Archive for the ‘mythology’ Category

h1

Maiden, Mother, Crone, Not ME!

November 7, 2016

game-512108

Dani Mathers, the 29-year-old Playboy model who body-shamed a 70-year-old woman in the LA Fitness gym, has been charged with a crime and could face jail time. While this has been ongoing, and somewhat salacious news for a while now, I recently revisited the case and wanted to share some thoughts.

The caption reads, “If I can’t unsee this then you can’t either” and the image is seen over and over again as a side-by-side of the 70-year-old-woman and the laughing Mathers.

Traditionally in Mythology, there is the Maiden, the Mother and the Crone. The Crone, or old woman, is portrayed as the archetypally as being withered and ugly, but as also being known as a Wise Woman. The Crone is the keeper of secrets and has the wisdom of old age. She is the final stage of the lifecycle and is held in reverence as she is she is associated with destruction, decay, and death.

In contrast, Mathers is not just apart of the Maiden archetype, but as a Playboy model she personifies the Goddess of Love through her beauty, which inspires love and passion. Ideally, the Maiden should represent enchantment, inception, expansion, the promise of new beginnings, birth, and youthful enthusiasm.

What happens with the Goddess of Love laughs at the Crone?

Obviously, there has been a hugely negative reaction from the community. Mathers failure to respect privacy is a social and legal transgression. Mathers thought it would be funny to play the role of a trickster by posting the photo, but found that she in turn, was made the fool.

However, beyond that, Mathers has also failed to understand the power of archetypes. She states, “If I can’t unsee this then you can’t either,” but clearly she isn’t really seeing what she is capturing. For whatever reason, the image portrays the message that Mathers thinks she is immune from becoming a Crone. Apparently she is truly a Goddess, blessed with eternal good looks and desirability. The sensuality and beauty that Mathers depicts is the other side of coin from the wisdom and maturity that of the Crone.

I think we all have a bit of Mathers in us and that is part of the horror that we feel toward this story. We would love to laugh at the Crone and say “hahahaha, not me!” But at the end of the day, that old woman is definitely going to get in the last word.

Advertisements
h1

Check out the Sutra Journal

January 20, 2016

932556-ganesha

Here is a suggestion to check out the Sutra Journal. It is an online, curated journal on art, culture and dharma. They just published one of my articles: ALCHEMY AND THE HERMETIC TRADITION: Mircea Eliade and Carl Jung, and have many more interesting and diverse pieces to read. New editions are released monthly, so add it to your bookmarks!

h1

Ushangi: The Sculptor in Silence

July 1, 2012

Image

Located between Museum Row and Melrose, up-the-way from Farmer’s Market, and across from CBS, you may find a very, very old rock. However, to describe it as an ordinary rock would be inaccurate. It is not mixed with tar and oil holding the streets of neighborhood together, and it is not what you would find walking in the local hills to peer across the ocean. Nor is it the ten million dollar rock being installed at LACMA. Rather, it is a unique rock, with its soul revealed, its song let loose, and its heart etched free from earthly bounds.

Standing beside this rock, you will find another stranger in this neighborhood, Ushangi, the sculptor. Born in the old Soviet Union, the story of Ushangi’s immigration to the United States for creative freedom is not nearly as interesting as what he has done with that achieved liberation. Unhindered by politics, set free from culture, and mixed with an immense amount of open American country, Ushangi has found a balance between the venerable earth and the yawning sky.

When you enter Ushangi’s new studio, paintings cover the walls and sculptures stand in attendance. Within these images, mythological stories, archetypal portraits, and personal narrative meet in conversation. Color and mood mix to create scenes set in open spaces. Key to Ushangi’s work is his use of voice and silence. In each piece, there is an important story, but there is also a place of silence, an abyss of reflection.

Whether Ushangi is carving the hidden figure free from stone, pulling a new dimension from blank canvas, or teaching a class of students how to see and create, the relationship between form and emotion is examined. Color, texture, shape, and shadow are key to Ushangi’s immense amount of work. Although his style, content, and material may be varied, the underlying questions remain true to his experience of the world as a sculptor; Ushangi’s goal is to reveal what is hidden within the rock of our own eyes.

While there are countless young artists co-habiting the studios, exhibitions, and museums within the same radius, Ushangi stands separate; partly because of his classical training and cultural roots, partly because of his mature age and international recognition, but mostly because of his humor and unabashed curiosity. Ushangi draws emotional breath from stone. He does not try to create an identity for himself or for others. Rather, he strives to reveal the authentic soul, song and heart that are already there.

www.ushangi.com

h1

“Museum of Me”: Architecting Identity and Walter Benjamin’s Historical Materialism

June 13, 2011

A museum is defined as a building in which objects of historical, scientific, artistic, or cultural interest are stored and displayed. Already known for being the architects of what is inside your computer, Intel is now branching out to what is inside of you. Specifically, this is being achieved through an application that filters your Facebook activity and regurgitates it into a virtual “Museum of Me” (or you, depending). On the cool side of the spectrum, it is pretty fascinating to see the lineage of relationships, portraits, and taste. Aesthetically, the “Museum of Me” paints a pretty picture of who you are, or who you would like to think you are.

The Intel App creates a video tour of your Museum. Featuring your name, photos, friends, likes, and networks, the video is a visual summary of everything you have ever clicked on while logged into Facebook. If the information were to be presented outside of a “museum” context, such as for corporation research or consumer profiling, the shear amount of information available would be overwhelming. Not to mention the horror if the “Museum of Me” were being used as a visual introduction to potential employers. In short, the “Museum of Me” project articulates just how impossible it now is to filter which parts of your identity your friends, family, businesses, and employers have the ability to access.

But does this breaking down of filters mean that we are able to more consistently be who we are? For some it is enough, but for others the “Museum of Me” fails to fit. And here are the reasons why:

If history is a narrative constructed from selected cultural artifacts, the question is who, or what, is to decide what is significant? In “On the Concept of History” Walter Benjamin asserts the importance of blasting historic structures and reveling in the pieces, separate from an architected structure. In this regard, he states the following:

The historical materialist cannot do without the concept of a present which is not transition, in which time originates and has come to a standstill. For this concept defines precisely the present in which he writes history for his person. Historicism depicts the ‘eternal’ picture of the past; the historical materialist, an experience with it, which stands alone. He leaves it to others to give themselves to the whore called ‘Once upon a time’ in the bordello of historicism. He remains master of his powers: man enough, to explode the continuum of history.”

Central to the concept of historical materialism is the paradox of the transition of time, where time is simultaneously beginning and ending. If time is constantly narrowing and expanding, then the experience of the present cannot be roped into a single narrative (there must be at least two for the beginning and end of time, if not an infinite amount of other possible twists and turns!). In contrast, Historicism argues for the limitation of historical perspective and an authoritarianism to interpretation. More crassly, Benjamin likens the historian who writes an objective history from a set perspective to a whore who gives up the goods for capitalist interests. In contrast, the historical materialist blasts the narrative of history and through this action ascends his power.

Now, how does this relate to Intel’s “Museum of Me”? Intel has created an App to reflect the activities, faces, friends, and likes that are logged into the Facebook world. This is a historical narrative of your life, and on a literal level is accurate. Intel is not lying and the narrative has been built on tangible evidence. However, when a blast of historical materialism is applied, there is no more Museum, simply refuse from the explosion. A discarded photo, or shard of familiarity no longer represents the set narrative. However, the potential for meaning has been exponentially expanded. Because authentic significance is simultaneously a beginning and an end of time, the encounter with historic artifacts is unlimited once the form of Historicism has been dissolved.

In terms of identity, one of the joys of Facebook is that it allows the individual to create a public face. To make photo portraits, post relevant articles, network, search, and comment to our hearts delight. However, is this the entire picture? One narrative says yes, but for some this is not enough. The narrative deconstructs, the spiral toward Self shifts, and suddenly we are once again left with the Other—unknown possibilities abound.

h1

Postcultural Identity and the Fashion Photography of Lillian Bassman

June 10, 2011

Born in 1917, Lillian Bassman is most celebrated for her grainy, black and white photographic work. Featured in Harper’s Bazaar Magazine between 1950-1965, her work with models focused on high contrasts and form. Her creative objective focused on pure form. However, when popular tastes in fashion photography changed, Bassman discarded 40 years of negatives and prints. One misplaced bag of 100 images survived. Today, Bassman is recognized as one of the great women fashion photographers and is still working.

Throughout the 20th century, the world of fashion has had a contentious evolution. Both celebrated for it’s aesthetics and criticized for its bourgeoisie decadence, fashion remains one of the most popular and common forms of cultural representation. In this instance, culture is defined as the attitude and behavior characteristics of a particular social group. While it is easy to comment that the attitude reflected in fashion is the starvation of culture, this reduction is a bit too easy.

Existentialism rose from the ruins of two world wars and set the stage for surrealism, deconstruction, and post-modernism. Through the knowledge of mass destruction and global culpability, the question of meaning was desperately explored within the realms of art, religion, philosophy, and other representations of cultural identity. Deconstruction destabilized meaning, but also provided an almost religious assuredness that the center is never stable. As if this instability assured a conceptualization of existence beyond the ability of humans—the religious function of the psyche found an outlet through the labors of theory.

However, while existentialism, or the quest for meaning, has been simultaneously nihilistic and the origin of great creativity, there is another factor that has shaped the last 100 years—globalization. The great American experiment has now passed the two hundred year mark and cultures have now been, not only blended, but forgotten. The fusion of races, traditions, and languages have created a clean palate to adopt and discard the trappings of culture. Americans can be everything or nothing in a simple change of the wardrobe.

In this example, we are going to be looking at Postculturalism as a theory directly related to globalization. In a community set in a densely cultural environment the traditions, expectations, and socio-economic positions have been established over hundreds (if not thousands of years). An individual is not introduced as someone who has existed within one lifetime, rather they are recognized as the son, or daughter, of thus and thus person, who is in turn related to another individual. Everyone is family, the community dictates behavior, and history is remembered.

In Postculturalism, the socio-economic boundaries are broken enabling more opportunity. The lack of a genealogical introduction enables quick movement between economic classes. However, it also means the deterioration of expectations and lifestyle. The concept of the lifespan as shared within a community follows set rituals. Whether that knowing the time to eat during the day, the season to eat ice cream, or the rites of passage into different epochs, the expectations are clearly available. This availability serves a psychological objective in providing a known framework, a system of initiation, and a guide for interactions. In contrast, a Postcultural society must either cull customs from a variety of backgrounds, or, more like, is left to find a framework from a system unrelated to culture—which is usually nestled closely to capitalism.

Leading us back into the phenomenon of fashion photography. Photography has served many functions since it’s invention. Ranging from a bureaucratic tool to high art, photography is both a method and a form of expressionism. In the case of fashion photography, the line between commercialism and art is often blended. The goal of fashion is to sell clothes. To sell clothes, there must be a reason to buy clothes. Fashion is not utilitarian and is fueled by desire. Clothes are a traditional expression of culture and personal identity. Our industry within a community is recognized by what we wear (butcher, baker, candlestick maker), and likewise an individual with the finest clothes is more important than an individual with poorer accessories. We all desire quality in life, and clothes are symbolic of our goals and achievements.

However, in a Postcultural society identity is not established through a cultural history. Which makes fashion an extremely necessary outlet for defining individual identity. A person who is in fashion, has more economic resources, and is therefore identified as being more significant within the social hierarchy. However, fashion is not just branding, it is the artistic development of “looks.” Here is where photography becomes more than a tool for communicating merchandise. The creative aspects of fashion photography create a scene that the viewer desires to identify with. The reenactment, or interaction, with changing fashions is one method to create a persona where prior content does not limit possibilities.

In looking at the photography of Lillian Bassman, we must question the appeal, but also the challenges of her images. Her photography is intensely interested in form, geometry, and high-grainy contrast. When we look at her images, we are looking through a window into another world. The world is attractive, but deeply psychological. The narrative is complex and not always neat. The extreme black and white contrast does not compromise in communicating emotion, tension, and intrIgue. The content that Bassman conveys works within the forum of fashion photography, but the physical identities that she designs convey more about our interior landscapes. Her emphasis on form took her into creative realms that the fashion content was unable to follow. Leading her to find other forums of expression outside of the industry, but also establishing her legacy as a fashion photographer who had much to say to an audience unprepared to listen.

This is a link to Lillian Bassman’s photography as featured in the New York Times.

h1

The Symbolic Function of Color in the Art of Joan Miró

June 8, 2011

The symbolic vocabulary of color has many different languages. These languages allow the voyeur to understand their experience of art and the world within a variety of contexts. Color is a vocabulary of communication as well as a process of creating. It can be understood through techniques of degree, but also articulated as modes of emotion in the lexicon of psychology. The relationship between color and symbol is particularly strong in the work of Joan Miró.

The question of how to interpret art, literature, music, politics, and basically everything is one that has been postulated, revised, and argued for millennia. Strategies focusing on form, content, source, and context are all relevant and successful methods for extrapolating meaning from experience and creation. There is interpretation that happens on a personal level and works within the context of an individual’s unique world of perspective, and then there is interpretation that is formulated in an aesthetic vocabulary that interacts with critical conversations taking place within a larger community. Though different in their origin, both personal and critical processes begin from a point of engaged response. The piece of art must create a unique experience. How this experience is interpreted within a given context becomes the grand debate.

The discussion of art on a personal level is directly connected to the therapeutic arts and may often be a guided strategy. The inner world of the individual is projected onto an external object to reveal metaphors that are challenging the development or health of the psyche. Once externalized the collective symbology of the art may be researched, concretizing internal abstract concepts into a visual vocabulary. While this description is brief and reductionary, the process is intended to be organic and address both personal experiences and archetypal dynamics. Symbols contain both personal and collective meaning, or relevance.

In contrast, a critical or aesthetic discussion of art focuses on an understanding of that those participating in the conversation have an understanding of what has been said in the past, how it has been said, and why it was or is no longer relevant. Critical interpretation accesses jargon specific to the medium, within the realms of both technique and content. Symbolism that is found in archetypes, geometry, color, and numerology all play a role within formal interpretations. In his book, Criticizing Art: Understanding the Contemporary, Terry Bennett summarizes the principles of interpretation. These principles our listed below, however central to the action of interpretation is that the piece of art demands an interpretation and that feelings are the guide. Whether the feelings are understood as a collective or personal analytical process depends on the forum.

This relationship between feeling, interpretation, and symbolism is particularly visible in the art of Catalan artist Joan Miró. Born in 1893 Barcelona, Miró was a part of the surrealist and Spanish Civil War Parisian ex-patriot communities. However, while his work has often been interpreted as Surrealism, he resisted being defined as a Surrealist artist. His objective was to “assassinate art” or to break from the historical interpretation of what art is, or should be. Being labeled as a Surrealist would work would limit his ability to explore new territory, methods, and forms of expression.

While Miró resists categorical interpretation, throughout his work he asks questions. These questions take the form of color and technique and meditate on what the symbol has to say within a set amount of space. Specifically, Miró worked with strategies such as automatic drawing (where the hand is allowed to move freely as an extension of the unconscious), Surrealism (which philosophically strove to reveal authentic thought through juxtaposing unexpected symbols and forms), Expressionism (which applies emotional subjectivity to evoke moods or ideas), and Color Field Painting (that meditated on combinations, and or fields of color symbology). While each of these methods is accompanied and motivated by methods of critical thought, Miró’s resistance to one mode of exposition is consistent.

Which leads us to ask, just how does Miró want his body of art to be understood?

If we take away interpretation, what is left? Experience. What is the experience of viewing Miró’s art? Does this experience change? How can this experience remain active? How does one assassinate this historical concept of art? By striving to avoid classification, and by engaging the imagination.

Personnage EtoileFor example, what is the experience of viewing his 1978 painting “Personnage Etoile”? In English the title is translated as Star Person, or Star Character. On an abstract textured field of bright sky blue, minimalistic symbols work together and disjointedly to engage the imagination. Circle, star, curve, red, yellow, what is the message? Is the blue the color of the Madonna? Does it relate to Haitian Santeria, or is it inspired by the expansive Mediterranean beyond the walls of Miró’s studio? In his theory of Deconstruction, Derrida argues that the experience of deconstruction is as if, while following the inward curve of a fixed point toward a center, we suddenly find that the center has moved elsewhere. The spiral is destabilized and the interpretation is disoriented. Likewise, the experience of Miró’s “Personnage Etoile” provides just enough information to stimulate the process of interpretation, but the same stimulation resists conclusions and continues to evoke questions.

Through the interpretive resistance of Miró’s artwork we are better able to witness our own processes of interpretation for what they are, reflections and projections of who we are—internally and as a community. And what we find is that who we are is just as unresolved as the image that we meditate upon.

———————

Barrett’s Principles of Interpretation:

  • Artworks have “aboutness” and demand interpretation.
  • Interpretations are persuasive arguments.
  • Some interpretations are better than others.
  • Good interpretations of art tell about the critic.
  • Feelings are guides to interpretations.
  • There can be different, competing, and contradictory interpretations of the same work.
  • Interpretations are often based on a worldview.
  • Interpretations are not so much absolutely right, but more or less reasonable, convincing, enlightening, and informative.
  • Interpretations can be judged by coherence, correspondence, and inclusiveness.
  • An artwork is not necessarily about what the artist wanted it to be about.
  • A critic ought not to be the spokesperson for the artist.
  • Interpretations ought to present the work in its best rather than its weakest light.
  • The objects of interpretation are artworks, not artists.
  • All art is in part about the world in which it emerged.
  • All art is in part about other art.
  • No single interpretation is exhaustive of the meaning of an artwork.
  • The meanings of an artwork may be different from its significance to the viewer.
  • Interpretation is ultimately a communal endeavor, and the community is ultimately self-corrective.
  • Good interpretations invite us to see for ourselves and to continue on our own.

Barrett, T. (1994). Criticizing Art: Understanding the Contemporary. Mountain View, California: Mayfield Publishing Company

h1

La Luz y El Campanero: Symbolism in 1925 Burgos, Spain

June 7, 2011

 “ In the fields with which we are concerned,

knowledge comes only in lightning flashes.

The text is the long roll of thunder that follows.”

[On the Theory of Knowledge, Theory of Progress]

Walter Benjamin, Arcades Project

The above photograph was taken from the bell tower in Burgos, Spain in 1925. This photo was included in a photo retrospective on Castilla Leon, published in the Spanish periodical El Pais, June 7, 2011 . In Spanish the bell tower is called el campenar and the bell-ringer is el campanero. Throughout Spain, bell towers are found in the central part of each town and city. While graphically striking, this photo also has strong symbolic meaning.

In the picture you see the inside of the bell tower. A man is actively ringing one of the bells and gazing into what is being illuminated beyond the interior walls of the tower. An additional bell makes up part of the window frame directly facing the photographer. Through this window the outline of the grand gothic cathedral of Burgos is clearly visible.

Traditionally, a tower is a symbol of hope and freedom. Throughout history, the tallest building within a community is also the most important. Originally, the church, or spiritual house, held this position. Then the government, or political power, strategically moved higher. Now, the economic skyscrapers reign from on high. One can easily imagine how hope and freedom has been executed and disillusioned by each institution. Ranging from existentialism, to corruption, and the sustainability challenges of consumerism that now define capitalism.

However, in this photograph, we find that the church is still the central tower within the community. Symbolically a tower represents high hopes and aspiration. It strives to connect the earthly with the heavens. The individual who is looking out from the tower prevails over the environment below with a sense of superiority. However, in this image, the environment within the tower is dirty and broken, the face of El Campanero is not turned downward, rather outward, suggesting an alternative reading. To hear a bell, which is certainly a signified by the picture, represents a warning, or a call to order. It can also be the beginning of something new, both literally and figuratively as a method of the unconscious to prepare for the future. Finally, the symbolism of seeing the outside of a church denotes sacredness and spiritual nourishment. The church is equated with the things you revere and your value system.

While the initial instinctual response to viewing this photograph is positive, understanding the symbolic relationships reinforces this impression. Inside the tower of hope and freedom and man rings the bells as a call of attention to the future. El Campanero does not look downward in superiority, rather his face is fully illuminated and looks outward, slightly smiling into the intensity of the light. The church in the background reinforces the overwhelming feeling of optimism. However, the hope that is being discovered in the sound, light, and squalor of the bell tower is directly juxtaposition with the distanced splendor of the church. In this image, the light that captivates the ringer of the bells asserts a greater authority.