27 December 2007
25 December 2007
14 December 2007
13 December 2007
05 December 2007
Shiva Linga paintings coming to Boston
A few months back, Feature Inc had a show of these magnificent
tantric paintings- which I didn't chance to attend, but did once come
across an exhibition catalogue in Paris detailing work of similar
origins- a little volume which pretty much changed my life. It turns
out that Feature's show was a smaller version of this Paris show,
the show is a traveling one and will be coming to Boston, to a
yet-undisclosed location.
An excerpt from the exhibition text, by Franck André Jamme:
"Even if Indian aesthetes have always collected them, as beautiful
as they appear to them, the sole purpose of these paintings is actually
meditation, hence their entire vocabulary. They are also used for
visualization. For example, you get up in the morning. Then, almost
immediately: face-to-face with the thing, for several minutes. Until
it has filled your mind, right to the top, until it has slowly eliminated
everything else. Then you come back to the world, attend to your
daily affairs. With the difference that, when you want to, you can
instantly recall the image in your mind, and what’s more, you
can re-create the entire world of this image, namely the image
itself enriched by its constellation, in short all that it first precisely
signified augmented by what it has produced, given rise to,
released in us, as crystalline and operative as in the morning."
Something to look forward to...will keep this post updated.
*thanks Shelley for the tip!
02 December 2007
Jack Strange to Land Rainbow
At the Tanya Bonakdar Gallery a few weeks ago, this tiny piece by
Jack Strange caught my eye...and though almost the whole show was
composed of really good work, Strange's piece was memorable
in that latent, ha-Ha way when I realized that his "Spinning
Beach Ball of Death" is actually a lift from the little icon that
comes up when an action is waiting to be executed (on a mac).
Which is only really funny when you consider the work in
the light of All Painting, Ever.
ANYWAY, on the highway coming back from the MIA show,
with all the trucks going by and at the same time thinking about
big art installations, big things in general, and then from that
to rainbows,
it occurred to me that on a nice, long stretch of highway, it's
theoretically possible to create a massive moving chain of these
18-wheeler trucks, - maybe even one several miles long.
And, let's say they were painted the in full color spectrum, from
end to end (e.g. the first twenty trucks would articulate a subtle shift
from red into orange, and so on) so that the experience of viewing
the piece (from the side of the road) could last several minutes
(if the trucks passed by slowly)...and could MAYBE even change
the entire way that light is perceived as the piece goes by.
Like, grounding a rainbow.
Jack Strange caught my eye...and though almost the whole show was
composed of really good work, Strange's piece was memorable
in that latent, ha-Ha way when I realized that his "Spinning
Beach Ball of Death" is actually a lift from the little icon that
comes up when an action is waiting to be executed (on a mac).
Which is only really funny when you consider the work in
the light of All Painting, Ever.
ANYWAY, on the highway coming back from the MIA show,
with all the trucks going by and at the same time thinking about
big art installations, big things in general, and then from that
to rainbows,
it occurred to me that on a nice, long stretch of highway, it's
theoretically possible to create a massive moving chain of these
18-wheeler trucks, - maybe even one several miles long.
And, let's say they were painted the in full color spectrum, from
end to end (e.g. the first twenty trucks would articulate a subtle shift
from red into orange, and so on) so that the experience of viewing
the piece (from the side of the road) could last several minutes
(if the trucks passed by slowly)...and could MAYBE even change
the entire way that light is perceived as the piece goes by.
Like, grounding a rainbow.
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