MONO-HA

Lee Ufan Dialogue oil on canvas

I recently found out about the artists of MONO-HA, which translated from the Japanese means the “school of things.” Lee Ufan is having his first American exhibit at the Guggenheim and there was a charming article in the New York Times describing his process of choosing rocks for his pieces.

http://www.nytimes.com/2011/06/26/arts/design/lee-ufan-squeezes-essence-from-a-stone.html

He paints as well, as per example above. Basically, as translated from Toshiaki Minemura's catalogue essay from a previous exhibit, MONO–HA consists of “artistic language from things as they stand, bare and undisguised, letting them appear on the stage of artistic expression, no longer as mere materials, but allowing them the leading part”. This is a fancy way of saying, it is what it is. To be the work of MONO-HA, the piece should only reference itself; no ideology, no metaphor, no politics and no emotive content beyond the viewers response.
I was intrigued; researched and here are a few examples, I responded to.

Phase Mother Earth by Noburu Sekine
The earth is taken from the hole, packed and shaped accordingly.

Koji Enokura's cement wall between two trees

Sumi by Kastsuhiko Narita

Mono-Ha started in the late 60's and some commentators say the Italian movement arte povera was an influence. But like all schools of art (or things).. the inspiration came from many sources, not the least, Zen philosophy. Because of its historical basis, coming from an era when many artists were rejecting industry and “objecthood”, MONO-HA work looked radical ... as did the Earth room by Walter de Maria, made in 1977.

http://www.diacenter.org/sites/main/earthroom.

I visited the Earth room several years ago and found it still very effective. The smell, confined in what is a relatively small space, really charges the piece as does the color and textural richness of the soil. My response was to want to jump in. The plexigalss barrier makes it feel like a pool. Walter de Maria is considered to be an Earth Artist but the intention of this piece is very closely aligned with the efforts of MONO-HA. Not surprisingly as I looked more closely at the work of each Japanese practitioner, their personal style comes through. Granted, the material and its relationships to the space and the other elements presented, are primary. But the propensities to certain shapes, colors and modes of presentation run consistent within each artist's work. Their self comes through their choices, quietly perhaps.. but none the less, very firmly present, like the piece of iron placed behind the rock in Ufan's work below.

Lee Ufan Relatum

This quote, which was included in one of the commentaries sums it up:

“In order to designate reality, Buddhism says sunya, the void; but better still: tathata, as Alan Watts has it, the fact of being this, of being thus, of being so; tat means that in Sanskrit and suggests the gesture of the child pointing his finger at something and saying: that, there it is, lo! but says nothing else…”
Page 5, Camera Lucida, Roland Barthes.

That being so. My photo of the robin's eggs, shared on facebook and sent out to friends, elicited a number of remarks as did the LO! coming from myself. What creates that blue? What an incredible miracle of color! My research on that score came up empty. There is no credible explanation. So, besides letting you know that the eggs hatched and all four birds, left awkwardly but successfully, I present you my MONO-HA.:

LO!

Susan Richards 2011

Pictures/Pictures

Times Square

I went to New York City a few weeks ago. I went specifically to take pictures as well as look at pictures. So the following are some thoughts as I looked over my results. My first stop was MOMA where I had started a series last year of pictures of people taking pictures of pictures. If you are in the younger age bracket it does not seem to be an anomaly to see people taking pictures in museums. But for me, it still seems surprising and intrusive.....I know that's twisted..because I do it myself !!

When I was in high school I worked for a short time at MOMA as a volunteer in the publicity department. In 1967 it was still a small museum. Back then you could see the whole collection in a couple of hours. I helped sort and file clippings about the museum. There were large notebooks full of pictures of the collection. It felt like having access to a treasure trove, both the in the notebooks and the museum. If you wanted to get a picture of a painting you either had to buy a postcard, purchase an entire book or make a special request.

Now anyone can collect from the collection. Here is an example from my collection.

George Washington by Thomas Sully at the MFA Boston

If you would like to see more you can go to this site where photographers and graphic artists are showing their work: http://ree.viewbook.com/album/richardssusan#1 I am on this site for a short time because I submitted a selection of my photographs to a competition.... all through the internet..no slides, no prints...just stumbling through tech hoops to get it done on time.

The biggest change in museum going these days, besides the huge crowds, seems to be this lust for interaction with art and the digital. Whether using the shots for phone mail, on web sites, blogs or face book..we all are saying I WAS HERE ! ...or..maybe ... Now this is mine !

Sometimes these souvenirs end up connecting to something else and then, ...click. You have your inspiration. My own collection has a variety of themes and the happy accidents and connections are apparent.

Jackson Pollack

I also went to the Japan Society for the first time and saw the show Bye Bye Kitty. It was terrific. A great change from the animae and high tech pieces we have been seeing from Japan the last few years. My favorite artists from the show (which I was not allowed to take pictures of ) were: Manabu Ikeda: (This you cannot experience by photo).

In fact when you see this piece, which is about 6 x 8 feet, you are given a magnifying glass so that you look all the things that are going on in this tree. The title is Existence. It's ink and acrylic on paper...and took over a year to do. Here is a web site where you can get details and other examples of his work:

http://www.artinconnu.com/2010/12/manabu-ikeda-b1973.html

I also loved the exquisite technique of Tomoko Kashiki.

This painting is called Shadow Play and is acrylic on fine cotton, mounted on panel. You can't see the lovely textures this has...very delicate, smooth, semi gloss to matte transitions of paint within the image. These reproductions are from the catalogue I purchased. Needless to say, all art must be seen in person to really experience. The subtlety of texture, even in high resolution, is no match for the real thing.

Google is now bringing art works closer to you in all kinds of ways. Here's a link to the Sistine Chapel you can explore in 360 degrees!.

http://www.vatican.va/various/cappelle/sistina_vr/index.html

I finally got there last year and though it's nice not to have the crowds.. you don't get the smell of age in the chapel or of Rome itself.

My last shots are from NYC.

Signage is so much fun. Someday I want to work with this...

Here's entertainment in Washington Square. He bills himself as the happiest man on earth.

and an Art bookstore in Chelsea..

I still love old school page turning...

Thanks for reading!

Spring

It's almost here !

This lovely sculpture is in the Smith College museum and is called Spring. Following are a collection of images I have taken at various museums throughout this last year. I collect the pictures for inspiration, research on my projects and as gifts I send out to friends. I know I am not alone in my collecting. All the museums are ubiquitous with others doing the same. They are even posing in front of paintings or take snaps imitating the models or sculptures. I have started collecting images of the collectors, collecting and hope to put them together in a book. Yes... pictures of people taking pictures of pictures...??? I have yet to know how this will play out or exactly how I think about it... let me know.

This is one of the popular photo ops at the new American wing at Boston's MFA. (Notice that it is the same proportion as the iPhone.) The colors are not quite true. Try as I might, photo shop cannot recreate the beauty of this window. The glass in the gold fish bowl is smokey and milky. Enlarge and you can see how the colors are distortions and reflections of the branches around it...fantastic!

Louis Comfort Tiffany Parakeets and Goldfish bowl

The new American wing galleries recreate the various eras in American art and include furniture and objects as well as painting and sculpture. The framing on many of the paintings seems to be original and if not, are entirely appropriate as well. This painting goes out to my fellow artists Ellen and Arthur who are big Sheeler fans.

Charles Sheeler Iron and Ore 1953

Athur Chartow also paints the industry of America though the feel is radically different from the optimism of Sheeler's time. Connect to his site at: http://www.arthurchartow.com

Arthur Chartow View of Zug Island 2009

Also at the MFA in the Japanese gallery is a display of tea ceremony bowls and implements and this is a basket that would be used to hold a flower arrangement. It looks like it has clay in it but that is not in the descriptor with the piece. I am going next week to a workshop on the tea bowl which is being done in conjunction with this show. There are visitors and ceramicists from Japan coming to the Harvard Ceramic Studio..they always do a great job.

Nagakura Ken'ichi b. 1952 Dancing Star bamboo and rattan 2008

This next painting is by Horace Pippin. One of my favorites. This is from the Museum of Modern Art, "collected" last fall. Pippin who was self taught, was crippled in the first World War and struggled to paint with his injured arm.

Horace Pippin Lady of the Lake 1936

Horace Pippin Country Doctor 1936

This is the painting, at the MFA, that I first saw years ago that totally charmed me. I hate to remind people of winter but the way he did the snow is a mastery of dry brush. And the greys are right on. Again, a must see in person.

I also visited the newly refurbished Addison Gallery of Art at Andover Academy, twice. The first time to see the new installations..another beautiful job..and it's free! Here's another classic American painting by a self taught artist.

John Fredrick Peto Discarded Treasures year?

Notice the price on these discards. Hopefully books will not be totally discarded in my lifetime.

Also at the Addison Gallery at a recently closed show, I got in trouble taking photographs. I have gotten so used to feeling free with my camera. I was collecting pictures from the Sheila Hicks exhibit for my daughter who was not able to go. Sheila Hicks' small works are like paintings. I liked the section I highlighted from this label. It's good advice for any artist, in any media. We get complacent with our choices.

Here's one of her larger pieces...so silky!

and...ironically, this little one is called self portrait.. The camera focused on me!..

On my last shot for the show I was accosted by a guard asking if I had permission.I lied..and said yes! I beat it out of there..feeling guilty all the way home. There is a beautiful book that goes with this traveling show so if you want to see more, check that out and research her on line at http://www.sheilahicks.com

This last picture of a person taking a picture, of a picture, is from my fall visit to Moma. I don't know if Gertrude approves, do you?

Susan Richards Woman Reviewing photo of Picasso's portrait of Gertrude Stein 2010

January

No writing: just pictures and lots of ***********************

These are photos of a real snowflakes by Vermonter Wilson Bentley:

And more coming Wednesday.

Chrysanthemums the Word

Last weekend I went out to western Mass to see my sister-in-law, Ann Lee Hallstein. Always the gracious host, she takes me on walks and outings she knows I will enjoy. On Saturday we went to the Smith College, Fall Chrysanthemum Show which is in their greenhouse near the Botanical Garden. This show will be up until Nov. 21^st, so if you are in the area, I recommend both a walk along the water way and a peek at the small, but charming display in the greenhouse. The horticulture students created hybrids and attendees are invited to vote for their favorite, a difficult job to do as each flower type is as beautiful as the next. This one was my pick.


There are many forms to this member of the daisy family, and all are here in abundance.

Cascades, which require months of special pruning and training:

Standards, which are large blooms that can reach seven feet in height!

There are many exceptional hybrids that out shine any bushy variety at your local Depot.



One of the lovely "cross curriculum" features on display was the poetry chosen by students in the East Asian Language and literature class:

Click to zoom

There is also a poetry reading, music and lectures scheduled. Check it out at: www.smith.edu/garden.

After I got home, I got busy on the computer and ended up with many serendipitous finds. In my own work, when I choose an image or particular flower there are usually personal reasons behind behind my choice.

This small painting is a tribute to the ephemeral nature of all flowers.

In Chinese and Japanese cultures, all seasonal and natural subjects have meanings beyond their appearance; most of it known by their audience and in context to their culture.

Chrysanthemums, the November flower, signal the last burst of summer and in many Asian motifs, represent lamentation and grief, adding a special poignancy to the season. In European cultures the white chrysanthemum is used for funerals and on graves. In contrast, in the United States we look on these flowers optimistically and in some countries chrysanthemums represent honesty.

But, as we all know, research is frequently contradictory and meaning can be applied in all kinds of ways.

At the MFA in Boston there is a display of Japanese prints which feature characters with tattoos. Chrysanthemums are in abundance. http://www.mfa.org/exhibitions/under-skin

Here are some actual chrysanthemum tattoos, off the web.

It seems appropriate that there are also Chrysanthemum fire works:

Another connection occured this morning. In the Globe was a notice about a show at the Miller Block Gallery. Imi Hwangbo does intricate 3d drawings using mylar and ink. I have seen her work before and the constructions are both contemporary and petal-like. The announcement says that in Korea the chrysanthemum represents joy! The show is up through December.

http://www.MillerblockGallery.com

On Harvards' Sackler Museum collection page I found a comparable example in Japanese silk brocade from the 18^th century. In Japan the golden chrysanthemum is the emblem of the Imperial Emperor and the Imperial order of the Chrysanthemum is the highest order of chivalry. Japan also has a National Chrysanthemum Day, which is called the Festival of Happiness.

Here's a quote from my Wikipedia source which seems particularly apt for my next find:

"If you would be happy for a lifetime, grow Chrysanthemums," says one ancient Chinese philosopher. In China the chrysanthemum is a symbol of Taoist simplicity and perfection. Autumn is the season of this flower, a time of tranquillity, completeness, and abundance following the harvest. Since it blooms right into winter, it may also symbolize the ability to mediate between life and death, between Heaven and Earth.”

I knew the Sackler Museum site had many beautiful examples of paintings. But also my search revealed this little pot by Makoto Yabe, who was my first teacher in ceramics at the DeCordova. He stunned the students on the first day of class by showing us chrysanthemum wedging. He said he spent years in apprenticeship doing nothing but wedging all day.

Wedging sets up the clay to be thrown, getting rid of air pockets and basically warming it up to be supple and easy to work with. In chrysanthemum wedging the end result is as beautiful as the pot you may throw. It looks like a many petaled flower. Here's an example of that wedging technique..on Youtube (p.s..Mokoto was much faster)

http://www.youtube.com/watch?v=KbLV7LrY-Yc&feature=related

And here's his stoneware potin the Sackler collection with the flowers impressed using the "mishima" technique.

Makoto Yabe also taught at the Harvard Ceramic Studio. I was glad I attended the special luncheon held in his honor. Sadly, he died soon after from cancer. His work and his teaching were a great gift. This small bowl is a humble and poignant reminder of how art helps us “mediate” between life and death.

Lastly: Madame Valpincon with Chrysanthemums by Edgar Degas

This painting is at the Metropolitan Museum of Art in New York City and seems a perfect compliment to all the examples above. The model is contemplative and attending to something just outside the picture. She's wrapped up in her thoughts and in her winter scarf.

Happy Fall friends.... Let us give Thanks for the beauty of Art and the Natural World.

Stay warm!