Saturday, April 14, 2012
The case of Ana Mendieta.
http://www.artinamericamagazine.com/news-opinion/news/2010-10-12/ana-mendieta/
http://www.alisonjacquesgallery.com/artists/47/works/
https://www.google.com/search?q=images+ana+mendieta&hl=en&rls=com.microsoft:en-za:IE-Address&prmd=imvnso&tbm=isch&tbo=u&source=univ&sa=X&ei=qteJT9jiOYaHhQfU6LzJCQ&ved=0CCQQsAQ&biw=1366&bih=622
http://www.alisonjacquesgallery.com/artists/47/works/
https://www.google.com/search?q=images+ana+mendieta&hl=en&rls=com.microsoft:en-za:IE-Address&prmd=imvnso&tbm=isch&tbo=u&source=univ&sa=X&ei=qteJT9jiOYaHhQfU6LzJCQ&ved=0CCQQsAQ&biw=1366&bih=622
Exploring human creativity -Terra Incognita - gravitas of becoming.
Liminality in Art
http://www.amazon.com/The-Postmodern-Condition-Knowledge-Literature/dp/0816611734
http://peterandjoan.blogs.wm.edu/2008/09/19/the-liminal-space/
http://peterandjoan.blogs.wm.edu/2009/03/11/barbara-kruger-a-room-with-a-view/
http://peterandjoan.blogs.wm.edu/2009/03/11/barbara-kruger-a-room-with-a-view/
This is meant to be an attempt in coining a new term in the Art Theory field.
Curiously enough, the term Liminality continues not to be recognised by the modern dictionaries of English; even though numerous (stated below) researchers have been using it in academic papers. It doesn’t exist as an aesthetic concept or any distinguished phenomenon in the contemporary fine art. Yet, what I would like to claim and what is the reason of this article is my knowledge that this very notion has been persistently influencing the way of defining and interpreting art of the last decades at least. Though never or very rarely (in its adjective form of the liminal) applied as such by the art critics and scholars it has been circulating in the air each time the hybridity, borderline qualities, formlessness or intersemiotics of the Postmodernism has been loathed or admired.
From Latin limen meaning threshold ‘liminality’ is an existential (metaphysical) subjective, state and realm of hovering ‘between and betwixt’ of two (or more) different planes, spaces and/or existential qualities. First described in anthropology (Arnold van Gennep, Victor Turner) as a social theory of the liminal states – spaces of a ‘temporary outcast’ when an individual or a group is being placed by the society on its margin in a ritual of purification and/or recognition. It has got also its usage in the contemporary psychology where the liminal means sub- or unconscious state with one’s sense identity being ‘hold’ or dissolved to some extent. In contemporary philosophy J. Derrida has been called the ‘philosopher of the liminal’ due to his deconstruction attempts of the integral and solid tissue of materiality (more about it in the next parts of this series).
In visual art the ‘threshold’s ‘ aesthetics has been described on the theatre, cinema and performance field (notably S. Zizek, S. Broadhurst) and some curatorial and critical attempts has been made to embrace the liminality of the contemporary artistic expression done by more or less traditional media. Yet, it’s basically the ‘no man’s land’ when painting or sculpture is considered – those realms remain, for the today’s critique and theory (and not surprisingly, by any means) immune to any ‘revolutionary’ ‘new’ aesthetic refurbishment; it became a sort of an ideological cliche – that it’s more convenient to blame painting for its impotency (it’s ‘dead’ anyway, why bother then?…) than to inject any potent conceptual spirit into it by an affirmative reflection.
When J-F. Lyotard has called Postmodernity the nascent state, the state of a permanent ‘becoming’ (The Postmodern Condition, 1979) he basically admitted its innate liminal character; and those artworks that seek to address this condition (both deliberately or not) are probably best recognised for their aesthetics (or anti-aesthetics) of incompleteness – sculptures/installations look as if the artist ran out of the materials to finish them to a decent level; paintings seem to be painfully ‘hanged’ by their own guts with indescribable forms, unidentifiable colours and freaky techniques; videos cry out for any structure, even a hint of a narrative. Their ‘becomingness’ is the only existence they know and it comes invariably as disquieting or even disturbing for the audience. No without a reason the primitive societies considered the liminal states as dangerous, unclean (Turner); and those affected were isolated ‘pro publico bono’.
As hazardous and monstrous in moments as the liminality in art (and beyond it) seems to appear it is also probably the only truly creative state, which – if used wisely – can result in some profound discoveries and metamorphoses. This fructile chaos and the storehouse of possibilities (Turner) is a goldsmith’s workshop of the contemporary art; even though some purists rise an alarm that the state of the constant flux and indeterminacy (where ‘everything goes’) will annihilate all the miserable bits of art that left – let’s be positive… Art is best cared for if it’s accepted just as it appears and shapes itself through the mill of the human spirit; even if refuses to ‘become’ and fit any new uniform – so what?… As far as minds and hearts are enflamed by it, even with a doubt, even with a turmoil – it fulfills its calling of the ‘fifth element’ – the force of life and death, possibility and danger, sanctus and profane.
http://www.amazon.com/Society-Spectacle-Guy-DEBORD/dp/0934868077/ref=pd_sim_b_3
http://www.amazon.com/The-Order-Things-Archaeology-Sciences/dp/0679753354/ref=pd_sim_b_5
Curiously enough, the term Liminality continues not to be recognised by the modern dictionaries of English; even though numerous (stated below) researchers have been using it in academic papers. It doesn’t exist as an aesthetic concept or any distinguished phenomenon in the contemporary fine art. Yet, what I would like to claim and what is the reason of this article is my knowledge that this very notion has been persistently influencing the way of defining and interpreting art of the last decades at least. Though never or very rarely (in its adjective form of the liminal) applied as such by the art critics and scholars it has been circulating in the air each time the hybridity, borderline qualities, formlessness or intersemiotics of the Postmodernism has been loathed or admired.
From Latin limen meaning threshold ‘liminality’ is an existential (metaphysical) subjective, state and realm of hovering ‘between and betwixt’ of two (or more) different planes, spaces and/or existential qualities. First described in anthropology (Arnold van Gennep, Victor Turner) as a social theory of the liminal states – spaces of a ‘temporary outcast’ when an individual or a group is being placed by the society on its margin in a ritual of purification and/or recognition. It has got also its usage in the contemporary psychology where the liminal means sub- or unconscious state with one’s sense identity being ‘hold’ or dissolved to some extent. In contemporary philosophy J. Derrida has been called the ‘philosopher of the liminal’ due to his deconstruction attempts of the integral and solid tissue of materiality (more about it in the next parts of this series).
In visual art the ‘threshold’s ‘ aesthetics has been described on the theatre, cinema and performance field (notably S. Zizek, S. Broadhurst) and some curatorial and critical attempts has been made to embrace the liminality of the contemporary artistic expression done by more or less traditional media. Yet, it’s basically the ‘no man’s land’ when painting or sculpture is considered – those realms remain, for the today’s critique and theory (and not surprisingly, by any means) immune to any ‘revolutionary’ ‘new’ aesthetic refurbishment; it became a sort of an ideological cliche – that it’s more convenient to blame painting for its impotency (it’s ‘dead’ anyway, why bother then?…) than to inject any potent conceptual spirit into it by an affirmative reflection.
When J-F. Lyotard has called Postmodernity the nascent state, the state of a permanent ‘becoming’ (The Postmodern Condition, 1979) he basically admitted its innate liminal character; and those artworks that seek to address this condition (both deliberately or not) are probably best recognised for their aesthetics (or anti-aesthetics) of incompleteness – sculptures/installations look as if the artist ran out of the materials to finish them to a decent level; paintings seem to be painfully ‘hanged’ by their own guts with indescribable forms, unidentifiable colours and freaky techniques; videos cry out for any structure, even a hint of a narrative. Their ‘becomingness’ is the only existence they know and it comes invariably as disquieting or even disturbing for the audience. No without a reason the primitive societies considered the liminal states as dangerous, unclean (Turner); and those affected were isolated ‘pro publico bono’.
As hazardous and monstrous in moments as the liminality in art (and beyond it) seems to appear it is also probably the only truly creative state, which – if used wisely – can result in some profound discoveries and metamorphoses. This fructile chaos and the storehouse of possibilities (Turner) is a goldsmith’s workshop of the contemporary art; even though some purists rise an alarm that the state of the constant flux and indeterminacy (where ‘everything goes’) will annihilate all the miserable bits of art that left – let’s be positive… Art is best cared for if it’s accepted just as it appears and shapes itself through the mill of the human spirit; even if refuses to ‘become’ and fit any new uniform – so what?… As far as minds and hearts are enflamed by it, even with a doubt, even with a turmoil – it fulfills its calling of the ‘fifth element’ – the force of life and death, possibility and danger, sanctus and profane.
http://www.amazon.com/Society-Spectacle-Guy-DEBORD/dp/0934868077/ref=pd_sim_b_3
http://www.amazon.com/The-Order-Things-Archaeology-Sciences/dp/0679753354/ref=pd_sim_b_5
Friday, April 13, 2012
Madison Ancient & Tribal Show.
Madison Ancient & Tribal Art Show
May 9-13, 2012
We are pleased to announce our participation in the Madison Ancient & Tribal Art at The Arader Gallery, located on Manhattan’s Upper East Side near the Whitney Museum and the Metropolitan Mus...eum of Art. The show forms part of New York Tribal Week, which includes a sister show at the nearby Fletcher-Sinclair Mansion and important tribal art auctions at Sotheby's, Christie's and Bonhams.
MATA exhibitor list:
P. M. Boyd African Art, African Art
H. Kellim Brown, African Sculpture
Conru African & Oceanic Art, African & Oceanic Art
Bruce Frank Primitive Art, Oceanic & Indonesian Art
Huber Primitive Art, Precolumbian Art
Joe Loux, Asian & Tribal Art
Amyas Naegele Fine Art, African & Oceanic Art
Adrian Schlag Tribal Art Classics, African and Oceanic Art
James Stephenson African Art, African Art
http://www.artdaily.org/index.asp?int_sec=11&int_new=53585
May 9-13, 2012
We are pleased to announce our participation in the Madison Ancient & Tribal Art at The Arader Gallery, located on Manhattan’s Upper East Side near the Whitney Museum and the Metropolitan Mus...eum of Art. The show forms part of New York Tribal Week, which includes a sister show at the nearby Fletcher-Sinclair Mansion and important tribal art auctions at Sotheby's, Christie's and Bonhams.
MATA exhibitor list:
P. M. Boyd African Art, African Art
H. Kellim Brown, African Sculpture
Conru African & Oceanic Art, African & Oceanic Art
Bruce Frank Primitive Art, Oceanic & Indonesian Art
Huber Primitive Art, Precolumbian Art
Joe Loux, Asian & Tribal Art
Amyas Naegele Fine Art, African & Oceanic Art
Adrian Schlag Tribal Art Classics, African and Oceanic Art
James Stephenson African Art, African Art
http://www.artdaily.org/index.asp?int_sec=11&int_new=53585
Thursday, April 12, 2012
Monday, April 09, 2012
Sunday, April 08, 2012
Photomontage. Multi Media.
Copyright MRust 2012.
This exhibition, covering the period from 1910 to today, offers a critical reassessment of photography's role in the avant-garde and neo-avant-garde movements—with a special emphasis on the medium's relation to Dada, Bauhaus, Surrealism, Constructivism, New Objectivity, Conceptual, and Post-Conceptual art—and in the development of contemporary artistic practices.
Link: MOMA
Saturday, April 07, 2012
Friday, April 06, 2012
Thursday, April 05, 2012
New Design, Bird of Paradise. April 2012.
INSPIRATION: FULANI, PEUL, WOODABEE TRIBE.
The Fulani people call themselves Fulbe (Peul in French).They were
originally nomadic herders, traders and farming people living throughout
West Africa. Today the majority of fulani people live urban centers.
Experts believe that they originated from a region that occupied the
present day Northern Senegal. Over the centuries, they migrated with
their cattle to occupy vast areas in the Sahel and Savannah regions of
West Africa and evolved into many subgroups with a variety of
designations including Fulbe, Jelgove, Gurma, Gorgave, Fellata, Fula,
Fulakunda, Bororos, Wodaabe, Peul, Pulaar, Halpulaar, Liptaako,
Toucouleur, and Tukolor. Presently, they live in communities throughout
much of the West-Africa, from Senegal to Cameroon and as far east as
Sudan and Ethiopia.The fulani range covers an area larger than
continental United States and western Europe.
originally nomadic herders, traders and farming people living throughout
West Africa. Today the majority of fulani people live urban centers.
Experts believe that they originated from a region that occupied the
present day Northern Senegal. Over the centuries, they migrated with
their cattle to occupy vast areas in the Sahel and Savannah regions of
West Africa and evolved into many subgroups with a variety of
designations including Fulbe, Jelgove, Gurma, Gorgave, Fellata, Fula,
Fulakunda, Bororos, Wodaabe, Peul, Pulaar, Halpulaar, Liptaako,
Toucouleur, and Tukolor. Presently, they live in communities throughout
much of the West-Africa, from Senegal to Cameroon and as far east as
Sudan and Ethiopia.The fulani range covers an area larger than
continental United States and western Europe.
STOCK IMAGES: http://www.superstock.com/stock-photography/FULANI+TRIBE
Tuesday, April 03, 2012
Monday, April 02, 2012
Thursday, March 29, 2012
Pierre Nachbaurart, Online Gallery.
Ritual Tankard with Male Ancestor Figure on HandleCentral Nias Island, SumatraWood19th centuryThis beautiful wooden tankard is a rare example of a ritual vessel used by the nobles of Nias for the ritual measurement of rice during religious ceremonies connected with harvest and ancestor worship. A figure of a seated male ancestor (adu zatua) wearing a gold crown and moustache cover is seen on the handle. The ‘Cubist’ treatment of the figure is typical of the art of Central Nias. Other examples of such tankards can be seen on page 309 of Nias, Tribal Treasures (1990) the catalog for an exhibition of Nias art and the Volkenkundig Museum Nusantara, Delft, Holland.Measurements: 16 cm high.
Afghanistan-Pakistan Pendants.
Gilded silver and blue glass ear PENDANTS. They originate from the Islamic people of the Katawaz basin along the Afghanistan-Pakistan border. Length: about 13,5cm. Date: 19th century. These pendants, being too heavy to be suspended from the ears, were worn from the hair and headdress adjacent to the ears. Posted by Michael Beste on "rugrabbit" (presented on Facebook)
History of Trade Beads. Ken Karner-link.
http://www.ezakwantu.com/Gallery%20Trade%20Beads%20Slave%20Beads%20African%20Currency.htm
South African Beadwork - http://www.ezakwantu.com/Gallery%20African%20Beadwork%20-%20Beaded%20Adornment.htm
Zulu Beer Pots - http://www.ezakwantu.com/Gallery%20African%20Beer%20Pots%20-%20Clay%20Pots.htm
South African Beadwork - http://www.ezakwantu.com/Gallery%20African%20Beadwork%20-%20Beaded%20Adornment.htm
Zulu Beer Pots - http://www.ezakwantu.com/Gallery%20African%20Beer%20Pots%20-%20Clay%20Pots.htm
Thursday, February 23, 2012
Sunday, January 15, 2012
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