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France’s Prehistoric Chauvet Cave Opens

 

The replica of the Chauvet cave at Pont d’Arc is to open its doors. Photo: AFP
New Post Goes Up Every Wednesday

France’s prehistoric Chauvet cave opens

We have written about the spectacular Chauvet Cave in a prior post titled, “DID ABSTRACT ART EXIST 35,000 YEARS AGO? – THE CHAUVET CAVE.” Since its discovery in 1994, cave has been open only to researchers, staff, and invited guests. However, the Cave’s website has long featured a virtual tour of the Cave, and a video of its discovery by  Jean-Marie Chauvet, Eliette Brunel and Christian Hillaire. You can also see a feature- length film of the Cave, in 3D, made by Werner Herzog: The Cave of Forgotten Dreams,” and watch the Trailer here. Thus, a lot of use of the tools of the New Media to make the Art of the Cave accessible.Now, a replica of the entire cave has been opened to the public.chauvet artist working

However, now a replica of the entire cave has been opened on the site.

Technical Wizardry

Since this site is devoted to “Fine Art in the new Media, we’d like to focus on the technical and artistic skills that made this replica possible.

According to france.fr,

“The designers of the cave replica are working in close collaboration with the scientific team, the challenge being to reproduce the cave and its 8,500 m2 in a space restricted to just 3,500 m2, while at the same time maintaining the perception of the original volumes. This is made possible by a 3D technique developed using a high-precision scanner to generate a full-scale digital reproduction of the cave. The paintings will be reproduced on a shotcrete structure with resin coating using natural oxide pigments and Scots pine charcoal. And all the paintings will be done by experienced artists with a view to remaining as faithful as possible to the original spontaneity of the work.”

“Lion, cave bear, snow panther, mammoth, white rhinoceros, megaceros, bison, aurochs, ibex, stag… A seven-metre long panel of horses, a panel depicting a group of lionesses out hunting amidst a vast animal composition, naturalistic scenes in which two rhinoceroses do combat and a lioness spurns the advances of a male… Depicted over a distance of half a kilometre and occupying an area of 8,500 m2, the bestiary portrayed on the walls of the Chauvet Pont-d’Arc cave – containing 424 animals and 14 species – is principally made up of predatory animals, which is quite specific compared to other decorated caves which in the majority of cases are more recent.”

More

The Cave replica is also replete with horse art  A must see. And here you can see more images of the artists and technicians at work creating the replica.

H/T Mark Dziamba

 

 

 

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ROBERT FROST – IN HIS OWN WORDS

ROBERT FROST – IN HIS OWN WORDS

On April 15, 2104, the Library of Congress launched Archive of Recorded Poetry and LIterature, an online a selection of recordings from the Library’s Archive of Recorded Poetry and Literature, a series of audio recordings, dating back to 1943, of renowned poets writers reading from and discussing their work at the Library of Congress. The initial April 15, 2015, launch includes 50 recordings, and features poets such as Robert Frost, Gwendolyn Brooks, Elizabeth Bishop, Czeslaw Milosz, and Paul Muldoon. More recordings will be added on a monthly basis.

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Robert Frost tells Randall Jarrell of his desire to identify American antiquity — to feature in his poetry a woodchopper’s hut that looks “as old as Babylon.” The Robert Frost interview with Randall Jarrell is a long interview, but listen to the section beginning at 10:12 to get the essence of the poet.

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“THE DAY THE MUSIC DIED,” and EVERY DAY THEREAFTER …

New Post Goes Up Every Wednesday

Original

Version Two

Verse 3 – The End:

“Now the halftime air was sweet perfume
While the sergeants played a marching tune
We all got up to dance
Oh, but we never got the chance …”

“American Pie” as transcribed by azlyrics.com.

Media: New and Old

Music, Poetry, Sound Recording, Visual Images, Digital, You Tube, and the creativity of the artists involved.

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HOW DOES THE NEW WHITNEY MUSEUM USE THE NEW MEDIA?

Whitney                                                                                 Whitney Museum of American Art, February 2014. Photograph ©Nic Lehoux
New Post Goes Up Every Wednesday

The Whitney and the use of the New Media, Part 1

The new Whitney Museum of American Art is scheduled to open on May 1, 2015 in its new building designed by Renzo Piano.

However, through the use of the New Media, the new Whitney is already open to all. Yes, the building will see VIPs of the Art World, Artists, Fashion, and Museum’s at its May 1st Opening, but its Art is now available to everyone through the Whitney’s creative use of the tools of the New Media. While a lot of thought has gone into the planning and design of the new building for people to see its Art in a new setting, the Museum has given to same, if not more thought to those visiting the Museum virtually.

Explore the Whitney’s Collection Online

The Whitney’s collection contains some of the most significant and exciting work created by artists in the United States during the twentieth and twenty-first centuries. You can see it now, no need to wait for the Opening, get tickets, line up for admission, or be governed by opening and closing hours. The fact that the Whitney has made its collection available before the actual opening of the new building shows that the Museum has put the Art before the building, and has put accessibility to everyone ahead of the VIPs.

This is not a small thing, and demonstrates the Museum’s  commitment to making its Art Accessible to everyone.Usually one would say, “I can’t wait to go there,” or, more likely, “I wish I could go there,” when it may impossible for you to do so.

By putting the Art first, the Whitney has done a great service to removing the barriers of privilege and wealth to access to Art. As the Museum says,

“The Whitney’s collection online provides unprecedented access to over 21,000 works by more than 3,000 artists. These works in all mediums—painting, sculpture, drawing, printmaking, photography, film, video, installation, and new media—serve as a remarkable resource for understanding art history and the creative process of artists in the United States from 1900 to today. You are invited to explore the breadth and depth of a collection that has helped define what is innovative and influential in American art since the beginning of the twentieth century.”

Edward Hopper

Since there is so much art to see, we will use Edward Hopper as an example of the breadth and depth of the Whitney’s commitment to its mission of making Art accessible to everyone.  You can view some 3154 works by Edward Hopper, including the most iconic, and listen the Audio Tour, if you wish.

Edward Hopper EARLY SUNDAY MORNING 1930

Edward Hopper
EARLY SUNDAY MORNING
1930

You may also view other Hopper Exhibitions held at the Museum, including one in May 2103 of ” Hopper Drawings,”

Edward Hopper (1882–1967), Study for Nighthawks, 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 × 15 in. (28.3 × 38.1 cm). Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange  2011.65

Edward Hopper (1882–1967), Study for Nighthawks, 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 × 15 in. (28.3 × 38.1 cm). Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange 2011.65

And his studies for paintings.

As the Museum says,

“Edward Hopper was an incredibly gifted draftsman, though he never intended his studies to be seen as works of art—he used them to try out ideas and refine content for paintings. Featured here are suites of drawn studies in the Whitney’s collection for some of Hopper’s most famous oils. The drawings show two distinct ways of working: in his words, drawing “from the fact” (painting from direct observation), and “improvising” (working from imagination). Taken together, the drawings and paintings reveal how Hopper synthesized precisely observed details or views into atmospheric scenes, transforming the mundane into the poetic.”

You can also watch a video of Hopper’s Studio and a Walking Tour of Hopper’s New York, including the sites of “Early Sunday Morning,” and “The Nighthawks.”

To Be Continued

This is Part 1 of a Series on the Whitney’s use of the New Media to make its Art Accessible to everyone. There is much more to come.

 

 

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WHAT DOES CREATIVITY LOOK LIKE? ALICJA KWADE


Alicja Kwade Creates a Sort of Space Time Continuum in Frankfurt
Alicja Kwade, “Die bewegte Leere des Moments (The Void of the Moment in Motion)“, 2015, installation view at Schirn Frankfurt (© Schirn Kunsthalle Frankfurt, 2015 Photo: Norbert Miguletz). Schirn Kunsthalle Frankfurt.

“The Void of the Moment in Motion” consists of a rock and an analogue clock, both suspended on rotating ropes, whose movement is reflected by the rotunda’s window gallery that Kwade has turned into a mirror cabinet of sorts. The evanescence of time is thus reflected into infinity, leaving it to the viewers to come to terms with a situation both visible and virtual.

As described by ArtDaily, “The installation by Alicja Kwade at the Schirn Kunsthalle deals with the actual movement of time.”

Here is another captivating video of her work: Alicja Kwade: “Nach Osten”, 2011 / 2014, at the Kunsmuseuem St.Glalen:

QUIET, CONFIDENT, CREATIVE

If there is ever a depiction of an artist as  representing “quiet, confident, creativity” it is Alicja Kwade.

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The Largest Exhibition on Ancient Greece Ever Produced in North America

 The Greeks – Agamemnon to Alexander the Great

From December 12th 2014 to April 26th 2015

Pointe-à-Callière Presents the World Première of the Largest Exhibition on Ancient Greece Ever Produced in North America

MONTREAL.- Pointe-à-Callière, the Montréal Archaeology and History Complex, is presenting the world premiere of the original exhibition The Greeks – Agamemnon to Alexander the Great. The exhibition spans over 5,000 years of Greek history and culture and takes visitors on an exceptional and fascinating journey back to the origins of the cradle of Western civilization, its heritage and the traces it has left in the hearts and minds of the Greek people.

From the Museum’s website,

Alexander, larger than life
“The exhibition takes us all the way up to the days of Alexander the Great, a larger-than-life figure who was only 20 years old when his father, Philip II, was assassinated. But Alexander was ready to succeed him, thanks to his education, his training and the formidable Macedonian army. Within barely a single generation, the ancient world was transformed from a series of independent city-states into a unified empire under Alexander the Great. The young prince who became king, emperor then god in the eyes of the world, died of a malignant fever at the age of 32. But his legend survived, as did Greece’s extraordinary legacy to the Western world.”

The Golden Age of Ancient Greece
“Between these two crucial figures, the exhibition focuses on the Golden Age of ancient Greece, in the 5th and 4th centuries BCE, when philosophy, theatre and the visual arts flourished, particularly in Athens. This was also the birthplace, under Pericles, of Greece’s greatest gift to humanity: democracy, government by the people. For the first time, citizens could express themselves, debate issues and vote. The exhibition also looks at the founding of the Olympic Games in 776 BCE, when athletes converged in Olympia from all Greek city states to take part in the Games.”

6--KoreView Items from the Exhibition on the Museum’s Website

A hands-on experience
“The exhibition offers visitors a whole range of interactives and items to handle. They can touch different reproductions including a Cycladic female figurine, a block of marble, a warrior’s helmet and a sword. There are over twenty videos in the various exhibition zones, most of them produced by the National Geographic Society, the Acropolis Museum in Athens, the Museum of Cycladic Art in Athens and the Canadian Museum of History.”

 

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WHAT WAS PHOTOGRAPHY LIKE IN THE 1920s?

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March 18, 2015 –  New Post Goes Up Every Wednesday

The Thomas Walther Collection at MoMA New York

From the MOMA website,

“The creative possibilities explored through photography were never richer or more varied than in the years between the First and Second World Wars, when photographers approached figuration, abstraction, and architecture with unmatched imaginative fervor. This vital moment is dramatically captured in the more than 300 photographs that constitute the Thomas Walther Collection at The Museum of Modern Art.”

Jonas Cuénin, in the March 17, 2015 issue of L’Oeil de la Photographie, (The Eye of Photography) wrote about the exhibition at MOMA featuring the Photography from the 1920s, quoting from the Director’s Forward   by  Glenn D. Lowry, Director, The Museum of Modern Art

“The 1920s were a prosperous era when photography seemed ubiquitous, defying the restrictions of the past, including photography’s justification as an art in itself.

That decade also saw the arrival of new hardware, like compact, portable 35mm cameras with fast shutter speeds, and figures like László Moholy-Nagy were reinventing the photogram at the Bauhaus school, preaching that every aspiring artist should be “literate” in photography, much as every student today needs computer skills.

Berlin and Paris became magnets for photojournalists and editors eager to rethink what could be done with images and text on the blank pages of books and magazines.”

FINE ART IN THE NEW MEDIA

The The Thomas Walther Collection exhibition promises to be one of the high points in a museum showing of photograph. This blog concentrates on Fine Art in the New Media, and the use of technology to fulfill the mission to make Art available to everyone, wherever they may be. In this respect, the interactive web site by MOMA is one of the high points in a museum’s use of New Technology to further the mission of making Art accessible to everyone.

First just clicking on the link above will bring you immediately into the stunning photography of the 1920s.

Second, the contents of the exhibition is viewed with a simple but elegant user interface organized into xx sections, VisualizationsTechniques, where the visitor can click on tabs such as Distractions, for an essay on “The Age of Distraction: Photography and Film,” or on Gallery to see some 341 pictures from the exhibition, in great resolution, and with the ability to click to enlarge each one. This is exemplary because the Gallery is not a small sample of the images in the exhibition, but it contains a substantial number (341) of the images in the museum exhibition, available to all, to be viewed for a long a period of time as the viewer wants, from anywhere in the world. Photographs organized by Artist is also just a click away. You can also see the image organized by Schools and Circles of Influence. Here’s an essay, for example on The Poetics of Eye and Lens, with stunning images of this Theme.

Third, well, there is lots more, but a note on the Catalogue will illustrate the point about the Museum’s use of New Media and New Technology, where you can download a free sample of a full 35 pages of the catalogue.

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OBJECT:PHOTO. Modern Photographs: The Thomas Walther Collection 1909-1949
Mitra Abbaspour, Lee Ann Daffner, Maria Morris Hambourg

BONUS

Click on an image below to view  it in a New Tab

 

  • Willi Ruge (German, 1882-1961). Seconds before Landing from the series I Photograph Myself during a Parachute Jump. 1931. Gelatin silver print. 8 1/16 × 5 9/16″ (20.4 × 14.1 cm). The Museum of Modern Art, New York. Thomas Walther Collection. Gift of Thomas Walther
  • Gertrud Arndt (German, 1903–2000). At the Masters’ Houses. 1929–30. Gelatin silver print. 8 7/8 x 6 1/4″ (22.6 x 15.8 cm). The Museum of Modern Art, New York, Thomas Walther Collection. Gift of Thomas Walther © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
  • Herbert Bayer (American, born Austria. 1900–1985). Humanly Impossible. 1932. Gelatin silver print. 15 5/16 x 11 9/16″ (38.9 x 29.3 cm). The Museum of Modern Art, New York, Thomas Walther Collection. Acquired through the generosity of Howard Stein © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
  • Max Burchartz (German, 1887–1961). Lotte (Eye). 1928. Gelatin silver print. 11 7/8 x 15 3/4″ (30.2 x 40 cm). The Museum of Modern Art, New York, Thomas Walther Collection. Acquired through the generosity of Peter Norton © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
  • Alvin Langdon Coburn (American, 1882–1966). The Octopus. 1909. Gelatin silver print. 22 1/8 x 16 3/4″ (56.2 x 42.6 cm). The Museum of Modern Art, New York, Thomas Walther Collection. Gift of Thomas Walther
  • Walker Evans (American, 1903–1975). Votive Candles, New York City. 1929–30. Gelatin silver print. 8 1/2 x 6 15/16″ (21.6 x 17.7 cm). The Museum of Modern Art, New York, Thomas Walther Collection. Gift of Willard Van Dyke and Mr. and Mrs. Alfred H. Barr, Jr., by exchange © 2014 Walker Evans Archive, The Metropolitan Museum of Art
  • André Kertész (American, born Hungary. 1894–1985). Mondrian’s Glasses and Pipe. 1926. Gelatin silver print. 3 1/8 x 3 11/16″ (7.9 x 9.3 cm). The Museum of Modern Art, New York, Thomas Walther Collection. Grace M. Mayer Fund © 2014 Estate of André Kertész
  • Edmund Kesting (German, 1892–1970). Glance to the Sun. 1928. Gelatin silver print. 13 1/16 x 14 1/2″ (33.2 x 36.8 cm). The Museum of Modern Art, New York, Thomas Walther Collection. Gift of Thomas Walther © 2014 / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
  • Lucia Moholy (American, born Hungary. 1895–1946). Florence Henri. 1927. Gelatin silver print. 14 5/8 x 11″ (37.2 x 27.9 cm). The Museum of Modern Art, New York, Thomas Walther Collection. Gift of Thomas Walther © 2014 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
  • Aleksandr Rodchenko (Russian, 1891–1956). Girl with a Leica. 1932–33. Gelatin silver print. 11 13/16 x 8″ (30 x 20.3 cm). The Museum of Modern Art, New York, Thomas Walther Collection. Gift of Shirley C. Burden, by exchange
  • Osamu Shiihara (Japanese, 1905–1974). Construction of Hand. 1932–41. Gelatin silver print. 11 7/8 x 8 7/8″ (30.2 x 22.5 cm). The Museum of Modern Art, New York, Thomas Walther Collection. Gift of Thomas Walther © 2014 Estate of Osamu Shiihara, care of Tomatsu Shiihara, Japan
  • Stanislaw Ignacy Witkiewicz (Polish, 1885–1939). Anna Oderfeld, Zakopane. 1911–12. Gelatin silver print. 6 11/16 x 4 3/4″ (17 x 12.1 cm). The Museum of Modern Art, New York, Thomas Walther Collection. Gift of Mrs. Willard Helburn, by exchange.
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