iPhone art

Greetings,

I read about David Hockney's new exhibit in London. He mentioned using a painting application on his iPhone. 

"It's all part of the urge toward figuration. You look out at the world and you're called to make gestures in response. And that's a primordial calling: goes all the way back to the cave painters. May even have preceded language. People are always asking me about my ancestors, and I say, Well there must have been a cave painter back there somewhere. Him scratching away on his cave wall, me dragging my thumb over this iPhone's screen. All part of the same passion."

The application he favors is Brushes. I also found another app called Sketchbook by Autodesk. 

I began learning, playing and experimenting with both. Fun. As Hockney said, it's a great little portable tool. In your pocket. No mess. No rags filled with pigment, oils and the usual artistic beauty. When you're finished you turn off the machine. 

Easy to upload, email, and share your art. Here are two examples of playful visual storytelling. A new iPhone gallery is in process.

Metta.

Hockney article in The New York Review of Books...read more.

Yesterday's face.

Autumn has no boundaries.

New Front Page

Greetings,

So, as usual I'm experimenting with the site design and decided to make the "Living on the edge," blog the "Front Page," that opens when you visit.

'It's like this,' said the seer during discussions discussing this eclectic option. 'Why start with Myths and Innuendos when people can immediately access the blog slog?'

'Excellent point,' I said. 'Everyone already knows about myths because they are alive. Most subscribers, visitors and friends have already seen the Myth page, read the book blurb and assorted philosophical insights.

'They are probably bored to tears wondering, why don't those two genius types get their electronic act together and streamline this baby so we don't have to click through to explore new stuff?'

'Clearly,' said the seer. 'Take the ideas and forget the words.'

Enjoy your travels through the Ha Noi neighborhood of reality and dreams. Feel free to drop us a line.

Metta.

On the sidewalk is a feather and a q-tip. Existential awareness.

A broken building at a temple in Ha Noi. Loving lines.

A man hauls out his heavy trash. His destination is the cart. A distant speck, horizon.

Black & White

Greetings,

I began learning and experimenting with black and white photography. It was about varieties of film, Tri-X, and later Ilford. Grain. Film speed or ISO in photog talk.

Then the learning process of working in the darkroom; developing, making contact sheets, selecting negatives to print, grades and quality of paper, using various chemicals. Developer, fixer, stop-bath, water. Emulsion. A negative holder, enlarger, light management, f/stops, and a timer. Expose and process the paper through the chemicals. 

Like magic, an image slowly appears. Looking for the contrast between shadows. Adjust the variables of time and exposure and play. Experiment. 

It's easy to fall into the trap of using color, or does color use us? The eye is easily fooled because it is passive. Cut through the colorful clutter and express yourself through shades of gray.

As Picasso said, "I just want to know one thing. What is color?" A pigment of our retina cone imagination.

After finishing the Sapa galleries I decided to do a project documenting my neighborhood here in Ha Noi using the small brilliant laser-like Leica in the B&W mode. 

No expectations, no logic. Keeping my blind eye open to light, movement and how they play. Do they play well with each other? That's a relationship question.

Some results were straight from the hip, the point-and-shoot-chance-is-all approach. No digital manipulation. Delightful. A dream dance.

A writer is lucky to get words down and try and make sense of them later. Same with making images. Here's to NOT making sense. Our brains have evolved to predict, establish meaning and detect patterns. Disorientation begets creative thinking. 

Here's the gallery.

Metta.

Andy Warhol

This is from Volume 56, Number 16 - October 22, 2009 issue of The New York Review of Books by Richard Dorment. He reviews three new books about the artist Andy Warhol.

...Warhol asked different questions about art. How does it differ from any other commodity? What value do we place on originality, invention, rarity, and the uniqueness of the art object? To do this he revisited long-neglected artistic genres such as history painting in his disaster series, still life in his soup cans and Brillo boxes, and the society portrait in Ethel Scull Thirty-Six Times. Though Warhol isn't always seen as a conceptual artist, his most perceptive critic, Arthur C. Danto, calls him "the nearest thing to a philosophical genius the history of art has produced."

...Warhol's friend Henry Geldzahler, a curator at the Metropolitan Museum of Art, recognized that the artist's two great innovations were "to bring commercial art into fine art" and "to take printing techniques into painting. Andy's prints and paintings are exactly the same thing. No one had ever done that before. It was an amazing thing to do."

...As Danto explains in his brilliant short study of Warhol, the question Warhol asked is not "What is art?" but "What is the difference between two things, exactly alike, one of which is art and one of which is not?"

New York Review of Books. Read more...

Andy Warhol Museum...

"I don't know where the artificial stops and real starts." - Andy Warhol

Metta.