well Suzy the Salamander
and Andy the Alligator
went in an Elevator
up to the 8th floor
they went to buy a Lawnmower
at the Department store
because the grass outdoors
was OUT of CONTROL
"well I want the Red one"
said, Suzy and her Make-up
"well, let`s get the Green one"
said Andy and his toy guitar
"Hello, can I help you sir? "
said Mr. Store Clerk
but soon he caused a great big stir
"You`re Talking Animals!"
uh oh
oh no
"I`m afraid you`re going to have to leave"
said the man to Andy
"oh yeah, just one more thing, ..
DON`T RETURN PLEASE!"
The Amphibian broke down in tears
The Reptile faced hid greatest fear
and looked in to a Plastic Mirror
Ah ha ha HA!
So Suzy the Salamander,
Andy the Alligator,
went in the Elevator,
down to the 1st floor
They went to buy a Lawnmower
at the Department store
but can`t do it anymore
`cause THEY`RE TALKING ANIMALS!
(Now I`d assume you`re all wondering,
just what happened to this couple...
((this happened years ago))
but just before I bore you with this
lengthy monologue
I feel that I should warn you-
some say that I am wrong
They fell so far in love that they
literally became 1
"Suzandy" was the name of choice
a new freak for the Wild Kingdom
Moved out near the Water,
and had a lovely Daughter,
who one day told her Father
"We`re TALKING ANIMALS!"
Friday, October 20, 2006
Thursday, October 19, 2006
The Blue Mask
contrary to a recent
Free Press "expose'",
J.Waterman is 34, not 37
and is the proud parent
of only one cavity.
The altered state and the artist…
Altered states and creating work...?How does this affect you?
I know for me altered states act as tools/crutches to assist in the expression of repressed issues/emotions or at the very least an uninhibitor.
Anyway, I’ve been thinking about this…and wondering how it affects other artists.
Please let me know.
T.
Wednesday, October 18, 2006
Welcome
Check out the link to our newest member: Rodrigo Pradel (assuming his invitation works - sometimes it takes a few tries). --> --------->
Tuesday, October 17, 2006
More Rielisms
from the exhibit "Rielisms":www.dunlopartgallery.org/
Rosalie Favell, "I Awoke To Find My Spirit Had Returned", giclee print, 1999
On Work (Kahlil Gibran)
You work that you may keep pace with the earth and the soul of the earth.
For to be idle is to become a stranger unto the seasons,
and to step out of life's procession, that marches in majesty and proud submission towards the infinite.
When you work you are a flute through whose heart the whispering of the hours turns to music.
Which of you would be a reed, dumb and silent, when all else sings together in unison?
Always you have been told that work is a curse and labour a misfortune.
But I say to you that when you work you fulfil a part of earth's furthest dream, assigned to you when that dream was born,
And in keeping yourself with labour you are in truth loving life,
And to love life through labour is to be intimate with life's inmost secret.
But if you in your pain call birth an affliction and the support of the flesh a curse written upon your brow, then I answer that naught but the sweat of your brow shall wash away that which is written.
You have been told also that life is darkness, and in your weariness you echo what was said by the weary.
And I say that life is indeed darkness save when there is urge,
And all urge is blind save when there is knowledge,
And all knowledge is vain save when there is work,
And all work is empty save when there is love;
And when you work with love you bind yourself to yourself, and to one another, and to God.
And what is it to work with love?
It is to weave the cloth with threads drawn from your heart,
even as if your beloved were to wear that cloth.
It is to build a house with affection,
even as if your beloved were to dwell in that house.
It is to sow seeds with tenderness and reap the harvest with joy,
even as if your beloved were to eat the fruit.
It is to charge all things you fashion with a breath of your own spirit,
And to know that all the blessed dead
are standing about you and watching.
Often have I heard you say, as if speaking in sleep, "He who works in marble, and finds the shape of his own soul in the stone, is nobler than he who ploughs the soil.
And he who seizes the rainbow to lay it on a cloth in the likeness of man, is more than he who makes the sandals for our feet."
But I say, not in sleep but in the overwakefulness of noontide, that the wind speaks not more sweetly to the giant oaks than to the least of all the blades of grass;
And he alone is great who turns the voice of the wind into a song made sweeter by his own loving.
Work is love made visible.
And if you cannot work with love but only with distaste, it is better that you should leave your work and sit at the gate of the temple and take alms of those who work with joy.
For if you bake bread with indifference, you bake a bitter bread that feeds but half man's hunger.
And if you grudge the crushing of the grapes, your grudge distils a poison in the wine.
And if you sing though as angels, and love not the singing, you muffle man's ears to the voices of the day and the voices of the night.
For to be idle is to become a stranger unto the seasons,
and to step out of life's procession, that marches in majesty and proud submission towards the infinite.
When you work you are a flute through whose heart the whispering of the hours turns to music.
Which of you would be a reed, dumb and silent, when all else sings together in unison?
Always you have been told that work is a curse and labour a misfortune.
But I say to you that when you work you fulfil a part of earth's furthest dream, assigned to you when that dream was born,
And in keeping yourself with labour you are in truth loving life,
And to love life through labour is to be intimate with life's inmost secret.
But if you in your pain call birth an affliction and the support of the flesh a curse written upon your brow, then I answer that naught but the sweat of your brow shall wash away that which is written.
You have been told also that life is darkness, and in your weariness you echo what was said by the weary.
And I say that life is indeed darkness save when there is urge,
And all urge is blind save when there is knowledge,
And all knowledge is vain save when there is work,
And all work is empty save when there is love;
And when you work with love you bind yourself to yourself, and to one another, and to God.
And what is it to work with love?
It is to weave the cloth with threads drawn from your heart,
even as if your beloved were to wear that cloth.
It is to build a house with affection,
even as if your beloved were to dwell in that house.
It is to sow seeds with tenderness and reap the harvest with joy,
even as if your beloved were to eat the fruit.
It is to charge all things you fashion with a breath of your own spirit,
And to know that all the blessed dead
are standing about you and watching.
Often have I heard you say, as if speaking in sleep, "He who works in marble, and finds the shape of his own soul in the stone, is nobler than he who ploughs the soil.
And he who seizes the rainbow to lay it on a cloth in the likeness of man, is more than he who makes the sandals for our feet."
But I say, not in sleep but in the overwakefulness of noontide, that the wind speaks not more sweetly to the giant oaks than to the least of all the blades of grass;
And he alone is great who turns the voice of the wind into a song made sweeter by his own loving.
Work is love made visible.
And if you cannot work with love but only with distaste, it is better that you should leave your work and sit at the gate of the temple and take alms of those who work with joy.
For if you bake bread with indifference, you bake a bitter bread that feeds but half man's hunger.
And if you grudge the crushing of the grapes, your grudge distils a poison in the wine.
And if you sing though as angels, and love not the singing, you muffle man's ears to the voices of the day and the voices of the night.
Ooops!
Casino magnate Steve Wynn will keep and restore a Pablo Picasso painting that was accidentally damaged after Wynn put his elbow through it. He had agreed to sell the painting, called Le Rêve (The Dream), to art collector Steven Cohen for $139 million US just before the accident.The sale would have set a new record for any sale of a painting. It is $4 million US more than cosmetics magnate Ronald Lauder paid for Gustav Klimt's portrait Golden Adele. Wynn paid $48.4 million US in 1997 for the Picasso,which shows Marie-Theresa Walter, Picasso's 21-year-old mistress.
Wynn, who his publicist says gestures while he talks, suffers from retinitis pigmentosa, an eye disease that affects peripheral vision. He struck the painting with his right elbow earlier this month while entertaining guests at his Wynn Las Vegas casino, including Barbara Walters and screenwriters Nora Ephron and Nicholas Pileggi. He created a hole the size of a silver dollar in the left forearm of Marie-Theresa Walter. "Oh shit, look what I've done," Wynn said, according to Ephron, who gave her account in a blog.
From cbc.ca
Nice Cowboy Hat
Here is a link to an article that James was refering to in a previous post. It seems that Stompin' Tom didn't like that the sculpture existed so Joe Fafard just changed the title to "Nice Cowboy Hat" and showed the work anyway.
www.cbc.ca/arts/story/2005/12/01/fafard-stompintom-051201.html
Monday, October 16, 2006
Sunday, October 15, 2006
An Independent Prairie Nation
Riel's Councillors in the Northwest Rebellion
Riel at age 14
Riel on his way to NY City after release from the assylum in MO
Gabriel Dumont, Riel's military mastermind
The man himself
In Good Faith....
We received over 60 works for the show, and only a few late comers had to be delegated to the window.
Saturday, October 14, 2006
Art Top Ten
(image Bruce Nauman - Punch and Judy II Birth & Life & Sex & Death. 1985. Tempera and graphite on paper)
French fashion magnate François Pinault, also the owner of Christie's auction house, has been crowned the most powerful figure in the contemporary art world in 2006, according to the annual ranking by ArtReview magazine.
The list, in its fifth year, bases its rankings on commercial clout, intellectual influence and popularity.
The Top 10 are:
François Pinault.
Larry Gargosian.
Nicholas Serota – head of London’s Tate museums.
Glenn Lowry – director of New York’s Museum of Modern Art.
Sam Keller – director of the Art Basel event.
Eli Broad – U.S. collector.
Charles Saatchi.
Matthew Slotover & Amanda Sharp – directors of London’ s Frieze Art Fair.
Bruce Nauman – U.S. artist.
Jeff Koons – U.S. artist
Read more: www.cbc.ca/arts/story/2006/10/14/contemporary-art-list.html
The Book of Genesis
I've actually never read the bible. My family was not especially religious - in fact, my mother's father would not allow his children to attend church or participate in religious activities, something I didn't know until later in life. My father dabbled in Buddhism and New Agey spirituality, but never really discussed it with us as children - something I have come to appreciate.
Of course, growing up in our society one cannot help but know something about the bible. Christianity is ubiquitious in North America, whether we like it or not. Mostly, I just think of it as this strange old tradition that just hangs around for no good reason, like dresses being for women only to wear. But, the other day I was kind of struck in a particular way by the story of the Garden of Eden, or the little I know of it anyways. And I realized that the people who wrote that story (for I am sure that it was people who told it, and then wrote it) had an astute and direct understanding of the human being.
Think of the story - of the first humans and their existence in the garden, and the tree of the knowledge of good and evil which was forbidden to them. Animals, for the most part (perhaps there are exceptions) do not seem to dwell in the realms of good and evil. They do not seem to consider their actions in that way. What does it take to see good and evil, to live in good or evil? I believe that it is the ability to realize that another human's consciousness is like our own, and to then realize that it can be manipulated, for better or worse, to our own ends. Why would this knowledge be forbidden? Because it cannot be un-known. Once acquired, it forever alters the knower. Their actions thereafter can never be the same as before.
Perhaps the biblical story reaches back to some half-remembered point in the past, when human beings had not, as a species, acquired this knowledge. We may have been human in many ways, probably very much so in appearance, perhaps even in intelligence and all that it brings. But somewhere, sometime, somehow we acquired the knowledge - and it forever changed us. We can never return to the garden, where our actions were untainted by thoughts of good and evil. It is impossible. Only in our infant children can we see the potential of this, but it is lost so quickly as they capably learn to be just like the rest of us.
I don't say this with regret (much) - after all, there is nothing I can do about it. But it seems to me that whoever wrote that story understood all of this, and perhaps much more directly, as if they were closer in time to the actual events relating to the acquisition of that knowledge.
I know this post isn't directly art-related, and I would have put it on the Great Melee, but that blog doesn't seem to get much attention anymore T_T
Of course, growing up in our society one cannot help but know something about the bible. Christianity is ubiquitious in North America, whether we like it or not. Mostly, I just think of it as this strange old tradition that just hangs around for no good reason, like dresses being for women only to wear. But, the other day I was kind of struck in a particular way by the story of the Garden of Eden, or the little I know of it anyways. And I realized that the people who wrote that story (for I am sure that it was people who told it, and then wrote it) had an astute and direct understanding of the human being.
Think of the story - of the first humans and their existence in the garden, and the tree of the knowledge of good and evil which was forbidden to them. Animals, for the most part (perhaps there are exceptions) do not seem to dwell in the realms of good and evil. They do not seem to consider their actions in that way. What does it take to see good and evil, to live in good or evil? I believe that it is the ability to realize that another human's consciousness is like our own, and to then realize that it can be manipulated, for better or worse, to our own ends. Why would this knowledge be forbidden? Because it cannot be un-known. Once acquired, it forever alters the knower. Their actions thereafter can never be the same as before.
Perhaps the biblical story reaches back to some half-remembered point in the past, when human beings had not, as a species, acquired this knowledge. We may have been human in many ways, probably very much so in appearance, perhaps even in intelligence and all that it brings. But somewhere, sometime, somehow we acquired the knowledge - and it forever changed us. We can never return to the garden, where our actions were untainted by thoughts of good and evil. It is impossible. Only in our infant children can we see the potential of this, but it is lost so quickly as they capably learn to be just like the rest of us.
I don't say this with regret (much) - after all, there is nothing I can do about it. But it seems to me that whoever wrote that story understood all of this, and perhaps much more directly, as if they were closer in time to the actual events relating to the acquisition of that knowledge.
I know this post isn't directly art-related, and I would have put it on the Great Melee, but that blog doesn't seem to get much attention anymore T_T
The Man Who Made a Deal With God
Two sides went to war, the usual story.
Land, money, power, all the typical reasons.
Right and wrong, good and evil, waged a war from both sides.
Innocence and guilt mixed into the earth in equal proportions.
A morass of good intentions and evil intent, a quicksand of blood and tears.
Onto the battlefield the peacemaker strode.
Not defiant, not contrite. Alone and upright.
The shots rang out, and then silent.
-
What was his fate?
Land, money, power, all the typical reasons.
Right and wrong, good and evil, waged a war from both sides.
Innocence and guilt mixed into the earth in equal proportions.
A morass of good intentions and evil intent, a quicksand of blood and tears.
Onto the battlefield the peacemaker strode.
Not defiant, not contrite. Alone and upright.
The shots rang out, and then silent.
-
What was his fate?
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