Thursday, May 6, 2021

New York Museum Highlights - May 2021

Days On My Own - Part 1

There is something which draws me to big cities. To traveling light and alone. To the power of art when experienced in person. To using a camera and posting words and images. 

Grand Central Station & Fifth Avenue

Larry Wolf, Grand Central Station (2021)

Larry Wolf,
Vincent Ballentine And Still They Rise - Octavia Butler
(2021)

Larry Wolf,
Vincent Ballentine And Still They Rise - Maya Angelou
(2021)
Larry Wolf, Prometheus and the Capitalists (2021)

Larry Wolf, Masked Atlas and the Cathedral (2021)

John Edmonds: A Sidelong Glance @ The Brooklyn Museum


Larry Wolf, Brooklyn Museum (2021)

Larry Wolf, John Edmonds - A Sidelong Glance - American Gods 2017 (2021)



Larry Wolf, John Edmonds - A Sidelong Glance (2021)

Larry Wolf, John Edmonds - A Sidelong Glance (2021)

Larry Wolf, John Edmonds - A Sidelong Glance (2021)

Larry Wolf, John Edmonds - A Sidelong Glance (2021)


Larry Wolf, John Edmonds - A Sidelong Glance (2021)



Larry Wolf, John Edmonds - A Sidelong Glance (2021)

Larry Wolf - John Edmonds - Whose Hands? 2019 - Poster (2021)


Larry Wolf, John Edmonds - Whose Hands? 2019 (2021)


Larry Wolf, John Edmonds - Whose Hands? 2019 (2021)

PDF of John Edmonds - Whose Hands? 2019 - Poster



Larry Wolf, John Edmonds - Whose Hands? 2019 - Wall Text (2021)


Larry Wolf, John Edmonds - American Gods 2017 (2021)

Here the pyramidal composition recalls the sacred geometry of Renaissance paintings, while the three du-rags correspond to the red, black, and green of the Pan-African flag. [wall text]


Larry Wolf, John Edmonds - Female Nude 2018 (2021)

This photograph of a reclining nude woman recalls European Renaissance and Baroque representations of Venus and other idealized female figures, as well as modernist takes on this tradition. [wall text]


Larry Wolf, John Edmonds - Tourist Items from Liberia 2019 (2021)

Many of the sculptures and masks that Edmonds has photographed were made for commercial purposes, as the title of this picture indicates. By collecting and then photographing these items alongside models, Edmonds addresses how and by whom value is determined over time. [wall text] 


Larry Wolf, John Edmonds - A Guard for the Gods 2020 (2021)

... yet here the man's cap seems to suggest the authority of a museum guard, someone task with ensuring the safety of the work ... The artwork highlights, even if subtly, how property and possession are intimately linked to legacies of violence - state-sanctioned, colonial, or otherwise. [wall text]


Larry Wolf, John Edmonds - Anotolli and Collection 2019 (2021)

Photography and the process of collecting are both expressions of possession and desire, which Edmonds explores in this photograph of a bare-chested man, Anatolli, contemplating the artist's own collection of African art.  ... "It is essential to me to consider my role as a vessel for understanding these objects in a liminal space between their origins and the new space in which they exist." [wall text]


Larry Wolf, John Edmonds - Two Spirits 2019 (2021)

This photograph is structured around doubling. ... For Edmonds, the picture "calls and echos the sentiments of Ibeji, which is an orisha or spirit representing a pair of twins in Yoruba religion." ... The twinning is reinforced by Edmonds's use of double exposure, a technique associated with European and American Surrealist photographers ... The title also evokes the model's own gender-fluidity ... [wall text]


Larry Wolf, John Edmonds - Young Man Looking at a Female Sculpture (from the Senufo) 2019
(2021)

Many of Edmonds's photographs, like this one, engage the legacy of work made by artists during the Harlem Renaissance, in the 1920s and 1930s, who reclaimed African artifacts and aesthetics as a source of inspiration and experimentation. [wall text]


Addendum - Ancient Egyptian Royalty at the Met

Larry Wolf, His Hair Is A Crown - Met Museum (2021)


Larry Wolf, His Hair Is A Crown - Met Museum (2021)

Thursday, April 8, 2021

Contemplative Photography - Seven Part Workshop

Explore Your Mind and Art Making
May 8 - June 19, 2021

Register at the Chicago Shambhala Center

This seven-week workshop explores the making and viewing of photographs as a contemplative activity. It’s a mashup of classic teachings on mindfulness and photography plus the explosion of photos in the modern world; it invites us to see the sacred and profound in our lives. 

Contemplation: thinking deeply, inner vision, to clear a sacred space

Photography: drawing with light, showing the visible surfaces of things and the artist’s inner state

Each two-hour session begins with contemplation: settling our mind-body and opening up to our experience in the current moment. We’ll then discuss some aspects of photography, bringing our collective knowledge and curiosity to the topic. We’ll end with a question to work with as we make photos during the week between sessions. After the first week, we will present and discuss the images we’ve created between sessions.

The workshop uses contemplation practices, from a mix of Buddhist and artistic traditions, which emphasize our experience of the present moment. Each week will use one technique, for example, a body scan of our current sensations as well as working with breath and thoughts as objects of meditation. We will also use slow looking techniques rooted in the arts, taking time to look and look again; to discuss what we’re seeing and then look some more, seeing more and more in the image; seeing more and more of the world. Learning by doing, participants will apply the contemplative practices to photography.

We’ll use whatever camera we have at hand and, over time, increase our ability to make images with the device. As we build familiarity and confidence in using the camera, it becomes an extension of our mind, an extension of our body. We will use photographic exercises that freshen our approach to the camera, that ask us to look more closely at what we’re seeing, what we’re photographing, and how we go about creating the photograph. 

The workshop gives us several weeks to experience the interaction of seeing and creating. We will take contemplative techniques and apply them to photography. We will take photographic processes and treat them as contemplative activity, and treat photographs as objects of contemplation. 

To register: The Chicago Shambhala Center https://chicago.shambhala.org/program-details/?id=478232


Tuesday, March 9, 2021

Moments

 Light and Shadow Dancing

Larry Wolf, Moments (2021)

Larry Wolf, Moments, 2021

Larry Wolf, Moments, 2021


Larry Wolf, Moments (2021)

Larry Wolf, Moments (2021)

Larry Wolf, Moments (2021)


Thursday, February 25, 2021

What The Camera Saw - August 2000

At a summer-long meditation retreat in the Rockies. 

Now, February 2021, reflecting back, an accordion-fold zine.

Flashes ... 

surprising ... 

catching myself … 

my hand …  

see … 

what’s real … 

I don’t recognize that hand … 

foreign … 

strange ... 

attached to the rest of me 

I wonder ...


Larry Wolf, What The Camera Saw (2021)

Larry Wolf, What The Camera Saw (2021)

Larry Wolf, What The Camera Saw (2021)

Larry Wolf, What The Camera Saw (2021)

Larry Wolf, What The Camera Saw (2021)

Larry Wolf, What The Camera Saw (2021)

Larry Wolf, What The Camera Saw (2021)

Larry Wolf, What The Camera Saw (2021)


Briefly, but no longer, available on Etsy.

Friday, January 15, 2021

Muddy Water Becomes Clear

 

Larry Wolf at Wisdom 2.0 (February 2017)

The glass of water in the photo has mud at the bottom which has settled over the course of a meditation retreat. The critical step is to stop stirring, allowing the dirt to naturally settle. So too with our minds.

I wrote about the retreat on my work blog back in February 2017. The need to combine stillness and action continues.

Thursday, December 17, 2020

Lynette Yiadom-Boakye

 Fly in League with the Night at Tate Britain

Lynette Yiadom-Boakye
A Passion Like No Other (2012) 
Collection of Lonti Ebers  © Lynette Yiadom-Boakye

NY Times: Lynette Yiadom-Boakye's Subjects Are All in Her Head

“Going from the sense of trying to illustrate an idea, to allowing the paint to bring something to life, or thinking about painting as a language in itself — that was the major shift”

Tate: Exhibition Guide

"I learned how to paint from looking at painting and I continue to learn from looking at painting. In that sense, history serves as a resource. But the bigger draw for me is the power that painting can wield across time.

"I work from scrapbooks, I work from images I collect, I work from life a little bit, I seek out the imagery I need. I take photos. All of that is then composed on the canvas. [This lets me] really think through the painting, to allow these to be paintings in the most physical sense, and build a language that didn’t feel as if I was trying to take something out of life and translate it into painting, but that actually allowed the paint to do the talking."

https://www.tate.org.uk/whats-on/tate-britain/exhibition/lynette-yiadom-boakye/exhibition-guide