NOT ART INDEXS
THIS IS NOT POETRY WORK IN PROGRESS
"Good artists borrow.Great artists steal."--- Picasso
All diamonds are Blood Diamonds., 400 years of slavery and global debt buyout pretty slick .Huh!
Yup! that’s Miro and whatzhisname?, James Havard, so what both are Kitsch! no? Like the diamond, it all depends on having the
client that thinks it has value and expoliting that faith. That is belives and buys.
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| Miro Copyright © |
James Havard.Copyright © 1976.Flat Head River.
Acrylic on canvas |
"Who knew" Copyright ©Charles Mingus III 2006 |
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James Havard.Copyright © 1976. Flat Head River. Acrylic on canvas
Three of my favorite pictures and artist together I cant really say why...
James Havard’s work is shiny and matt rough and smooth abstractions flashing real life.
I first saw this kind of work as a kind of commercial formalism I guess it was at Allan
Stone's Gallery at 86th St. because it looked too easy to paint two pictures one on top
of the other this artist is a better painter than Miro if that is possible. A different
sensibility about the paint, the paintings are about the paint what it can do. Miro more
or less doodled and smeared colors inside lines of shapes he drew like a sign painter
his best effect was the child like fictive space we all can imagine to be both eternal
summer and beaches as well as interiors and shabby beautiful walls.
(He drew on his canvas with a pencil like a sign painter would do before he painted the
shapes? So much for surrealist dreams & the genius of spontaneity or supreme confidence.)
Say anything you want, intent has nothing to do with painting, skill is clearly not
essential having something to say is not the point painting is not meaning. Like it or
not, the things people say when they "Must have a work of art" have nothing really to
do with any thing more than an appropriation of relevance. There are some very
brilliant people who put together some spectacular and peculiarly empty efforts not
naming names you know who you are.
All time is winding down in painting it is a good strategy for killing time, the capital
concept.
Don’t think it kills painting. Painting is about paint. Making pictures is different than
painting. Pictures are about content. Language & ideas & words are nor paint, don’t
mistake words for paint. You can use a camera to make a picture "take or save a
“picture" or whatever we can call what we see. Narrative: I was just today watching
this brilliant pianist actually a film of an alleged brilliant dead pianist when he was
brilliantly and thought of him as if he were alive today and wondered what if this guy
weren’t ever filmed would people believe he was as good as he makes it look, like he
is playing (at performing the act of playing the piano.) To think this subjectively " this
guy was a genius" or he seems to act like a genius.
His long fingers delicately dance his drawing his body against the piano keys as if he
were having sex with the polished wood. This guy was playing a peace written 100s of
years ago as if he wrote it just then, tentatively or more precisely he acted as if he just
thought of it at that precise moment and for a brief moment there he appeared to be
two people one listening and enjoying, enraptured, enthralled with what he was playing
almost applauding himself with his temporally free hand waving him self on encouragingly
with vain swan like gawkward grace, then he realizes what he was doing (what he was
about) almost stumbles his finger and captures himself draws up into himself and frowned
that he had to get back to work and use both of his hands at the same time. (All of his
brain.) Beautiful!! Beautiful!!
Bravo!! Bravo!! (Thank god for TV.)
All a little to mystical and self conscious to do more than once a year. I guess that’s
why I prefer paint it can’t lie, not to the inner eye. Not to the heart. Not even to the
head, for Christ sake Jan Vamere used a clever camera obscurea and projected the
images onto the canvas and some say he had bunches of assistants cranking out his
masterpieces. Lets see ea-too Salvador Dalli photo collage I thought he painted that
crap. There are people who will copy any public domain "Classic" in oil paint, that is
cheaper than purchasing a high quality full color photographic digital print these days,
so take your pick you can hire a real person to paint any thing you want or can imagine
and resell it as many name artist have already done from time in memoriam. Or pick
one of the many rules and break it. Don’t think, it kills painting. Painting is about paint.
Painting is physical. Seeing is about mentality digesting dissecting measuring
automatically adapting to the world Painting is not talking about painting. Paint
in your best cloths that way you will take care not to splatter and waist paint.
Buy some whole Squid for its Squid ink bladder and make your own ink (sepia) and
paint on acid free paper 100% cotton rag using a brush and later a fine nibs pen
why fake that with a computer keep the work small and do details of things actual
size draw a seed or a bunch of orange seeds or patch of skin on a apple or a object
small enough to fit on your desk using a lamp change the lighting do gestures
and landscapes in the park on the side of a road get lost in looking at the world
use both sides of the brain equally switch them its fun to do.— Polonius
http://mingus.charlesmingus3art.com/the-mind-switch-notes-_155.html
8.5 "X 11 .5" Acrylic Enamel Wax Graphite on Paper. "Who knew " Copyright © Charles Mingus III 2006
Mandalas :
Mandala means "circle" in Sanskrit. Mandalas sometimes symbolize the universe as
well as the natural perfection and harmony in nature. Tibetan monks create sand
mandalas symbolizing the residence of Enlightened Beings in order to help people
imagine the vast and profound enlightened state. They are also used as meditational
aids. http://www.loselmaitribuddhist.org/index.html
One summer I painted a series of works which resulted in about 20 paintings and
drawings over a period of three years in an attempt to "loosen up" from the strictly
abstract highly structured precision water colors on high gloss clay coated cover
stock called Mandalas they were small works under 10 "x 10" and glossy. Visitors to
the exhibition would ask me "Why don’t you show the actual paintings ?"and "What
size is the original"? They mostly mistook them for photos of much bigger paintings
and I guess sort of resented the small scale. The paintings were a collection of the
residue of watercolors pigments transparency and that is a result of the scale of the
wet to dry effect overlaid on a porcelain white substrate of high gloss clay coated
cover stock I mad thousands of paintings for about 15 years some I have kept out
of the sun for 20 years and at some point I will make Limited Edition Archival prints,
no one can say the waited 20 years to finish a painting project but I set this collection
aside to save it for a time when I could reproduce them at any scale as accurately
and as brightly as Photography and digital printing can do combined.
"Time seed 0"
Copyright © Charles Mingus III 2006 Published by the Museum Of Modern Art
that is the only way that it can be done click on Mandalas Page Link to the
left to see some more of the paintings.
Anyway back to the paintings I did to "Let Go" of the photo precision hand eye exercise
of targets & Mandalas paintings. I called the new work Nocturne’s and showed them at
the Allan Stone Gallery on 86 th St. without any thought or reference to either of these
artist thinking the "Nocturne Series" was completely original. It was my goal was to create
a series of imagined spaces and compositions with elements of drawn and painted non-
objective components it works sort of like music, open ended free from any preconception
or desired result free of thinking about subject mater free of symbols or icon or language
free, no narrative or rumination free of nostalgia a WIZIWYG picture that "look otherwise
printed" were constructed of preselected elements not symbols of anything I think it was
a little ritual a little bit art project making a kind of kit which could allow me to combine
many permutations of texture space color scale mass line in a rectilinear frame reading
from left to right without a boundary or real space shapes lines colors like words or random
sounds in a box like listening to noise occur in time recording that and "editing" it picking
the best occurrence or accident saving it framing it drawing on it just enough to keep it fluid.
Now I am doing the opposite all symbolic all the time CGI can free you from thinking almost
as completely as painting and drawing does. CM3
FROUNTCOVER4KEPHRAU2s.jpg
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[I will sort this out later ED]
http://artinfo.com/
Some more links to
James Harvard - Artist, Art - James Harvard
James Harvard: AskART art price guide for James Harvard and 52000+ American artists -
James Harvard art prices, value art, art appraisal, antique roadshow, ...
http://www.askart.com/askart/h/james_harvard/james_harvard.aspx -
http://www.155.247.166.60/pharmacy/art_18.jpg
http://www.lowegallery.com/james_harvard/italian-road-rally.html
http://www.lowegallery.com/artists.html
Chippewa #322 Artwork images are copyright of the artist or assignee
http://www.askart.com/AskART/artists/search/ArtistKeywords.aspx?artist=128632
http://www.lowegallery.com/main.html
kevin sonmor
atlanta : 3 november - 31 december 2006
kevin sonmor
There are moments that break into our world, eyeblinks of images that make their ingress from a realm
we somehow know but that lies beyond our normal lives - images we recall only in dreams, in reveries,
in memories of what we could not possibly remember. In some way, we recognize the feel of that realm -
the strange sense of a profound sadness - when we are shown the calligraphy of broken plaster on an
aging wall, the heavy folds of falling fabric possessing a richness greater than drapery can encase, or fruit
that poses as if by will, as if by whim, for its portrait in still life. We reach back to that deep color in painted
images seemingly rich with age and the August feel that age is for, images laden with the stature of
endurance, heavy with the soft hush of austerity, flush in their suggestiveness with the condensed
energy of a living tradition. It is most in art that we recall a place we have no reason to know.
From Still lives Painted: The Paintings of Kevin Sonmor by Mark Daniel Cohen
http://www.lowegallery.com/LOWE_GALLERY.html
Just paint http://www.lowegallery.com/michael_david/index.html
New Work October 2006
Chorten
Tibetan for the basis of offering A Buddhist reliquary - the spiritual monument
michael david coming to atlanta january 19
http://www.lowegallery.com/michael_david/index.htmlJames Hrvard
http://www.askart.com/askart/h/james_harvard/james_harvard.aspx
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The Rreal Skinny |
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Copyright © Charles Mingus III 2007 Artist statement. All diamonds are Blood Diamonds. (200 lbs per. every living
person on earth), 400 years of slavery and global debt buyout pretty slick. Hua! This is what they say is original sin
the lie of wealth.
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http://www.bcspace.com/ December 21, 2006
Iraqi Veterans Against War & Swords Into Plough Shares
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Copyright © Charles Mingus III 2007
All diamonds are Blood Diamonds, 400 years of slavery and global debt buyout pretty
“Good artists borrow. Great artists steal.” ---Picasso.
A note on originality: genius is not so much the art of invention as it is the art of synthesis
http://www.blenderkitty.com/Essays2.html |
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The phone that rings also dials... 
All diamonds are Blood Diamonds, 400 years of slavery and global debt buyout pretty slick .Huh! This Guy thinks
creature from outer space would be as cruel and savagly selfish as post Plague & Famin Europeans were to the
humans they encountered when they went "west"..
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Dude just because some one older and wiser said something intelligent or a lest sounding intelligent doesn’t make it true
or actually or factually intelligent it might sound like perfect logic, the best logic doesn’t grantee apparent fact and actuality
are without error.
Ideally one can reserve verification and utilizing the best aspects of logic and strategic methods of evaluation & observation
and evaluation and as result collect what is at the time the largest body of knowledge & proven fact of the day about a topic
and at the same time conclude that the earth is indeed flat that calculous happens all at once to be a revelation only once and
there after with proper proofs be shown to have always been an error and no one who ever believed it to be flat can say but
of course I always doubted the earths flatness.To have said so would have been heretical or treasonous or worse a sign of
demonic possession yet there are always a few contrarian’s who hold unpopular ideas that just might be right, among us
who could have challenged the facts of the day and did not and had they discovered the new facts which could have proved
the fact that the world is not flat would profit little in there inner selves as they see no advantage in changing the myriad
opening and assumption which support what constituted the view of the rational world...If things were different they wouldn’t
be the same. slick .Huh!
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Two fine examples of portraits of a woman by two divergent artist one woman famous the other anonymous one simple the other complex, one by Andy Warhol and one by Salvador Dali neither inform us much about women both of the artist essentially use women as less than human still life objects with referential stylistic material which augments the picture and creates atmosphere and deflects the viewer from the subject and focused on the artist as a maker of artifacts of high culture and celebrity.
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| Ingrid Bergman Mondrian Copyright © Andy.Warhole |
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| ieri-oggi-domani.Copyright © Sophia Lauren |
The Official Sophia Loren Site
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It is not so simple as it appears one artiest primarily used women who were famous the other used parts of female anatomy to attract attention to his strange and complex view of the world in fact the work contained many illusions to flesh while works of Warhol mostly exploited fame and commercial produced and marketed images of film stars who practice illusion and produce manifold archetypical characterizations of various personas for profit.
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My first self porteate |
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Copyright © Charles Mingus III 2007 |
Yup! that’s Miro and what’s his name?, James Harvard King of air brushed drop shadow paint about paint stroke, so
what both are Kitsch! No? Like the diamond, it all depends on having the client that thinks it has value and exploiting
that faith. That is believes (it has value) and buys. I learned a lot of unsentimental esthetic stuff from seeing his work
although many believe the work is some how at least as metaphysical as that of Miro's
.
Copyright © Charles Mingus III 2007
Artist statement. All diamonds are Blood Diamonds. 400 years of slavery and global debt buyout pretty
slick. Hua!
Yup! that’s Miro and whatzhisname?, James Havard, so what both are Kich!
Art by now no? Like the diamond, it all depends on having the client that thinks
it has value and exploiting that faith. That is the client believes its worth what
ever the seller says and buys it and what’s more unlike Diamonds you more than
likely can sell art in the future for far more then the original purchase price tried
to do that with your diamonds.
Mosh Kashi. 2000. Untitled. Oil on canvas
 Claudio Bravo. 1999. Adventus. Oil on canvas
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The good stuff
"After seeing the stuff. Yes I recommend Merry Karnowsky Gallery
[But its not hearmless]"
Merry Karnowsky Gallery
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Good artists borrow. Great artists steal." — Picasso.
"A note on originality: genius is not so much the art
of invention as it is the art of synthesis"
http://www.blenderkitty.com/Essays2.html
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"WhearTheFuckIsPrescottBbushTheNazi2"
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The Bush/Nazi Connection
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by J.Z. Holden
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A balding, silver-haired Kurt Julius Goldstein opens the door to his hotel room overlooking the United Nations Plaza in New York. He is wearing dark brown corduroy slacks and a beige cotton turtleneck beneath a dark green V-neck pullover. His handshake is firm, and he smiles broadly. Inside the room, the sun reflects off a metal cane leaning against the bureau. Mr. Goldstein strolls past ignoring its presence. Instead, picking up his pace, he walks vigorously towards two chairs arranged by the window where the interview is to be held. His vigor is surprising; he looks like a man in his mid-sixties, rather than a man who is about to turn 91. From 1942 until 1945, this now robust elderly man, bathed in New York’s winter light with the world’s flags fluttering behind him, worked the night shift as a slave laborer in the coal mines at Auschwitz. He is one of two plaintiffs named in an astonishing lawsuit suing President Bush and the US government for $400 Million.
Kurt Julius Goldstein and Peter Gingold, the Auschwitz survivors named as plaintiffs in the litigation against the Bush family, are 91 and 89 years of age respectively. Mr. Goldstein claims to have mined the coal for Consolidated Silesian Steel - coal that fueled furnaces where armaments were made, coal transformed into oil, gasoline and airplane fuel for IG Farben that due to patent arrangements benefited the German war effort, coal for trains to transport Jews to the camp, and coal for the ovens to burn them after they were gassed. Mr. Goldstein said from his hotel room in New York, "Genocide is not forgivable and cannot be swept under the rug."
Both Mr. Goldstein and Mr. Gingold argue that hundreds of thousands of lives should have been saved as a result of an executive order issued by President Roosevelt on January 22, 1944, which established the "policy of the U.S. government to take all measures within its power to rescue the victims of enemy oppression who are in imminent danger of death and otherwise to afford such victims all possible relief and assistance consistent with the successful prosecution of the war."
Mr. Goldstein describes himself as "a German, a Jew and a Communist, in that order," with "humanitarian values" learned as a young boy at his father’s bedside, who prior to dying of war wounds in 1920, tutored Mr. Goldstein in the works of Schiller and Goethe. After his father’s death, young Goldstein was absorbed by a large, upper-middle-class Jewish family with a successful textile business in Hamm. By 1927, he had become a member of theCommunist party, and by 1935 he had left for Palestine, only to return to Europe by 1939 to fight in the war in Spain. By July of 1942, he had been captured and sent to Auschwitz. In 1945, after the liberation of the concentration camps, many survivors chose to leave Europe for the United States, Israel or South America. Mr. Goldstein chose to return to his homeland in order to "rebuild a better Germany". He authored two books;
one is a compilation of lectures and the other an autobiography entitled "The King of the Jews" in which he describes in detail his Auschwitz experience. He is presently working on a third "installment" which he plans to release on his 100th birthday. In his vast career, Kurt Julius Goldstein has been the Secretary of the KPD, has worked with youth groups all over Germany instilling in them the compassionate values he learned in childhood. He has always embraced all faiths, and all political parties. Probably best known as the Station Manager for the East German DDR Broadcast Company, he was a popular radio correspondent and considered "the official voice of the DDR". Currently he is the voice of IPAS, or the Internationalen Projektgruppe Auschwitz-Sammelklage that has brought the class action suit again President Bush and The US Government. The second plaintiff, Peter Gingold is a close associate of Mr. Goldstein’s, who lives in Frankfurt and has been a mediator between East and West Germany since 1970. Mr. Gingold helped to establish the organization, Friends of Auschwitz and lost most of his family at Auschwitz.
The general outline of the story has never been a secret, though of course the Bush family has hardly embraced it. The President’s grandfather, Prescott Bush, graduated from Yale where he had been a member of the secret fraternity known as "Skull and Bones." Known for its sadistic initiations and outrageous pranks, the fraternity is also recognized for its highly prestigious and influential membership. All the members of the Bush family, including the current President, as well as most of their business partners met and formed lasting associations while members of Skull and Bones.
When Prescott Bush married, he went to work for his father-in-law, George Herbert Walker at one of the most prominent private banking firms in America, Brown Brothers Harriman. From 1926 until 1952, George Herbert Walker and Prescott
Bush together, created an endless series of holding companies and subsidiaries with clearinghouses in Switzerland, from which they could move their German clients’ funds into bank accounts around the world. As a director of Brown Brothers Harriman, Prescott Bush was also a director of The United Banking Corporation or UBC, located at 39 Broadway, NYC. The Union Banking Corporation was comprised of several companies, all of which had holdings in Germany, and all of which played a major role in the German war effort. And most importantly, most were owned by the German Steel magnates, the Thyssen family.
On July 31, 1941, two front page articles appeared; one in The New York Herald-Tribune, and the other in The Washington Post, regarding $3,000,000 concealed in the Steel Tycoon, Fritz Thyssen’s accounts at Chase Manhattan Bank, immediately followed on August 6, 1941, by the US Treasury Department’s formal investigation. One year later, on Oct. 9,1942, UBC’s assets were seized by the Office of the Alien Property Custodian of the U.S. Government. It was official, The UBC was being used to launder the money of German industrialist Fritz Thyssen, also known as Hitler’s ‘angel’. At a time when the US and Germany were at war, $3 Million of his fortune had found its way into accounts at The Chase Manhattan Bank. According to former Nazi Prosecutor and author John Loftus, "To aid his sons in their shell game, August Thyssen had established three different banks during the 1920’s, The August Thyssen Bank in Berlin, the Bank voor Handel en Scheepvaart in Rotterdam, and the Union Banking Corporation in New York City. To protect their corporate holdings, all the brothers had to do was move the corporate paperwork from one bank to the other. This they did
with some regularity. When Fritz Thyssen ‘sold’ the Holland-American Trading Company for a tax loss, the Union Banking Corporation
in New York bought the stock. Similarly, the Bush family invested the disguised Nazi profits in American steel and manufacturing corporations that became part of the secret Thyssen empire. When the Nazis invaded Holland in May 1940, they investigated the Bank voor Handel en Scheepvaart in Rotterdam. Fritz Thyssen was suspected by Hitler’s auditors of being a tax fraud and of illegally transferring his wealth outside the Third Reich…The Nazis did not know that all the documents evidencing secret Thyssen ownership had been quietly shipped back to the August Thyssen Bank in Berlin, under the friendly supervision of Baron Kurt von Schroeder. Thyssen spent the rest of the war under house arrest…Unfortunately, the August Thyssen Bank had been bombed during the war, and the documents were buried in the underground vaults beneath the rubble. Worse, the vaults lay in the Soviet Zone of Berlin."
The present day lawsuit against President Bush and the US Government has at its center two things: the alleged profits from those transactions, estimated at $1.5 Million in1951, and believed to have been put into a blind trust worth a fortune today, and the fact that the profits from both UBC and another company known as Silesian Steel, were
made by slave labor. Both allegations have their basis in reality.
Click this to read more about this facinating important detale of American history.
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photo © 2007 Michael Knigan
All rights reserved |
About the Author
The Bush/Nazi Connection by J.Z. Holden
J.Z. Holden lives in Sag Harbor, New York, where she writes about life, love, art and politics. She is a regular contributing editor to www.hamptons.com, www.danspapers.com, and The Southampton Press. She is presently working on a novel entitled, The Illusion of Memory |
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©2007 Michael Knigin.
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Knigin © 1999. All rights reserved. Not to be reproduced without written permission.
Michael Knigin's online collection of Art
commemoraring the dead and living
heroes of the Holocaust.
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Knigin © 1999 - 2005. All rights reserved. Not to be reproduced without written permission.
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http://www.papiermachine.com/blog/
Hell’o Monsters is a belgian collective
which understood what an art collective
is supposed to do : putting creativity,
ideas and styles together to make
astonishing wall paintings indoor and
outdoor!
http://www.papiermachine.com/blog/
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http://www.cartincollection.com/subject/gillespie.html
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| Gregory Gillespie |
(Roselle Park, New Jersey, 1936-2000)
"I've always thought that in some deep ways Catholicism has had a huge effect on my art as it has in my soul," said Gregory Gillespie once, as he reflected on his strict upbringing. His work was indeed Catholic in the broad sense of the term, because it was universal, not easily classified or categorized, though often called surrealistic and otherworldly. Though he emerged as an artist during the period of abstract expressionism, characterized by large gestural abstraction, he remained devoted to intimate, highly detailed realist painting. Gillespie was obsessed with the power of his own painting to create worlds within worlds, and was a master in the technique of trompe l'œil (painting that 'tricks the eye' into perceiving a painted detail as a three-dimensional object) which is evident in this work's framing. Gillespie's work is almost exclusively autobiographical, and is infused with themes of guilt and sin. In this image, a man sleeps in the background, dreaming the scene of a strange creature and woman having their portrait painted by Gillespie. |
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Painter In The Bedroom
1995
Oil on board
39 3/4 x 32 3/4 in. |
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January 18, 2005
Jen, a New Jersey-born New Yorker, edits Gothamist
when not working at a NY advertising agency. At all
other times, she ís most likely at a theater near you
to see one more movie. Contact: jen (at) gothamist dot com
All e-mail is read; replies are generally sent, if not promptly.
Jen Chung Living Densely
Jason Kottke posted a link to photographer Michael Wolf's photgraphs
of Hong Kong real estate density. The photographs totally capture what
I always try to explain when someone asks me what Hong Kong is like.
Hong Kong is about 2-3 times more dense than Manhattan, which says
a lot, though I usually end up saying something like "It's like New York,
but more crowded and more intense and more materialistic."
Hong Kong is essentially made up of Hong Kong Island and Kowloon,
attached to mainland China, and Hong Kong means "fragrant harbor."
However, the way Hong Kong development goes, there may be no
more harbor, as there is very little government regulation that prevents
development onto the river. In other words, they reclaim the water by
putting fill in the harbor and build skyscrapers on top of that, which
causes a host of problems for the harbor (weird currents, for example;
my dad, a civil engineer, also complains how they dump raw sewage
into the harbor).
If I were in San Francisco, I would totally check out Michael Wolf's
show, Architecture of Density, at the Robert Koch Gallery. And some
photos I took back in 2003 of a couple Hong Kong buildings (my photo
taking skills are much better now...but that's not saying that much).
http://www.photomichaelwolf.com/hongkongarchitecture/index.html
Posted by jen at January 18, 2005 9:46 PM
Wow, those pictures are incredible! The buildings almost look unreal or
like one of the 3-D puzzles. Amazing.
Posted by: Jason Pugh at January 21, 2005 1:39 AM
Very Interesting. At first glance, to me, that photo looked like the
inside of a computer, with the balconies and dark windows being IC Chips!
Weird.
Posted by: S.D. at January 21, 2005 2:02 PM
Amazing. Also, and surely this is no accident, he has a lot of photos
of pandas, too...
Posted by: Michael at January 25, 2005 6:20 PM
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Last Update 2010-12-05 | Copyright© Charles Mingus 2008 | |  |
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