(At Least) 150 Words: Shamsia Hassani

So before the word count lets have a quote shall we?

“I am from Afghanistan , the country which is famous by War-Bomb – …lets change the topic of news about Afghanistan . lets bring PEACE with art , lets make it famous by ART not by WAR.”— Shamsia Hassani

Ok the count starts below*:

Shamsia Hassani is a graffiti artist working in Kabul. She is afghan, but grew up in Iran where freedoms were limited because of her nationality. Shamisa was not allowed to study art until 2006 when her family moved to Kabul. As a girl Shamisa practiced art on her own, but gravitated towards graffiti after attending a work shop by a UK artist. Today she teaches at Faculty of Fine Arts, Kabul University and is a founder of Berang Arts Organization,.

Shamsia has four main reasons for making street art:

  • Create positive and empowering imagery to “cover up bad memories” left after years of war.
  • Introduce art to a community of people who have no other means accessible.
  • Use meaningful images to express her messages because “the picture is more expressive than words.
  • Create awareness of the plight of afghan women.

Standard subjects include women in Burqas, fish, and symbols representing ambient atmosphere. Her street art generats positivity in communities damaged by war. Of course she cannot freely express herself in this country because of censorship and the dangerous associated with voicing opposition. As a result one of her most well known projects is a collection of her preliminary sketches drawn over prints of pictures taken from different parts of Kabul she calls “Dream of Graffiti.”

Shamsia’s continued effort’s to exchange her street arts experiences with her students and present more artists to the community. She was selected as one of Top10 for the 2nd Afghan Contemporary Art Prize in 2009, and since then has been part of solo and group exhibitions inside and outside of Afghanistan (e.g. Germany, Australia, India, Vietnam).  

Links:

http://www.streetartbio.com/#!shamsia-hassani-interview/c19pn

https://www.facebook.com/pages/Shamsia-Hassani/252100761577381

http://artradarjournal.com/tag/shamsia-hassani/

http://www.theguardian.com/world/2012/feb/24/graffiti-street-art-kabul

*I didn’t really do a word count. I might be over 150.

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Short Bit: Alfredo Jaar

“The Eyes of Gutete Emerita” 2004

Currently a large portion of artist Alfredo Jaar’s oeuvre is on display at Kiasma titled “Tonight no Poetry Will Serve” it opened on April 11 and will show through September 2014. Named after a poem by the late American writer Adrienne Rich (1929-2012), an important source of inspiration for the artist, the retrospective occupies two floors comprising more than 40 works from 1974–2014. It features real ground-breakers like “Lament of the Images,” “The Silence of Nduwayezu,” and “The Sound of Silence”. But the premium piece is Jaar’s re-creation of “One Million Finnish Passports;” the striking and historic landmark work shown originally in Helsinki in 1995 and was destroyed right after the exhibition.

The Chilean native has lived in New Year since 1982, gaining international fame as an ethical artist, architect and filmmaker with installations and public interventions. The overriding theme in Jaar’s body of work is social morality. He challenges us to question the practicality of our principles, revealing the holes in Western society’s attitudes regarding righteousness and social justice. His large scale installations, films, photographs, objects, and neon works examine human and social morals by negotiating the balance between our responsibility for ensuring self well-being and that of others. With art he tackled the Rwanda holocaust, gold mining in Brazil, toxic pollution in Nigeria, and immigration issues between Mexico and the United States. In a lot of the works, Jaar contrasts light and dark to expose moral disparities or focuses on eyes as points of entry into another person’s experience, effectively eliciting empathy and real compassion. Though he also distances the viewer from the human aspect to provide “room” for reflection upon the full implication of a problem, the spread of injustice in situations like immigration and persecution. Many of Jaar’s works are extended meditations or elegies, including videos like Muxima (2006) that portrays the extreme contrast between poverty stricken Angola and the oil economy and “The Gramsci Trilogy” (2004–05). The latter is a series of installations documenting Italian philosopher Antonio Gramsci’s imprisonment under Mussolini’s Fascist regime.

details from Biennial exhibition

He has exhibited individual works in Finland in both the 1995 and 2011 ARS exhibitions and in 2010 as part of the Capital of Culture year in Turku Archipelago. Among Jaar’s many awards are a John D. and Catherine T. MacArthur Foundation Award (2000); a Louis Comfort Tiffany Foundation Award (1987); and fellowships from the National Endowment for the Arts (1987); and the John Simon Guggenheim Memorial Foundation (1985). He has had major exhibitions at the Museum of Fine Arts, Houston (2005); Museo d’Arte Contemporanea, Rome (2005); Massachusetts Institute of Technology, List Visual Arts Center, Cambridge (1999); and Museum of Contemporary Art, Chicago (1992). Jaar emigrated from Chile in 1981, at the height of Pinochet’s military dictatorship. His exhibition at Fundación Telefonica in Chile, Santiago (2006), was his first in his native country in twenty-five years. Jaar lives and works in New York.

SEGMENT  Art21 follows and films Jaar in his native Chile during a major retrospective of his work, which he shares for the first time with the Chilean public.

http://www.pbs.org/art21/watch-now/segment-alfredo-jaar-in-protest

 

“Lament of the Images, version 2,” 2002

“Lament of the Images, version 1” 2002

From Rwanda project

“Geometry of Consciousness” 2010

“Lament of the Images, detail” 2002

“Gold in the Morning”

“Real Pictures”

Baroness Elsa von Freytag-Loringhoven

So where do I start with this outrageous character of Dada legend and lore? Baroness Elsa von Freytag-Loringhoven is pretty much the founder of Dada in New York during the 1913-20’s. (Dada came about as a reaction against the academy’s stuffy rules regulating, defining, organizing, and otherwise controlling an understanding/definition of art; the anti-art scene then escalated into anti-culutre movement in part as a search for meaning and consolation in the catastrophic aftermath of WWI.) Marcel DuChamp, her contemporary and friend, credits her as being the original dadaist stating that, “she is not a futurist, she is the future.”

It is right that DuChamp should be so admirable of The Baroness. She brought Dada to the fore front of culture in at the start of the new century in New York by pushing the boundaries of elite culture. Dada’s darling went to war with the bourgeois, attacking decency with her explicit dadaist poetry, constructed ready-mades that upset traditional art making practices, crafted dangerously anti-religous sculptures, and designed her own elaborate costumes from found and stolen items. The Baroness did not just cause a riot, she was a riot, making scene with her outlandish, ridiculous behavior everywhere she went. In short, the woman was a hot mess. Today we’d call her a ratchet, with the singular gift of provoking everyone around her into a hissy fit.

The Baroness was born July 12,1874 in Germany, she studied art in Dachau, near Munich before marrying her first husband in 1901, Berlin-based architect August Endell, at which time she became Else Endell. Ever one for a good scandal, she lived an avant-garde bohemian lifestyle, having an open relationship with her husband while working as an actress and vaudeville performer. She had numerous affairs with artists in Berlin, Munich and Italy, and in 1902 she became involved romantically with a friend of Endell’s, the minor poet and translator Felix Paul Greve (later the Canadian author Frederick Philip Grove), and all three went to Palermo in late January 1903. They then lead a faery nomadic lifestyle, traveling to various places, including Wollerau, Switzerland and Paris-Plage, France.  She found work modeling for artists in Cincinnati, and made her way east via West Virginia and Philadelphia.

Elsa became a baroness by marrying Baron von Freytag-Loringhoven in 1913 and maintained that title the rest of her life, despite numerous affairs. She exploited her aristocratic status as a weapon to assault bourgeois taste. One of my favorite Baroness antics was her single-handed effort to present futuristic fashion to the bohemians of Greenwich Village, by scandalizing her neighbors parading about semi-nude along 14th Street, barely covered with feathers. It is evident that her preferred method for undermining the avant-garde was to always be as naked as she could get, even wearing nothing but tea-balls on her breasts while reciting poetry on street corners.

Until recently, The Baroness was best known for her  provocative poetry, which was finally published in a 2011 posthumous compilation of her writings Body Sweats: The Uncensored Writings of Elsa von Freytag-Loringhoven, Irene Gammel. (The New York Times praised the book as one of the notable art books of 2011.) She liked to experiment with punctuation and grammar to challenge the structure of langue. She made good use of dashes to set unique tempos and almost actual motion within her sentences, and created portmanteau compositions that made a mockery of coherency with non-sensical phrases.  As the poem “Loss” states:  “She is mad— / I am lost— / Utter.” (Loss, 234)

When reading her poems you often have to pause to rethink her meaning. I find I have to recompose the poems, decide which statements are spoken by which voice/persona, in what order lines are meant to be read, and in what combination with the lines surrounding it.  Take a second look at the tercet cited above—here the two-syllable word line “Utter” may be a command “to utter” and if so who is to speak?  Is the command directed to her, us, or is it the owl in the poem? Or is “utter” not a verb at all but a displaced adjective, one which should be read as if it precedes the word “lost” in the penultimate line? And if so does The Baroness ask the reader if this refers to utter loss? And who utterly lost and what was it? Or is the speaker utterly lost? Or is she talking about a random cow’s utters?! By being evasive with layers of meaning, The Baroness wrote very polarizing poetry, causing some people to either find their meanings very personal to each reader or very isolating and shallow. Ezra Pound was not always her biggest fan, but what does he know?

Another one of her stylistic elements is her laudable exploration of the thin line—made up of one to three syllables and streaking down the pages like a stripe, an arrow’s shadowtrail. At times these tiny lines create a clipped, staccato pacing, at others they embody speed and slippage; are aquatic in their rush. This is especially true in poems where sound seems beyond control, tumbling and falling

And of course she is never shy about discussing sex. A lot of her portmanteaus are highly explicit, such as “Kissambushed” and “Phalluspistol.”  The Little Review put her on the map in 1918 by publishing 20 of her poems and more than a dozen of her essays and notes. The magazine thereupon gave the baroness a forum for the next four years, establishing her among Dada luminaries. One of the Baroness’ poems, reproduced by Gammel, reads:

No spinsterlollypop for me!
Yes! We have no bananas
I got lusting palate
I always eat them…
There’s the vibrator
Coy flappertoy! …
A dozen cocktails, please!

Yup. Those are blatant phallic references. By today’s standards perhaps these aren’t so shocking, but in the early 1900s worn were still admired for their gentle and modest qualities. And even men could get into trouble for being so open about sex acts.

The Baroness also worked with found object making assemblage sculptures and collage paintings while in New York. Her habit of collecting rubbish and refuse to create sculptures of anti-art greatly offended art critics. But her radical behavior impressed and inspired her contemporaries. She was feared and admired by the likes of Hart Crane, William Carlos Williams, Wallace Stevens, and Djuna Barnes who all, like Ezra Pound, found themselves discussing her work in verse whether they liked it or not. And the very first movie made by Duchamp and Man Ray was about Elsa, titled The Baroness Shaves her Pubic Hair. The film cements her status Queen of Dada, but sadly only a handful of film stills have been salvaged by history. She is featured in many other Dada artists works, adding further testament to the depth of her influence and the admiration held to her by contemporaries.

Being friends with DuChamp, The Baroness was likely also involved in the conception of the famous ready-made, Fountain (1917). As Irene Gammel has documented, the choice of a urinal as art work is more in line with Freytag-Loringhoven’s scatological aesthetics than with Duchamp’s.  Moreover, Duchamp indicates in a letter to his sister written in 1917 that a female friend of his had sent him the urinal for submission at the Independents Exhibition. Rediscovered by the Whitney Museum in New York City in 1996, her Portrait of Marcel Duchamp (no longer extant) is an example of her ready-made pieces. She also contributed to New York Dada by collaborating with Morton Schamberg on the 1917 assemblage sculpture God, which is constructed of plumbing materials.

Unfortunately her death was not a glamorous or scandalous as her lifestyle. Finding herself finically insecure, in 1923, The Baroness went back to Berlin, expecting better opportunities to make money. Instead she came home to an economically devastated post-World War I Germany. Regardless of her difficulties in Weimar Germany, she remained there, penniless and on the verge of insanity. Though she still had several friends in the American expatriate community, in particular Djuna Barnes, Berenice Abbott, and Peggy Guggenheim, who provided emotional and financial support, she continued to deteriorate over the next few months.  She died on December, 14 1927 of gas suffocation after the gas was left on in her flat. She may have forgotten to turn the gas off, or someone else may have turned it on; the circumstances were never clear. She is buried in Paris, France at Père Lachaise Cemetery.

So there you have it. The Baroness is the original socially unacceptable bad girl. Her life reminds us that Miley Cyrus only wishes she could be as naughty as The Baroness, and Madonna and Lady gaga have nothing on her scanty outfits. I leave you with what is my favorite poem, for now, and I’ll also leave a few of images of her art and costumes. I highly recommend you read the Gammel book and check out this link to her digital library hosted by the University of Maryland digital library: http://www.lib.umd.edu/dcr/collections/EvFL-class/index.html

Ah Me!

Trust me
I do agree
Madam—I firmly stand that ground
Coitus is paramount
Ab-so-lu-te-ly!

Nay—Mr. Twitch do me allow
To cool define: when you know how!
As poetry—coitus urges
Driven courses rhythmic surges
Energy—
Executive ability.
Fancy’s wing composed complex
Genius sex’
Bagpipe spell
Sunsirens’ crimsoncruising yell
It is—

Else:
Hell!
Well?
Saucerorbs agog enorm
Smirks he
Ah me!
I don’t perform. (43)

“God” Baroness Elsa von Freytag-Loringhoven

Baroness Elsa von Freytag-Loringhoven, Limbswish, sculpture 1917-1919

Elsa von Freytag-Loringhoven 1874, Swinemunde, Germany – 1927, Paris Portrait of Marcel Duchamp 1919 Collage, pastel, and ink on board 31 x 46 cm

The Baroness Elsa von Freytag-Loringhoven in her Greenwich Village apartment, December, 1915

Elsa von Freytag-Loringhoven Wheels are Growing on Rose Bushes, 1921-22 Ink on paper, 5 3/4 x 8 3/4 inches

Short Bit: Jenny Holzer

Jenny Holzer is a conceptual artist living and working in New York. The main objective of her oeuvre is to make narrative or commentary an implicit part of visual objects. Essentially, her medium are words. Belonging to a generation of feminist artists from the 80’s, though her work began in the 1970s with the New York City posters. Her first experiments with projecting anonymous messages resulted in her Truisms (1977–9), which she printed onto broadsheets in black italic script on white paper and wheat-pasted to buildings, walls, and fences in and around Manhattan. These one-liners are extractions from a scholarly reading list from the Whitney Independent Study Program, where Holzer was a student. Recently, Holzer’s light projections on architecture and landscape challenge ignorance and violence with humor, kindness, satire, and moral courage.

Projections (1996-2011)

In 1981, Holzer began printing on aluminum and bronze plaques, the presentation format used by medical and government buildings, and dubbed the series  “Living.” The following year, Holzer installed the first large electronic sign on the Spectacolor board at Times Square, New York thanks to a sponsorship from the Public Art Fund program.  Using L.E.D. (light emitting diode) allowed Holzer to communicate to a much larger audience. The texts in her subsequent Survival series (1983-85) comment on the great pain, delight, and ridiculousness of living in contemporary society. In her 1986 exhibition at Barbara Gladstone Gallery in New York, Holzer revealed the maturity of her concept when she introduced her first total environment, where viewers were confronted with the relentless visual buzz of a horizontal LED sign and stone benches leading up to an electronic altar. This practice culminated in the installation at the Guggenheim Museum in 1989 of a 163 meter-long sign, forming a continuous circle spiraling up the parapet wall.

The third phase of Holzer’s For the City, projected on the Fifth Avenue side of the New York Public Library, October 6–9, 2005

For more than thirty years, Holzer boldly displayed her astringent ideas, arguments, pleasures, and sorrows in public places and international exhibitions; including 7 World Trade Center, the Reichstag, the Venice Biennale, the Guggenheim Museums in New York and Bilbao, and the Whitney Museum of American Art. Whether formulated as a T-shirt, as a plaque, or as an LED sign, public display and reception are integral to the concept of her work. Holzer received the Leone d’Oro at the Venice Biennale in 1990 and the Crystal Award from the World Economic Forum in 1996. She holds honorary degrees from Ohio University, Williams College, the Rhode Island School of Design, The New School, and Smith College. She received the Barnard Medal of Distinction in 2011.

Installation in lobby at 7 WTC

Happy Birthday John Singer Sargent

Today is the birthday of American portraitist John Singer Sargent. To celebrate I want to talk about one of his controversial portraits Portrait of Madame X, because despite it’s blatant objectification of women, I find the portrait to be stunning. I have always loved and admired the mysterious woman for her controlled and powerful sexuality, just oozing from within the painting. Perhaps because I feel that the woman is employing the power of her beauty and figure at her own will, I am more forgiving to Sargent for the shameless exploitation of female sexuality. And I admit I may have a bit of a lady-crush on the stunning Madame X.

But first a little about Sargent. The painter was born on January 12,1856 and is regarded as the leading portrait painter of the Edwardian era for his rich oil and watercolor evocations of elite luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida— though he lived in Europe for most of his life. Through out his career Sargent’s commissioned works were consistent with the grandiose manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, so his work evolved as he devoted more of his energy to mural painting and working en plain air (which means “in the open air,” and is particularly used to describe the act of painting outdoors, which is also called peinture sur le motif (“painting on the ground”) in French.)

From the beginning Sargent’s work was characterized by remarkable technical facility, particularly in his ability to draw with a brush, generating admiration as well as criticism for a supposed superficiality. But despite the international acclaim Sargent enjoyed, he was not without controversy and critical reservation. His early submission to the Paris Salon of 1884, none other than the famed Portrait of Madame X, was intended to consolidate his position as a society painter. But the entry resulted in a scandal that ruined his chance at establishing a career in Paris; though he became infamous in Britain and America.

Portrait of Madame X

Portrait of Madame X is a study in opposition by characterized by the woman’s pale flesh tone contrasted against the deep blacks of the dress and background. With jeweled straps just gracing her pale shoulders, the sitter is practically falling out her fine black satin dress, tightly fitted to her form— it is a dress that reveals and hides at the same time. Her high forehead, graceful neck, shoulders, arms, full bosom and shapely figure assert a careless but controlled sensuality. The recessive browns add to her mystery and provide further contrast to the skin tones. The final result is a fixation on the whiteness of her skin, an overt contrivance of “aristocratic pallor”; by contrast her red ear is a jarring reminder of the color of flesh unadorned. The pose is Sargent’s careful selection: her body boldly faces forward while her head is turned in profile. A profile is both assertion and retreat; half of the face is hidden while, at the same time, the part that shows can seem more defined than full face. The table serves the dual purpose of providing support and echoing the woman’s curves and stance. At the time, her pose was considered sexually suggestive. Her unnaturally pale skin, cinched waist, severe profile and emphasis on aristocratic bone structure all imply a distant sexuality “under the professional control of the sitter,” rather than offered for the viewer’s indulgence. Though the viewer does receive a salacious and bold display of woman flesh, she is also aloof, mysterious, and clearly unattainable.

But what was most disconcerting to the viewers upon the painting’s debut, is that the woman is clearly upper-class; adding to the image’s unsettling erotic suggestion. The sitter is young socialite named Virginie Amélie Avegno Gautreau, wife of Pierre Gautreau, an American expatriate who married the French banker, and became notorious in Parisian high society for her beauty and rumored infidelities. Gautreau represented the parisienne, a new type of Frenchwoman recognized for acquiring her sophistication through soliciting. The English-language term “professional beauty”, referring to a woman who uses personal skills to advance to elite status, was also used to describe her. Her unconventional appeal made her an object of fascination for several and Sargent was also impressed. He anticipated that a portrait of Gautreau would garner much attention at the Paris Salon, and increase interest in portrait commissions. In a letter to a friend he wrote:

“I have a great desire to paint her portrait and have reason to think she would allow it and is waiting for someone to propose this homage to her beauty. If you are ‘bien avec elle’ and will see her in Paris, you might tell her I am a man of prodigious talent.”

Although she had refused numerous similar requests from artists, Gautreau accepted Sargent’s offer perhaps because Sargent was an expatriate also. But if their collaboration was motivated by a shared desire to attain high status in French society, its controversial reception amounted to the failure such a strategy. The attempt to preserve the Gautreau’s anonymity was unsuccessful, and the sitter’s mother requested that Sargent withdraw the painting from the exhibition. Sargent refused, saying he had painted her “exactly as she was dressed, that nothing could be said of the canvas worse than had been said in print of her appearance”. Later, Sargent overpainted the shoulder strap to raise it up and make it look more securely fastened. He also changed the title, from the original Portrait de Mme ***, to Madame X – a name more assertive and title dramatic that by accenting the impersonal, gave an illusion of the woman archetype.

The poor public and critical reception was a disappointment to both artist and model; Gautreau was absolutely humiliated by the affair. Soon after Sargent left Paris to move to London permanently. Sargent brought the painting with him and hung Madame X in his studio. Starting in 1905, he displayed it in a number of international exhibitions and finally in 1916, Sargent sold the painting to the Metropolitan Museum of Art. He wrote to the museum director “I suppose it is the best thing I have ever done.” and honestly, I find I am of a like mind with Sargent. Even though he created many remarkable paintings of incredible places and people, Madam X remains my favorite for the reserved sexuality she masterfully unleashes upon the viewer.

Merry Christmas! Mark Ryden

So in honor of Christmas I thought I’d share the holiday themed work of one of my favorite illustrators, Mark Ryden. I’ll keep it brief since we all have gifts to wrap, popcorn to string, and  in-laws to entertain.  Ryden’s choice of subject matter is incredibly diverse, but his unique style remains consistent and many credit him as being the “god-father of pop surrealism.” Objects and important figures feature prominently in his work, but myths and religions that evoke mystery and nostalgia serve to orient the viewer within the story of his illustrations. So it is not surprising that Ryden  creates his own darker parodies combining Christmas characters and pagan traditions as well as objects of greed and lust.  To get you into the holiday spirit, I’ve gathered some of my favies from his more wintry works, chock full of creepy-cute arctic animals, religious ephemera, scuba Santa, and even an and some chick with a beard.