The human body adjusts well to heat… if one doesn’t spend much of the day in AC, or going in and out, hot to super cooled. And you can stay out of direct sun, and be where there’s at least minimal air circulation. But the only way to adjust to extreme cold, is with layers of clothes. The cold will kill you. And it doesn’t fuss around about it. Three hours is like, max… and you won’t notice it much beyond the first hour or so. In cold like we have in Philly now–not even that much time (Siberia, Antarctica…hell, Ely, Minnesota!–minutes!) .
Dress warm, peeps.That’s the real voice of this Universe you think you’re a part of.
It’s saying: die!
Without that thin blanket of air around the planet–we’d have joined up with the Universe long ago.
Look up at the stars. They’re plenty hot. But most of what’s out there is near absolute zero. It’s telling you, you don’t belong. And won’t last long, either, by its reckoning.
Yep. We’re star stuff alright. Wrap that thought around you and walk out naked into this night… and see how long it keeps you warm… or alive
#423 Watercolor, because the End is Near
5×7″ watercolor, ink
Water colors are fragile. Even with high quality pigments and all cotton paper, they require special care: store away from direct sun, florescent lights, or too bright light of any kind. They need to be matted with non-wood pulp, acid free board and kept behind glass, with mats of sufficient thickness to leave air space between the paper and glass. There are other treatments–covering with resin, but I doubt if conservators would recommend them.
But then, we are at the end of human habitation on this planet (or any other), so who needs to consider ‘posterity?’ Let fragility be a virtue. Let our art perish with us–they’ll be no one to enjoy it when we’re gone. Let it feed the rats and roaches that survive us!
Everything Wrong with Art & Capitalism
Experts expect a ‘severe correction’, particularly in contemporary and American art, after years of spiraling prices and celebrity and luxury obsession
Art Market in ‘Mania’ Phase, from the Guardian. Including this report and all its links
For my other posts on Art & Capitalism, alternatives to the market/gallery system, click HERE and scroll down.
Revolution now!
#222 & 221, inverse
Playing with colors. Each an approximate inversion of the other in hue and tone. #222, ink and water color. Continuing my exploration of what I can do with water color… a medium I’ve not more than dipped into… but finding I love … being in love with color, how could I not be? Like being a student! Would I have been able to do this in a water color class? Maybe Debi Riley’s! Check out her blog–beautiful work, and a natural teacher.
If it’s not play… if it stops being play… get a job at something that pays.
View GALLERY HERE.
#220 #221
Two more, playing with colors: Dominant Blue green, with ro, yo and rv for accent.
#220 got a little muddy. Gotta keep ’em fresh!
6×3″ water color
View GALLERY HERE.
Art and Revolution
In a better world, there would be no need for artists to sign their work. Material support would not be tied to a competitive system, and confirmation would come from performing and making and doing, without the destructive, enervating conflict that comes from confusing satisfaction with one’s work with social approval and economic status. On that level, the distinction between craft and art would vanish—as the satisfaction that comes from work well done would fall equally to all who contribute to the benefit of the community. Art would not be a specialty of a few—but a gift nurtured and shared by everyone. Those more dedicated and gifted would serve to teach and empower others.
The capitalist systems of exclusion that corrupt the arts and those who are called to them—the gatekeeping function of galleries, critics, investors, and yes—schools of art, which combine to work from earliest childhood to destroy the seed of the imaginative impulse before it can germinate—which works to marginalize, impoverish or reduce to servitude all but the smallest number of those who survive the culling—having lost its economic and political purpose, would crumble and disappear.
Aroused from the drug of the Capitalist nightmare, every artist, poet, dancer, actor, musician… would be a revolutionary
Clay coated drawing paper
In the 60’s I bought a pad of drawing paper, cream colored, clay coated. I believe it was Morilla Cameo, a paper that was used for silver point. I’ve never found anything before or since as wonderfully responsive to pencil… or to fine ink. You could use pencil as you would use a fine pen nib with ink… with all the shading and modulating power of pencil.
Here are two drawings, the first, from 1969 (crow quill), the second, from 1970 (pencil). I’ve searched in vain trying to find paper like this. If you know where I might find it, please let me know.
Post script: my suspicions were right-that this paper was intended for SilverPoint. Here’s a wonderful site with information on technique, materials and contemporary silverpoint artists.
x
Color test, with mat
Doesn’t look bad matted! OMG, I love the vibrancy of water colors! Sitting over my drawing table, they just sing! I think I will be spending more time with water colors — perfect antidote to winter blahs!
Color study: Y O R blue
Working with dominant/subordinate field reversal, where I wanted yellow orange and red for the dominant field, and blue as the accent. An attempt with acrylic was a failure. MUCH easier the other way around, where the warm colors are the accents and blue is the dominant field. I got a nice sheet of Fabriano 140 lb cp yesterday. Cut it up for 5×7 and 8×10 pieces, leaving myself 5 6×3 pieces and a 22″ strip for testing color swatches and combinations.
Here are two… still a difficult combination (though pretty close to what I have in #412) Need to think carefully about the design. And I can’t use red the way I would in acrylic or oil…tends to pink with water color. I could use it dry, almost impasto, in tiny spots, I suppose. Here are two of the 3×6 trials. I’ve posed a problem for myself… think I need to dream on this!
Fight Climate Change!
Support the Experimental Farm Network!
The Experimental Farm Network (EFN) aims to fight global climate change and ensure food security far into the future by facilitating collaboration on plant breeding and other agricultural research.
Founded in 2013 by Nate Kleinman & Dusty Hinz, the EFN is presently composed of over 200 participants: farmers and gardeners, plant breeders and researchers, amateurs and professionals alike. The network is not-for-profit, based on open-source principles, and dedicated to social justice.
All are welcome and encouraged to join. Read more, and learn how you can donate! HERE
EFN exists because our agricultural system is broken. As a society, we no longer grow crops primarily for human consumption, but as commodities. We don’t farm in harmony with the environment, but in ways that harm it. We’ve stopped breeding plants for resilience, taste, and nutritional value: instead we genetically engineer and patent them to maximize corporate profits.
To take back our food system, we’ll need to marshall an army of volunteers to counter the power of the multinational corporations. We’ll need to develop more agricultural cooperatives and strong regional economies like those that thrived before industrialization. And we’ll need to develop carbon-sequestering perennial staple crops (including grains and oilseeds) and more sustainable growing systems & practices in harmony with the natural world.
Jacob Russell's Magic Names 