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Archive for October, 2013

29th Oct 2013

Banksy’s Place in NYC October 2013

Banksy is on the verge of completing a self-proclaimed artist residency in New York City, in which, every day he has added (donated) a work of art to the city and its people in some way, during October, 2013. Banksy has placed himself and his art in the city at the anniversary of Super Storm Sandy. Many of the works that he had presented during his residency have appeared in areas hit hardest by the storm, although this is neither stated by Banksy or commented upon in the press.

For his residency, Banksy has received almost no direct monetary gain. However he (I have the info that Banksy is a man from a good source) has received what seems to me to be more press than and other Contemporary artist has ever gained for one show – and “normal” gallery shows last for a month.

However, what inspired me to write this blog is not directly Banksy, but an article published yesterday, along with auxiliary articles and posts, including on Jerry Saltz’s Facebook page, which has become The social media meeting place for artists, and those who care about Contemporary art.

Yesterday, Bloomberg News (founded and mainly owned by Mayor Bloomberg) posted an article If Wall Street Worked Like the Art Market, It Would Be a Crime by Mark Gimein , a piece aimed at examining the art world’s gallery system. The article goes into how the bigger galleries both protect and control the careers of their artists, the collectors who can collect the artists, and control the price of the art. This is especially seen to benefit younger artists via buy-back dealers’ contracts that help prevent the works from an undesirable auction sale and price. However, the young Chinese artists, whose works go directly to auction, which is the custom in China, seem to fare well. Gimein asks for an artist, or artists who will forge a path outside of the gallery system.

Back to Banksy, who is not represented by a primary gallery. Banksy successfully (and successfully monetarily) forges his own path. Banksy decides where and even how his works will be shown. So before anyone much knew who he was he had his works hanging in museums, such as NYC’s Metropolitan and Museum of Modern Art. Why? Because Banksy pranked them and hung his own works there, promoting himself and the museums, with his prank (while forfeiting his art).

Banksy’s art is not just about what is depicted or performed. It is about where it is viewed. In his ongoing use of site (pun intended) he joins with other Street Artists, such as the “grandfather “of Street Art, Blek le Rat (Xavier Prou), but no one has used place as well as Banksy since the Impressionists moved to painting outdoors. For me, to discuss or comment on a Banksy without mentioning place, whether a specific geographic spot where a work is first seen to the original support of the paint (such as a living, unharmed elephant), would be to miss part of the point of the work.

To date, I can find no article blog or even lengthy comment that points to and explores the ongoing and incredible use of sites and neighborhoods where the works of BanksyNY have appeared. Re-examine each of the images within the context of the places where they have appeared. For instance, The forlorn suitor left waiting outside Larry Flint’s strip club; the pile of rubble statue of the one of the world’s oldest and enduring artworks, the Sphinx, which was found in a seemingly deserted Queens lot, and then sold and dismantled within the day; and the images and word art found in neighborhoods that are—putting it in politically correct terns – not posh. [ Please feel free to leave a comment and link to any blog or article to prove thus statement as incorrect, as my life’s work and passion deals with making art and sharing inspiration, not in proving that I am some kind of sharp investigative journalist.]

When I began this piece I commented that Banksy has received almost no remuneration from his October 2-12 show in NYC. The remuneration officially received came from a stand selling “spray art” at Central Park . The total take for the day was $420.00 according to BanksyNY’s In Better Out than In website (where you can see all the works of the show). Today, a street vendor was spotted and originally tweeted by @pagesixemily, from the New York Post’s Page Six at noontime. Her tweet:”Latest Banksy rip off. Chap in Soho selling “I am Banksy” t-shirts. Says he’s made $500.00 so far today pic.twitter.com/xxPwSp8nHt. “This means that a tee-shirt that sells for $20.00 can make more money that real art by a known artist when the artist’s name is mentioned on the shirt, but not on the street stand selling the art. That is both poignant and witty — two hallmarks I usually find in Banksy’s works. Could this tee-shirt seller actually be today’s Banksy performance art? As I write this it seems to me to be a possibility as when I look closely at the photo on a large monitor it seems to me that the black letters are sprayed on, not screen-printed. This, plus the fact that there still is no comment from Banlsy regarding his above mentioned website re today’s work. We shall discover the truth of this after this blog is posted, yet either way a point about selling art, or how we see what we think we see more that what actually is, has been made.

Mayor Bloomberg (who I basically like as he has done some good things for the city I was born in, raised in and love,such as basically freeing it from second hand smoke in public places) proclaimed vehemently that he and the NYPD have no tolerance for vandalism, and that includes Banksy’s current residency. According to the press, and as headlined in the NY Daily News (posted on the BanksyNY website), the hunt is on for Banksy. How sad for the city that is benefitting with added tourism, spending, and a sense of adventure, fun and well, fine art and discussions about art, including the gallery role in promoting art, all thanks to Banksy’s residency.

“First they ignore you, then they laugh at you, then they fight you, then you win.” -Mahatma Gandhi

Finally, let’s move back to the concept of place. Fine art almost always involves some kind of property rights, because whether painted in a canvas or wall or placed on a private lawn or in a public place, it takes up space. Place leads to questions of ownership and rights –ideas that can often lead to usurpation of others’ rights, and wars or real criminality by those who appear to be in power, including crimes against humanity. And we come full circle back to one on Banksy’s most enduring themes: peace – and peace through non-violent artistic protest, and peace always involves place, or places.

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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 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

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17th Oct 2013

Psalm 145 (Monarch Butterfly Study)

The colorful image of a Monarch Butterfly below is created with strokes that are the original Torah font letters of Psalm 145. So, in reality, if you were looking at the original postcard sized artwork, what you really would be holding a tumbled painted mix of Psalm 145’s letters, which are painted, and written with fine art ink many times.

Your brain tells you that this is an image of a butterfly because it compares the image to previous images (impressions of light) that you have seen. If you have previously learned to recognize Monarch butterflies specifically, you have additional visual memory information that you can apply yo your recognition of what you see.

Do you see the teeny-tiny specks of white found in the mainly black spaces? These exist as a part of my artistic technique as all of the black spaces are made by the overlapping of black letters. Although I can continue to add letters to turn an area of paper of canvas totally black, here I allow tiny specks of white watercolor paper to show through to add a kind of sparkle, the way the buttery does shine in
strong sunlight.

The scripture texts that are used in my art is carefully, specifically, and often prayerfully chosen. Probably you are familiar with some of the words of Psalm 145.

“8. The LORD is gracious, and full of compassion; slow to anger, and of great mercy.9 The LORD is good to all; and His tender mercies are over all His works.”
Psalm 145 KJV

Few creatures need “tender mercies” more that of butterflies and caterpillars. We have Monarchs and other butterflies in my garden. They appear like flying flowers, or petals, but their wings are thinner and more fragile than the petals of the flowers they frequent. The butterflies seem to understand this as they fly carefully, protectively, to avoid any leaves or flowers touching their wings.
Monarch Butterfly Psalm 145 strokes by Judy Rey Wasserman

Psalm 145 (Monarch Butterfly Study) by Judy Rey Wasserman

Of course, during their transformational or cocoon stage they are most vulnerable to predators and in need of mercy to make it safely through this time. This is the main reason that Psalm 145 is used as the text for my strokes here. In the vulnerable cocoon stage the magnificent Monarch is most humble, unattractive and defenseless. The  the relevant verse is below.

“14 The LORD upholdeth all that fall, and raiseth up all those that are bowed down.”
Psalm 145 KJV

Close up of Psalm 145 (Monarch Butterfly) wingClose up of a section of Psalm 145 (Monarch Butterfly Study) by Judy Rey Wasserman

This new original painting is on a 4 x 6 inch postcard. It is one of a few original postcard sized paintings that will be offered as part of a Door-buster Early-birds Rewards group an upcoming Crowd Funding campaign. There is only one, so you will want to know when the campaign goes live because never before, and probably never again will we offer my originals over the Internet (outside of private requested emails to known collectors).  The campaign is to raise funds to publish a new full-sized book filled with art, inspiration, and Awakened Vision Experiences (AVE), which are like brain games for increased visual understanding. Only the people who are subscribed to the free newsletter will have advance notice of the approximate time when we are
expected to go live, and then also receive an immediate email announcing that we are live. Only after newsletter subscribers have this information, will it be tweeted and announced in other social media.

Plus, I’m going to be giving away (free) a new e book-let (somewhere between 40-60 pages in PDF that is a special really long Amazon like Look-Inside of the upcoming book, with some extra features, and plus new AVEs.

So, 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:
http://artofseeingthedivine.com/phplist/?p=subscribe

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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 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  

 

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10th Oct 2013

Genesis Sunset Lamed (Study)

Genesis Sunset Lamed (Study) is a postcard sized study for a larger work.

It is a part of the body of artwork that I am preparing for the upcoming books (one a short introductory version of the other) and a Crowd Funding campaign that to help pay for the book publishing that will be using the books, prints and –a first for me using the web–original work are in some of the planned rewards.

It is created with watercolor pencils using strokes that are the letters from Genesis 1.

Can you find my logo-signature? Learn more about this signature -logo via the third video (scroll down) at : http://www.artofseeingthedivine.com/videos.htm

Genesis Sunset Lamed (Study) by Judy Rey Wasserman

Genesis Sunset Lamed by Judy Rey Wasserman

Strokes are the original letters from Genesis 1

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03rd Oct 2013

Genesis Candle Aleph

Genesis Candle Aleph (Study) is a new painting created with the original letters of Genesis 1:1-5 for the strokes.  Those symbol strokes are made with watercolor pencils and acrylic paint on watercolor paper.

So, in reality all that is on the paper are colored letters, which your eyes see and your brain “translates” into an image of a candle and flame.

We translate the Hebrew into English as “Let there be light!’  That seems how we would say it in English, and that translation is found in English Bibles for both Jews and Christians.

In Hebrew there are two basic verb tenses, complete or incomplete.  Obviously when an action is completed it is in the past. When an action is in the present or future it is incomplete.

What the Hebrew actually says is “Be: Light!” Here future and present are one.

Jewish prayers are all in the present (incomplete) tense, often beginning, “Blessed art thou oh Lord our God…” (transliterated as: Baruch Atah Adonai).

The most famous prayer for Christians begins similarly and in the present tense, “Our father who art in heaven…”    

Power to create is only and always in the Now.  In the Bible, this begins immediately, with the initial creation of calling light into the now of existence in Genesis 1.

What is also amazing is that the light is not described, it is named. More accurately, it is named via the vibrations (sounds) of three letters, aleph, vav and resh.

Sounds are waves, as is light, which brings us back to the mysteries of elementary physics, and of course, the Big Bang. As you can see from the image below, what I worked to depict is that  energy, the waves and vibration.

This new painting is a study for artworks I am creating about and depicting light. Some of these, and perhaps the image of Genesis Candle Aleph will be a part of the second section called “Let There Be Light”, which is the second section of a new  art and inspiration book I am creating.  My smaller works , even postcard sized, as usually better for an e-book reader or printed book (still fairly small) because the symbol-strokes (letters) can here and there be seen.

This image will also be used as an award for an upcoming Indiegogo campaign as part of a reward.

Genesis Candle Aleph painting by Judy Rey Wasserman

Genesis Candle Aleph (Study) by Judy Rey Wasserman

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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 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

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