A Bridge in a Snowy Landscape by Hiroshige
Night Snow at Kambara by Hiroshige
Clear Weather After Snow at Kameyama by Hiroshige
Saturday, December 26, 2009
Friday, December 25, 2009
December 25, 2009
Snow
Angels
and
Golden Stars
Greetings!
Happy Holidays!
Warmest Wishes to All
Peace On Earth and In Our Hearts
Happy Holidays!
Peace On Earth and In Our Hearts
Happy Holidays!
Warmest Wishes to All
Peace On Earth and In Our Hearts
Happy Holidays!
Warmest Wishes to All
Peace On Earth and In Our Hearts
Happy Holidays!
Happy Holidays!
Warmest Wishes to All
Peace On Earth and In Our Hearts
Let It Snow
Let It
Let It
Snow
Snow
Snow
Sunday, December 20, 2009
Cleveland Cultural Park
As I headed to the Science Center today to see the IMax Sea Monsters film, I went through a landscaped park setting where small signs would appear intermittently announcing various countries. It was the Cleveland Cultural Gardens, a 50-acre strip carved out of the 254-acre Rockefeller Park, that currently represents 28 or so nations.
The Hungarian Cultural Garden at the
Cleveland Cultural Gardens
Here's a website that provides a brief pictorial tour:
Gradations of White - The Mastery Thereof
Dramatic color as in Twilight in the Wilderness below
or
Excruciating Delineation of Hues and Shades
Both are extraordinarily masterful techniques.
Interior of a Church by Emanuel de Witte, 1680
Emmanuel de Witte (Dutch, c. 1617-1692). Interior of a Church, c. 1680. Oil on canvas, 62.0 x 54.0 cm. The Cleveland Museum of Art. Mr. and Mrs. William H. Marlatt Fund 1971.1
http://clemusart.com
Let Me See It For Myself
These images can only very feebly begin to hint
at the power of the original at the
at the power of the original at the
Cleveland Museum of Art
because there is it truly mesmerizing to behold.
Which one represents the original?
Twilight in the Wilderness by Frederic Edwin Church, 1860
Frederic Edwin Church (American, 1826-1900). Twilight in the Wilderness, 1860. Oil on canvas; 101.6 x 162.6 cm. The Cleveland Museum of Art. Mr. and Mrs. William H. Marlatt Fund 1965.233
Soldiers' and Sailors' Monument
at the intersection of S. Roadway and Ontario
in downtown Cleveland
lit up for the holidays
the public square across from the monument
Saturday, December 19, 2009
"Blue Ice" Street Lamps
December 2009 - Downtown Cleveland
E 4th Street between Euclid Ave & Prospect Ave
Blue Street Lamps
A lone street lamp in front of the Saigon Restaurant.
The lightbulb was actually blue.
The "ice cubes" were clear.
Pretty cool, huh?
Venus de Milo
What a nice surprise it was to be greeted by this sight
upon arriving in Cleveland!
The Cleveland Venus adorning the Carl B. Stokes
Federal Courthouse
Federal Courthouse
Yes, yes, alright, it wasn't the real Venus de Milo because, for one thing, her head was missing. And, we all know her much more renowned and older (read, ancient) sister resides in Paris at the Louvre. The form, nonetheless, was instantly recognizable.
Also of significant difference, she is reported to be 37 (thirty-seven!) feet tall. The bronze "Cleveland Venus", as she is known, is one of a series of Venuses created by international pop artist, Jim Dine, who has Venus sculptures in locales as far-flung as Bordeaux, France.
The Venus de Milo
As I researched information about this sculpture, I came across an interesting article about the controversy surrounding it, especially in the context of the building. The objections seemed to primarily be from female attorneys, a demographic that I, as a woman and a feminist, generally admire.
What do you think? Are their arguments valid?
Wednesday, December 16, 2009
Clarence and Harvey
Clarence and Harvey were named as tributes to characters in two Jimmy Stewart movies. Clarence was the angel in It's a Wonderful Life and Harvey was a movie about a 6-foot rabbit who was possibly (probably) real.
My Clarence and Harvey as brothers were rare outcomes in a single kindle (litter) of Jersey Woolies bunnies. Their coloring, body shapes and personalities were completely different. They were great guys, and I miss them.
Clarence and Harvey snacking on Jake's food.
Silly Rabbits!
(Jake was my brother's Sheltie, a great dog.)
My Clarence and Harvey as brothers were rare outcomes in a single kindle (litter) of Jersey Woolies bunnies. Their coloring, body shapes and personalities were completely different. They were great guys, and I miss them.
Clarence on the airconditioning vent much to Jake's chagrin!
Hilarious!
Harvey reposing on a cushion in
his regal "sphinx" position.
Sunday, December 13, 2009
It's A Wonderful Life at the Michigan Theater
Enjoyed a free screening of this heartwarming 1946 movie that I still love at the Michigan Theater!
Gorgeous historical theater with balcony seating!
A live organ performance of a holiday carol preceded the film.
The movie ended with me sitting amongst an audience
whose satisfaction was palpable.
whose satisfaction was palpable.
Clarence Odbody, Angel, Second Class and George Bailey
drying their clothes following a dip in the river.
Monday, December 7, 2009
The Great Wave by Hokusai and Le Gray
Both of these are called by various names such as The Great Wave Off Kanagawa or The Long Wave.
One is a woodcut from between 1826 and 1833,
and one is a photograph from 1857.
and one is a photograph from 1857.
One artist is Japanese and the other is French.
The Great Wave by Hokusai, approx. 1830
The Great Wave by Le Gray, 1857
Sunday, December 6, 2009
The Lens of Impressionism at UMMA - December 6, 2009
I went to the guided tour of this exhibit today at the University of Michigan Museum of Art. It was a fascinating juxtaposition of traditional academic painting in the mid-1800s and the impact of the introduction of a mechanical means of reproduction, the camera, and how each impacted the other. The work of painter turned master photographer, Gustave Le Gray, was featured prominently.
Gustave Le Gray
I will be going back for another guided tour because I was not prepared today to take notes but I will be next time.
Gustave Le GrayI will be going back for another guided tour because I was not prepared today to take notes but I will be next time.
Brig on the Water (1856)
Friday, December 4, 2009
Who is Phoebe Gloeckner?
This is a post to get Phoebe's name into your consciousness just until I can finish the other one thousand things I have to do and then write a proper post about this fascinating woman. She is a world-renowned graphic novelist and an associate professor of art at the University of Michigan but there's much more - lots and lots of complex layers to this person so when the "real" post has been written, I'll announce it on Twitter.
Sunday, November 22, 2009
Book Art - Discworld
It was the artwork. What artwork? The artwork in The Art of Discworld by Paul Kidby. I found it to be intriguing in such a satisfying way that now I feel I had no choice when it came to delving in the fictional series behind it. That is how I was compelled to start reading the Discworld series (of which there is currently 37) by Terry Pratchett which I am enjoying very much so far but whose genre is my choice only very infrequently.
So, even if science fiction/fantasy literature does not appeal, the art still may.
So, even if science fiction/fantasy literature does not appeal, the art still may.
Friday, November 20, 2009
The Four Horsemen of the Apocalypse
I am currently reading Good Omens, co-written by Neil Gaiman and Terry Pratchett, a story of the coming of the apocalypse. It is extremely irreverent in a satirically humorous way so I am enjoying it very much. On pages 308-309 of the paperback edition, there is some discussion between Death and the other three famed Four Horsemen.
I was introduced to Albrecht Dürer's work by an art historian, the instructor of two wonderfully illuminating humanities classes.
This is Dürer's self-portrait in which he looks rather like a handsome yet somewhat pensive rock star, don't you think?
Thursday, November 19, 2009
Christmas Carol'd at the Performance Network Theater - November 19, 2009
There have been so many adaptations of Charles Dickens' classic, A Christmas Carol, from operas and radio programs to films and recordings. In anticipation of seeing this play, I watched the movie Scrooged last night. I never tire of that movie, and Bill Murray couldn't be any better as the cynicism-saturated and morally-bereft corporate goon version of Scrooge.
Tonight was the opening performance of Christmas Carol'd, written by Joseph Zettelmaier. As always, the set was composed very cleverly. As I've noted previously, the minimalist approach is always necessary due to space limitations. But production after production, the set designer and lighting designer both refine the technique of what a suggestion here or a bit of strategic lighting there can do to create multiple settings. Center stage served multiple purposes from being a place for carolers to gather on a London street to later become the entrance to Scrooge's home and then even later, a dining room where a family supped.
Technical details such as the sound effects were also well done. In another minimalist gesture, coconut shell halves were clapped together rhythmically to simulate the clopping of horse hooves. This was done by a performer as she strolled across the set. I found this “open” display to be an unusual but nice touch, a way of including the audience. Another “open” display and an especially clever special effect was the first appearance of Jacob Marley. As Scrooge approached his home, on the other side of the door, the audience could plainly see that one of the actors was pressing his face against a flexible screen. It looked as though a profile of a featureless face was protruding through the space where the little door window should have been. It was very effective. Attention to detail was evident, as usual, from the costumes to the "cobblestone" streets to such period implements as inkwells and lampposts.
The story was narrated in turns and sometimes jointly by the four performers who filled over forty roles and who first appear to the audience as four carolers. The fifth actor who plays Scrooge was the only one who remained in character throughout the play. The "carolers", due to the demands of the script, would frequently break out of character very quickly to flawlessly inhabit their next character. The interactions between characters, especially the dialogue, were often fast-paced but seamless. Scrooge, played by John Siebert, effectively displayed the range of emotions that besets his character as the story progresses. I have seen Siebert in other roles at this theater, and regardless whether he has a minor role or a leading one such as in this play, he always delivers admirably in his somewhat understated manner.
One device that I especially liked was when the four narrators would each recite a word, one after another, sequentially, to complete a sentence. It is a very effective way to show cohesiveness, that they were of one mind - clever and enjoyable to watch when done well as it was here. It has an unusual lilting quality that catches the audience's attention.
For the most part, this version of A Christmas Carol remained fairly true to the original story. There were some scenes included that were part of the original story that are not very often seen in most other versions. One such scene was when Scrooge's unexpected death gives an impoverished couple a financial reprieve. It did seem to add a bit of depth to the story.
With all that was masterfully done, still there were some flaws. Some of the sound effects such as the ringing of a loud bell were performed as dialogue was being spoken and therefore only the bell was heard. At other times, dialogue or narration was diminished due to inarticulation. This was due to rapid-fire speech done in an affected English accent in some cases. Also, the script itself suffered. In the original story, there was a bit of silly debate about why the phrase is "deader than a doornail" when other things such as a coffin nail might be considered more fitting. In that vein, the playwright chose to expand that theme by having the carolers engage in a debate about whether Scrooge eyes were more ferret-like or ape-like. It was horribly nonsensical.
I think I might have also been disappointed somewhat because of the way it was promoted. It had been described as “funny and inventive” but it was not any more humorous than Dickens’ original version. I thought “inventive” also referred to the dialogue and had expected a considerable amount of witty banter. The production was inventive in many ways but the actual script remained fairly close to the original story and that which would have been perfectly fine if I hadn’t had different expectations
So, do I recommend it? Yes! But I would say to expect a very traditional rendition of the story which is still pretty wonderful.
Update: November 30, 2009
I ran into a friend the next morning who works as a sound technician for the Performance Network when musicals are performed. When I mentioned some of the problems of the performance, he said that first nights were always difficult. Later when some of the members of the Performance Network staff were promoting the play at the Barnes and Noble on Washtenaw, one of the young women said that it had continued to be a work in progress with the playwright in attendance to make adjustments along with the director. I will make another update as I hear from others who plan to attend a few weeks after my visit. Perhaps with a future production, I’ll make a point of attending after the play has run for at least two weeks.
Scrooge and Jacob Marley's Ghost
Tonight was the opening performance of Christmas Carol'd, written by Joseph Zettelmaier. As always, the set was composed very cleverly. As I've noted previously, the minimalist approach is always necessary due to space limitations. But production after production, the set designer and lighting designer both refine the technique of what a suggestion here or a bit of strategic lighting there can do to create multiple settings. Center stage served multiple purposes from being a place for carolers to gather on a London street to later become the entrance to Scrooge's home and then even later, a dining room where a family supped.
The Ghost of Christmas Past
The story was narrated in turns and sometimes jointly by the four performers who filled over forty roles and who first appear to the audience as four carolers. The fifth actor who plays Scrooge was the only one who remained in character throughout the play. The "carolers", due to the demands of the script, would frequently break out of character very quickly to flawlessly inhabit their next character. The interactions between characters, especially the dialogue, were often fast-paced but seamless. Scrooge, played by John Siebert, effectively displayed the range of emotions that besets his character as the story progresses. I have seen Siebert in other roles at this theater, and regardless whether he has a minor role or a leading one such as in this play, he always delivers admirably in his somewhat understated manner.
One device that I especially liked was when the four narrators would each recite a word, one after another, sequentially, to complete a sentence. It is a very effective way to show cohesiveness, that they were of one mind - clever and enjoyable to watch when done well as it was here. It has an unusual lilting quality that catches the audience's attention.
For the most part, this version of A Christmas Carol remained fairly true to the original story. There were some scenes included that were part of the original story that are not very often seen in most other versions. One such scene was when Scrooge's unexpected death gives an impoverished couple a financial reprieve. It did seem to add a bit of depth to the story.
Scrooge and the Ghost of Christmas Present
With all that was masterfully done, still there were some flaws. Some of the sound effects such as the ringing of a loud bell were performed as dialogue was being spoken and therefore only the bell was heard. At other times, dialogue or narration was diminished due to inarticulation. This was due to rapid-fire speech done in an affected English accent in some cases. Also, the script itself suffered. In the original story, there was a bit of silly debate about why the phrase is "deader than a doornail" when other things such as a coffin nail might be considered more fitting. In that vein, the playwright chose to expand that theme by having the carolers engage in a debate about whether Scrooge eyes were more ferret-like or ape-like. It was horribly nonsensical.
I think I might have also been disappointed somewhat because of the way it was promoted. It had been described as “funny and inventive” but it was not any more humorous than Dickens’ original version. I thought “inventive” also referred to the dialogue and had expected a considerable amount of witty banter. The production was inventive in many ways but the actual script remained fairly close to the original story and that which would have been perfectly fine if I hadn’t had different expectations
So, do I recommend it? Yes! But I would say to expect a very traditional rendition of the story which is still pretty wonderful.
Scrooge and the Ghost of Christmas Yet to Come
Update: November 30, 2009
I ran into a friend the next morning who works as a sound technician for the Performance Network when musicals are performed. When I mentioned some of the problems of the performance, he said that first nights were always difficult. Later when some of the members of the Performance Network staff were promoting the play at the Barnes and Noble on Washtenaw, one of the young women said that it had continued to be a work in progress with the playwright in attendance to make adjustments along with the director. I will make another update as I hear from others who plan to attend a few weeks after my visit. Perhaps with a future production, I’ll make a point of attending after the play has run for at least two weeks.
Where Is The Cake?
This book by Thé Tjong-Khing is completely without text. Each page is filled with color illustrations that "describe" the journey of the missing cake depicting multiple characters and their roles in the story. It is an exceptional example of one of the multitude of ways art can convey stories.
I have started to collect children's books based simply on the illustrations within them. I don't have this one and probably won't get it even though I really like it. I only have so many resources in terms of space(!) and funds to have everything I want and that's a good thing :)
What book of this type is currently at the top of my wish list?
I have started to collect children's books based simply on the illustrations within them. I don't have this one and probably won't get it even though I really like it. I only have so many resources in terms of space(!) and funds to have everything I want and that's a good thing :)
What book of this type is currently at the top of my wish list?
Wet Dog by Elise Broach and illustrated by David Catrow
or maybe
Freight Train by Donald Crews, author and illustrator
or maybe
One Beetle Too Many by Kathryn Lasky and illustrated by Matthew Trueman
Tuesday, November 17, 2009
The Blonde, The Brunette and The Vengeful Redhead - September 11, 2009
Why am I writing about a play I saw back in September at the Performance Network Theater in Ann Arbor? Because I had already written a demi-review for it and because I'm going to see another play this Thursday at the same theater and will also review that one.
After a short summer lull during which the staff was engaged with renovations including freshening up the paint, this production was the season opener for this theater. For those who have never been to the Performance Network, it's worth at least one trip. The theater only has 139 seats so there is a very cozy air about it. However, there is no skimping on set design, quality of performance, sound engineering, etc.
The storyline of this play was rather unimpressive as I did not find it especially original. It was a variation on a theme that has been examined in other venues. The premise is about the intersection of lives and situations that may seem very far-fetched at first glance but are actually very closely interconnected. The movies Babel and Crash are also variations on this theme but with much more interesting and profound stories.
However, it was well worth seeing for at least two reasons. The first is that the writing is so good. The dialogue is a series of monologues which are resoundingly authentic for each character ranging from a 4-1/2 year old boy to a rather elderly woman.
The second reason is the actress' performance. Suzi Regan, who portrayed all seven characters, was simply phenomenal! With what seemed minimal effort, she transformed from one character to the next thoroughly. The audience did not have to struggle with evaluating whether or not the transformation was convincing or complete, and therefore was free just to absorb the character currently in front of them. Especially entertaining was her depiction of the husband.
Another reason to attend is take note of the the set design which always has to be minimalist due to space considerations but is done very artfully. I also found the lighting for this show to be particularly clever as well. It was used quite effectively when Ms. Regan was transitioning from one character to the next as well as to represent settings such as prison bars.
After a short summer lull during which the staff was engaged with renovations including freshening up the paint, this production was the season opener for this theater. For those who have never been to the Performance Network, it's worth at least one trip. The theater only has 139 seats so there is a very cozy air about it. However, there is no skimping on set design, quality of performance, sound engineering, etc.
The storyline of this play was rather unimpressive as I did not find it especially original. It was a variation on a theme that has been examined in other venues. The premise is about the intersection of lives and situations that may seem very far-fetched at first glance but are actually very closely interconnected. The movies Babel and Crash are also variations on this theme but with much more interesting and profound stories.
However, it was well worth seeing for at least two reasons. The first is that the writing is so good. The dialogue is a series of monologues which are resoundingly authentic for each character ranging from a 4-1/2 year old boy to a rather elderly woman.
The second reason is the actress' performance. Suzi Regan, who portrayed all seven characters, was simply phenomenal! With what seemed minimal effort, she transformed from one character to the next thoroughly. The audience did not have to struggle with evaluating whether or not the transformation was convincing or complete, and therefore was free just to absorb the character currently in front of them. Especially entertaining was her depiction of the husband.
Another reason to attend is take note of the the set design which always has to be minimalist due to space considerations but is done very artfully. I also found the lighting for this show to be particularly clever as well. It was used quite effectively when Ms. Regan was transitioning from one character to the next as well as to represent settings such as prison bars.
Saturday, November 7, 2009
Great A'Tuin and Microsoft Windows 7
Strikingly similar themes/motifs!
http://www.paulkidby.com/colourprints/large.html
http://yukokondo.com/artworkhtml/windows7.html
http://www.paulkidby.com/colourprints/large.html
http://yukokondo.com/artworkhtml/windows7.html
Novice Coder
I'm studying web design so as this blog evolves, hopefully so will its layout and design. Suggestions are welcome.
Friday, November 6, 2009
Jamy Ian Swiss
At 5:10 p.m. on Thursdays at the Michigan Theater, a free lecture is presented under the auspices of U-M alumna Penny W. Stamps Distinguished Visitors Series. The lecture I attended last week will be described in a later post.
Yesterday the speaker was Jamy Ian Swiss, a magician extraordinaire, a world-renowned sleight of hand performer who has authored several books on magic/sleight of hand. According to Neil Gaiman's blog, Jamy contributed to the authenticity of a coin-palming maneuver performed by a character in American Gods, a really wonderful book, by the way.
http://journal.neilgaiman.com/2008/03/american-gods-blog-post-10.html
One of the many things Mr. Swiss emphasized repeatedly was the time involved in perfecting the art. As he revealed the technique of a few of his illusions, he would also mention the months of practice, sometimes more than a year, needed to achieve the illusion with comparable skill. He consistently referred to his conjuring as the art of magic which I found interesting. Yes, it is an art, after all, isn't it? Art doesn't really happen spontaneously, does it? Not for most of us, I think. It makes me consider my attempts to knit which I practice very infrequently. What would my knitting be if I practiced three hours a day consistently? It might begin to resemble something artful rather than just a product of a mechanical process that I enjoy. Could I be the next Kaffe Fassett? No, that would be entirely too ambitious.
Jamy also described the holistic approach of magic. How it is not just a matter of refined technique and dexterity, but also an understanding of the human psyche. For example, how we really don't want to believe that someone can look us right in the eye and yet lie to us bold-faced. How humans really do have a component of magical thinking inherent in all of us. Another necessary component is the utilization of subtle body language. He demonstrated how just shifting his weight from one foot to the other gave the audience cues and nudged us toward the expectation of a particular sequence or conclusion. It was delightfully thought-provoking. He describes himself as an ethical liar because he tells us he intends to deceive, and we are happy with the anticipation of such.
Afterwards during the q&a, he also briefly touched upon critical thinking, the non-existence of paranormal phenomena, and rational thinking. I asked if, considering that it is well-known that humans are terrible observers, whether our legal system should deemphasize the importance of eyewitnesses, and he responded that he had just had this conversation with someone named Sheck (sp?) and that, yes, it was ludicrously and unfairly weighted.
Yesterday the speaker was Jamy Ian Swiss, a magician extraordinaire, a world-renowned sleight of hand performer who has authored several books on magic/sleight of hand. According to Neil Gaiman's blog, Jamy contributed to the authenticity of a coin-palming maneuver performed by a character in American Gods, a really wonderful book, by the way.
http://journal.neilgaiman.com/2008/03/american-gods-blog-post-10.html
One of the many things Mr. Swiss emphasized repeatedly was the time involved in perfecting the art. As he revealed the technique of a few of his illusions, he would also mention the months of practice, sometimes more than a year, needed to achieve the illusion with comparable skill. He consistently referred to his conjuring as the art of magic which I found interesting. Yes, it is an art, after all, isn't it? Art doesn't really happen spontaneously, does it? Not for most of us, I think. It makes me consider my attempts to knit which I practice very infrequently. What would my knitting be if I practiced three hours a day consistently? It might begin to resemble something artful rather than just a product of a mechanical process that I enjoy. Could I be the next Kaffe Fassett? No, that would be entirely too ambitious.
Jamy also described the holistic approach of magic. How it is not just a matter of refined technique and dexterity, but also an understanding of the human psyche. For example, how we really don't want to believe that someone can look us right in the eye and yet lie to us bold-faced. How humans really do have a component of magical thinking inherent in all of us. Another necessary component is the utilization of subtle body language. He demonstrated how just shifting his weight from one foot to the other gave the audience cues and nudged us toward the expectation of a particular sequence or conclusion. It was delightfully thought-provoking. He describes himself as an ethical liar because he tells us he intends to deceive, and we are happy with the anticipation of such.
Afterwards during the q&a, he also briefly touched upon critical thinking, the non-existence of paranormal phenomena, and rational thinking. I asked if, considering that it is well-known that humans are terrible observers, whether our legal system should deemphasize the importance of eyewitnesses, and he responded that he had just had this conversation with someone named Sheck (sp?) and that, yes, it was ludicrously and unfairly weighted.
Thursday, November 5, 2009
November 5, 2009 - First Entry
I'm dedicating this blog to the memory of my Dad.
It is intended to be a journal of art encounters.
It is intended to be a journal of art encounters.
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