In the April issue of Juxtapoz there was article to go to a gallery showing Audrey Kawasaki's artwork. I have seen her before and did a little more research on her. She has a website www.audrey-kawasaki.com and it shows all of her sketchbooks and paintings, and works in progress. She has a unique style and her work is pretty diverse, considering she almost uses the same subject matter for every piece she has done. There is also a shop on her website were you can buy prints of her artwork. In her artwork you can see great works that she gets inspiration from. She has a style that is very similar to Shiele. But it was cool and you should check out her stuff



peace
jaclyn

In the april issue of juxtapoz there was a grafiti artist named Slick. I read his article and found it extremely inspirational. At the end of the interview it asks slick what he thinks about people biting artwork, or copying. His response was that people should look off of other artist for inspiration and try and learn from them, but the artist needs to evovle and change the style to be their own. Slick also says the artist needs to remember where their artwork first originated from. This is just a brief part of the interview, but it is really awesome and so is his artwork, so check it out...



peace

jaclyn garvey

People time 2005 is now showing in the ….PeopleTIME 2005 features an installation of paintings by Tim Bowen. It consisting 100 paintings depicting of different national and international events that occurred throughout the year 2005. The title is based on the idea of using two images per week, one from People magazine and one from Time magazine. It focuses on everyday relevant news -from trivial to serious one. The paintings are arranged in chronological order, and covering everything from Tom Cruise jumping on Oprah's couch,the misadventures of the Runaway Bride,and horrors of Hurricane Katrina, the Iraq war to the the genocide in Darfur. PeopleTIME 2005 can also be viewed as a contemporary narrative history painting. Those are installed in way which recalls the fresco cycles of Giotto and Piero della Francesca. The exhibition occupies the entire gallery and shows the amazing diversity and infinite details found in a human experience.

http://www.fallingcow.org/future/PeopleTIME2005.html
Anuradha

The people who liked 2001 warner bros movie Legally Blonde,I have a good news for them. Legally Blonde is showing as a musical theatre in the Palace Theatre Brodway. The story is about a rich dumb blonde girl name Elle wood who go to Harvard Law school to get her ex boyfriend back. But there she finds her identity and proves herself as a women of substance. The show is running now,and it is very succesful theatre of the year. The theatre's setting and lighiting is bright like pink and golden, diffrent color sceme has been used to look the stage bright. The musicals are dramatic,a critic said that those are so energetic that those wont put you in to sleep. The actor Laura Bell Bundy (Elle Woods) perforemd very well. The well made,well choreographed show is gaining popularty.If you want to laugh out loud,please order your tickets today!

http://theater2.nytimes.com/2007/04/30/theater/reviews/30blon.html

Anuradha

Hi all !

I was searching for artists who works with food as a form of art. And surprisingly,I found there are lot of artists are into food art. One of them is our Moore's Mike Geno. He paintings of meat for a long time. There are are some renounwed food artist like Nir Adar, preston and campbell, john carafoli. Most of them has worked with
[1.arranging mashed potatoes to look like ice cream
2.cereal can be photographed with white glue instead of milk, because the cereal does not get
3. ice cubes are hand-carved acrylic
4.alcoholic beverage shots have water added to them to make them more transparent so the backlighting will work better ] [work cite-http://en.wikipedia.org/wiki/Food_stylist]

Check out their links:
www.niradar.com
www.mikegeno.com
www.carafoli.com

Recently within the last 10 years or so there has emerged a new field of science called Neuroesthetics and Bioaesthetics--seeking to explain and understand art and music at a neurological or biological level. They want to find out the answer to a seemingly simple but vastly complicated question: Why do we like art? Why do we value it? Why is it a phenomenon found in every single culture known to man? These new sciences focus on the bodily response when an organism encounters an aesthetic phenonmenon. For many years anthropologists have believed that one main reason we developed art is that it was/is a form of sexual selection. The signs of this are more evident in the animal kingdom. Think peacocks or Bowerbirds who build elaborate nests to impress mates--both whose important aesthetic qualities, much like our artwork, take up an enormous amount of personal resource for a product thats hard to maintain and sometimes doesn't even serve its original purpose. So where do these aesthetic desires come from? After surfing around on the Institute of Neuroethetics' website, I found an artist who has attempted to unlock our sub conscience in order to produce artwork directly from our innermost workings of the brain.

Ugo Dossi, a German, has invented the Sens-O-Graph. The Sens-o-graph is a tool that allows almost anyone to create a psychic drawing that reflects activities from the subconscious. Essentially what this is is a crazy tool that allows the user to capture those subconscious moments when we draw while talking on the phone or listening to the teacher or otherwise not paying attention to your hand. It kinda looks like it would act not unlike a ouiji(sp?) board. The art work that is created reminds me of Matisse a little bit. Its a really interesting idea. A good point he makes that never had occurred to me and which makes those moments of doodling so different from drawing is that, when we are moving our hands this way, we are also computing language or some other outside source that's distracting us. Because of this the images are usually directly tied to our analytical thinking. It is almost as if they are a sub conscience reflection of how our brain is processing the information visually. This phenomenon, he has found, is common to nearly every human.

To check out this wacky German visit his translated page by typing his name in google and then choosing to translate his site (the html tag is too long for the post)or go to http://www.neuroesthetics.org/ for an intro into this fascinating new science. Give it 5 more years and this is gonna explode! Imagine how valuable and dangerous it will be if we can figure out, neurologically, why we visually like something.

--Claire

The art section of the May 6th New York Times struck my eye in reference to ARCHITECTURE! Yes, architecture. The article titled "Paris Gives Itself a Futuristic Transplant" refers to a 1,000 foot-long steel bridge, a sight that I would love to see when I take my trip to Paris, France before I graduate. Glass and steel structures possibly similar to Philly's own at 30th and Market streets. Architects from france and other countries are contirbuting to this project that can help to revive the city's economy and universities while providing housing. I think it is commendable that they think of public housing for their city, unlike Philadelphia, who can only build businesses, hospitals, and schools, totally ignoring the citizens of it's city that will use these facilities but have no where to live.

In the central gallery stood the Japanese artist Takashi Murakami. In place of his usual garb — baggy cargo pants, T-shirt and sneakers — he was done up in a traditional hakama, his hair pulled back in a neat bun, with his signature round glasses and wispy goatee. The guests — Nancy Spector, the chief curator of the Solomon R. Guggenheim Museum; Vincent Fremont, a sales agent for the Andy Warhol Foundation for the Visual Arts; his wife, Shelly Dunn Fremont, an art director; and Kazuhito Yoshii, owner of the Yoshii Gallery in Manhattan — were the first to participate in a three-day series of tea ceremonies. Sitting around the low L-shaped wooden table, they listened intently as So-oku Sen, a tea master from a 400-year-old school in Kyoto, explained the ritual with the help of Linda Hoaglund, a translator. Popularly known as the Warhol of Japan, Mr. Murakami, 45, merges fine art with popular Japanese anime films and manga cartoons. He has invented characters including DOB and Mr. Pointy, which he has used as the subjects of paintings, sculptures and giant balloons, and is also known for his smiley-faced flowers and colorful mushrooms. His work has adorned New York City landmarks like Grand Central Terminal and Rockefeller Center. Among the works in his exhibition are several three-panel paintings, nearly 8 feet wide and 9 feet tall, of a fierce-looking Daruma, each signed in the traditional Japanese manner, in Japanese characters down one side, and each with a different background, ranging from platinum and gold leaf to black glitter.
I fell as though that Takashi Murakami has done alot in his time. Especially, with the combinaion of Japanese anime films and manga cartoons would look very interesting because i too like the Japanimation.

-Sabrina Coulter

I wanted to comment on an article entitled "A Natural who's worn well". It is regarding an artist by the name of Edward L. Loper Sr. who started making art in 1935. The article is slightly controversial because of the author's definition and comments of self-taught. He states that self-taught frequently describes artist of minority groups or socially marginalized, and tends to imply vitrue or despite humble origins and disadvantaged circumstances taught themselves art. He goes on to say that more likely self-taught artist are more free without any harnesses on their creativity. Then he respectfully details Mr. Lopers accomplishments and applauds his natural talent. The article did not sit quite well with me. The beginning was negative and implied insult rather than opening about a 91 year old man that never had formal art training. Regardless of the title, my first impression was to say the least not a good one. So to my fellow classmates, if you get a chance please read the article from the April 15th Philadelphia Inquirer and let me know what you think!

In a recent issue of one of the worlds best magazines, VICE did an article called "PINUPS: Fuck eyes--bulletin boards are the windows to the soul". Bulletin boards or "inspiration areas" or any collection of images reveal more about a person, specifically an artist, than anything else. I thought this was interesting because seeing where an artists gets their inspiration or where they start from really gives an insight view into their final product. It also makes me think about the importance of starting or maintaining your own collection of images. In the opening to the article VICE asks "What's better than going over to someone's house and looking at their stuff? Nothing. People's stuff rules." I have noticed that the things people collect directly relate to what they produce in the classrooom or studio. VICE choose their four favorite artist types, a graffiti artist, photographer, visual artist, and the guy who reinvented skateboarding all from different parts of the world. The magazine then sent people to their houses or studios to ask what everything meant that was hanging on their walls or bulletin boards. Its pretty interesting to read what everything is, why they keep it up there and where they got it from. Some of them art pretty funny.

Check it out at: http://www.viceland.com/int/v14n4/htdocs/pinup.php?country=us

It would be fun to talk about where i got all my images from, why i keep them up, and how they influence my work. maybe i'll write my own vice magazine article! Also be sure to check out the DOs & DONTs because they are funny.

--Claire

Too late?

I went to the PepsiCo Sculpture Garden near my house here in NY. They have a lot of sculptures by well known artists. There was work by Rodin, Joan Miro, Henry Moore, Alexander Calder, Max Ernst. My favorite favorite was the giant garden hand shovel by Claus Oldenburg and Coosje van Bruggen. But what was really cool to me was the landscaping and all the gardening that surrounded the sculptures. Where each sculpture was placed was so thought out with its own unique landscaping. For example the Oldenburg was placed far from the path on a great open lawn, while the Ernst, which was much much smaller and detailed, was right next to the path between two flowering bushes. It's cool and a little strange to think about how each flower, tree, pond was placed there intentionally; nothing was really growing there naturally in a way. I just never had really thought about landscaping design seriously and how their materials are grass, trees, flowers but they're working with the same principles like repetition and scale. They had also labeled all the plants, which in this context was like titling them; the giant shovel was simply called Trowel II, just as the trees were simply labeled White Birch or whatever. It was an interesting parallel.

--Chloe Crawford

I don't know if anyone got to go to the Fleisher within the past month, but when I stopped by I saw a series of drawings by Elaine Erne. I was blown away! Her collection of large graphite pencil drawings were called The Lives and Traumas of Stuffed Animals, and were pretty large. There was one up in progress when I was there and you could see that the whole picture was made up of strokes one after another. She must have been going crazy by the end because I was losing patience just looking at them. The toys she depicts are presented as allegories for children and their fears. Though the circumstances represented are not real and presented pretty humorously, they capture the aura that surrounds a person who has no control. By appearance, an abused child is like a doll, always appearing happy, but in reality experiencing deep pain, sorrow and fear. Above all, I was incredibly impressed.

--Autumn Oser