Art

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This week on the New World Next Week: Trudeau is on the stand as the Emergencies Act inquiry gets underway in Ottawa; Japan to bring in an integrated digital ID card; and AI art is winning prizes now.

The post Interview 1755 - New World Next Week with James Evan Pilato first appeared on The Corbett Report.

Woody Allen has just announced he’s heading back to Paris to shoot his 50th film.

Ukrainian artist Anna Galushchak describes her art as an addiction that she can’t control. Even as she fled from Ukraine, she was thinking about the time that she was wasting, not working on her art.

Now, from a tiny room in Tallinn, Estonia, Galushchak is producing art that expresses the trauma of Russia’s war on Ukraine — and her own experience.

KHARKIV, UKRAINE — In the trendy shisha bar in the center of Kharkiv where they’re taking a quick break from work, Valery Neyman and his co-worker look slightly out of place, even in post-invasion Ukraine: clad in full camouflage military attire and bulletproof vests, assault rifles resting against the wall. 

“Work” for the pair is providing first response to a shelling: They secure the area after a missile or artillery shell hits the city to then remove shrapnel and any unexploded ordnance. Valery is expecting me and gets up to shake my hand. 

If a picture is worth a thousand words, then it stands to reason that truth art can be as good as a podcast for waking people up to the bigger agenda. On this edition of #SolutionsWatch, James explores the ways the visual media can be used to communicate ideas, from the cerebral to the satirical to the emotional. He also explores how creative play in the visual arts can be a highly effective way to de-stress, to focus the mind, and to foster habits that don't rely on screen time and electronic devices.

In a Corbett Report first, Norway-based artist Chris Reddy of reddymade.com conducts a "portrait interview" of James Corbett. But this is no ordinary portrait: Reddy focuses on the inner mental landscape of the subject to create a "bigger image" of the person. Enjoy.

The post Interview 1713 - James Gets His Portrait Painted first appeared on The Corbett Report.

– PERSPECTIVE –

“You should approach Ulysses as the illiterate Baptist preacher approaches the Old Testament — with faith…”

—William Faulkner

The James Joyce masterpiece Ulysses — published in its maddening entirety in Paris, in February of 1922 — was no help to beer vendor Howard Hart one night at Oriole Park at Camden Yards in Baltimore.

– PERSPECTIVE –

Before the term “role model,” there was Sidney Poitier. Growing up in the ‘50s, I watched a lot of black-and-white television. There were only a few Black faces on the screen in those days. There was Mantan Moreland, bug-eyed Rochester from TheJack Benny Program, Amos and Andy, Stepin Fetchit, and a sprinkling of other stereotypically Black performers. 

Making art has always been a refuge for me. Where I can clear my brain and lose myself in the art. I stutter, and when I was very young, drawing and painting was a safe space for me, a space where I didn’t have to converse with anybody and could just create.

Dancing is about moving through three-dimensional space. But for dance students and their teachers, that space has shrunk, for the past year and a half, to tiny, two-dimensional squares on a computer screen.

WhoWhatWhy featured new artwork on the top of the front page each day to promote and illustrate the most important stories we publish. These “panoramas” are replaced quickly — usually within 48 hours — which is a shame because a lot of work goes into them. 

As part of our series reviewing WhoWhatWhy’s work this year, below are some of our favorite panoramas from 2020. 

The Great Depression was characterized by unemployment, homelessness, hunger, bankruptcies, home foreclosures, dust, drought, and inequality in the distribution of wealth. And America’s infrastructure was crumbling. Sound familiar?

WhoWhatWhy features new artwork on the top of the front page each day to promote and illustrate the most important stories we publish. These “panoramas” are replaced quickly — usually within 48 hours — which is a shame because a lot of work goes into them and they are true works of art. 

As part of our series reviewing WhoWhatWhy’s work this year, below are some of our favorite panoramas from 2019. 

Source : Russia Today France, Interdit d’Interdire, 28-10-2019

Frédéric Taddeï reçoit :

– Aude De Kerros, critique d’art et artiste peintre

– Yves Michaud, philosophe

Lire la suite

J'ai connue une esthète qui outrepassait toutes les bornes de l'esthétisme, n'observait pas les normes, n'avait comme elle disait aucun respect pour nous autres borgnes, savamment bornés. Son œil, c'était son orgueil... Elle avait une approche différente, un jugement de goût à part... insolite, je dirais...

Pa exemple, elle trouvait laid le soleil... sans nuances. Laide, la lune... sans consistance.

WhoWhatWhy features new artwork on the top of the front page each day to promote and illustrate the most important stories we publish. These “panoramas” are replaced every 24 hours. That’s a shame because a lot of work goes into them and they are true works of art.

As part of our series reviewing WhoWhatWhy’s work this year, below are some of our favorite panoramas from 2018.

WhoWhatWhy features new artwork on the top of the front page each day to promote and illustrate the most important stories we publish. These “panoramas” are replaced every 24 hours. That’s a shame because a lot of work goes into them and they are true works of art.

As part of our series reviewing WhoWhatWhy’s work this year, below are some of our favorite panorama’s from 2017.

Pour lutter contre le terrorisme, il faut être un peu plus futé.
Moins usé et plus rusé. Juger sans préjugés. Et agir au lieu de réagir.
Pour être plus malin que le plus malin, ce n'est pas le mal qu'il faut maitriser mais le BIEN. L'arme du bien est seule capable de désarmer l'ennemi. Et on ne peut y parvenir sans renoncer à la démagogie et sans recourir à la PÉDAGOGIE.
Et même si la politique n'est pas une science, elle n'en demeure pas moins un ART susceptible de contenir toutes les turbulences et venir à bout de toutes les violences.

The world is not big enough for two asylum-seeking Palestinians.

Quand on veut se délivrer
d'une insupportable pression,
on a besoin de haschisch...
dit Nietzsche
qui usait et abusait de Wagner
pour s'envoyer en l'air.
Eh bien ! Moi j'ai besoin de
Nietzsche et de Baudelaire
parce que j'estime que
la sagesse importe moins
que l'ivresse.
Car, sans l'ivresse,
nous confesse Nietzsche,
il n'y a point de sagesse possible.
Il faut donc sauver
toutes les espèces d'ivresses...
qui ont une puissance d'art,
qui font de l'art en puissance.

We Are Change

Some of the art found at the Dismaland themepark

En philosophie, je crois au discernement des plus sages.
En politique, je crois au gouvernement des plus forts.
En droit, je crois au jugement des plus justes.
En art, je crois au rayonnement des meilleurs... les vrais créateurs.

Autant dire que je ne crois en personne...

Parce qu'en philosophie, il n'y a que des amants de la sagesse mais point de sages... ce qui fait de toute philosophie une passion inutile et de toute sagesse un idéal hors de portée... inaccessible.

En politique, il n'y a que ce qu'il y a : des désirs et des forces qui s'affrontent.
Parce que les uns désirent la force. Les autres forcent le désir.
La pression est la même. L'oppression aussi.
Et quelque soit le parti que l'on prend, on ne réduira ni l'une, ni l'autre.
On ne fera que remplacer une oppression par une autre en subissant la pression de l'une et de l'autre.
Jeu de positions et d'oppositions qui ne nous fournira jamais une véritable PROPOSITION.
Comme si toute dialectique était stérile et toutes les petites guerres débiles et infantiles.

We Are Change

[Before going into the Telegraph’s article, I recommend you check out WRC videos on the true origins of ISIS and its implications on the global geopolitical scale. If it were not for the US and many other parties, there would be NO ISIS]

Palestinian Museum is being built in the occupied West Bank but aims to reach beyond the Israeli-controlled borders.

Mohammed Al Hawajri, Raed Issa and Dina Matar on objects and memory, and home and resistance.

Voici l’esclavagiste ; voici son champ. Voici quelques centaines d’hommes, achetés au prix élevé.

Voici une première journée de travail effectuée, à battre le blé ; les travailleurs, à l’unisson ; les gestes se répétant, pénibles. La chaleur tapante, certainement. Une dizaine d’heures harassantes. Les esclaves exigent quelques bienfaits: de quoi manger, de quoi boire, de quoi être propres. Comment pourraient-ils travailler autrement, s’ils ne sont point en forme ?