"Art Cries Out" promotes and features protest art. For those of us who experience malaise because we have serious peace, justice and environmental concerns, this may be just what the doctor ordered. So go on over and pay them a visit, give them your support, and maybe submit your protest art! I think they take writing as well as images.
I hope to dig up my anti-nuclear posters some time before or during the summer, to submit to them. This is another way to make our voices heard!
What is destiny of man? Or what is destiny of humanity? There are several answers suggested by philosophers but very few could answer it correctly. Philosophies of infinity declare that man’s destiny should not be less than his absolute freedom. Freedom not in relative term rather freedom from all relative phenomena. These philosophies were not meditated from the point of man as ‘desiring being’ rather from the point of ‘being’ as pure and eternal. Man’s destiny thus is not to satisfy only desires rather to realize some more important truths of life. But philosophies of modern age declare another truth and decided another destination for humanity to achieve and it was ‘desire’. Desire became the sacred philosophical truth which bore the seed of modernity. And the epistemology that narrated the philosophy of desire was rationalism.
This great narrative of desire which was narrated from the reason took many turns, this time is has incarnated in the form of philosophy of post modernism. In the history of western thought philosophy of desire had always been central theme, it was necessary for every philosopher to make it central point of investigation. Reason which is always contradictory became man’s light. This reason which narrates the desire was/is desire itself. It dismantled very thing which did not supported it. Desire is blind, it sees nothing accept desire. Thus all religions and religious philosophies became obscure, irrational, speculations; rationalism which declared hitherto existed everything irrational and speculations was itself speculative from the very beginning . Started with Rene Descartes to till now, the philosophers of rationalism are speculating.
Science too which is based on the rationalist philosophy speculated not less and still is speculating however they declare that their theories are solely based on concrete observations. For example the concept of atom propagated by Vaisheshik philosophy was just speculation but the same thing when invented later by Dalton it became science. Though Dalton could not provided any proof other than a speculative hypothesis that there is a smallest particle in the matter called atom which later declared wrong since there were uncountable particles. Till today, science is speculating about the root of the matter, recently they have speculated that there is a phenomenon in the heart of the matter and thus cosmos, called string; on which everything is based. And this string is floating in time and space, it is both outside and inside, it is a kind of absolute element, from which everything is formed or which forms everything. But a symbolic expression of philosophies of infinity in this regard is useless and just an irrational idea. Einstein in his hypothetical journey once speculated that ‘ presence of mass ‘ curves space’ gravity is a property of space’ but before his death he declared that ‘ space has devoured ether and time; it seems to be on the point of swallowing up also the field and corpuscles, so that it alone remains as the vehicle of reality’. But when a Vedanta philosopher says that space is primary element in the material phenomena it becomes speculation.
The rationalist- empiricist philosophy which is solely based on rational categorization of things, on sign system, on system of unity destroyed the very human endeavor to jump in the truth infinite. System of knowledge which was earlier free wandering in the matter of things became so rational and closed that it lost its inner wisdom. Rationalism’s sole concern was not to take any flight rather to structuralize things, situations, events etc in order to hold power. Its major philosophical concern was to exploit people in the name of progress.
In all this progress of science and society, man was no where only there were concepts in which man’s destiny was captured. Man’s consciousness which he brought with him became a subject to be governed and all this was done with the political concept of ‘common’ of rationalists. Man was bolted in the mechanism of ‘common’ beyond it he has no individuality. Man is man through the ‘common’. The day this concept of ‘common’ came into existence man lost his very freedom to think and meditate. It was Hobbes who formulated it first in his book Leviathan. He was the first rational political philosopher who said that, ‘in the beginning, before the formation of society there was war (and it was for sex and material gain) to get rid of this bloody situation of war in which each was against each one; they came to form a ‘common’; a contract that from now on we are bound by a law of ‘common’. Of which king became head in which absolute sovereignty resided, no one could transcend his absolute sovereign power of law making and enforcing.
Since than, the theory of ‘common’ is in practice, no political theory raised any question on the metaphysics of ‘common’ in which man is destined to suffer. Since Hobbes, all the political theories only upgraded his theory, only refined it and made it more and more complex. Even most acclaimed revolutionary political theory of Marx too could not go beyond Hobbes. Only Heidegger raised question regarding reason’s authenticity he said, “the domination of intellect and logic has to be ‘broken’ in order that we may raise question concerning being and nothingness”. He contemplated on the relationship between man and every man (common). In ‘being and time’ he said, “ the dictatorship of every man might be seen as a conservative, unimaginative narrow minded, and ‘conformist’ way of endorsing a common cultural background, in which one identifies oneself entirely with traditional stereotype role”. He too could not think beyond common though he was against man’s rational positioning in the ‘common’. He says that one should learn to be responsible for oneself within the matrix of the ‘common’. Thus man can not free himself from the commonality of the ‘common’. But the ‘Common’ which was formed as a system of law, in its later phase of evolution transformed in to a mechanism, of which there was a goal.
This goal, which was attributed to the ‘common’, was not of people who formed it rather of those who got hold on production mechanism. Thus the ‘common’ got a goal that in its later development became universal. The goal which was set forth for the ‘common’ was not any ideal or any virtue or any higher goal like liberation or moksha rather to produce. Production of materials and things related to materialism became the highest goal of ‘common’ other than this what ever was existed became irrelevant. There is no pursuit of truth, if there is; it should be productive to the mechanism of production. This mechanism of production which is a movement of consciousness of self-interested rationalists, in which comes industrialists and philosophers, poets, cultural thinkers associated to it; is solely based on metaphysics of desire. Desire is the moving force of the production mechanism, in which desire is produced, things of desire is produced even culture of desire is also produced. In this production of desire man is transformed into a little beast, having lost his individuality, his freedom of consciousness; he dreams nothing other than the things of desire. This is the reason that there is no philosophy of dream, no literature of solitude, and no art which reveals mystery.
Philosophy of desire became the enemy of goodness and godliness. In it every thing is bound by desire; it is the soul of all living beings. It is the soul of art and culture which has come to an end with the revolutionary appearance of culture industry. Man’s consciousness which have lost its freedom has become ‘common’ consciousness; the consciousness directed towards the goal to produce the humanity of sex and war. Man’s consciousness in the movement of ‘common’ consciousness neither dances nor sings, if he dances and sings it is because of his business; all sacred values are considered marketable and productive. Man has been dehumanized, objectified, and rationalized in the dynamic of materialist production. In the dynamic of production man is constructed, his subjectivity is defined and re-defined. Through out history man’s subjectivity has always been displaced, located, shifted from one system of production mechanism to another.
Is there any option other than the dynamic of materialist production which has now become universal concept of progress, in which man does not exist? When will man find his natural dwelling? When the set meaning of being in the world will change? Is being in the world is being through dynamic of materialist production? Isn’t Heidegger’s suggestion a relevant one in this regard, that man should find an authentic condition of his existence in order to achieve the ideal of being authentically oneself. The ideal of being authentically oneself is what the ideal of Vedanta philosophy is. And later Vedanta as taught in Bhagvata Gita provides complete authentic condition for man to achieve his goal, which he can achieve without losing anything.
Karma yoga opens highway for humanity to reach its goal but without any accident, without any suffering. Rationalists think that there is no philosophy other than objective rationalism in which desire finds its eminence. Because they do say that all philosophies of infinite turn their face towards asceticism. These thinkers never come across the theory of karma yoga and Indian tantrik philosophies in which desire is not discarded rather is being put in a proper plane of idealist discourse. Desire is considered divine in Gita, the teacher of Gita says, ‘desire is myself’ i.e. of the nature of truth itself; but only that desire which does not violate the law of Rit -the dharma underlying all phenomena.(dharma viruddhokamosmi).
In Buddhist Mahayana tantricism desire and passion is being considered as a path to realization of ultimate truth-Sunyata. In Indian philosophies desire has been regarded most important aspect of humans and it was never repressed as in the case of Christianity. In Christianity it is sin because of which man has fallen from the heaven but in Hindu philosophies it is desire when raised spiritually causes liberation.
But alas! Real question of materialist philosophers is not that that desire is not finding its eminence rather how desire could find a proper plane in their discourse of exploitation. Rationalist discourses on life never provided any solution for man. What they provided throughout the ages is ‘the discourses of exploitations’; this that how man could be enchained. How man’s dignity and freedom of consciousness could be placed in the proper plane of materialist production machinery but not in materialist discourse since they know this that it can take a leap( it too can be dangerous for them). And in this they succeeded but since man can not live with bread only, every time they face problem from man’s inner fluttering for liberation. This is why they go on philosophizing, creating bunch of philosophies.
Capitalist production machinery is spending a lot of money to produce a solution to the basic human problem of freedom but under the mechanism of ‘common’ only. But they don’t understand that reason can not provide any solution to humanity since it is divided and confused. Reason can not see the complete truth in its entirety. This is the reason that throughout its history it has a tendency to return back to theologies for support. Reason has destroyed all possibilities of man’s leaping into unknown realities. It has destroyed the tradition of philosophizing “the questioning of extra ordinary’ as Nietzsche have said. The philosophies of reason have always organized things, made arrangements, fitted man in a situation from where he could not escape. The whole history of rationalism shows that it has never had any holy purpose; it was vicious from the very outset, since than, when it rejected the very tendency of people’s questioning about infinity. It rejected man’s quest for timeless value, a timeless truth not from the rational point of view rather from the sake of rejecting itself since it never fully took the systematic rational approach.
For instance, the approach of scientific experimentation is based on the ‘to see the truth’ in the laboratory through physical means only, if any said truth is not tested in laboratory or through any physical testing mechanism it is bluntly declared false. Truth must be seen in microscope since only than it could be utilized, could be usable, could be made for production. Everything sublime was thus destroyed for the sake of materialist production. Though these philosophies of infinity were always helpful in providing humanity some immortal values as for as humanity as such is concerned. For materialist production mechanism these philosophies had been useful throughout the ages and still it is, but now some postmodernist want to destroy the remaining ties too. Because they want to make humanity utterly material, the materially refined man, a man-machine even they want to open factories where subjectivities would be produced.
In producing mechanical subjectivities culture would play the most important role as it played in history. Marxists have used it in their struggle against capitalism. This question of culture is most important regarding society of control and on this issue Theodore Adorno has fought most remarkable war against capitalist ideologues. Being Marxist he was always in the favor of autonomy of culture since he wanted to save man’s ‘being’: pure and authentic. When he was invited by one American researcher of ‘American Traditions of Applied Social Research’ Mr. Paul Lazaesfeld to help in his research on the relations between culture and policy, he refuted his request remarking that, ‘culture is opposed to administration. Culture would like to be higher and more pure, something untouchable which can not be tailored according to any tactical or technical considerations.
In educated language, this line of thought makes reference to the autonomy of culture. Popular opinion even takes pleasure in associating the concept of personality with it. Culture is viewed as the manifestation of pure humanity without regard for its functional relationships within society.’ Against his approach to culture Researcher Mr. Paul reacted that ‘Adorno should aspire to greater empirical precision, that ‘culture might be precisely that condition that excludes a mentality capable of measuring it’. Thus the capitalist intellectuals want to exclude people (those who can raise any question) from the field of culture in order to control them through the culture itself. New destiny of man is machine and he is becoming. All philosophies which advocate man’s freedom through a system are administrative philosophies and are aspiring towards absolute power therefore are against man. When most sublime aspect of humanity is structured, becomes organizational, territorial, productive, and mechanical than know that man is dead. In this dark age of mechanical production of man’s consciousness there is only light; to raise questions and wage a war against those criminals of humanity, who having lost all hopes in the divine play of life want to play the game of war and sex.
There’s a lot of fraud and injustice in the artworld. The time has gone that I did believe artists were only nice and sensitive people.Fortunately there are still a lot of great artists and great persons in the world. Visit the website of my friend Mona Youssef please and you know what I mean.www.mona-gallery.com
absolutearts.com PortfolioCreat There’s a lot of fraud and injustice in the artworld. The time has gone that I did believe artists were only nice and sensitive people.Fortunately there are still a lot of great artists and great persons in the world. Visit the website of my friend Mona Youssef please and you know what I mean.www.mona-gallery.com Best regards from Holland, Hans Mertenswww.hansmertens.nlwww.absolutearts.com/portfolios/a/aragorn e your blog in this textarea.
Create your blog in this textarea.There’s a lot of fraud and injustice in the artworld. The time has gone that I did believe artists were only sensitive people.Fortunately there are still a lot of great artists and great persons in the world. Visit the website of my friend Mona Youssef please and you know what I mean.www.mona-gallery.com Best regards from Holland, Hans Mertenswww.hansmertens.nl
Create your blog in this textarea.There are so many artists around the world, that we sometimes don’t recognize great artists and great persons anymore.Visit this website please and you know what I mean.www.mona-gallery.comBest regards from Holland,Hans Mertenswww.hansmertens.nlwww.absolutearts.com/portfolios/a/aragorn
Synthia SAINT JAMES will unveil her 40x30" original acrylic on canvas painting "Circle of Promise" at a very special luncheon to be held at the Newseum in Washington, D.C. on Friday, June 6, 2008. The painting was commissioned by Susan G. Komen for the Cure in celebration of Circle of Promise, the Cure program dedicated to re-writing the story on breast cancer in the African American community.The limited edition fine art reproductions of "Circle of Promise" will also be presented and will be available for purchase at the luncheon, which will be co-hosted by The Links, Incorporated. All the event proceeds will help fund the breast health needs of the 9th Ward Clinic in New Orleans, Louisiana and Ghana Hospital in Ghana, Africa.
SAINT JAMES, who now serves as a National Ambassador for Susan G. Komen for the Cure Foundation, is a international award winning artist and the designer of the first United States Postal Stamp for the Kwanzaa holiday. She has to date written and or illustrated 13 children’s picture books, 3 poetry and prose books, 4 children’s activity books, a cookbook, and a postcard book. She has garnered numerous awards including a Parent’s Choice Silver Honor for her book Sunday, a Coretta Scott King Honor Award for illustrating Neeny Coming…Neeny Going, and an Oppenheim Gold Award for the book To Dinner For Dinner, which she illustrated.
Her architectural designs include a 150 foot ceramic tile mural for Ontario, California’s international airport, 6 - 9x4 foot elevator doors for a building in California’s State Capitol’s East End Complex, Sacramento, California, stained glass windows for the West Tampa Library in Tampa, Florida, and a 4x7 foot ceramic tile mural (inspired by Dr. Maya Angelou’s poem "On the Pulse of Morning"), commissioned by Gibson, Dunn, Crutcher LLP for Cowan Elementary School in Westchester, California. She was also commissioned to create the 3x6 foot painting that hangs in the Women's Center of Glendale Memorial Hospital in Glendale, California.
SAINT JAMES has completed numerous commissioned signature images for non-profit organizations including the International Association of Black Professional Fire Fighters (which hangs at the Vulcan Station in Brooklyn, New York), Children’s Institute International, the Natural History Museum of Los Angeles, the Harlem Book Fair, the United Way, and the National Education Association. She unveiled the poster that she created for the Center for Disease Control at the United Nations on World AIDS Day 2005, unveiled the original painting that she created for the Metropolitan AME Church (Harlem, NY) at the Schomburg in February 2006, and unveiled the 20th anniversary painting for the 100 Black Men of America, Inc. in June 2006.
Her paintings grace the covers of over 60 books, including Terry McMillan’s Waiting to Exhale, Disappearing Acts, Mama, and the Japanese translation of How Stella Got Her Groove Back, and Iyanla Vanzant’s Acts of Faith, Faith in the Valley and The Big Book of Faith.
In reviews her artwork has been described as "ebullient", "bold", "creates paintings that remind one of Matisse cutouts in their clear line and intense color" and "joyful".
She was honored with the 2008 Woman of the Year for California’s 26th Senate district, a 2004 Woman of the Year Award in Education by the Los Angeles County Commission for Women and she is a proud receipient of The HistoryMakers Award. Fall of 2006 she received both the MOSTE Inspirational Women Award and the Samella Award for her artistry, and designed the "We See You Award". SAINT JAMES is also one of the women included in Dr. Cynthia Jacobs Carter’s National Geographic book, Africana Woman: Her Story Through Time.
She most recently completed signature paintings for the 10th anniversary of the African American Business Summit, the inaugural painting for the Leimert Park Village Book Festival, for Project Fatherhood for Children’s Institute International. On June 21, 2007 she was honored by the Home Depot Charitable Foundation with a tribute held at the Staples Center in Los Angeles.
She travels nationally for speaking engagements, exhibitions and unveilings.
SAINT JAMES, a self-taught artist, credits the creator and her ancestry (which includes African American, Native American, Haitian and German Jew) for her artistic gifts.
FOR MORE INFORMATION ON SUSAN G. KOMEN FOR THE CURE:
Create your blog in this textarea.There are so many artists around the world, that we sometimes don’t recognize great artists and great persons anymore.Visit this website please and you know what I mean.www.mona-gallery.comBest regards from Holland,Hans Mertenswww.hansmertens.nlwww.absolutearts.com/portfolios/a/aragorn
My artwork is about exploration, expression of feeling, freedom, growth, and the search for meaning. In my artwork, I seek a balance between the mechanics of technology, nature, and what it is to be human. Through my artwork and poetry, I hope to raise epiphanies in our lives and help us in our mental and spiritual cultivation.
Please help this community to grow. Share your insights into how my artwork or others help in your mental and spiritual journeys.
Noticed, that my 'feel' in regard to expectation and inspiration for exhibits, is influenced to a great degree, by 'Theme' of Exhibition.. Title.. Am so much more exited, and anticipation at much higher level , when Theme or Title 'flows' , embracing meaning in my Art Pieces- or hues, forms- resonates to art appreciators, clients..if at all- offering freedom, to perceive individually. I desire, to 'touch' broad range of age, gender, backgrounds.. If contrast is wanted, for reason related to Art collection on exhibit, should still resonate in individual. 'Own Obvious' is found , as soon as collection is viewed.. Often like the mysterious- so mind, core..eyes are enticed to search and find on their own- within the time offered..And Theme raises pre- awareness.
Well.. I write this, because I just was informed by Artdirector Marcello Cazzaniga, of Camaver Kunsthaus Inernational Galleries, that during Spring/Summer, the masterpieces of my 'Mignon' series, which are in Italy with Camaver Inernational , will be exhibited in a newly opened atelier in the city of Seregno, close to Monza and Milan. Smiiiile..Been there . ..and loved it there..
The meaning/subject, is beauty..and will be a series of personal exhibitions. My Signature Art Pieces will be related with Oscar Wild 'Dorian Gray Portrait'...
So.. THAT is..why I write about.. how Theme/Title touches me with inspiration and anticipation..exitement- and this one again, does..
Camaver International discovered my Art on absolutearts.com - welcomed and promoted my creations as very special- Am privileged and thankful, that I have my absolutearts.com global exposure and great team behind it, and my Camaver Kunsthaus International great !! Galleries with their fine staff presenting my art works in Europe.
And feels so just right- have all of YOU visit my portfolio, (thousands of hits daily per stats), enjoy my creative offerings in expression of hues, forms, visages, liiiiiines... ;-) Moods..
My Art Pieces are in such great place, with thousands of beautiful, fellow artists creations!!
absolutearts.com PortfolioThis is my first blog. I am so glad to be part of an Art community and share what I have. I realize that there is nothing in this world more important for me, than Love and Art. Yes. I do not know what comes first, love or Art, but I do know that this is what this life is about. Perhaps, I was a little bit naive emerging artist few years ago thinking that the only thing that makes an artist famous, is the ability to create masterpieces paintings. Unfortunately, this is not how it works in real life. Now, I do know there will be a long road for me where I have to starve through out the life and work odd jobs to keep myself alive. However, that does not scare me anymore. I know that Love and Art will help me to stay on track and live and enjoy life. Life is beautiful no matter what we do or think. When Love, in my personal life, let me down, I tend to transfer my feelings to Art. Art always helps me when I am depressed. In fact, depression kills slowly, and the only way out for me is painting. It is wonderful time when you paint while everybody sleep. You can paint in complete silence and concentrate on your visions and hear inner voices and sounds isolating yourself from outside world. It is the time when you create your own world of color and paint where you become the creator. Wonderful world, where money has no value and beauty is not destroyed by time.
Sweet Lips In Dream State is a drawing extracted, or abstracted, from within the artist's imagination. The title was derived at due to the young lady's full lips while having her eyes closed. This drawing is available in a matted, glossy photo print for $50, or in a giglee print for $75. The print is available within an 8 1/2" x 11" mat, in black or white. Delivery is $5.00 additional within USA.
CLICK ON THE LINK BELOW TO SEE THE PRINT WITHIN A BLACK MAT
After near about sixty years of Indian modern art history galleries are still behaving like shops and artists like craftsman. Earlier the agenda set by ‘Bombay progressives’ is still prevailing as most authentic ideology and approach for art progress. The virus of ‘Marxism’ that bugged Indian mind since the establishments of ‘communist party of India’ and ‘progressive writers association’ of Prem Chanda and then ‘progressive artists association’ has a fatal impact on our cultural development. It is petty bourgeois class that has no ideology of its own sought resort in the Marxism to excess the socio-political. It is this class that prevailed in art and culture after independence; having no character they like electrons jumped from one political and ideological orbit to another in search of opportunity. Their opportunism was to such extent that during independence many among them joined British gang and helped them in their adventure. In art and culture field they took reign, they ate its spirit and cancered it with the bug called ‘Marxist ideology’. They were never truthful to their persuasions it is true; what they called ‘ideology’ was just a tool to excess socio- political. They had their own type of petty-bourgeois socialism as we see it in formation of many cast centered political parties. Many feudal mentality intellectuals that formed political parties like JDU, SP, and the like to lead the feudal class did all wrongs to us. See how socialist like Mulayam Singh and Lalu Yadava during their reign promoted feudal lumpenism doing all crimes against people and the society. Their cultural Heroes having feudal mentality tried to corrupt the masses. These are the ills of the society who are promoting kinds of culture and mentality “jo dikhta hai wah bikta hai’ and “any how earn money and enjoy it”. One Week back I was watching NDTV India where recently Padam Sree awardee journo Barkha dutta hosted a show and called Shobha Day, Maurin Wadia as judges in the show together with editor of the LOKSATTA in which Shobha Day put her stamp on “jo dikhta hai wah bikta hai’ advocating Rakhi Sawant kind of stretcher for youngsters of new India to follow. Now this petty bourgeois mentality writer who is all famous for her third class writings has become intellectual. Bhaichanda Patel Outlook columnist in his recent review of her book ‘superstar India’ wrote “she skips from one topic to another without saying anything substantial …..Nothing is analyzed, just a thousand words on something and we quickly move on to something else. She takes us to Shanghai, Bangkok, Singapore, Xian and London. The reader can only wonder what these places have to do ‘superstar India’. She is representative of Indian petty bourgeois class intellectual who have no content that is sublime.
This kind of mentality is being promoted by many opportunist intellectuals and journalists. The motif behind this is only one- ‘save petty bourgeois consciousness by promoting irrationalism’.In this postmodern world there are journalists and TV channels that promote stories of Ghosts and superstitious content to dumb the viewers mind. Corrupted consciousness of newly rich class of the society has to be blamed for this kind of promotion and corruption. Amongst all this many others are there who (namely Maoist revolutionaries) are active and doing well to capture the power from this ruling section of the society. The specter is waiting to come but this petty bourgeois class people that believe only in self centered way of life is blind. They have no philosophy of their own they are shifting electrons they behave according to situation. As I have already said they are opportunist; what they are doing they are doing and when other will grab power from them they will join them and follow them. It happened in British era too. In cultural arena too this class is doing the same, it goes at any extent for the money. Contemporary Indian cultural intellectuals seek all kinds of logic to validate their ills. Contemporary art is also cancered by many ills in the name of progressiveness. Husain’s paintings has nothing to do with art since he has no artistic temperament that creates art that is ‘NEW’ so he takes resort in controversies painting object of faith. He has nothing to do with beauty; he wants just news so he often paints cinema actresses. How to make money and how to make news, he has learned. This old man falls under lumpen craftsman category; he has neither learned nor let other artists learn. Picasso throughout his life never painted objects of faith to get controversy, why? Because he was engaged in creating “new” art that we revere now as Cubism.
Our gallery owners befooled by these claver artists, they were caught in the net of ‘progressives’ that has not progressed a little bit. ‘Whatever can generate money is good’ is their motivations; they could be able to generate capital out of shit. Now while abstract art is proclaimed dead (because it was largely decorative) they are running after Chinese Avant-Garde that largely draws its inspiration from American realism and surrealism. China that got independence two years after ours has become Indian petty bourgeois class ideal to follow. Why it is so? Because they during all these years took challenge to create something ‘NEW’ that they could say their own creation. It is this that makes a nation great. Those who have read the story of great America know how she became powerful. We hope to become world champion and world power and ha! With the petty bourgeois mentality that steals but not creates. Here I am raising question of validity of the trend set by petty bourgeois people, artists, and galleries. As long as truth is not revealed one can cheat to a nation and people but as soon as it is exposed it loses its all power. It is very important for progress to be truthful to what one is doing. During immergence of modern art in India one famous art critic Geeta Kapoor who belonged to elite class of the society wrote a book “when was modernism” basing her self on Marxist concept of aesthetics. In the book she suggests a kind of nationalist modernism but no where she has put the basic question that what is ground of that nationalist modernism? In her book she inquires the evolution of modernism in art but did not question the authenticity of artist’s creation? She rejects all the abstract artists of Indian modern art on the ground of Marxist aesthetics. S.H.RAZA, G.R.SANTOSH, J-SWAMINATHAN, K.CS.PANNIKAR, GANESH HALOI, etc could not found a single page in her book. They were declared irrelevant because they perused aesthetics of ‘High Modernism” which was considered bourgeoisie aesthetics. This orthodox progressive understanding of aesthetics led many artists in wrong direction.
Drawback of petty bourgeois consciousness is this that it does not create; it’s a parasitic consciousness living and exploiting on other’s creations. Scientist turned historian and philosopher D.D. Kosambi once said, “The outstanding characteristic of a backward bourgeoisie, the desire to profit without labor or grasp of technique, is reflected in the superficial ‘research’ so common in India”.They have been called by Marx “the industrialists of philosophy and art who live on the exploitation of art spirit”. Cultural history of post independence India tells us that never was a time when our creative people strived for anything “new” that they could proclaim to the world as their own. Creative people and intellectuals of the world revere not what Indian petty bourgeois class has created after independence rather the heritage our ancestors had left for us to explore. All the Important Researches were done by westerners in the fields like philosophy, art, religion, theology, not by Indian intellectuals. Why? because, during the wake of modernization in India the so called ‘progressives’ negated the wisdom and philosophy of India and blindly by declaring it brahmanical and followed European kind of modernism that came into existence because of their own problems. Indian artists just followed the wisdom of modernism without proper research and study. The wisdom and knowledge that is still being appreciated by many postmodern philosophers and literary personalities was declared barren. It was the leading petty bourgeois class of the society that being cancered by Marxist ideology taught people to follow the European ideologies. There were some artists who first accepted western type of modernism of art but later rejected it believing in the wisdom of India. Among them were Raza, GR Santosh, Biren Day, KCS Panikker, J-swaminathan, Om Prakash Sharma, Laxman Pai, A. Ramachandran, Manjit Bawa, to name few. These artists contributed to art in India and one can say that their art has Indian flavor. Their greatness lies in their creative urge and their promises that ‘one day they would deliver an art that one could say own creation’. But petty bourgeois that inhabit the cultural world did all kinds of conspiracy against these trends to not come out in open.J-Swaminathan whose contribution to Indian art is unsurpassable knew these petty bourgeois mentality and rebelled against them forming a new group called “group 1890’ and started probably first art magazine out of his own hard earned money.Galleries did not help him in his venture and artists like Husain, Krishen khanna (notably these were the artists against whom he did everything, he fought against Husain’s opportunism and backwardness) did all kinds of conspiracy against his venture. His efforts to lodge a discourse in art was not fruitless many artists followed him. He has a say in Indian modern art that has some truthfulness, his struggle against petty bourgeois culture is a historical one and will be remembered.Art galleries has been backward in their approach to art, this is why they could not understand what to do with this Lady Art. Every time they face problems just like now as they find themselves unable to understand what to do when a bigger segment of art called ‘abstract art’ is declared irrelevant by postmodernists? Adorno’s suggestion is relevant in this regard that ‘without a valid discourse’ art can not move forward. Art is a game in which there are three players artist, galleries, and buyers- there is no public and no critic as such except some paid catalogue writers. Art that has been hacked by petty bourgeois elite class of the society after independence suffered a lot as in the case of Indian literature. In these six years and I am witness and I can say they have cheated the people and delivered nothing. Artist enjoyed their backwardness by producing copies of their paintings with the logic that it was a sadhana- repletion is a sadhana. Let me name some artists those who has been producing the same kind of art for more then ten years- these are --Ramkumar, T.Vaikuntham, Akbar Padamsee, Jogen chaudhury, Arpita singh, Paramjit Singh, K.G.Subramaniyam, there are host of new generation artists. At present situation of Indian contemporary art chaotic, no one knows what would happen. In this condition Chinese Avant-Garde is artists and galleries natural resort above all they have to run their shops. Shop is what is central in the cultural discourse. As long as culture is not free from petty business mentality it would continue back firing.
My work Triangulation Series 2006-08 expands on questions dealing with perspectives synthesizing concepts of pictorial space and infinity: something I have worked on over the years. I have allowed painterly abstraction/plasticity to express both in form and content a kind of art that goes beyond a material world of signs; my paintings reach for the infinite—the mystery and the poetry in every man’s individual drama.Though immersed in 20th-century aesthetics, I neither strive for a specific historical movement nor for the postmodernist agenda. Simply, I look at making art as a “fleshy” product of human experience, a resultant of the maker’s time. Just as idiosyncratic nature is blind to causality, an aesthetic frame embraces all its senses and the image is the result or residue.
Autobiographical, ritualistic, or even devotional—in this sense—the image or Kunstgegenstand seek not to explain what the meaning of experience is; rather, the image manifests itself, provoking interpretation.
There are no outside sources nor preconceived notions of the final composition. Gesturally and intuitively, I use the plane of the canvas as an active platform (in other words, a conversation, so to speak, takes place among the paint, the canvas and me as I apply paint onto the canvas.)In variegated densities, layer after layer—transparent or textural—the work transforms itself gradually by spectral accruement. In continuous dialogue, I work on several pieces at the same time so all are able to inform the other. An inner rhythm from each composition thus unfolds and guides the shifts and the construction of forms: burials, resurrections, exaltations, veilings, reattainments—all thanks to the gritty and sumptuous nature of the medium; a moodiness arises from the interlocutors with its acrid qualities of dissonance and complementary transparency.Indeed, it is color, as texture that establishes the emotional landscape of each piece.The finished work stands on its own as a concentration of multiple layers; each of the numerous strata is essential to the completeness. There is a sense of multidirectional movement in each of the works that acts on the viewer’s eye as he/she glances over the delineated shapes and peers through the entanglements of strokes and arabesques.The viewer comes away, I hope, with the sense of the works’ generative completeness of a universe making and remaking itself.
As I said at the beginning, I search for a degree of universality through the unifying mode from the masters of the classical West. It is they who lead me as I wander around in my space of today’s uncertain and leaderless being, where authority is seemingly derived from conflicting, confusing powers of disbelief. Freedom has come to us but its ethers and incongruities make us stagger.
. Artemis (the Roman Diana)as inspiration to philosophic Garden Design as well as to exciting magic paintings.
As gardens I have in mind my favourite London/UK Gardens ChIswick and Syon Park.Their creators have left for us explicit references such as a sculpture of the goddess in Syon Park and a wall painting in the temple-villa in Chswick Estate.
But my consciousness was fully aware about this relationship between philosophical gardens and Artemis only after I have seen several times the jewell work of art that is the film 'La belle et la Bete' by Jean Cocteau. After that, I 'discovered' Artemis even in the painting of Modigliani, 'La Primavera' Professor Feuvre, said once in a lecture I attended, that at both ends of the painting is depicted Hermes; one descending on Earth and the other ascending to Heavens. My partner said that to the right the sequel of Zephyr (representing the descending Hermes) united to the nymph of Diana or Aphrodite, produces the third image, flora, otherwise an ermaphrodite being witht hat naughty and enigmatic smile that set us questions ... I see Venus in the trio to the left, ususaly suposed to be the three graces, but there could be the three goddesses in competition for the apple offered by Paris/alias Hermes. their dance repre3sents the spiralic ascendance and the triadic form of Hermes trismegistos, acording to my reading of the painting. And recently I decided, that the figure in the middle of the painting, suposed to be Venus, is not really standing at the backgorund but she rather is slightely flotting above the ground and she is also bigger than all the other figures (if she was at the background, in the logic of perspective, she would look smaller than the others). She is also dressed up rather like a Madonna of the time. But she is Artemis in my eyes, or at least an icon between Venus, Artemis and Mary.
Venus is related to the Spring equinox via the resurection of Adonis and his return to her amorous arms. But Artemis is also strongly present int he3 imagination of the patrons and the works of art of 17th and 18th century, when these patrons are alchemists (as it was the starter of Syon Park), and massonic mystagogoi, (as it was Lord Burlington of Chiswick House and Garden).
Also recently another French man of arts and litterature induced me to the idea of Artemis in 'La Primavera' by Botticelli, whos patron was Lorenzo Medici. Then, in one of 'Les Filles du feu', Aurelie, Gerard de Nerval informs us that the patroness of the House Medici, was Dianna, goddess of natural magic and alchemy (Medici were originaly big and reach through pharmaceutical and colour production, by which they got also this family name). Yes, Artemis is not only the virginal tom boy hunter; she is also the hard judge of who disturbs her flora-and-fauna balanced cycle. She protects and she punishes; she is the Priestes par excelelnce upon every magic transformation of nature - and what is more spectacular than the ever renewd rebirth of Primavera? the spring time of young leaves, blossoms, birds and loving human hearts?
Today I set up my second art stall, I now have a stall twice a month on the old setting of the Pantiles, Royal Tunbridge Wells, UK. Better set up and ready I only forgot afew photographs, but took three paintings. Yes you've guessed it, the visitors were more interested in the paintings than the photographs. None sold though!! But on the photographic side I have taken a deposite to print 'Modern Trees' to a 29cm x 29cm size, so the sale of this will cover this and the last stall rental. I will be placing 'Modern Trees' on to this web site straight after this blogg!
absolutearts.com Portfolio
Well, I haven't a lot to say ,nothing really profound just that I am and always have been an art lover. Started at a very early age.Drawing paper dolls. I have some formal training in commercial art,and a lot on the job learning and training.print processes,color and etc. I learned from the very finest artists, and I will always be eternally grateful!! I have been employed in the art world for many years,especially Fashion art.full time and free lance.
up until a few years ago,when so many companies used more photography than art.News paper store ads and, magazines, Where you don't see those big fabulous detailed Fashion art Ads. However, I relize photography Is so good now days,and maybe more relistic.and certainly an art. I now work in my home studio in commissioned painting and other art in different medias. I do a lot of portraits, watercolour and other types and media, I work from photos Lenore Schenk
very time we beckon, we call. And lo! they do appear as though they are here and now. Spirits are violent and historical; we live through and by them. For thousand years we are teaching love and peace but they would be called upon and all these good Spirit theories vanish. Among spirits Spirit of Marx is great which is haunting our lives. Haunting is historical says Derrida. We are being haunted and we are condemned to live through and in them. Every time when humanity faces problems they would be beckoned; Spirits, are you there? Hegel Says, “reason is spirit when its certainty of being all reality has been raised to truth, and it is conscious of itself as its own world, and of the world as itself. The coming-to-be of spirit was indicated in the immediately preceding movement in which the object of consciousness, the pure category, rose to be the notion of Reason.” It is this very spirit -reason that was resurrected by him as universal spirit inhabiting nations. This spirit was criticized by Marx; he analyzed those spirits -the industrialists of philosophy and art who till then had lived on the exploitation of the absolute spirit. So haunting is historical; in every juncture of history a spirit-specter is being invoked and it haunted the humans. We are mortals only spirit is immortal, it has all right to haunt us and make us immortal. We believe in spirits, in past, we live present through past. Spirits are in us, in our morality, our culture our way of life. We don't see them only we feel them. Derrida says; “specter is becoming- body a certain form of spirit”. We have learned it from our ancestors that's why we find spirit worshipers eveywhere. Many traditional Indian Baniyas invoke the spirits of their fathers and fore fathers in their houses and shops. What exactly they do by invoking the dead fathers? They are invoking their spirits (rason) that knew the art of haunting (exploiting) people. We never let our fathers die; we are habitual so we make offerings to them. We are haunted by ghosts from birth to death; one spirit exits then one enters, then one exist and another enters -this goes on and on. Why they never leave us? Because we have memories; we can not get rid of memories and history (it is also memory). Whenever we try to get rid of them, to get rid of memory they would appear and say as the ghost of Hamlet says-
Ghost- I am thy father's spirit, doom'd for the certain term to walk the night; and for the day confine'd to fast in fires, till the foule crimes done in my dayes of Nature Are burnt and purg'd away: but that I am forbid to tell the secrets of prison-house; I could a tale unfold…
and we obeyed and spirit won. Spirits are buried in graves, memories, histories. Museums and ideologies. One has to know it in order to invoke them, one should know them in order to burry them so far they could not move and roam and haunt. Marx described and diagnosed them notably that of its unifying project and tried to burry them. He commanded them but they were waiting in the folds of history to reappear and burry the spirit of Marx. It goes on thus there is no rest. Valery wrote about this problem of spirit, " the European Hamlet looks at thousends of specters. but he is an intellectual Hamlet. he meditates on the life and death of truths. his ghosts are all the objects of controversies; his remorse is all the title of our glory......if he seizes a skull, it is an illustrious skull--"whose was it? -- this one was Lionardo.....and this other skull is that of Leibniz who dreamed of universal peace. and this one was Kant qui genuit Hegel, qui genuit Marx,...Hemlet does not know what to do with all these sculls. But if he abandons them! ....will he cease to be himself?". we love spirits so we have book of deads, the theories and practices that make them appear according to wishes.
This spirit is abstract as well as concrete. It is this spirit that has taken a form of empire, it this very spirit that baptizes humanity with its morality, law, custom etc. Spirits are controlled by power, production machanism, art, literature etc.; for its possession there were wars in the history. I thorugh my art try to identify them, let them reappear on my canvases in order to bury them. Spirits command spirits this is the rule. As in france spirts ousted one another, heroes of the mind overthrew each other rapidly during the wake of modernism so it could happen here in our country too.'Time is out of joint' ... And new Ghosts are swearing behind the stage and waiting to make their entry since good art is making its exit...
absolutearts.com PortfolioConceived as a series of abstract prints for billboards, my latest project aims to reclaim commercially usurped public space for artistic purposes. The Abstract Politics series of digital prints for billboards draws upon a wide array of artistic strategies traditionally used by abstraction (the liberating power of randomness, chaos, gestures), while at the same time recontextualizing them and translating them into the language of new media.
In the previous 1.5 months I installed two megalights (3x4 m in size each) on the streets of Skopje. The locations ensured optimum visibility of the project:
- one right in front of the Government building,
and the other on one of the busiest intersections in the center of Skopje:
The megalight includes the title of the work, the size, year and medium, i.e. Zoran Poposki, “Abstract Politics 1 (Political consensus holds key to European integration)”, digital print, 3x4 m, 2008. Also provided is the address of the website with documentation of the project: www.public-space.info to direct the viewers to learn more about the concept and process.
The documentation of the process and 10 digital prints on forex of the works in the series were exhibited at the Tocka Cultural Center in Skopje.
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