Here’s for the ups and downs in 2017. I have given my best to live sensibly positive, faithfully courageous and grateful – to never invest on a low note and to be truthful.
Learning to live conciously in balance is always comes with a greater commitment / risk as life is progressing for the better. That’s me wearing the hopes of many. In contrary, I pierced in my eyes how weary my soul was to an extent that I felt, “That’s that.”
I’m talking about life’s calling. Getting better and wiser works in different phase to me. So I chose the second to begin.
I thank humbly and overwhelmingly to God - the rest of the Universe and Earth. To all whom I call families, friends and fellows. The Kindhearts - the people who made life profound for me, themselves and especially to one another. Thank you for your presence and being.
I’m looking forward to be relevant with you in person: as I’m granting myself a visual purification from major social media platforms. On my last note – Be brave to act on what feels right to you and being broken because that’s when the light comes in, once you found it never give up! Mind over matter. Composure over rapture. Courage over ambition. Need over greed. Well wishes always and happy new year! 🙂🙏🏼🍜
One of the 20th century’s most venerated colourists, Rothko always insisted there was more to his paintings than their palettes. Here, we look at a key work from an important moment in his career —
Mark Rothko (1903–1970) said he never wanted his paintings to be representations of an experience — he wanted them to be the experience. Executed in 1957, Saffron dates from an important moment in the artist’s career, in which he was for the first time able to live off the proceeds of his art.
Offered on 15 November in the Post-War and Contemporary Art Evening Sale at Christie’s in New York, the work belongs to a select group of brightly coloured canvases Rothko produced in the mid-1950s, just a few months before his oeuvre shifted to a more sombre palette.
French painter Henri Matisse was one of the greatest influences on Rothko’s understanding and use of colour. In 1949, Matisse’s Red Studio (1911) was permanently installed at the Museum of Modern Art in New York, and Rothko spent what he described as ‘hours and hours’ sitting in front of it. ‘When you looked at that painting,’ he said, ‘you became colour, you became totally saturated with it.’ It was works such as Red Studio that gave Rothko the courage, that same year, to pursue his great breakthrough, with representational forms giving way to his now-familiar bands of pure colour.
By the mid-1950s, as art critic Hubert Crehan described at the time, Rothko’s work had acquired an ‘immediate radiance’. The ‘tension of the colour-relationships of some of the Rothko paintings I have seen has been raised to such a shrill pitch that one begins to feel that they might detonate,’ Crehan wrote in 1954.
Mark Rothko (1903-1970), Saffron, 1957. 69½ x 53¾ in (175.6 x 136.5 cm). Estimate: $25-35 million. This lot is offered in the Post-War & Contemporary Art Evening Sale on 15 November 2017 at Christie’s in New York
In 1957, the year Saffron was painted, Rothko was able to enjoy his commercial success for the first time. He spent the beginning of the year in New Orleans as artist-in-residence at the Newcombe School of Art. In a letter written during his stay, he was upbeat: ‘There have been a number of benign days of early summer, sun, warmth… [away from] all problems and irritations’. These, he anticipated, would no doubt ‘reappear in full force’ when he returned to New York.
In Saffron, bands of high-keyed pigment appear to hover above the surface of the canvas. If at first glance the painting’s uppermost area seems free of intense colour, closer inspection reveals almost imperceptible chromatic variations.
Indeed, if it is the concentrated colour blocks that visually dominate Rothko’s later canvases, he insisted that the real painterly action took place at their edges. To achieve this, Rothko made use of a wide variety of techniques when applying paint, from broad sweeps of pigment in the concentrated areas to the use of a dry brush to facilitate the feathering around the edges. ‘Colours push outward in all directions,’ the artist said in 1953, or ‘contract and rush inward. Between these two poles you can find everything I want to say.’
‘I am only interested in expressing the basic human emotions — tragedy, ecstasy, doom and so on’ — Mark Rothko
Combining the expansive, horizon-like vistas of his colour-drenched rectangles with a strict, vertical progression of form, the dynamism of confrontation is all-important in these works. ‘In a way my paintings are very exact,’ Rothko explained in 1958, ‘but in that exactitude there is a shimmer, a play.’
Although celebrated by many as one of the 20th century’s most skilful colourists, Rothko always insisted that there was more to his paintings than their chromatic palettes. Colour, for Rothko, was a vehicle for accommodating the movement that he felt was inherent in his work. ‘I think of my pictures as dramas,’ he once said, ‘the shapes in the pictures are the performers.’
Rothko was always at pains to emphasise the experiential nature of his art. In 1956 he wrote, ‘I am only interested in expressing the basic human emotions — tragedy, ecstasy, doom and so on — and the fact that lots of people break down and cry when confronted with my pictures shows that I communicate those basic human emotions.
Excerpted from Christie's website, link below
Photography is no longer only painting with light – it’s basically involving all these different mediums such as sculpture, audio and painting. It’s all being intertwined or interwoven into these works. So photography for some artists isn’t their main tool anymore; it’s just one of the tools in their toolbox. You could say they are artists rather than photographers – they are really incorporating different mediums and materials within their work. - Emilia van Lynden
What we do collectively as billions of human beings, making a right ethical choices, that's gonna move us in the right direction.
Live your life in the way that you will not regret - years of useless virtue and timidity. Take up the battle, you make your own choices. You can decide life isn't worth living and that will be the worst thing. How do you know so far? Try it, see it. Pick it up! Make it a better world, just where you are. It can be better, it must be better. It's up to us
"Homo sum, humani nihil a me alienum puto. I am a human being, nothing human can be alien to me." - Terence
I intent to use my positive energy constructively. Dare to be bigger than the condition of which I was born. Stretch
The system is the work of art; the visual work of art is the proof of the System. The visual aspect can't be understood without understanding the system. It isn't what it looks like but what it is that is of basic importance. — Sol LeWitt
There's a frustration when you don't see. But then that's when you question. We always think light shows clarity / vision. We see things better; But actually light blinds us, we see better in darkness because it shows the paradox of seeing.
- Shirazeh Houshiary
Advertising tells you exactly what it is. What art does, it has an ambiguity – it leaves you to discover. It has a possibilty. Its multidimensional. Makes me think about my own evolution in my time in this universe; Whereas with the fact in advertising. It basically kills your imagination.
- Shirazeh Houshiary
Art arises from the interaction of the mind and the heart.
- Maharishi M. Yogi
"Everybody's born with some different thing at the core of their existence. And that thing, whatever it is, becomes like a heat source that runs each person from the inside. I have one too, of course. Like everybody else. But sometimes it gets out of hand. It swells or shrinks inside me, and it shakes me up. What I'd really like to do is find a way to communicate that feeling to another person. But I can't seem to do it. They just don't get it. Of course, the problem could be that I'm not explaining it very well, but I think it's because they're not listening very well. They pretend to be listening, but they're not, really. So I get worked up sometimes, and I do some crazy things.” - Haruki Murakami
You are what goes through your mind whether you are aware of it or not. And if you can become aware of it and then if you can try to express it then you are an artist. –Agnes Martin
In conjunction with Gotong Toapekong yearly event, Dad brought a tour in Glodok to share the unknown history and tradition in the area. The fairytales was once a reality to him and we love to preserve and spread this to everyone
The mystery of beauty, the truth and reality are all the same. They have been represented in artwork from the very beginning but they are still elusive. We think of them as the unknown.
We must watch our minds, for it is there that we can see our growing awareness of reality. When we realize that it is reality that we want our feet are on path.
Your work must hold some of this reality for you. If it doesn't it will not mean anything to anyone.
Everyone has the same experience of reality every moment. To recognize it and represent it is the work of an arist.
– Agnes Martin
Madeleine Tian: Much known as Siewmay. Time flies, now she's 18 months old. Witnessing her is truly encouraging and always reminds us to live in progress. Afterall, she's just too adorable. Happy Sunday from our little toes
Had a wonderful photoshoot earlier this week. This is what I always do to celebrate a good friend happiness. Each moment is definitely more than just about getting the right frame, it was all about good time with people that matters the most.
Andrian & Silvany album will be posted on 15 October 2016. Stay still!
Rain was dropping heavily last night and made me feel a little sentimental. So I took a night stroll around my neighbourhood with the voice of Teresa Teng repeating in my head
Romantika in Glodok happened out of romance. This is for one faithful day that we will finally meet, this is for you who live to love.
Once upon a time in ancient China, ten suns hung in the sky. The heat of the suns caused a drought and the harvest began to shrivel up. The emperor of China asked his master archer, Hou Yi, to shoot down all but one of the ten suns.
Hou Yi climbed to the top of Kunlun Mountain, shooting down nine suns. The grateful emperor presented him with an elixir that would grant him immortality.
However, Hou Yi had a beautiful wife, Chang’e, and he did not wish to become immortal without her.
After Hou Yi was acclaimed as a hero, he stashed away the elixir in a secret place. Feng Meng, a student of Hou Yi’s, discovered the existence of the elixir. One day, when Hou Yi was away, Feng Meng tried to force Chang’e to give him the elixir.
Chang'e knew she couldn't defeat Pang Meng, so she drank it immediately. The elixir made her fly higher and higher. In the end, she stopped on the moon. She became immortal.
Missing his beloved wife, Hou Yi burned incense and food offerings, and the practice spread throughout China. It is said that during the Mid-Autumn Festival, Chang’e and Hou Yi are reunited — which is why Mid-Autumn Festival is also an important day for families and lovers to come together.
Happy mid-autumn festival. May we are blessed with longevity and everlasting fate to celebrate this auspicious day with the people we love the most.
Baba means Father and this is what he loves to do on Sunday - Roasting coffee, play xiangji while listening to Keroncong. This is where our relationship grew not just in between father and daughter but as a friend, they brought us peace and most importantly understanding each other through its own language. Kamsia. Enjoy the full video at my blog on the bio's link and may this gave you a peaceful caffeinated breeze for the rest of your weekdays