.
After training with accomplished painters thought to include Frans Hals, Leyster earned membership in the prestigious Guild of St. Luke in Haarlem. The Dutch artist had her own workshop, her own students and her own style, one that combined the spontaneity of Hals’s brushwork with a Caravaggist chiaroscuro.
What happened next is a familiar story: She married, had children and painted less and less frequently. Her art, unlike her husband’s, fell off the radar. Many of her paintings were attributed to other artists and weren’t properly identified until the 1890s.
The National Gallery show, like Leyster’s brief career, is a bit of a tease. It includes just 10 of her paintings, orchestrated around a splendid self-portrait from the permanent collection. The rest is context: a smattering of work by contemporaries, as well as 17th-century musical instruments that relate to some of the images.
The exhibition was organized by Arthur K. Wheelock Jr., the museum’s curator of northern Baroque painting, in consultation with the Leyster scholar Frima Fox Hofrichter. It occupies the Dutch Cabinet Galleries, an intimate set of rooms intended to evoke period domestic interiors. This installation suits the generally modest scale of Leyster’s art, though the symbolism is unfortunate. (The galleries were carved out of storage space adjacent to the Rembrandts.)
Aubrey V Beardsley
Aubrey Vincent Beardsley (August 21, 1872 – March 16, 1898) was an influential English artist, illustrator, and author. He was born in Brighton, England.
Beardsley was aligned with the Yellow Book coterie of artists and writers, and produced many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart to Decadence and Symbolism.
Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all.
Aubrey Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and the grotesque erotica, which themes he explored in his later work. His most famous erotic illustrations were on themes of history and mythology, including his illustrations for Lysistrata and Salomé.
Beardsley was a close friend of Oscar Wilde and illustrated his play Salomé in 1893 for its French release; it was released in English the following year. He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines like The Savoy and The Studio. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser.
Beardsley was also a caricaturist and even did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster Art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape, Mucha and Clarke.
Beardsley was a public character as well as a private eccentric. He said, "I have one aim — the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair."
Although Beardsley was aligned with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of Beardsley's sexuality remain in question. Speculation about the artist's sexuality include the rumors of an incestuous relationship with his elder sister, Mabel, who may have borne his miscarried child.
Beardsley died of tuberculosis in Menton, France at the age of 25 on March 16, 1898.
Chelsea art museum
IRAN INSIDE OUT AT THE CHELSEA ART MUSEUM, NEW YORK
Artists participating Ala Ebtekar, Negar Ahkami, Nicky Nodjoumi, Parastou Forouhar, Pooneh Maghazehe, Pouran Jinchi, Ramin Haerizadeh, Roya Akhavan, Samira Abbasy, Sara Rahbar, Shahram Entekhabi, Shahram Karimi, Shirin Neshat, Shiva Ahmadi, Shoja Azari, Barbad Golshiri, Bita Feyyazi, Daryoush Gharahzad, Farhad Moshiri, Golnaz Fathi, Shirin Fakhim and Farideh Lashai.
jun 26 2009
Tight Time Loosen Creativity
Hundreds of artists told us how the economy is affecting their lives and work.(slide show)
stealing beauty
در زندگی گاهی اتفاقهای جالبی میافتد، سالها پیش در ایران دوستی فیلمی به من داد
با عنوان فارسی "زیبای مزاحم".
فیلم در زمانی که غرق در مسائل هنر و نقاشی و مجسمه سازی بودم شدیدا مرا تحت تاثیر
قرار داد.گذشت تا اینکه مهاجر شدم و شکل و شمایل زندگی کاملا با آنچه که عمری به آن
خو گرفته بودم متفاوت شد.
هزارو یک مسالهٔ گوناگون که هر کدام ذهن و روحت را به سویی میکشند.
در میان تمام این دست و پنجه نرم کردن ها،ناگهان چیزی شروع به تکان دادن هزارتوی
وجودت میکند. تونلهای تاریکی که سالهاست گذری به آنجا نیفتاده به ناگاه روشن میشوند
و درست مثل احساسی است که شیی گمشده ت را پیدا کرده ای. نگاهی به اطراف تونل
زیبای نیمه روشن میکنی و میگویی من هم روزی از این فضا لبریز از لذت بودم.
بی دلیل گمش کرده بودم و امروز با دلیل پیدا شد.
روز گذشته در بلاگ دوستی ۲ کلیپ از این فیلم را دیدم.خیلی جالب بود مثل تکان دادن
حافظهٔ دراز مدت با یک شوک ذهنی که مرا تا جاهای دوری برد، پر از احساسهای خوب.
سپاس از این دوست عزیز.
Sussan Deyhim
سوسن دیهیم از هنرمندان مورد علاقه من است که در سال 2000 از طریق شهره آغداشلو با کارهای
بی نظیرش آشنا شدم.اولین آهنگهایش را در آلبوم دیوانه خدا شنیدم و هنوز فکر میکنم بهترینند
فرانک
Sussan Deyhim, is a composer, vocalist and performance artist who has been at the forefront of experimental music internationally for over two decades. Deyhim's music combines extended vocal techniques, digital processing, and the ancient mysticism of Middle Eastern music to create a deeply moving fusion of East and West.
Born in Tehran, Sussan Deyhim began her career dancing with Iran's Pars National Ballet company (performing weekly on Iranian national television), and then with Maurice Béjart's Ballet of the 20th Century. She moved to New York City in 1980, embarking on a multifaceted career encompassing music, theater, dance and media, and wide-ranging collaborations with leading artists from across the spectrum of contemporary art.
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