HISTORY OF THE LOUVRE

  
                                                                     Louvre Palace,  Paris, France


This historical monument is one of the largest museums in the world.  The landmark is situated on the Right Bank of the Seine in Paris, France.

Each year, millions of people visit and view the nearly 35,000 prehistoric to 21st century objects on display in the 652,300 square feet of museum space.  With each passing year the throngs grow larger and larger.

The Louvre Palace, home to the museum, was
once a 12th cnetury fortress.  Portions of the original structure can be found in the basement of the museum.  It went through many changes in centuries past; at one point serving as a place to display the ruling royalty's collections.

In August of 1793, the museum opened with an exhibition of royal and confiscated church propery, 537 paintings and 184 objects of art.  During the 5 years between 1796 and 1801, the Louvre was closed due to structural problems.  The collection increased in size under Napolean and the museum subsequently renamed Musee Napolean.    The collection grew larger and larger through the reign of Louis XVIII  and  Charles X.  20,000 pieces were added during the Second French Empire.  The museums works have continued to expand and since 2008 have been divided into 8 curatorial departments;  Egyptian Antiquities, Near Eastern Antiquities, Greek, Etruscan, and Roman Antiquities, Islamic Art, Sculpture, Decorative Arts, Paintings, Prints and Drawings.

By 1874, The Louvre had become an almost complete rectancular structure, it's present day configuration.  In 1988, the I. M. Pei designed glass pyramid and entrance to the underground lobby were inaugurated.  Another addition, La Pyramide Inversee (the Inverted Pyramid) was completed in 1993.

CERAMICS EXHIBITION

                                                                                     Ceramics at MFAH


"THREE DECADES OF WEST COAST CERAMICS 1956 - 1986"  is one of several new exhibits running through the summer at the Museum Of Fine Art Houston.

During those 30 years there was a huge shift in American Ceramics that mainly occurred on the West Coast in California and Washington.  With no requirements for making objects of purpose, ceramics artists experimented with abstract and figural forms, radical building techniques, and surface treatments.  The result was groundbreaking sculptural pieces and a new aesthetic that changed ceramic art world wide.

Robert Ameson and Peter Voulkos were the key players in establishing new innovations which spurned ceramics artists across California and nationwide to embrace the new philosophy.  These three decades of intense creativity gave birth to incredible ceramic works.

The exhibit showcases MFAH's fine collection of American Ceramics.  It also focuses on students and teachers from ceramics programs at Otis College of Art and Design, Los Angeles,  University of California,  Davis,  Chouinard Art Institute, Los Angeles,  and University of Washington,  Seattle.

MANIPULATED PHOTOGRAPHY

                                                                             "Faking It"  at  MFAH


"FAKING IT: MANIPULATED PHOTOGRAPHY BEFORE PHOTOSHOP"  has to be the most fascinating and inspiring exhibit I've ever seen.

It's very common today to see digitally altered photos.  But from this exhibit we find that they are nothing new.  It has been possible to modify photo images ever since photography began.  The only difference is the methods have changed.

"FAKING IT"  traces the practice of altering images from the 1840's through the 1980's.  Here lies evidence that photography is indeed a medium of fabricated truths and artful lies.  This international loan exhibition is full of captivating images that bring forth a new understanding of the history of photography and it's relation to visual truth.  Nearly every kind of photographic manipulation today was also used in the pre-digital age;  smoothing wrinkles, slimming waistlines, adding or removing people from scenes, even creating events that never really  occurred.

The pictures in "FAKING IT"  take on the realistic look of ordinary photos.  They are convincing to the eye despite the mind's efforts at disbelief.  Classic examples are pictures of a woman bathing in a glass of champagne or a man juggling his own head.  This stunning exhibit proves that the saying "the camera never lies", has always been photography's ultimate fiction.

What the World Needs

      

  “Don't ask what the world needs. Ask what makes you come alive,

              and go do it. Because what the world needs is people who have come alive.” 

                                                        ― Howard Thurman

Another Little Snippet from LORD OF BLAKELEY

    “She’s not here.  I sent Aleese back through the eye, Samuel.  She’s home, safe, back in Blakeley,” Andrew lied, nodding, trying to buy himself some time.

    “Son of a bitch!  Neil, check the signal! Did he really send her back through?”

    “According to the open link transport residue, Commander, one signal came through to our side, and one went back through to the other side.  It was a smaller and cooler signal.  Yes.  He could have done it.”

    Andrew was surprised, but did not show it.  Instead he smiled and nodded.

    “Damn you, Andrew!  That’s nearly impossible!  How did you do that? Blakeley doesn’t possess that kind of scientific knowledge or technological ability.”

    “Oh, Sam, Blakeley is not the backward little farm community you remember us to be.  Since Aleese and I took over, we’ve made major strides in every area.  Blakeley is now the seat of power on Nord.  We have grown by leaps and bounds.  I told you I would do anything to protect my wife, to keep her safe.  And I’ve done just what I came here to do, which was to find her and get her back home safely, with no back up troops, no weapons, and no electronic devices.  Putting no one else in danger, just me!”

    “String up this cocky son of a bitch!  Let me think, Farm-Boy-Turned-Superman.  You know, I liked you much better carrying a box of fruit.  Can you get a message to her to come back through?”

    “No.  No communication device, remember?  And even if I could reach her, Sam, I would never ask her to come back here.”

    “Why didn’t you go back with her?  That’s USUALLY how a rescue works, you know!  You’re new at this rescuing the damsel in distress scenario, aren’t you?”

    Andrew laughed and nodded.

    “Yes, I know that’s how a rescue is supposed to work, but after I sent her back through the eye and I knew my wife was safe, I wanted to talk to you, man to man.  

MUSICAL INSPIRATION

A

                                                           "Rock"  by Parker Kaufman

I am a huge fan of classic rock music.  Having grown up in the 1960's, experiencing the change  when the Beatle's stormed America, I find limitless inspiration in the music as well as the song lyrics of that decade.  As the music world continues to evolve, new styles of music, a different outlook in lyrics, ideas for new art remain infinite in number.  As with art, music speaks of it's time, one that is past, but will always live on.

Above, "Rock"  is an homage to musicians who I feel were at the turning point of popular music.  It also symbolizes, in a way, the death of a genre of music and the ushering in of a new one. 

The composition is cardstock and  computer images, 8.5 x 11.0 inches  Made in 2011.

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EXPENSIVE PAINTINGS

                                                     No. 5  1948  by Jackson Pollock

Have you ever wondered what the most expensive painting would look like?  You might be quite surprised at that AND just how expensive it really is.  Here are the top 4 all time highest priced paintings.


1.   No. 5  1948, painted by Jackson Pollock.  This abstract expressionist gem (above) comes in at $149,700,000.00

2.   Woman III  painted by Willem de Kooning, 1953.  Also an abstract expressionist work coming in at $147,000,000.00.

3.   Portrait of Adele Bloch-Bauer I  painted by Gustav Klimt, 1907.  This Vienna Secessionist masterpiece comes in at  $144,400,000.00.

4.   Bal au moulin de la Galette, Montmartre,  by Renoir, 1876.  The Impressionist period painting comes in at a mere $128,800,000.00.

GRAFITTI AS ART

                                                            Image courtesy of Colours Pedia


Grafitti is defined as "writings or drawings that have been scribbled, scratched,or sprayed illicitly on a wall or other surface in a public place."    Grafitti varies from the simplicity of one written word to the intricate and elaborate paintings on public structures..  This urban art form has been part of human culture since ancient times.

Today's most popular medium is paint, most definitely spray paint, and maker pens.  In most places, this public art form is deemed defacement and vandalism and a criminal offense.  However, it can also be an expression of socio-political messages.  It has evolved along side hip-hop music and is a noted trademark for gangs wishing to mark their territory.

There is an ongoing controversy between opponents and proponents of grafitti with regard to it's display in the public space.  There are numerous types and styles of this art form, whose value is highly contested and reviled by many.

There are hordes of talented, and undoubtedly frustrated, artists producing grafitti.  Much of it, as evidenced in the photo above, is vivid, beautiful, and imaginative.  Whether one approves or disapproves of it, there can be no question that grafitti speaks volumes about the world in which we live.

Check out these  interesting and informative books on the subject.

Wall and Piece  by Banksy, the legendary British street artist.

The History of American Grafitti   by Roger Gastman and Caleb Neelon.  It delves into the storiy behind the art form with great profiles from many years of interviews with well known and less prominent artists.

Trespass:  A History of Uncommissioned Urban Art  by Carlo McCormick et al.  This book was written in collaboration with grafitti artists and looks at the rise and global reach of grafitti and urban art.

Author Interview with Emilia Julian

Emilia Julian

Kinsman, OH

What have you written?

     "God's Prey" and "The Legacy of Egypt"

What is your favorite genre to write?

     Mystery

Favorite food.

     Anything with sugar in it.

Where would you like to visit?

     Anywhere, everywhere.  I would love to take a longboat trip through the rivers in France.

Briefly describe your career in journalism.

     Thirty years, writing and editing for the Youngstown Vindicator, Youngstown, OH, and the Tribune Chronicle, Warren, OH; executive editor Thomson Newspapers' Town Crier weeklies;

copy editor, USA Today.

Favorite musical artist.

     Elvis

How old were you when you started writing?

     I was fourteen.  I published an article in Western Horseman magazine at sixteen.

Where do you get your inspiration?

     From my own life, history, news stories.

What do you do when you get writer's block?

     Well, I don't know.  I get one every time it's crucial not to get writer's block.  On deadlines, etc. 

Who is your favorite author?

     For years it was a toss-up between Mary Stewart and Daphne du Maurier.  Today it's Julia Spencer-Fleming, Donna Leon, and always, always Agatha Christie. 

Best book you ever read.

     Rebecca

Who is the one person who has influenced your personal life the most and why?

     My mother set the tone for my behavior.  My father let me know it was okay to be both smart and female.

If you could sit down and have a conversation with ONE person, living or dead, real or fictional, who would it be and why?

     God.  I would ask him/her one word:  Why?

What advice would you give someone who aspired to be a write?

     Write.  John D. MacDonald, who wrote the popular Travis McGee mystery series in the 70s, told me in an interview once that  "you can't learn to write."  You either are a writer or you are not.  You won't know unless you write.

Where can your work be purchased?

http://www.amazon.com/Gods-Prey-ebook/dp/B006CRVW8O/ref=sr_1_26?ie=UTF8&qid=1370052959&sr=8-26&keywords=Gods%27+Prey

Pres

A review of "God's Prey"

Gods' Prey

www.amazon.com

     The offer to help research the genealogy of a prominent Ohio family seems like the perfect opportunity to help librarian Amanda Elliot to heal after losing her beloved husband. But from the first day she arrives at Poynter House, Mandy senses something is terribly out of kilter. 

THE ART OF PHOTOGRAPHY

                                                           ANNIE LEIBOVITZ

When I think of photography, I think Annie Leibovitz.  Her name is synonymous with photo genius.  Ms Leibovitz has chronicled the life and times of our world like no other. 

Annie Leibovitz was born Anna Lou Leibovitz, on October 2, 1949, in Connectucut.  Her father was a USAF lieutenant colonel, her mother an instructor of modern dance.

As a teenager, she developed an affinity for writing and playing music. She later studied painting at the San Francisco Art Institue and soon began honing her skills as a photographer.

Liebovitz enjoyed an illustrious career with Rolling Stone Magazine where she captured the essences of a multitude of musicians and artists such as John Lennon, Joan Armatrading, and The Rolling Stones.  She's had countless exhibitions of her work in places such as the National Portrait Gallery,  the Brooklyn Museum, and the Corcorian Gallery of Art.

In November 2011, Hans-Ulrich Obrist interviewed Ms Leibovitz for GQ Magazine.  What follows is an edited version of that interview.

GQ:  Were there any heroes in photograpy, people who influenced you?

AL:  When I went to the Art Institute, the photography that was being taught was very personal reportage. It was Robert Frank, Cartier-Bresson. Robert Frank was considered the father of 35mm photography in America; Cartier-Bresson was the father of 35mm photography in Europe. They were the first photographers who went out with a very small camera and took pictures

GQ:  Is it important for you that your work is not just for an art audience, but builds bridges to a wider audience?

AL:  I'm not that sophisticated. If you do something for a long time, it only gets more interesting, and I think that's something that a lot of people shy away from; they don't realise that if you stick with something, it gets more complicated, and it's up to you to continue to grow it. You can have talent, but it can go away and you need to feed it. You need to take care of it and you need to find ways to inspire yourself.

GQ:  Tell me about your book projects and their significance?

AL:  The books are me. It's the opportunity to take the work that I've done with the magazines and distill it and give it its real meaning. When you work for a magazine, you're working with an editor who has an idea of what they want. I've been very lucky in that I've managed to get my point across in my magazine work as much as I have. But the reality is that it's not my place. Bea Feitler said to me that the way you learn about what to do is to look back: you need to look back to go forward. The [1983] book I did was because Bea was dying and I wanted her to do a book, so I went ahead and did that, and it was a mistake: it wasn't well thought-out. It was thrown together because Bea was dying.

When I finally did my first real book, in 1991, it was titledPhotographs: 1970-1990, and was an edit of my work. It was the first time I had stopped for 20 years, and it looked back between 1970 and 1990. I kept the book chronological.

It was revelatory. It was so powerful for me to understand what I had done; it was such a learning experience. I was envious in 1990 of all my early reportage; it was so free, you know. But when you're older and you look back at your younger work, you can't go back to it. You can learn from it, and I tried to put it back into my work in 1990. It coincided with meeting Susan Sontag, and so those next 15 years, 1990-2005, are the years I was with Susan and in her influence.

GQ:  What's the role of self-portrait in your work?

AL:  I've never been interested in it. It's funny you ask me that: it's because I kept being asked if I was interested in self-portraits that I finally took some. Usually they're in hotel rooms with a mirror or something like that. The problem with self-portraits is that I'm so used to looking through the camera that it's hard to get to the other side. I did a family portrait of myself and my children shot into a big mirror. But I have enough in front of me; I don't need to turn the camera around.

GQ:  What role does chance play?
 AL:  It's everything. If I go into a sitting I think of what I'm going to do, have an idea, have a plan, and then hope for chance. I hope for other stuff to happen. Especially in the portrait, I'm not alone - I'm working with another person. I'm hoping stuff happens.

GQ:  Is there someone you've always wanted to photograph?

AL:  This year I said to myself I really want to photograph the [performance] artist Marina Abramovic and Lady Gaga. So I'm photographing Marina Abramovic with Robert Wilson, that's coming up, and then I'm also photographing Lady Gaga. [At Vogue] Anna Wintour says, "Give me your short list," and I give it to them and they try to make sure that I do them. I want to keep them like a good butterfly collection. I want to make sure I have the people in popular culture that interest me.
 
I want to continue to do that. I don't think there's a single image that stands out for me; it's more like the importance of the work is in the body of  the work.  It's a strange occupation. There are moments in my work when I know that the subject is at this pinnacle in their life, and I feel responsible to take a photograph of them that will last