Showing posts with label Art and Thinking. Show all posts
Showing posts with label Art and Thinking. Show all posts

Saturday, February 20, 2010

save the date


















SIOBAN LOMBARDI
CANDIDATE FOR THE MASTER OF FINE ARTS DEGREE
DEPARTMENT OF FINE ARTS


LOOKING FOR ANGEL VALLEY
AN EXHIBTION OF PAINTINGS
APRIL 19 - 23, 2010
gallery hours: 11AM - 7PM


PRATT INSTITUTE
Steuben West Gallery
200 Willoughby Avenue, Brooklyn,NY
opening reception: april 19, 2010    5 - 9 PM
closing reception: april 23, 2010      5 - 9 PM








image "Angel Valley No. 3", 84" x 84", oil on canvas
(c) sioban lombardi 2010

Tuesday, December 1, 2009

germaine























John Singer Sargent | 1856-1925 | Mr. and Mrs. I. N. Phelps Stokes 1897 | Oil on canvas | 214 x 101cm | Bequest of Edith Minturn Phelps Stokes (Mrs. I. N.), 1938 (38.104) | Collection: The Metropolitan Museum of Art, New York | Photograph courtesy: The Metropolitan Museum of Art, New York


The women that John Singer Sargent painted have a definite presence. Obviously one immediately understands that they are beautiful, well bred and well heeled, but on closer inspection, one senses their self awareness, competence, independence and intellect. If I were to choose any artist in history to paint a portrait of my dear friend Germaine, it would be Sargent.
I have known Germaine for 36 years, and in that time I have come to treasure her powerful intellect, her surgical wit and her even and measured approach to life. Her friendship has been unwavering.

In an earlier time, Germaine might have been considered a Blue Stocking, admirable in itself, but she is also a devoted wife, a loving mother, a gifted tennis player and a wonderful cook and hostess. She seems to accomplish everything with ease. The most embarrassing thing I can think about her (and I won’t go into Nancy Drew) is that we were nerds together – she outgrew this condition much more quickly and gracefully than I.

I wish I could repay the friendship you’ve shown to me, but for now happy birthday dear friend. Thanks for your beauty, your humor, your brains and your example!

Friday, November 27, 2009

a sort of survey




as yet untitled, 2009
oil on canvas, 84”w x 78”h


I recently posted about the needless tragedy that occurred in a makeshift sweat lodge at James Arthur Ray’s Spiritual Warrior retreat in Arizona. There are several facts we know, among them: the retreat cost each participant almost $10,000, the participants fasted for 36 hours then attended a breakfast buffet before entering the sweat lodge, three people died and their families are suing, and the aforementioned facilitator has put his Los Angeles home on the market to fund the costs of his legal defense. Many other questions will remain unanswered for some time.

What were these people looking for? This is the question that continues to sit with me. Indeed, what is it that any of us is looking for? It may be something idealistic, such as I am looking for equality among all people; it may be necessary, as in I am looking for a job; it may be immediate as in I am looking for my keys. (I look for my keys every morning.)

I recently began a body of work centered on this question and am asking for your help. Tell me what you are looking for. Your pursuit may fall within any and all of the categories - this doesn’t matter. Please tell me in the comment section following this post, and use the anonymous option when responding. If possible, please forward this post to friends and acquaintances so that they too may respond.

Whatever it is you seek, I hope you find it.

Sunday, November 1, 2009

Seeing, The Americans























Bar, Gallup, New Mexico, 1955, printed ca. 1977;
Gelatin silver print 36.9 x 24.2 cm (14 1/2 x 9 1/2 in.)
Purchase, Anonymous Gifts, 1986 (1986.1198.17)
Signed in ink on print, recto LR: "Robert Frank"; inscribed in pencil on print, verso UR: "RF.A. 29"

I was unaware that comparisons had already been drawn between Alexis de Tocqueville’s Democracy in America and Robert Frank’s The Americans, but the relationship was the first thought that came to mind while viewing the powerful suite of 83 photographs currently on view at the Metropolitan Museum of Art.

The photographs document the cross-country road trip the Swiss-born Frank undertook from 1955-1956. At the outset, Frank said, “ What I have in mind, then, is observation and record of what one naturalized American finds to see in the United States that signifies the kind of civilization born here and spreading elsewhere.” The exhibition marks the 50th anniversary of their publication.

When assessed aesthetically, the photographs are riveting. Often shot in situations that precluded the formal considerations of focus and composition, they still mange to hold the viewer captive within their moment. Each is titled only with the site and/or location. They are extremely pure. There is no sense of the clandestine nor suggestion of either the arbitrary or the staged. One understands that Frank’s subjects were clearly aware of his presence. Finally, there are no gimmicks. Frank did not rely on special effects, manipulation or cropping as evidenced by the marked contact sheets included in the exhibition.

As a narrative, the suite captures the purposefulness, diversity, and individuality inherent in the American character. It also speaks volumes about the disparity, prejudice and disenfranchisement existing mid-20th century and still today. This remains our birth defect conceived when slavery was sanctioned coexistent with the demands of liberty made plain in the Declaration of Independence. One cannot help but recall the nation’s response to Hurricane Katrina when viewing Frank’s photographs taken in New Orleans. And here we are fifty years after these photos were published to ample criticism and disparagement.

I would encourage anyone living in or travelling to New York to view this exhibition. If you can’t, buy the book. It is a document that should be present in every American’s visual vernacular until we correct our vision and begin to see differently.

Monday, October 26, 2009

as seen on oprah






















As seen on Oprah” So proclaims James Arthur Ray’s website. When exactly did this become a credential for serious consideration? For those of you less familiar with the self-help guru that trademarked the term Harmonic Wealth™, it was at his $10,000 per person “Spiritual Warrior” retreat that three people died in a sweat lodge. Several others were critically injured.

Mr. Ray states that he wants to, “assist you in everything from setting and achieving your goals to building the million-dollar lifestyle you deserve.” I am a stickler for credentials and was curious about Mr. Ray’s other-than-Oprah qualifications. I learned that in addition to studying Business and Human Behavior in college he had read extensively in History and Psychology. Prior to establishing to his personal development career, Mr. Ray was a sales manager for AT&T where he was commended for five consecutive years. In addition he was commissioned for the establishment and management of a telemarketing venture at AT&T. He received honors for this role.

Somewhere along the line, Mr. Ray missed the flashcard demonstrating “material” as the antonym for “spiritual.” While I mourn the tragic and senseless loss, I wonder what its is about our culture that makes us willing to pay $10,000 to a telecommunications salesman to attain spiritual growth?

Granted, I am a skeptic. I would gladly forgo bedside manner in exchange for a degree from Johns Hopkins any day of the week. But I also believe in God and find revolting those hucksters and charlatans who use the ubiquitous catchall of “spirituality” to profit from and consecrate our own insatiable desire for more. Native American groups, deeply saddened by the recent tragedy are also incensed, citing the lack of respect and the ignorance demonstrated when self-proclaimed experts appropriate tribal traditions that are specific in protocol and complexity.

The result of a quest for spiritual growth can produce a variety of outcomes. Last week I went to the Kandinsky retrospective at the Guggenheim. His practice was a dedicated search for a higher consciousness. It was grounded in the emotional and visceral responses that result from the interplay of color, form and geometry. He opened up abstraction. His prodigious project presaged, informed and enhanced the aesthetic practice and experience of others for decades. It continues to do so.

As a person who once woke each day wanting to die, I have found that, with the exception of Paris, the most satisfaction comes from those endeavors that don’t necessarily cost $10,000 and don’t qualify themselves with guarantees. My own satisfaction and growth has resulted from:

The search: hard work consistently practiced over a long period of time - it’s an inside job

The credentials: The advice and counsel of one more educated and experienced than myself. Remaining willing to accept their point of view, criticism and support

The giving: developing my own credentials that I can share only when invited (this is really hard)

The messiness: The living of life with all of its love, pain, joy and vulnerability (this is also very hard)

Finally

The NO: Not getting everything I want, and not always getting to know the reason why

My friend Cindy has repeatedly said, “What you came here looking for, you came here with.” I believe this but I doubt that this would get any play on Oprah. Perhaps I should talk to that Shaman wearing the sandwich board. He’s outside the donut shop on 14th & 3rd.

Tuesday, September 29, 2009

sloan






















Sloan is another member of the cadre of girlfriends I began to introduce on May 12. Sloan is a dear friend and she is also my cousin, the fifth of my beloved Aunt Grace’s six daughters. Our mutual awareness seems to coincide with her family’s move from South Shore to the North Shore. I caught her wedding bouquet and it worked. (Or should I say, she handed me her wedding bouquet.) It still worked.

Sloan is beautiful, but it is an unusual beauty and always has been. So unusual in fact, that as a child, her siblings managed to convince both she and the neighbors that Sloan was an adopted Vietnamese war orphan. Her beauty attracts equally unusual admirers. There was that interesting chap than unzipped and placed a particular part of his anatomy on her shoulder on the 151. And I vaguely recall a story about the French TA she dated in college. I believe that relationship cooled when he showed up for a game of Squash wearing a Speedo.

Setting aside the funny anecdotes, Sloan’s beauty is surpassed only by her kindness and compassion. She freely embraces the deeply spiritual component of her character, spending time away from family and a successful career to teach catechism to the intellectually challenged.

I love to talk to Sloan about life, love, God, family, books and art; also fashion, food, Paris and Argentinean Polo players. We had the privilege of seeing Merce Cunningham dance in 1984. This event served to enhance the Cadre’s ritual of throwing offbeat dancing into the party mix at only a moment’s notice.

Together we invented the cheeseburger diet, sweater syndrome and a million other crazy notions. I am extremely lucky that I get to share the bonds of friendship and family with Sloan and I look forward to doing so well into our dotage.

Happy Birthday Darling! Just remember to leave your shoes near the front door so that my parents know you’re here.

Monday, August 24, 2009

new digs






















Until a year ago, I had lived at the same address for twenty years. In fact, though well travelled, I’d lived in the same state for forty-eight years. I am now in my fourth Brooklyn domicile and have also moved into a new studio. Most of my recent moves have been à pied, and though one was a distance of only eight floors, each move has meant packing and unpacking my possessions. I hate moving.

Fall has always been the start season for me. This sense is only amplified by my current academic situation. With one week left before classes commence, my literal and intellectual sketchbooks are jammed with ideas for new work. I am not, however, making plans. I regret the plans that didn’t come to fruition over the summer. Life, circumstance and of course current economics have a way of affecting my designs. I once observed that a worried friend was so busy looking for the miraculous, that she was missing the spectacular. I should follow my own advice. One shouldn’t plan too much.

So, with the start of this year, my only plan is to embrace what comes my direction, concentrate on the work in front of me, and try to notice the little spectaculars that occur in the now.

Who knows where I’ll be a year from now.

Saturday, August 8, 2009

symbols










The twentieth-century artist who uses symbols is alienated because the system of symbols is a private one. After you have dealt with the symbols you are still private, you are still lonely, because you are not sure anyone will understand it except yourself. The ransom of privacy is that you are alone.

(Louise Bourgeois (b. 1911), U.S. sculptor. As quoted in Lives and Works, by Lynn F. Miller and Sally S. Swenson (1981).)

I recently viewed the film
Louise Bourgeois: The Spider, the Mistress and the Tangerine. The film was a thought provoking examination of the life and work of the 97-year-old artist, who continues to inspire artists and feminists, despite her own existence within and separate from almost every art movement since the mid-twentieth century. Knowledge about the work and practice of any such artist often prompts me to reexamine my own approach.

The Oxford English Dictionary defines a symbol as a thing that represents or stands for something else, especially a material object representing something abstract. I have always incorporated symbols in my work. Those used are highly personal, persistent images the reoccur in my conscious and to which I assign meaning. Thus, my paintings reflect an attempt to visually organize thought using personal symbol and reference. It is through a visual vernacular that I discern, understand and communicate.

What I have only recently begun to understand is why I articulate them void of narrative or environment. I am a firm believer that we cannot escape the history in which we exist. Thus I returned to the visual source material I encountered as a child in the 1960’s and 1970’s, and that continues to attract my attention – print advertisement.

It is clear to me that I respond to any visual media that conveys meaning with a minimum of descriptive text. My mother, who is also responsible for any creative genetics I have inherited, was a magazine hoarder. I was a loner who spent long hours paging though magazines, returning over and over again to images that attracted me. Acting on this theory, I began investigating print advertisements of the aforementioned period. What I discovered seemed to confirm my theory and startled me with its precision.

Above, I have taken two print advertisements from the 1960’s, removed the text and compared them to my painting Toy Plane, Oil on Linen, 2007. While I have no recollection of these images, the visual relationship seems significant.

There are two things I have learned from this. I can confirm, at least for myself, that early visual information continues to inform my work. In addition, and most important, is the fact that the dialogues, real or fictional, I have with other artists, and the investigations they provoke, are clearly the impetus for a heightened awareness of my practice. I remain grateful for these conversations. Incidentally, if you have not already seen this film, I highly recommend it. The scene discussing her father and the tangerine will rip your heart out. Ms. Bourgeois is clearly a force of nature.