Daily Archives: November 3, 2011

La Revolution 1968


Marc Chagall

La Revolution 1968

This large painting titled ‘La Revolution’ shows elements of the Russian war of 1917 which affected him deeply, together with the Spanish war of 1936/37. Soldiers and chaos on the left hand side contrast with icons of everyday life and joy on the right. Many of Chagall’s recognizable trademarks such as the married couple and the goat are evident in this unique piece. Jackie Wullschläger notes in her biography of Chagall that he never strayed far from his “triple fixations” – Judaism, Russia and love – all of which are present in this work. 

It was initially considered to have been painted in 1937, but recent research by the Comité Chagall suggests that the date is 1968, due to similarities in the characters, colour and composition with works of that time, such as ‘La Guerre’ (1966). They propose that the title should be ‘La Revolution 1968’. The painting was cherished by the artist, who kept it at his house in Saint-Paul de Vence in France until his death in 1985. The Comité Chagall have emphasised the importance the artist placed on the work – he considered it to be representative of his life, and thus it is very important in the artist’s oeuvre.

via Art Knowledge News


Petra Cortright


Petra Cortright

Petra’s YouTube 


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Signals from the DEW Line: Art & Poetry in the Global Village


Signals from the DEW Line: Art and Poetry in the Global Village

Dates: November 8-13, 2011
Location: 2nd Floor Gallery, Gladstone Hotel, 1214 Queen Street West, Toronto
Opening Reception & Poetry Performances: Tuesday November 8, 7-10pm
Admission: Free


“Art at its most significant is a distant early warning system that can always be relied on to tell the old culture what is beginning to happen”. – Marshall McLuhan

Artists, as McLuhan described them, are the Distant Early Warning system of our culture. This exhibition and public performance explores the confluences between technology, poetry, artistic practice, and the influences of McLuhan’s vision in our time.


On November 8th, as part of the McLuhan 100 conference and DEW Line Festival, join us for an evening of art, poetry and celebration of McLuhan’s vision 100 years later. From Facebook, to the city streets and imaginary glimpses at a new landscape after global warming, artists, poets and new media projects present cultural reflections on the state of the Global Village.

Signals from the DEW Line is a curatorial collaboration by Andrea Thompson and Britt Welter-Nolan.  http://tinyurl.com/6jdxvqx

via McLuhan Galaxy

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At its essence, great animation is a beautiful marriage of image and sound. And few have done that better than the Canadian Michel Gagné with his monumental animation, Sensology. The film is a feast for the senses—a combination of improvised music and abstract animation 

via Short of the Week

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Farmland World


::Farmland World::

The nature of farming is forever changed. 

Farming is a practice that by it’s own nature unites humans, technology and animals in productive combinations. Hybrids and various mutant bio-mechanical mixtures—Caterpillar combines, John Deere tractors, etc.—began transforming the rural landscape of America beginning in the early 20th century by subjugating the pastoral ideal to the ingenuity of human invention. From utilitarian machinery, to show piece display, both farm animals and machines express a range of complex personalities. Which poses the question: can these overlaps and mutable identities expand to contend with the various crises the farm industry is facing today?

Farmland World is a chain of agro-tourist resorts sprinkled across the American Midwestern countryside. Part theme park and part working farm, guests arrive to the resort via train and stay as part of 1-day, 3-day or 5-day experience packages. Capitalizing on both recent investments in high-speed rail infrastructure and the plentiful subsidies for farming, the network of resorts combines crowd-sourced farm labor with eco-tainment. Guests perform daily chores as self-imposed distractions from the toil of their daily lives. Among the countless activities offered, guests can choose to ride the Animal Farmatures, the dual natured farm implements that complete traditional farm tasks while performing grand rural-techno spectacles. When its time to leave for home, guests climb back into the train, weary and satisfied from their labors as they marvel at the passing landscape they helped transform.

Year: 2011
Location: Middle America
Team: Stewart Hicks and Allison Newmeyer with Kitty Bayer and Hugh Swiatek

Design With Company


via BLDG BLOG + Animal Architecture


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Derby Blue

by shiko | derby blue

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Dorothea Tanning


Dorothea Tanning, painter and poet


He told us, with the years, you will come
To love the world.
And we sat there with our souls in our laps,
And comforted them.

Dorothea Tanning

Tanning is that rare being who embodies gifts in the poetic domain as well as the visual. A woman with a long history in the American art world of the 20th century, Tanning began branching out into other forms of expression later in life.


Dorothea Tanning and Max Ernst (they were married in 1946)


Dorothea Tanning


A bit of background about Tanning, from Poets.org:

“It’s hard to be always the same person,” reads the epigraph for A Table of Content, Dorothea Tanning’s first book of poems, published in 2004. After half a century of acclaimed drawing, painting, sculpture, collage, and set and costume design—with pieces in major museum collections, including the Tate Gallery, London; the Centre Pompidou and the Musée de la Ville de Paris, both in Paris; the Philadelphia Museum of Art, and the Chicago Art Institute, among others—Tanning turned her eye (and ear) to poetry, reinventing herself after retiring from visual mediums.

As W. S. Merwin put it: “She goes out of the room, comes back, and she’s someone else—and after a few hours I think, Phew, that’ll do for a while!” Tanning has long been known as a friend of poets, and her public shift toward poetry may very well have been due to years of private collaborations and intimacies.

Another Language of Flowers, a book published in 1998 documenting Tanning’s last paintings, what she calls her “foray into imaginative botany,” can be seen as another of the artist’s points of transformation. Tanning believed that she was finished with painting until she discovered a collection of blank and very valuable Lefebvre-Foinet canvases she’d bought in Paris twenty years earlier.

Determined to use the fine canvases, Tanning spent almost a year—between June, 1997 and April, 1998—sketching and completing twelve large paintings of imaginary flowers. Those paintings, and her preperatory sketches, are reproduced in the book, with each image given a fictional name—such as “Victrola floribunda”—and accompanied by a poem. James Merrill, who had been a kind of mentor to Tanning and had died three years before she began the flowers series, provides the lines for the first image: “A wish. Come true? Here’s where to learn.” John Ashbery, Richard Howard, J. D. McClatchy, Anthony Hecht, Adrienne Rich, and others also give voices to the flowers.

Within a year of completing her flowers series, Tanning, at eighty-nine, began publishing her own poems, and within another year was being recognized for poems in Poetry, Parnassus, The Paris Review, The New Yorker, Plougshares, and others. Now, with a full collection of startling and perceptive poetry, which C. D. Wright has called “a meal not to be late for,” Tanning has fully transformed her career and earned her a place among American poets.


via Slow Muse + Spaightwood Galleries


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