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mai 30, 2006

Masturbation is an Acceptable Virgin Activity

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Art as Authority's own Michael Arata presents new work in the Chapel of Mary's Parents, San Bernardino CA from May 25 - July 29, 2006. Opening/Vernissage Thursday, June 15, 5 to 7pm
California State University, San Bernardino
Robert V. Fullerton Art Museum
5500 University Parkway
San Bernardino, CA 92407
Tel. 909.537.7373


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For the occasion, Michael Arata has published a 24 page catalog of the works presented entitled "Virgin T's". Michael asked me to write the essay to accompany the publication which I glady accepted. You will find it below in its entirety with several excerpts from the catalog. Copies are available for purchase by contacting artasauthority@artasauthority.com Cost is $20. Many thanks and gratitude to Michael for allowing me this opportunity. KF

FAITH FASHION

You shouldn’t believe that the T-Shirt you’re likely wearing right now is a modern invention. By today’s standards, a T-Shirt is a walking bulletin board with your favourite designer label silk-screened onto it. Michael Arata knows this already because ancient history taught him that the boys in marketing around the time that Jesus was dining on his last bit of foie gras, commonly referred to as the Last Supper, had an enlightening idea for Jesus’ resurrection. On the third day, Jesus rose with a T-Shirt made out of distressed cotton painted purple that said in Times New Roman: “I went to Mount Golgotha and all I got was this lousy T-Shirt”.

However, the “tee” shirt as it is also affectionately called was really the brain child of Mary, the Virgin. Her nickname the Virgin fit her like a “T”. And while we’re at it, here’s something else you might not know about the Virgin Mary. You probably confuse the story of Mary and the Immaculate Conception with a virgin birth, angels and the like, but it didn’t quite happen that way. According to the Wikipedia Free Encyclopedia, “The Immaculate Conception is a Catholic dogma that asserts Mary, the mother of Jesus, was preserved by God from the stain of original sin at the time of HER own conception”. Furthermore, “Mary was conceived by normal biological means (her parents had sex), but her soul was acted upon by God or kept immaculate”. Mary grew up living a life completely free of sin and stayed a Virgin Mary. Fortunately, peer pressure in those days was nothing compared to today. For the record, it was the Miraculous Conception, not the Immaculate Conception nor L’Immaculée Conception by André Breton and Paul Eluard, that involved the Angel Gabriel and the Virgin Mary.

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That historic event marked the first time since the birth of (wo)MAN that virginity became both a liability and a commodity, simultaneously: a burden from birth, yet a treasure to be protected by overly zealous fathers and chastity belts, only to be unlocked within the sanctity of marriage; a prize commodity sought after so ardently, perhaps even more than the Holy Grail, which every man swore his honour and allegiance to but so very few actually had partaken. Mary understood this dilemma and when the Angel Gabriel swooped down from the Heavens to announce his fertile message, Mary was already wearing a T-Shirt that said “What, me worry?” Only since James Dean hit the movie screens in a virgin white T-Shirt and faded blue jeans that clung to his ass like Pamela Anderson’s tits in a wet t-shirt contest have T-Shirts enjoyed such popularity. That is, of course, until Michael Arata got a hold of them.

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Isn’t this what it’s all about anyway? Getting hold of something virginal, pure white, Snow White, oil, land, your daughter’s fifteen year old girlfriend with the pointy breasts that never wears a bra that you just want to gut up the middle Lolita-style? Managing perceptions, rumours, beliefs, religion, culture - did she or didn’t she get fucked in the ass. Perception: Every time you use the word fuck from now on, replace it with the word suck and you’ll see how it changes your world. Spin. Artists do it all the time. So do Presidents. So does the Church. The Vatican has known this for decades and capitalized on it. The Religious Left, the Religious Right it’s all about you believing that what you expect, desire, want to be the TRUTH - or is at the very least accepted behaviour carried out under the supervision of your peers, society or government.

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Michael is carrying on a time honoured tradition, spreading the WORD, crusading to restore and reform; cleansing us of our Original Sin, giving us all a second chance, a second Virginity, filling us with a child’s innocence, under one Democratic Nation and one merciful GOD. Like any other grassroots movement, Michael’s gospel gets out by word of mouth, bumper stickers, rallies, T-Shirts and nowadays, text-messaging, DVD’s and Power Point presentations. Michael even owns and operates his own franchised Church of Mary’s Parents complete with urban Stained Glass windows. He might not have been the first to welcome all spiritual denominations into his Church, but Michael clearly has been the first to accept all major credit cards through Ticketmaster to secure a ticket to paradise. You might think these Virgin T-Shirts are a joke, and you’re probably thinking that they’re art as well; Christ, what else could they be? But you’re not sure. It’s a tough place to be with your pants down around your ankles looking silly looking at silly art no? OK, so they’re a bit kitschy sometimes. God knows that there are a million T-Shirts out there with Adidas plastered on the front, made in China and finding their way into Africa and Palestine but it’s all good. We live in a Democracy – everyone shares in the wealth.

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But the real question is do you care about what you’ve become, what you wear, the car you drive, the God you pray to, the food you eat, the art you frequent? Of course you do. IM, Image Management, I told you. Pretend to be cool, pretend to be a virgin, pretend to be an artist if it helps, but it doesn’t matter and it won’t matter in today’s society cause they are all inflated currencies. Take another look at Michael Arata’s work; it is through any lens titillating without the cheap theatrics of a red light district whore or barroom stripper. The Prophet Mohammed can take you to the mountain but he can’t make you jump unless you believe. Michael has taken us up there many times before. Jump, you’ll see and you just might find that what you discover at the bottom hurts a lot harder than the fall. Open your eyes. This is you.

Kevin Freitas
04/10/06

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mai 23, 2006

Notes on Television part III

TELEVISION, FURNITURE & SCULPTURE: THE ROOM WITH THE AMERICAN VIEW, 1984 - Vito Acconci
From the catalogue The Luminous Image, Stedelijk Museum, Amsterdam.

Excerpt 1
Télé 3.jpgTelevision space is fishbowl space. There's a world going on in there: that exclamation might be made by a child-person looking, from out of the large world he/she is in, into the small world behind either the aquarium-glass or the TV-screen. In the case of the TV, the world is on something, on-screen, not (as in the case of the aquarium) in something, in the bowl; but, unlike movies, the TV screen isn't all, there's something behind it, something underneath it all - the TV tube lies behind the screen. We know that the screen is only the facade of the box; even now that the screen can be drastically reduced in size - as in the two-inch "watchman" - there still has to be room for the TV tube, the TV box screen might be thought of as the window into the box - except that we probably can't, in 1984, be innocent enough to believe we're really looking through a window, really peering inside the box.

Rather, the screen might be seen as some kind of distorting, inside-out mirror, which the power inside the box holds up to the world at large. Inside the box, the world - or the power-to-be-a-world - is condensed: it's the size of a conventional package, a gift, it's power made handleable. The viewer might be led to believe, then, that the world is in his or her hands.

mai 22, 2006

STOP! ou encore, et encore, et encore...

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mai 17, 2006

WARNING: (NA-60) A MOVIE REVIEW

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Art school confidential.jpgFor the film, Art School Confidential, you don't need a Picasso to decipher my blog title. Artists "under 60" should steer clear of movie theaters showing this current film. And if you didn't read this blog warning first, (before reaching into your billfold for movie money and viewing this sick but very real film about the artworld) you might want to change your life course. The movie does tell it like it is, but barely. I would like to know where Malkovich (or better, Clowes) got the statistic that "only one out of a hundred make a living as an artist". Try one out of two hundred or so, maybe. This movie is very cheesy with a lot of really stupid stereotypical students at a New York art school and very corny punchlines. The 3 male roommates, the "big headed" wanna be film maker, the fashion design student who FINALLY! realizes he is gay--come on, gimme a break! And lastly, the very naive and forlorn main character of the movie, Jerome, who is majoring in drawing and painting and wants to be "the best artist of the 21st century"! Where was his brain at? I wonder just how many art students out there think they could be the greatest? You really MUST have talent, know the right people (connections), be in the right place/city at the right time... and PRAY. OR you can do what Jerome did....STEAL (and I'm NOT telling you what, just in case you might have nothing else better to do than to see this film), end up in jail for a crime he didn't commit and then, because of all the publicity, becoming a celeb in the art world. So, is the moral of the film to "create a BIG stir" (does shock have value?) to get "known" or must we all hang up our brushes??? woof woof.

mai 16, 2006

...goin' to the dogs. Julien Colombier

Julien Colombier

Julien Colombier lives and works in Paris

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mai 14, 2006

FRESH STRAWBERRIES - Pick your own !

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4 Artistes ramènent leurs fraises
Véronique MALLEVAES
Rodolphe LE CORRE
Bruno LAVELLE
Hervé CRESPEL

L’an dernier, les peintres, sculpteurs et photographes rassemblés par le collectif Cairn, associaient leurs diverses expressions dans une manifestation intitulée : " 13 artistes ramènent leur(s) fraise(s) ". Cette exposition itinérante a célébré le petit fruit dans divers lieux de Bretagne : au printemps à l’Atelier d’Estienne espace d'art contemporain de Pont-Scorff, en été au Conservatoire Botanique National de Brest, à l’automne chez Spectaculaire à Rennes.

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Ce printemps, quatre artistes, désireux de prolonger leur complicité en se rapprochant d’une autre région de production, Wépion, " ramènent leurs fraises " à la Galerie d'Art'bre.

Exposition au titre familier qui, comme l’écrit Alain le Beuze dans le catalogue, peut surprendre. " […] Ce titre est un clin d’œil au sort que l’on a réservé à la fraise lors d’une expédition sur le continent sud-américain. Avant de gagner son droit d’asile européen, ce fruit, issu de l’immigration fruitière, a subi une occidentalisation lors de quelques croisements génétiques virginiens, devenant ainsi la pulpeuse et rubiconde beauté de nos tables. Et Amédée-François Frézier aurait aujourd’hui quelque difficulté à reconnaître la belle chilienne qu’il a rapportée dans ses bagages au 18è siècle. […] Ramener sa fraise, c’est aussi signaler que ces créateurs ont encore un message original à transmettre, même sur un motif aussi banal que celui de la fraise. Si elle est un fruit de saison et un produit de consommation courante qui est devenu aujourd’hui un enjeu de marketing, l’art au contraire échappe à cette réalité mercantile. Il s’inscrit plutôt dans la durée et nécessite qu’on prenne le temps de le savourer loin des modes éphémères ".

Marcottage printanier, nouveau stolon, gageons que cette exposition séduira les botanistes, les gastronomes et les esthètes, par ses formes et ses couleurs tout aussi présentes que dans les précédentes expositions.

Vernissage le Samedi 3 juin à partir de 17h 30

Galerie d'Art'bre
rue du Village 3
5170 ARBRE PROFONDEVILLE
Belgique
01132.81.74.52.90

mai 12, 2006

À lire - "Clara et la pénombre"

A RECOMMENDATION BY:
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À lire pour le plaisir.

Quand il est question de peinture, l’attention se tourne vers les expositions et les musées, aller à la rencontre de l’œuvre. Lire aussi. Les ouvrages théoriques, les catalogues et les critiques participent de l’univers de l’amateur.

Somoza.jpgMais la peinture habite aussi certains romans. Attiré par le thème, il en faut bien un pour s’y retrouver dans le foisonnement éditorial, j’ai rassemblé, au gré de mes errances, quelques ouvrages sur l’étagère de ma bibliothèque. Le fondement de cette collection trouve son origine dans mon intérêt à lire « Le Chef d’Œuvre Inconnu », célèbre roman d’Honoré de Balzac. L’histoire campe un peintre fougueux et secret, Frenhofer, qui préfigure, avant l’heure, l’informel gestuel. Dans sa peinture, son chef d’œuvre, aboutissement de l’histoire, seul un pied sublime subsiste de son combat acharné avec la figure. Fiction pour l’époque, le roman écrit vers 1831 augure l’engagement expressionniste et la vigueur abstraite.

Dans mes nouvelles lectures, j’ai croisé un roman qui m’a fortement impressionné. « Clara et la Pénombre » par José Carlos Somoza. Roman de fiction, l’action se passe à notre époque, cette fois. Le récit évoque des pratiques artistiques effarantes. L’auteur fort bien documenté sur l’art contemporain réinstalle la peinture dans les préoccupations esthétiques actuelles en poussant à l’extrême les pratiques du Body art, du Minimalism et de l’Art Conceptuel.

Sur fond de clair obscur tragique, un hommage à Rembrandt tourne à l’effroi. Une femme, Clara, au corps neutralisé et « transformé en toile » pour subir toutes les tensions de la création d’un l’artiste visionnaire, va pénétrer les recoins de « pénombre »de la création et du marché de l’art. Les mécaniques de l’artiste, son rapport particulier à la toile, au médium, à la posture et à l’engagement sont abordés avec une vérité surprenante dans laquelle l’auteur pousse sa logique tout juste un peu plus loin que l’acceptable. Il est question de pureté et d’absolu quand le sombre mystère de l’acte créatif rencontre la blancheur des corps humains apprêtés et transformés en supports picturaux, hybrides d’un genre nouveau mi-homme, mi-peintures. Il est question d’acceptation et de droits sur la création, quand la confusion s’installe entre la personnalité humaine et la pérennité de l’œuvre. Les enjeux du commerce, de la conservation, du pouvoir, se mêlent dans l’étrangeté la plus complète aux aspirations de l’artiste, à ses doutes et à ses certitudes. Le roman se vit dans l’ambiguïté du corps-toile de Clara, tout à la fois modèle, support et femme. La psychologie des personnages traverse le trouble moral et les pulsions érotiques face à la création artistique. Les protagonistes s’affrontent dans leurs vérités entre nudité et passion, sur fond de marché d’art et de gloire posthume.

L’émotion forte, tenue par l’auteur, naît de l’ambiguë entre l’actualité artistique et la fiction qu’il décrit. Il nous place sans cesse entre possible et impossible, en prolongeant le développement artistique dans une raison équivoque et inquiétante. La lecture soulève nombre d’interrogations sur les rapports singuliers du peintre à la toile blanche et de son engagement dans l’acte même de créer. Dans ce roman si particulier de José Carlos Somoza, les supports littéralement incarnés en toiles vivantes manipulées et livrées à tous les fantasmes, provoquent cette inquiétante étrangeté, ombre de fond d’une création extrême.

José Carlos SOMOZA
Clara et la pénombre
Roman traduit de l’espagnol par Marianne Million
Actes Sud, collection Babel
(You can purchase this book here, in French only)

mai 09, 2006

LUNA

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Photo: Christine Fricaud

mai 08, 2006

ICI et MAINTENANT

Cocoon.jpgJAMES RENIER

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wg/3zi/k/bar
ein haus fuer kuenstlerInnen.gaeste.freunde
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do. 11.05.06, ab 20.00 uhr

bibliothek:
"venusia"
mark von schlegell

curator's kitchen-ihr kocht fuer uns:
"professionelle vorhersagen zu vergangenheit und zukunft stehen in den sternen"
sabine maria schmidt

gaestezimmer:
"repetition"
james renier

wohnzimmer:
"von der ordnung 2ter ordnung"
joern zehe

bar:
j.b's bar

die wg : jeden 2ten donnerstag im monat
malkasten.duesseldorf.jacobihaus
kuenstleverein malkasten.jacobistr .6a.40211 duesseldorf.0211.356471
aktuelles programm.info: www.wg3zikb.de

programm.ausfuehrung:
markus ambach.birgit jensen
idee.koordination:
markus ambach

die wg im malkasten- ein offenes haus fuer kuenstlerInnen.gaeste.freunde
wann: jeden 2. donnerstag im monat
wo: malkasten.duesseldorf.jacobihaus
was: treffen.talken in 5 zimmern:
wohnen/tv: video.filmprogramm.tv
bibliothek: lesung.vortrag.news
gaestezimmer: gaeste.bilder.diskussion
kueche: wer kocht was.plattenkueche
bar: trinken.treffen.talk in j.b's bar

inputs sehr willkommen:
info@wg3zikb.de

MADELEINE BERKHEMER
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la galerie Sollertis présente :

L'Ecole des Caresses

une exposition de Madeleine Berkhemer
vernissage mercredi 10 mai de 18h30 à 21h

Performance de l'artiste à 20h

Lors de sa prochaine exposition à la galerie Sollertis, Madeleine Berkhemer présentera trois récentes sculptures inspirées des célèbres « Trois Grâces ». L'artiste a donné à ces sculptures la forme des trois jambes des personnages qu'elle a créés comme ses alter ego : Milly, Molly et Mandy. Dans l'esprit de Madeleine Berkhemer, ces sculptures représentent la partie la plus sexy de la jambe à savoir le pied. Elles ont été moulées sur la propre jambe de l'artiste et sculptées, travaillées et polies dans trois styles différents : Mandy en bronze, Molly en marbre et Milly dans un matériaux synthétique. L'artiste montrera également un grand dessin récent inspiré du livre fétichiste*, anonyme et vendu sous le manteau au début du 20e siècle : « L'Ecole des Caresses ».

*A l'origine le mot vient du portugais "feitico" dérivé du latin "facticius" ou "facere", qui signifie faire ou fabriquer. Cela implique que l'objet soit créé artistiquement ou par une puissance surnaturelle et qu'il soit adoré de façon obsessionnelle pour ses pouvoirs magiques tel un porte-bonheur. L'attraction peut être sexuelle ou non, et l'objet, animé ou inanimé. Selon Steele (1996), le sens original était autant religieux que anthropologique. Au 19e siècle, le terme s'est étendu à toutes les choses qui étaient adorées irrationnellement. Le psychologue français, Alfred Binet, fut le premier en 1887 à décrire le fétichisme dans son sens psychologique. Pour la sexologie, science développée à partir du 19e siècle, le mot fétichisme est devenu associé au sexe et à l'attirance pour certaines parties du corps féminin, ou certains accessoires de la panoplie féminine. Les parties du corps qui attirent le fétichiste peuvent être le pied, les cheveux, les fesses et les seins ; et les objets suivants : les gants, la lingerie, les bas, le cuir, les soutiens-gorge et porte-jarretelles.

Madeleine Berkhemer will show three of her recent sculptures inspired by the famous 'three graces' marble sculpture. These three sculptures will visualize the three legs of her ongoing Milly-Molly and Mandy concept. The sculptures are representing to Madeleine's perception the most sexy part of their leg; their feet*. These sculptures were casted of Madeleine's own leg and sculpted, detailed and polished in three different 'looks'; Mandy in Bronze, Molly in Marble and Milly in synthetic material. There will be also shown one big new drawing inspired by the underground 'unknown' fetish book 'L'Ecole des Caresses' from the early 20's.

*Originally the word was thought to come from Portuguese "feitico" and derived from the Latin, "factitius" or "facere", to do or to make. The implication being the artefact was created artistically or by the supernatural and was worshipped in obsessive fashion because of its magical powers i.e. a lucky talisman. The attraction could be sexual or non-sexual, and the object, inanimate or animate. According to Steele (1996), the original meaning was either religious or anthropological. By the nineteenth century, the term had been extended to refer to anything, which was irrationally worshipped. French psychologist, Alfred Binet, was the first to describe fetish in the psychological sense, in 1887. As the science of sexology developed from the nineteenth century the term fetish became firmly associated with sex and the attraction of certain portions of the female body, or specific articles of female attire. Examples of body parts, which attract the fetishist, include feet, hair, buttocks, and breasts; and objects include. gloves, lingerie, hose, leather, brassieres, and garters. In the interests of intellectual exchange the author attempts to describe foot fetish and shoe retifism.

Galerie Sollertis
12 rue des Régans
F-31000 Toulouse
T. 33 561 55 43 32
F. 33 561 25 34 13
sollertis@sollertis.com
www.sollertis.com

JULIEN COLOMBIER - Paris

Download pdf file
Download pdf file

PABLO REINOSO

Pablo Reinoso

mai 04, 2006

OH WHERE, OH WHERE HAVE THE GALLERIES GONE (PORTRAIT OF A STRUGGLING ARTIST IN SAN DIEGO)

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Question#1: Where is the most obvious place for a family to move after enduring numerous years of depressing cold and rainy weather?
Answer: Sunny, Southern California.

Question#2: If you had to choose between smoggy, traffic congested LA or San Diego's cleaner, (if I didn't attach the "er", I'd be lying) get anywhere in roughly 15 minutes or less (well, most of the time) living, which city would you pick?
Answer: Almost 20 years ago, my answer was San Diego. And yes, I must admit, it was great raising a family here.

BUT,... what about ME, a struggling artist trying to establish myself in the art world? FAT CHANCE HERE, I say! I have seen art galleries come and go here like popsicles in the desert heat. Where are they when you REALLY need them? I can say from experience, you get your hopes up, envision your art on the cover of a future issue of Art In America when a fresh, new gallery takes you under their wings. "I have high hopes for you," they say. You get favorable reviews by the art critic. You have show after show. Even sell some art! "Wow", you say. Life is starting to look good. Wait a minute!.... I can feel the heat. The gallery is getting a FEVER. Oh, No! It DIED!! along with some unreturned even damaged paintings, owed $$$, and the high hopes of the many artists it stabled.

The above is a sad story for aspiring artists. But it is all too true here in San Diego. Galleries that showcased local emerging artists have closed, leaving just a very small handful of "closed door policy" (you know what I mean!) galleries left showing works by ONLY established artists.

What is going on here?? Can we bring back the galleries??? What does it take?? Who is collecting contemporary art here???? Are there ENOUGH sophisticated, cultured, and art-plugged people living in San Diego??? Do people here ONLY care about the Padres, retirement homes, or beach blanket bingo????? Will there be any feedback/comments on my story?????, I wonder.

In summary, 20 years later, my answer to Question#2: Neither.

And advice to young emergers.. Get your work out, out, out of San Diego, into cities that are "art friendlier". It's not difficult to do, if you have your he[art] in it.

mai 03, 2006

MOVE ON! There's nothing to see here! ARTWALK 2006

ArtwalkKF.jpgARTWALK made its annual San Diego appearance last weekend in downtown's Little Italy, a chic neighborhood with high rent condos and high incomes. Larger than last year by all reports and packed with art goers and lovers, a few buyers, live music and bratwurst to go. A good time I believe was had by all. This was the first ARTWALK I had attended; my fellow art walkers, Richard Gleaves, Maura Vazakas and Aileen Rodosevich had already visited many times before. Somehow I knew this year was going to be different and I wasn't disappointed.

Richard, who's performance idea this was, Maura, Aileen and myself met each other at one of the principal entries leading into the ARTWALK fair. Art fair is an appropriate term I believe, but instead of being indoors with a $12 entrance fee and poor lighting, it was outdoors (this is San Diego afterall), FREE and housed in individual minature white tents about 6ft. square and about 8ft. tall. Each exposant's tent was side by side, lined up like a picket fence on both sides of the closed off streets. I don't recall the number of tents there were, between the artists' tents and the ones designated to feed theirs and the public's hungry souls but there were indeed plenty. Each artist hung his/her art works the best that they could and then sat back and waited and watched the sea of human flesh pass by. It was quite hot to be art walking that day, we were just getting started around 2:00pm and the mass of visitors already present and salon style hanging in the booths, made it seem even more oppressive.

Our friend Richard, who apparently did a previous performance last year at ARTWALK - sporting a painting of a clown by Maura on his back (view photos: image, image, image) while weaving in and out of the crowds and standing silently, back turned toward the crowds, in a empty tent - wanted to do something again this year and came up with the following idea. We were to carry art work on a stick, preferably framed, raised high above the crowds while strolling through the streets admiring the works of art in the tents - as naturally and nonchalantly as possible or non-agressively. Maura carried one of her paintings, Aileen one of her photographs (double-sided), Richard a reproduction of some forgotten Monet garden painting in Giverny, and myself a collage of images taken from the blog.

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The biggest obstacle we later concluded, was how and where to start our walk. Do we raise our banners in unison while approaching the entrance or do we wait until we're deep within the crowds to hoist our art on a stick? We decided on the latter and raised them once we were inside. I had initially thought that from the looks of things, we would remain fairly innocuous and would just blend in. In retrospect, I'm glad I felt that way as it helped in bolstering my courage. Once everyone's sign was up and we started moving through the crowd, it really was no big deal. At this point, the fun really began.

I think we were all surprised by the overtly positive responses we received from people, not to mention a good lesson in human art psychology and a sense of relief of not having Security kick us out. It really was quite an experience, just amazing. All eyes turned toward our art banners, people watched our parade in wonderment, curiosity, and with warm smiles and laughter. I don't know how many people stopped us to take our picture. A barrage of questions and reactions: "So what are you guys doing?" Are you protesting? Protesting art? What's this for? "Hey!!", someone would yell, "It's art on a stick!" "Great job! Keep it up!" and we would simply reply "Yes, it is art on a stick" or "I'm blocking the sun" or "We're walking art" or "We're just having fun" The minute we dis-armed so to speak, the spectator with an honest albeit whimsical response or cornball explanation, a huge grin would appear on their face and they would reply, "Oh, I get it, that's great! what a fun idea".

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Here are some of the things we heard from people while walking:

-- A celebration of the protest of art
-- Traveling art show
-- A protest
-- Free the artists
-- Freebie artists (Maura's version)
-- Art on a stick
-- Self-promotion
-- Booth promotion

I believe the most unpredictable moment came when we discovered an empty tent that we immediately squatted and set up to give a performance in. Believe it or not, the moment we stepped into the confort zone of a pre-determined space and utilitary function, we became invisible! We instantly became one of many who were also in a pre-designed space, framed by their temporary environment, performing like everyone else and vying for the attention of anyone who would look their way. We were standing in a line, holding our signs, facing the public and they simply passed us by without looking or stopping, a fleeting glance at best. It was like doing stand-up comedy to an empty theater! After several minutes of this, we decided it was best to move on and to finish our walk. The second we broke the plane of the tent, art on a stick high above our heads, people started paying attention to us again - we even got a film crew to film us!

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We finished our tour of ARTWALK several hours later, a bit tired and a little sunburned but very happy about the whole experience or experiment as Richard likes to say. We're planning to do something "grande nature" for next year's event and are feverishly working on the details. I can tell you personally, that I had a smile on my face from ear to ear and I know Richard, Maura and Aileen had a great time too. So until next year, Arriverderci !

mai 01, 2006

Going to the Birds

by Kevin Freitas


Art as Authority's contributing editor, Maura Vazakas, is currently showing new works at the RogerLewisKing Gallery, San Diego. If you haven't seen Maura's new State Bird paintings yet, your very much in for a surprise - they are some of the freshest work I've seen in a long while. However, the biggest surprise might be finding the gallery open, so save some gas and call ahead.

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Installation view of new paintings and Matty photos by Maura Vazakas


STATE BIRD PAINTINGS

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Louisiana (Pelican)

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Arizona (Cactus Wren)

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Maryland (Rooster)

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California (Quail)

OTHER WORKS IN THE SHOW

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RogerLewisKing Gallery
3603 Fourth Avenue, Hillcrest; San Diego
619.578.2287 for further information and hours