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Ariel Laveryon 21 November 2013
Transcript of Drawing 1
Function de Ligne, Courbes et droites
Cocon, Chrysalide, Embryonaire
Brushstrokes Cut into 49 Pieces
Mein Agnes (1494)
Examples of Cross Contour
Stadia I (2004)
Mind Breath Drawings
Pimps of Death (1919)
4 Personages (1974)
Nu dans un Interieur
Seated Figure/Line Drawing (1974)
Shadow/ Value/ Depth
Architecture and war are not incompatible. Architecture is war. War is architecture. I am at war with my time, with history, with all authority that resides in fixed and frightened forms. I am one of millions who do not fit in, who have no home, no family, no doctrine, no firm place to call my own, no known beginning or end, no "sacred and primordial site." I declare war on all icons and finalities, on all histories that would chain me with my own falseness, my own pitiful fears. I know only moments, and lifetimes that are as moments, and forms that appear with infinite strength, then "melt into air." I am an architect, a constructor of worlds, a sensualist who worships the flesh, the melody, a silhouette against the darkening sky. I cannot know your name. Nor you can know mine. Tomorrow, we begin together the construction of a city.
- from "War and Architecture"
"We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth."
- Rothko, Newman, and Gottlieb
written to the New York Times
Hoods Red Rider
Ready to Leave
Reinventing the Dislocation
Kerry James Marshall
When Frustration Threatens Desire
Interview between Kerry James Marshall and Calvin Reid
I’m fascinated by its symbolic elements. There are certain things I intuitively recognize as folk, country, and voodoo symbolism, and there are other things, the circular forms, that I don’t know about. The composition is magical, comical, and kind of eerie.
Look at how complex the African American cultural experience is in the United States, there are all of these ways in which black people synthesize Western traditions with African traditions. So in that painting, those circular shapes are symbolic representations of the seven African powers from the Yoruba pantheon. Those circles are divided into that particular guise as color, and that number on those circles is their magic number. But then you also have these cabalistic symbols floating around, and some ve-ve from Haitian Voodun. All of that is mixed into a Western magical tradition, like the woman floating, sawing her in half, stuff like that. The question is, what part of this is hocus-pocus, and what part is really powerful? What also started to crystallize in that painting was a way to bring together not only Western traditions of pictorial representation, but folk traditions of painting that have an equally valid authority. I don’t see much difference between using Giotto or Bill Trayler as a point of reference. To me they’re the same. Their work has a certain power. The same thing with somebody like Sam Doyle. Why can’t Sam Doyle be brought into the mix? Who says Brancusi is more powerful than Sam Doyle? I don’t. It’s all up for grabs, it’s all material that can be combined to make something that nobody’s seen before.
Color Blind Test
Trenton Doyle Hancock
Optimal Setting for Atmospheric Conditions that can Induce Hysteria in the Male
Untitled #4 (In the Patio)