Qualities associated with PINK...
sensitive, tender, youthful, artificial, unreal, eccentric, sweet, vulnerable & pleasurable
often perceived as unpleasant, even embarrassing
appealing and enjoyable
but quite simply the idea of beauty
Freud... ' our behavior is ruled not by reason but by emotion'
PINK is more closely associated with emotions than any other colour. It appears to be a colour that addresses us with such intensity that is poses a genuine challenge to our emotions.
If this is true, then PINK is one of those colours that clearly influences our behavior.
PINK addresses our senses more than other colours - through taste, touch, smell.
Social attitudes towards PINK run extreme. People know where PINK belongs and where it doesn't. Genders respond differently to PINK
PINK is fleeting, alluding to our earthbound existence and mortality.
PINK embodies suspense, longing, promise, and the hope of fulfillment. It represents the spiritual and emotion realm of love. PINK is erotic.
PINK has long been a colour that demonstrates difference
Through rose tinted glasses the world seems more pleasant
PINK is the colour of fantastic
PINK is simply too beautiful to be true
This colour which is so closely connected to feeling, is uncanny. Its radiance undermines the barriers of reason. PINK is subversive and revealing
The ambivalence of the colour pink results from the desire to establish harmony between the contradictory factors of social norms and personal feelings
PINK - Barbara Namitz
Sunday, 21 August 2011
Wednesday, 17 August 2011
INCONGRUOUS
Not in keeping
IncompatibleNot Conforming
Not Matching
Does not fit in
Thesaurus definition
| Main Entry: | incongruous |
| Part of Speech: | adjective |
| Definition: | out of place; absurd |
| Synonyms: | alien, bizarre, conflicting, contradictory, disconsonant, discordant, disparate, distorted, divergent, extraneous, fantastic, fitful, foreign, illogical, improper, inappropriate, inapropos,inapt, incoherent, incompatible, incongruent,inconsistent, irreconcilable, irregular, jumbled,lopsided, mismatched, out of keeping, rambling,shifting, twisted, unavailing, unbalanced,unbecoming, unconnected, uncoordinated,uneven, unintelligible, unpredictable, unrelated,unsuitable, unsuited |
Tuesday, 16 August 2011
INDIVIDUATION
It is the name given to processes whereby the undifferentiated tends to become individual.
In developmental psychology - particularly analytical psychology - individuation is the process through which a person becomes his/her 'true self'. Hence it is the process whereby the innate elements of personality; the different experiences of a person's life and the different aspects and components of the immature psyche become integrated over time into a well-functioning whole. Individuation might thus be summarised as the stabilizing of the personality.
JUNG
In developmental psychology - particularly analytical psychology - individuation is the process through which a person becomes his/her 'true self'. Hence it is the process whereby the innate elements of personality; the different experiences of a person's life and the different aspects and components of the immature psyche become integrated over time into a well-functioning whole. Individuation might thus be summarised as the stabilizing of the personality.
JUNG
Individuation is a process of transformation whereby the personal and collective unconscious is brought into consciousness (by means of dreams, active imagination or free association to take some examples) to be assimilated into the whole personality. It is a completely natural process necessary for the integration of the psyche to take place.[5] Individuation has a holistic healing effect on the person, both mentally and physically.[5]
Tuesday, 9 August 2011
NEWS FROM TONY IN LONDON
The news is full of the sporadic violence, arson and looting that has broken out , but I am afraid I agree with the comment that it seems like recreational violence. It is mostly youths, and it is the school summer holidays. Mass stupidity, boredom, frustration and teenage angst.
On Saturday I went in my pink gingham outfit and blonde
wig to dance at a free dance at the Royal Festival Hall.
On Sunday I baked, for the first time in my life, a banana cake. I combined ideas from Edmonds Cook book, Delia Smith
and Southern (US) cook books, plus a few of my own variations. The result is delicious.
On Saturday I went in my pink gingham outfit and blonde
wig to dance at a free dance at the Royal Festival Hall.
On Sunday I baked, for the first time in my life, a banana cake. I combined ideas from Edmonds Cook book, Delia Smith
and Southern (US) cook books, plus a few of my own variations. The result is delicious.
Sunday, 7 August 2011
Thursday, 4 August 2011
Katarzyna Kozyra
lou salome
lou salome
appearances as Lou Salome,
June 2005, Vienna
An image of artists' friend and femme fatale Lou Salome driving a buggy drawn by Nietzsche and Ree inspired Kozyra to create a video performance and photo series for which Vienna's Schwarzenberg Palace and Gardens served as the backdrop. As rendered by Kozyra, Nietzsche and Rilke (another of Lou Salome's acquaintances) — or more precisely actor-dancers masked as dogs strongly resembling the philosopher and poet — are subjected to animal training. Kozyra devised her Lou Salome project while working on In Art Dreams Come True, and an interweaving of these projects is clearly perceptible. With In Art... Kozyra became a material/doll/toy in the hands of Gloria Viagra and the Maestro, who shaped her. In Appearances..., on the other hand, she is a dominatrix who completely controls her men-dogs. The closing credits scroll by with Kozyra gently humming the aria of the Queen of the Night from The Magic Flute.
"The works of Katarzyna Kozyra point to the most important issues of human existence: identification, identity, transgression. She acts in the realm of cultural taboos referring to the bodily nature of man and to some stereotypes and behavior in the context of social life. She questions and overcomes them while stirring controversy and (usually) subjecting herself to the criticism of the outraged critics. She forces us to re-think and verify the settled order of values by unveiling the facts of reality..."
Hanna Wróblewska
Through strategies of infiltration and exposure Kozyra's works confront myths, taboos, and stereotypes and touch upon larger universal truths about human nature, private behaviors, and conventional standards of beauty."
Magda Sawon
Summertale
http://creativeface.net/berlin_polish-art-scene_10157-0
Hanna Wróblewska
Through strategies of infiltration and exposure Kozyra's works confront myths, taboos, and stereotypes and touch upon larger universal truths about human nature, private behaviors, and conventional standards of beauty."
Magda Sawon
Summertale
http://creativeface.net/berlin_polish-art-scene_10157-0
Gulsun Karamustafa
http://youtu.be/qtMJ0oXzxPs
The City and The Secret Panther Fashion
Foundation 3,14 is featuring the "grande dame" of Turkish contemporary art, Gülsün Karamustafa with her video work “The City and the Secret Panther Fashion.” It is a fictive and humorous film about women who goes to a great length to achieve a moment of personal freedom. They have created a sanctuary away from the Islamists who systematically undermines the very societies of which they are part of, with much of their savage venom seem focused on the female citizenry.
The film starts slowly, reaches a climax and slows down again just like a ritual. There is no dialog in the film and it is shot in a silent cinematic pattern, with informative written text in between. The musical composition strengthens the impact of the images. The viewer gets a glimpse inside the secretly blooming Panther fashion in Istanbul. The plot starts with the meeting of 3 women who wish to catch up with the “secret panther fashion” whose users keeps growing rapidly. They are all anxious that somebody may spy on them while they are going towards their destinations. Their wish is to reach safely to a house where they can taste the joy of wearing freely the “panther design” clothing and spend a time of their own away from scrutiny. Only those who know the secret codes can enter this house decorated elaborately in “panther fashion.” In the house waits Panterella, the fearless housekeeper and her colleague who would offer the ladies endless freedom. At the end of the day the women leave the house in secret, again with the fear of being caught and return to their colorless lives.
The connecting elements through Gülsün Karamustafa artistic production through the decades are the issue of cultural identity.
The City and The Secret Panther Fashion
Foundation 3,14 is featuring the "grande dame" of Turkish contemporary art, Gülsün Karamustafa with her video work “The City and the Secret Panther Fashion.” It is a fictive and humorous film about women who goes to a great length to achieve a moment of personal freedom. They have created a sanctuary away from the Islamists who systematically undermines the very societies of which they are part of, with much of their savage venom seem focused on the female citizenry.
The film starts slowly, reaches a climax and slows down again just like a ritual. There is no dialog in the film and it is shot in a silent cinematic pattern, with informative written text in between. The musical composition strengthens the impact of the images. The viewer gets a glimpse inside the secretly blooming Panther fashion in Istanbul. The plot starts with the meeting of 3 women who wish to catch up with the “secret panther fashion” whose users keeps growing rapidly. They are all anxious that somebody may spy on them while they are going towards their destinations. Their wish is to reach safely to a house where they can taste the joy of wearing freely the “panther design” clothing and spend a time of their own away from scrutiny. Only those who know the secret codes can enter this house decorated elaborately in “panther fashion.” In the house waits Panterella, the fearless housekeeper and her colleague who would offer the ladies endless freedom. At the end of the day the women leave the house in secret, again with the fear of being caught and return to their colorless lives.
The connecting elements through Gülsün Karamustafa artistic production through the decades are the issue of cultural identity.
Claude Cohun 1929
Michelle Handelman
Cross Dressing and the New media Avant-Garde
HAYDEN, REFERENCE, BAKALAR GALLERIES
Virtuoso Illusion: Cross-Dressing and the New Media Avant-Garde
SHOWING:
February 5, 2010 - April 4, 2010
OPENING RECEPTION:
February 4, 6-8pm
5:30PM - Pre-reception conversation with exhibiting artists Charles Atlas, Michelle Handelman, and John Kelly - moderated by curator Michael Rush
Press Release
Press releases areavailable in PDF
format.
Educational Brochure
Educational Brochures areavailable in PDF format.
Virtuoso Illusion: Cross Dressing and the New Media Avant-Gardeexplores what has traditionally been called gender crossing or cross-dressing (drag) as a tactic for media artists that has been central to the development of the current avant-garde. The show explores how experimental art has been invigorated and advanced by artists who cross dress for many different reasons as part of their conceptual process. It is not intended as an exploration of identity issues specifically, but more as an in depth look at current and historical strategies of cross dressing as an art of the irrational, the unexpected. This exhibition is organized by guest curator Michael Rush, former director of the Rose Art Museum at Brandeis University.
For several artists working today, cross dressing is not even an apt term. For video artist Ryan Trecartin, for example, gender appearances are just that, appearances. In his dizzyingly fast-paced videos, sexual leaps are one part of a multitasking language system that communicates multiple perspectives on his characters’ lives. For performance artist John Kelly, drag (a term he does use) is a theatrical tool applied to a character, like any other tool he might use in a non-drag performance. In Michelle Handelman’s work, lesbians, drag queens, women playing men playing women create a post-gender scenario not so different from many second-life experiments on the web.
For several artists working today, cross dressing is not even an apt term. For video artist Ryan Trecartin, for example, gender appearances are just that, appearances. In his dizzyingly fast-paced videos, sexual leaps are one part of a multitasking language system that communicates multiple perspectives on his characters’ lives. For performance artist John Kelly, drag (a term he does use) is a theatrical tool applied to a character, like any other tool he might use in a non-drag performance. In Michelle Handelman’s work, lesbians, drag queens, women playing men playing women create a post-gender scenario not so different from many second-life experiments on the web.
Cross dressing has a storied history in the development of post Dada art. For Marcel Duchamp and Man Ray, the transgressive act of dressing as a woman was a strategy intended to both shock the bourgeoisie as well as to inflate the sexually intense agendas of the Surrealists whose mostly male cohort felt some threat from an emerging feminism in 1920’s Paris. Less attended to until recently were the artfully ambiguous photos of Claude Cahun whose multiply-gendered self portraits were surely as subversive as anything concocted by Duchamp and Ray. In mid century, Pierre Molinier advanced the wildly varied sexual identities of the Surrealists with his photomontages and selfportraits.
As sexual representations became increasingly liberated in the 1960’s with artists like Jack Smith, Kenneth Anger, Andy Warhol and a host of others, cross dressing became a hallmark of both gay liberation and the subversive intentions of the avant-garde. In each major historical advancement of experimental art, cross dressing has been present as a strategy that has expanded the possibilities of the perception-bending intentions of artists (as opposed to merely gender-bending).
In the same way that Bruce Nauman’s Spinning Spheres, 1970, Peter Campus’s aen, 1977, or Michael Snow’sWavelength, 1977, upended viewers’ visual perceptions and re-defined relationships between the moving image and the body, so, too, do videos such as Ryan Trecartin’s K-Corea INC. K (Section A), 2009, Kalup Linzy’sConversations Wit de Churen III: Da Young & Da Mess, 2005, and Katarzyna Kozyra’s Summertale, 2008, subvert viewers’ expectations of narrative through the wonder and estrangement of the creators’ use of cross dressing. In their virtuosic performances (and, in Trecartin’s case, digital manipulations), these artists train the eye anew, exposing viewers to radical information that can shock, exhilarate, and transform.
The exhibition will feature videos, installations, photographs, and performances. Artists include Charles Atlas, Matthew Barney, Claude Cahun, Harry Dodge and Stanya Kahn, Marcel Duchamp, Michelle Handelman, John Kelly, Katarzyna Kozyra, Kalup Linzy, Ma Liuming, Manon, Pierre Molinier, Yasumasa Morimura, Brian O’Doherty, Ryan Trecartin, and Andy Warhol
As sexual representations became increasingly liberated in the 1960’s with artists like Jack Smith, Kenneth Anger, Andy Warhol and a host of others, cross dressing became a hallmark of both gay liberation and the subversive intentions of the avant-garde. In each major historical advancement of experimental art, cross dressing has been present as a strategy that has expanded the possibilities of the perception-bending intentions of artists (as opposed to merely gender-bending).
In the same way that Bruce Nauman’s Spinning Spheres, 1970, Peter Campus’s aen, 1977, or Michael Snow’sWavelength, 1977, upended viewers’ visual perceptions and re-defined relationships between the moving image and the body, so, too, do videos such as Ryan Trecartin’s K-Corea INC. K (Section A), 2009, Kalup Linzy’sConversations Wit de Churen III: Da Young & Da Mess, 2005, and Katarzyna Kozyra’s Summertale, 2008, subvert viewers’ expectations of narrative through the wonder and estrangement of the creators’ use of cross dressing. In their virtuosic performances (and, in Trecartin’s case, digital manipulations), these artists train the eye anew, exposing viewers to radical information that can shock, exhilarate, and transform.
The exhibition will feature videos, installations, photographs, and performances. Artists include Charles Atlas, Matthew Barney, Claude Cahun, Harry Dodge and Stanya Kahn, Marcel Duchamp, Michelle Handelman, John Kelly, Katarzyna Kozyra, Kalup Linzy, Ma Liuming, Manon, Pierre Molinier, Yasumasa Morimura, Brian O’Doherty, Ryan Trecartin, and Andy Warhol
Support for Virtuoso Illusion: Cross-Dressing and the New Media Avant-Garde has been provided by the Council for the Arts at MIT, the Massachusetts Cultural Council, and Martin E. Zimmerman. Media sponsor: Phoenix Media/Communications Group
Wednesday, 3 August 2011
Tuesday, 2 August 2011
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