Riverside Arts Center Review: Pivots and Pitfalls Exhibition

Carolyn Garay
Carolyn Garay
Sudandya Aprillanto, Colorful Inside

Pivots and Pitfalls, June 2019

By Afua Serwah Osei-Bonsu

June 2019 opened an eclectic group show, “Pivots and Pitfalls,” that had to with the ups and downs of life.  Throughout the month associated events were held including a gathering of local community social service organizations, “Community Potluck,” and a “Make and Break,” art performance where artists broke then reincarnated formerly assembled artworks anew. Perhaps one goal in life or an idea for Pivots and Pitfalls was to fix the broken, as if, if you can put this broken plate together, you can put this broken man together.  Also make and break was to look at opportunities in problem solving, how to get new perspectives, adaptation and prevailing. RAC was looking at social themes, looking for gaps in local social services, looking for how we can help each other and working with artists to look at a variety of social perspectives.  The events looked at stumbling blocks, getting lost and possibly finding ourselves again, letting go and embracing our efforts.   Pivots and Pitfalls had to do with fumbling our way through life (together).  On Family day, second Saturdays, there was a giant chalk alligator hopscotch drawn that coordinated with the event.   The month long events were organized and curated by Trevor Stone.

Artists who exhibited include:  Chris Sandon, Stephani Hicks, Nora Venturelli, Jason Ferguson, Karyn Stetz, Kellyann Johnston, James Rotz, Brian Nelson, Carolyn Garay, Madison Cooper, Avery Williamson, Keto Green, Gwynneth Vanlaven, Nick Morley, Simona Schaffer, Emilia White, Sudandya Aprillanto, Melissa Haimowitz Clouse, Emmalene Meyers, Julian Seeburger, Mike Rabalais, Leisa Thompson, Lark Allen and Lark Allen.

Contemporary artist, Keto Green presented three painted doors that relate to evictions and oppressive poverty conditions.  He showed “Golden View,” “The Artist Within,” and “The Familiar.” His art is created from found objects.  The doors were painted bright and rich colors, some featured Pac man images, figurative and scenic images from a tragic childhood where his brother was lost to a suicide following an eviction.  Some doors he calls “the door of no return.”  Keto has participated in programs at the Detroit Institute of the Arts and Inside Out.  He received recognition from Brad Pitt’s “Make it Right Foundation.”  In a photo of Keto, he is featured in what appears to be an “art world,” a room, maybe a basement, full of murals, paintings, objet d’art, a mattress, upon which sits a pensive artist.  One is reminded of artists like Basquiat and the railroad teeth.

Keto wrote: “Living in a city full of drive and change.  Overcoming poverty, while trying to make a difference.  Pushing forward with faith and determination.  Sacrificing self wants for generational needs.  Destined for change in the world.  Making the world a better place one masterpiece at a time.  From Detroit, Michigan.  Strength comes when you stand even when you don’t feel like it.  Overcoming obstacles and uniting differences.  Diversity is the number one thing.  We’re just destined for hue.”

Matt Oishi showed an animation titled:  “Destiny Animation.”  Armored characters, some with ram like horns were featured drinking liquids, performing martial arts tumbling, falling in love.  They were reminiscent of storm troopers and appear to be fighters.  Some uniforms bear crests.  They twirl guns, they are somewhat emotional.  They squat, they fly. Oishi played on the rapid succession of computer generated images in 3-D animation.

Nora Venturelli was born in Rosario, Argentina then immigrated originally to California.  She is a teacher of drawing and painting at the Penny Stamps School of Art at the University of Michigan.  She is member/owner of WSG Gallery in Ann Arbor.  Nora showed a nude painting that included 7 multicolored emotional renditions that juxtaposed painting and drawing.  The painting comes from a series titled “Vice Versa,” that was shown at WSG Gallery in 2012 and 2017. It is as if a painter wants to draw with paint.  Ms. Venturelli realized 9 years ago that her drawings and paintings were not integrated and were very different from each other.  She desired to possess the same gestural and linear qualities found in drawing, within painting.  Blue gestural images of the figure appeared down trodden, crunched and bent over.  Red figures were forlorn, others showed realism.   Ms. Venturelli has shown in numerous group and solo exhibitions both locally and internationally. Ms. Venturelli completed her BFA in Painting from the University of Michigan in Sculpture and Painting, where she was Magna Cum Laude.  She completed her MFA from Eastern Michigan University in Painting.  She is included in numerous public and private collections.  www.venturellistudio.net

Sudandyo Aprillanto of Indonesia showed a painting titled, “Colorful Inside.”  The painting reminds one of an earlier Paul Klee.  Sudandyo described the doll like figure with interior of colorful pastel chalky looking color bars, as “steadfast in facing difficult times.”  He likes to combine pastels, with acrylic painting and oil sticks.  He uses basic techniques in drawing and painting like reduction, addition and change for execution.  Sudandyo studied sculpture in Indonesia for 5 years.  He completed coursework at Washtenaw Community College in painting, drawing, anatomy and photography. He currently studies at Eastern Michigan University with a major in Digital Media Production.  He has exhibited in Indonesia, Australia, Germany and the U.S.

Emilia White showed a red and black stitched chasm mandala like textile art. In her current work she is exploring themes of pregnancy, birth, loss and motherhood.  She is interested in “the circle as it relates to the cells in the body, the birth canal and mind or spirit.”   Chasm represents the first in a textile series she hopes to evolve into sculptural forms. Ms. White comes from a performance and video background but has always been a “maker.”  She says, “It’s nice to make something  with my hands free from technology or long rehearsal processes.”  Ms. White teaches time based media as a Lecturer at the Stamps School of Art and Design.  She holds an MFA in Studio Art from Stamps (2012) and a BFA in Theater & Original Works from Cornish College of Arts (2003).  Her work has been shown in Ann Arbor, Detroit, Minneapolis, Chicago, New York City, Brooklyn, Taiwan and Indonesia.

Melissa Haimowitz Clouse (aka Melissa Eve) work focuses on the merge of daily life with pop culture.  In her painting she celebrates eating a pizza when you intend to work out and binge watching your favorite TV show.  The Painting, “Yoga Pizza,” is about shining a light on taboo and mundane parts of life to make us think twice about preconceived notions and stereotypes.  Melissa Eve is formally trained in painting, printmaking and photography.  All these practices merge in her style and composition of paintings.  Her images use black outlining and realistic animated scenic motifs.  In the painting, “The Balance,” A woman with significant fat rolls is seen sitting in a yoga cross legged position, watching TV, next to an open pizza box, while on the TV, a girl is surfing.  There is a TV Stand with books on it, plants, gaming device in front of a peach background. She primarily paints with acrylic on wood.  She takes inspiration from folk and pop art aesthetics. She uses simple gestures and bright colors to translate her ideas.  Melissa Eve has worked in the fine arts and events industries for over 10 years.  She began her art practice under the name “The Brave Wimp.”  She creates large scale floats and accessible eco conscious art that raises money for non- profits.  Melissa Eve makes small hand painted charms, earrings and pins like a Jarritos Bottle.  In 2018, she won The People’s Choice Award at DIY Street Fair in Ferndale, MI.  She received her MFA in Photography from Cranbrook Academy of Art in Bloomfield Hills, MI and BA in Art and Art History from Dickinson College in Carlisle, PA.  Melissa Eve currently lives and works in Detroit, MI.  http:///www.thebravewimp.com   https://wwwmelissaevestudio.com

Madison Cooper is an aspiring photographer who captured the Pivots and Pitfalls theme with her depiction of a young woman sprawled in an alley way in front of a graffiti décor drinking Lite Beer. The photo’s title is “Choosing not to feel.”

Mike Rabalais showed a screen print called “Junkie.”  The Junkie appears to be mummified.  Background text reads for once you have tasted night there to return, return, return, green.  The piece is in greys and shadows.

Brian Nelson showed a bronze cast paper bag full of recycled pharmaceutical tablet bottles.  The piece was titled “This is my bag of knots.”

Jason Ferguson presented, “Domestic Carnival,” that takes specific rooms of a home and represents them as flashing amusement park rides, transforming intimate interior spaces into objects of mass spectacle.  Ferguson says, “Within the room dark and foreboding music, 200 hundred pulsing lights, steel joists and a trailer combine with a dining room table, chairs and oak hardwood flooring to create a carnival that is both familiar and uncanny.  The apparatus is engineered like a carnival ride; the entire sculpture is mounted on a custom trailer that collapses for transportation to its next destination.   Ferguson says his studio practice revolves around the replication and manipulation of common objects.  He says by placing the familiar within new contexts his work elicits a sense of the uncanny.  He often combines subjects with subjects that appear to be unrelated at first.  For example, he applied medical protocol to domestic objects, used geological analysis to study historical architecture, combined the intimacy of the dining room with the psychology of a county fair and most recently he used medical scans and 3-D printing technology to make a full scale replica of his entire skeletal system.  His creative practice is broad and produces artifacts in the form of performance, video, public interventions and sculptural objects.  Jason Ferguson uses humor, the uncanny and an absurdist voice to create public interventions, performances, videos and sculptural objects.  He received his BFA from Towson University and continued his studies at the University of Delaware where he completed his MFA in 2006.  Ferguson’s work has been exhibited internationally including venues in Tokyo, Japan; Berlin, Germany, Sao Paolo, Brazil; Tirana, Albania; Kolderveen, The Netherlands; as well as national venues in New York, Illinois, Pennsylvania, Maryland, Washington, Missouri, Virginia and recently he filled two rooms at the Museum of Contemporary Art in Detroit.  His work has been featured in publications including the 3D Additivist Cookbook, Sculpture Magazine, SciArt Magazine, Hyperallergic, Artfizz, The Chicago Art Review and more.  He has received endowments for his studio work and was the first ever recipient of the Manifest Grand Jury Prize in 2018.  Ferguson currently resides in Metro Detroit where he is an Associate Professor in the School of Art and Design at Eastern Michigan University. www.jasonferguson.com

One of Kelly Johnston’s pieces was, “I have come curiously close to the end.”  It reminds one of decoupage.  Digital images, digitally collaged, a nude veiled in patterns and glitter then coated in resin.  Ms. Johnston seeks to fight the phallacracy.  She is using feminist works to subdue societal injustices from within the realm of fine art.  She often uses nude female forms as subject matter.  She reduces the forms to mere decoration.  Ms. Johnston works at the Detroit institute of Art as an Art Handler.  She installs exhibitions and moves art work through the museum.  Ms. Johnston earned her Masters of Fine Art from Eastern Michigan University in 2017.  She has exhibited her artwork across the US.

Karyn Stetz showed one of a series “Reclaiming her Vision, Changing Woman No. 1.  The image is a digital print of two birds with drippings that connect sky with horizon.

Julian Seeburger exhibited, “Bruised.”  Bruised is a color reversal photo image of needles, tree and roof.  Artists often employ alternative means to make statements about the human condition.

Simona Schaffer, a Mexican artist based in Spain contributed two prints, “Crowd,” and “Surrounded.” Surrounded has to do with personal relationships between men and women, at a personal level and as a society.  The way that society teaches us to establish these relationships affects each person’s life.   Schaffer states that, “Mexico is a country where insecurity prevails and harassment is a common source of anxiety and stress for women in their daily lives.”  Schaffer feels that gender violence has increased dramatically, as well as risk of rape, in many parts of the world.  Schaffer feels that this potential violence is a definitive pitfall for women.  “Crowd,” has one woman in a hijab and has to do with the people we cross paths with every day in the street.  How we see their faces without recognizing their features, explained Schaffer.  But that behind each blurry face is a story that intertwines.  It tries to bring attention to the unseen, the marginalized, those who are different, which is represented by the woman in the Hijab at the back of the crowd.  The original prints are linocuts assembled as digital prints.  The technique is widely used for social movement propaganda.  Schaffer has shown her work in Mexico, Chicago, New York, Barcelona, and Valencia (Spain).  Schaffer had an important itinerary installation which was shown in El Faro de Oriente, an important and special place, and art center in a marginalized neighborhood and at the Universidad Autonoma Metropolitana, among other venues.  Schaffer’s work is in Mexico, Spain and the U.S.   www.simona-schaffer.com

Gwynneth Vanlaven is an artist and educator whose practice includes photography, installation, writing, performance and social engagement.  Vanlaven received her BA from Knox College in Multimodal Language:  Verbal Visual and Kinesic Systems (an independent cross disciplinary major) with a minor in photography.  In 2010 Vanlaven received her MFA from George Mason University in Critical Art Practice, also as a multimodal course of study.  Vanlaven has taught visual thinking, aesthetics and new media at the School of Art at George Mason University, until relocating to Ann Arbor.  Vanlaven’s work has been featured in numerous exhibitions and published in The Washington Post and Performance Research and at the Smithsonian Institution and the Kennedy Center for Performing Arts in Washington D.C.  In addition to her solo practice, Vanlaven works as part of “The Floating Lab Collective.”  The Floating Lab Collective is a group of artists dedicated to social engagement and activism through interactive and inclusive art, working with local, national and international scope.  Vanlaven presented reflections on a Floating Lab Project to the 2014 Association of Art Historians Conference at the Royal College of Art in London.  In the Pivots and Pitfalls show Vanlaven showed a series about color statement as well as “It’s a pity, party’s over,” which features the artist with a piece of cake and signage with streamers.  The photo had an associated performance at the opening where participants were served cake and brought into the realm of the photo.  www.gwynnethvanlaven.net

Avery Williamson included photos that explored her family history.  Photos in the show were:  “The Boys,” “Baby,” “He Throws,” “Louise,” and “Marisa, Avery & Iris.” She used familiar images with different techniques and methods of abstraction.  Some images appear hazy, vintage and dream like.  Ms. Williamson uses family photographs and videos and film as common media to record big events and little moments.  She was, “curious about if she could make hers seem more universal and more intimate for other people.”  Further she states that, “it was important to me that the faces were blurred and the images captured a feeling.”   Ms. Williamson is always searching for ways to transform photos and make them less direct documentation of the past.  Additionally, the artist works with clay, weaving and painting.  She currently has a piece called, “It’s Dangerously Close to Weaving,” at Rymer Gallery in Nashville, TN.  Ms. Williamson was born in Philadelphia, PA, and currently lives and works in Ann Arbor, MI.

James Rotz contributed three photographs in the exhibition from the “Kibbutz of Desire,” series.  The artist is a highly “intentional” photographer, preferring vintage film methods of photography over the modern digital.  Rotz likes the color fidelity of film and often shoots with a medium format camera.  His work ranges from serene settings, Americana, portraiture and nature.  He feels the scenes he captures from the world are, “a substitute for language to express thoughts, notions and emotions that are difficult to express in formal language, whether verbal or written.”   He commented on use of film versus digital as the contrast between delayed and immediate. The delay and the permanency of negatives may build in a photographer such as Rotz, greater intention and formality for each photo resulting in a particular quality of work.  Rotz uses print and book formats for his work often paired with prose.   Rotz studied Literature and writing at Purdue University-Calumet for which he earned a BA.  He also has a BFA in Photography from Indiana University.  He has a MFA from the University of Michigan. James works as a photographer for the Detroit Institute of Arts and documents a diverse range of objects including prints, drawings and the photography collection. www.jamesrotz.com

Carolyn Garay’s works appear as other worldly or abyss or what she describes as “pen places.”  A parent could place one Garay painting in their home to inspire their children to greater detail.   They are inner worlds, sometimes ominous, sometimes painted, sometimes pen worlds.  Garay describes them as “forfeiture to excess.”  She goes on to explain a compulsive need for an infinite looping of certain thoughts and experiences.  Perhaps, they are additionally “personifications of conflicting selves, experiences, memories, turmoil’s, dreams, anxieties, exhilarations that may manifest into masses and make up the pieces of a mindscape.”  Everything she says has something about it that makes her laugh, which may be the point of it all. They appear as something one might find in animation.  She loves the juxtaposed “energy” emanating from the detail and the “creation compulsion.”  She paints in oils and with the smallest micron pen.  With paints, she usually builds up 3-4 layers, plus final detailing. Ms. Garay was born and raised in Ann Arbor, MI.  She attended Eastern Michigan University for undergraduate and completed an MFA at Philadelphia Academy of Fine Art.  She currently resides in Ypsilanti and shows annually at the Ann Art Fair on Main Street by Williams.  She also shows at Tangent Gallery in Detroit.  She started a time-lapse channel on you tube to talk about her process and for teaching:  www.youtube.com/disheveleartmess

www.carolyngaray.com

Stephani Hicks showed “Sock Monkey,” a stuffed monkey completely covered in ball pins.  She is studying art and entertainment management at Eastern Michigan University.  Sock Monkey was made in a 2017 3-D Art class when she attended Henry Ford College and was asked to take something and cover it completely.  The result was a “voodoo” inspired sculpture.  She feels the art work looks painful and falls into the Pivots and Pitfalls theme.

Chris Sandon showed a book titled “Venereal Disease,” in gold plate that was superimposed by the artist with surreal, abstract and or absurd illustrations in pen and ink.  Sandon has been making and showing work for 20 years.  He began his career as an oil painter and later moved into interactive costumes and building events around these costumes.  He has shown his work in Chicago, Detroit and Grand Rapids.  In more recent years, with two projects-“Spontaneous Art and Exquisite Corpse,” Sandon work was presented at the Museum of Contemporary Art in Chicago, The Toledo Museum of Art and the Smithsonian in D.C.

Nick Morley included a highly successful plinth like monotype print called, “Black Forest Stone,” and another called “Ether.”

Lark Allen showed a curious animated character etching titled “Squatting Figure.”  Skin appears sagging, hair braided, an otherworldly figure of unknown origin.  The figure looks sculptural and strangely ethnic.

Riverside Arts Center Review: Glyph Exhibition, Q&A with Ryan Molloy

Ryan Molloy Riso Print

Glyph Q&A with Artist Ryan Molloy, May 2019

By Afua Serwah Osei-Bonsu

Ryan Molloy, former head of EMU’s Art Dept. and current EMU Professor of Graphic Design exhibited 3 color risographs, “Knowing Loving,” “Countless Things,” “Sometimes the End.”  The 3 prints where primarily vintage looking neon pinks and blues and interesting colors that perhaps can only be achieved from a risograph.  They were stacked cubes that built both words and ideas.  The colors Molloy described as chromatic or the layering of two colors.

AO:  Share with me a little more about the risograph you used in your work?

RM:  A risograph, or riso, is a digital duplicator that prints ink (one or two colors at a time depending on the model) instead of toner. It is similar to mimeograph in that a stencil is created around an ink filled drum which then transfers the image onto the paper. I tell students it’s like a photocopier meets screen printing. They were largely used for office printing as a cheaper alternative to photocopiers but as photocopiers and printers became cheaper their use diminished. Risograph printing hit resurgence several years ago when artists and designers started using them for small run press shops. If you want to learn more about riso printing here are a few little video about them: https://www.youtube.com/watch?v=NHU9AAc3YeQ,  https://www.youtube.com/watch?v=AIfV8dXZOjc.

AO:  The cube design, the text and its relationship?  

RM:  Admittedly the design wasn’t originally intended to be printed using the riso. the type design originates as an experiment to find new ways for typesetting on a letterpress. This particular typeface was designed in a manner that it could tessellate and be typeset in both a traditional manner i.e. horizontal (left to right) and also the more experimental dimensional cube shapes. I attached some images of the typeface as it was originally intended for a letterpress so that you can see what I am talking about. This particular typeface is the product of an ongoing investigation of mine exploring how digital technologies such as CNC milling and laser etching can bring new approaches to the design of letterforms for letterpress printing.

The typeface was intended to be chromatic, i.e. two colors printed on top of each other so that they would produce a third color. This second layer of color (not seen in the images) is still in development and prototyping for the press. I often use the riso to test out things like this and it just happened to be that Trevor asked me to participate as I was developing the typeface so I figured I would make something using the updated chromatic version of the typeface. The nature of the riso being that it prints ink vs. toner also mimics other printing processes like letterpress where one color is printed at a time.

As for the relationship of the cube and the text? I did set a rule for myself that words had to have letters in multiples of 3 (3, 6, 9, 12, etc.) making them fill a complete block, therefore the format dictated the language and phrasing to a degree. The phrases are really just my own musings, truisms, etc.

AO:  Is it a plan for something, is it mathematical?

RM:  Is it mathematical, only in that the hexagon and the triangles and parallelograms it creates lend themselves to creating interesting tessellating patterns. Is it a plan, no. It was always intended for the 2-d flattened space of a page. I think more than anything the purpose of the typeface is to really challenge how we typeset language and see if there are new ways to think about the way type works on a page.

AO:  Give me some background information?

RM:  Since being interim department head I’ve returned to faculty as a professor in the School of Art & Design teaching graphic design. Having worked in graphic design, stage design, and architecture I would say I am an interdisciplinary designer, though currently I am mostly working within graphic design and more specifically type design. Here is a recent bio:

“Ryan Molloy is a designer and educator currently teaching graphic design at Eastern Michigan University. He received his Bachelor of Architecture from Texas Tech University and an MFA in Design from University of Texas at Austin. His creative work has been exhibited nationally and internationally and has received several awards including an Art Directors Club Young Guns award. In 2012 Ryan Molloy and Leslie Atzmon received a National Endowment for the Arts (NEA) Art Works grant for the Open Book Workshop, held at the Jean Noble Parsons Center, and the book The Open Book Project. Ryan Molloy and Leslie Atzmon also received a Sappi Ideas that Matter grant in 2017 for the redesign of Ypsilanti’s Riverside Arts Center visual identity and environmental graphics.”

Riverside Arts Center Review: Glyph Exhibition

Margaret Parker, Kali

Riverside Arts Center Review

Glyph, May 2019

By Afua Serwah Osei-Bonsu

Riverside Art Center’s (RAC), May 2019 exhibition titled “Glyph” was a huge success.  It ran in the lower gallery until the end of May and featured many of the area’s most noteworthy artists.   The opening reception was held in both the gallery and the Off Center adjacent space where there were performances from “Pure Dance Ensemble,” which was followed by a poetic performance art piece of “Typewriter Instrumentalists,” “Hannah Cut in,” by Carla Harryman and a later bass soloist. Artists attempted to look at language as a theme which was the thread that united the whole exhibition.  Some artists tried mixing musical staff with runes, many employed a variety of text in their work, and some used body language in performative pieces.  The exhibition was curated by Riverside Art Center’s Program Manager, Trevor Stone.

“Pure Dance Ensemble” is led by Dancer/Choreographer Gina Danene Thompson.  Hip Hop and Jazz dance pieces were performed by Pure Dance Ensemble, which were heavily influenced by Haitian dance choreography with open palms and performed to a song by Ludacris.  Performers from Pure Dance Ensemble that performed at the opening reception were:  Celia, Lucy, Maxine, Fern and Scott.  Their piece was called “Same Love.”  What is unique about Pure Dance Ensemble is their extensive range from jazz and hip hop, to modern, African and ballet.  They performed a second impressive performance on Family Day in the Gallery which takes place on First Saturday’s each month, with 3 dancers to hip hop and a marvelous ”Rag Time” piece with 3 chairs. Dancers are learning sign language as a catalyst for the design of movement and presented an inventive dance performance that Saturday.  They will be performing in “Beau Monde” this spring.   Pure Dance Ensemble includes 8th and up-Pure Teen, and Pure Youth- 3rd-6th, and Pure Kids- lower elementary.  Teacher and performer, Gina Danene Thompson is a rare gem for this area, placements in her classes are sought after, as children and teens gain advanced skills in a variety of dance moves and frequent performances.  Many go on to degree’s in dance.  In the gallery, there are wonderful  images included in the exhibition for sale of Pure Dance Ensemble in lyrical positions where dancers are grouped bent over in sequence and a second spiritual photograph which featured dancers, reaching up and reaching out.  Both photos represent collector’s items for fans.  In a brief interview with Dance Teacher and Choreographer, Gina Danene Thompson, she expressed her “joy to be here, that Ypsilanti had been needing these things for a long time.”  She studied the Kathryn Dunham Technique and trained heavily in Afro Haitian Dance, Jazz, Hip Hop and Ballet.

The Typewriter Instrumentalists had two narrators reciting poetry and 5 seated at typewriters which were used as instruments.  Many were reciting phrases and typing in sequence to create rhythms which were a truly amazing cacophony of sound.  Some of the most amazing poetry/performance to ever arrive RAC.  The piece represented a “narrative collage,” with a sea of voices, almost paranoid sounding, in unison at times and reflecting on futurologists, behaviors, or the sound of happiness or progression and procession. Flash to man in robes…“I packed my valises,” which sets up for travel, perhaps a mental travel or initiates imagination.  There was some live singing that was reminiscent of Sinead O’Connor.  All in all, the piece was both memorable and brilliant, waking up performance artists and poets simultaneously and painting a fresh canvas for both. “Neo Expressionist” was mentioned in the piece which may reflect on the union between performance art and poetry, as well as music or interdisciplinary works in general.  They looked at the silence of negative spaces.  How silence is a “sign of respect for one another and can be a political and communal barricade,…to illicit privacy.” They also looked at a “communal interior.”

Some of RAC’s gallery exhibitors included Margaret Parker, who showed a long white organza coat decorated with images of her art work done as a “walking retrospective.”  The piece was originally a performance art piece shown in a Manchester Gallery, Woman in the Arts Exhibition and is reminiscent of gypsies who carried or wore all their belongings.  Secondly, the piece paid homage to the afterlife.  Looking into the piece or retrospective was a wonderful Kali sculpture made of cut t-shirts with many arms.  Perhaps the audio that accompanied the piece reflected on the “afterlife,” or when you become the “sum of your parts” or total life’s accomplishments. Her jacket, sheer, as if worn by a woman no longer existing, but survived by her artwork, which became her afterlife.

An artist called Elijah Bobo, exhibited 3 letterpress prints, etched with cut type.  One piece was “Mulatto Round Up,” another was “Tragic Boy,” and a third was “Rebel Breed.” Mulatto round up was perhaps the most controversial of the set of 3 prints that featured a Kentucky Fried Chicken or “KFC”  motif with a  “WIC,” motif, a government sponsored baby formula program.  The artist may be drawing parallels to the controversial nature of the word “Mulatto,”  which appears to be a slang derivative for mule with milk (late). Still in 2019, there appears to be status or class issues or general controversy for  interracial marriage and procreation.  How the other two prints relate to “Mulatto Round up,”  could be a Tragic birth?  Or a subsequent rebel breed?  Contrary to status quo.  Rebel Breed was printed in red and green and white Christmas colors.  “Mulatto Round Up,” was printed in yellow, orange and black, with black and white text. The piece is somewhat autobiographical and looks at Afroism.  A third piece’s text states, “one dropped one pped,”  which relates to the 25% black origin that was decisive in racial declaration with a double meaning perhaps of a urinating then dropped infant. Bobo talked about “hypo decent,” at the artists talk following the opening.  Bobo said, his fonts were “Trushkin” and “Cowboy.”

Steven Driscoll Hixson showed 3 pieces that included text and movement.  One piece was a black and white contrast quilt with excellent craftsmanship.  Pieces showed obstruction and fragmentation using text and movement of walking imagery.

Ava Ansari (in collaboration with Andrew Quitmeyer) presented “Subway,” a highly successful public performance art piece.  Ansari is a “third wave immigrant from Iran” that studied in New York, and currently runs between Ypsilanti/Detroit areas.  Ansari says, “she is dancing for the freedom of public movement.” She is featured in video dancing sensually, then crests and becomes ecstatic in a Times Square, New York City Subway Station.   The subway traffic ebbs and flows, some pass her by, a few become spectators, most have things to do and places to go and will ignore her.  There were continuous coming and goings of the subway juxtaposed with the dancing of Ms. Ansari which she says is a “poetic statement on the power of our bodies as fluid glyphs constantly recreating motions and emotions.”  Her hands, like two birds, floating and winding, and she says to, “sculpt the air with contemporary Persian dance forms.” The juxtaposition against the train and her were sharp, exposing and hiding her dance through the windows of a passing train. She danced as if a song played in her head, or some kind of “freedom demonstration” or even to dance with the subway or subway passengers.  She was wild and free, swinging her head and letting down her hair from a bun, hanging from a ceiling rail upside down and then ending with extraordinary grace. The piece ends and Ms. Ansari sits down next to a man who appears to be  without housing on a bench, then a train passes and she disappears. It represents “man and machine,” man’s movement, contrasting machines movement. It could even represent a cultural freedom, or a freedom of space, or a personal or feminist triumph or even a healing? It suggested something about when the body speaks or has language beyond movement or when in protest and a simple dance could be as strong as a poster or a riot. One wakes up a people, ignites a crowd. Perhaps an artist is given amnesty in regards to cultural barriers that may prevent such an artwork? Ms. Ansari’s work has dealt alot with space, transgressing disciplines, working with her body and social topics.  Ms. Ansari is interested in transforming space.  She studied “Arts Politics,” at New York City’s NYU Tisch School of the Arts. She is also founding member of groups AAYA  (Ann Arbor\Ypsilanti Art Group) and Poetic Societies. She utilizes a variety of networking and technologies to present a diversity of artworks.  Subway has been presented at the Eyebeam in NYC, Sazmanab in Tehran, ArtIT2013 in Milan and Artaud Forum in London among others.

Barbara Neri presented a Quadtych mixed media piece that included children running and children playing with toy guns.  Some figures were colorized features in newspaper print outs from Associated Press.  All 4 pieces exhibited each a word Who-Are-These-Men?  One print featured images from a Bosnian war, others in military camouflage.  It was a juxtaposition of youth playing with guns who later become these future men of war.  Perhaps, to see in the child, his imminent future or to remember the man once a child.

Golsa Yaghoobi presented 3 portraits of women with text. The text was written in Farsi and translates to, “God, you have refined and polished us according to your will (Khajeh Abdullah Ansari), another reads, “For all my life, I will not quit this intoxication, this half drunkenness,” a third painting reads, “The breeze of the new day is welcome, on the face of the flower.”  All three were very fine oil paintings which highlighted a distinction between oil and acrylic qualities.  The oil colors were very rich in color and quality.  The women were shown wearing headdress, turbans and scarves.  Eyes were thoughtful, gazing back at you. Ms. Yaghoobi describes her work as intertwined both cultural and religious.  She is an artist of the Iranian Diaspora.  Her work is better understood through the history and culture of Iran, inclusive of changes and conflicts.  She is a product of the Islamic Revolution in Iran, where she spent her youth. She has attempted to unveil her voice and body.  Her images she feels challenge  “the oral, spatial and corporal limits for women in Iranian culture.”  She uses herself and women she knows as subjects and framework for her art.  She speaks with her art to a viewer that is both Iranian and Western. Ms. Yaghoobi is a painter and print maker based in Detroit.  She studied at Sooreh Art Institute in Tehran and MFA in Painting and Printmaking from the University of Arkansas in Fayetteville, Arkansas.  She often creates etchings, lithography and oil paintings on canvas.  She is held in private collections in the U.S., Iran, Canada, United Kingdom, Japan, Czech Republic, and UAE.  In addition to holding her private studio practice, Ms. Yaghoobi is privileged to teach foundation at the College for Creative Studies in Detroit and various classes at the Atelier Art Studio in Royal Oak Michigan.

Gwynneth Vanlaven showed 3 photos and a wonderful photo flip book in the exhibition.  The photo book was cut into 3 rectangular sections where you flip through portraits exchanging eyes, noses and mouths to redesign faces and emotions.  Her work was contained many social themes relating to in one photo, eating disorders.  In 2007, the artist stated that she was struck and crushed by a car, which made her gain visible identity as a disabled.  She has been shifting disabled identities, via her work.  One photo described difficulty getting out of the bathtub.  The accompanying text in the bathtub photo reads “Activities of Daily Living.”  It asks independent, Yes or No? Vanlaven wishes to ask what can it be like to have no independent way out of the bathtub?  She used a long extended exposure to capture this moment and the image looks like a ghost exited the bathtub.  She addressed specific binaries, the language of boxes, independent vs. dependent, to script her own independence.  She feels it is possible to “adapt” to new circumstances via creative potentials.  Ms. Vanlaven uses camera timers and duct tapes to capture some images.  Another of Vanlaven’s photos exhibited has to do when one acquires a mantra of “fat, ugly, stupid.” Vanlaven states that “this atones a woman who is too sensitive, too passionate, too engaged, too intense, taking up too much space.”  When one becomes an “internalized critic,” says Vanlaven, and has body dissatisfaction/body hatred.  Vanlaven talks about the “silent scream” with her work.

Azya Moore featured a series of comparative and scientific or medical observation photos of two women.  Photos contrasted racial differences which were highlighted by text in a research style wording.  Artist looked at “quantifiable humanity,” when values are placed on mankind as was done in slavery and even in abortion cases. Artist was asking, “what does it mean to be human” on different levels and “how do we become whole?”  Ms. Moore highlighted America’s controversial enslavement and related ideas, laws and conditions that resulted.  Ms. Moore was intensely thoughtful, sensitive and probing for answers to heal and simultaneously challenge prevalent national ideas.  Ms. Moore studied Painting, Photography, Museum Studies and Mixed Media and earned her BFA from Michigan State University.

An artist called  Petra Keppers, included encaustic paintings with embedded poems relating to climate change.  Poetry series related to “Neo Expressionism” a hot topic for this area, where artists explore multiple directions for the new expression of poetry or art often using interdisciplinary or innovative approaches.  Petra was also featured as one of the narrators in the Typewriter/Poetry performance.  She is working in a “Somatic Writing Studio.”  Her work on the encaustic paintings utilized wax and blow torches to convey earthly problems.  She is an international performance artist. She is working to accelerate poetry via “Neo Expressionism,” from movement to performance, to oil paint and beeswax.

Ypsilanti children were included on podiums in the exhibition and created animated emoji art works. Some emoji’s were completed by Girl Scout Troup 40602 and Ypsilanti Community Schools as well as children from Weiss Elementary International Baccalaureate.   The cut paper art works represent the influence of technology on the youth of today.  The children attempted to design their own original emoji, animate their expressions, creating loving ones with heart pupils or angry ones with slanted eyebrows or even devilish ones with horns.  Attention to technological imagery by youth can be noted as well as their ability to extend it and design their own original pieces with Emoji animated styling.

The Art of Liberation and the Universal Public Artist Group and Movement “Liberato,” Liberato Manifesto

The Art of Liberation and the Universal Public Artist Group and Movement “Liberato”

Liberato Manifesto

By Afua Serwah Osei-Bonsu

“Liberato” was founded on May 14, 2018 out of Ypsilanti Michigan by Afua Serwah Osei-Bonsu after careful consideration of the removal of all impediments in art.  Whether in the city, or without access to monies to fund an art work or access to a manufacturer or the things you can do any place, any time, at any age, regardless of income but dependent on skill and intelligence-“Liberato” was born. Liberato is simply the art of liberation.

Liberato it was decided on this day belongs to all those who connect with its ideas.  Liberato is a universal public art group and movement.

Liberato includes things such as “Prosperous Zero” which is a kind of performance art dependent on a zero derivative.  Prosperous Zero can be something like mime or my me, it can be songs or teachings and kinds of enactments that one performs.  There are many key elements borrowed from acting and performance art that make up Prosperous Zero.  What distinguishes Prosperous Zero is its distinct liberation and anywhere anytime quality.  Usually you can designate a space or create an impromptu stage.  It can be both vocal and silent.  The basic idea is what you can develop by yourself while utilizing your own body.  You may use written work then rehearse it, or story board sequential actions or even compositions. Prosperous Zero has to do with talent, with creative action, and acting out scenes.  The most basic idea is like the gypsy who carries all their belongings with them, Prosperous Zero goes with you all the time and is an extension of you and who you can become.  Prosperous Zero is like an acting gypsy.  Prosperous Zero is supposed to develop ones personality and self-esteem.  Prosperous Zero is also supposed to liberate you from the constraints of time and space or necessities like casting, stage, crew, finance, costume etc.  Prosperous Zero can be based on observations or teachings, songs or studies.  It is a back pocket and cupboard art. One may derive income from Prosperous Zero and teach it in schools of any age group or film or perform it for a fee.  There are Prosperous Zero DVD’s and books like the forthcoming “Art Relevant Juncture,” that will include writings on Prosperous Zero.

Prosperous Zero was also founded by Afua Serwah Osei-Bonsu in about May 2015 after a long period in the hospital with little available to her.

Another component of Liberato is dematerialization in art.  For example one may not physically create an artwork one may “create art in writing.”  Once one has conceived of ideas to remove barriers to art work, another beautiful art work can result.  Liberato includes as a key component writing as a liberated skill that requires very little and is highly transportable.  Art can easily be inserted into writing as can many things.  Liberato also includes writing poetry and poetry recitation.

Another key idea in Liberato is acapella music that includes fire side songs, snaps and clapping.  Making an instrument of yourself in any way or if you like including an instrument. Many instruments are easy to transport or songs easy to remember.  Liberato finds that memorizing songs to be very good for the brains memory function in general.

Drawing is another simple skill that one may easily transport with few tools.

Liberato also includes dance.  Liberato is for all those who ever had an art without a resolution, or ended up in a confined or remote place or just want a life dedicated to liberation or a freedom orientation.  This is an art for creators, perhaps a gypsy’s art that requires good teachers, advanced skills and know how.  Even a PHD may dedicate himself to elements of Liberato for vitality, utility and ultimately to problem solve a lack of financial or spatial or material constraints.

Liberato is an art of oneself, richness or to be rich and without inhibition.  Liberato doesn’t have to be done on the street or done outside, but may be.

It has to do with that feeling of liberation, like when one starts to write, the potential of that skill and the lack of necessity, but the need for knowledge.

The more you develop yourself, the more you are without creative impediment, the more liberated.

Many citizens experience getting degrees in lithography or print design or joining a dance ensemble or an orchestra and have been without the space or studio equipment or  members or not within a city that is conducive to its creation.  One may have chosen a large instrument that is difficult to carry or transport.  You should still have wonderful pianos and cellos at home.  One may have a large idea they cannot afford yet.   Many ideas around liberation may guide one to choose skills with a liberated orientation.  Liberated artists may advance more rapidly by virtue of this choice.

 

 

 

 

 

 

The Commonality Conjurers in Art

The Commonality Conjurers in Art

By Afua Serwah Osei-Bonsu

 

Gather all your red things

Measure each of their statistics

To ascertain who are the commonality conjurers in art

Red things, apple you are a #1 commonality conjurer

Menstruation and blood you are #2 commonality conjurers

They wished to know if they saw a red object

What thoughts would they conjure?

 

 

Art Writing: Intellectualization in Art, An Existential Study

Intellectualization in Art, an Existential Study

By, Afua Serwah Osei-Bonsu

 

The Wax Maquette

Place your hands inside the catalyst and imagine architectural space

If you close your eyes will you be stimulated to see something in the past, present or future

If you look inside, will you connect your design to the catalytic model

 

The Ouija board

Use the board to connect spiritually

Calling all spirits!

Either I am contacting the spirits or they are a con artist, let’s find out!

How will I know?

How the game connects you to a spiritual thought successfully

 

The two objects

Connecting two thoughts that make something

Together these two thoughts make something

Object writer

 

The placement of poetry

 

The bringing into thought

 

What do we know?

 

Thought Traveler

 

Eye control

 

The crest, the builder, the exaltation

 

Past, present, future

Bringing forward or sending behind or backwards

The new branding

To pull an image from the past to conjure the era in the present

To have the same thoughts, then to have a second thought

 

The look at thought world

The conjurer, the human designer, the condition, the desire, the provocation

The drop off, the ideals

 

The availability

Creating art in writing

Creating art in thought

The abstract manifestation

 

Art that you utilize, art that you keep thinking about

 

No money, no studio, still a maker

Available, resourceful, prosperous

Avenues of omissions

Reductionism

Condensed

The without becomes

The stripped down art may also become intellectualization

 

Resonance, the resonating after thought

Musical qualities, Bing! Bing! Bing! ______

 

What ultimately we learn from art

 

The reading

 

The mind pop

 

Your thought treasure, your thought treasure trove

 

The painting

Remembering, connecting points, transporting

Maybe you always find a connecting point

Maybe it triggers and you remember something from which you connected

 

Dignified has a look, compassion can also have a look

The values exhibition

 

 

Rule #1=You can control a little bit the thought in art to make the art.

Rule #2=You can control a little bit the eye in art, to guide the viewer and make the art.

 

 

The photo, the history, the blind and the seer, the future of a dying art

The photo, the history, the blind and the seer, the future of a dying art

By, Afua Serwah Osei-Bonsu

It is almost as if photographs are something psychological.  If you look at your photos as if they are a way of looking backwards and the good photos are the good life or the good psychology in terms of how one feels about their own life.  Artists generally have better photos.  An artist may look for a nice back drop, frame the photo through the viewer, look at the subject’s eyes, mouth and expression, wait for the face to relax, adjust lighting and capture a nice photo, memory or history. An artist may guide the subject to achieve their best look.  An artist may set up a scene or set for their photo or use props, costumes and back drops as key elements.  Some photographers may want air brushed make up or a make- up artist or a clean hair free photo or  even plastic surgery or a hair stylist or fashion stylists as is commonly done with head shots for actors. Some subjects may want their photo heavily cleaned up with software to make corrections to defects or flaws.  Some may want to oil up their body or wax and there are ways to achieve a more perfected and cleaner image.  Some may photograph only perfected humans that blank slated etc. Sometimes one achieves a better photo wanting something for their subject.

Some people are present and looking and achieving their photo and some are just snapping.  Some have roaming eyes and some don’t.  In photography there are “seers,” who look in and around the photo.

Sometimes photos and film for that matter are just “the way it was.”  You can take a photo or make a film and weave together a true and false or representational history.  Producers and politicians were especially skilled at crafting history and setting up a scene or leading one to believe they were doing this or that or at the helm of a movement.  Where the context may have existed in reality the dissemination may have been fictional, a false staged march or a false staged protest when in fact they were not the key players in those movements but their ideas or artworks or films became the remnants left over and ultimately all that we were left with.  Some people are aware of this power of media and utilize it.  Some things appear to be historical and in fact are films. Watch out for branded historical figures and when money changes hands in terms of products and the suffering persists.

Photography may, in fact, be a dying art.  All the photo labs disappeared, all the manual cameras disappeared and so did the art of photography disappear with the advent of digital photography, smartphones and selfies etc.  It’s difficult to find labs or equipment and all the dots that connect the field of photography.  Most things artworks on B&H in New York where you can still send vintage films or buy a variety of electronics for the field and variety of cameras.  You can find at B&H little devices that hook on to a phone to record an interview that a reporter might use for example.  The majority of all photographers in the U.S. must acquire equipment from B& H in Manhattan New York.

The average person lacks skills to represent their family history and needs a 10 minute shooting lesson from a professional to take a decent photo.  You can now end up without a history or with exclusively selfies and nothing more or even with bad memories from bad photos.

There’s a photo lab in London that makes really nice prints where you “order” matte or glossy or with borders and can get classic sepia effects or produce black and white photos.  What is really needed are the connections of all those dots where you have archival papers, bevelled edges, borders, corners, tints, sepias, C-Prints, heavyweight paper-things that some states do not have at all.  If you were to make a strip of these connected businesses and wished for a high level history or quality or artwork or to develop your  arts and crafts you might include labs, printing presses, photo studios, advanced schools like NYC Film School or Kodak, lighting equipment like spotlights etc., photographer services, things for shooting on location, and even a camera shop, retouching skills and lots of software.

You might let it all disappear and with it quality of life and history.  Things have changed dramatically since the bevelled photos and photo albums. Automatic cameras which were followed by disposable cameras and later  “no camera,” no film, no negative, no lab-no history, no art. Younger generations probably barely knew things existed.

It is possible to set up little art businesses with photography and there is a spectrum of businesses that can be started with commercial viability including vintage photo studios, magazines, real estate photography, school photos, photo walls, sets or professional photo studios, photo labs and on and on.

Back to “the way it is,” in the end the writers, artists, manufacturers and the photographers and filmmakers “make history.”  The way it is documented ends up being the way it was. Perhaps even the collectors make history, the hoarders, those desirous of making for example, a “historical location,” or even a historical memory make history.

Some of the best photos utilize dramatic lighting or sets like theatrical photos that include really good advanced styling or a really good set and lighting, even theatrical spot lighting.  Sets and costumes make for some of the best photos.

The ride to take in photography and probably when you become a viable and good photographer is when you have your software.  One must acquire or develop software these days to establish a business or even to be a good or competitive photographer.  What does a startup need? Good software!

Existentialism Exercises

Existentialism Exercises

By, Afua Serwah Osei-Bonsu

The great “I AM”

Major players in existentialism:  the soul, art, life, GOD, all of existence, on and on to be everything

Art =Are-T or essence or perhaps the study of existentialism may be what art was meant to be

Some existential areas in art:  human condition, identity, force vitale, social, history, humanitarianism

Existential art teachings or studies or exercises-drawing, painting, sculpting, ceramics, fiber, graphic design, photography

The maker of the camera may be GOD

The essence of you, the soul of you, the essential system, how you came to exist, why you exist and how you exist, what is your condition within existence, the early preoccupation of man with the image of God and a lack of knowledge of himself or how he came to be

Existentialism came to be part beauty in the design of life, part explanation for a man ignorant in many ways of his life, part what may have been intended as life-a preoccupation with essential questions, one may assign a title such as GOD to an arbitrary or unknown or to answer an unanswered question or to fill a need that is unmet, for example if one needs someone and no one is there, many things came to be GOD, even dogs were thought to be GOD written backwards as loving and protectors and named after this omnipotent, or arbitrary or unknown or even known, some will call themselves or others GOD

The discovery of the soul:  The Hole, The Cough, The Light, The Lotion, The Parking Space, The Resume, The Blanket, The Shoe

The historical arts subjects or The Arts:  Medicine, Math, Astronomy

Scientific formula that is existential (eg. a pill):  What to be?  Where to go?  What to do? For how long?

MYW University-Make Your World

MOAU University-Making of a Universe

Sampling Studies, eyedropper

Hollow Penis, solid vagina

Negative mountain

Prosperous Zero

Falun Gong and Yoga practices, existential studies based on a life warrior or fighter or martial artist

Profession or to profess oneself something

Celebration of birth

Metaphysical, esoteric, apothecary

The Care of the Self

A child may ask his father what am I? He may say something like: “You are not a robot. You are 100% bio materials that are living materials and chips and a brain and a soul and organs which are bio materials and run their chips.  You have an animator and it keeps you alive. You have many fluids that lubricate and run your systems similar to a car.  You have a skeleton that maintains your shape.  You have lots of ability.  You are thinking, feeling and seeing. You have a brain tape.”

A spiritual and physical experience

 

Excerpt from upcoming book “Art Relevant Juncture,” by Afua Serwah Osei-Bonsu

 

 

Art and Design

Art & Design

By Afua Serwah Osei-Bonsu

 

Scenario 1

Traveling with a sewing machine and a tool box of art supplies and paints.  Extension cord from the house to sew outside.  Planning a “taller” pronounced “tie-yare,” or independent enterprise in an undeveloped pueblo.  Climbing in the mountains, getting floral dressed, walking in a dry river bed.

Dying cloth with coffees and teas and traveling one hour by bus to get dyes and bolts of fabric.  Getting a large car size amount of fabric delivered from a distributor in the city to make a large amount clothes.

Having dying parties with made up garments then hand painting them.  Memorizing songs, dancing with bells around the ankles (a musician).

Scenario 2

The “art house.”  Dying textiles on the balcony, making up braided hats, making up hand dyed clothes with a seamstress, then photographing people dressed in the clothing, and reserving sets around town.  Making drawings, large photo prints, postcards, which culminate in the full moon bazaar or events in tune with the full moon. Printing on the postcards the upcoming dates of the full moon. Collecting instruments, hiring models, drawing mostly self-portraits, a dress rack of clothes, shopping for fabrics in old jobbers, back drops and an obsession for color photography, making homemade lip balms while maintaining a corporate job in the stock market. Walking to work to stay in shape and playing castanet rhythms on the way.  Studying flamenco.

Scenario 3

Off to school of Art and Design. A collection of research photos.  A taste for photos with white borders.  Sketch books. Silk screen fabric prints for garments, silk screen paper prints for art. Silk screen fabric prints for art too.  Embellishment.  Fashion illustrations.  Making up garments, taking pictures.  Small mini drawings, making printed boxes to put things in, making shoes, making boots, printing techniques, visiting silks in the fabric district.  Collecting sole prints and deconstructing them into new combined textile patterns.

Scenario 4

A pedestal to draw still life’s or a variety of daily objects.  A stage to draw costumed models.  A stage for prosperous zeros.  Collecting and sampling the entire environment in drawings.  Nibs for the garden paintings.  A drawing board and horse in the house for portraiture.  The home office with 5 stations.

 

 

 

 

An Approach to Art Making #2

An Approach to Art Making #2

By, Afua Serwah Osei-Bonsu

Art could be divided into groups such as:  supply, craft and manufacturing artist.

Supply relates to those things derivative of materials and supplies that could be purchased, for example, from an art supply store.  A good example of a supply oriented art work may be one that incorporates nibs, brushes and ink like Oriental Paintings or Bonsai garden paintings with fan brushes or outdoor art stations.

Craft may be things oriented to craftsmanship, from an artisan or may even be home spun. Examples may be things like burning into leathers, making candles, or a bricklayers training in tile, marble and terrazzo and making monuments or perhaps building engraved picture frames, cake decoration, or making clay monsters, or a holiday decoration or a cut out turkey made of paper or maybe some type of whittler.

A Manufacturing Artist may make sophisticated art works in a studio or factory based environment inclusive of sculptural works or electronic works or even professional frescoes via fresco printers and architectural works or installations or programmatic/technological works, or even the museum itself and mostly extremely fine art and almost all high art.

Culture is another distinct road in approaches to art making.  Dedication to culture may inspire one to develop a culture or work on a subculture.  An artist may become concerned with cultural branding or contributing an aspect of art or art practice that develops their communities culture.  A cultural offering may set the tone for a business or enterprise or an organization, branding it and guiding its organizational epistemology or setting the tone for employees.

High art practice is often engaged in a curatorial based art making where a group of artists may utilize the same photo to curate a group exhibition.  The photos are sometimes based on iconic imagery or indicative of an era.  Groups of artists and curators may form a temporary or permanent collective group.

What a scholar might find really riveting, that is perhaps buried now is the initial use or heading of “The Arts” that was inclusive of science etc.  In the early days of education, there were three subject’s religion, the arts and medicine.

Use of acronyms in art can be a way of “big talking” -small or formulaic. Acronyms like “HISS” that means “highlight, spotlight and showcase” become important or acronyms like “Quepine” that means “Question, Proverb and News” can be used for art making.

Black Magic is also indicative of a kind of wielding or wizardry or technology use or logic. Black magic use can be something like programming things with thoughts by thinking over them, or digging holes or making connections between objects or talking to things or taking readings or working with numbers like 81 as Magic and Flight where you see in the eight a Spider and the one, a wing.  Black Magic brings as James Baldwin coined it, “force vitale,” to art among other things much like the Chinese technique of calling “chi” or soul or “charming,” or animating like placing eyes on something.

One may draw a right angle with a diagonal cross thread through to create an art technique using perhaps era or time. It’s possible to grid or work on a time-based series using a right angle quick method.

“Era and Charm,” incorporates a black magic technique and has been very successful for making things like teapots.

Another interesting technique used by artists is “what does that make you think of?”  This technique has to do with when you ask continuous questions of yourself or someone else leading to a trail of words away from a root word.  For example, if I said I have an apple, what does that make you think of?  You said red, and then I said what does red make you think of?  You said blood etc. and on and on and connected the trail back to apple to ascertain some unique, hidden, connected or passive meaning.  With this dialogue, one would begin to build their artworks from a kind of “art game playing.”

Another breakthrough in technology that has gotten into art is “the feed.”  The feed has to do with when you send through a host, an agent or program.  The feed can be music or emotion etc. Feeds or programs are particularly interesting in textile printing where a print may be made distinct when it is impacted by a program and made, for example, exciting or sensual, animated or dotted.

Perhaps a breakthrough in approaches to art making is the “eclectic gallery district” or the placement of art or the combining of supply, craft, manufacturing art etc.  All the usual pomp of art but inclusive of perhaps a “home sweet home sign maker” or portrait district or maker galleries or antiques or fiber arts or a variety of textile galleries-eclecticism in art may also be a mainstay. Eclecticism in art may create a greater ability of “treasure trove” and individuality within the home or arts final destination.

Really ultimately what makes or can make a really good fine artist is lots and lots of programs, lots and lots of technology. Artech can be many things including sound technologies or opera voice pieces, or holograph technology or film modulation technology etc.