links over chaos , linked by schaaflicht

Labels: music

Posted by: slÖ / 10:03 p.m.

Free Element, seascapes by Chinese born photographer Dodo Jin Ming, from April 18 - June 15, 2002. Respecting the awesome power and drama found only in the sea, Dodo Jin Ming creates violent black and white images that transport the viewer to a precipice about to be submerged under a cascade of water. Printing her pictures from a combination of two negatives, one of the sea, the other sky, Ming has intensified the power of the surging waves by blanketing them under an engulfing sky. Although this technique of multiple-printing harks back to the mid-19^th Century and the majestic and peaceful seascapes of Gustave LeGray, Dodo Jin Ming’s turbulent images are more akin to the paintings of J.M.W. Turner and Winslow Homer. We also see strong literary connotations, such as Edgar Allen Poe’s "Descent into the Maelstrom" and Dante’s "Inferno." Ming made most of her exposures along the coast of Maine and the outskirts of Hong Kong. Often at great personal risk, she was able to capture on film the power and rage of the sea that would stir the heart of any sailor. Born in Beijing in 1955, she trained as a concert violinist before taking up photography.

Posted by: slÖ / 7:49 p.m.

This genre, often called Ledger Art, represents a transitional form of Plains Indian artistry corresponding to the forced reduction of Plains tribes to government reservations, roughly between 1860 and 1900. Due to the destruction of the buffalo herds and other game animals of the Great Plains by Anglo-Americans during and after the Civil War, painting on buffalo hide gave way to works on paper, muslin, canvas, and occasionally commercially prepared cow or buffalo hides.

Changes in the content of pictographic art, the rapid adjustment of Plains artists to the relatively small size of a sheet of ledger paper, and the wealth of detail possible with new coloring materials, marks Plains ledger drawings as a new form of Native American art. As such, ledger painting portrays a transitional expression of art and material culture that links traditional (pre-reservation) Plains painting to the Plains and Pueblo Indian painting styles that emerged during the 1920s in Indian schools in Oklahoma and New Mexico.

Beginning in the early 1860s, Plains Indian men adapted their representational style of painting to paper in the form of accountants ledger books. Traditional paints and bone and stick brushes used to paint on hide gave way to new implements such as colored pencils, crayon, and occasionally water color paints. Plains artists acquired paper and new drawing materials in trade, or as booty after a military engagement, or from a raid. Initially, the content of ledger drawings continued the tradition of depicting of military exploits and important acts of personal heroism already established in representational painting on buffalo hides and animal skins. As the US government implemented the forced relocation of the Plains peoples to reservations, for all practical purposes completed by the end of the 1870s, Plains artists added scenes of ceremony and daily life from before the reservation to the repertoire of their artwork, reflecting the social and cultural changes brought by life on the reservation within the larger context of forced assimilation.

Posted by: slÖ / 6:45 p.m.

visual acoustics

Posted by: slÖ / 3:25 p.m.