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egoschwank · 5 years

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al things considered — when i post my masterpiece #770

first posted on facebook november 19, 2019

miguel covarrubias -- "tehuantepec" (ca. 1943)

i paint flowers so they will not die" ... frida kahlo

"... included are preliminary drawings for 'mexico south: the isthmus of tehuantepec' (1946), a chronicle of daily life in the region of mexico that includes oaxaca and chiapas. the works show his interest in the traditional dress and customs of the people in the region" ... michael abatemarco [discussing images from the unpublished 3rd volume of miguel covarrubias' survey of the arts of south america]

"if you take a flower in your hand and really look at it, it's your world for a moment” ... georgia o'keefe

"and you can paint me dead flowers every morning paint me dead flowers on my walls paint me dead flowers for my funeral and i won't forget to send tulips to twin falls" ... al janik

#miguel covarrubias #tehuantepec #frida kahlo #paint flowers #michael abatemarco #survey of the arts of south america #geogia o'keefe #flower #your world #dead flowers #rolling stones #twin falls #al things considered

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charlottejacksonfineart · 7 years

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Layered Into Abstraction: Johnnie Winona Ross, by Michael Abatemarco, from Pasatiempo, the Santa Fe New Mexican, Sep 1, 2017, pg 26-27

Johnnie Winona Ross spends a lot of time looking and observing the desert landscapes of the Southwest. He draws inspiration from canyonlands and mesas and the slow and fast (but mostly slow) forces that shape those environments, such as the erosion wrought by water and wind. However, Ross doesn’t use paint to describe the landscape like a traditional artist. Instead, he aims to represent the processes that impact it. His works are conceptual and abstract. The surfaces of his paintings, showing horizontal bands of color influenced, in part, by the striations of a canyon wall, are built up over time in layers that can number in the hundreds. It takes a long time, sometimes years, for Ross to complete a painting.

Ross, a Taos-based artist, is having his first solo exhibit in Santa Fe since Traces at the New Mexico Museum of Art in 2010. “It has been a long time. The work hadn’t evolved enough. I’m quite excited about this show. Maybe it’s just my age and experience, but it feels like some of the best work I’ve ever done.” The exhibit, called SEEP Line, opens at Charlotte Jackson Fine Art on Friday, Sept. 1, sporting a title that also calls to mind the gradual eroding forces of nature.

The relationship between Ross’ paintings and their geologic references is one of contrasts. Erosion changes environments through destructive rather than creative forces. It is subtractive, whereas a painting is additive. Striations in a canyon can appear as patterns laid down with some sense of control or order by unseen hands and are a record of the history of the land itself. But each successive layer of colored rock, possibly formed with a different density and mineral composition than the layer below it, is a chapter in a story with no author. The patterns are the result of random formations dictated by the elements. But a painting, even allowing for a certain amount of spontaneity, is always a deliberate creation.

However, spontaneity is an aspect of Ross’ work, even though it isn’t always readily apparent. Each horizontal band, rendered in light earth tones, further contains lines running lengthwise from top to bottom, sometimes faintly present and partially obscured by an overlaying of color and alternating bands of white. These lines are not painted but dripped in the manner of the Abstract Expressionists. Ross allows them to run the length of his stretched linen surfaces, following their own trajectories. “It’s something a lot of people really don’t see. They recognize the painting as more of a grid. But I really establish the horizontal lines and try to make them as visually intriguing and complex as I can. It allows one to perceive something that is stable, but the drips themselves are completely natural,” he said.

While chance deviations in those thin vertical lines are not always noticeable at first, in recent paintings, many of which have large visible drips running their lengths, the randomness is more pronounced. Any allusions to water and earth one may draw seem less implicit, but the newer works still remain firmly rooted in the conceptual realm rather than the representational. They strike the viewer as minimalist, fresh, and light in appearance, which in itself is remarkable considering that the process for making them is laborious and slow. Ross’ paintings reward close-up viewing, which reveals the jewel tones of the mineral pigments he uses for color, and burnished surfaces that are as smooth as marble, all the more so because marble dust gets added to the pigments.

Marble and natural pigments might seem like appropriate materials to use since the desert is a source of Ross’ inspiration. But if he seems interested in translating the kinds of natural phenomena that affect desert landscapes into paint, then translating his own desert encounters is of even greater interest. “I want to do paintings that affect people,” he said. “I know that sounds silly, but I really feel that a lot of artists don’t think of that quite as much. I’m trying to create an experience that slows you down and allows you to discover the very subtle things going on in the canyons. They do paintings for other reasons. I try to create the experience of being in an environment that affects you, whatever that is. It could be a flash flood. It could be discovering a hidden garden, or petroglyphs, or pictographs. Everything is part of that experience: the wind blowing on your shoulder, the heat on your back, the sounds, the canyon ruins with their trails, the smell of dampness in a dry area. I’m not a unique person. I kind of grew up with a Jungian philosophy that nobody is truly unique. So if it affects me, I know it affects other people. If it affects me strongly, I know that other people will also be changed by it. That’s probably of primary importance, actually, to my life.”

View the article online here: http://www.santafenewmexican.com/pasatiempo/art/gallery_openings/layered-into-abstraction-johnnie-winona-ross/article_4854825a-6330-5d55-8157-43f428cbb830.html

#Johnnie Winona Ross #SEEP line #review #Pasatiempo #Michael Abatemarco #Santa Fe New Mexican

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calidosomax · 5 years

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Spud Webb - Grandeza inigualable .

Un jugador sorprendente que rompió todos los estereotipos de que por tu estatura no puedes llegar al basketball profesional .

Spud Webb, nació en 1963 en Dallas, con 1.68 de estatura y 60 kilos de peso le costó hacerse espacio en el básquet, asistió a North Carolina y llego a la NBA en 1985, jugo para los Hawks, Kings, Timberwolves y Magic.

Sus números de canchas fueron modestos durante las 12 temporadas que compitió, en su carrera promedió 9.9 puntos y 5.3 asistencias por partido pero siempre será recordado como el jugador más bajo en ganar concurso de clavadas, su capacidad de salto y clavados pusieron al público de pie. Fue en 1988 que sorprendió al mundo, contra todo pronóstico venció al histórico Dominique Wilkins.

Probó que la estatura no lo es todo en el básquet.

Tras graduarse en el instituto, no se unió a ningún equipo de baloncesto universitario, principalmente debido a su baja estatura. Finalmente fue al Midland Junior College de Midland (Texas), donde lideró en 1982 el triunfo de su equipo en el título nacional del campeonato de junior colleges (instituciones de educación post-obligatoria estadounidenses).

Webb atrajo la atención de Tom Abatemarco, un ayudante de entrenador en la Universidad del Estado de Carolina del Norte, que organizó a Webb una entrevista con el jefe del equipo técnico, Jim Valvano, que le ofreció una beca. En sus dos años en North Carolina, Spud tuvo unos promedios por partido de 10,4 puntos y 5,7 asistencias.

Fue elegido en la cuarta ronda del draft de 1985 por los Detroit Pistons. Sus primeras seis temporadas en la NBA jugó en los Atlanta Hawks pero, estadísticamente hablando, sus mejores años fueron los que pasó en los Sacramento Kings de 1992 a 1995, periodo durante el cual fue titular, y a donde llegó traspasado a cambio de Travis Mays.1 Después jugó una temporada repartida entre los Hawks y los Minnesota Timberwolves antes de terminar su carrera en Orlando Magic, donde se retiró del baloncesto en 1998. A lo largo de sus 12 temporadas promedió 9,9 puntos por partido.

Webb, el participante más bajo de la historia del concurso de mates de la NBA, fue el vencedor en la edición de 1986. Consiguió sorprender al vigente campeón y favorito, su compañero de equipo en los Atlanta Hawks Dominique Wilkins, que se había impuesto el año anterior a Michael Jordan en un duelo histórico. Según palabras del propio Webb, Wilkins nunca le había visto machacar el aro.

Durante el concursó Webb realizó virguerías tales como un mate a una mano tras pasarse el balón contra el tablero, un mate a una mano con giro en el aire de 360º

CURIOSIDADES

· Veinte años después de ganarlo él mismo, Webb colaboró con el base de los New York Knicks Nate Robinson en la realización del mate que le dio la victoria en el concurso del año 2006. Webb pasó el balón a Robinson (175 cm), que saltó por encima de él, obteniendo la puntuación máxima de 50 puntos.

· ”Spud” es una forma abreviada de "Sputnik", apodo que le puso su abuela cuando no era más que un bebé.

· LeBron James considera a Spud Webb uno de sus “matadores” favoritos de todos los tiempos.

· Fue el mejor lanzador de tiros libres de la NBA en 1995, con un 93,4% de efectividad (226 de 242).

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#El Limite lo impones tu

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christinamac1 · 6 years

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"Nuclear Savage: The Islands of Secret Project 4.1"- SANTA FE INDEPENDENT FILM FESTIVAL 2018

“Nuclear Savage: The Islands of Secret Project 4.1”- SANTA FE INDEPENDENT FILM FESTIVAL 2018

SANTA FE INDEPENDENT FILM FESTIVAL 2018

“Nuclear Savage: The Islands of Secret Project 4.1” and “Atomic Artist” Pasatiempo, Michael Abatemarco

Oct 12, 2018

NUCLEAR SAVAGE: THE ISLANDS

OF SECRET PROJECT 4.1

Documentary, not rated, 87 minutes

ATOMIC ARTIST Short documentary, not rated, 27 minutes

Santa Fe’s own Adam Horowitz, producer, writer, and director of Nuclear Savage, begins this…

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strangerscollective · 6 years

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flow.🍃Emily Margarit Mason: Shadows Through a Petal opens tonight at No Land (10/27, 6-9 pm). Her first-ever solo show in Santa Fe is featured in Pasatiempo’s Exhibitionism section this week. “Mason brings a fluid, abstract sensibility to her digital photographs,” writes Michael Abatemarco. “Her works are fragmented and evoke the tenebrous relationship between memories and experiences.” Pick up Pasa to read more, and stop by the gallery tonight. We’re located at 54 1/2 E. San Francisco St. #7, just above the Haagen-Dazs on the Santa Fe Plaza. 🙌 . AND if you’re looking for some spooky fun this weekend, don’t miss Return of the Creature Feature at @dandelionguild (10/27-11/1, 12-6 pm). We hosted the first Creature Feature art & vintage clothing pop-up market last year at No Land, and now Dandelion has their own brick-and-mortar at 1925-H Rosina St. Our pals @coldlanterncollection, @pinseyrose, & @thebookmanandthelady are featured among many others. . #art #simplysantafe #pasatiempo #artworld #artcollective #photography #photo #artgram #santafenm #nmtrue #howtosantafe #strangerscollective #nolandgallery #artist #emergingartist https://ift.tt/2CJa8rW

#IFTTT #Instagram

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