Primer, Pigment, and Saturation

I was in the M-A-C store (makeup, not computer, though I am an Apple gal to the “core”) the other day, and even though I had felt that morning I had put on “plenty” of makeup, the minute I walked into the store and saw how the salesgirls were madeup, I felt like I wasn’t wearing anything at all! It made me realize how many times they dip their brush into a pigment, into a color, and continue to apply. I have plenty of make-up at home, but I must continue to learn how to use it creatively! (And not look I walked out of “Jem and the Holograms.”). 

Granted, I think if I had their amount of makeup on, I’d feel like it was … time to apply for a “different” job (if you know what I mean …)

On a recent trip, my wonderful friend and traveling partner L.U. had introduced me to the magic of *primer.* I would have thought that it would make my face feel sticky, but if you buy the right kind, it’s such a luxurious feeling. 

I had forgotten that painters also need to “prime” the canvas before getting to work. It goes along with the idea that art making is not all about the actual brush “in the paint” or “on the canvas.” It’s also the set up, clean up, reflection, white space (in life), drafting, sketching, discarding, editing. And in this case, priming.

I captured this image while on a research project in Europe. There was a man “copying” a famous painting on the walls of the Louvre. Of course he was making his own art in the process.

Seeing any great works of art "in person” (this includes seeing a great live performance of any type - opera, theater, classical or jazz or anything, dance, etc.) is a profound encounter, one must prime ourselves for - like an Orthodox parishoner preparing for communion and worship. 

When “developing” photographs, saturation and hue are two important aspects. Because of my professional needs with Adobe Acrobat and InDesign for regular projects, I have no choice these days but to pay their monthly fee for the subscription. (It’s a business expense, and completely deductible off of a Schedule C). It’s been fun to get some pictures edited and chosen for projects, and also to play with the amount of color. Just a splash? Black-and-White? Self-selected editing of color? 

Or almost no editing at all - in “prime” form?

The "point" of vacation

I guess I do realize that I write more when I’m “away” then when I’m in the day-to-day rhythm then when I’m traveling. 

Zheng and I are enjoying some much-needed “down-time” before I head to Europe for a pilgrimage (more about that in another post). On today’s adventure was the Art Institute of Chicago. Neither of us had been, and we were very much looking forward to it! Along with some famous works of art (I had to explain some of them, including Dorian Gray as Faust, etc.), it was fun to take in the museum and see the exhibits. 

I had also forgotten that “La Grande Jatte” (inspiration for Sondheim’s Sunday in the Park with George) was at this place, and we turned the corner and got a surprise! The up-close encounter to the “pointillism” was fantastic … 

Getting close to the artwork was informative because you could see an added border, used by Serrat to contrast the frame to the painting itself. He also used, points, dots and jabs to get the affects that we can see from afar.

[ and yes, the pun from the title ] 

Art-Song

My first experiment (or experience, if you would like to call it that) in “playing art” was successful! Here’s what it involved: 

 

- immediate audience reaction 

- audience participation, using vocabulary which they were comfortable with (contrast, line, shape, architecture, length). 

*The above mentioned “architectural” comments are also completely musical. 

Some of the improvisations were very strong. I am working on getting some audio footage edited to photograph-stills … but those can’t be released until all parties have “signed off” on the material, so to speak.  

 

 

I really loved this event and I hope to do more. I also hope to get my students involved. There could be such potential for this - in places such as the East Coast, definitely in Europe or China! I hope to farm out the idea to galleries or museums also in my local state. 

Perhaps the best two things from a perspective of the audience:

- They sat and looked at a painting, even if it wasn’t their favorite, for *much* longer than a usual visit.

- The paintings “changed” for them as they “listened” to them. 

 

 

Photos are taken by yours truly, with a GoPro set up on a foldable tripod and taken remotely with my iPhone.

Pictures at an Exhibition

It isn’t often that one’s “second layer of talent” gets to be utilized. Artists are often clobbering each other, in order to use the “thing” they deem as their “first string” talent level. 

Pianists, it’s the chops. Singers, it’s the voh-chay. (Yes, perceived sarcasm is directly understood). Other instruments, I’m not sure. (Long notes for tuba?). 

It’s the dermis talent (as opposed to epidermis) that gets us where we need to go long-term. 

I received a request a few months ago for an upcoming performance. And in doing so, I get to use my strange, spontaneous thinking and improvisational skills.

The assignment? 

“Play works of art at a gallery.” With a singer. No music. But we play the art (or sing it). We play gestures and come up with contrast, movements, harmonies, melodies, conversation, points of focus, lines, perspectives …  

 

 

Today was our final rehearsal and - people should run to hear and see what we are creating. 

The Albuquerque Museum is hosting its “3rd Thursday” event. It has invited curator Oliver Prezant (read a little about him here) ... 

 

soprano Cecilia Leitner (more about her here), a poet, and myself. Cecilia and I have had several rehearsals of … musical improvisation related to the art on the walls.

Since we have had to rehearse while the museum is open to the public, we have had passers-by become involved in the painting. Oliver has been guiding the audience and Cecilia and myself to share and experience the art in a unique way.  

 

 

The other day, we were creating a multi-movement piece based on this painting. Oliver then had the audience make hand-shapes and gestures related to the visual and aural art!  

 

 

Today, we created a piece based on a portrait of a young boy holding a chicken. (You have to come to the exhibit to see this one!). In one way, the painting is totally “ignorable” and a walk-by. But today, people were present at this painting for close to ten minutes. 

Usually, art museum guests look at paintings, on average, for about 10 seconds. 

We increased the audience-time ratio of “Boy with Chicken” by 6000%. 

Who said art isn’t a great investment?