Friday, November 30, 2012

Discussion: Architecture of the 19th to 20th Centuries

    
When writing this essay you should be able to provide specific facts about each building things such as titles, architects, countries, style names and dates. 

Explain how the concept of schema and correction can apply to all of these works? Make sure you talk about the work in terms of all three planes of analysis: formal, iconographic and contextual.

artbeat from the California Arts Council

Lots of cool stuff in the call for artists section.
November 30, 2012 artbea
California Arts Council
California arts receive $3.73M from NEA
The National Endowment for the Arts announced the results of its funding for organizations this week, and Californians fared well. Golden State arts organizations received $3.73 million.
Yo-Yo Ma to deliver 2013 Nancy Hanks Lecture
Grammy award-winning musician Yo-Yo Ma will deliver the Americans for the Arts' (AFTA's) 26th annual Nancy Hanks Lecture on Arts and Public Policy at the John F. Kennedy Center for the Performing Arts in Washington, DC in April.
Our NASAA Presentations (Arts Education, Social Media)
The California Arts Council was asked to make two key presentations at the National Assembly of State Arts Agencies' annual conference. The Director and Chair presented information on the CREATE CA arts education initiative, and the communications staff shared our social media strategies.
Irvine's New Arts Strategy: Engagement
The Irvine Foundation strives to benefit the people of California, and its programing includes the arts and culture. The organization's new arts strategy aims to improve engagement.
Coastal Commission Art & Poetry Contest for K-12 Kids
Children in grades K-12 with a love of the oceans and the visual or literary arts now have an opportunity to explore their passions and potentially win prizes with the California Coastal Commission's annual contest.

what's new   jobs
Exhibits Director
Festival of Arts of Laguna Beach
Laguna Beach, CA
Exhibitions Assistant
Japanese American National Museum
Los Angeles, CA
Theatre Arts Teacher
Echo Horizon School
Culver City, CA
Manager of Individual Giving
Asian Art Museum
San Francisco, CA
Theatre Technician(s)
Antelope Valley College
Antelope
grants   artist calls
Nominations for Outstanding Commitment to Collection Preservation
Heritage Preservation, AIC
Deadline: 2012-12-15
All Roads Film Project Seed Grants (Dec deadline)
National Geographic
Deadline: 2012-12-15
Individual Support Grants for Visual Artists
Adolph & Esther Gottlieb Foundation
Deadline: 2012-12-15
Tenth Glenn Gould Prize
Glenn Gould Foundation
Deadline: 2012-12-15
Stockholm Fringe Fest 2013
Stockholm Fringe Fest (Stoff)
Stockholm, Sweden
CFAI Winter Juried Show
Contemporary Fine Art International
Houston, TX
Open Call to Visual Artists
Ormond Memorial Art Museum
Ormond Beach, FL
A Graden Grows
Arts and Culture Commission of Contra Costa County
Martinez, CA
Faces
Arts and Culture Commission of Contra Costa County
Martinez, CA
conferences/workshops   research
Chamber Music America's 35th Anniversary Conference
Chamber Music America
New York
Date: 2013-01-17
Join Theatre Bay Area for Diversity Symposium (Free)
Theatre Bay Area
Berkeley, CA
Date: 2012-12-03

Stuff

Discussion and Videos: Thomas Aquinas and Late Gothic Thought


  1. Explain how Aquinas sought to "prove" the existence of god then explain what are some of the social and historical changes in society that made Aquinas try to prove the existence of God?  (It’s not because he was trying to convince non-believers.)
  2. How is Aquinas' text a treatise?
  3. Although Aquinas writes during the Gothic era how does his essay reflect some Renaissance ways of thinking?
  4. Aside from the fact that this text is an attempt to prove the existence of God, what other societal factors made it possible for Aquinas to write this text?
  5. Choose a work of art or music and explain how it mimics the form or ideas expressed in Aquinas' treatise. 
THOMAS AQUINAS: SUMMA THEOLOGIAE
 

Thomas Aquinas (1225-1273) was a medieval scholar who started life, much as St. Francis of Assisi. Both began life in well to do Italian households and were given an upper class classical/religious education. Both were called to serve the church and in both cases, their callings were probably much to the vexation of their parents. In the case of St. Francis, his calling made him give away much of his father’s wealth and he then took vows of poverty, chastity and obedience and became the founder of the Franciscan order. Aquinas parents were disappointed for similar but slightly different reasons. They expected young Thomas to become an abbot of the Benedictine monastery at Monte Cassino, and therefore, since he would control much of the monastery's wealth, he would be able to aid his own family’s fortune. Instead Thomas he joined the Dominican order, which like The Franciscans, the Dominicans were a mendicant order and took similar non-wealth oriented vows.
The family responded by kidnapping him back to his home and plying him with "wine, women and song." None of this worked and so Thomas was allowed to rejoin his fellow Dominicans in Paris where he was exposed to the academic ecclesiastic community he found there. While in Paris he had access to many academic Christian texts as well as the writings of the classical philosophers such as Aristotle. The influence of which can be seen very clearly in his most famous work his Summa theologiae or 'summary of Theology.'
The Summa theologiae is written in a question and answer format that was standard medieval form for treatises. Each "question" is really the introduction of a topic and the following "answer" is really an exposition and exploration of the main ideas presented by the "question." The following selection consists of the "Five Ways" which is a small portion of the Summa theologiae concerning the existence of God.


The Five Ways,
Translation by David Burr
Article 3: Whether God exists.
Thus we proceed to the third point. It seems that God does not exist, for if one of two contrary things were infinite, its opposite would be completely destroyed. By "God," however, we mean some infinite good. Therefore, if God existed evil would not. Evil does exist in the world, however. Therefore God does not exist.
Furthermore, one should not needlessly multiply elements in an explanation. It seems that we can account for everything we see in this world on the assumption that God does not exist. All natural effects can be traced to natural causes, and all contrived effects can be traced to human reason and will. Thus there is no need to suppose that God exists.
But on the contrary God says, "I am who I am" (Ex. 3:14).
Response: It must be said that God's existence can be proved in five ways.
The first and most obvious way is based on the existence of motion. It is certain and in fact evident to our senses that some things in the world are moved. Everything that is moved, however, is moved by something else, for a thing cannot be moved unless that movement is potentially within it. A thing moves something else insofar as it actually exists, for to move something is simply to actualize what is potentially within that thing. Something can be led thus from potentiality to actuality only by something else which is already actualized. For example, a fire, which is actually hot, causes the change or motion whereby wood, which is potentially hot, becomes actually hot. Now it is impossible that something should be potentially and actually the same thing at the same time, although it could be potentially and actually different things. For example, what is actually hot cannot at the same moment be actually cold, although it can be actually hot and potentially cold. Therefore it is impossible that a thing could move itself, for that would involve simultaneously moving and being moved in the same respect. Thus whatever is moved must be moved by something, else, etc. This cannot go on to infinity, however, for if it did there would be no first mover and consequently no other movers, because these other movers are such only insofar as they are moved by a first mover. For example, a stick moves only because it is moved by the hand. Thus it is necessary to proceed back to some prime mover which is moved by nothing else, and this is what everyone means by "God."
The second way is based on the existence of efficient causality. We see in the world around us that there is an order of efficient causes. Nor is it ever found (in fact it is impossible) that something is its own efficient cause. If it were, it would be prior to itself, which is impossible. Nevertheless, the order of efficient causes cannot proceed to infinity, for in any such order the first is cause of the middle (whether one or many) and the middle of the last. Without the cause, the effect does not follow. Thus, if the first cause did not exist, neither would the middle and last causes in the sequence. If, however, there were an infinite regression of efficient causes, there would be no first efficient cause and therefore no middle causes or final effects, which is obviously not the case. Thus it is necessary to posit some first efficient cause, which everyone calls "God."
The third way is based on possibility and necessity. We find that some things can either exist or not exist, for we find them springing up and then disappearing, thus sometimes existing and sometimes not. It is impossible, however, that everything should be such, for what can possibly not exist does not do so at some time. If it is possible for every particular thing not to exist, there must have been a time when nothing at all existed. If this were true, however, then nothing would exist now, for something that does not exist can begin to do so only through something that already exists. If, therefore, there had been a time when nothing existed, then nothing could ever have begun to exist, and thus there would be nothing now, which is clearly false. Therefore all beings cannot be merely possible. There must be one being which is necessary. Any necessary being, however, either has or does not have something else as the cause of its necessity. If the former, then there cannot be an infinite series of such causes, any more than there can be an infinite series of efficient causes, as we have seen. Thus we must to posit the existence of something which is necessary and owes its necessity to no cause outside itself. That is what everyone calls "God."
The fourth way is based on the gradations found in things. We find that things are more or less good, true, noble, etc.; yet when we apply terms like "more" and "less" to things we imply that they are closer to or farther from some maximum. For example, a thing is said to be hotter than something else because it comes closer to that which is hottest. Therefore something exists which is truest, greatest, noblest, and consequently most fully in being; for, as Aristotle says, the truest things are most fully in being. That which is considered greatest in any genus is the cause of everything is that genus, just as fire, the hottest thing, is the cause of all hot things, as Aristotle says. Thus there is something which is the cause of being, goodness, and every other perfection in all things, and we call that something "God."
The fifth way is based on the governance of things. We see that some things lacking cognition, such as natural bodies, work toward an end, as is seen from the fact hat they always (or at least usually) act the same way and not accidentally, but by design. Things without knowledge tend toward a goal, however, only if they are guided in that direction by some knowing, understanding being, as is the case with an arrow and archer. Therefore, there is some intelligent being by whom all natural things are ordered to their end, and we call this being "God."
To the first argument, therefore, it must be said that, as Augustine remarks, "since God is the supreme good he would permit no evil in his works unless he were so omnipotent and good that he could produce good even out of evil."
To the second, it must be said that, since nature works according to a determined end through the direction of some superior agent, whatever is done by nature must be traced back to God as its first cause. In the same way, those things which are done intentionally must be traced back to a higher cause which is neither reason nor human will, for these can change and cease to exist and, as we have seen, all such things must be traced back to some first principle which is unchangeable and necessary, as has been shown.
 
 


 
 
 

Discussion: The Evolution of a Schema


 

When writing this essay you should be able to provide specific facts about who is represented in each painting and things such as titles, artists, and dates. 

Try to develop a main idea and use it to describe the evolution of the iconography and form concerning the depiction of this scene.  Use these works as specific examples, do some comparisons.  Point out specific symbols in each work.  Discuss where they are and what they mean.  Use as many facts as you can to support your ideas.  A good answer will be a minimum of five sentences a better answer will be much longer.

Thursday, November 29, 2012

Luck of the Draw!






 
 
Luck of the Draw
 
An Opportunity to Take Home a Lovely Piece of Art
worth twice the price of the ticket!

Here’s How it Works:

Buy a ticket to the event for $65.
(or more: one piece is given for each ticket)

Preview the pieces and list your choices.
(visit the Exhibit from December 1 until 2:45 P.M. Sunday, Dec. 9th)

The drawing begins promptly at
2:45pm, Dec. 9th
(All ticket stubs are put into a hat. The first one
drawn gets first choice of all! The next one gets
second choice and so on...Luck of the Draw )

Every ticket stub is drawn, Everyone wins!
Good Luck!

 
 
Preview: Dec. 1 - 9
Drawing: Dec. 9, 2:45pm
 
..............
 
Santa Cruz Art League
526 Broadway
Santa Cruz, CA
 
 
 
 
 

This painter is so good it makes me jealous!






Yigal Ozeri TerritoryNovember 29, 2012 - January 5, 2013
Opening Reception tonight from 6-8pm.


Yigal Ozeri / Installation view / 2012 / New York, NY
 
Mike Weiss Gallery is pleased to present Territory, a new series of Photorealist oil paintings by Israeli artist Yigal Ozeri. Featuring his largest portraits to date, the series depicts a young, female Israeli soldier, whether in full military regalia or in contemporary dress, set against a rugged ocean landscape. Ozeri imbues each work with emotional insight into the young woman's psyche resulting in a duality likewise reflected in Ozeri's own life--the emotional boundary where the artist reconciles his sentimentality for the homeland he left behind with the country he now calls home. 
 
Yigal Ozeri / Untitled; Territory / 2012 / Oil on paper / 60 x 90 inches
 
Throughout TerritoryOzeri combines his meticulously rendered details with spontaneous and loose brushstrokes. Wispy flyaway hairs, minute droplets of water, glimmering reflections of light, and crisp folds of wrinkled clothing stand out against a somewhat hazy background. Drawn in by the delicate features of the paintings, viewers begin to discover that the portraits demand further contemplation beyond their immediate visual impact. The young woman--whether shown standing on jagged rocks in military uniform or reclining in the sparkling Mediterranean waters in an ethereal dress--gradually and elegantly reveals layers of underlying palpable emotion. Ozeri's brush thoughtfully captures intimate moments that reveal the young woman's personality through nuanced facial expressions, gently controlled gestures, and a profound gaze.
 
Yigal Ozeri / Untitled: Territory / 2012 / Oil on canvas / 80 x 120 inches 
 
A dialogue is created between the woman and the Israeli landscape that surrounds her. The solid, implacable rocks appear to mirror the strength and confidence she projects, and the luminescent glimmers of the ocean water reflect her spirit and tenacity. Consequently, the woman becomes the embodiment of the various struggles, tensions and binaries that abound in Territory, generating discussions on personal strength, physical passions, national propriety, and human vulnerability. The title of the show refers to these intersecting boundaries, be they figurative or literal. They are also mirrored in the way Ozeri's romanticized nostalgia for his homeland is carefully counterbalanced by a meticulously observant, yet removed, viewpoint of the current political dynamic of Israel. 
 
Yigal Ozeri / Untitled; Territory / 2012 / Oil on canvas / 80 x 120 inches 
 
Yigal Ozeri was born in Israel and has lived and worked in New York for the past twenty years. He has been exhibiting with Mike Weiss Gallery since 2003 and has shown extensively around the world, with recent solo shows in Montreal, Munich, San Francisco, Amsterdam and Copenhagen. The artist currently has works in the traveling exhibitions Photorealism at the Kunstahalle Tübingen and Museo Thyssen-Bornemisza, and in Photorealism Revisited at the Oklahoma City Museum of Art and the Butler Institute of American Art. His work is included in the book Photorealism and the Digital Age, and in a number of prominent permanent collections including the Whitney Museum of American Art; the McNay Art Museum in San Antonio, Texas; The Jewish Museum in New York; The New York Public Library; The Israel Museum in Jerusalem; the Tel Aviv Museum of Art; the Haifa Museum of Art; and the Albertina in Venice, Italy. 
 
If you have questions about any of our artists please contact Anna Ortt, Director, at anna@mikeweissgallery.com.

Mike Weiss Gallery
520 West 24th Street
New York, NY 10011
Tel: 212-691-6899
Hours: Tues-Sat 10am to 6pm
www.mikeweissgallery.com

Discussion: Still Life Painting

Explain how the concept of schema and correction can apply to the use of "still life" in these works? 

Think about the works in terms of all three planes of analysis: formal, iconographic and contextual.
 

Think about the artists’ goals or intentions.













Wednesday, November 28, 2012

East Bay Open Studios 2013 | Early Bird Registration NOW OPEN



   


EAST BAY OPEN STUDIOS 2013
Early Bird Registration Now Open!     



  
Be part of the largest art event in the region!
Over 60,000 studio visitors! 
  
Early bird registration for East Bay Open Studios is NOW OPEN. 
 
Register early and save $$$. Don't have a studio? No worries! Your studio Artist Listing information (including studio address) can be entered at a later date.
 
Early Bird Deadline: Tuesday, December 18, 2012, midnight
 
Top image: Lisa Feather Knee, Golden State, Oil on canvas, 2011. Directory of East Bay Arts  2012 cover art 


Event Calendar:

Tuesday, December 18, 2012, midnight
Early Bird Registration Deadline

Saturday, January 19, 2013, 2pm
Workshop: Sharing Space and Artist Networks

Saturday, February 9, 2013, 2pm
Workshop: East Bay Open Studios 101

Friday, February 15, 2013
Regular Artist Registration Deadline

Saturday, March 9, 2013, 2pm
Workshop: Market Your Studio for Success

Saturday, April 20, 2013, 2pm
Workshop: Installation and Securing Artwork

Tuesday, April 30 through Sunday, June 9, 2013
Preview Exhibition

Friday, May 3, 2013
Preview Party: 5-7pm; Artists' Reception: 7-9pm

Saturday, June 1 and Sunday, June 2, 2013, 11am-6pm
East Bay Open Studios Weekend I

Saturday, June 8 and Sunday, June 9, 2013, 11am-6pm
East Bay Open Studios Weekend II




be pro arts     
Amy Spencer
Program Coordinator / Curator
Supporting the arts within communities by serving the ongoing needs of artists. Pro Arts provides critical access to contemporary art in the region and serves as a regional hub for arts activities, independent curated exhibitions, advocacy, arts education and capacity building artist services - fiscal sponsorship to artists and professional exhibition services matching artists with community partners. We produce 22 exhibitions annually, exhibit over 580 artists, and reach an annual audience over 72,000.
2011 Visual Arts Funders
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Discussion: Architecture

Describe the evolution of the decorative forms and different technologies used to create these buildings.