Regina Hackett takes her Art to Go
Sequoia Miller is a functional potter living in Olympia. He’s having a studio sale on Saturday, 10 a.m.-4 p.m., 7631 Brown Rd SW, 98512.
By the rules of the art road, he has nothing in common with Todd Simeone, a Chicago photographer and video artist who shows in Seattle at James Harris. And yet….
Miller:
Does what you call it determine what it is?
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.
Archbishop Gianfranco Ravasi, the Pope’s point man on culture, is considered by conservatives to be a dangerous progressive, which makes him a rarity in the Pope’s inner circle.
From BNET:
A consummate communicator, Archbishop Ravasi has written, always by longhand, 150 books as well as countless articles and is an accomplished television and radio performer. Usually, his subject is the Bible, but he has also commented both on current affairs and cultural issues for several Italian dailies. His range and clarity are exceptional. He links the Bible with figures such as the Russian poet Vladimir Mayakovsky, with Hindu holy books, with the controversial Jesuit paleontologist Pierre Teilhard de Chardin, with the Lebanese poet Kahlil Gibran, with the modern folk singer Fabrizio D’Andrea.
Archbishop Ravasi is behind the Pope’s call for a reengagement between artists and the Catholic Church. (New York Times story here.)
Five hundred years ago, when the Church was responsible for commissioning the greatest work in the Western World, top artists had few choices in patrons. Today, in a wider world, it might be hard to attract their contemporary equivalents.
Christopher Hitchens offers reasons why as well as a potential solution. This is Hitchens at his best. Raised Catholic, no, boiled in it like leaves of tea, I watched both videos alone and clapped when each was over, the sound echoing in my empty room.
Let’s hear it for the solid.
August Sander: from Peasant Children, Westerwald 1926-31 (Image via)
Claudette Schreuders, Anna,
Yelutang wood and enamel paint, 2008
The famous and/or fabulously wealthy are buried in altars lining the walls of the Basilica di Santa Croce in Florence, concentrated in 1492. Those who were wealthy but not extraordinary so could pay to be buried in the floor under prone marble statues. Over the centuries as people walked on those statues and wore them down, they began to look as if they were floating off the ground.
In late 1960s, Carl Andre claimed the space (from floor to ceiling) over his lead and copper squares. When you walked on them, you were in and on his art.
More recently in flooring:
Or your green truck and water towers. Rachel Maxi‘s tiny oil paintings studio sale on Dec. 10, 4-8 p.m., lubricated with wine and fortified with cheese. 1326 13th Ave. S. Seattle, 98144.
Everyone is an Artist, The Summit, 2009
Acid etching and acrylic on mirror of an original taken
from The Summit Public House
36 x 18 inches
Tue Greenfort A Flies Composition, 2004
Caitlin Parker, from her series, Involuntary Parks (via)
The continent’s imperiled rims therefore become a new kind of landscape, the Involuntary Parks. They are not representations of untouched nature, but of vengeful nature, of natural processes reasserting themselves in areas of political and technological collapse. An embarrassment during the twentieth century, Involuntary Parks could become a somber necessity during the twenty-first.
an ArtsJournal blog
