My grandparent had this painting on a tray I used to see as a kid…This is the first piece that made me “feel” art…

by Joan Miro (1893-1983)

This Joan Miro inspired lesson is a one day project.  First grade students had a good laugh as I explained shapes and lines, and drawing lines on shapes and lines over lines that sit on shapes…. you get the idea!  We looked at various examples of Miro’s work and talked a bunch about different ideas for our own crazy people!

Mrs. Meader’s  class click here

Mrs. Charette’s class  click here

Mrs. DeCarolis’ class click here

Mrs. Wentworth’s class click here

“Dada e Surrealismo riscoperti”. Provocazione, dissacrazione, inconscio, rivoluzione… queste sono solo alcune parole chiave legate ai due movimenti. Ma il titolo e gli artisti esposti parlano da sé: Jean Arp, Costantin Brancusi, Victor Brauner, Alexander Calder, Salvador Dalì, Giorgio de Chirico, Marcel Duchamp, Max Ernst, Paul Klee, René Magritte, Andrè Masson, Joan Miró, Henry Moore, Erik Olson, Francis Picabia, Pablo Picasso, Man Ray, Yves Tanguy… più altri nomi probabilmente meno noti (di qui il “riscoperti” nel titolo), comunque tutti artisticamente e storicamente importanti, per un totale di più di 500 opere esposte.

Prestiti da: Association Marcel Duchamp (Villiers-sous-Grez), Centre Georges Pompidou, Musée national d’art moderne, Centre de création industrielle (Parigi), Fondation Arp (Clamart), Galleria Nazionale d’Arte Moderna (Roma), Matisse Foundation (New York) e altri ancora consultabili -assieme all’elenco di tutte le opere, selezione delle principali e altre informazioni generali- sul sito ufficiale riportato qui sotto.

Ci sono ancora tre mesi di tempo (fino al 7 febbraio 2010), la mostra è al Complesso del Vittoriano a Roma e il costo è di 10 euro (7,50 euro la riduzione). E il venerdì e il sabato è aperta fino alle 23.30!

fabio

http://www.comunicareorganizzando.it/mostre.asp?id=167

The Gropius House

Last week I had an opportunity to tour the house Walter Gropius designed for himself in Lincoln, Massachusetts.  Fleeting from Nazi Germany, Gropius immigrated along with much of his personal belongings to Boston, a circumstance that eventually led him to become Professor at the Graduate School of Design at Harvard University and established the architectural firm The Architects Collaborative (TAC), which forever changed the story of Modern architecture in Boston.

Gropius became the founder and first director of the Bauhaus, one of the world’s most important and influential design schools established in 1919 in Weimar, Germany. The school takes its name from Bau meaning “to build” or “building” and haus meaning “house.” Having attended the Rhode Island School of Design (RISD) for a short period of time, I realized how much of an influence the Bauhaus had on other design schools in the world.

The curriculum at RISD and the Bauhaus share many similarities, including the “six month trial period” whereas those who were not “destined” to become true artists were weeded out of their respective program. Although I made it past the six month weeding out period and continued on to the winter session to take classes in film studies, I left RISD for personal reasons, but enough about me, and let’s learn more about the Bauhaus and the Gropius House in Lincoln.

Teachers at the Bauhaus consisted of masters like Wassily Kandinsky, Joseph Albers, Lyonel Feininger, Johannes Itten, Laszlo Moholy-Nagy, Paul Klee, Marianne Brandt and Marcel Breuer among others. Its principles were drawn from the Arts and Crafts Movement, but whereas William Morris and his circle rejected the machine, the Bauhaus embraced it in order to provide everyone in society with access to art and good, affordable design. There is no such thing as a “Bauhaus style,” each and every one of the masters at the school encouraged the experimentation in all the arts.

The influence of the Bauhaus still resonates with us today. The furniture we see for sale in stores like Target, Walmart, Ikea and others have all been influenced by the school. The Gropiuses owned an important collection of furniture designed by Marcel Breuer, Saarinen, Aalto, Marianne Brandt and others. Some of the artwork was created by artists like Spanish Surrealist Joan Miro, Lazlo Moholy-Nagy (whom I’ve fallen in love with), Henry Moore and Ati Gropius Johansen; Walter’s daughter.

 This semester in my seminar on Boston Architecture, I have been learning that Massachusetts was a hot bed for Modernism. This was somewhat surprising to me because when I think of Modernism I think of New York City, California or the Midwest.  The Gropius House speaks to the eloquent vocabulary of modernism created in the New England region.  Lincoln is home to a few outstanding examples of Modernist houses as are the surrounding towns of Lexington, Arlington, Belmont and Cambridge. Sadly, these modernist treasures are threatened by demolition on a daily basis and as recent as last year, we lost an excellent modern house by Eleanor Raymond, one of Boston’s leading modern architects.

The house is owned by Historic New England  and is open to the public for tours.

´La Fondation Maeght´, each Photography 75×50 cm, Fondation Marguerite et Aimé Maeght, Saint-Paul de Vence, France, 2009. Two details I took about the beautiful garden. > more about the museum

the BBC are really belting them out at the moment!

iPlayer Picks

Arena Cool | 1959: The Year that Changed Jazz | Love Is the Devil: Study for a Portrait of Francis Bacon | The Jazz Baroness| Trusadh-14. A Ghealach (The Moon) |

To ask about the experimental implication of the creators and their work is common in our sector, but it is not so usual to question the processes, the structures (Museums, Galleries, Fairs, Biennial…) that negotiate, make visible, endow value to, and also commercialize, those works.

Generally the places, the people and the dynamics implied in an exhibition, when they are tense or carried to an experimental level, it is mostly the artists that take the initiative. In this sense, we have also wanted to risk and to imply us in the production of questions, to experiment with the idea of these processes of selection. 

With an absolutely experimental character and trying to ask ourselves about the effects of an exhibition in which the people generally involved in those processes of selection and cohesion, were dispensable and leaving the responsibilities (esthetics, conceptual…) to the machine.  By means of a process as of playing, giving way to mechanical processes, we introduced codes of random filters in our database with the intention of seeing the results and to submit ourselves to them absolutely. These results are the ones that can be seen in “Base(s)”. 

Actually the importance of this process is to analyze the results to see on one hand, what degree of “metaphysic” implication the machine acquires. And if, from this selection some agglutinative esthetic speech will result, and also with the idea in mind, to judge “its” selection and the coherence in exhibitional terms. On the other hand, also with the intention that this will generate reflections about the processes of selection in the spectators, those that write down certain ideas, markets and moments that as on the other hand we know, are populated with exclusions, suppressions and interpretations almost always under the hegemony of the curatorial idea or commercial logic. 

Among all this we intend to rethink and to return to the base, likewise, from those Modernist ideas in which the machine would be a liberating tool for man as well as those myths on the independence and autonomy of those (A Space Odyssey 2001, Blade Runner…).  Therefore, we leave it up to our computer, and if possible we give it the opportunity to think. We launch ourselves at this experiment assuming the consequences of its election.

Artists

Monserrat Sotto, Priscilla Monge, Carmen Calvo, Sergio Bianchi, Milagros de la Torre, Broto, Dario Villalba, Susy Gomez, Santiago, Ydañez, Pedro Calapaz, Carles Congost, Antonio Gonzalez, Joan Morey, Joan Miro, Abdul Vas, Jose Pedro Croft, Miquel Navarro, Pablo Palazuelo, Adolfo Schlosser, Tapies.

Base(s) Mechanical processes for a review of the collection will be on view at the Luis Adelantado Gallery from November 19th 2009 to January 10th 2010.

images and text provided by Luis Adelantado Gallery

Hey hey hey!!

Twas the week before mid-term, when all through the house not a creature was stirring, not even a mouse!

This week we paid a visit to the Irish Museum of Modern Art in Dublin. This visit was coupled with our Digital Photography module. Half the day was spent taking photographs in accordance to our briefs and the other half was to follow the guidelines of our Visual Language brief.

I had to find pieces of art, which included sculptures, and needed to discuss them.

First, I spotted this odd sculpture at the front of the museum. The shapes of the sculpture are quite playful. Mainly circular with an occasional point. There were no patterns or texture but along the top of the ‘head’ there was a part that had been carved out which gives off the sense of depth. The sculpture was black in colour, which was a good choice as had it been in white or grey, it would have taken away from the attitude of the piece.

The sculpture is by Joan Miró, it is called ‘Personnage‘ and was constructed in 1974 using bronze. The dimensions of the sculpture are 200 x 160 x 180 cm.

I thought that this piece was the most interesting in the museum. It caught my attention straight away and the shapes of the sculpture were fun. It reminded me of a Japanese Robo-Dog! Evidence that the Golden Rectangles were used.

Personnage 1974

Personnage Sketch

I then ventured inside the building. I struggled up the stairs to see if there was anything of interest up there. After a good few minutes of searching, I came across a sculpture.

The texture of the sculpture was that of a stone feel. The sculpture reminded me of a person curled up, but with no head or limbs! I also thought that the sculpture had a soft flesh look because of the position.  The use of the Golden Rectangles was evident in this piece. The sculpture is by Barry Flanagan and is called ‘Carving No.6A‘. It was constructed in 1982 and is made of Travertino Romano Chiaro marble. The dimensions of the piece are 83 x 123 x 93 cm.

Carving No.6A

General Experience

Hum….my general experience. I’m going to be as blunt as a spoon and say that I did not enjoy the museum. It wasn’t to my liking at least. That kind of ‘art’ would not hold my attention. The one piece I liked was the ‘Robo-Dog’ located at the front of the museum.  When I seen this, I thought that the other work was going to be just as good. How wrong I was. I ran out of time when I was looking around, because I couldn’t for the life of me get the lockers to work properly. They had some pin code, lock and turn system that just would not work for me. What was wrong with a simple key!ha! The overall experience was good, however I don’t think I would find myself going there again. Something that had a bit more interraction would have got me smiling, I’m not the greatest fan of walking around quietly, like I’m in a graveyard, and looking at ‘art’ that really looks like they got their nieces and nephews to put play-doh in their mouths, chew it up, then spit it out and stand on it to create a “masterpiece”. Sorry to be so harsh!

‘Till the next time.

Lembremos de Freud, e Trombamos pela aventura intro- extrospectiva da mente, na música, na sociedade e na arte como um todo.

Como imagem tema desse texto temos, Joan Miró, em sua obra, The Garden.

Como os reflexos de todo movimento são sentidos posteriormente dentro da sociedade de forma mais massifica após sua popularização, mas, de certo que se sabe que todos grandes reinos da nossa história, tinham em sua estrutura a adesão de muitos intelectuais, que não regiam um governo, mas ofereciam idéias e estratégias para que os desejos da “corte” se tornassem realidade.

Voltando ao Miró e ao Surrealismo, e deixando um pouco do passado, e observando atualmente nosso mundo, podemos sentir o efeito da popularização desse movimento, em novas vertentes da dissolução do poder e da democracia.

Liberte-se para além da lógica e da razão. Sonhos cabem no papel. Todos.

Aos poucos vou escrevendo mais sobre isso…

kkk

nxt*psicodelismo

Quando devo viaggiare in treno sono ansiosa. Ho paura di perderlo e così arrivo sempre in stazione mezz’ora prima. Cincischio, girovago, controllo l’orario e finisco col curiosare tra i titoli dei libri nelle edicole. I libri sono una attrazione fatale: inutile resistere. E’ così che ho trovato alcune chicche, come i diari di Joan Miró dal titolo ancor più fatale: “Lavoro come un giardiniere e altri scritti”.

Ecco cosa dice l’artista delle grandi sculture volanti:

Considero il mio atelier come un orto. laggiù ci sono dei carciofi. Qui delle patate. Bisogna tagliare le foglie affinché crescano i frutti. Venuta l’ora, bisogna potare. Lavoro come un giardiniere o come un vignaiolo. Le cose maturano lentamente. Il mio vocabolario di forme, ad esempio, non l’ho scoperto in un sol colpo. Si è formato quasi mio malgrado. Le cose seguono il loro corso naturale. Crescono, maturano. Bisogna fare degli innesti. Bisogna irrigare, come si fa con l’insalata. Maturano nel mio spirito. Perciò lavoro sempre a moltissime cose insieme. E anche in generi diversi: pittura, incisione, litografia, scultura, ceramica. La materia, lo strumento, mi dettano una tecnica, un modo di dar vita a una cosa. Se attacco un legno con una sgorbia, questo mi pone in un particolare stato d’animo… L’incontro dello strumento e della materia produce un urto che è qualcosa di vivo e di cui penso che avrà una ripercussione sullo spettatore…

Più che il quadro in se stesso, quello che conta è ciò che sprigiona, ciò che diffonde. Poco importa che il quadro sia distrutto. L’arte può morire, quel che conta è che abbia sparso dei semi sulla terra. Il quadro deve essere fecondo. Deve far nascere un mondo.

Joan Miró: “Lavoro come un giardiniere e altri scritti” -a cura di Marco Alessandrini- Abscondita 2008

El XVIII Saló d’Art i Antiguitats de les  Drassanes Reials de Barcelona reuneix, des del dissabte 17 fins al diumenge 25 d’octubre, més de 10.500 selectes obres de 35 expositors del màxim prestigi en el context català, espanyol i d’altres països. El fascinant recorregut per la història, la cultura  i l’art que proposa aquesta cita de referència inclou treballs de Picasso, Dalí, Warhol, Miró, Tàpies, Botero, Barceló, Basquiat, Plensa, Rusiñol, Casas, Sorolla,  Chillida, Zao Wou Ki o avantguardistes dissenys del cèlebre i polifacètic Pierre Cardin.

Els 2.000 metres quadrats habilitats en el marc de les naus gòtiques de la Sala Marquès de Comillas, joia de l’art civil medieval català i segell inconfusible del Saló, tornant a concentrar impactants peces i obres de totes les tendències artístiques i diferents segments de preus en un esdeveniment ineludible per a professionals i pel públic apassionat per les obres d’art clàssiques i contemporànies o l’arqueologia grega, romana, egípcia i asiàtica. 

El recorregut acull, amb una posada en escena d’alt nivell, des de ceràmiques de 6.000 anys de la civilització de la vall de l’Indo fins a un relleu de Babilònia (del 1.125-1103 a.C) amb personatges mitològics i escriptura amb el nom del rei Nabucodonosor (dels quals només existeixen tres exemplars en el món), una estela en pedra de l’antic Regne de Saba del segle II a.C, valuoses escultures realitzades en temps de l’Imperi Romà o terracotes xineses imperials.

La impactant col·lecció de figures estil Obamba de la tribu Kota de Gabon de finals del XIX (mai abans mostrada en el nostre país), una singular selecció de joies franceses del període de Napoleó III, obres de Pop Art, una parella de consoles i una taula de la col·lecció Environement dissenyades por Pierre Cardin el 1978 i el 1980 (una d’elles amb una làmpada en arc italiana, Futura Z, del dissenyador Flaet de 1973), la esplèndida escultura La Valkyrie de Louis Chalon (1898-1911)  o mobiliari del barroc català s’inclouen també en l’ampli catàleg de la convocatòria d’enguany.  

La mítica serigrafia Campell’ soup de 1962 amb la que Andy Warhol va protagonitzar la seva primera exposició individual com artista professional , una espectacular figura de marfil alemany del déu Cronos de principis del XIX, suggeridors i celebrats gravats japonesos, una destacada representació pictòrica de l’emblemàtica Escola de Paris, una cotitzada composició de Joan Miró dedicada a Patricia Matisse el 1964 conviuen amb una pintura mural precolombina del 350-650 d.C, ushabtis egipcis del 600 a.C. i característiques creacions de Picasso, Dalí, Barceló, Plensa, Botero, Tàpies, Rusiñol, Casas o Mir.

El dijous dia 22 tindrà lloc, de 19,00 a 22,00 hores, a la Sala Marquès de Comillas el tradicional còctel Drassanes by night amb la presència d’una una destacada representació del món cultural, institucional o empresarial.  Com a preàmbul, la Sala d’Actes acollirà la presentació del llibre Mots de foc de l’escriptora mexicana Laura Fernández MacGregor Maza, distingida aquest any per l’Agrupació Professional d’Antiquaris per la seva aportació a la cultura. Els representants dels mitjans de comunicació hi son convidats.

El diumenge dia 25 es sortejarà entre els compradors del Saló  un collaret d’essència tribal de la suggeridora col·lecció Joies del Passat: Art i Seducció presentada en exclusiva per una de les galeries de referència pel que fa a l’art africà: Raquel & Guilhem Montagut i realitzada a partir de perles i pedres de gran antiguitat procedents d’Àfrica, Àsia i Amèrica del Sud.

Gross encounter: Scuba meets giant loogie on National Geographic site.

Maybe we have found the thing that will get people off their collective ass. I know that it moves me, and not in a pleasant way. In fact it disgusts the heck out of me.

I’m talking about sea snot. Giant blobs and loogies and amorphous islands of the stuff. It’s nasty and unhealthy and as much of a sign of illness as the kind that oozes from your sinus cavities. I first learned about it on the Rachel Maddow show and I haven’t been able to get it out of my mind since. Kind of like a bad cold.

The scientific types are referring to it as “marine mucilage” and it consists of decaying matter from dead organisms and it carries nasty bacteria because it’s as sticky and gross as it looks in the videos you can find all over the web.

No surprise that it’s both a symptom of global warming of the oceans and a warning of just how gross, disgusting and lethal things will get if we don’t start getting very active about treating our environment better very, very soon. Like yesterday.

Remember The Blob? This is as stupid as the movie but it’s real and it’s not funny and it doesn’t even star Steve McQueen.

I have this religious thing about birds. When I go out and watch birds in their native habitat, I get this spiritual feeling, like the old Transcendentalists, Thoreau and Emerson used to talk about, how nature is the window on God, if there is one. If you think about it, treating nature like a toilet is shitting on God. Even if you’re an Atheist, you’ve got to agree that that’s not a great idea. If you’re a Satanist, I’m not talking to you anyway. Go play with your Dungeons and Dragons and read some Nietzsche or something.

Every spring I go see the whooping cranes off Rockport. It’s a miracle those creatures have survived everything we have done to the planet, and in particular, what we have inflicted upon this state in particular, where we seem to take pride in taking LAST place when it comes to education and health care and Numero Uno in spewing toxic pollutants into air, land and water. I see the whoopers there and I think, Gee, if they can survive, maybe I can do just about anything. I first had that thought when I was recovering from Stage 4 throat cancer. I still feel that. Maybe we can even save the world we live in.

There are gobs and gobs of sea snot links on the web. Go for it… if you dare… but be sure to write your Congressman and raise holy hell about sea snot, global warming, coal plants, gas guzzlers, the oil companies and everything else.

And while you’re surfing for sea snot, don’t be confused by the many sites devoted to the “snot green sea,” which is something else entirely, an allusion to James Joyce’s line about “the sea, the sea, the snot-green sea.” Not that there’s anything wrong with that line. I copped it myself in my song “(That Bitch) The Sea.” If you go to my Reverbnation page, you can play the song and download it until the sea-green-snot comes out of your ears. (be sure to turn off your pop-up blocker first).

Also, visit WCCA, the Whooping Crane Conservation Association.
National Geographic’s whooping crane page, with video.
National Wildlife Federation, on efforts to establish additional migrating flocks of whooping cranes.
International Crane Foundation, devoted to all species of cranes on the planet.

Last but should actually be first: Aransas National Wildlife Refuge, which is the Whoopers’ mecca between October and April. Scroll down to the bottom of the page for information on boat tours and visiting the refuge to see the birds and other wildlife and nature.
]]> http://bracketbracket.wordpress.com/2009/10/14/the-secret-workshop-of-the-will%e2%80%99s-decisions/ Thu, 15 Oct 2009 03:10:13 +0000 bracketbracket http://bracketbracket.wordpress.com/2009/10/14/the-secret-workshop-of-the-will%e2%80%99s-decisions/

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18″ x 18″, Edition of 23
Signed and numbered, $70 + $25 shipping
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A little Elizabeth Taylor, a little Joan Miró, a little Arthur Schopenhauer, a little Alain de Botton.

Hemos hablado mucho del maestro Gaudí, sin embargo, no es el único genio del arte que Barcelona posee. Esta ciudad es cuna de varios artistas de talla internacional como Joan Miró. En lo alto del Monjuic se puede visitar la Fundación Joan Miró, un lugar donde la colección más grande del artista se exhibe para todos los visitantes. El recorrido por este museo nos muestra las distintas etapas de Miró, sus obras, evolución, su estrecha relación con el poeta Joan Prats, su intimo amigo con quien trabajo muy de cerca en una colección completa enmarcando con su talento la poesía del francés. Actualmente esta fundación cuenta con 217 pinturas, 178 esculturas, 9 textiles, 4 cerámicas, la práctica totalidad de la obra gráfica de Miró y unos 10,000 dibujos. Uno puede pasar toda un día admirando la obra de este gran artista del modernismo.
http://fundaciomiro-bcn.org/?idioma=6

A primavera finalmente chegou – apesar do mês mais incrível do ano ter ido embora.

E a primavera é oficialmente o período do ano mais adorável, em que as pessoas tomam fôlego entre o frio de julho e o calor que virá em dezembro. Afinal, o verão é uma época muito corporal, acho que o carnaval ajuda a comprovar isso. O outono é meio termo demais. E o inverno é pra dormir de conchinha.

Eu poderia idolatrar ainda mais a atual estação, mas prefiro listar algumas boas novas musicais vindas por conta do sol setembriano:

1. Animal Collective em remix para ‘Love Like a Sunset’, dos Phoenix.

Acho que não preciso dizer o quanto gosto dos French, certo? E, sobre Animal Collective, estou em débito escrito sobre a banda, admito. Mas é fato é que todo mundo já sabe o quanto o quarteto é foda.

2. Röyksopp e Fever Ray em ‘This Must Be’.

O duo norueguês Röyksopp continua em evidência. O Fever Ray, por sua vez, é um dos nomes mais ditos nos blogs e veículos out of here. Qualquer semelhança, talvez não seja mera coincidência.

3. Novas do LCD Soundsystem

De acordo com informaçõs do grupo em sua fan page no Facebook, os queridões devem lançar o próximo álbum em março de 2010. E, logo sem seguida, sair em turnê pelos locais onde eles mais se divertiram tocando – espero ansiosamente que o Brasil seja um deles – e outros que eles tenham curiosidade em conhecer.

By the way, enquanto isso, James Murphy está em Paris. Conhvenhamos que a capital francesa deve estar, no mínimo, mais encantadora.

This is sooooo good, via the new, endlessly interesting club internet.

Otro gran artista que a mi en lo personal me gusta mucho es Joan Miró, ya sé que muchos de ustedes dirán que esos dibujos los pudo haber hecho un niño de 6 años, pero tienen cierta estética, alegría y coordinación que me parecen alegran cualquier espacio, a mí los cuadros coloridos, me hacen sonreír y pues eso es justamente lo que hace Miró por mí. Miró si nació en Barcelona y en esta hermosa ciudad puede verse gran parte de su obra en realidad hasta comercial lo han hecho ya que muchos suvenires y recuerdos de tu viaje a Barcelona los puedes comprar con detalles de la pintura de Miró. Por cierto cuando viajes a Barcelona no te dejes engañar por los catalanistas que fingen no entender el castellano, según el último censo el 99.7 % de los catalanes lo hablan pero les gusta molestar a los que no hablan catalán, asi que no seas uno de ellos.
http://www.spainselecta.com/index.htm?http://www.spainselecta.com/joan_miro.htm
http://fundaciomiro-bcn.org/

Here’s a link to an Artnet auction of master prints in the hope that you have from $1000 to $150,000 to spend on something nice.  An investment?  Artnet auctions

As might be expected there are quite a few by Warhol.  Those by Frank Stella on page five are wonderful.

nothingisinvisible@live.fr

Joan Miró

Um ano de um…

Mosaico feito por retalhos de pensamentos.

Jardim onde planto paradoxos e colho conceitos.

Habitat que habita meus anseios e desocupa meus descontentamentos.

Ser que de fato sou com a sombra em contraste e a alma em relevo.

Gustavo Siqueira