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Archive for November, 2008

26th Nov 2008

Thanksgiving — A Community Can Change The World

This is the third year for what has become my annual Thanksgiving message. The other messages have proved to be popular.  People are viral marketing and reading them all year long according to my web site statistics.

Each year I sit at the keyboard having no idea what I will write, after prayerfully paving the way. Writing this message is always a leap of faith for me.

What I know as I write this is that this year, I give thanks for you.

You may know me well or you may be meeting me for the first time through this newsletter and blog post. I may know you well or perhaps I we have not yet met in any previous way. What I do know is that you are exceedingly special and important.

You have the power to change the world.

We are in a time when my country and the world have many needs that require inspired leaps of faith to solve. Some of these needs are obvious as our economies, wars, famines, water shortages, natural catastrophes and global warming are in the news daily.

One person, even a newly elected president of the world’s most powerful nation cannot create the hope, inspiration and change that we need. The needs are too great.

But, one person, a person like you can join with another person, and then another person to bring change and a new vision to the world. Power is in community. Together we are a community.

The Pilgrims and then the Founding Fathers of the USA, knew that power is in community. A community of individuals united by a shared vision can change the world.

Thanksgiving is about community – and expanding one’s community to be inclusive. When a community gathers together with intent the results are awesome, even miraculous. The Native Americans and Pilgrims gathered together to give thanks to “The Divine” – apparently they never bothered to quibble over the differences between the Names that their theologies used – they simply gave thanks together and share what they had.

Could the celebrants of the first Thanksgiving ever have guessed that hundreds of years later we would continue to celebrate the feast of Thanksgiving? Could they possibly have thought that people throughout the world would learn of this holiday and their community? Yet both groups stepped out in faith. The Pilgrims journeyed to the New World by faith. The Native Americans had lovingkindness and the faith necessary to befriend the newcomers. They had faith that they could peacefully co-exist, and basically in the area of Plymouth, MA , they always have. Stepping out in faith is a common, even daily practice for successful people who accomplish great things. In the Bible one of the heroes of faith is Moses. I wonder if I would have returned to Pharaoh time and time again saying, “Let my people go!”

Fall Tree Aleph

Trees of Life series

Stepping out in faith in the 1960’s, Rev. Martin Luther King spoke and led protest marches with clergy of many faiths, and people of all the colors of the earth.

According to James, who is reported to be the brother of Jesus, faith is demonstrated. We recognize a person’s faith by their actions, no by what the say they believe.

Gathering together in community involves action.

When I began the artistic experiment of using Torah font letters to represent the basic strings of elementary physics as well as the words of the Creator of the Judeo-Christian faiths, I had no idea what I was getting myself into. I probably still do not comprehend where this will lead me – and can now lead you.

Early this summer, it led me to a new understanding that by founding a theory of creating art with symbol-strokes I am also directly helping to define and foster Post Conceptual Art. That surprised me and, although I am always open to a challenge, this is a stunning one. However, it was overshadowed by an even greater realization that began just a month or so before.

In the spring of ’08 my eyesight, but not my eyeglass prescription changed. As some of you know I have better that average up close vision and am nearsighted. That remained the same. What changed is that I now see more energy everywhere I look. My vision has expanded and increased.

It was not until the early fall that I revealed this news to anyone. Although I was enjoying this new ability, which for me means seeing and experiencing being surrounded by the words of “The Divine” thought that it might “go away”. Who sees this way?

Research revealed that there is compelling new scientific evidence about the perception of vision, which explains my wonderful and actual new way of seeing the world. Happily for me, it will not be “going away.”

Through my paintings I had created and added many visual memories of energy that my brain now uses to decode the impressions of light received from my eyes. The science of this explained on the home page of The Art of Seeing The Divine web site, is updated in several of the blogs there and is further explained in the e book.

When difficult problems arose it became impossible to remain worried or upset down as everywhere I looked was filled with this new vision of energy, comforting me, inspiring me, and informing me of the nearness or presence of The Divine.

In the early winter of ’08 I began writing a book. By late summer what I had needed to be revised to include this new vision that I knew anyone could attain and be blessed by.

 

In my twenties I was an awareness counselor, seminar creator and trainer. That professional experience came in handy as I prayerfully created a series of Visual Exercise/Experiences for the book that anyone who can read this text on a screen can easily and successfully accomplish to get results. These turn the book into a kind of personal visual seminar that id fun to do, rather than just a book that you read.

 

This Thanksgiving I am grateful for the experience of my new vision and the opportunity to bring and share this ongoing experience with you and other people.

 

My mission is to share a vision that reveals the invisible as visible. To change the way we see the world by showing it filled with the essences of creation and inspiration, potential, comfort and meaning.

 

This is not about me. It is about us . It is our vision. Your vision as you are an important part of the us .

 

Imagine how your life would change if your actual vision inspired you, wherever you looked – even at the pile of dirty laundry, the stack of unpaid bills, the traffic jam, or the beautiful sunset. What if everywhere you looked you also actually saw the essences which are for many, the words of The Divine? Not an imagined or understood concept – but that you ca actually see these essences – as obviously as you see this text?

 

Now imagine a world where other people see them too. How would actually seeing that the words of The Divine, the essences, which are everywhere, always and now affect people’s behavior?

Do you know that many believers – people of faith—are extra good in their place of worship because they figure that The Divine is watching them and present? That people who are less spiritually active are even more apt to think that they can hide things during daily life from The Divine?

Like most of the artists who I admire my purpose to inspire others outweighs my need to make a living, although the idea of making a good living appeals to most of us. The greatest artists usually considered their work to be spiritual or religious. You know many of their names such as, Fra Angelico, Rembrandt, Da Vinci, Van Gogh, Monet, Rothko, Warhol, and so many more.

This message could be a great promotional money making except that one of the ways to obtain the e book is totally free of financial cost and only requires informing others that you will be doing the book and to check it out for themselves. See how here.

Through simple acts of forwarding this email or blog to people that you know, using social media like Twitter, Facebook, MySpace, StumbleUpon and Digg, etc., to promote the blogs and site at The Art of Seeing The Divine you can help change the world by encouraging others to discover this new way of seeing.

Sharing that information takes community. It means joining together and sharing in faith so together we can make a new way and a new life for us all. How far will this bring us as a community, as a nation, as people of the world? Let’s be like the Pilgrims and Native Americans, taking steps of faith, sharing what we have and see how far our new vision can spread.

It takes you.

And so I am very thankful for you.

I am thankful that you took the time to read this message, consider and possibly learn something new.

I am thankful that you can change your vision easily.

I am thankful that you can change the way you see the world to change your life.

I am thankful that you can see more.

I am thankful that you can share the vision. I am thankful that you can change the world.

A blessed Thanksgiving to you and your loved ones,

Judy Rey

Judy Rey Wasserman

Thanksgiving 2008

Southampton , NY

For previous Thanksgiving articles visit Thanksgiving 2007 and Thanksgiving Blog 2006.

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Post Conceptual UnGraven Image Art theory is based at the intersection of ancient spiritual wisdom and cutting edge contemporary science. It shows us a new and enhanced spiritual and science based way to see the world. It is a life changing vision that can even become an actual new way of seeing that is a fulfillment of biblical prophecy. Can this be true?  See for yourself. See more. Read:  In the Beginning

To download a free copy of In the Beginning as an ebook in PDF format simply click: DOWNLOAD. The PDF will open in another widow and you then save it to your disk. Offer ends June 9, 2014

Judy Rey Wasserman is an artist and the founder of Post Conceptual Art theory and also the branch known as UnGraven Image Art at ungravenimage.com.

Download a free copy click: Manifesto of Post Conceptual Art– A Painting’s Meaning is Inherent in its Stroke.

Check out the images and availability of limited and open edition prints — Click: store.

Follow her on Twitter at @judyrey

If you wish to have an advantage and to know exactly when the campaign goes live so you have first choice of the rewards that are for originals or limited editions,and get a copy of the free e book, you can use this link to sign up for the revamped free newsletter:
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Posted by Posted by judyrey under Filed under Art Theory and Show Reviews Comments 4 Comments »

21st Nov 2008

Dan Rizzie: Quirky Cool Passion

The recent opening for artist Dan Rizzie’s work at Spanierman Modern was packed with people. from the art world: collectors and fans from the Hamptons and New York City, other artists, all of whom feel that they are friends and want to support Dan Rizzie and his work, which he deserves.

Dan Rizzie has a lot of friends as he is as sincere, interesting and delightful as his art work. I have been to several openings, including group shows where Dan had works, and he is an artist that can be counted on to walk around shaking hands, kissing cheeks and making everyone feel welcome.

His art makes one feel welcome, too, which is a good thing. Although his work has depth and meaning, seriously references and symbolizes ideas and objects, it also kind of make one want to grin. There is just something slightly quirky about the works. Serious in a world that Dan knows is an illusion, at least according science and metaphysics.

The image to the right was specifically selected to show Rizzie at his quirky charming, abstracted and cool best. Yet, there is dark side here; the circles, which are frequently used in Rizzie’s work, seem to symbolize seeds spreading on a breeze, energy, sunbeams and perhaps even bubbles.

While at first glance this seems joyous and delightful, most wild seeds do survive to become seedlings or plants, sunbeams are fleeting and bubbles burst. Good artists always show or at least hint at dichotomies, and Dan Rizzie accomplishes that, although at first glance this can be missed.

Accabonac , 2003-8

Although Dan Rizzie is originally from Texas , he migrated to the NY area, and then the Hamptons over twenty years ago. In local interviews on Plum TV, Dan Rizzie has spoken of the impact the beauty of the Hamptons ‘s natural landscape has on his work. This can be seen in the nature motifs, which can include images of birds seen in Dan Rizzie’s backyard.

Manor 2008

The passion that is evident in each work is more readily seen when viewing many of them. This is best accomplished at a gallery, but it is possible to see the idea through Spanierman Modern’s, and  Dan Rizzie’s web sites. The spiritual basis that informs the works becomes apparent as chalices, bells, roses appear. These all feature or are constructed of half circles and slices of circles that are prominently featured. Rizzie’s abstracted minimalist approach has an almost Oriental feel, as if some of the simple cut out or painted shapes refer to elegant ancient Eastern ink or watercolor strokes.

Dan Rizzie is known as a collage artist. His works include antique prints or cut outs and backgrounds which are usually newspaper that has been painted over to look aged. The collage elements mixed with contemporary painted narrative elements give the works a timelessness that is simultaneously cutting edge contemporary and antique.

Images are courtesy of the Spanierman Modern Gallery

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Judy Rey Wasserman is an artist and the founder of Post Conceptual Art theory and also the branch known as UnGraven Image Art. Download a free copy click: Manifesto of Post Conceptual Art– A Painting’s Meaning is Inherent in its Stroke.

Check out the limited and open edition prints in the estore.
Follow her on Twitter at @judyrey .]

Posted by Posted by Judy Rey under Filed under Art Theory and Show Reviews Comments 5 Comments »

11th Nov 2008

April Gornik’s Sumptuous Landscapes

April Gornik is a landscape painter who creates large, vast uninhabited vistas of calm sumptuousness poised precariously on a fleeting moment.

April Gornik offers a visual respite through painterly integrity to the daily barrage we encounter of jangling images competing for attention from signs, billboards, web sites on computer monitors and hand held devices, TV, and print media, I had been looking forward to wring about April Gornik’s work for a while, and the new solo show at Danese gives me an opportunity as it features the new and larger works. I was looking forward to writing about April Gornik’s work and her recent solo show at the Danese gallery gives me that opportunity as it features many of the new and larger works. Those of you who are acquainted with my articles are aware that I believe larger paintings are not necessarily better; sometimes it’s just like a person who has little that is meaningful to say and so shouts trying to impress. However, April Gornik’s vision is large and deeply meaningful so it is well suited to larger works,

The paintings in the show are lush as if one could paint a landscape as velvet. For me these are spiritual works, as the land or seascapes are filled with the absence of humans and their industry or objects. This develops another dichotomy, as the human element may be missing from the narrative, but the painter’s hand is always present.

Field and Storm, 2004, Oil on linen, 74″ x 95″

The landscapes are of desert, woods, meadows and sea. Presented together in the show, they remind us of ecological problems as well as those of the invading sprawl of civilization that our remaining wild or vast areas face. Perhaps, the often depicted encroaching storms and brooding skies in many of the works point to these concerns.

One of my favorite paintings by April Gornik is Storm Sea, which is pictured here. Since April Gornik maintains a home on the East End of Long Island, I suspect it is of the Atlantic Ocean at a nearby beach, which makes it seem familiar to me. The sea here is brooding, powerful, and the atmosphere is misty gray. The perspective angleof the painting is somewhat low, more the perspective of a child, or someone sitting on a chair in the sand as the waves crash and spill onto the unseen sand.

Storm Sea, 2008, Oil on linen, 75” x 101” inches

In elementary physics a string presents as either energy or pre-matter, but is neither simultaneously. April Gornik paints the waves as they spend their remaining energy churning forward in random directions, pushing into one another to form peaks. The peaks look much like the small grottos in a piece of crumpled paper or wrinkled piece of crisp cloth. It is a moment of physical transformation in nature revealed in paint.

This past summer I was privileged to attend panel discussions where April Gornik was a member. April is thoughtful and passionate about art and how art can impact our lives. Her new and excellent web site is filled with many of her recent works, plus an excellent article that I also urge you to read.

April told a story that I find useful since I am an emerging artist. It seems that at openings and shows, a fan will approach her speaking enthusiastically of a specific painting and how it moves him to feel joy. A few minutes later, another equally moved fan will approach and speaking of the same painting mention how he is moved to feel a far different emotion. For April, painting is the experience of visual communication, so she has learned not to explain herself or disagree but to simply say, “Thank you!”

So April Gornik, coming back at you: thanks for the beautiful work and your passion.

Images used courtesy of April Gornik

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Judy Rey Wasserman is an artist and the founder of Post Conceptual Art theory and also the branch known as UnGraven Image Art. Download a free copy click: Manifesto of Post Conceptual Art– A Painting’s Meaning is Inherent in its Stroke.

Check out the limited and open edition prints in the estore.
Follow her on Twitter at @judyrey .]

Posted by Posted by Judy Rey under Filed under Art Theory and Show Reviews Comments 2 Comments »

06th Nov 2008

Will Obama Change the Art Market?

Will the different plans of President Elect Obama and Mayor Bloomberg’s to raise taxes for people above the middle class result some galleries, artists and collectors moving to other countries? Will there be repercussions of Obama’s election on the art market, especially in America? Can the USA and NYC retain its place at the center of the art world?

While many artists were outspokenly for Barack Obama, his plan to tax the rich will certainly affect the incomes and spending of the rich, and this certainly includes many if not most prominent art collectors. Since it is unlikely that the poor who will be lifted into better economic conditions will rush out to buy original art, even in local tent fairs during the warmer months, all artists will feel the consequences.

Higher taxes for the rich at a time when the country is falling into a recession could result in many changes in the art world.

Some changes are already being felt thanks to the lay-offs on Wall Street, where collecting art is popular. Recent auctions and fairs in the USA and abroad have revealed a decline in collector’s dollars and buying power.

Everyone who lives or does business in NYC is sure to feel the squeeze of the recent announcement by Mayor Bloomberg of higher taxes and the cuts in services. A good part of the problem for the city stems from the tax base being lower due to the recession and changes on Wall Street and in the financial markets. When Obama’s plan to tax the rich goes into effect, what will be the result for this city?

The art community has become an international one. Artists have always moved about fairly freely, while dealers and gallerists tend to congregate in hubs that are city and then community based. For instance, NYC is considered to be the center of the art world while the neighborhood hubs have shifted from Soho to Chelsea and now apparently there is a move towards the Bowery.

Successful artists, those making incomes beyond Obama’s do-not-get-taxed-more ceiling can live anywhere and produce art. If taxes are increased, cost of living increases while services go down, will artists remain in New York City or move elsewhere, even out of the country?

Many of the most successful galleries have branches in other international cities. If a gallery’s London branch can sell the work of a represented artist for the same price but be taxed less, wouldn’t it make business sense to handle the sale that way? Of course, this kind of dealing would take tax revenues away from NYC and the USA. Yet it is legal.

Will galleries remain? With art fairs and new galleries opening in cities throughout the world, why remain in NYC or the USA if it costs more to do business there? Why place artworks at auction in NYC when the same International collector who will buy the work will do so wherever it is auctioned, since he is bidding over the phone?

The news from Miami is that there are fewer parties and events scheduled for the periods surrounding Art Basel Miami and the satellite fairs. Plus, the patties and events scheduled are less costly than in previous years. Clearly when restaurants, hotels, part planners, caterers, florists, local luxury transportation, etc. make less money it affects the local economy. It will also affect the collectors who come to the fairs to see and buy art but also to meet and greet and party. Is the cut back in Miami something that will be experienced during the NYC fairs? If so, will less lavish partying result in fewer collectors attending from out of town?

Art remains one of the best investments around if—and it is a big IF – the collector invests in an artist whose work will rise in value. Even during difficult times artists will be discovered and their works will become more valuable. After the last recession collectors who owned works by the new art stars became far richer, as did the galleries that represented these artists.

However, what is to prevent a collector from moving their art out of the country to where the taxes will be lighter when a piece is sold or auctioned?

Perhaps President elect Obama and Mayor Bloomberg will devise ways to encourage and support fine art, galleries and collecting that will help the USA retain its current status as the center of the art world and market. Aside from the obvious wisdom of encouraging our culture, the art market in the USA helps create jobs, tourism and promotes the cultural leadership of the USA.

On a non-partisan basis, I urge you to contact (write) the office of President Elect Barack Obama, Mayor Bloomberg, your representatives in local, state and national government and suggest that a plan be devised in relation to taxing fine art sold on the USA that will help preserve the position of the USA as the international center of art and its market.  Email or send your friends this article, post it at social sites, write articles like this too your own blogs — in short take action now!

Posted by Posted by Judy Rey under Filed under Art & Inspiration Comments 1 Comment »

05th Nov 2008

Alexander Calder, Andy Warhol and Michael Zansky – Exploring Motion, Energy and Popular Culture

Michael Zansky is the artistic purveyor of the decay, debris and demise in an alternate universe of our civilization. His kinetic, symbolic and darkly playful work has some roots in more cheerful work of Alexander Calder.

Yet Calder also has a darker side, for while his elegant colorful mobiles may sway elegantly, his wire portrait sculptures, circus and other works indicate an ongoing struggle with balance through form and their more subdued colors and simplicity.

Clearly Calder was fascinated with movement, as is Zansky. Calder delved into movement and spatial relationships while Zansky’s movement seems usually related to time. Zansky’s works generally either involve movement or challenge the viewer to move along a gigantically scaled presentation, such as History as Ruin.

I was a fan of Michael Zansky’s work before even before he went to college. Michael is a schoolmate of mine from the High School of Music and Art. We were in various classes together, most notably for me, graphic arts with Mr. de Santos.

Back at M & A, I volunteered to work most of my lunchtimes in the guidance office as this allowed me to create my schedule each semester around my favorite art teacher, Mr. Bertram Katz.

Working in the guidance office also meant that I heard the teachers’ “gossip” about the students they thought would do well in various fields, or more likely my friend Karen did and she told me. By our senior year the word from the grapevine was that if any kids were going to make it and become professional artists it would be Michael Zansky and me.

Several years ago, after I had the notion to paint using symbols as strokes, that became the new Post Conceptual theory of art that I am founding, turned my life upside down changing careers to become a professional artist, one of the things I was suddenly curious about was, what happened to Michael Zansky?

I discovered that Michael is represented by the Nicholas Robinson Gallery. Recently he had a darkly delightful exhibition there entitled, The Western Lands. The title refers to both to the Western banks of the Nile, or the netherworld in ancient Egyptian belief, and the William S. Burroughs novel.

In this exhibit Michael Zansky continues his witty and disturbing exploration of a society in ruin and decay – a society that is very much like our own. Included in the works are classic books, dolls, busts of Plato, and other representative icons of our mass produced and a fantasized pop culture. Zansky’s work is always accessible and fascinating in its minutia as he depicts his decay in kinetic and luminous tableaux presentations.

In an article in NY Arts by D. Dominick Lombaridi, Michael Zansky speaks of his work, “Perception is fleeting. My work reflects the battle of the concrete and the ephemeral. It’s a comical situation without end.” Couldn’t that quote be applicable to Alexander Calder’s work, too?

Coincidentally, across Manhattan, The Whitney has a retrospective, Alexander Calder: The Paris Yeas 1926-1933.

One of the hallmarks of a great artist is the influence that artist has on other artists, even generations later. Calder is one of those artists whose influence can be seen in the work of many subsequent artists’ works. Among his pioneering influences are kinetic sculptures (including mobiles) and the use of line in sculpture.

Calder’s work is so accepted and well liked by people, including children as it can be fun and playful. The irony is that some of these children have grown up to become artists and Calder’s influence is sometimes overlooked as it occurred before art school.

Calder’s wire portraits, simplified and capturing the essential features and character of the pop figures of his time can be seen as the predecessors of Andy Warhol’s simplified silk screen Pop portraits capturing the people and pop icons of his time.

While Calder stresses the handmade quality (at that time) Warhol seeks to be mechanical. Yet, Calder’s later works, especially those large mobiles, are mechanically constructed in appearance.

Warhol’s focus on movement and time can be seen in his films. When he pointed his camera at a building or sleeping man and just let it film on, seemingly endlessly, the movement was not in what was depicted as much as in the machine that was depicting it, frame by frame.

Michael Zansky also uses the machinery, plus mirrors much like a camera to project onto large fresnel lenses images of a tableaux as it slowly turns in space. This is much the way that we are one step removed from the actual scene of a film or photograph (the camera being between us), except that it is possible to peek behind the lens to view the scene in reality.

Alexander Calder, Andy Warhol and Michael Zansky purposefully remind us that we are onlookers in their worlds of popular culture, audiences not participants. Each of these artists presents theatrical and unique views of our cultured skewered by their own views – and those views are not to be missed.

[Note: Michael Zansky’s kinetic works are rarely adequately captured by still photographs. To see more go to: www.michaelzansky.com and watch and listen to the video. Scroll down to the red “enter”, click on in and you’ll find another video and more about this artist.]

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Judy Rey Wasserman is an artist and the founder of Post Conceptual Art theory and also the branch known as UnGraven Image Art. Download a free copy click: Manifesto of Post Conceptual Art– A Painting’s Meaning is Inherent in its Stroke.

Check out the limited and open edition prints in the estore.
Follow her on Twitter at @judyrey .]

Posted by Posted by judyrey under Filed under Art Theory and Show Reviews Comments 1 Comment »