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One important identity that Ms. Letissier’s Christine wears is that of a dancer. As she sings, Ms. Letissier gets inside her music, punctuating the beat with a silken authority or sliding her body between notes to give her songs an unusual kind of energy. She isn’t dancing to the music; she is the music.

“Movement never lies,” Martha Graham liked to say, and Ms. Letissier’s use of dance in her videos and stage performances brings her closer to the essence of Christine. “When you dance, you own everything you have,” Ms. Letissier said. “You are really in your own body. You do it with your muscles and your bones and your weight and your height — it’s how to love yourself by moving.”

– from Christine, A Pop Star Who Sings With Her Muscles, NYT, 10/5/2016

letissier-photoHéloïse Letissier, the French pop singer-songwriter behind
Christine and the Queens.
Photo by Jeff Hahn

Video here – or click on photo above…

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Rain, rain, rain today…

Video by Michel Gondry…full lyrics here (separate window)…

From American Arts Quarterly:

“Conservation illuminates the ingenuity of paint handling—be it a deceptively simple brushstroke, a dexterous fleck of paint from a fingertip or even the judicious tilt of a puddle of colored water to a composition’s ideal location. When art history is conducted with no connection to the messy, ineffable, alchemical process of art, then it becomes, in James Elkins’s eloquent phrase, “a meager reading of pictures.” Instead, it must grapple with the substance of art. It must understand that: “To a painter, [oil paint] is the life’s blood: a substance so utterly entrancing, infuriating, and ravishingly beautiful that it makes it worthwhile to go back into the studio every morning, year after year, for an entire lifetime.”

– excerpted from Techniques of the American Artist: From Experimental Chemistry to Representing Paint

brooklyn-bridge-in-winter_hassamBrooklyn Bridge in Winter
Childe Hassam, 1904

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via My Modern Met:

As the autumn leaves change color, nature provides us with other reminders that fall is on the way. The trees shower us with acorns—another symbol of the changing season. Online shop Bullseye Beads pays homage to the hearty nut with handmade pendants made of glass.

amber-bead

To form the translucent pieces, artisan Beth Ruth uses Italian and German soda lime glass and a table torch. The pods are shaped one at a time and annealed—heated and slowly cooled—overnight in a digitally-controlled kiln. Afterwards, Ruth tops each of the orbs with a real acorn cap that was sealed in museum wax.

small-beads

Many of the pendants boast rich fall browns and oranges, but the pieces are available in a variety of colors—some even have tiny objects encased within them.

bead-in-hand

Just one more…

red-bead

You know someone who would absolutely love this…c’mon…spring for it…er…fall for it…

Bullseye Bead shop…some are very limited editions…

 

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wall

wall upset

wall looker

SONY DSC

book bricks

A Single Book Can Alter The Strongest Of Foundations

Installation artist Jorge Mendez Blake creates a powerful brick sculpture titled “The Castle”. The intimidating wall, formidable and erect, loses its symmetry and forms a rift at the point where a book it inserted at its root.

The potent power of knowledge, held in books, can fracture even the backbone of a monument if it’s foundation is formed from it. The brick wall signifies an obstacle against knowledge, the symmetry of its aligned bricks representing the faultless and exemplary laws, rules and regulations that at once come undone at the hands of a book.

– via The Design Dome

[h/t to Library Journal for the lead-in..]

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andie dinkinfrom Sleeping Series by artist Andie Dinkin

About the artist:
Originally from Los Angeles, Andie Dinkin is currently working in Brooklyn, New York as a freelance artist and illustrator. In Spring 2014, she graduated with a BFA honors in Illustration from Rhode Island School of Design (RISD).
After receiving a wonderful education and introduction into the illustration world at RISD, she has found that one of her ultimate goals is to have the ability to transport the viewer from their reality to her vision. She wishes for them to become immersed within her images and feel as if they have momentarily entered into another time, another place, an age-old era.

divingDiving
Onchi Kôshirô, 1933
Woodblock print; ink and color on paper
[Boston Museum of Fine Arts collection]

Onchi Kōshirō ((Japanese, 1891–1955)) is considered one of the leading innovative figures among Japan’s twentieth-century artists. He is credited with producing Japan’s first purely abstract work Light Time in 1915. He produced single sheet prints and book designs, as well as being a poet and art theorist. He began his career learning oil painting at the Tokyo School of Fine Arts, going on to study sculpture, which he later abandoned. In 1911, under the influence of Takehisa Yumeji (1884-1934), Onchi began to design books and quickly became involved in producing print and poetry magazines. He designed the first edition of Hagiwara Sakutarō’s (1886-1942) innovative collection of poems Tsuki ni hoeru (Howling at the Moon, 1917).

Onchi’s contribution both as traditionalist and innovator can best be seen in his single-sheet prints. He was one of the founders of the sōsaku hanga (creative print) movement. Unlike traditional commercial woodblock printmakers, these artists were inspired by painting and carried out every stage of production themselves: designing, cutting, and printing, then circulating the finished works to a relatively small élite circle.

Onchi started to make abstract prints at the beginning of the Taishō era (1912-26), and continued to experiment, drawing on traditional elements of Japanese color and decorative sense, combining them with motifs from international modernism. His prints were produced in very small editions, demonstrating his attitude to his works as one-offs, closer in spirit to paintings than to traditional woodblock prints.

Continue reading here

 

françois_schuitenL’ombre d’un doute (The shadow of a doubt)
François Schuiten

François Schuiten was born in Brussels, Belgium in 1956. His father, Robert Schuiten, and his mother, Marie-Madeleine De Maeyer, were both architects. He has five brothers and sisters, one of whom is also an architect.

His love of architecture became apparent in the series Cities of the Fantastic [originally published as Les Cités obscures], an evocation of fantastic, partly imaginary cities that he created with his friend Benoît Peeters from 1983 for the Belgian monthly comics magazine (À Suivre). Every story focuses on one city or building, and further explores a world where architects, urbanists, and ultimately “urbatects”, are the leading powers and architecture is the driving force behind society.

Inspired by artists and scientists alike, Schuiten’s work can be considered to mix the mysterious worlds of René Magritte, the early scientific fantasies of Jules Verne, the graphical worlds of M. C. Escher and Gustave Doré, and the architectural visions of Victor Horta and Étienne-Louis Boullée. The creative synergy between Schuiten’s work and the books of Jules Verne culminated in 1994 when he was asked to illustrate and design a cover for the publication of Verne’s rediscovered book Paris in the Twentieth Century.

More background here

 

corners2A[click on image for artist’s site…]

The work of Jasmine Kay Uy for her University of Texas at Austin Department of Art and Art History Digital Foundations class with Bethany Johnson titled “Art is Pointless…”. The prompt was to create a work that investigated site-specificity, public setting, and text-based art using Illustrator and the vinyl cutter. According to Uy, the format was inspired by Publicis London’s Corners campaign for Depaul UK.

– from ‘“Art is Pointless…”‘, by Jaime Lutz in Bustle online…

Alessandra Ferri   Alessandra Ferri in Lower Manhattan.  Nicole Bengiveno/The New York Times

It was late April, and the ballerina Alessandra Ferri was rehearsing the balcony pas de deux from Kenneth MacMillan’s “Romeo and Juliet” with Herman Cornejo in American Ballet Theater’s Lower Manhattan studios. The liquid fluidity, gorgeously arched feet and dramatic intensity that have characterized Ms. Ferri’s long career were all in evidence, and onlookers were watching with rapt appreciation.

Ms. Ferri does know what she is doing. On Thursday night, she is returning, at 53, to the Metropolitan Opera House stage to dance, for just one performance, the teenage Juliet — probably her most famous role — which she first danced at 21, in 1984, as a principal at the Royal Ballet.

“I was a little afraid of doing it again,” Ms. Ferri said after the rehearsal. “I went through many stages of indecision and fear and excitement. Then at one point, I thought, I’m only alive once: Why not?”

Dancers have relatively short careers. Because of the demands the profession makes on the body, retiring in the mid-40s — as Ms. Ferri did — is considered a very good run.

“When I retired, it was the end of my career, and that’s still true. My career is over. I have gone back to the pure joy of what I feel when I dance.

– from Alessandra Ferri Makes the Most of a Dance With Father Time, NYT, 6/22/2016

© Bill Israel

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