Tuesday, August 6, 2019

Anselm Kiefer at the Hall Foundation, MASS MOCA

Kiefer’s work in its mythopoetic metaphors for transmutation, or transformation resonates clearly here and now, no small thing in the depths of the anthropocene. Much of his art constitutes the most epic mea culpa in art ever created, with alchemy, that great metaphor of inner transformation which has recently in some ways, through nanotechnology been proven in science on the material plane. This transformation in alchemy is referred to as “The Great Work” or chryopoeia.
Born 3 months before the end of WW2, in germany, this is an artist on a mission of historical redemption utilizing alchemy as a poetic metaphor of transformation. 

The first 3 massive glass enclosures encountered to the right upon entering the Hall Foundation’s Installation of Kiefer’s work, contain remnants of life in the form of empty worn garments, evocative of loss and the remnants of those lost in the holocaust. The first case contains a plaster white dress with the Kabbalah tree ascending as the etherial chakras do, to the tree of life in jewish mysticism. The shards of glass at the hem of the white dress and violating it throughout are reminder's of kristallnacht, the night of broken glass.

The forest has long been a subject and container of content for Kiefer. Here the forest is made of trees consisting of black chalk, the ground scattered with skeins of pale dried twigs curving into themselves on long tendrils holding snake skins and pulled teeth. 

The leftover product of the phoenix rising in alchemy is black ash. These trees are columns of that substance vertically ascended.

The next installation is a group of 30 beds with lead covers. 

Lead makes its appearance abundant in Kiefer’s work. This most dense and most heavy of elements, associated with Saturn and Chronos, which signifies the limitations of time or perhaps even history, is transformed in alchemy to gold which parallels how manure makes plants grow on the material plane. So, rather than rest in these beds, there is heaviness, or are these sites of transformation made more labor intensive by the sheer quantities of this heaviness. In science it is actually possible to shrink these elements, including rust with nanotechnology to transform lead into gold, with very small quantities resulting. (2)

In recent years Kiefer’s studios have been mostly in France, and it is this location that features in the installation “The Women of the Revolution,” which looks very much like a morgue during wartime, or this is what I was told by one who is a war veteran who was in a combat hospital. The initial sensation of death and hopelessness is mitigated by the beauty of the materials and how they interact on each bed surface. On each surface is an oval, many of them ringed by remnants of their evaporation. Is this the cosmic egg of Indian mythology? Or the egg of the Phoenix? (1)

When I first saw the installation I thought of connections with WW2 Germany, until I noticed names of women associated with French culture and history during times of the French revolution. Are the ovals embedded here a still birth of the principles of “liberté, égalité, fraternité” which were the main principles of France’s First Republic?

The bright orange, ringed with yellow surrounded by ringed remnants of gold, also makes an appearance in the painting vault.
In an interior sense gold speaks of the ascension to the top chakra, in realms that have been experienced as that color, 3 chakras above the top skull chakra of (lavender) which merges with divine wholeness.
Rust also, through nano technology, can be transformed to gold. (2a) In metaphoric alchemy it is a corrosive part of the necessary process, allowing old values and concepts to transform into deeper truths. Some of the more golden shade shown here evoke the sun, used as a symbol of opposition to the moon in metaphoric alchemy.

In the painting vault, the first sensation is an overwhelming aroma of oil paint. The palette is golden rust, rich black chalk and white, corresponding to the 3 principals in alchemy of sulphur mercury and salt. These are oceans burnt almost beyond recognition and yet the surface lives. The boats of war are all that is left that is recognizable, held up by wires over the surfaces, which roil and churn in infinite variety.

A side note to this is a comparison of metaphors, the connection in spirit and matter, in Teutonic mythology as yggdrasil in African mythology as the ocean.

Kiefer works with his materials poetically in that  they are multifaceted in meaning, and so I presume to interpret all this broken concrete as a metaphor for the over dense materiality of our age, when spiritual matters are treated with disdain when they are in fact of primary importance, which results in brokenness. My immediate response to the concrete waves of “Narrow Are the Vessels” is as a warning of a spiritual process made overly material. What a mess. In medieval times, stone, sometimes said to be lapus lazuli, which is the color of Heaven, or immortality, named the Philosopher’s Stone is the goal of alchemy. These are useful as metaphors and harmful taken too literally.

Kiefer’s prominence of materials in his practice in the multifaceted poetics of his work are seen here as a warning shot about taking metaphors too literally. In the world of the spirit, this seldom works.

These works are all inspired by poetry which is detailed in the materials that come with the exhibition.  I did not read these until after taking in the show without the notes, which is generally how I like to encounter art. My take is intuitive and poetic. The poetry of this work has transcended it’s sources to create its own poetry. This artist’s great gift is the forming of materials that emphasize what they are, at the same time speaking poetically on their own terms. This mythopoetic articulation provides contemplation of the lack of love, losses and failed transformations of our age.

(1- a &b)   Science News University of Georgia, Jessica Luton, https://www.sciencedaily.com/releases/2016/09/160915132444.htm

Friday, June 21, 2019

A Statement of Belief, June 2019

A valuable exercise for anyone, 
this is a little more personal look into my work than a professional artist statement.
I have few secrets and assume those reading this 
have some interest in having more in depth information about my work
and its motivations.

I believe in the transpersonal as a link to our highest ideals.
I believe in art as a means of achieving this state.
I believe in the transrational, of the primacy of wisdom going beyond the dictates of cartesian justification and as a method of developing humility, peace & joy.
I believe in art as rehearsal, as an exercise in the experience of freedom.
I believe in a practice expanded by connection with that which is greater than self.
I believe love, in all of its states is an integral part of this expansion.
I believe in a universally spiritual consciousness actualized at its core by love.
I believe the ultimate truths are based in love.
I believe the practice of art centered on these principles and processes of love, transcendence and transformation is a basic human right.
I see painting as the ultimate spiritual practice because it freezes time evoking infinity and the flow of its processes mimic processes of the sacred life force.
I believe in a state of freedom achieved by ultimate balance.

Ora et Labora

6029  36x30" 2019

Saturday, May 19, 2018

Serene in the Country at Laffer Gallery


Yayoi  Kusama said recently that it is impossible to be lyric within the confines of the city, and this appears to be so. Branch and birdsong are lyric, subways and high rises are not. The seeming tranquility of rolling hills and open skies, in concert with natural rhythms make for a feeling of measured tranquility.  This part of the country is very beautiful and feels far from the pressures and tensions of city life which seem inhuman in pace. The comforts of nature compensate for a feeling of being slightly (but not too!) outside of central discourse.

Winter’s Lace46x46" oil/canvas 2018  Leslie Parke © 
The exhibit, titled Tranquility, sensitively installed by gallery owner Erik Laffer  conveys nicely the overall feel of this exhibition whose works could only have been executed by long exposure to and affection for the consolations of country living. This contrasts with the aggressively angst ridden and cathartic zeitgeist of the present times, and also the less profound plasticky baubles some visually impaired corporate types have such affection for. 

Mariner’s Constellation  25.5 x 34” photograph, archival inkjet on paper Leslie Parke © 2018
The new experimental paintings of Parkes, the delicate waxed kozo banners of  Eisenberg, and the delicately carved vessels of Axford all use biomorphic form as primary subject and inspiration. The works in this show provide a feeling of the peace and ease of natural environments. Parkes photographs the Wrapped Cargo Series, which look more like paintings than photographs, are in a different category, though aesthetically they blend in with the other work shown here evoking the restraint of Eastern aesthetics.

Ladder to Heaven 20x16” photographs, archival ink jet print Leslie Parke © 2018
The artist’s panel talk, conducted by writer Tim Cane confirmed all three artists interest in and affection for Asian art, Axelford having actually travelled to Japan and Parke claiming Japanese painter Katsu Jagyoke (1735-1780) as a strong influence.. There were mentions of meditative practice, with Eisenberg talking some about Buddhism.

Endangered, Typha X Glauca Lythrum Salicaria & Red Winged Blackbird, Porcelain 13x5.5x5.5 JoAnn Axford ©2018
I have been watching Parke’s work for a while and observe a big transition happening with her paintings, which previously featured all over patterns of photo realistic objects ranging from cups to trees and blooms. She jokes that her paintings looked like photographs and her photographs like paintings, which for the photographs is still true. These are the most painterly appearing photos I have ever seen, with the exception of Adam Fuss. Parkes’s compositions are all over place oriented and Pollokian, as are her paintings,  rather than the the object/figure orientations of Fuss. Like much of late work by master artists, Parke’s paintings are much looser and have a feeling of process as primary. Some are totally abstract, some only partially so. It will be interesting to see how all this develops. There is a pleasing variety to the paintings on view here.

Mirroring Shadowy Light   20”x20” oil on linen Leslie Parke © 2018
Light is central to these artists concerns, as with the snowy white of Parkes compositions, the white porcelain of Axford’s carvings and the delicate blurred luminescence of Eisenberg's banners. Eisenberg uses blurring out of focus imagery as an abstractive and unitive compositional device. She mentioned during the talk, her father's loss of sight, and how it comforts her to think that this may be what he is seeing now. And so love is part of the art process in infinite ways.

Crabapple Confetti   36x22.5, pigment ink on kobo & encaustic  Jeri Eisenberg © 2018
Its a short pretty ride through the country to see this exhibit, rich and stark at the same time and well worth a visit.
 Laffer Gallery 96 Broad St, Schuylerville, NY 12871
 This exhibit runs until June 3rd. 

Gallery hours are Wednesday – Sunday Noon to 5 pm or by Appointment.

Wednesday, February 14, 2018

Saboteur to Visionary; In Search of New Terms for a New World

This was written as a response to a call from the Hannah Arendt Foundation for papers on the subject of sabotage, also stressing terms such as "intervention" and "disobedience". Being a bit argumentative by nature, though making efforts to do this in ways that are at least of interest if not constructive, and previously having mulled over the main term, "saboteur" for several decades, writing about this came easily. I was reminded of this by the New Museum's Triennial title recently. Since I have not posted here in a few weeks, I hope my audience will find this timely and of interest.

Widely used terminologies of intervention and rebellion as desirable are symptomatic of a value system implementing fragmentation and chaos rather than unity and clarity. And so because of this, our task becomes to flesh out a new way of being, and renew an undergirding value system where all may participate, without conflict, and begin to use a more direct and constructive terminology. Art at its core and artists by nature are uniquely experienced in ways helpful to these transitions, if the freedom to do so becomes of value enough to be accessible.

Intervention is a term denoting a pseudo affective institutional action that generally, at its best, acts as a strategy for permitting and/or streaming creative process rather than a true description of art processes. Intervention is an old paradigm term relating to power and force rather than creative art processes and, whatever its noble precedences, so is disobedience. Disobedience is better thought of as the integrity of a questioning separate self, which our present culture places little or no value on. The myth of Prometheus is punitive in a way that is no longer useful. We need new myths.

The “poetics of fire” may usefully be applied to alchemy myths in the Taoist traditions, which are internally centered on personal transformations, rather than the exterior material transformations of that discipline in the west. We are all crucibles of transmuting fire expanding divinity through the temporal experiences of life’s infinite core.

The relationship of critique to intervention may more helpfully be termed as a critique of societal structures whose operations are based upon assumptions coming from out worn and no longer useful mythologies. A hierarchal dominator value system will implement punishment before implementing change and label creativity, especially of new thought or value systems, disobedience. Disobedience as a social term is aligned with an outmoded value system in an unfree society.

Art is a term denoting spiritual practice originating in individual experience, taking place in congruence with life’s animating inspiration(s). Art has saved the lives of some of its practitioners, and may also serve as a centerpiece to a new way of living that serves all of us as visionaries and facilitators rather than interventionists and saboteurs. 

Definitions that may compel in a contemporary sense feed a widespread hunger for spiritual experiences that also fuel our desire for meaning. This is a personal matter, a journey which it is only possible to take in conditions of the personal freedom that time and space provide, rarely accessible by most of us today. 
Providing each other with these considerations may well be a matter of species survival. Must the practice of art always be associated with rebellion? Only in a society that places no value on spiritual well being is this so.

If primacy of the sanctity of living breathing life undergirds our decisions and structures, as would be the case in a new and possible value system, the nature of theory will change, as will our mythologies and terms. What is ubiquitous in our naming of art practice in institutions will change to more positive orientations rooted in joy, healing and empowerment. Long ago an enlightened one came forth propagating love, and a mythology of blood sacrifice was instituted instead. A partial result of this are values based in punishment rather than cultivation.

It is transformation rather than intervention that is the more useful term now. This change is made possible through ethical vision rooted in a new value system that places the integrity of life’s animating spirit as the largest consideration to any action. It is in reverence for, and practice centered in life’s animating pneuma that a truly ethical new paradigm may come into place. It is by integration of and consilience with all of life’s social concerns that relationships of opposites may reach unity, or at least a peaceful balance. Through art, these relationships are primary conduits of change, infinite with possibility.

Critique is only useful when definitions are coherent. In a value system that it is not working in service to us, such as ours now, terminology becomes unhelpful in part because that which is primarily valued is a logistical tool rather than the higher absolute undergirding life, which we have yet to understand fully.

Theory may undergird practice, though many times it may be very long before a theory that serves as this armature is fully revealed to the artist. It is in the nature of art practice to provide these revelations, with time. In all other logistical and more materially oriented areas of life, theory may, if it is to be useful, function to create sustainable and satisfying outcomes, such as provision of the spaces and times required to engage in creative explorations and practices, without which, life loses its meaning and pleasure. Pleasure is of more importance than the punitive in a sane world. The conscious use of theoretical practice is a vital element missing in logistical structures of our culture other than the accumulation of profit. We worship false idols.

Creative research at its best is the search for that knowledge, corresponding with infinity, which makes possible the propagation of widespread joy, which is beyond the realms of intervention, punishment and false idols. The new world is confirmed in art practices and explored in related fields, such as alchemy, prayer, meditation and other metaphysical studies.

In the best of all possible worlds, in the world we long for, critique, theory and art practice are all servants of that which is greater than self, the undefined, eternally mysterious, supreme divinity, source of all life and being, recognizable through a unity of opposites yet to be attained by us.

Virginia Bryant 
May 2013 
Naples Florida 

Saturday, November 25, 2017

David & Takenaga, Solidarity & Concurrence

Intertwined in some of the most satisfying art viewing experiences of the last few weeks there is a unity of orientation within seeming disparity as artists continue their practices in times that seem to push us all toward annihilation and so within, away from phenomenal surroundings and so inside to contact with the seemingly disparate traditions of our respective histories.
Everywhere art has long utilized spiritual aspirations, practices and religious myth as a raison d’être, recent lapses into irony and pomo cartoon aesthetic notwithstanding. The ascendance of base materiality and worship of profit seemed for a while to obliterate these functions, however as the the situation of our species becomes more dire, some artists find themselves on the front lines of this dichotomy and so in the work they are called to practice, reaches to the depths of their spiritual histories and orientation to give form to an integration that goes beyond particulars of personal history.
The stars of Michael David’s navigator, and the cosmic dots of Takenaga embody this integration in seemingly different ways.
This is concisely evidenced in Michael David’s statement of painting as a “secular spiritual practice”  which “actualizes the state of being larger than ourselves.”
David is a long time veteran of the world of painting in New York, considered a prodigy he was the youngest artist to be awarded a Guggenheim in 1981. His work is considered one of the last links to the New York School.
“Where the abstract expressionist paintings of the forties and fifties seem like modern cave paintings, as their crude, unfocused, often meandering, turbulent painterliness suggests, and as such to reinstate prehistory, David seems to turn the cave into a temple, as his more considered, concentrated, indeed, dense, contemplative painterliness indicates, so that his paintings have the aura of post history.”   https://en.wikipedia.org/wiki/Michael_David_(painter)
David’s recent exhibit this fall at John Davis, Navigators, Golems & Geishas contained works of presence, the sort of presence that signals connection to things larger than the work itself, which attribute both of these artists share.
In David’s case, as in Takenaga, this is partially achieved by literal reference to the infinite. David’s starscapes are of rougher stuff, both materially and in terms of content, referring as they do to a navigator not always sure of his cartography on this earth, in densely layered spaces of beeswax and other materials.
I inquired of a friend, who is an ordained minister well studied in the Abrahamic traditions about the meaning of golems. When he explained the protective function of this object in the Hebrew tradition it made sense as a metaphor for the protections that art, molded from inert matter as it is, bestows on its practitioners.

While checking the definition on wikipedia there is also mention of the word inscription, on the forehead (the seat of the visionary sixth chakra, or “third eye”) which may read emet for truth which signifies life, or, with its dissolution, met for death. The congruence of truth with life is useful, connecting as it does truth, which is eternal with life, which is an attribute of awakening from this dream.

Night Falls, 2016-17, Encaustic and Mixed Media on Wooden Panel, 22.5 x 28.5 inches

An interesting side note glimpsing the hope art engenders, is a young art teacher who is Palestinian and likes, NIGHT FALLS, a funereal and transcendent work, one silent in its smooth blackness and matt surface. This young person stakes his life on art’s ability to connect that which is seemingly opposed, as do many of us in seemingl;y “safer” environments ( I can only speak as a painter) in these times of seemingly irreconcilable differences.
The geisha is David’s Beatrice, represented by fragments of paper hanging (as worn, torn and discarded parts of kimonos?) This is where most of the chromatic elements of this show are seen, exhibiting a delicate and profound color sense.
The person accompanying me remarked that some of these pieces are reminiscent to him of bomb fragments. As a veteran of war he would know. Who can argue that we are, indeed, engulfed in a war on all levels, both material and spiritual now? As this last election proves, bombs are not always physical.

By The Lake, 2016, Encaustic and Mixed Media on Panel, 7.5 x 7.5 inches

When The Soul Leaves The Body 2, 2016-17, Mixed Media on Paper, 12 x 16 inches

David and many of his artists by no means a homogenous group, where he co-directs the David Schweitzer Gallery in Brooklyn, share a seasoned toughness germaine to the spiritual experience that is painting, in what may be the most materialist and fast paced environment in the country, if not the world.
For both of these artists, objects & mythologies are armatures for the story less non materiality and harmonies pervasive in the best abstract art.

The work of Barbara Takenaga delineates the realms of space in a more patterned, obsessive dot matrix which is organic rather than mechanical. Rather than punchinello or raster dots, these dots, the main armature of the paintings, are reminiscent of bhuddist prayer beads. They are applied and conceived by the artist as the growth patterns found in nature are and not mechanically with drafting processes.
Takenaga has stated the prime imperative of labor in her process. and so the meditative aspect of this process is central, every drop a fall or letting go. In the earlier work many of these spheres are hand painted. As the work progresses in time, more of these spheres are dropped onto the surface, the unknown known, in spaces of pouring infinity, like the mala beads monks use to pray with.
Takenaga’s history is that of growing up in the far reaching spaciousness of the midwest, which manifests in her themes of space hinting at infinity which is a prime attribute of spiritual practice. I heard the word “infinite” evoked several times during my brief visit to her interview with painter Tom Burkhardt at the installation at William’s college. Burkhardt referred to a “Locus just above center” in her work and she responded to this as “an artificial vantage point of reference into the infinite”.

Harmo, 2013, Acrylic on Linen, 42 x 36 inches

She then spoke of three themes of placement in her oeuvre, first a slightly elevated portrait orientation with light at its center, directing the gaze upward, secondly the horizontal of the vast plains, and finally the enormity of no horizon at all, a “ginormity overwhelming placement” which is made clear in the most recent and largest works shown here.

Black Tryptich, 2016, Acrylic on Linen, 72 x 108 inches

The artist has expanded on the earlier mandala meditations to inhabit places that are less structured and more evocative of space. Counter acting these fathomless spaces is a geode effect using free flowing jagged and curvilinear bands of color, reminiscent of similar elements of Tibetan Thanka painting panels.

Red Geode, 2015, Acrylic on Wood Panel, 24 x 20 inches

Takenaga teaches printmaking at Williams, and this process is leaking into the painting processes. White Grid on Silver was commenced with a rorschach doubling process which, along with the pouring process contrasts with the more tightly generated dots and the structures they make.
Just as grey makes bright colors sing more sharply, the loosely painted elements in these works give juice to the hard edged aspects of these compositions. The chromatic and tonal balances in these paintings add to their strength of impact.
It may be useful to compare works in terms of dichotomy & oppositions, and how balancing these may be prerequisite to accessing states beyond duality, which are “end of the road” spiritual quests. The work of these two artists, on the surface so very different, embodies, in differing methods, this quest. Takenaga’s, reminiscent of eastern traditions, emphasizes meditative labour and processes rooted in humility. David’s, oriented in the roots of the western tradition, places emphasis on action and exploration. What gives life to both of these bodies of work is a commonality of purpose, a moving toward and acknowledgement of higher spiritual states.
Barbara Takenaga, which runs through January 28 2018, at the Williams College Museum of Art   is accompanied by a generously illustrated catalogue including a poem by Geoffrey Young.

Thursday, June 11, 2015



Joan Snyder  "Amor Matris"  2015  63x84.5"  at  Franklin Parrasch Gallery thru June 20

I had three providential art experiences recently, for my first sortie from my new home in upstate New York to NYC, the paintings and reception of Joan Snyder, the last day of Bill Jensen’s paintings exhibit, and a three part program of the LINES Ballet.

Joan Snyder detail "Amor Matris"  2015  63x84.5  at  Franklin Parrasch Gallery thru June 20

Snyder’s work may be viewed as feminist in the best sense of the word as expressions of fecundity, blossoming, flow and infinite array . These works have a dance quality as do Pollock’s, with very different rhythm structures. There are waltz structures and semi narrative aspects which are painted in balanced groupings throughout the compositions. 

Ceremonial rose icons, passages evocative of bird’s nests, glossy pools, auricular pilings of paint roughed up with organic matter, glitter, word letters more painterly than literal, the warm rose pink wine palette pushes a generative feminist view.

Joan Snyder   Reqium Redux 2014 60x72"  at  Franklin Parrasch Gallery thru June 20

Sub Rosa, the title of the exhibit, is in opposition to the feeling of the show in some ways. A google search of the term shows that this is a term signifying secrecy and silence. Yet in the multitude of exuberant expression shown here, these works are anything but silent.

These are generous works that reward lots of close inspection.

This exhibit is on view at Franklin Parrasch Gallery 53 East 64th Street New York until June 20.

Joan Snyder detail "Really" 2015 36x120"  at  Franklin Parrasch Gallery thru June 20

Joan Snyder detail "Really" 2015 36x120"  at  Franklin Parrasch Gallery thru June 20

Joan Snyder "Winter Rose" 2014  64x30"  at  Franklin Parrasch Gallery thru June 20

for more writing on the Joan Snyder exhibit, Hovey Brock for Brooklyn Rail
and Roberta Smith for the New York Times


Bill Jensen END OF ORDINARY REALM 2013-14oil/linen 61x41"  at Cheim Read April 9 May 9

I caught a glimpse of the large exhibit of Bill Jensen’s paintings at Cheim & Read on the last day of the formal exhibit. These paintings continue traditions long associated with the masculine in western art such as romanticism and the distortions of figurative surrealism. That said, there are also works, my favorites, from the “Dark Dragon Blood” series influenced by oriental thought.

I caught a glimpse of the large exhibit of Bill Jensen’s paintings at Cheim & Read on the last day of the formal exhibit. I saw these works late in the day, during which time a friend of the artist’s dropped by and encouraged me to return during midday, when the skylights in the gallery heightened the glow of the works into completely different visions. Perhaps this was why I had the feeling these particular works were evocative of silence, though I think this is also intentional.

Combined in contrast with the subtle wet richness of this deepest dark combinations of complementary hues were textured pale grey brush work on matt white segments, dry, rough, as desert rather than a pool, or even perhaps even aged skin. The combination of opposites here feels inevitable, absolute and yet new.

Bill Jensen detail of STILLNESS 2012-14 54x75"  at Cheim Read April 9 May 9

There are three distinct bodies of work in these galleries which are pulled together with triptych and diptych formats. The first, “Transgressions” are corpuscular figurative fragmentations, line drawings appearing first as lyrical abstract line drawings before coming into focus as figurative abstractions said to be based on Micheangelo’s paintings in the Sistine Chapel. There are the multicolored and layered abstractions we know this artist for. The final and most moving paintings (for me), the DARK DRAGON POOL series, feature the use of the doxilene purple used in recent years, now shown darkened and made rich by combination with its complementary, orange, probably with a deep amber making a smooth glossy, silent deepness. 


LINES Ballet combines masculine and feminine into new forms. Choreographer Alonzo King mixes gender types and conventional roles with dancers that are “athletes of god”. Men fly extend and whirl, sometimes wearing skirts. 

The lighting and costumes, as always with this company, are subtle and supportive of the dancers, never overwhelming them or the choreography. King, internationally acclaimed and awarded, has collaborated with Shaolin Monks, tribal Africans and an international roster of many musicians and artists of world renown. As always, it is his collaborations with his dancers that are primary.

The program opened with an ensemble of CONCERTO FOR TWO VIOLINS,

The second work on the program MEN’S QUINTET, taken from “Radius of Convergence”  could do for men what Balanchine (one of choreographer King’s primary influences) did for women in ballet. Certainly when I was studying dance few were the men dancing this way! They are all exquisite masters as are the women. 

the final work on the program, WRITING GROUND

“She was cut off from her own past. She was not able to situate herself in history. The entire art of her past became a political issue. To abandon this life. To wash the sheets”
Ballet/poetry collaboration from “Writing Ground” poetry by Colum McAnn for LINES BALLET


Wednesday July 15 through Saturday July 18, 8pm 
Saturday July 18 and Sunday July 19, 2pm

Tuesday, January 13, 2015

proposal(s) for new paradigm spaces & places to be

                                                                                  John Pawson St Moritz Church Augsberg

          notes for new community based models-

To provide places of refuge in art, within walking distance as a sustainability strategy & so the very young and old have access.

24 hour open access open art & craft studios with painting as the featured modality. Full time artist(s) on staff for consultation only at specified times.  

Rotating live in staff for consultation and information purposes. As a community venue, upkeep is contributed by participants. Every one cleans their own messes.

Small theatre on premises for plays, lectures, poetry readings.  Full time artist/event directors on staff to create social performance based programs.

Kitchen and garden on premises. Most foods available are grown in the gardens, which has purposes of focusing on sustainable eating and food preparation. Full time organic gardener and kitchen receptionist on staff.

Space allotted for neighborhood  re-use and exchange.

Space allotted for crafts for use in the community and trade with other communities.

Space allotted for clean and sustainable energy systems and their storage.

Why This Is a Good Thing

To establish the sanctity of life as our highest value. To continue with profit as our most important value, with the sanctification of violence to keep this value primary, is to commit atrocities and risk our survival as humans.

To heal the fears, anxieties, & general numbness resulting from lifestyles that have become too busy for contemplative acts. Art is a bridge contemplative act between the yogis and the layperson. It is through these processes being more widely available to all that we may begin healing as a society. Any who believe this healing is not needed can stop reading.

Space & freedom, necessary components of good living, as with everything else of any value in a commodity culture is not accessible by the majority. Fear has taken these elements of living well from our children. Since the open spaces to play and explore have become rare, we propose creating new spaces for these explorations through the portals of art & local community.

Where are these spaces?

These spaces may be begun in private homes as neighborhood salons, gardens etc. 

They may also replace the ubiquitous places selling poisonous foods, some originating in concentration camps for animals. We ere if we think eating in this way does not damage us spiritually and it has been proven to hurt our physical health. In addition, it pollutes the earth and is not sustainable.

The larger box stores selling cheap junk made by slaves in China may be retrofitted. We cannot support this without doing harm to ourselves. It is not sustainable on the physical plain either. These stores may serve as garden and design labs also facilitating community creativity in dealing with the logistics of daily living in sustainable ways that serve the community or communities they inhabit.  

each quarter mile in suburban and more in urban communities may have a larger community building either retrofitted from apartment building or built utilizing biomimicry processes where the young and others without access to space to do so may practice art. 


January 2015