l'arte parla

leave a comment or two. i'd like to know what you think.

Thursday, October 26, 2006

you are invited

I will be showing my work at:

BIG ART SHOW PHILADELPHIA #6
Saturday, November 4th
@ The Rotunda
4014 Walnut Street
Philadelphia, PA 19104
Doors @ 7 ~ $5 donation (non-participants) ~ all ages
www.bigartshow.com for more details

Wednesday, October 25, 2006

Theo van Doesburg


Simultaneous Counter-Composition, 1929-30

from the Guggenheim website:

b. 1883, Utrecht, The Netherlands; d. 1931, Davos, Switzerland
Christian Emil Marie Küpper, who adopted the pseudonym Theo van Doesburg, was born in Utrecht, the Netherlands, on August 30, 1883. His first exhibition of paintings was held in 1908 in the Hague. In the early 1910s he wrote poetry and established himself as an art critic. From 1914 to 1916 van Doesburg served in the Dutch army, after which time he settled in Leiden and began his collaboration with the architects J. J. P. Oud and Jan Wils. In 1917 they founded the group De Stijl and the periodical of the same name; other original members were Vilmos Huszár, Piet Mondrian, Bart van der Leck, and Georges Vantongerloo. Van Doesburg executed decorations for Oud’s De Vonk project in Noordwijkerhout in 1917.

In 1920 he resumed his writing, using the pen name I. K. Bonset and later Aldo Camini. Van Doesburg visited Berlin and Weimar in 1921 and the following year taught at the Weimar Bauhaus, where he associated with Raoul Hausmann, Le Corbusier, Ludwig Mies van der Rohe, and Hans Richter. He was interested in Dada at this time and worked with Kurt Schwitters as well as Jean Arp, Tristan Tzara, and others on the review Mécano in 1922. Exhibitions of the architectural designs of Gerrit Rietveld, van Doesburg, and Cor van Eesteren were held in Paris in 1923 at Léonce Rosenberg’s Galerie l’Effort Moderne and in 1924 at the Ecole Spéciale d’Architecture.

The Landesmuseum of Weimar presented a solo show of van Doesburg’s work in 1924. That same year he lectured on modern literature in Prague, Vienna, and Hannover, and the Bauhaus published his Grundbegriffe der neuen gestaltenden Kunst (Principles of Neo-Plastic Art). A new phase of De Stijl was declared by van Doesburg in his manifesto of “Elementarism,” published in 1926. During that year he collaborated with Arp and Sophie Taeuber-Arp on the decoration of the restaurant-cabaret L’Aubette in Strasbourg. Van Doesburg returned to Paris in 1929 and began working on a house at Meudon-Val-Fleury with van Eesteren. Also in that year he published the first issue of Art concret, the organ of the Paris-based group of the same name. Van Doesburg was the moving force behind the formation of the group Abstraction-Création in Paris. The artist died on March 7, 1931, in Davos, Switzerland.

Tuesday, October 24, 2006

Piet Mondrian



Piet Mondrian, Tableau 2, 1922. Oil on canvas, 21 7/8 x 21 1/8 inches. Solomon R. Guggenheim Museum.

Friday, October 20, 2006

thoughts of last friday this friday



I try to step out at least once during the work day. I feel that I benefit from the fresh city air and I adore watching the passers-by. Last Friday, I set out on my mid-day lunch like I sometimes do and asked myself if I could really walk to the nearest art museum, about 8 blocks or so away, run in and up to the third floor and sit with a piece or two of medieval art for a minute and then head back to work. All this in my given lunch hours. There was a chill in the air as I started out but as I walked and my blood began to circulate I took the day for what it really was, a clear, beautiful October day. It is fascinating to spend time walking in any city I think. To notice the buildings, the new ones compared to the old. The people scurrying about. The construction workers creating traffic jams. Walking gives you a totally different perspective. I got to the museum, a tiny bit exhausted but excited of the idea of stopping in the museum just for a few to clear my head and see some beautiful things. I got there, walked in and up to the medieval section, prayed that the security guard who must have lost out on a job for a tour guide, wouldn't corner me and lead me to a statue of the museum's founder like he did last time and then began to look. No I didn't look for hours. Time wouldn't allow me but I did wander around the galleries for about 10 good minutes. When I thought I should head out and start my walk back to work, I felt refreshed, cleansed if you will. I had never done something like that in the middle of the work day and it felt reallly good.

Tuesday, October 03, 2006

Art teacher suspended

This angers me so much. I couldn't even read the complete article. Having worked in schools/art centers where the other staff is more "conservative" I know that this is a real issue. It is sad to think that an art teacher is out of a job for teaching what she feels so passionately about and what is history.

Please leave a comment.

Museum Field Trip Deemed Too Revealing

Michael Stravato for The New York Times
Sydney McGee, a teacher in Frisco, Tex., led fifth graders through European and contemporary galleries of the Dallas Museum of Art last April.

By RALPH BLUMENTHAL
Published: September 30, 2006
FRISCO, Tex., Sept. 28 — “Keep the ‘Art’ in ‘Smart’ and ‘Heart,’ ” Sydney McGee had posted on her Web site at Wilma Fisher Elementary School in this moneyed boomtown that is gobbling up the farm fields north of Dallas.

But Ms. McGee, 51, a popular art teacher with 28 years in the classroom, is out of a job after leading her fifth-grade classes last April through the Dallas Museum of Art. One of her students saw nude art in the museum, and after the child’s parent complained, the teacher was suspended.

Although the tour had been approved by the principal, and the 89 students were accompanied by 4 other teachers, at least 12 parents and a museum docent, Ms. McGee said, she was called to the principal the next day and “bashed.”

She later received a memorandum in which the principal, Nancy Lawson, wrote: “During a study trip that you planned for fifth graders, students were exposed to nude statues and other nude art representations.” It cited additional complaints, which Ms. McGee has challenged.

The school board suspended her with pay on Sept. 22.

In a newsletter e-mailed to parents this week, the principal and Rick Reedy, superintendent of the Frisco Independent School District, said that Ms. McGee had been denied transfer to another school in the district, that her annual contract would not be renewed and that a replacement had been interviewed.

The episode has dumbfounded and exasperated many in and out of this mushrooming exurb, where nearly two dozen new schools have been built in the last decade and computers outnumber students three to one.

A representative of the Texas State Teachers Association, which has sprung to Ms. McGee’s defense, calls it “the first ‘nudity-in-a-museum case’ we have seen.”

“Teachers get in trouble for a variety of reasons,” said the association’s general counsel, Kevin Lungwitz, “but I’ve never heard of a teacher getting in trouble for taking her kiddoes on an approved trip to an art museum.”

John R. Lane, director of the museum, said he had no information on why Ms. McGee had been disciplined.

“I think you can walk into the Dallas Museum of Art and see nothing that would cause concern,” Mr. Lane said.

Over the past decade, more than half a million students, including about a thousand from other Frisco schools, have toured the museum’s collection of 26,000 works spanning 5,000 years, he said, “without a single complaint.” One school recently did cancel a scheduled visit, he said. He did not have its name.

The uproar has swamped Frisco school switchboards and prompted some Dallas-area television stations to broadcast images of statues from the museum with areas of the anatomy blacked out.

Ms. Lawson and Mr. Reedy did not return calls. A spokeswoman for the school district referred questions to the school board’s lawyer, Randy Gibbs. Mr. Gibbs said, “there was a parent who complained, relating the complaint of a child,” but he said he did not know details.

In the May 18 memorandum to Ms. McGee, Ms. Lawson faulted her for not displaying enough student art and for “wearing flip-flops” to work; Ms. McGee said she was wearing Via Spiga brand sandals. In citing the students’ exposure to nude art, Ms. Lawson also said “time was not used wisely for learning during the trip,” adding that parents and teachers had complained and that Ms. McGee should have toured the route by herself first. But Ms. McGee said she did exactly that.

In the latest of several statements, the district contended that the trip had been poorly planned. But Mr. Gibbs, the district’s lawyer, acknowledged that Ms. Lawson had approved it.

“This is not about a field trip to a museum,” the principal and superintendent told parents in their e-mail message Wednesday, citing “performance concerns” and other criticisms of Ms. McGee’s work, which she disputes. “The timing of circumstances has allowed the teacher to wave that banner and it has played well in the media,” they wrote.

They took issue with Ms. McGee’s planning of the outing. “No teacher’s job status, however, would be jeopardized based on students’ incidental viewing of nude art,” they wrote.

Ms. McGee and her lawyer, Rogge Dunn, who are exploring legal action, say that her past job evaluations had been consistently superior until the museum trip and only turned negative afterward. They have copies of evaluations that bear out the assertion.

Retracing her route this week through the museum’s European and contemporary galleries, Ms. McGee passed the marble torso of a Greek youth from a funerary relief, circa 330 B.C.; its label reads, “his nude body has the radiant purity of an athlete in his prime.” She passed sculptor Auguste Rodin’s tormented “Shade;” Aristide Maillol’s “Flora,” with her clingy sheer garment; and Jean Arp’s “Star in a Dream.”

None, Ms. McGee said, seemed offensive.

“This is very painful and getting more so,” she said, her eyes moistening. “I’m so into art. I look at it for its value, what each civilization has left behind.”

School officials have not named the child who complained or any particular artwork at issue, although Ms. McGee said her puzzlement was compounded when Ms. Lawson referred at times to “an abstract nude sculpture.”

Ms. McGee, a fifth-generation Texan who has a grown daughter, won a monthly teacher award in 2004 from a local newspaper. She said the loss of her $57,600-a-year job could jeopardize her mortgage and compound her health problems, including a heart ailment.

Some parents have come to Ms. McGee’s defense. Joan Grande said her 11-year-old daughter, Olivia, attended the museum tour.

“She enjoyed the day very much,” Ms. Grande said. “She did mention some nude art but she didn’t make a big deal of it and neither did I.” She said that if Ms. McGee’s job ratings were high before the incident, “something isn’t right” about the suspension.

Another parent, Maijken Kozcara, said Ms. McGee had taught her children effectively.

“I thought she was the greatest,” Ms. Kozcara said. But “knowing Texas, the way things work here” she said of the teacher’s suspension, “I wasn’t really amazed. I was like, ‘Yeah, right.’ ”

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A walk with geniuses



Georges Braque. (French, 1882-1963). Still Life with Tenora. (summer or fall 1913). Cut-and-pasted printed and painted paper, charcoal, chalk, and pencil on gessoed canvas, 37 1/2 x 47 3/8" (95.2 x 120.3 cm).

I am currently reading The Autobiography of Alice B. Toklas, written by Gertrude Stein. I must admit that Ms. Stein is quickly becoming one of my favorite writers. She has a way with words that is intriguing and captivating. Her arrangement of words to complete sentences sometimes throws one off, requires a second view but always conveys the point, the moment, in a new way. Alice B. Toklas was Gertrude Stein's companion for many years. The book begins with their early days. Both women, originally from California, end up in Europe and arrive promptly at a time when some of the greatest artists in modern art are putting their thinking caps on. Stein invites you to the table where Pablo and Fernande just arrive, late because she was shopping for a new dress. She brings you into a world where cubism is coming about (the Spanish note cards she claims, had been designed in the ways of cubism for years and years before its arrival). She allows you to sit with Matisse and enjoy fried eggs, the only thing Stein's housekeeper would serve him when he would show up at the house unexpectedly. It is a fabulous world and makes one long for the simplicity and intellectualism that is at its heart.