Social Commentary on Terrorism and War


Thanks so much to Make Muse publication for sharing my art and story.  Jan Kirstein

Make Muse is an online (and soon-to-be print) magazine that is dedicated to inspiring change and activism through beauty, art, aesthetics, and the written word by propelling action and voicing experiences.

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Basta

These self-portraits are the photographer’s reactions to War and Terrorism, and what has emerged from the collective unconsciousness.

 

Getty Museum’s Open Content project makes 4,600 pieces of art freely available to download


 

 

Much of the world’s great artwork is tightly controlled, but the Getty Museum just announced a significant initiative to open things up — its new Open Content Program has made some 4,600 pieces of art from the museum’s collection free to use. Users can visit the Getty Search Gateway to browse through the entire collection of high-resolution images, and they can all be used for commercial and non-commercial purposes so long as they’re properly attributed to the museum. When downloading an image, the site also asks for you to share why you’re using it — so the museum can see why people are downloading its content.

Amongst the many freely available pieces of art released by Getty are a number of quite famous images, including work by Claude Monet, Vincent van Gogh, Rembrandt, and Leonardo da Vinci.  The 4,600 pieces of artwork available are just the beginning, as well. Getty says that it’s actively exploring the possibility of releasing much more art into the public domain, both from the museum’s collection as well as materials from the Getty Research Institute’s special collections. While Getty isn’t the first museum to push forward with an open artwork initiative (the museum cited a number of institutions like the Walters Art Museum as inspirations for the movement), it’s the latest example of how the internet is making classic, famous works more accessible.

Image credit:

Vincent van Gogh (Dutch, 1853 – 1890)
Irises, 1889, Oil on canvas
Unframed: 71.1 x 93 cm (28 x 36 5/8 in.)
Framed: 95.3 x 115.6 x 7.9 cm (37 1/2 x 45 1/2 x 3 1/8 in.)
The J. Paul Getty Museum, Los Angeles

OTHER FAMOUS WORKS OF INTEREST

Leonardo da Vinci (Italian, 1452 – 1519), Caricature of a Man with Bushy Hair, Italian, about 1495, Pen and brown ink, 6.6 x 5.4 cm (2 5/8 x 2 1/8 in.)

Jean-François Millet (French, 1814 – 1875), Man with a Hoe, French, 1860 – 1862, Oil on canvas, 81.9 × 100.3 cm (32 1/4 × 39 1/2 in.)

Paul Cézanne (French, 1839 – 1906), Young Italian Woman at a Table, French, about 1895 – 1900, Oil on canvas, 92.1 × 73.5 cm (36 1/4 × 28 15/16 in.)

Théodore Géricault (French, 1791 – 1824), The Race of the Riderless Horses, French, 1817, Oil and pen and ink on paper laid on canvas, 19.8 × 29.1 cm (7 13/16 × 11 7/16 in.),

Vincent van Gogh (Dutch, 1853 – 1890), Portrait of Joseph Roulin, Dutch, 1888, Reed and quill pen and brown ink, over black chalk, 32.1 × 24.4 cm (12 5/8 × 9 5/8 in.)

Collages by Lee McKenna


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The collages by Lee McKenna are imbedded with a sense of the passage of time and the compression of memories as if from a dream. From the field of torn shapes emerges  the hopes and memories of a love drifting through time.

Jan Kirstein

 

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“Mystical Poems of Rumi 1”, A.J. Arberry
The University of Chicago Press, 1968

This is love: to fly to heaven, every moment to rend a hundred veils;
At first instance, to break away from breath — first step, to renounce feet;
To disregard this world, to see only that which you yourself have seen6 .
I said, “Heart, congratulations on entering the circle of lovers,
“On gazing beyond the range of the eye, on running into the alley of the breasts.”
Whence came this breath, O heart? Whence came this throbbing, O heart?
Bird, speak the tongue of birds: I can heed your cipher!
The heart said, “I was in the factory whilst the home of water and clay was abaking.
“I was flying from the workshop whilst the workshop was being created.
“When I could no more resist, they dragged me; how shall I
tell the manner of that dragging?”

 

 

 

The work of Australian artist Lee McKenna can be found here:     http://leeamckenna.bigcartel.com

Nava Waxman as Shape Shifter


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Nava Waxman gracefully dances the fine interstitial line between becoming and being. She captures the manifestation of painting as a performance of the human spirit made manifest in paint.

Jan Kirstein

 

Written by Nikos Kount Littérateur

Untitled Wall is Nava Waxman’s interdisciplinary work, featuring a series of studio performances, from her extensive archive material spanning over the past three years to the more recent pieces.
It is an organic and visceral practice, as she is dealing with the concepts of metaphors and allegories which construct her performances and her ongoing research on how to portray situations that are comprised of various elements such as painting, objects, space and her body gestures.

 

 

 

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Her work does not acquiesce in an obvious self- representation and beyond her perspective as the creator with the physical presence in the process, she does not consider her oeuvre as completely autobiographical.
Waxman’s aesthetics are referential and by the use of classic art media in combination with New ones, she transform her ideas into a ritualistic Theatre. She conserves in her editing process a continuation of things past gone and of things yet to come. The essence of these junctions and additions influences how each of her artistic materials and techniques relates to each other. Thinking within the framework of object-making, her dilemma and principal focus is how to form an Image both expressively and critically charged while engaging with concepts around experience and representation.

 

 

Nava Waxman addresses and questions the traditional method of painting and whilst she deconstructs it, at the same time raises the task of painting to a coalescence of references; from the research and study of Art History to the factual and mythological and other fields such as Literature and Music.
The core of her practice and performances resides in the task of painting on her studio wall. The Wall has been painted over and over again with ephemeral paintings that resonate with the fluid time and space. Traces of paint, lines and faded images are there so as to be merged into something new. Her methods of painting transform the Wall into a Live Ephemeral Palimpsest that constantly changes. The narration of this exhibition is multileveled and concentric.

 

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The context of examining the relationship between performance and visual art lies in the origin of the vast documentations material, since from the very beginning she used photography in order to capture the creation of the artwork as an Art as well. It is a celebratory continuous discovery and illumination of the action after its genesis. The combination of Technics and Time or as Roland Barthes wrote: A sort of umbilical cord links the body of the photographed thing to my gaze: “light though impalpable, is here a carnal medium, a skin I share with anyone who has been photographed.”
The transitory nature and duration of the imagery coincides with her evolution as a painter. She is aware of the fact that the produced work will only last for a limited period of time. Capturing the random, the magical, the thoughts and the feelings made this wholeness tangible. In a way it is a struggle; Painting versus Painted.
These works assemble and at the same time epitomize this ever changing act of looking and most importantly her Solitary monologues, which have only ever taken place in the privacy and isolation of her studio. This exhibition marks the public nature and premiere of these series.

 

 

According to Nava, Life is an accumulative formation and this resonates with her painted wall or the covered up paintings. The Untitled Wall stands as a monument of Now, where time, space and feelings are interconnected and the way we perceive the momentum or the future is eminently affixed to our retention of the past.
The photographic sequences are offering an access to the artist’s inspirations and how they are transformed into a perpetual reminiscence of the collective memory. The associations and the situations established through her performances allow an open and unconditional platform for the beholder to experience.

 

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“In this modern era when everything has existed in the past, images are disposable and the meanings misinterpreted, Nava Waxman’s endeavor is to question these circumstances and reconstruct the [ definition of ] Vision.”

Written by Nikos Kount Littérateur

IMG_1524   Nava

 

Nava Waxman is a Toronto-based artist whose work ranges from drawing, painting, and objects to performance and photography.
Born in Israel (1974), she studied painting and drawing at the Toronto School Of Art and received her BA in social science and communications from Open University in Tel-Aviv.
Nava has exhibited in national and international shows and her work has been featured in numerous publications and is held in public and private collections.
She has been the recipient of the Canada Council of the art Travel grant as well as the Exhibition Assistance Grant from the Ontario Art Council. She lives and works in Toronto.

 

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