Friday, May 29, 2009
ursa - major
ursa - major
medium: mixed media - airbrush underpainting with brush applied finished work on top
paints: hansa pro colors and golden open acrylics
airbrush: harder & steenbeck evolution
dimensions: 24 inches x 18 inches (61 cm x 46 cm)
copyright © 2009 j. w. baker / wolf song studio
persoenlich erstellter text von j. w. baker am 29.05.2009
bild und text mit persoenlicher und freundlicher erlaubnis des kuenstlers j. w. baker
j. w. baker jwbart.com und jwbaker.wolfsongstudio.com
reverie
reverie
medium: mixed media - airbrush underpainting with brush applied finished work on top
paints: hansa pro colors and golden open acrylics
airbrush: harder & steenbeck evolution
dimensions: 24 inches x 18 inches (61 cm x 46 cm)
copyright © 2009 j. w. baker / wolf song studio
persoenlich erstellter text von j. w. baker am 29.05.2009
bild und text mit persoenlicher und freundlicher erlaubnis des kuenstlers j. w. baker
j. w. baker jwbart.com und jwbaker.wolfsongstudio.com
nonchalant
nonchalant
medium: mixed media - airbrush underpainting with brush applied finished work on top
paints: hansa pro colors and golden open acrylics
airbrush: harder & steenbeck evolution
dimensions: 18 inches x 24 inches (46 cm x 61 cm)
copyright © 2009 j. w. baker / wolf song studio
persoenlich erstellter text von j. w. baker am 29.05.2009
bild und text mit persoenlicher und freundlicher erlaubnis des kuenstlers j. w. baker
j. w. baker jwbart.com und jwbaker.wolfsongstudio.com
dappled
dappled
medium: mixed media - airbrush underpainting with brush applied finished work
paints: hansa pro colors and golden open acrylics
airbrush: harder & steenbeck evolution
dimensions: 20 inches x 15 inches (51 cm x 38 cm)
copyright © 2009 j. w. baker / wolf song studio
persoenlich erstellter text von j. w. baker am 29.05.2009
bild und text mit persoenlicher und freundlicher erlaubnis des kuenstlers j. w. baker
j. w. baker jwbart.com und jwbaker.wolfsongstudio.com
Friday, May 22, 2009
h. r. giger - ausstellung im filmmuseum frankfurt am main
21. januar bis 17. mai 2009 verlaengert bis 26. juli 2009
h. r. giger - ausstellung und filme
der schweizer kuenstler h. r. giger ist einer der bedeutendsten vertreter des phantastischen realismus im filmdesign. beruehmtheit erlangte der 1940 in chur geborene zeichner, maler und skulpturist mit der kreation des alien fuer den gleichnamigen filmklassiker von ridley scott (usa 1979). die sonderausstellung praesentiert gigers gesamtes filmdesign. fuer die gestaltung des alien und das extraterrestrische design erhielt er 1980 den oscar in der kategorie -best achievement for visual effects-. weitere designs fuer -poltergeist 2- (brian gibson, usa 1986) und -species- (roger donaldson, usa 1995), fuer den er eine ausserirdische schoene namens -sil- entwarf, haben ihn zu einer leitfigur im science-fiction und horror-genre gemacht. die ausstellung findet unter der schirmherrschaft des schweizer generalkonsulats in frankfurt am main statt.
der maler und skulpturist gilt als einer der bedeutendsten vertreter des phantastischen realismus. wiederkehrendes thema seiner faszinierenden werke voll schrecklicher schoenheit ist der von ihm gepraegte begriff der -biomechanoiden-, der eine verschmelzung von technik und mechanik mit dem kreatuerlichen betont.
der maler und skulpturist gilt als einer der bedeutendsten vertreter des phantastischen realismus. wiederkehrendes thema seiner faszinierenden werke voll schrecklicher schoenheit ist der von ihm gepraegte begriff der -biomechanoiden-, der eine verschmelzung von technik und mechanik mit dem kreatuerlichen betont.
h. r. giger hrgiger.com
deutsches filmmuseum deutschesfilmmuseum.de
Sunday, May 10, 2009
meinrad m. froschin biografie
meinrad m. froschin
meinrad m. froschin ist ein kuenstler, dessen bildinhalte surreal, real oder irreal (im sinne optischer taeuschungen) sein koennen. seine kunst versteht es, den betrachter durch die fotorealistische machart, reduktion auf das noetigste und ueberspitzte praesenz ohne schmueckendes beiwerk immer wieder zu verblueffen, zu faszienieren und somit in ihren bann zu ziehen. sein spiel mit raum/real und „nicht-raum“/irreal, sein feinsinniges gespuer fuer farbe und seine schon instinktive gabe zur reduktion (was kann weggelassen werden ohne die fotorealistische wirkung zu beeintraechtigen) machen ihn so einzigartig in der kunstszene.
getrieben, besessen von bildern in seinem kopf muss er phasenweise ohne unterbrechung an seinen werken/zyklen arbeiten, ohne ruecksicht auf seine person und gesundheit. auch wenn seine bilder scheinbar keinen interpretationsspielraum lassen, weil sie fotorealistischer machart sind, liegt gerade darin die schier unendliche freiheit seiner kunst.
die momentaufnahmen, die der kuenstler darstellt, machen dem betrachter die dinge deutlich sichtbar, die fuer ihn in der alltaeglichen welt scheinbar banal geworden sind. wer sich auf diese kunst einlaesst, wird immer wieder neue aspekte sehen, obwohl das bild so unerbittlich real zu sein scheint, wie der nagel, an dem es befestigt ist. man muss sich meinrad m. froschin’s kunst erarbeiten, ueber die erste verblueffungsphase hinweg steigen und das bild auf sich wirken lassen.
da seine bildinhalte meist in zyklen entstehen, sind ganze serien als sammelobjekte so reizvoll. ein zyklus kann in seiner gesamtheit viel dominanter auf den betrachter einwirken, allerdings traegt ein einzelnes bild aus einer serie schon die gesamte information, aehnlich der dann in jeder zelle eines koerpers.
getrieben, besessen von bildern in seinem kopf muss er phasenweise ohne unterbrechung an seinen werken/zyklen arbeiten, ohne ruecksicht auf seine person und gesundheit. auch wenn seine bilder scheinbar keinen interpretationsspielraum lassen, weil sie fotorealistischer machart sind, liegt gerade darin die schier unendliche freiheit seiner kunst.
die momentaufnahmen, die der kuenstler darstellt, machen dem betrachter die dinge deutlich sichtbar, die fuer ihn in der alltaeglichen welt scheinbar banal geworden sind. wer sich auf diese kunst einlaesst, wird immer wieder neue aspekte sehen, obwohl das bild so unerbittlich real zu sein scheint, wie der nagel, an dem es befestigt ist. man muss sich meinrad m. froschin’s kunst erarbeiten, ueber die erste verblueffungsphase hinweg steigen und das bild auf sich wirken lassen.
da seine bildinhalte meist in zyklen entstehen, sind ganze serien als sammelobjekte so reizvoll. ein zyklus kann in seiner gesamtheit viel dominanter auf den betrachter einwirken, allerdings traegt ein einzelnes bild aus einer serie schon die gesamte information, aehnlich der dann in jeder zelle eines koerpers.
text von meinrad m. froschin
meinrad m. froschin froschin.de
Friday, May 8, 2009
Mother's Day Proclamation
by Julia Ward Howe, 1870
Arise then...women of this day!
Arise, all women who have hearts!
Whether your baptism be of water or of tears!
Say firmly:
"We will not have questions answered by irrelevant agencies,
Our husbands will not come to us, reeking with carnage,
For caresses and applause.
Our sons shall not be taken from us to unlearn
All that we have been able to teach them of charity, mercy and patience.
We, the women of one country,
Will be too tender of those of another country
To allow our sons to be trained to injure theirs."
From the bosom of a devastated Earth a voice goes up with
Our own. It says: "Disarm! Disarm!
The sword of murder is not the balance of justice."
Blood does not wipe out dishonor,
Nor violence indicate possession.
As men have often forsaken the plough and the anvil
At the summons of war,
Let women now leave all that may be left of home
For a great and earnest day of counsel.
Let them meet first, as women, to bewail and commemorate the dead.
Let them solemnly take counsel with each other as to the means
Whereby the great human family can live in peace...
Each bearing after his own time the sacred impress, not of Caesar,
But of God -
In the name of womanhood and humanity, I earnestly ask
That a general congress of women without limit of nationality,
May be appointed and held at someplace deemed most convenient
And the earliest period consistent with its objects,
To promote the alliance of the different nationalities,
The amicable settlement of international questions,
The great and general interests of peace.
Dear Mothers, Mothers-to-be, Women who were/are mothered and Women who mother in all those many ways --- all ye WOMEN!,
The idea of a Mother's Day was born from several different women's attempts to organize and inspire women to activism. Julia Ward Howe's effort in 1870 emerged from her distress over the devastation of war - particular for her at the time was the Civil War. She wrote the proclamation above to inspire women to act for peace, and to establish a Mother's Day for Peace.
peaceful and peace-inspiring Mother's Day to you.
Wendy
by Julia Ward Howe, 1870
Arise then...women of this day!
Arise, all women who have hearts!
Whether your baptism be of water or of tears!
Say firmly:
"We will not have questions answered by irrelevant agencies,
Our husbands will not come to us, reeking with carnage,
For caresses and applause.
Our sons shall not be taken from us to unlearn
All that we have been able to teach them of charity, mercy and patience.
We, the women of one country,
Will be too tender of those of another country
To allow our sons to be trained to injure theirs."
From the bosom of a devastated Earth a voice goes up with
Our own. It says: "Disarm! Disarm!
The sword of murder is not the balance of justice."
Blood does not wipe out dishonor,
Nor violence indicate possession.
As men have often forsaken the plough and the anvil
At the summons of war,
Let women now leave all that may be left of home
For a great and earnest day of counsel.
Let them meet first, as women, to bewail and commemorate the dead.
Let them solemnly take counsel with each other as to the means
Whereby the great human family can live in peace...
Each bearing after his own time the sacred impress, not of Caesar,
But of God -
In the name of womanhood and humanity, I earnestly ask
That a general congress of women without limit of nationality,
May be appointed and held at someplace deemed most convenient
And the earliest period consistent with its objects,
To promote the alliance of the different nationalities,
The amicable settlement of international questions,
The great and general interests of peace.
Dear Mothers, Mothers-to-be, Women who were/are mothered and Women who mother in all those many ways --- all ye WOMEN!,
The idea of a Mother's Day was born from several different women's attempts to organize and inspire women to activism. Julia Ward Howe's effort in 1870 emerged from her distress over the devastation of war - particular for her at the time was the Civil War. She wrote the proclamation above to inspire women to act for peace, and to establish a Mother's Day for Peace.
peaceful and peace-inspiring Mother's Day to you.
Wendy
Monday, May 4, 2009
lovely
name: lovely
size: 40 cm x 50 cm (arround 15,7" x 19,7")
digital illustration made with photoshop and a graphic tablet intuos a5
size: 40 cm x 50 cm (arround 15,7" x 19,7")
digital illustration made with photoshop and a graphic tablet intuos a5
this image, the main challenge was to achieve the transparency effect of the lingerie.
persoenlich erstellter text von daniel cayuela am 04.05.2009
bild und text mit persoenlicher und freundlicher erlaubnis des kuenstlers daniel cayuela
persoenlich erstellter text von daniel cayuela am 04.05.2009
bild und text mit persoenlicher und freundlicher erlaubnis des kuenstlers daniel cayuela
daniel cayuela danielcayuela.com
Saturday, May 2, 2009
spontaneity
" … the socially problematic spontaneity of little children is as yet unco-ordinated and "embryonic." We then make the mistake of socializing children, not by developing their spontaneity, but by developing a system of resistances and fears which, as it were, splits the organism into a spontaneous center and an inhibiting center. Thus it is rare indeed to find an integrated person capable of self-controlling spontaneity, which sounds like a contradiction in terms. It is as if we were teaching our children to walk by lifting up their feet with their own hands instead of moving their legs from within. We do not see that before spontaneity can control itself, it must be able to function. The legs must have full freedom of movement before they can acquire the discipline of walking and running or dancing. For disciplined motion is the control of relaxed motion. Similarly, disciplined action and feeling is the direction of relaxed action and feeling to prearranged ends. The pianist must therefore acquire relaxation and freedom in his/her arms and fingers before s/he can execute complex musical figures, but much abominable technique has been acquired by forcing the fingers to perform piano exercise without preliminary relaxation.
Spontaneity is, after all, total sincerity - the whole being involved in the act without the slightest reservation - …"
"… when we say that a pianist or a dancer has perfect control we refer to a certain combination of control and spontaneity. The artist has established an area of control within which he can abandon himself to spontaneity without restraint."
- Alan Watts, Man, Woman and Nature
" … the socially problematic spontaneity of little children is as yet unco-ordinated and "embryonic." We then make the mistake of socializing children, not by developing their spontaneity, but by developing a system of resistances and fears which, as it were, splits the organism into a spontaneous center and an inhibiting center. Thus it is rare indeed to find an integrated person capable of self-controlling spontaneity, which sounds like a contradiction in terms. It is as if we were teaching our children to walk by lifting up their feet with their own hands instead of moving their legs from within. We do not see that before spontaneity can control itself, it must be able to function. The legs must have full freedom of movement before they can acquire the discipline of walking and running or dancing. For disciplined motion is the control of relaxed motion. Similarly, disciplined action and feeling is the direction of relaxed action and feeling to prearranged ends. The pianist must therefore acquire relaxation and freedom in his/her arms and fingers before s/he can execute complex musical figures, but much abominable technique has been acquired by forcing the fingers to perform piano exercise without preliminary relaxation.
Spontaneity is, after all, total sincerity - the whole being involved in the act without the slightest reservation - …"
"… when we say that a pianist or a dancer has perfect control we refer to a certain combination of control and spontaneity. The artist has established an area of control within which he can abandon himself to spontaneity without restraint."
- Alan Watts, Man, Woman and Nature
Labels:
Alan Watts,
art,
artist,
children,
dancer,
pianist,
spontaneity
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