Phoebe has written an excellent review of the Landscape of the Gila show:
“Ripples” – by Penny Flick, encaustic
The first thing that caught my attention was the color of this piece. It’s a very appealing blend of greens and blues and browns. I think the addition of the two sets of angled, parallel lines of contrasting colors enhances the overall design and effect of the work.
I’ve not seen many encaustics, so found this work unique on that basis alone. The waxen texture and three-dimensionality are marvelous. I also like how the waxy medium/encaustic continues onto the four edges of the stretched canvas.
I don’t know enough about encaustics to critique the craftsmanship and technique of this piece, but it certainly looked superb to me. I think the work would inspire other artists to try this medium; there would seem to be limitless potential in it. Plus it simply looks like great fun.
This is a current that runs through much of my work- you need to go to these fraught landscapes, where people’s histories clash, and talk and try and understand the granularity of the violence that marks every square inch of North America, Europe and Asia…
Race and history in New Mexico are contested in a way unique to the United States. This has to do with discrete historical events that took place in the Land of Enchantment and the layers of conquest the state deals with today. What you had in 16th century New Mexico was a lot of small, semi-sedentary tribes (the Puebloan peoples) with some larger, raiding tribes on the edges like the some of the Apache groups and the Navajo. When the Spanish sought to expand their control north of the central Mexican silver regions, they followed the same basic trail that indigenous people used in their trading networks, going up the Rio Grande and originally establishing a capital at what the Spanish would later term San Juan Pueblo (unlike the other Pueblos, the people of San Juan have reclaimed their indigenous name and now are referred to as Ohkay Owingeh. This just happened in the last few years). The Spanish were led by Juan de Oñate, a would be next-Cortes or Pizarro who hoped to find gold and silver farther north. When Oñate arrived in New Mexico, he kicked the Ohkay Owingeh out of their homes, expected the native peoples to feed and house and work for them, and basically treated them like conquered people. When they resisted, he responded harshly, particularly at Acoma Pueblo. On a mesa west of modern-day Albuquerque, the Acoma had a great natural defense and thus took a major toll on the Spanish forces. But the Spanish eventually conquered Acoma. Several hundred Acoma were killed. More notoriously, Oñate ordered a foot cut off of all men over the age of 25 to show Spanish resolve, although only 24 actually received this punishment. The Acoma were sent into slavery, although they eventually returned and the pueblo exists today.
From the excellent blog Lawyers, Guns, and Money: http://www.lawyersgunsmoneyblog.com/2015/09/race-and-history-in-new-mexico
I would put Tarkovsky up there with Kubrik fighting for the title of “greatest director of the 20th Century,”
Andrei Tarkovsky (1932-1986) firmly positioned himself as the finest Soviet director of the post-War period. But his influence extended well beyond the Soviet Union. The Cahiers du cinéma consistently ranked his films on their top ten annual lists. Ingmar Bergman went so far as to say, “Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.” And Akira Kurosawa acknowledged his influence too, adding, “I love all of Tarkovsky’s films. I love his personality and all his works. Every cut from his films is a marvelous image in itself.”
Of course Bergman and Kurusawa, along with several significant others, belong up there too. But Kubrik represents the best American cinema could produce, as does Tarkovksy for the Soviets. So how about an epic rap battle between the two at least. And watch some of these films!
(hat tip Phillip Turek) (and so let us not forget Milos Forman as well!)
Well Junchen Huang has not wasted a breath on arriving in the big city. The day after he arrived he was brunching in little Italy, and plotting guerrilla projections around town. This week brings the fruits of his labors working with the SHADOWPEOPLEPROJECT.ORG, taking footage he shot last March in Hiroshima through a trip organized through WNMU’s Expressive Arts professor of New Media Peter Bill, and projecting it at Chashama.org‘s famous Anita’s Way at the heart of Times Square. These art projects have been put together by an international arts organization led by Taku Nishimae. Cannon Hersey, a New York City based artist has been instrumental in connecting the dots on this project.
“Shadow People Project” commemorates the 70th anniversary since the atomic bombing of Hiroshima and Nagasaki, Shadow People Project will present video works by established artists and youth on August 6th at 6pm at Anita’s Way (137 West 42nd Street) in Times Square, New York.
原爆投下70年を期して、NYのど真ん中で、世界のアーティストと若者が集い、平和への祈りと未来への希望を創るイベント行います。アメリカ、日本、カナダ、メキシコ、イギリス、南アフリカのアーティスト集団で、被爆者へのオマージュを捧げ、その記憶を未来へつないでいくプロジェクト＝Shadow People Projectを始めました。
image by Cannon Hersey and video and remix by Junchen Huang
Solo artworks by Cannon Hersey, grandson of John Hersey (author of Hiroshima) and originator of Shadow People Project, will also be on display. These artworks were created earlier this year in Hiroshima and exhibited at Komachi Art Place, Hiroshima, Japan; Red Rock Historical Society, New York, USA; and Larva, Guadalajara, Mexico. Projections include the US Premier of clips from the feature documentary film “Hiroshima Revealed” broadcast on NHK in Japan on August 4th and 5th which depicts artist Cannon Hersey following the path of his grandfather John Hersey’s depiction of 6 survivors of the atomic bomb of Hiroshima.
Installation shot from Cannon Hersey’s recent exhibition of work made in Hiroshima in Guadalajara, Mexico through the support of the cultural department of the City of Guadalajara.
Shadow People Project will feature video remixes by Peter Bill, Junchen Huang and Tomoya Sasaki of shadow art submitted by the public to www.shadowpeopleproject.org and featured artworks by Gregory Clark, Stephanie Rose, Giles Clarke, Michelle Inotherworld and Samson Mnisi. Artworks and video made by international youth through the Shadow People Project workshop will also be on display.
This event is made possible through the generous support of the Rolin Foundation, Tanimoto Peace Foundation, Chashama, Zengo, Katsu New York, Mayor of Nishiwaki, Maruman, Inc and Watanabe Family.
Together, we stand united as Shadow People to commemorate the survivors of the atomic bomb and to recognize those shadow people in each community around the world, and to encourage them to rise out of the shadows.
video art work by Shadow People Project workshop participants Kimiko Oku, Ran Katashima, Ruri Matsuoka, Alexis Mena, Jun Chen Huang and Andrew Clark in Hiroshima, March/April 2015.
Shadow People Project was built by Taku Nishimae, Steve Leeper, Rebecca Irby and Cannon Hersey and the community of participants, patrons and public that believe in a new way.
Join us and send us your shadow- (www.shadowpeopleproject.org).
日米、カナダ、中国の若者とともに行ったArt Workshop for Peaceのメンバーも参加、NYの若者たちとの交流の場ともなります。
場所はTimes Squareにほど近いAnita’s Way。ニューヨークでも有数のパブリックスペースで、42丁目のから43丁目にわたる1ブロックの長さの吹き抜け空間はステージ、照明、大型プロジェクターを備え、数々の文化的イベントが行われてきました。
First Friday’s El Paso is a great art party, at 501 Texas. They do this every first Friday, in the 6 warm months of the year. Professor Peter Bill and New Media students set up animated projections and represented for Silver City and WNMU down in Texas. Next time, come on down!
Recently a student of ours travelled to Japan, this is his story: