APRIL ART CHAT - doing art in time of war

THE WORLD'S WOMEN ARTISTS ON-LINE!
The following is a wonderful site:
http://wwol.is.asu.edu/

THE WORLD'S WOMEN ARTISTS ON-LINE!

The World's Women On-Line! is an electronic art networking project originally established to be presented at the United Nations Fourth World Conference on Women in Beijing, China in 1995. Utilizing the Internet as a global exhibition format, this site focuses attention on the challenge of bringing the vast resource of women's experience and culture into the rapidly developing field of information technology.

The World's Women On-Line! demonstrates the professionalism and achievement of women artists internationally; bridges language barriers through art imagery; and promotes the interdisciplinary collaboration between technologists and artists.

This exhibition is designed to travel. It is available around the clock on the Internet to the online audience--while at the same time it will be showcased as a museum scale, multimedia installation in major cities internationally.

When featured in gallery installations, the Internet images are screened over a moving backdrop--a specially designed 3-D computer animation created by Magenta on a Silicon Graphics system.

Each of these touring installations is site-specific according to the space and situation. For example, at the "hi-tech" A.S.U. Computing Commons Gallery the imagery was magnified onto an 8 foot video wall; whereas at the United Nations Fourth World Conference on Women in Beijing, China it was presented as a totally portable, battery-powered installation that was shown on a powerbook and VCR in several different locations. A multimedia installation was exhibited at the Artemisia Gallery, Chicago, as part of their Ada: Women and Technology exhibition during March 1996. Then it was screened on videowall and on Internet at the National Music Theater Festival, Annenberg Center, Philadelphia, also March 1996.

Creative research for The World's Women On-Line! is conducted at Arizona State University:
Institute for Studies in the Arts
Artist Muriel Magenta - Project Collaborators

Institute for Studies in the Arts, Arizona State University, Tempe, AZ 85287-3302, U.S.A.
Telephone: (480) 965-4483, Direct FAX: (480) 965-2533
E-mail: [email protected]
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THE FOLLOWING ARE SOME OF MY FAVORITE ARTISTS FROM THIS SITE
---------BumbleBeeBoogie

What is Art?
GALLERY: Women Artists from Around the World

THE WORLD'S WOMEN ON-LINE! INSTITUTE FOR STUDIES IN THE ARTS, ARIZONA STATE UNIVERSITY AT TEMPE: The Gallery.

I've selected representative samples from among the hundreds of images.

SAM SAM BURRUS

S. SAM BURRUS' "Come, Join With Me The Deer Clan" Watercolor. My favorite painting in the gallery.

Burrus is a member of the Paint Clan, Cherokee Nation of Oklahoma. Her Indian name is Nannehi Tolese Siam (Going About Grasshopper Sam). She is a descendant of seven Chiefs of the Cherokees. Burrus prefers watercolors to tell her stories in her studio near Albuquerque, New Mexico.

YAN CHEN'S Purple Slope (another of my favorite paintings from this site.)

Amal Ftouni's Stereotype (3 image series) Medium: Computer generated image. (Another of my favorite images on this site.)

Georgette L. Owner's Indian Summer (I like this painting a lot.)

ELEANOR DICKENSON

Eleanor Dickinson is one of my favorite artists. I met her at her San Francisco Nude Line Drawing show in 1984. I bought prints of her entire wonderful exhibition. I've tried to find it on the show on the Internet without success so far.

Dickinson's Crucifixion of Dan.

Dickenson's "Revelations" gallery.

LINDSAY KENNY'S Crossroads.

CECIL HERRING'S great computer graphics: Bardo Passage Wave.

CORINNE WHITAKER'S "God's Childhood" Digital dye print (A visual treat)

MURIEL MAGENTA'S "Patio de la Pompadour" Computer graphics.

AMAL FTOUNI'S Stereotype (3 image series)Computer generated image.

MIDORI ABE'S "Summer Flower II" Wax resist dyeing on silk.

Anna Abdalla's Batik on Silk

Betsy Sterling Benjamin's wax resist on silk: Spirit House I

Chie Ohtani's The Sky of Nepal - Medium: Wax dyeing on silk

GEORGETTE L. OWEN'S "Indian Summer" Oil Painting.

Firyal al-Adhamy's The Princess UR Babashti

Sarah M. Al-Futtaim's After Math

Viria Salles Araya's Woman Protecting Cat from Dogs

Sheila McNellis Asato's Early Summer

Rae Atira-Soncea's Bronze From the Age of Water: Continuity

Maureen Burns-Bowie's Crystal Dance-Hints of Another World Medium: Porcelain and glass

Sue Avera-Booker's Mother's Choice

Michelle D. Baharier's English Country Garden II

Gudrun Christel Becker's No Animals Allowed

Margaret Benyon's Cosmetic Series: Richard Hamilton Medium: Reflection hologram

Lula Mae Blocton's Black and White

Christl Bolterauer's Typography Medium: Ink & paper

Prilla Smith Brackett's Two Hemispheres #5

Diane Burko's Into the Pacific II

Lill Ann Chepstow-Lusty's photo Bulgarian Women VI

Saloua Raouda Choucair's Hala Dual wood sculpture

Joyce Clement's Sun Temple III - Medium: 14 k white and yellow gold, 24 k gold, pearl, amethyst, turquoise, and garnet

Cheryl Cooper's Sup 1 Medium: Computer manipulated color print

Dawn Dale's Meandering - Medium: Uprooted earth, manual labour, rainwater, copper

Elba Damast's: Heart of the House - Medium: Wood, window screen, acrylic, 2000 figures of baked dough, plaster epoxy, sound, light

Rose Marie De Bruyne's Cristal de roche - Medium: Acrylic on canvas with marble powder

Mary Dritschel's installation: Pure as the Driven Snow

Ruth Duckworth's Animal Shelter Mural - Medium: Stoneware

Masuko Emi's Ornamental Green Pepper - Medium: China

Janika Febrikant's The Yellow Factory

Ann Ferguson-Durkin's Food for the Gods - Medium: Ceramic

Janet Fish's Fish Vase (still life)

Audrey Flack's Chanel

Silvie Fraser's Survol/Surplace - Medium: Metal, wood, rubber, and motor

Kimberly Garcia's Eye of Newt

France Garrido's The Healer

Alla Georgieva's There is a nice carpet at the Georgiev's house - Medium: Rose petals of seven different colors and stems of rose-bushes

Leslie Gifford's The Stag watercolor

Mary M. Ginn's plaster All our Treasures

Pat Courtney Gold's Time Spiral With Faces Medium: Asian hemp basket

Janet Goldner's Isms -Medium: Steel sculpture

Marianna Goodheart's : 6 Curves - Medium: Steel, painted black

Jenny Hunter Groat's First Oak

Ailie Ham's The Mighty Masi (fabric)

Annelise Hansen's Katharsis

Mamiko Hayashi's Porcelain Plate of a Boat

Karen Henninger's Invisible Work

Linda Hogan's Santa Catalina

Jacqueline Hurdebourcq's Fibers

Naz Ikramullah's The Secret Garden - Medium: Color laser prints, pastel, inks, gauze

Toshiko Ishii's Collapse (ceramics)

Alex Lomonaco's Playa del Carmen, Quintana Roo, at Midnight - Medium: Pure cotton, dyed cotton strings on linen

Diana Lyon's Spring Song of Jonquils and Daffodils watercolor

Willie Marlowe's Light Years from Now computer graphics

Irini Crouazier Masonidis's Portrait of a Girl

Sally Matthew's Ponies - medium: steel

Debra May's Undulation Bowl - Medium: Handblown glass, carved interior surface, amethyst-turquoise transparent glass

Sally McDenna's Grafitti Tree - Medium: Rusted painted steel, woven handloomed fiber, woven canvas, painted fiber, treated copper

Hye-Ja Moon's Sculpture After Symphonic Poem "Tod und Verklarung," op. 24 by Richard Strauss Medium: Bronze

Hitoko Okai's The Planet II - Medium: Clay

Betsy Padin's Piera de sol

Lina Passalacqua's Il Verbo Si E' Fatto Carne

Michela Perticucci's The black & white and red stripes painting #17

Bev Plum's My Dolly is Broken (Pastel)

Jane Pronko's New York 6:23

Pauline Quint's Elegante Cherry Wood Sculpture

Noemi Ramirez's : El Angel Caído - Medium: Resin, sand of volcanic stone, and polivre tané

Ufemia Rizk's Lol Nocturne

Esmeralda Rivera Ruiz's Una morena fumándose un cigarillo: A Brown Woman Smoking a Cigarette

Suzanne L. Sargent's Great Blue Heron - Medium: Pen and ink

Virginia Sharkey's Cummington Blue

Ayumi Shigematsu's Bone Ear '97-4 - Medium: Earthenware clay

Mitsuko Shimada's Genesis - Medium: Clay Size: Installation view

Suha Shoman's The Ledgend of Petra painting

The real story of Petra

Leah Siegel's Farragut.map - Medium: Computer drawing

Kay Spitler's Still Life

Kyako Takagi's Gokigen Tori / Smiling Chicken Medium: Ceramics

Liming Tang's Winter

Ayako Tsutsumia's Mozart K618 ceramic

Idelle Weber's Painted Polymita - Medium: Pastel on paper

Dolores Weiner's Lucite (Plexiglas) spirals

Andrea Wilkinson's Calon Lân (The Marion House Deaf Choir) - Medium: Ink Jet Print

Mariyo Yagi's Polar Axis - Medium: Sizal, steel, copper, concrete

Zhang Dehua's : Eight Militiawomen Jumping Into The River - Medium: Granite - Size: 1700 x 300 x 800 cm - Collaborators: Yu Jinyuan, Si Tu Zhaoguang, Cao Hunsheng, and Sun Jiabo

Thanks BBB. I love this site. I plan to look at all the paintings slowly, savoring each work as I would a wonderful meal.

satt, an artist rarely listens to directive. In fact an artists response to wartime (IMO) has ranged from the concrete (as in Sargents gassed) he makes a direct statement of the result of war to the " waste of the rising generartion of British society", to the ambiguous, like Picabias wheels within wheels. It can include the unmistakably allegorical , like Guernica, and the extremely realistic horror responses, like the black and white work of Kathe Kollwitz.

Im a nature illustrator and "industrial footprint abstractionist" in most of my subject matter I enjoyed your DADA cover with the Picabia on the cover, he was one of my favorites in the movement
ANYWAY, when 9/11 occured , i had to work out a suitable response for me. I chose to do a series of paintings that evoked a stained glass look depicting both the tangible and the ethereal of that day. Ive done about 11 or 12 works in that subject genre and have finally , worked it out of my system, and by doing so, have come to deal with the overall events . An artist is fortunate in that manner. They can grieve, register outrage, take up resolve, and "sort things out", just through their works.

Henryk Gorecki's work embodies his reponses , in music, to the fears and hopes of the Polish people during and after WWII. I love to keep his music on in the background while im painting (Interspersed with "the Children of Sanchez" )



PS_Jespah, Id like to suggest we do a topic discussion on Kathe Kollwitz sometime

Farmerman, please go ahead and start up a topic on Kollwitz!

BumbleBeeBoogie, I am adding the Women Artists on line link to the Helpful Links list. You may want to start a whole new topic on this great link and subject, as people won't find a discussion on it later ...say next year..when it is under the April Art Chat on Art in Time of War.

War art, i have read more books on war far more than any other books, i have stacks of diaries and biographys that i have been reading since i was 10, i would say into the hundreds. And i find paintings not just from war but out of very troubled times and thoughts very important to me. what facinates me and grasps my soul is how trully fragile life is. that is what it comes down to, what i hold true. how small we are and how insignificant and yet infinitly special life is. i dont like the term war art because it is so broad, war effects everyone, it is the most innfluential force in our existance. but as war paintings and wrighting it often breaks down that persons conseptions and shows more truthfully their naked souls.

That was a strong post, Cinderwolf. I agree with you wholeheartedly.

art
Bumblebeeboogie. Wonderful link (international women on-line). I used to see Muriel Magenta regularly at her university. I never saw her without a flower in her hair.

The French Revolution

David, J-L was a neoclassical, and Delacroix,E. was a romantic.

I think making art durning war has a very explosive effect on the bits and pieces.

Chemical Warfare or It came with the Wind is my photographic statement regarding this topic. These images were made from slides painted and burned with household toxic chemicals. In one case the image was completely burnt off the slide and then burnt back on.
http://zonezero.com/comunity/portfolios/experimental/kemezys/4en.html

seems to me, what weve seen so far, there are about 3or 4 missions that an artist may be on during or surrounding wartimes

A Chronicle History

B Artistic op-ed

C Elicit an emotional or patriotic response from the viewer

D convey a strong personal opinion (as opposed to B)

I think you have it right FM. Are you by-the-way going to join us tomorrow night for discussion. 8:00 p.m. EDT we would enjoy you company.

PS I love your avatar

art
Oh, come on, Joanne. You CAN'T love FM's avatar (him maybe, but not his avatar); it's too hideous.
And FM, please don't say, "Love me, love my avatar." That what I used to say about my 49 Chevy convertible.

At first I was shocked by FMs avatar and then curious, and finally figured out what it is. And I love fossils, even saber tooth tiger fossils.

goethe
Satt_focusable, thanks for a very pertinent quote (Goethe).

IM BEING OPPRESSED HERE




Joanne, Im sorry but Sunday evening is always an "uncertainty zone" I wanted to join but, alas, we were unloading a few tons of hay earlier and I came in , took a shower, had a cup of tea and sat down to review some work reports and promptley fell asleep for a few hours .

Oh sure, FM, you are eminently oppressable.

mench
Farmerman, I was so impressed--being the effete city boy that I am--to read your last post, that you missed the Sunday chat because you were unloading tons of hay, then had the decency to take a shower. What a macho--so far. Then you sat down and had a nice cup of tea. What a let down! Why didn't you have a slug of Joe in a dirty cup? Just for me.
You ARE a mench, however, but that's something different.

Turners painting wasn't of battle - though the imagery could have been.