Look, See

Arhat [9]: Jivaka

 

 

Jivaka (Arhats)

 

 

 

 

Arhat [8]: Vajraputra

 

 

Vajraputra (Arhats)

 

 

 

 

Arhat [7]: Kalika

 

 

Kalika (Arhats)

 

 

 

 

Arhat [6]: Bhadra

 

 

Bhadra (Arhats)

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More dead solderis. See the count- around 524.

 

 

 

 

Arhat [5]: Nakula

 

 

Nakula (Arhats)

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Lloyd: beautiful pix and text, great display.

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Where does a painting, and more specifically, an abstract painting, fall, when it's not just busy being itself, between metaphor and analogy?

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Jerry Saltz on Arshile Gorky:

I revere Gorky's work. Yet sadly, I know this is not his time. His forms look erotic to me, or otherworldly in very real ways. And his touch is scintillating. Yet to younger artists these days, Gorky comes off as relentlessly abstract, too rigorous, serious, pure and formal. Nowadays, his hard-won surfaces and meticulous shapes strike people as labored or too idealistic. His phantasmagoria comes off more platonic than it is.

Sounds great to me. Guess I'm not a young artist anymore.

 

 

 

 

Arhat [4]: Subinda

 

 

Subinda (Arhats)

 

 

 

 

Arhat [3]: Kanakabharadvaja

 

 

Kanakabharadvaja

 

 

 

 

Arhat [2]: Kanakavatsa

 

 

Kanakavatsa

 

 

 

 

Arhat [1]: Pindolabharadvaja

 

 

Pindolabharadvaja

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Arts Research Center Annual Conference : When Is Art Research?

February 6, 9am-5pm

Geballe Room, Townsend Center for the Humanities, 220 Stephens Hall

Free admission

When the Arts Research Center was established at UC Berkeley in 2001, its stated
goal was to "create a deeper appreciation within the academic community
of art-making as a vital form of research that both interprets and re-imagines
our world." This year's ARC conference will advance this mission by focusing
on what research means to practicing artists. Some questions that may be addressed
include:

• What constitutes research for the artist and what typical roles does it
  play in the finished product?


• What is the focus of the participating artists' inquiries/experiments/explorations?
  


• To what degree do they see what they're doing as contributing to an inquiry
  that others are also pursuing? Is their work "in conversation" with
  the work of others?


• To what degree do they find the term research useful or accurate in describing
  what they do? What are the term's limitations as applied to artists' work?
  


• For artists who operate within research universities, how does this environment
  and its definitions or expectations of research effect or modify their creative
  practice? Are there other "environmental" factors (for instance,
  the pressures of fundraising) that influence the role of research in an artist's
  work?


• Are there certain artistic media, techniques, or forms that are easier or
  more difficult to conceive as research? What is it about certain activities
  that makes them amenable to being perceived in this way?

Visual Arts as Research, 11:15am

Squeak Carnwath (panel chair), Professor in Residence, Art Practice, UC Berkeley

Greg Niemeyer, Assistant Professor, Art Practice/New Media, UC Berkeley

Anne Walsh, Assistant Professor, Art Practice, UC Berkeley

John Zurier, painter

Melissa Day, MFA candidate in Art Practice, UC Berkeley

 

 

 

 

16 Arhats

 

 

 

 

 

 

12/16 Arhats

 

 

[1] Angaja holds a fly whisk and incense bowl.	[2] Ajita has the head covered and the hands in the meditation mudra.	[3] Vanavasin with the mudra of explication and holding a fly whisk.	[4] Kalika holds a gold earring in each hand.
[5] Vajriputra with a fly whisk and hand gesture.	[6] Bhadra performs the mudras of explication and meditation.	[7] Kanakavatsa holds a jewel lasso in both hands.	[8] Kanaka Bharadvaja has both hands in meditation.
[9] Bakula holds a mongoose.	[10] Rahula holds a jewelled tiara.	[11] Chudapantaka has both hands in meditation.	[12] Pindola Bharadvaja holds a book and begging bowl.

 

 

 

 

4/16 Arhats

 

 

4/16 Arhats

 

 

 

 

Land From Water

 

 

Land From Water

 

 

 

 

At The Docks

 

 

At The Docks

 

 

 

 

Walking The Deck

 

 

Walking The Deck

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I'd call this a must read- long but worth it:

Creative Class War

How the GOP's anti-elitism could ruin America's economy.

By Richard Florida

Voters are seeing not just a decline in manufacturing jobs, but also the outsourcing of hundreds of thousands of white-collar brain jobs--everything from software coders to financial analysts for investment banks. These were supposed to be the "safe" jobs, for which high school guidance counselors steered the children of blue-collar workers into college to avoid their parents' fate.

But the loss of some of these jobs is only the most obvious--and not even the most worrying--aspect of a much bigger problem. Other countries are now encroaching more directly and successfully on what has been, for almost two decades, the heartland of our economic success -- the creative economy.

 

 

 

 

On Board At Sea

 

 

On Board At Sea

 

 

 

 

Navidad en el Pacífico cerca Baja California

 

 

Navidad en el Pacífico cerca Baja California

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I like this statement by Margie Livingston about "The Structure Paintings," January 8 - February 29, 2004 at Greg Kucera in Seattle:

Growing up in the Pacific Northwest, I developed a love of the out-of-doors that has become integral to my work. In graduate school, I came to understand how this affinity could be traced through my German heritage to Romanticism. But as I live in a time when the environment is threatened, my experience of nature includes a sense of loss. This sense of loss compels me to work from the landscape. Five years ago I started studying the structure of trees in my neighborhood. Transforming this experience into an abstract language is the basis of my current paintings.

I?ve brought fragments of the landscape in to my studio ? branches, leaves, twigs. I work from direct observation. I?ve slowed down the process of making ? committing to each mark and its relationship to the whole before moving on to the next. I?m trying to make each daub of paint contain location, drawing, gravity, color, and light. These marks are fragments that reference the greater whole. I?m searching for a way to translate my experience of nature onto the canvas that exists outside of the Abstract Expressionist and Impressionist ways of seeing. To this end, I?m studying how each mark informs the rectangle, investigating perspective and geometry, as well as researching photography as a means to alter how I see.

My work is a search for equivalencies and resonance. It tells the story of intense looking. My hope is to make work that is personal, connected to history, and yet, still relevant.

- Margie Livingston - http://margie.net/

"I?ve slowed down the process of making ? committing to each mark and its relationship to the whole before moving on to the next."

"I?m trying to make each daub of paint contain location, drawing, gravity, color, and light."

"These marks are fragments that reference the greater whole."

"I?m searching for a way to translate my experience of nature onto the canvas..."

"...I?m studying how each mark informs the rectangle, investigating perspective and geometry..."

"My work is a search for equivalencies and resonance. It tells the story of intense looking."

 

 

 

 

El Pacific cerca Baja California