July 2009 Archives
Art Studio Share in Midtown Manhattan
Seeking Christian visual artist to share beautiful 275 sq. ft. workspace in active artists' building. Great light (16' European-style window), freight elevator, and communal kitchen on floor. Air conditioning, utilities, and wireless Internet included. Rental printmaking facilities, contemporary gallery, and over fifty visual artists in building. For work only, absolutely no living. $368 per month. Call (646) 528-6933.
Guest Blogger: IAM Intern Thomas Alberti
(Christy) International Arts Movement has been incredibly blessed by the interns who have volunteered their time to work for the movement. I recently discovered that our summer intern, Tom Alberti of Grove City College, is a gifted and thoughtful writer, so I asked him to write about his experiences viewing art during his summer in Manhattan. Here are some of his musings.
A Psychological Painting
By Thomas Alberti
Jackson Pollock
One: Number 31, 1950
Black… The black lines seem to anchor the painting, somehow…
Chaos? Disorder? Patterns…
Wild, motion, energy
GRIPPING
What is there, and what do I feel?
Background—tan canvas, relatively defined border; in the back there are teal, gray, and light brown blotches and blobs. And I can see the negative spaces filled with the canvas. Then there are the white and black arcs, tendrils, and streaming flares.
It’s strange… the actual paint on the canvas—it was applied with force. The paint was moving. It had momentum and velocity—then it hit; it impacted and impressed the canvas. The canvas pushed back against the substance and then from physics on to chemistry as the paint adhered to the canvas. Now, what was once moving remains fastened to a canvas, which itself hangs from a museum wall. And I think what’s most strange, after some contemplation, about this painting is that it is of motion, of energy, and yet it is immobile, firmly secured within a placid rectangle upon a white wall within the hushed whispers of a museum. As I look at it, it begs me to use verbs for its description, but every time I inspect the painting to find just the right word, it seems to have moved again. And so, it resists my attempts at description; it defies my mind’s efforts to categorize its lines and shapes and to recognize its patterns. Moreover, there’s just a lot to look at. Dots and squiggles are small and abundant, the lines sprawl and multiply, and the little area left unpainted has its own shape and form, which leaves no area of the canvas without information. And because there’s so much to look at, the eye naturally tries to take it all in, and combined with the motion-stability tension, this creates something of a system overload for my brain.
The painting draws me in, and I like that preposition, “in.” I find it especially apt for the effect the painting has upon me because there’s a lot of space within the painting. It’s like a labyrinth. There are many layers, many doorways looking in on windows looking in on frames. There are many turns and junctures, lines behind globs, weaving in and out, tangling and roving. And it’s more of a space for the mind than an exercise for the eyes. Those black lines—I’ve finally figured out how they anchor the painting. On one hand, they’re dark enough and thick enough to give the painting structure, a skeleton. But on another, they tether the painting to my mind. Those black lines, they reach into my mind. I can almost feel them coiling about my brain, and they hold it, they seize it. I have a sensation of them expanding through my body, starting from my heart extending throughout like my circulatory system with all its veins and arteries and capillaries. Or like my nervous system. I find myself wanting to move my body in imitation of the paint; I feel actual physical urges of dance and contortion.
Unlike the last two paintings I saw, Pollock's induced within me particular, distinct sensations. They were not familiar. Sometimes when I look at the sky I feel something swell inside me, like a feeling of inspiration. And I remember the first time I saw a Rothko painting—I was on a field trip to the National Gallery of Art in DC. The painting was so big; I had never seen one as large. And it had a kind of dampening effect on me. I felt kind of sobered and deflated, and yet awestruck.
But today, I felt new feelings. And so my thoughts are brought to the topic of emotion. What is the relationship between art and emotion? Some say that the very purpose of art is to evoke emotion. Others turn this around and say that art is an expression of emotion. Still others would say that the two do not necessarily relate. My inquiry again lies along the same lines as in my last entry. If I feel nothing after looking at a work, does that mean that it’s not art? Is its value a function of my feelings? Or is the artist who plays our heartstrings second-rate, compromising the so called highroad for pathos, for mere reaction and spectacle?
As soon I began to look at Pollock’s One: Number 31, 1950, trying to look and see, I realized that my feelings were right there in the midst of my looking and seeing. And so I had to make an effort not to understand the painting in terms of my feelings, but to be sure that I was, in fact, looking at what was actually there. And this became increasingly difficult as the complexity of the image overwhelmed me. I would like to describe this painting as psychological, since it got into my head so much, and we describe some movies as psychological, so I don’t think it a stretch to label a painting as such. And if this painting is psychological, then it’s no wonder that it, and also Rothko’s, were so tied with my emotions. But then again, I didn't feel emotions per se, like anger or sadness, but rather feelings, psychologicial impressions. In any case, how or why they captivated me mentally so much more than did Ugolino and other works of art, I do not know, but I hesitate to separate my feelings from the paintings nonetheless, even if the cause of that hesitation is itself a feeling. Looking at One: Number 31 1950 effected so many real and palpable feelings. It seemed to have an intrinsic relationship with my mind, with the psyche and the subconscious, and so to isolate those aspects from the actual lines and colors makes me think of splitting the atom—very possible, and potentially profitable, but not without risk.
Call For Submissions (Visual Art)
Salt of the Earth - A Christian Seasons Calendar 2009/2010
www.thechristiancalendar.com
Artists are invited to participate in the upcoming issue of "Salt of the Earth - A Christian Seasons Calendar 2009/2010". Interested artists are encouraged to offer artwork to match scripture readings within the seasons of the Christian Year (a list of scripture readings used in Year C of the Revised Common Lectionary can be found here.
If you are interested in participating in this project please reply by email to edsearcy@shaw.ca with up to ten images of your work. Deadline for submission is Friday, August 7th, 2009. Selected artists will be contacted by August 12th, 2009 and asked to forward high definition images of the selected art for inclusion in the calendar.
Selected artists will receive five complimentary copies of the calendar and will be paid $300 CAD for each image used in the calendar. Artists retain reproduction rights of their art - this fee is paid for use of an image in this year's calendar and in calendar promotion on the calendar website
For more information about the calendar and submission process email inquiries to jrculter@medi.net
Christine Marie Brown in "Ashes to Ashes"
Harold Pinter Pair @ Soho Playhouse (15 Vandam Street)
Directed by Patrick McNulty
with Chris Thorn & Julianna Zinkel and Allen McCullough & Christine Marie Brown
FRI 8/14 @ 10:00–11:45pm
THUR 8/20 @ 6:00–7:45pm
SAT 8/22 @ 1:15-3:00pm
SUN 8/23 @ NOON–1:45pm
WED 8/26 @ 7:15–9:00pm
Tickets on sale now!
Online: http://www.fringenycdata.com/
By Phone: 9am to 7pm every day beginning July 24th, 1-866.468.7619 (Credit Card Only)
Burnt Norton Summer Forum: A Sanctuary of Arts & Faith
Apple Hill, Nelson, NH
This year marks the inaugural launch of an endeavor to bring together artists and art-lovers who seek to probe the mysteries of art, faith and existence. A unique sanctuary of alternative sorts, BURNT NORTON (fully known as Burnt Norton Abbey)—a recently formed 501(c)3 not-for-profit--is providing opportunity for the artist of WORD, SOUND, MATTER and/or IMAGE to experience creative rejuvenation as well as spiritual connectivity in a place of refuge, community, and inspiration on the grounds of Apple Hill in Nelson, New Hampshire.
Together with renowned guest master artists and philosophers, this symposium-- “Baptism of the Imagination”--will move through a unique journey of five days probing the mysteries of God and grace, while recognizing and nurturing the artist as prophet, "the realist of distances"—a phrase coined by author Flannery O’Connor in which the artist/creator is responsible for bringing far things near, a bridge between the Eternal and man, ideally with a mind infused and elevated by imaginative readiness to receive and reveal a word for its time. The emphasis is placed on openness to inspiration and grace while experiencing a daily schedule that balances morning lecture, more personal afternoon sharing, and a myriad of evening performances ranging from poetry readings, film screenings and discussion, indie music concerts, dances and more. There will be opportunity to attend as a full on-site resident as retreat for the full forum, come as a commuter, or as a day-pass participant to allow flexibility for a wide range of schedules and interest attending specific events.
Highlight speakers of the forum include Brooklyn-based visual artist and philosopher Alfonse Borysewicz, whose paintings are primarily oil and wax on linen and shown extensively in the NYC-area. His personal struggles in the contemporary art world to remain true to his own artistic voice amidst swimming against the trend of avoiding Christian imagery are inspirational, and his voice speaks of a deep inner integrity. Lenny Smith, another main attraction, is an experienced singer-songwriter with a list of 180 original songs including the hit praise song, "Our God Reigns." Smith started New Jerusalem Music in 1975 which now represents about 25 indie artists on 7 different labels including Sounds Familyre, Asthmatic Kitty, Sounds Are Active, and Kill Rockstars—representing the more well-known indie musician Sufjan Stevens under his labels. A full breakdown of contributing artist/philosophers can be found on the Forum website: http://www.burntnortonabbey.
Through a downtown location, annual retreat workshops, and plans for a future community, Burnt Norton Abbey (with a nod to poet T.S. Eliot) was founded by Nelson filmmaker (and former musician) Aaron Wiederspahn, his wife, Byzantine iconographer and painter Keri Wiederspahn, along with singer/songwriter Laina Barakat. Aaron, executive director of Burnt Norton, recently released his first independent feature film “The Sensation of Sight” starring Oscar-nominated actor David Straithern, and is in pre-production for his next film, “Someplace Like America” scheduled to shoot this fall (http://www.eitherorfilms.com ).
One of the first phases of development for Burnt Norton, was the November opening last year of “The Starving Artist” (http://www.
The notion of supporting and cultivating artists of the world who grapple with the purpose of art, the calling of the artist, and the mystery of The Eternal is central to the mission of Burnt Norton Abbey itself. Operating from the opinion that artists in general are often at odds with the ebb and flow of convention, the struggle to sell-out or go home can be overwhelming, and the pressures to hide spirituality can be over-powering. At the BURNT NORTON SUMMER FORUM, inspiration has a unique opportunity to be cultivated, pressed and refined in a “still point of the turning world”---ideally propelling artists collectively and individually towards a heightened sense of purpose, and a renewed knowledge of the necessity of artistic creation, born in truth and echoing of its time. The Forum welcomes persons of any faith or spiritual journey, but operates from a Judeo-Christian core that hopes to provide a place to experience a renewal of mind, body, spirit and creativity through a pursuit and hunger for the Eternal—inviting the application of the artist/creator as a participant in “stewardship” to culture itself, where the talent and power of creative expression proclaim the glory and grace of the Creator.
For more information and cost, sponsorship, or to register for the August Forum, one can visit the website: : http://www.burntnortonabbey.
FOR ANY MORE PRESS INFORMATION:
PLEASE CONTACT: Aaron Wiederspahn at 603.717.2366; Keri Wiederspahn at 603.847.3222 or Laina Barakat at 609.221.6875Threads Theatre Presents "Afterlight"
Threads Theatre Company and NYC Fringe Festival Present
AFTERLIGHT
by Monica Flory
Directed by Misti B. Wills**
Featuring: Kim Carlson*, Angus Hepburn*, Frank Mihelich*, Allyson Morgan*, Tyler Merna, Kimberly Prentice*, and Davi Santos
Show dates and times are:
- FRI 8/14 @ 7:15pm
- WED 8/19 @ 3:00pm
- THUR 8/20 @ 7:15pm
- SAT 8/22 @ Noon
- TUE 8/25 @ 5:45pm
Tickets are $15
Scene and Light Design: Bobby Bradley
Costume Design: Kimberly Prentice
Sound Design: Kim Fuhr
Props Designer: Racheal Harrington-Davis
Stage Managers: Amanda Gwin*
And Jessica Pecharsky*
Press Rep: Sam Morris/Sam Morris PR
*Appearing courtesy of Actors Equity Association. Equity Approved Showcase.
**The director is a member of the Stage Directors and Choreographers Society.
Information on purchasing tickets will be available at a later date at http://www.fringenyc.org/
Check out the Threads website for more information.
Video of Encounter 08 Juried Music Winner Brooke Campbell
ABOUT BROOKE CAMPBELL
Brooke Campbell is a singer/songwriter, recently transplanted to Nashville, TN from Manhattan.
Initially playing in predominately church-related settings, she has been taken with every facet of the world, forcing frequent changes in perspective and understanding. This is reflected in her music that both reaches out to God and searches within.
Brooke was signed to the Arch Music Group in 2000 and has toured extensively as a solo artist.
In recent years, she has recorded 2 albums independently: "Better"(2006), a live recording with jazz guitarist Paul Miller and "Sugar Spoon", with William Berlind, released in early 2009.
Collaborations have also been under way. Leslie Scott, choreographer for Bodyart Dance, has worked with Brooke on several projects, including a performance set to "Arms of the Atlantic" at the International Dance Festival in New York and
a video project set around "What Do You Do?" that they completed with Reid Farrington (details on the Links page).
Brooke began performing at 22 following a spiritual awakening and by her own admission, struggles mightily to remain awake. Her music catalogues this journey. Perhaps you will relate.
ABOUT ACOUSTIC LONG ISLAND
Acoustic Long Island is the #1 Acoustic Podcast on iTunes - brought to you by Dave and Rob Dircks, from St. James, Long Island. With the help of super sound man Billy Alexander, Scott Posner, and special appearances by the one-and-only Martha Trachtenberg, we're proud to bring you the best new acoustic music around. Listen in. Subscribe to the podcast. Let us know what you think. Support the show. And come on down to the live event when you're in town! Oh, and it's all FREE.
Live the first Wednesday of every month: 8pm-10pm, three featured artists.
Culture-Making Gets a Feminine Touch
BTW, if you have not yet read Andy's seminal book Culture Making: Recovering Our Creative Calling, I cannot encourage you enough to go immediately to our friends at Hearts and Minds Books to buy your copy (also available at Amazon.com). Many notable cultural curators, including Publishers Weekly and Relevant Magazine, have called it a "best-of" for 2008, and I couldn't agree more.
Thanks for the invitation, Andy - I'm happy to be aboard!
Tony Hale Stars in NBC Webshow
Then you should check out his new webshow on NBC.com.
Nielsen Piano Festival August 2-23 in the Hamptons
In addition to the student performances, they will present Artistic Director Ms. Victoria Mushkatkol in a very special solo recital and on opening night at the Southampton Cultural Center, a photo documentary of these pianists entitled, "I Will, I Can, I Am, The Pursuit of Artistic Excellence" by acclaimed portrait photographer, Heather Walsh, will be on display in the gallery.
FOOD, Inc. at Beekman Theatre
I just heard about this film and thought it sounded really interesting. I'm not endorsing it, just letting you know it's there. I've been concerned about the food industry for several years now, particularly the meat industry. Hormones, antibiotics, unsanitary & inhumane conditions... there is a lot to be concerned about. In fact, I have largely stopped eating meat as a result of these concerns.FOOD, INC - Rated PG
(From BeekmanTheatre.com)
The veil on our nation's food industry is lifted, exposing the highly mechanized underbelly that's been hidden from the American consumer with the consent of our government's regulatory agencies, USDA and FDA. Our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the livelihood of the American farmer, the safety of workers and our own environment. We have bigger-breasted chickens, the perfect pork chop, insecticide-resistant soybean seeds, even tomatoes that won't go bad, but we also have new strains of e coli--the harmful bacteria that causes illness for an estimated 73,000 Americans annually.
Click here for show times.
The Blog
The IAM Global blog discusses news and updates for the entire International Arts Movement.