Dead Mother by Egon Schiele

Egon Schiele (June 12, 1890 – October 31, 1918) painted Dead Mother in 1910 in Czech Republic.

Let me step back a few moments.

Schiele – as many artists tend to do – lived an alternate type of lifestyle as he explored. For example, when he was younger and his fascination in trains grew, his father (who was the train master in Tullen) was so disturbed by his representation of them that he had to burn his sketch books.

At 16 he was accepted into Kunstgewerbeschule (School of Arts and Crafts) in Vienna (1906), to which he was encouraged by the instructors a year after to go to the more formal and traditional academy, Akademie der Bildenden Künste. It is without a doubt that the conservative styles of both academies frustrated Schiele, which ultimately led him to leave 3 years later. Schiele founded the group Neukunstgruppe (“New Art Group”) with other dissatisfied students shortly after leaving Akademie der Bildenden Künste.

Around this time, Schiele found Gustav Klimt (an alumni of Kunstgewerbeschule), who happily took interest in Schiele, encouraging him by purchasing his work, trading his work for Schiele’s, and also arranging exhibits and models for the younger artist. It was at this time that Schiele met Walburga (Wally) Neuzil, a young lady who would be the model for many of his future works and partner for some time. Around 1911 they were chased out of Český Krumlov (Krumau) in southern Bohemia (Czech Republic) – the birthplace of Schiele’s mother – because the residents strongly disapproved of their lifestyle, not to mention their employment of the town’s teenage girls as models (allegedly).

In 1912 Schiele was arrested for seducing a young girl below the age of consent. Hundreds of his drawings were seized because they were considered pornographic, but the charges of seduction and abduction were dropped. However, during the trial, the judge burned one of the offending drawings over a candle flame.

It is tragic to learn that the Spanish flu pandemic (which took 20,000,000 lives in Europe) took Schiele’s pregnant wife of 4 years (not Wally), and Schiele himself 3 days afterwards at the age of 28.

Dead Mother

It is interesting to note that Dead Mother is part of the Expressionist movement, a symbolic painting that clearly has influence by psychoanalysis. Austrian neurologist and founding father of psychoanalysis, Freud (May 6, 1856 – September 23, 1939), was becoming very eminent in theology, and as a result, all society. This reasoning process, and identification led to some very astounding revelations in many genres of expression, particularly in art.

It is almost too easy to identify certain aspects of Schiele’s life with this painting. His eldest sister died at the age of 10, when Shiele was just 3 years old. His father died in 1904, when he was 14, and his mother had lost a child at birth and also had a stillborn. To further complicate things, his mother married his fathers brother-in-law (this fact seems odd).

Morbid is the word, dark and tortured.

Photo source: commons.wikimedia.org

Photo source: commons.wikimedia.org

Sources:

David Suzuki | Citizen scientists can fill info gaps about Fukushima effects

A very interesting article written by David Suzuki recently delving into the aftermath of Fukushima in the wake of the nuclear emergency caused by the earthquake and tsunami in March 2011.

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By David Suzuki with contributions from Ian Hanington, Senior Editor

An Internet search turns up an astounding number of pages about radiation from Japan’s Fukushima Daiichi nuclear power plant meltdown that followed an earthquake and tsunami in March 2011. But it’s difficult to find credible information.

One reason is that government monitoring of radiation and its effects on fish stocks appears to be limited. According to the Woods Hole Oceanographic Institution, “No U.S. government or international agency is monitoring the spread of low levels of radiation from Fukushima along the West Coast of North America and around the Hawaiian Islands.”

The U.S. Food and Drug Administration’s most recent food testing, which includes seafood, appears to be from June 2012. Its website states, “FDA has no evidence that radionuclides from the Fukushima incident are present in the U.S. food supply at levels that would pose a public health concern. This is true for both FDA-regulated food products imported from Japan and U.S. domestic food products, including seafood caught off the coast of the United States.”

The non-profit Canadian Highly Migratory Species Foundation has been monitoring Pacific troll-caught albacore tuna off the B.C. coast. Its 2013 sampling found “no residues detected at the lowest detection limits achievable.” The B.C. Centre for Disease Control website assures us we have little cause for concern about radiation from Japan in our food and environment. Websites for Health Canada and the Canadian Food Inspection Agency yield scant information.

But the disaster isn’t over. Despite the Japanese government’s claim that everything is under control, concerns have been raised about the delicate process of removing more than 1,500 nuclear fuel rod sets, each containing 60 to 80 fuel rods with a total of about 400 tonnes of uranium, from Reactor 4 to a safer location, which is expected to take a year. Some, including me, have speculated another major earthquake could spark a new disaster. And Reactors 1, 2 and 3 still have tonnes of molten radioactive fuel that must be cooled with a constant flow of water.

Photo source: Ned Tobin | www.nedtobin.com

Photo source: Ned Tobin | www.nedtobin.com

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The Art of Marius Markowski

Artist Marius Markowski (b. 1976, Poland) (FB) creates pieces that exhibit such raw emotional sensitivity it catches one off guard (and ones breath). Marius exposes shapes and plays heavily with emotions. I really enjoy the busyness of the pieces, the chaotic simplicity. What is of particular interest to me, is the blending technique Marius uses, or rather, the exposed blending. How there are abrupt and clear lines for brush strokes.

Perhaps this is a result of Marius Markowski being a digital painter. Though he says of his work, “My artistic effort in digital painting founded its origin in the oil painting, where I was passionately focusing my energy for several years. One day I had the idea to prepare an image on the computer in order to have more liberty in the development process. I experimented with these new tools and so discovered my enthusiasm for digital painting.”

“In my artwork, I try to create vivid visual stimuli and have no intention to convey a political, moral or ideological message. I simply enjoy expressions of feelings, moods, ambiance and sensual perceptions.”

Marius Markowski | Source: facebook

Marius Markowski | Source: facebook

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Ides of March by Cy Twombly

Cy Twombly was born Edwin Parker Twombly, Jr. (b. April 25, 1928) in Lexington, Vigrinia.  He adopted the nickname of Cy from his father, who adopted his nickname after the notorious Cy Young (Twombly’s father was a pitcher for the Chicago White Sox).

Twombly began studying art at the age of 12, and spent the next dozen years in various fine art schools and receiving scholarships around the world. In 1951 Twombly had his first solo exhibition in New York at the Samuel M. Kootz gallery, which catapulted his international career and success as an artist. Shortly after this exhibition he, along with Robert Rauschenberg, received a grant from the Virginia Museum of Fine Arts to travel North Africa, Spain, Italy, and France, after which he began his short career as a teacher at the Southern Seminary and Junior College in Buena Vista, Virginia – 1954. In 1957 Twombly moved to Rome where he met his wife Baroness Tatiana Franchetti, sister to the art patron Baron Giorgio Franchetti, where he spent the better part of the rest of his life painting.

It was around 1955 – 59, that Twombly worked and shared art spaces in New York with a group of artists including Jasper Johns, Robert Rauschenberg, John Cage, being influenced by the teachers at the art school he was attending, Franz Kline, Ben Shahn, and Robert Motherwell. Here Twombly began to develop a technique of gestural drawing that appeared to be scratched into the surface. He was also heavily influenced by African tribal art, and practiced sculptures made of discarded objects to try and evoke this style.

Cy Twombly’s work often invoke romantic symbolism, using titles from classical myths and allegories as the work Ides of March has, along with other works like Birth of Venus, or Leda and the Swan to name a few. Further, Twombly used epic poetry and metaphors heavily in and as inspiration for his work. Around the mid-1950s, Twombly started to portray more graphic material in his pieces with erotic signs, intense and dense colours, ejaculations of paint, wounds and scoring.

“Over the surface of his Roman paintings would thus appear so many cocks and cunts, so many wounds and scorings, so many tatters played over the surface of the work, the erotics of which is that its body will never be reconstituted, whole.” ~Rosalind Krauss

While in the mode of creating, Twombly would cover an entire room with a canvas, and approach it however his desire fancied. After he had covered every wall with paint, he would cut out a section that looked as if it could be used, which he would nail to the wall.

Ides of March was completed in 1962 and is styled as an abstract expressionism figurative painting.

Source: cytwombly.info

Ides of March by Cy Twombly | Source: cytwombly.info

Sources:

 

On The Road by Jack Kerouac

Jack Kerouac is one of those American Legends, one of those legendary writers you say you wish you had read by now, and take note of the recommended books of his.

I got my hands on On the Road when I was staying on the road, spending the week at a cousins house. It seems I slip all my Kerouac books from houses I’m staying at, on the road. I’m fairly certain my cousin’s wife got the book in a college class as prescribed reading.

Source: beatbookcover.com

1st USA Viking Press Book Cover | Source: beatbookcover.com

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LULU by Lou Reed and Metallica

When LULU first came out all the Metallica junkies hated it. The mainstream music heroes said it was a huge flop. Social media made fun of it.

When LULU first came out, I watched a video interviewing the boys of Metallica and Lou and they were saying how it’s probably their greatest effort to date.

And still the critics yelled for it to be silenced.

I’m in the sixteenth minute of Lou Reed & Metallica performing the album live in Köln, and bloody hell it’s good.

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Book Review | Linchpin by Seth Godin

Seth Godin is what you might call a motivator. You may also call him an identifier. I’d say he is also a wise man, who’s done a lot of research on an alternative method of thought.

He talks about shifting away from being a cog in the wheel, a productive yet zombie-like member of the assembly line, in to the realm of artistry; in short, becoming a Linchpin.

Seth Godin - Linchpin

A very suiting title for this book, and to be perfectly honest, a great read. 5 stars, thumbs, whatever…

“What will make a Linchpin is not a shortcut. It’s the understanding of which hard work is worth doing. The only thing that separates great artists from the mediocre ones is their ability to push through the dip. Some people decide that their art is important that they out to overcome the resistance they face in doing their work. Those people become Linchpins.”

To understand this as Seth would like you to – aside from reading the book – the reader must be aware of two things. The first is that Godin describes how “art is the intentional act of using your humanity to create a change in another person.” Not just the artist with a paintbrush or camera, but the person with the willingness to put in the effort. The second is that this book is not about creating the next best thing, it’s about becoming indispensable; becoming a Linchpin.

To cheat Godin out of a book sale (in all likelihood it will make you want to read the entire book multiple times) he’s described what makes you indispensable:

  • provide a unique interface between members of the organization,
  • delivering unique creativity,
  • managing a situation or organization of great complexity,
  • leading customers,
  • inspiring staff,
  • providing deep domain knowledge,
  • possessing a unique talent.

Rest assured, if you think you know what all these points mean – and that you possess (some of) them – and/or you believe even just one of these qualities does indeed make the artist valuable, this book will be worth your read.

I would highly suggest taking notes of every single point Seth Godin makes that sticks out to you.

If you have read this book, I’d love to hear some points you’ve taken from this book that have changed your life.

 


Sigur Rós – Valtari

Below was taken directly from Sigur Rós’s website.

Written & directed by Christian Larson. Choreography by sidi larbi cherkaoui.
Cinematography by Mattias Montero, costume designer Lydia Kovacs, produced by Noreen Khan.

Directors Comments

I’ve always been inspired by dance, so I wanted to tell a short story with dialogue through movement, without anyone saying anything. Sidi Larbi Cherkaoui’s extraordinary choreography created this unique communication between the dancers James O’Hara & Nicola Leahey. Larbi’s way of working with flexibility played as an interesting contrast to the harsh environment in which Matthias Montero’s pure and ethereal style of cinematography allowed an intimate portrait of the couple.

Christian Larson

Christian Larson grew up drumming, dancing & filming skateboarding in Sweden and it was this background that helped carve his reputation of a rhythmic visual style. Starting out making music promos, he went on to be an editor for the renowned Swedish director Jonas åkerlund before focusing fully on directing. His work includes promos for Kylie Minogue, Tinie Tempah, Nero as well as commercials and editorials for wallpaper magazine, Absolut vodka and Roche Bobois.

Public Nudes of Ruslan Lobanov

You come across artists sometimes who you just can’t get enough of. Who you find you have to share with as many friends as you can… of course to those that will appreciate it.

Ruslan Lobanov (500px) from Kyiv, Ukraine is one of those artists.

Ruslan takes photos of women, nude, usually in public situations, in black and white. What I like most about the work is how passive the models seem to be of their nudity. Some of his photos speak more to me than others in this way.

Ruslan Lobanov - 8 Continue Reading →

The Sick Child by Edvard Munch

The Sick Child , or Det Syke Barn in Norwegian, by Edvard Munch (1863-1944) is a painting with an interesting story. Munch created a number of lithographs, drypoints, etchings, and of course paintings with this same name from 1885 to 1926. The paintings represent Munchs sister, Johanne Sophie, the moment before she passed from tuberculosis at the age of 15.

The grieving woman is reportedly their aunt Karen, and typically in the various works Johanne Sophie is propped up by large pillows, a look of agony upon her face. It is also interesting to note the looming curtain drawn slightly on the right; perhaps the symbol of death itself, and the covered mirror behind the pillows.

Art critic Patricia Donahue had a very interesting observation: “It is almost as though the child, knowing that nothing more can be done, is comforting a person who has reached the end of her endurance” [Donahue, Patricia. “Nursing, the Finest Art: An Illustrated History”. St. Louis, MO: Mosby, 1996. 433.]

The paintings themselves have a very strong expression. The greens and yellows represent sickness, reds the dramatic (and coughed up blood from late stages of tuberculosis). You can notice strong vertical strokes from the brush, built up on layers of impasto paint [it is reported that these thick layers of paint are because of repeated reworking of the image, rather than a unique technique]. This style expresses emotive power, as if blurry eyed and hazy.

Munch has wrote that the 1885–86 painting was such a difficult struggle that its completion marked a major breakthrough in his art: “I started as an Impressionist, but during the violent mental and vital convulsions of the Bohême period Impressionism gave me insufficient expression—I had to find an expression for what stirred my mind … The first break with Impressionism was the Sick Child—I was looking for expression (Expressionism).” [Eggum, 46]

Interesting factual note that the Nazis felt Munch’s paintings were degenerate art and forcibly removed from all German museums.

This is the second of the six paintings completed by Munch, painted in 1896 when Munch was living in Paris.

The Sick Child by Edvard Munch in 1896

The Sick Child by Edvard Munch in 1896

More reading: Edvard Munch
The wikipedia page on The Sick Child is heavily referenced in this article.