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Post by Bill on Mar 22, 2006 15:46:46 GMT -5
artist of the year chris kelleher
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Post by AI on Mar 22, 2006 20:06:46 GMT -5
What about the winnner of american idol. shouldn't they be artist of the year?
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Post by Joe on Mar 22, 2006 23:08:05 GMT -5
Here here!
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Post by chriscank on Mar 23, 2006 12:41:15 GMT -5
Philadelphia Muralists
Today is a little different from most days. Today I decided to honor the Philadelphia Muralists. If you have ever walked anywhere in Philly, then you have seen a mural or two. They are in every neighborhood and tell stories of our American history, culture, and community. Here is a sampling of some of the wonderful murals you can find within the city of Philadelphia. Enjoy!
-Chris Cank The Doors of Destiny Are in Your Hands 3rd and Somerset Streets, 2004. Artist: Michelle Ortiz. Sponsors: City of Philadelphia, Department of Human Services Office of Delinquency Prevention. Healing Walls—Inmates' Journey 3049 Germantown Avenue, 2004. Artists: Cesar Viveros, Parris Stancell. Sponsors: Suzanne F. Roberts Cultural Development Fund, Samuel S. Fels Fund, The Ford Foundation, Evelyn Richman, Carol Stein, City of Philadelphia. Healing Walls—Victims' Journey 3065 Germantown Avenue, 2004. Artist: Cesar Viveros. Sponsors: Suzanne F. Roberts Cultural Development Fund, Samuel S. Fels Fund, The Ford Foundation, Evelyn Richman, Carol Stein, City of Philadelphia. Holding Grandmother's Quilt (east) 3932 Aspen Street, 2004. Artists: Donald Gensler, Jane Golden, students from the University of Pennsylvania. Sponsors: The Ford Foundation, Urban Tree Connection, Pennsylvania Horticultural Society's Philadelphia Green Program, City of Philadelphia. Holding Grandmother's Quilt (west) 3932 Aspen Street, 2004. Artists: Donald Gensler, Jane Golden, students from the University of Pennsylvania. Sponsors: The Ford Foundation, Urban Tree Connection, Pennsylvania Horticultural Society's Philadelphia Green Program, City of Philadelphia. Pathfinder in the Sun 119 South 31st Street, 2002. Artist: Josh Sarantitis. Sponsors: Independence Foundation, Astra Zeneca A Celebration of Poetry 1531 West Girard Avenue, 2003. Artist: Parris Stancell. Sponsors: Independence Foundation, Suzanne F. Roberts Cultural Development Fund, City of Philadelphia. Malcolm X Ridge and Susquehanna Avenues, 2004. Artists: Cliff Hudson, Ernel Martinez. Sponsors: Pennsylvania Horticultural Society's Philadelphia Green Program, Neighborhood Transformation Initiative. Theatre of Life Broad and Lombard Streets, 2002. Artist: Meg Saligman. Sponsor: Independence Foundation All above images courtesy of: Chestnut St. between 7th and 8th. Artists: The left half was painted by inmates at Graterford and installed on the wall, the right half is glass tile. The right half was assembled by philly public school students overseen by lead artist Josh Sarantitis and assistant Eric Okdeh. The tile is 3/4" glass-mosaic. Over 1 million pieces. Students at 5 public elementary schools helped with some of the glass work. The design is a symbolic representation of the legacy of slavery and its abolition. The original artwork was hand rendered and photo-collaged in photoshop and then using a proprietary program that we invented the image was translated into glass tiles (pixels). Courtesy of: dragonballyee.blogs.com/philly/2006/03/mosaic_mural.htmlGreat Links: Mural Arts Program: www.muralarts.orgMurals in Philadelphia: dolphin.upenn.edu/~davidtoc/murals/murals.htmlPhiladelphia Mural Database: cml.upenn.edu/murals/
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Post by 11993399ben on Mar 23, 2006 13:20:25 GMT -5
Interesting observation on the murals: Maybe one white person, albiet an abstract rep of a white person, in all that were posted. I remember most the others I used to see in Philly are the same.
Why do you think that is?
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Post by chriscank on Mar 23, 2006 13:30:01 GMT -5
Interesting observation. I don't know.
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Post by DrCank on Mar 23, 2006 15:19:35 GMT -5
Kristen almost got a job at the mural arts program.
The phrase "celebrating diversity" comes to mind. But I love the fact that even in the celebration there is little diversity.
In my neighborhood their is a mural of a white man, A firefighter who lost his life at a young age. I think the areas where murals are erected also plays into the chosen subject matter and there simply isn't as many blank walls downtown, and in the old city area. I bet statistically most murals are on the west side of Broad street, if that means anything.
good topic for though
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Post by abcdfeg on Mar 23, 2006 16:57:37 GMT -5
Possibly because the majority of the population in these area are non white / pink / pale people.
I don't think people living in the middle to upper class areas, which are mainly light skin people; would like to have gigantic paintings on the sides of the buildings around where they live.
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Post by chriscank on Mar 24, 2006 11:36:49 GMT -5
Pictograms of the mighty Rainbow Serpent (lower right) with some of her babies. Aboriginal Rock ArtAboriginal rock art is more than 40,000 years old, a time span five times greater than the age of the Egyptian pyramids. Was this transition to creativity due to new capacities for abstract thinking and complex speech or did greater social and economic complexity produce our first information revolution? Recent discoveries suggest that artistic ability did not evolve, but appeared explosively. Rock art gives us descriptive information about social activities, material culture, economy, environmental change, and myth and religion. One problem with obtaining such information is identifying the subject. Is that a tortoise or an echidna in the top photo? The images can also be distorted from reality due to religious beliefs. Is that a real human figure in the third photo or a mythological being? Direct dating of rock art is notoriously difficult. In the Kimberley, Aborigines claim that the oldest art, the Bradshaw paintings, were made by the birds that pecked the rocks until their beaks bled and painted the images with their tail feathers. The ancestral creators can be found on rock walls from the huge mouthless Wandjina figures of the Kimberley east to the giant Gangi Nganang of Keep River National Park to the large creation figures of the Victoria River. In Western Arnhem, Aborigines distinguish between the oldest rock art known as Mimi Art, younger images of the ancestor beings when they entered the landscape, and more recent pictures created by their people. Aborigines maintain that that the Mimi people inhabited the land before the Rainbow Serpent created the Aborigines. The Mimi people painted small dynamic images, taught the Aborigines how to paint, hunt, sing, dance, and talk, and then became spirit beings. Archeologists have placed the many styles in a chronological sequence delineated by environmental changes and historic events. In western Arnhem, archeologists recognize three periods: Pre-Estuarine (drier climate, extinct animals like thylacine), Estuarine (rising sea levels, marine fauna like barramundi and salt water crocodiles, Rainbow Serpent), and Freshwater (freshwater fauna like magpie geese, goose feather adornment). Images of freshwater fauna showing internal anatomy (X-ray style) appeared in the last 3,000 years. More recent pictures record contact with Macassans and later Europeans (e.g., boats, guns). Likewise, there are material changes as boomerangs are replaced by composite spears and broad spearthrowers, which, in turn, are replaced by long spearthrowers. Aboriginal rock art sites are dynamic representing an accumulation of images over thousands of years. This makes it difficult to understand the site in a chronological sense for each generation may repaint and reinterpret the images and, thus, renew the life and spirit of the country. One of the most prolific and well-known Kakadu rock painters was Najombolmi (c.1895-1967), who repainted the famous Anbangbang gallery at Nourlangie Rock in 1964, probably Australia's most famous rock art panel. Anbangbang Gallery, Nourlangie Rock, Kakadu National Park, NT (AUS)Description: The figure on the upper left is Namandjolg who broke the incest laws by sleeping with his sister on the ledge above these paintings. He later became Ginah, the great salt water crocodile. On the right is Namarrgon, Lightning Man, who wears his lightning as a band connecting his arms, legs, and head. Stone axes on his knees and elbows provide the thunder. Namarrgon and his wife Barrginj (lower left) are parents to Aljurr, the Leichhardt's grasshoppers that appear as the first storms break. Namarrgon, Barrginj, and their children entered the land from the north during a time of rising sea level, rain, and thunderstorm. Namarrgon now lives at Namarrgon Djadjan, Lightning Dreaming, three tall cliffs along the Arnhem escarpment. At the base of the gallery are family groups of men and women. Namandjolg, Namarrgon, and Barrginj were added to the gallery by Najombolmi (Barramundi Charlie) in 1964. Bradshaw Painting, Kimberley, WA (AUS)Description: Bradshaw paintings were first discovered by Joseph Bradshaw in 1891. Many consider that the Bradshaw paintings are the earliest rock art in the Kimberley. They are characterized by dynamic, graceful figures with elaborate headdresses and body ornamentation. Optical Stimulated Luminescence (OSL) dating of quartz grains in a mudwasp nest covering a Bradshaw painting yielded a date of 17,000 BP (Roberts et al., 1997, Nature, 387, 696-699). In October 2003, Richard Roberts presented preliminary findings at a conference at the University of NSW. OSL dates of wasp nests from rock shelters in the northern Kimberley and eastern and western Arnhem yielded dates of at least 34,000 BP. Bradshaw paintings may not be the earliest rock art in the region for the dated motifs include partially infilled hand stencils and X-ray style animals. Wandjina -- Ancestor Creatures Left: Ingelari Site, Katherine, NT (AUS)Right: El Questro Wilderness Park, Kimberley, WA (AUS) Description: Images of Wandjina typically have a large mouthless face with enormous black eyes and a beak-like nose usually surrounded by a band with radiating lines projecting outwards. Before the time of creation, the landscape was flat and featureless. The Wandjina, the ancestral creatures of the Dreamtime, came across the sea, down from the sky, and out of the ground. They created the world and all it contains and laid down the rules governing all aspects of human behavior including the proper way to live on the land. After they were finished, the ancestral spirits went into the landscape or continued their travels. White Man Wearing Derby With Two Pistols Delamere Station, NT (AUS)Courtesy of: Steve's Web Site www.lonker.net/art_aboriginal_1.htmInteresting Links: www.ciolek.com/WWWVLPages/AborigPages/Art.htmlwww.aboriginalartonline.com/art/rock.phpwww.amonline.net.au/anthropology/research/arnhem.htmmc2.vicnet.net.au/home/aura/web/index.html
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Post by chriscank on Mar 24, 2006 11:45:32 GMT -5
I figured I'd continue the mural theme!
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Post by Bill on Mar 24, 2006 14:37:38 GMT -5
Very cool Chris. This really should be a feature on degicank.com
and so should Kirks history thread.
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Post by Joe on Mar 26, 2006 22:38:10 GMT -5
Definitely, I wanted to mention that my main vision for econocank/degicank is a revolving calender, eventualy 366 websites that would cycle through the year with the content expanding year after year, I'm starting to get it organized into "cank of the month" eventually (1 or 2 years out) cank of day incorporating music, science, art of the day , along with relevant libnks ie dead shows of the day...
The Golden Number Cycle. A cycle of 19 years, based on the Metonic cycle, which was intended to aid in Lunar calculations; 19 Julian years is (almost) 235 lunations. The Golden Number figures prominently in calculations for Easter in the Julian calendar. The Solar Cycle. A cycle of 28 years, identifying the pattern of the calendar of the year in the Julian Calendar. Julian years can begin on any day of the week, but come in two lengths, 365 or 366, and therefore 14 yearly calendars serve to describe all possible year configurations. The repetition cycle, however, requires 28 years before it repeats, since 4 and 7 have no common factors but 1, and 4 * 7 = 28. To see all 28 years of this “Solar Cycle” as calendars, refer to domlet.txt. The Roman Indiction. This is a Roman census cycle, which was often used in dating documents, records and tax forms, common after about 325 CE, that repeated every 15 years.
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Post by chriscank on Mar 30, 2006 23:30:52 GMT -5
Howdy folks!!! Sorry I have not been able to keep up with my regular postings...a new post will be up shortly.
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Post by degicank on Mar 30, 2006 23:37:31 GMT -5
Patiently waiting...
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Post by chriscank on Mar 30, 2006 23:50:39 GMT -5
Wassily Kandinsky VASILY VASILYEVICH KANDINSKY (b. Dec. 4, 1866, Moscow, Russia--d. Dec. 13, 1944, Neuilly-sur-Seine, Fr.)Kandinsky, himself an accomplished musician, once said “Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.” The concept that color and musical harmony are linked has a long history, intriguing scientists such as Sir Isaac Newton. Kandinsky used color in a highly theoretical way associating tone with timbre (the sound's character), hue with pitch, and saturation with the volume of sound. He even claimed that when he saw color he heard music. Autumn in Bavaria 1908; Oil on cardboard, 33x45cm; Centre Georges Pompidou, Paris Composition V 1911 (170 Kb); Oil on canvas, 190 x 275 cm (6' 3 7/8" x 9' 1/4"); Private collection Black Spot I 1912 (200 Kb); Oil on canvas, 100 x 130 cm; The Hermitage, St. Petersburg Improvisation 31 (Sea Battle) 1913; Oil on canvas, 145 x 119.7cm (57 x 47 in); National Gallery of Art, Washington D.C., Ailsa Mellon Bruce Fund. 1978.48.1 (2725) Composition VII 1913 (200 Kb); Oil on canvas, 200 x 300 cm (6' 6 3/4" x 9' 11 1/8"); Tretyakov Gallery, Moscow On White II 1923; Oil on canvas, 105 x 98cm; Centre Georges Pompidou, Paris Composition VIII 1923 (140 Kb); Oil on canvas, 140 x 201 cm (55 1/8 x 79 1/8 in); Solomon R. Guggenheim Museum, New York Born in Moscow in 1866, Kandinsky spent his early childhood in Odessa. His parents played the piano and the zither and Kandinsky himself learned the piano and cello at an early age. The influence of music in his paintings cannot be overstated, down to the names of his paintings Improvisations, Impressions, and Compositions. In 1886, he enrolled at the University of Moscow, chose to study law and economics, and after passing his examinations, lectured at the Moscow Faculty of Law. He enjoyed success not only as a teacher but also wrote extensively on spirituality, a subject that remained of great interest and ultimately exerted substantial influence in his work. In 1895 Kandinsky attended a French Impressionist exhibition where he saw Monet's Haystacks at Giverny. He stated, "It was from the catalog I learned this was a haystack. I was upset I had not recognized it. I also thought the painter had no right to paint in such an imprecise fashion. Dimly I was aware too that the object did not appear in the picture..." Soon thereafter, at the age of thirty, Kandinsky left Moscow and went to Munich to study life-drawing, sketching and anatomy, regarded then as basic for an artistic education. Ironically, Kandinsky's work moved in a direction that was of much greater abstraction than that which was pioneered by the Impressionists. It was not long before his talent surpassed the constraints of art school and he began exploring his own ideas of painting - "I applied streaks and blobs of colors onto the canvas with a palette knife and I made them sing with all the intensity I could..." Now considered to be the founder of abstract art, his work was exhibited throughout Europe from 1903 onwards, and often caused controversy among the public, the art critics, and his contemporaries. An active participant in several of the most influential and controversial art movements of the 20th century, among them the Blue Rider which he founded along with Franz Marc and the Bauhaus which also attracted Klee, Lyonel Feininger (1871-1956), and Schonberg, Kandinsky continued to further express and define his form of art, both on canvas and in his theoretical writings. His reputation became firmly established in the United State s through numerous exhbitions and his work was introduced to Solomon Guggenheim, who became one of his most enthusiastic supporters. In 1933, Kandinsky left Germany and settled near Paris, in Neuilly. The paintings from these later years were again the subject of controversy. Though out of favor with many of the patriarchs of Paris's artistic community, younger artists admired Kandinsky. His studio was visited regularly by Miro, Arp, Magnelli and Sophie Tauber. Kandinsky continued painting almost until his death in June, 1944. his unrelenting quest for new forms which carried him to the very extremes of geometric abstraction have provided us with an unparalleled collection of abstract art. Black and Violet 1923 Yellow, Red, Blue 1925; Oil on canvas, 127x200cm; Centre Georges Pompidou, Paris Composition X 1939 (160 Kb); Oil on canvas, 130 x 195 cm (51 1/8 x 76 3/4 in); Kunstsammlung Nordrhein-Westfalen, Dusseldorf Courtesy of: www.ibiblio.org/wm/paint/auth/kandinsky/
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