#i think my absolute ideal would be to work in the archives of a museum dedicated to cinema history in some aspect :)

[ahalliance]

the amount of happiness that rushed into me when i randomly thought ‘i want to work in a museum or something similar’ . guys i think i may want to work in a museum or something similar

[poptod]

The Dead Heed No Lies (Ch. 2)

Description: If you won't join the life of the party upstairs, the life of the party comes to you.

Notes: Building up. Word Count: 1.9k

Chapter Two: Holed Up

It had been approximately a week since you’d fainted in the break room, found by Ahkmenrah, who was apparently worried about you after you hadn’t returned, even as dawn approached. When you came fully back to consciousness, he sat with you, explaining what the tablet did, how it needed moonlight, which was the real reason for the transfer. He further explained that it only worked during the night, which was why everything seemed so still during the day. He’d been gracious about the whole fainting thing, telling you that it wasn’t entirely unexpected, simply wishing you a better day ahead of you before he left to his exhibit.

You decided not to accompany him. Watching a man crawl into his own grave to die seemed like something that wouldn’t be good for you.

“How long are you staying here?” You asked Tilly, watching from the balcony as chaos ensued in the form of an almost hysterical party.

“Dunno, this is a pretty prestigious museum. But should be for another few months.”

“That’s quite a while,” you noted, nodding in a mildly impressed manner.

“Should give you enough time to get to know Ahk more,” she said, leaning over to you, attempting horridly at a wink.

“I - what?”

“You know, you and the King,” she said, saying his title with a theatrical form of reverence.

“… Right. Me and the King. What is this, Disney?” You shook your head, chuckling to yourself.

“What? You’d make a great couple,” she said, nudging you with her elbow.

“Til, I barely know him. You’re seeing things.”

“Whatever you say,” she said skeptically, turning and leaving down the stairs.

The whole notion she was proposing was ridiculous. You’d spoken to him a grand total of three times, the first being when you met him, the second was him waking you from a black out, and the third was you accidentally running into his parents, and he quickly introduced you to them.

On the whole, the conversation wasn’t bad, but it could’ve gone better. It felt rather like a young teen who had modern ideals with two racist parents, but this time it was an actual King and Queen who had Jewish slaves and their son, who had apparently never agreed with that.

You didn’t agree with it either, being Jewish yourself. After his parents had left, Ahkmenrah explained that it wasn’t the first time it’d happened, that it was equally embarrassing as it was funny. You agreed, and quickly excused yourself.

As fun as it was to be upstairs during the night of life, you had a job, and it couldn’t be avoided. Especially since McPhee was now breathing down your back, which was a change, because usually he was at home, asleep, during your work hours. Now, fully awake, he was free to observe your every movement. Not that he did, he was busy making sure nothing in the museum was destroyed. You stayed far away, in the basement, locked up and sorting through the archives.

Every now and then Tilly would come down, asking you to take a break, which you nearly always declined.

Then the King visited you.

You could tell it was him without even looking up, from the way his cloak dragged across the ground, and his sandals hitting the asphalt.

“Hi Ahk,” you said, not looking up from the papers you were sorting.

Man killed 150 bears in American wilderness, original article…

“Hello. How’d you know it was me?” He asked, chuckling as he sat down beside you. That was something you hadn’t expected of him when you first met him - for him to be normal, to stoop down to your level. Sit with you on the ground, cross legged, looking like a perfectly normal man in an impeccable costume. Warm and human.

“I can hear your cloak. No one else wears a cloak,” you said, smiling as you looked at him, before looking right back down again.

“Ah. Suppose it does sort of… give it away,” he said, fumbling with his cape in his fingers.

“It’s fantastic material, though. I assume it’s the same clothing you were embalmed with?” You said, and without thought you fingered the material, always wondering what fine cloth would feel like. As much as you studied history, you never actually experienced any of the findings it brought.

“Oh, uh, yes. It is. Gold sewn in and all. I think we were a little dramatic back then,” he laughed quietly, his eyes fixed on your hands.

You knew it was inappropriate, but dear God it was soft.

“Well you had a lot of gold. Symbol of status, a way of letting people know how much you were worth. It’s like people owning mansions nowadays, buying fancy cars. Just a show of wealth and status.”

“Unsightly,” he joked.

“Unseemly,” you said with a chuckle, playing along. After a moment of quiet giggles you turned back to your papers, continuing to sort through them though it was the last thing you wanted to be doing. Here you were, studying historical records when a literal goldmine of information was in front of you, and he acted quite like he liked you, and a lot, always open to talk, always trying to learn more about you. Overall, very friendly.

“Ahkmenrah, I was wondering,” you started, setting your papers down. The more you looked at them, the duller they got. He looked expectantly at you, so you continued.

“There’s hardly any mention of you at all in any history books. No statues, we only found out you existed when we found your, um. Your sarcophagus. Do you have any idea as to why that is?”

It was, maybe, a sensitive topic. Maybe it was a question he didn’t know the answer to. Either way it evoked some emotional reaction out of him as he shifted uncomfortably, tucking his feet and hands further into himself in a psychological sign of defensiveness.

“I didn’t know, for a while. I found out later when my parents told me. I don’t remember this for whatever reason but my brother killed me, and uh… took the throne? It was his birthright, to be fair,” he said, defending him though he deserved none of it.

“He was older than you, but your parents gave you the throne?”

“Yes. I know it’s odd,” he sighed, relaxing as he leaned back on his arms. “But they thought it would be a better decision if I ruled instead of him, and generally speaking, I think they were right. My brother’s a bit, ah, bloodthirsty, you could call it?”

The two of you laughed, but you wondered what in the hell his brother could’ve done in Egyptian times to be considered bloodthirsty enough to pass the throne to the younger child.

“Anyway, he poisoned me, and my parents were still alive when this happened, but they couldn’t do much while he desecrated everything that ever mentioned me.”

“That’s depressing,” you sighed, stretching your arms as you relaxed, looking ahead to the rows of boxes.

“What’s depressing,” he said, his tone suddenly changing, “is you sitting down here all night when all the fun is upstairs.”

“Oh not you too,” you groaned, not wanting to have to convince another person that you had an actual job to do.

“What? It’s not healthy, you know,” he said, laughing, knowing he was a terrible influence.

“I’m fully aware of that but it’s my job. Wouldn’t expect you to understand that, all you do is have fun,” you chuckled, digressing into a tired sigh. He hummed, quiet and low, relaxing in his position once more.

“In that case, if you really can’t be swayed, I’ll stay with you.”

You stammered, fully disagreeing. If he stayed you’d never get anything done, he was a huge distraction, him and his beautiful flowing robes and his stupid gorgeous face - no, you couldn’t do it, you would absolutely not stand for it.

However, before you could go off on a rant of why that was a terrible idea (while completely avoiding your actual lovey-dovey reason as to why it was a terrible idea), he saw the look in your eye, and his smile faded into a sad, open mouthed, glittering eyed expression that made him instantly look like he’d been crying.

Like a goddamn puppy.

“Fine,” you sighed, giving in without a word exchanged. “But don’t distract me!”

“Me? Never!” He laughed, standing up and wandering through the aisles, letting you have your silence as you worked. You didn’t say anything, but you appreciated the thought deeply.

Every now and then, over the next few hours that passed, you’d see him through the spaces between the boxes. His head would poke out, and sometimes he’d kneel down to where you were, giving you a funny face for you to soften and laugh at.

This boy is too kind for his own good, you thought to yourself, wondering if he was like this during his life in Egypt. As you sorted mindlessly through sheets of paper, your mind wandered, going through the two different scenarios.

If he was exactly the same then as he was now, you wondered how he survived. As a prince, he was supposed to be mature, a role model for his kingdom. He should’ve been manly and strong, neither of which were traits he’d shown thus far.

If he was not the same, you wondered when the change happened. What he was like back then. Was he cruel, antisemitic, and a succinct ruler? Or was he just as kind as he was now, just more mature, with the weight of his responsibilities drowning out his personality?

“You look lost,” he noticed, boxes pushed to the side as he poked his head through the other side of the open shelf. You laughed, pushing the boxes back together to force his head out. He whined, jogging his way around the long hall to make it to you.

“No need to be ashamed. I, too, get lost in sheets of paper,” he chuckled, sitting down behind you and looking over your shoulder. He was slightly taller than you, allowing him a vantage point.

“You know, you speak remarkably good English for a 4,000 year old Egyptian Pharaoh,” you said, using the end of your pencil to tap his nose.

“What can I say, it’s what everyone else speaks. I hardly ever speak Egyptian now except with my parents.”

“I guess that makes sense,” you said, growing slowly quieter. “Your version of the language is dead now.”

A clangor of Rex’s roar resounded from upstairs, a sound you now knew signified that everyone needed to return to their place.

“Just as I am soon about to be,” he said, grunting slightly as he stood. Without thought you stood with him, letting your pencil and paper fall to the ground clattering quietly. With a chuckle he looked you up and down, almost sarcastically wondering if you’d do anything else embarrassing. You just glared, the blushing heat in your cheeks obvious.

“Come on, let’s get you to bed,” you mumbled, leading him out the door and up the stairs. He followed, and the two of you walked to his old room in the museum.

As you reached the threshold he stopped, turning to you.

“I must leave you now,” he said, his words dramatic but his tone sincere. His hands came up to hold yours, another sign of his truthfulness.

“Try and do what I said?” He asked of you.

“What was that again?”

“Have some fun. Don’t hole up in that basement.”

You laughed, shaking your head.

“Sure.”

He left you with a smile, never wanting people to see him as he wrapped himself back up in his tomb. You understood his wish, obeying his need for privacy.

Until tomorrow night, you thought to yourself.

[dianabercea]

Digging deeper: Dreams

Dreams are defined by vivid or memorable images, emotions and sensations that occur during different stages of sleep. Although the content and purpose of dreams are not fully understood, they have been a huge topic in terms of science, psychology and religion interest throughout history. Many approve the Freudian theories about dreams - that they give insight into hidden desires and emotion, whereas others believe that dreams assist in memory formation, problem solving or simply are a product of random brain activation. Dreams play a substantial role in helping us cope with grief, stress and traumas. Most of our dreams are actually unpleasant; the most common emotions in dreams include fear, guilt, anxiety and helplessness. Moreover, anxiety dreams can be helpful – one theory is that we are working through our anxieties and more able to see what stresses us during the day. Dreams are an opportunity to work through things that frighten us in real life, to play out worst-case scenarios in an environment where they have no consequences. In order to get through the day, we have to edit out so much of what is going on around us, and if we pay attention to our subconscious and our dreams we get a different angle on our lives and issues. When we’re dreaming, we’re thinking in a state we never have access to by day. Dreams offer the opportunity to think in a different way and show new answers to problems, they often contain the seeds of something important.   The key themes that I thought of are: sleep, fiction, emotion, imagination. For further expansion I did word association: Sleep: calmness, rest(less), mattress, insomnia, REM, fatigue, eternal, disturbed Fiction: fake, utopian/dystopian, surrealism, supernatural, storytelling, speculative, mythic Emotion: anxiety, sadness, empathy, jealousy, hatred, overwhelming, passionate Imagination: originality, sensibility, idealism, contemplation, picturesque, stimulation.

Using the keywords above I have found some interesting articles: “Les yeux de W” at Centre Régional d’Art Contemporain Occitanie” is an exhibition containing the work of the French artist Laura Lamiel, which takes the viewer’s body and mind on an inner journey through a succession of rooms through which one roams and crosses like the recesses of a memory that is sometimes vivid, sometimes buried, at times radiant, now gloomy. In this exhibition, the details act like the synapses of an infinite brain in which spaces fit squarely inside one another, getting divided, reflected and wrapped. The letter W’s dual and symmetrical structure indicates one way of approaching the journey. Laura Lamiel has been creating minimalist abstract landscapes that defeats our perception of reality in every possible way. By combining quirky deceptions, symmetries and plays of mirrors, Laura Lamiel’s sculptures, installations, photographs and drawings disrupt our perspective while causing new images to emerge. In a reality that seems to be constantly slipping away, Laura Lamiel’s work keeps the perspective tense and  radiates perception into the depths of an inner experience. The artist constructs each of her works with an unparalleled meticulousness, combining smooth and gritty, hot and cold materials. White enameled steel, plexi-glass and neon are combined with varnished wood, copper, incense granules, but also with fabric, paper and cotton. The exhibition presents cell structures at the scale of human body. These are work and thought spaces in which the artist has placed stripped-down forms, but also archives, gloves and tissues that seem to have traveled through time, their worn-out appearance obstructing the calm, silent organization of the works. Laura Lamiel gives a significant level of attention to these tiny objects and fragments of life, bringing every focal distance of the eyes into play. From the finest detail to the overall space, the artist invites us to look in every way possible, under, through or from behind, while bringing to the surface what we tend to neglect, treating blind spots as quintessential looking-spaces.

The anxious art of Liana Finck: the New York cartoonist posts on Instagram her observations of urban life and how its etiquette is breached. “I think it inspires my Instagram drawings because I use those mostly to figure out things that are bothering me and make sense of them.” Somewhat ironically, it’s those drawings that draw the most negative response on Instagram. Finck’s keen observation of human behavior reflects intense awareness – to the point of self-consciousness – of her own. She frames her work as “noticing how civilization works” – moments when the urban fabric is momentarily pulled tight. If you do not pay these trivial violations any mind, it may be because city living fosters a certain obliviousness, a thicker skin. But not everyone develops it. “Sometimes I feel like a person who notices these things in a world of blind people who don’t”.

Next, we have Tracey Emin with her own reassembled bed, from when she used to live in a council flat in Waterloo, exhibited in Tate Britain for the first time in 15 years. She describes her work, “My Bed”, as a portrait of a young woman.   It shows her real bed at the time in all its embarrassing glory, with used condoms, dirty underwear and empty bottles of alcohol strewn across the crumpled stained sheets. Emin had expressed her wish for the piece to go to a museum and described the Tate as “the natural home” for the work. Emin herself was very involved in how the work was to be presented, and it sits in a gallery alongside two Francis Bacon’s paintings, his 1951 Study of a Dog and his 1961 Reclining Woman, as well as six of her drawings that Emin gifted to the Tate to mark the occasion. Emin said part of the reason she had been so keen to have the work back at Tate Britain was to have a chance to change people’s original perceptions of the piece.“It’s really important to me to show it in context,” she said. “When I showed it originally at the Tate Britain as part of the Turner prize, nobody even bothered looking at the work that surrounded it, even though there were my watercolours, my drawings. So, what’s really great by having the Bacons around it, people will look at the Bacons and they will understand the connection with the bed and my other drawings. They will see the bed is art and that, with these incredible artworks around it, it is in good company.”  what would be the most suitable companions, and she was involved in selecting the paintings that would be shown alongside her work. Emin considered that Francis Bacon was a very immediate answer to the question of who would be the most suitable companion to have his/her art shown alongside Emin’s, because there are wonderful reference’s between their work. There is this sheer vitality of the body that moves in spaces combined with a sense of internal turmoil.

Valerio Nicolai, an Italian artist, has a series of works entitled “Amarena”, exhibited in Milan, which is dedicated to that particular moments when everything we thought we knew falls and certainties fall down, personal apocalypses perceived as absolute, moments in which our vision of the world alters and turns to red. The material he uses already contain its own story and his artworks emerge as the result of an exchange of questions and answers between the artist and his creation. The name “Amarena” might recall an idealized childhood, an eternal start of summer spent climbing trees to eat fruits, ice cream cones bought by grandparents, but it could easily be the name of a devastating climatic event, a typical storm originated off the Brazilian coasts. The red dominant of the works is the color of the stage Nicolai interposes between subjective and objective realities in contrast. The images above represent 2 of his works, “Toilette”(the red painting) and “II festeggiato” (the red sculpture).

“What does idealism get you today? Abuse, derision, or sometimes prison” The world is holding its breath and it's stifling. Ever since the financial crash, there's been a sense of stasis, of waiting to see what emerges. As the wait goes on, the feeling of possibility becomes more overwhelming. The comical slogan that appeared in the immediate wake of the crisis, "Keep calm and carry on", makes all right-thinking people want to go mad. But that's largely because people aren't just keeping calm. A common air of resignation has taken over. There's lots of protest on social networking sites, lots of declarations, petitions, information. Yet, this feels like converted people are preaching to each other, their ideas and beliefs only gaining traction when opponents resort to anonymous abuse and threats. Far from bringing people together, social networking sometimes seems only to reveal the depths of our division.

With “From Anxiety to Volition”, the Kunstmuseen Krefeld is showing the first retrospective exhibition dedicated to Ludger Gerdes. With the beginnings of postmodernism in the late 1970s, Ludger Gerdes introduced a new communicativeness to sculpture and installation art—after Minimal and Concept Art. He dealt with architecture, nature and historical aesthetic concepts, as well as modernism, the public space and art’s relevance for society. His art is based on architectonic quotations, metaphors, abstractions and figurations, stagings, the pictorial quality of sculpture and word acrobatics. He assembled these recurring modules into models of thought and narratives whose structures or conclusions deliberately remain open. Models that show the world on a small scale, trees that symbolize the relationship between culture and nature, paintings that are sculptures,  words that fall out of everyday speech and a man wearing a top hat who views a painting in one moment and disappears the next.

The relationship between dreams and art is a strong one, having in common the idea that both can be either real or unreal. They complete each other replacing what it is with what might be and they are both exposed at different interpretations. Take, for instance, the extraordinary work of the 15th-century Dutch painter Hieronymus Bosch, who used the fantastical and the grotesque to explore morality and mortality, depicting scenes from his dreams and visions.

[howtohero]

#028 List of Handy Excuses (A)

Supervillains are, obviously, not the most considerate people in the world. They steal, they kill, they unleash an army of mutant squids on a populace caught unawares, they loiter, and they do it all the absolute worst times. Like, how hard would it even be to just call up any given hero and try to coordinate schedules? It’s not hard at all. Bad guys are so rude. And so, as it so often happens, heroes need good excuses to extract themselves from any given situation in order to go and fight crimes. Sure you can go with the classics “I have to go to the bathroom now!” or “I think my mother is calling me!” or “My refrigerator is running and I’d better go catch it!” but after a while people will start to get suspicious. To circumvent that problem, or at the very least, delay it, we’ve devised a list of handy excuses sorted alphabetically by occupation (This way you can always blame work for ducking out of your important family functions. Then your family won’t hate you. They’ll just hate your job.)

B C D E

Accordion Player

A Pigini Mythos just went on sale. (Yeah that’s right, I did some accordion research. Trying to appeal to the accordion crowd. Accordion to the internet this is the rarest one. editor’s note: not everything has to be a pun Zach!)

Accountant

There is a graphing calculator related emergency I must leave!

Boring Convention™ the convention for boring people is being held right now. It’s a convention so boring that they didn’t even bother making a fun abbreviation like BoCon or BoCo. It just doesn’t deserve one. Anyway, bye.

Acrobat

There is a one-time-only dual sale on trapezes and leotards I need to go.

Hey there’s a super-battle going on, maybe the Amazing Death Defying Acro-Knight will be there and he can teach me how to do that super cool move he does where he does a backflip while kicking a bad guy in the face.

Actor

I was just offered to role of a supervillain in a new direct to DVD movie, I must go to the scene of this supervillain attack to do some research.

My director just called, she says that since we’ve blown through our special effects budget, we’re going to just film the latest disaster film at a real super-battle, wish me luck.

Actuary

I tried looking up what an actuary does and I got very bored, very fast. Just get up and walk out of your actuary cubicle and go save the world (wo)man.

K fine someone on the internet dumbed it down for me so here’s a “real” one: In order to properly determine the risk of death or injury in a super-battle I need to go get some hands on experience. (YAAAAAAAAWN)

Acupuncturist

That supervillain is clearly very stressed out. If I could just get down there, and stick some needles in them, I really think I could defuse the situation.

Doesn’t “acupuncturist” seem like it would have two c’s after the a, I’m going to go on a long etymological journey to discover why it doesn’t.

Addiction Counselors

One of my patients is addicted to super-battles. I need to go make sure they’re not there.

Administrative Worker

My Dictaphone, which I often use in my administrative work is “on the fritz.” I am going out to get a new one. Don’t wait up.

Admiral

That bad guy is attacking the water which is, of course, my domain.

The Navy is calling me.

That bad guy is attacking the land which is very close to the water which is, of course, my domain.

Admission Directors

I need keep changing my location constantly to avoid being hounded by parents of prospective students who are trying to get their children into my college.

One of my applicants put down “superhero” as one of his extra-curricular activities so I’ve been going to every superhero fight to make sure that that’s on the up and up. I haven’t seen him yet. He’s probably lying to me. This is almost definitely a huge waste of time.

Advertising

I want to go pitch these new sleeker and aerodynamic bottles to that bad guy. I think he’d like them. He could fill them with poisons or energy drinks or whatever it is bad guys drink or keep in bottles.

I think I could really improve this superhero’s “brand” like I don’t know, for some reason the blood stained viking helmet and iron trident he’s sporting aren’t really endearing him with the public.

Aerial Rigger

If I don’t replace those aerial masts nobody will. And you know what happens then? We lose communication in one of many buildings. And you know what happens then? Relationships breakdown. Communication is key folks. And I’m the key to that communication.

Agent

Do you think that superhero has representation?

Do you thank that supervillain has representation?

Do you think that cowering bystander has representation?

Do you think that police officer who is clearly way in over her head has representation?

Agronomist

There’s some seed farming that needs doing, and I, the world’s greatest agronomist (feel free to say this even if you’re not really the world’s greatest agronomist) am the only one who can properly determine the proper way to technologically do that.

Air Traffic Controller

DO YOU WANT PLANES TO CRASH BYE.

Airline Clerk

During a supervillain attack people are always in a rush to get out of the city and the only way to do that is to purchase airline tickets and I am the only person who is fit and capable enough to sell them those tickets.

Alchemist

I’m going to transfigure that bad situation into a good situation

Algebra Teacher

I’m going to go FOIL some crimes. (You’re allowed to give up your secret identity if you can make a really good pun while doing it.)

If I join that fight that bad guy could be defeating in only a fraction of the time.

I need to go subtract that bad guy from this town.

Allergist

The pollen count here is TOO DAMN HIGH. We all need to leave.

Ambulance Driver

Just go! Who the hell is going to stop an ambulance driver from leaving somewhere!

Anchorman

Wouldn’t this broadcast be way better if I was actually reporting from the scene of the battle?

(Wouldn’t this broadcast be way better if I was actually reporting while actually throwing punches at the bad guy at the scene of the battle?)

Anesthesiologists

Ok this one is kind of sketchy but in a pinch you could just dose everyone you’re with with anesthesia and then just duck out with no explanation… [Note: We are only recommending that you do this if you are a profession at anesthetizing people, no one else do this!]

Anger Management Counselor

Ok, this actual supervillain clearly has some unresolved anger issues. I must go where I’m needed.

Animator

If I don’t get to the office a cartoon character will die.

Announcer

I think we can all agree that super-battles would be a lot more fun to watch if someone with a nice deep buttery voice, someone such as myself, was there to announce the comings and goings of the various superpowered and/or costumed fighters.

Pigs. In. Spaaaaaaaaace. (Read it in the voice! Read it in the voice!)

Anthropologist

I’m leaving now. Don’t question it. It’s something I picked up while doing field work. Leaving abruptly. No one question it.

Arbitrator

Uh, I’m going to go arbitrate that superhero fight. (Pfft that was an easy one.)

Archeologist

Some guy just dug up some dinosaur bones and I am the only one who can guess how they fit together. I’m the best at guessing what dinosaurs looked like based on the bones we dig up. It’s like my thing. Ask anyone.

There’s a temple that needs exploring someone hand me my whip and my special hat.

Archer

I should get down to that battle, my bow and arrow skills may come in handy. (Hahahaha I’m kidding nobody’s going to believe this just say you’re going to the bathroom or something I dunno man.)

Architect

A building was just destroyed. It calls to me. For healing.

Archivist

Someone needs to go get a detailed record of this super battle… for the archives… why shouldn’t it be me.

Someone found something really old that needs to be stored. But not like in a museum where people can see it and enjoy it. And not like in a time capsule where it can be dug up in the future. I’m gonna go stick in the archive where if anybody ever wants to see it, they have to talk to me first. This is also, incidentally, a great way to make friends.

Art Critic

Someone’s just painted something. I can feel it inside of me. I must go insult it.

Art Restorer

Look at that, they’re fighting near a museum. I need to get down there in case some art gets damaged. In the art restoring business it’s first come, first served. 

Artist

I have been struck with a burst of creativity I must retreat now to my studio where I must not be disturbed! (Ideally there’d be a secret passageway to your hideout from your art studio.)

I have always wanted to paint a super-battle.

Artiste

Ie havee beene strucke withe ae burste ofe creativitye Ie muste retreate nowe toe mye studioe wheree Ie muste note bee disturbede!

Ie havee alwayse wantede toe painte ae supere-battlee

Assistant to the Regional Manager

I have the most important job in the office, where I go and when I go there is of no concern to you (Jim)!

Assemblyman/Assemblywoman

Look if a super-battle is going down you know somebody’s going to be assembling something.

Assassin

Uh, I’m going to go assassinate that supervillain... (are there many superhero assassins do you think?)

Astronaut

I am going to space.

Astronomer

 I am going to go look at space (no this one won’t work if you say that everyone’s going to want to come and look at space with you because space is rad.)

I am going to go look at telescopes (there we go.)

Astrologer

I don’t even have to come up for one for you guys. If anyone could think of a good lie on the spot it’s the people who come up with horoscope predictions.

Athletic Director

Wow those super-people look to be in relatively good shape, I should go scout them for my high school volleyball team 

Attack Drone

My programming requires that I leave immediately.

Beep bop beep boop. I’m leaving.

Auctioneer

I’m going once. I’m going twice. I’m gone.

Audiologist

It doesn’t actually matter what you say, most of the people you’re going to be with can’t hear well anyway.

Auditor

Wait a minute, I recognize this supervillain. I audited his evil agency. There is no way he could afford that giant badger mecha. Something is awry here. I must get to the office.

Author

The spirit of the pen has possessed me I must go and write right now.

Tune in next time where we tackle all of the B occupations (well ok, next post is actually going to be about alien invasions, we’ll probably do one of these like once a month or something.) If you have an A job that isn’t represented here (speaking of representation, I’m pretty sure there isn’t any difference between an attorney and a lawyer so you’ll have to wait like a year til we get to L.) By all means, contact us. Or just stay put and never go off to do superhero stuff. Or come up with your own excuses.

[wallpaperpainting]

All You Need To Know About Wily Kandinsky | Wily Kandinsky

Judith Godwin

McNAY ART MUSEUM

When Judith Godwin confused to New York in 1953, authoritative abstruse paintings was still risky, both professionally and personally. The admeasurement of austere absorption had alone afresh been accustomed by firstgeneration Abstruse Expressionists. If the adolescent artists who emulated them did not absolutely butt the accord amid academic strategies and feeling, again their ignment would alone imilate Abstruse Expressionism`s stylistic features. Back 18-carat carelessness was replaced by what Clement Greenberg alleged the “Tenth Street touch,” the insidious aftereffect was to abate the authence`s, and the artist`s, adeptness to anticipate the differences amid them. Greenberg acclaimed in 1948 that absorption demands “a deepening of alertness so that the artisan will apperceive back he is actuality absolutely ad-lib and back he is alive alone mechanically.”

Had he been autograph a decade later, Greenberg ability accept defined “she,” for the additional bearing included a cardinal of changeable artists. “Judith Godwin: Early Abstractions” let admirers appraise the ignment of one of them. René Paul Barilleaux, the McNay`s Curator of Art afterwards 1945, brought calm twenty-eight paintings from 1950 to 1976 in a active yet articular presentation of an artisan adjoin headon the botheration of actuality and announcement in abstruse painting.

The ancient works appearance an investigatory access to the past, betraying orted and sometimes alien sources. Nucleus II, 1950, for example, locks the warps of Naum Gabo`s constructions into a cubistic design; the beheld bang of Provincetown Summer, 1953, conjures Kandinsky; and Woman, 1954, evokes the machinehuman hybrids of Dada. Afterwards works authenticate the continuing activity of Abstruse Expressionism for artists who, like Godwin, took it seriously. Feeling, or what Godwin calls the “elusive centers of artlessness and

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[postolo]

Tanveer Kaur on being selected for masters (Art, Business Law) at QMUL

Tanveer Kaur got selected for Art, Business  Law at queens Mary University, London. She has been interviewed by EBC/SCC Online Student Ambassador Aastha Srivastava.

Tell us a bit about yourself.

I live by the principle that a little foolishness to enjoy life and a little seriousness to understand it will do us well. Being a Law as well as a Yoga student, I strongly believe that it is possible for an entire human race to develop pragmatically and spiritually. I want to leave something in existence that would make the world believe more in art, in love and in magic.

How does it feel to be selected for masters (Art, Business Law) at Queen Mary University of London? Did you ever envision it(of course)? Details about the programme you are going to pursue.

Well, since I had only applied for Art, Business Law at QMUL which is the only University that offers this course at Master’s level, my options were limited. The course is designed to open the world of art by governing the copyright, taxation, ethical and governance issues of the material related to museums, libraries, archives and heritage buildings at an international level. For example, if an artefact is to be sold from a seller in India to a buyer in UK, then this course matter comprises of  taxation guidelines, transaction mechanism, copyright rights of the artist and dispute settlement processes between the two parties keeping in mind certain ethics related to that particular artefact.

However, the fact that this course is run in collaboration with the Institute of Art Law which is again one of its kind in the world, made my focus narrower and pushed me to be extremely determined. As I had just one shot and had no second option, I would actually wake up in the middle of my sleep (trust m for me it’s a really big deal) at odd hours and edit my SOP. Now with a positive outcome I certainly feel delighted to be selected and looking forward for it to begin.

How should one go about his/her application, did you try for Scholarships, Intricacies with scholarship?

The criteria differ with universities and with countries. Hence, it’s very crucial to know the criteria you’re to be judged under. But the underlying requirement to have a strong and convincing SOP is the same for all. One must be extremely clear of one’s ‘whys’ and ‘whats’ and must be able to put on paper precisely about how he/she has aligned his/her work throughout.

Yes, I certainly tried for scholarships. In fact, I am amidst the process at the moment and again they differ from country to country too. But, the catch there is -‘what have you  contributed to the world so far rather than plain merit on your mark-sheets and how  desperately do your circumstances call for it.’

What do you plan to do at Queen Mary, what are your future plans after completing your masters?

My ultimate goal is to be an art/culture writer. So I want to begin by writing for Institute Of Art Law and assist them in developing some educational and literary material on the subject. I further plan to work in the office of legal affairs at UNESCO and make contributions in preserving/maintaining the heritage sites. At QMUL, I not only intend to learn all about Art Law but also teach yoga to help the students and the staff to nourish themselves physically as well as mentally.

What role did ILNU play in shaping, honing your skills?

 For ILNU, I would say it’s all about balance. It has some bizarre and some eccentric ways to teach you how to go about things that come your way. It certainly cultivates in you to shape your focus and upgrades your manner of dealing with the world. Once in for all, it has taught me that if you don’t ask for it, then don’t frown if isn’t served to you.

What inspired you to pursue higher studies, what role did your parents, mentors and teachers play?

My goals. I knew I had to add some expertise, some oomph factor which can be attained only through higher studies and that was all the inspiration I needed. My teachers and mentors have immensely contributed no matter if I fall or rise up. I don’t think without them it would even have been possible to climb the higher pedestal. My friends, too, have believed in me irrespective of how other worldly or nonsensical I sound. And most importantly, my mother, had it not been for her, these words would mean absolutely nothing. She is like my virtual spinal cord. I would just fall to shambles if she hadn’t supported.

What advice would you like to give to students aiming to pursue masters?

The ideal inspiration should be the joy of learning and the requirement for your future goals rather than putting it on your CVs. Be thoroughly convinced of your ‘whys’. And please check whether the course you are aiming for is specialised enough and whether you need any job/field experience before pursuing it. Such clarity is the pre-requisite to pursue a Masters degree

Which other universities did you apply for LLM, on what basis did you choose which university to go for?

My choice of course was offered only in QMUL and thus, I just gave my only shot at it.

How did you plan your SOP? Please share some tips for successful applications.

I wanted to put on my SOP what my CV cannot tell them. I wrote about my inclinations and my frame of mind apart from writing about my aims and how I planned to achieve them.

While writing your SOP, the key is to know your thought process and ensure that it synchronizes well with the course you are applying for. That’s it. Once you reach this clarity, everything falls in line.

What should one do differently in college if one wants to pursue higher studies?

Try to excel in the subjects that you are really enthusiastic for. Don’t let your enthusiasm get less fiery because of some social/non-social obligations. And do not be restricted to learn about other subjects, be welcoming for all kind of discourses and opportunities that come your way.  Remember that everyone has a pattern of learning either by reading, talking, listening, or watching. For me, it has been about a lot of reading other than my course material even amidst my exams (I am seriously not joking) and talking about it to whomsoever seems ready to listen. But that’s how it works with me. I know everyone has their own kind of triggers. Please do not supress or ignore those triggers. and make your shot.

Interviewed by Aastha Srivastava, pursuing law from Institute of Law, Nirma University. She hails from the soulful city Calcutta. She has represented her college in competitions/events throughout India and the world.

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Things That Make You Love And Hate Abstract Expressionism Art Characteristics | abstract expressionism art characteristics

March 11, 1990|By Chuck Twardy, Sentinel Art Critic

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Alex Katz would like to advertise that he has not been arresting trends. The trend-makers accept been arresting him.

”Minimalism – I’m advanced of it. Pop art – I’m advanced of it,” said Katz during a contempo buzz interview, speaking in the present close about the past. ”I’m accomplishing actual reductive assignment in the backward ’50s.”

Thus he predated the minimalists’ reductions of band and blush of the 1960s and 1970s. Prefigurings of approaching trends may be begin amid the mostly contempo works in ”Alex Katz: Paintings, Drawings and Cutouts” at the Orlando Museum of Art. The exhibition clearly opens Wednesday but can be apparent today. Organized by the museum’s babysitter of American art, Sue Scott, the appearance includes portraits, landscapes and cityscapes.

If the 63-year-old Katz sounds a little arresting about influences, it’s understandable. He has consistently advised himself advanced of the curve, but he has taken abuse for 35 years for backward abaft it. Painting allegorical works in the aboriginal 1950s, during the heyday of abstruse expressionism, Katz endured maniacs agreeable at aperture receptions, accusing him of regression. Unchanged by abstruse expressionism, pop art and minimalism, Katz has angry out assignment that seems to abandon aspects of anniversary movement – appropriately the anticipation that he was afflicted when, in his admiration at least, he was influencing.

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Not that his assignment is after precedent. Critics accept traced his flattening of three-dimensional capacity to Henri Matisse and Fernand Leger, and Katz has accustomed such links. Well-versed in art history, he can draw access with Diego Velazquez and Edouard Manet, as able-bodied as with the modernists.

Among his ancient influences, odd as it may seem, was Jackson Pollock, the abstruse expressionist acclaimed for his dribble paintings of the backward 1940s and aboriginal 1950s.

It was the ”light and openness” in Pollock’s paintings that afflicted the adolescent Katz, who was again ablution his career in New York’s SoHo. Babysitter Richard Marshall, in his article for the archive of Katz’s 1986 attendant at the Whitney Museum of American Art, compared ”Winter Scene,” Katz’s 1951 painting of ablaze artificial through a angle of leafless besom trees, with Pollock’s awe-inspiring ”Blue Poles” of 1953.

In those days, Katz socialized with added adolescent artists at SoHo’s Cedar Tavern, one of the settings for Pollock’s bashed outrages. He said he saw Pollock but did not apperceive him. He has resisted account Steven Naifeh and Gregory White Smith’s contempo adventures of Pollock because of its reputedly ”over-psychologized” analysis of the artist.

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Katz after alone Pollock’s light. ”By the mid-’50s I was alive with collapsed colors,” he said. His brand back again has been apprehensible agreement in planes of those collapsed colors. His access unifies the apropos of realists with those of modernists, who assert on the pre-eminence of anatomy over agreeable and apathy over apocryphal perspective.

Some extremists alone this amalgam as backward as the mid-1970s. He recalled ”people in the arcade screaming, ‘This guy’s incompetent!’ ” at a Paris exhibition from that period. As afresh as 1986, Time analyzer Robert Hughes labeled Katz ”the Norman Rockwell of the intelligentsia.”

”It’s the aforementioned way bodies attending at (Edward) Ruscha,” said Sue Scott of the Orlando Museum of Art. ”Because the artisan chose to simplify, you stop there. If you get above that, you apprehend there’s a lot added activity on there. . . . It can’t be absolved aloof because it’s been simplified.”

”If I took the abrogating things actively I’d accept chock-full painting a continued time ago,” said Katz, who succinctly summed up the objections: ”They’re agitated about the address or the style. The appearance absolutely bothers people.”

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Katz seems bedeviled by the angle of style, the characteristic address in which he conveys absoluteness to viewers. What or who is in the painting is not as cogent as the address of rendering. ”The appearance is the content,” said Katz.

If you wonder, then, why accountable amount is all-important at all – why not acrylic abstractions? – Katz will say he wants to get you to see things the way he sees them. And about he sees them big, affectless, bargain to essences, sometimes truncated or circumscribed peculiarly. Katz had appointed the characteristics of billboards – blown-up amount bits sipping Cokes or sucking smokes – continued afore others played with pop images.

And in after decades of art -world about-face Katz ”stayed accurate to his vision,” said Scott.

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Zhuangzi: a philosopher of nature; some comparisons with Kant

“In the North Sea, there was a fish called Kun, with the length of thousands of miles. Kun transforms into a bird ­called Peng, and its back spanned thousands of miles.” In the first chapter of Zhuangzi [1], Zhuangzi painted the ‘sublime’ picture of the mysterious creature of immense figure, that uses wind or the ocean to move freely. Yet Zhuangzi sought the ultimate meaning of being free, which refers to not being dependent on any objects in one’s existence and knowledge.

Despite not having an explicit concept of ‘the sublime’, Zhuangzi[2], the philosopher, scholar and romanticism literati from the Warring States period of China[3], pursued tirelessly the concept of the vastness and infinity of nature and life. Zhuangzi’s school of thought is comparable to Hume’s, in that it did not consist of a systematic building such as works by Plato, Aristotle or Kant (Hansen, “Zhuangzi”). Zhuangzi combined the Daoist metaphysical focus with epistemology when he was examining the world (Augustin, 2011). He was the supporter of core principles of Daoism,[4] such as Wu Wei[5], but what made him distinctive among the Hundred Schools of Thought enlightenment movement[6], was that he takes a naturalistic and “anti-humanistic” approach[7]. Zhuangzi was considered to have laid down the foundation of Chinese Aesthetics[8]. His philosophies also inspired the integration of Chan Buddhism[9] in China a few centuries later.

From a first glimpse, Zhuangzi and Kant could not be more different: Kant stresses individual transcendence, while Zhuangzi is concerned with natural immanence (Nelson, 2011). They both envision the concepts of freedom, harmony and balance (Nelson, 2010), yet Kant focuses more on the senses and experiences of humans, and talks about freedom of humans from nature. Zhuangzi proposes fusing the existential human experience with the nature, and blurring the lines between the truth of being, and the “reality of a dream”[10].

  However, there are also a few similarities between Zhuangzi and Kant. For instance, the discussion of the sublime, is also implanted in the Daoist mysticism and expressed as a metaphysical reality[11].  In many occurrences, Daoism mysticism is used to deal with what is referred to as the fearful unknowingness of fate, the cosmos, and the nature.

In the west, we had Socrates who discussed the possibility of afterlife[12]. The Daoist way of treating the sublimity of life (and death) is more pessimistic, as Zhuangzi puts it, the matter of life and death is ‘as natural as sky turning bright and dark’, transformable and insignificant. Daoism implies that the highest form of enlightenment is recognizing life and death as ‘futile’, simply transcending the awareness of them (Smullyan, 1977). Hence, when we look at Zhuangzi’s discussions of nature, we can interpret it as a conceptualization of the sublime, an idealization of the uncanniness, something that is without origin or ending, concept or form.

Zhuangzi and Kant also had similarities in their judgements of aesthetic. They both consider it a subjective thought, and both focus on the psychological analysis of the subject. Kant considers the beautiful to be what pleases universally without a concept, or purposive without purpose (van den Braembussche, 2009).  Thus, “a stuff that has work to do” is not in the range of judgement of beauty (Kant,1952). Zhuangzi suggests that the spiritual pleasure only makes sense when it is no longer being suppressed by the material gain, and people should get rid of substances to achieve ‘absolute freedom’ (Coutinho, 2004). In comparison to Kant, who dives into the pure forms of beauty constructed by “sense experience, understanding and feeling”, Zhuangzi considers the virginity and unknowingness of nature as the pure and the beautiful, and he constantly talks about Wuhua, the merging of self with the nature[13].

Once, Zhuangzi and his friend, philosopher Huizi had a debate over the joy of fish in the river. Zhuangzi stated that the fish were happy, but Huizi questioned how he could have known that when he was not a fish himself. Zhuangzi answered, “you are not me, how do you know I cannot know the joy of fish through my own joy?” Zhuangzi rejected the rational and dogmatic reasoning, and resorted to imaginative abilities of men, exploring the possibility of transcending the boundaries between human and non-human existence, and in some way, this resembles the notion of a priori intuition proposed by Kant. However, when Kant considers the human perception shaped by space and time, the “a priori forms of sensible knowledge” (van den Braembussche, 2009), Zhuangzi employs skepticism, more specifically, a “sense skepticism” with regards to the validity of one’s sensed realities (Ivanhoe, 1993).

This essay shallowly picks up a few fragments of this magnificent school of thought to compare to Kant’s, yet there are other western philosophers who have been compared to Zhuangzi, such as Nietzsche, Hegel, or even Huxley. We invite you to check out the links below, as well as seek more thorough researches online. (825 words)

[1] 逍遥游 (Wandering in Absolute Freedom), also translated as “Free and Easy Wandering” or “Going Rambling Without a Destination”, is the first chapter of Zhuangzi, an anthology of texts of the philosophy school lead by Zhuangzi. This is one of the earliest texts that contributed to the philosophy of Daojia, or school of the Way, and later influenced the development Daoism as a theology and secular philosophy / religion. Consult this Encyclopedia of Philosophy entry http://www.iep.utm.edu/zhuangzi/#SH3a for more summaries and interpretations of this particular chapter, or any other interesting contents of Zhuangzi (note: this chapter consists of mainly mythical and metaphorical writings, whereas later chapters focus more on actual ideas and conceptualizations).

[2] Zhuangzhou, often known as Zhuangzi, was born around 369 BC and died around 286 BC. He was born roughly around a century after Confucius’ death, but nevertheless established his status among the flourishing Schools of Thoughts. Unlike many other scholar turned politicians of his time(advisors), Zhuangzi only ever secured an official position once, as a low ranked county clerk. One would think being an official at all is completely against Zhuangzi’s beliefs, but according himself it was the perfect balance between earning a bit of money to get by, and enjoying his freedom.

[3] Eastern Zhou dynastic periods of ancient China, was divided by Spring and Autumn period (dating from approximately 771 to 475 BC), and the Warring States Period (475 to 221 BC, until first unified empire of China was established, known as the Qin Dynasty).

[4] It is difficult for us to summarize Daoism (also known as Taoism), the school of the Way, but a 7”31’ YouTube video of explanations https://www.youtube.com/watch?v=KcQcwPAiMwI might provide you with some basic principles. And this text by the Met Museum is one of the best and clear introduction of Daoism and Daoist art, if you are interested in learning about the historical context and positions of Daoism before and after Zhuangzi: http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm

[5] Wu Wei (无为) is one of the core principles of Taoist living, mainly stressing ‘the concept of non-action and non-interference with the natural order of things”. This philosophy is deeply rooted in the making of Chinese culture and the way of thinking and doing for Chinese people, for more than two thousand years.

[6] The enlightenment movement, The Hundred Schools of Thoughts, occurred during the Warring States Period mentioned above. https://www.youtube.com/watch?v=rSfM3bYL0q8 this 6”30’ video briefly the 3 contending foundational schools of thought: Confucianism / Ruism (Confucius, Mencius, etc.), Daoism (Lao Tzu, Zhuangzi, etc.) and Legalism (Guanzi, etc.). Besides representatives for each of these systematic philosophies, there are many other scholars who propose different ideas and form their own schools, such as Mozi, Huizi, Sun Tzu, etc.

[7] More critiques on this ‘misinterpretation’ of Zhuangzi’s seemingly anti-humanistic philosophy, please read the marvellous and thorough chapter of ‘China, Nature, and the Sublime in Kant’. The author also criticises Kant to be ‘racist’ when it comes to Chinese philosophies and that he was not “getting” Daoism. https://philpapers-org.eur.idm.oclc.org/archive/NELCNA.pdf

[8] “Is there such a thing as Chinese Aesthetics?” Check out p.96 of this journal: http://www.journals.vu.lt/problemos/article/view/10357

[9] “By the fourth century A.D., a distinctly Chinese form of Buddhism emerged that was harmonized with the ancient teachings of the Daoist sage, Lao Tzu. It became known as Chan Buddhism and it had some similarities to the more widely recognized Japanese variation, Zen Buddhism.” Read more about the developments of Chan Buddhism here: http://www.dharmalounge.net/chan-buddhism-the-secret-and-sublime

[10] A quote by Zhuangzi says, “One who dreams of drinking wine may in the morning weep; one who dreams weeping may in the morning go out to hunt. During our dreams, we do not know we are dreaming. We may even dream of interpreting a dream. Only on waking do we know it was a dream. Only after the great awakening will we realize that this is the great dream.” http://acc6.its.brooklyn.cuny.edu/~phalsall/texts/chuangtz.html (web page of quotes from Zhuangzi)

[11] In Daoism, there are a lot of mythical elements presented as “truth”, or “reality”, in order for people to understand that the life they are experiencing right now, is not the only truth or reality. The depth of this topic though is extremely hard to explain, here is a podcast of some discussions (around 14”) if you would like to be inspired https://youtu.be/rcvqZYeb_x4

[12] Interesting and well-made video on philosophers’ perspectives on death (crash course philosophy) featuring Socrates, Epicurus, and Zhuangzi! https://www.youtube.com/watch?v=mjQwedC1WzI (9”)

[13] To better understand Zhuangzi’s conception of ‘merging with nature’, here is an intriguing and representative tale about Zhuangzi’s butterfly dream, briefly introduced by this dude (4”) https://www.youtube.com/watch?v=1t-IVCI1KHk 

Along with the poem about drinking and dreaming in note 10, these are two of the most representative instances of ‘dreaming’ in Zhuangzi. Zhuangzi takes a normative and relativist approach in constructing realities / imaginaries. In an Ivanhoe (1993) essay, the two texts are analyzed more in detail: https://www-jstor-org.eur.idm.oclc.org/stable/1465056

References:

Augustin, B. (2011). Daoism and Daoist Art.  Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. Retrieved from http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm

Coutinho, S. (2004). Zhuangzi and early Chinese philosophy vagueness, transformation and paradox. Abingdon: Routledge. 

Hansen, C. (2017). “Zhuangzi”, In E. N. Zalta (ed.), The Stanford Encyclopedia of Philosophy (Spring 2017 Edition). Retrieved from https://plato.stanford.edu/archives/spr2017/entries/zhuangzi/

Ivanhoe, P. J. (1993) Zhuangzi on Skepticism, Skill, and the Ineffable Dao, Journal of the American Academy of Religion, 61(4), pp. 639-654. Retrieved from https://www-jstor-org.eur.idm.oclc.org/stable/1465056

Kant, I. & Meredith, S. J. C. (1952). The Critique of Judgement. Translated with Analytical Indexes by James Creed Meredith. Oxford.  

Nelson, E. S. (2011). Kant and China: Aesthetics, Race, and Nature. Journal of Chinese Philosophy, 38: 509 - 525. Retrieved from http://onlinelibrary.wiley.com.eur.idm.oclc.org/doi/10.1111/j.1540-6253.2011.01672.x/full

Nelson, E. S. (2010). China, Nature, and the Sublime in Kant. In S. R. Palmquist (ed.), Cultivating Personhood: Kant and Asian Philosophy (pp. 333-348). Berlin: Walter de Gruyter. Retrieved from https://philpapers-org.eur.idm.oclc.org/archive/NELCNA.pdf

Smullyan, R. M. (1977). The Tao is silent. New York: Harper & Row.

van den Braembussche, A. (2009). Aesthetic judgement: The legacy of Kant. In Thinking Art (pp. 111-137). Springer. 

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Seven Outrageous Ideas For Your Characteristics Of Abstract Expressionism | characteristics of abstract expressionism

March 11, 1990|By Chuck Twardy, Sentinel Art Critic

ABSTRACT EXPRESSIONISM CHARACTERISTICS – YouTube – characteristics of abstract expressionism | characteristics of abstract expressionism

Alex Katz would like to advertise that he has not been arresting trends. The trend-makers accept been arresting him.

”Minimalism – I’m advanced of it. Pop art – I’m advanced of it,” said Katz during a contempo buzz interview, speaking in the present close about the past. ”I’m accomplishing actual reductive assignment in the backward ’50s.”

Thus he predated the minimalists’ reductions of band and blush of the 1960s and 1970s. Prefigurings of approaching trends may be begin amid the mostly contempo works in ”Alex Katz: Paintings, Drawings and Cutouts” at the Orlando Museum of Art. The exhibition clearly opens Wednesday but can be apparent today. Organized by the museum’s babysitter of American art, Sue Scott, the appearance includes portraits, landscapes and cityscapes.

If the 63-year-old Katz sounds a little arresting about influences, it’s understandable. He has consistently advised himself advanced of the curve, but he has taken abuse for 35 years for backward abaft it. Painting allegorical works in the aboriginal 1950s, during the heyday of abstruse expressionism, Katz endured maniacs agreeable at aperture receptions, accusing him of regression. Unchanged by abstruse expressionism, pop art and minimalism, Katz has angry out assignment that seems to abandon aspects of anniversary movement – appropriately the anticipation that he was afflicted when, in his admiration at least, he was influencing.

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Not that his assignment is after precedent. Critics accept traced his flattening of three-dimensional capacity to Henri Matisse and Fernand Leger, and Katz has accustomed such links. Well-versed in art history, he can draw access with Diego Velazquez and Edouard Manet, as able-bodied as with the modernists.

Among his ancient influences, odd as it may seem, was Jackson Pollock, the abstruse expressionist acclaimed for his dribble paintings of the backward 1940s and aboriginal 1950s.

It was the ”light and openness” in Pollock’s paintings that afflicted the adolescent Katz, who was again ablution his career in New York’s SoHo. Babysitter Richard Marshall, in his article for the archive of Katz’s 1986 attendant at the Whitney Museum of American Art, compared ”Winter Scene,” Katz’s 1951 painting of ablaze artificial through a angle of leafless besom trees, with Pollock’s awe-inspiring ”Blue Poles” of 1953.

In those days, Katz socialized with added adolescent artists at SoHo’s Cedar Tavern, one of the settings for Pollock’s bashed outrages. He said he saw Pollock but did not apperceive him. He has resisted account Steven Naifeh and Gregory White Smith’s contempo adventures of Pollock because of its reputedly ”over-psychologized” analysis of the artist.

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Katz after alone Pollock’s light. ”By the mid-’50s I was alive with collapsed colors,” he said. His brand back again has been apprehensible agreement in planes of those collapsed colors. His access unifies the apropos of realists with those of modernists, who assert on the pre-eminence of anatomy over agreeable and apathy over apocryphal perspective.

Some extremists alone this amalgam as backward as the mid-1970s. He recalled ”people in the arcade screaming, ‘This guy’s incompetent!’ ” at a Paris exhibition from that period. As afresh as 1986, Time analyzer Robert Hughes labeled Katz ”the Norman Rockwell of the intelligentsia.”

”It’s the aforementioned way bodies attending at (Edward) Ruscha,” said Sue Scott of the Orlando Museum of Art. ”Because the artisan chose to simplify, you stop there. If you get above that, you apprehend there’s a lot added activity on there. . . . It can’t be absolved aloof because it’s been simplified.”

”If I took the abrogating things actively I’d accept chock-full painting a continued time ago,” said Katz, who succinctly summed up the objections: ”They’re agitated about the address or the style. The appearance absolutely bothers people.”

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Katz seems bedeviled by the angle of style, the characteristic address in which he conveys absoluteness to viewers. What or who is in the painting is not as cogent as the address of rendering. ”The appearance is the content,” said Katz.

If you wonder, then, why accountable amount is all-important at all – why not acrylic abstractions? – Katz will say he wants to get you to see things the way he sees them. And about he sees them big, affectless, bargain to essences, sometimes truncated or circumscribed peculiarly. Katz had appointed the characteristics of billboards – blown-up amount bits sipping Cokes or sucking smokes – continued afore others played with pop images.

And in after decades of art -world about-face Katz ”stayed accurate to his vision,” said Scott.

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