<?xml version="1.0" encoding="UTF-8"?><rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:wfw="http://wellformedweb.org/CommentAPI/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" xmlns:slash="http://purl.org/rss/1.0/modules/slash/" > <channel> <title>creativity Archives - Elaine Cimino Studios</title> <atom:link href="https://www.elaineciminostudios.com/tag/creativity/feed/" rel="self" type="application/rss+xml" /> <link>https://www.elaineciminostudios.com/tag/creativity/</link> <description>Fine art, giclee prints, drawing programs</description> <lastBuildDate>Wed, 08 Jul 2020 15:32:51 +0000</lastBuildDate> <language>en-US</language> <sy:updatePeriod> hourly </sy:updatePeriod> <sy:updateFrequency> 1 </sy:updateFrequency> <generator>https://wordpress.org/?v=6.7.2</generator> <item> <title>Earthscapes Series and US Artists Projects</title> <link>https://www.elaineciminostudios.com/earthscapes-series-and-us-artists-projects/</link> <dc:creator><![CDATA[elaine]]></dc:creator> <pubDate>Tue, 26 Feb 2013 16:37:19 +0000</pubDate> <category><![CDATA[Abstract Works]]></category> <category><![CDATA[Blog]]></category> <category><![CDATA[Giclee Prints]]></category> <category><![CDATA[creative spirit]]></category> <category><![CDATA[creativity]]></category> <category><![CDATA[Earthscapes Series]]></category> <category><![CDATA[Fine Art]]></category> <category><![CDATA[New Mexico Artists]]></category> <category><![CDATA[painting]]></category> <category><![CDATA[USA projects]]></category> <guid isPermaLink="false">https://www.elaineciminostudios.com/?p=2651</guid> <description><![CDATA[<p>I am working on a new series of paintings called, “Earthscapes. The Earthscapes painting project creates a new series of 7 large format paintings that conceptualizes and contextualizes our relationship to water and its effects on society. The essence of my painting is landscape that discovers the effects of water and evokes the sense of place. […]</p> <p>The post <a href="https://www.elaineciminostudios.com/earthscapes-series-and-us-artists-projects/">Earthscapes Series and US Artists Projects</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></description> <content:encoded><![CDATA[<p>I am working on a new series of paintings called, “Earthscapes.</p> <p>The Earthscapes painting project creates a new series of 7 large format paintings that conceptualizes and contextualizes our relationship to water and its effects on society. The essence of my painting is landscape that discovers the effects of water and evokes the sense of place. The Evolutionary Landscape Series has been the focus of my artwork and Earthscapes has evolved o</p> <p>ut of this work. In this project focus on imagery of satellite and microcosms view points of landscape and human relationships to it, and the behavior that has altered the ability for the Earth’s systems to cool the planet and my work will address the repercussions of action and inaction of the crisis.</p> <p>I will blog updates and thoughts on process as I move forward with this new journey. Please join me on www.USAprojects.com and help support this endeavor.</p> <p> </p> <p>The post <a href="https://www.elaineciminostudios.com/earthscapes-series-and-us-artists-projects/">Earthscapes Series and US Artists Projects</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></content:encoded> </item> <item> <title>Upcoming Spring 2013 Art Workshops in ABQ</title> <link>https://www.elaineciminostudios.com/upcoming-spring-2013-art-workshops-in-abq/</link> <dc:creator><![CDATA[elaine]]></dc:creator> <pubDate>Thu, 10 Jan 2013 22:22:53 +0000</pubDate> <category><![CDATA[Announcements]]></category> <category><![CDATA[Blog]]></category> <category><![CDATA[Workshops and Classes]]></category> <category><![CDATA[Albuquerque art Classes]]></category> <category><![CDATA[creative spirit]]></category> <category><![CDATA[creativity]]></category> <category><![CDATA[learn mixed media resiste techniques]]></category> <category><![CDATA[learn painting]]></category> <category><![CDATA[learn pastels]]></category> <category><![CDATA[painting]]></category> <category><![CDATA[Watercolor Classes Albuquerque]]></category> <guid isPermaLink="false">https://www.elaineciminostudios.com/?p=2618</guid> <description><![CDATA[<p>There are several classes being offered for adults at the North Valley and Highland Senior Centers. Please see our web page and sign up. You can pay for the class online or come to class and pay. Please remember to sign up if you are interested. We try to have at least 3 people and the […]</p> <p>The post <a href="https://www.elaineciminostudios.com/upcoming-spring-2013-art-workshops-in-abq/">Upcoming Spring 2013 Art Workshops in ABQ</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></description> <content:encoded><![CDATA[<a href="http://www.elaineciminostudios.com/blog/upcoming-spring-2013-art-workshops-in-abq/attachment/flower-of-georgia-okeeffe-2/" rel="attachment wp-att-2425"></a><p id="caption-attachment-2425" class="wp-caption-text">Study of Georgia Okeefe painting usine Pastel and Watercolor</p> <p>There are several classes being offered for adults at the North Valley and Highland Senior Centers. Please see our <a href="http://www.borntodraw.com/workshop_categories/upcoming/">web page and sign up</a>. You can pay for the class online or come to class and pay. Please remember to sign up if you are interested. We try to have at least 3 people and the limit is 8 people per class. Classes may cancel if we do not have the attendance needed. Whether you are experienced or a beginner you are welcome. Depending on the experience of the class each lesson will be geared towards the students interest.</p> <p>The workshops covers primarily landscape painting however, if you are interested in figurative work I can work with you on your projects. Consider working on at least two painting while in attendance.</p> <p>If you have taken the program before come back and work on another project.</p> <p>Below are the links for the North Valley Senior Center fliers:</p> <p><a href="http://www.borntodraw.com/wp-content/uploads/2013/01/painting_w_soft_pastels_flyer_NVSC.pdf">painting_w_soft_pastels_flyer_NVSC</a></p> <p><a href="http://www.borntodraw.com/wp-content/uploads/2013/01/Mixed-Media_flyer_NVSC.pdf">Mixed Media_flyer_NVSC</a></p> <p><a href="http://www.borntodraw.com/wp-content/uploads/2013/01/Watercolor_pastel_class_flyer_NVSC.pdf">Watercolor_pastel_class_flyer_NVSC</a></p> <p><a href="http://www.borntodraw.com/wp-content/uploads/2013/01/Watercolor_Resist_flyer_NVSC.pdf">Watercolor_Resist_flyer_NVSC</a></p> <p>Below are the links for the Highland Senior Center fliers:</p> <p><a href="http://www.borntodraw.com/wp-content/uploads/2013/01/painting_w_soft_pastels_flyer_HSC.pdf">painting_w_soft_pastels_flyer_HSC</a></p> <p><a href="http://www.borntodraw.com/wp-content/uploads/2013/01/Watercolor_pastel_class_flyer_HSC.pdf">Watercolor_pastel_class_flyer_HSC</a></p> <p><a href="http://www.borntodraw.com/wp-content/uploads/2013/01/Watercolor_Resist_flyer_HSC.pdf">Watercolor_Resist_flyer_HSC</a></p> <p>Remember to sign up so we know that you are interested in the program.</p> <p>The post <a href="https://www.elaineciminostudios.com/upcoming-spring-2013-art-workshops-in-abq/">Upcoming Spring 2013 Art Workshops in ABQ</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></content:encoded> </item> <item> <title>Warhol Warhol Everywhere</title> <link>https://www.elaineciminostudios.com/2578/</link> <dc:creator><![CDATA[elaine]]></dc:creator> <pubDate>Fri, 23 Nov 2012 20:42:33 +0000</pubDate> <category><![CDATA[Blog]]></category> <category><![CDATA[artwork]]></category> <category><![CDATA[creative spirit]]></category> <category><![CDATA[creativity]]></category> <category><![CDATA[drawing]]></category> <category><![CDATA[Elaine Cimino]]></category> <category><![CDATA[Fine Art]]></category> <category><![CDATA[giclee print]]></category> <category><![CDATA[woodblock print]]></category> <guid isPermaLink="false">https://www.elaineciminostudios.com/?p=2578</guid> <description><![CDATA[<p>BY Rachel Wolff A quarter century after Andy Warhol’s death, his work resonates more than ever. Several museum exhibitions are focusing on his influence in painting, photography, film, performance, and more Deborah Kass, 16 Barbras (The Jewish Jackie Series), 1992, a Warhol-inspired series with wit and irony added COURTESY THE ARTIST AND PAUL KASMIN GALLERY, NEW […]</p> <p>The post <a href="https://www.elaineciminostudios.com/2578/">Warhol Warhol Everywhere</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></description> <content:encoded><![CDATA[<p>BY <a href="http://www.artnews.com/author/rachel_wolff/">Rachel Wolff</a></p> <p>A quarter century after Andy Warhol’s death, his work resonates more than ever. Several museum exhibitions are focusing on his influence in painting, photography, film, performance, and more</p> <p><a href="http://www.elaineciminostudios.com/giclee-prints/2578/attachment/0904-300x249/" rel="attachment wp-att-2579"></a></p> <p>Deborah Kass, 16 Barbras (The Jewish Jackie Series), 1992, a Warhol-inspired series with wit and irony added</p> <p>COURTESY THE ARTIST AND PAUL KASMIN GALLERY, NEW YORK.</p> <p>“The worst thing that could happen to you after the end of your time would be to be embalmed and laid up in a pyramid,” Andy Warhol wrote in his 1975 book The Philosophy of Andy Warhol (From A to B and Back Again). “[I] like the idea of people turning into sand or something, so the machinery keeps working after you die. … I guess disappearing would be shirking work that your machinery still had left to do.”</p> <p>Few artists are so eager and able to accurately assess their legacy, but there is something eerily prescient about Warhol’s grainy conception of death. His machinery, it seems, is still very much ticking away. His themes, processes, personas, and approach to making art are evident in everything from the ready-mades and Pop portraits of his direct descendents to the work of some of the most boundary-pushing conceptualists, abstract painters, and video artists working today.</p> <p>With his Factory, his Marilyns, his films, and his many riffs on banality, seriality, and kitsch, “Andy knocked down obstacles that no one ever thought about before,” says critic Arthur Danto, who has written extensively on Warhol’s work. “What Andy did is far more innovative than anything else I can think of. Andy did commonplace things, and yet he did them in a way and in a number that has nothing really quite like it. Everything he did was different.”</p> <p>Which is why 50 years after his public debut and 25 years since his untimely death, Warhol remains, some would argue, the major touchstone for contemporary art. “He’s like Picasso in the sense that you just don’t run out,” says Jeffrey Deitch, director of the <a href="http://moca.org/">Museum of Contemporary Art</a>, Los Angeles. “He has become one of the most influential people in all of contemporary culture. You see the influence in painting, sculpture, performance, photography, film, even journalism. Life as performance, life as art, reality TV—it’s all Warhol’s world.”</p> <p>Several recent exhibitions have taken up the charge as well, most notably this fall’s blockbuster-scaled “<a href="http://www.metmuseum.org/en/exhibitions/listings/2012/regarding-warhol">Regarding Warhol: Sixty Artists, Fifty Years</a>,” opening September 18 at the Metropolitan Museum of Art, which will travel to the <a href="http://www.warhol.org/">Andy Warhol Museum</a> in Pittsburgh next year. The works on view span several generations and nearly all media. They demonstrate the wide variety of ways in which artists have ingested Warhol’s politics, practices, and Pop-friendly fixations and spit them out to express new zeitgeists, new anxieties, and candidly personal points of view.</p> <p>In “Regarding Warhol,” the artist’s soup cans and <a href="http://edu.warhol.org/aract_brillo.html">Brillo boxes</a> have given way to Coca-Cola-emblazoned Neolithic urns by Ai Weiwei, as well as Tom Sachs’s luxury-branded weaponry, and Damien Hirst’s bountiful cabinets of prescription drugs. Warhol’s Marilyns, Jackies, and Maos have been recast as Maurizio Cattelan’s topless supermodel-turned-art-collector Stephanie Seymour, Elizabeth Peyton’s elegiac renderings of Kurt Cobain, and Luc Tuymans’s steely depiction of Condoleezza Rice. And the Factory has been mirrored in the production methods of Neo-Pop masters, like Takashi Murakami and Jeff Koons.</p> <p>The loan-heavy exhibition stemmed from a sentence that cocurator Mark Rosenthal says he kept encountering in conversations, articles, and books: Warhol is the most important artist of the last 50 years. “I thought it would be kind of amazing to see what that looks like,” he says. “He’s with us whether you love him or hate him, and in so much of the work that’s been produced since. Because of Warhol, everything changed.”</p> <p>“Certain people bend the course of art history,” agrees Chuck Close, whose 1969 Phil, a colossal rendering of composer Philip Glass, is in the show. “Somehow, they deflect it from the direction in which it was going and send it off somewhere new,” Close continues. “They make something so surprising that it doesn’t look like art.” Until, eventually, what they’ve made starts to define it.</p> <p>Warhol’s most obvious legacy is his astute appropriation of mass-produced products.</p> <a href="http://www.elaineciminostudios.com/giclee-prints/2578/attachment/andy-2/" rel="attachment wp-att-2580"></a><p id="caption-attachment-2580" class="wp-caption-text">Andy — Woodblock print on Archival BFK paper 18″x24″ by Elaine Cimino I am my Face series</p> <p>Of course, he was not the first artist to use everyday imagery and ephemera in his work. He was predated by Marcel Duchamp, with his ready-mades, and then Jasper Johns and Robert Rauschenberg, who, in the late 1950s, were estheticizing and recontextualizing objects from their everyday lives. But Warhol’s hard-edged, brand-savvy, serial approach was quite different.</p> <p>“For me, the art world in the 1960s really broke down into two notions about figuration,” Close says. “There were those people who were trying to breathe new life into what was essentially 19th-century portraiture versus those people who were intent on making a truly modernist form of figuration.” Warhol, he adds, really “kicked the door open for an intelligent, forward-looking, modern kind of painting.”</p> <p>The trajectory begins in 1962. It was the year of the first Coca-Cola bottles, the first soup cans, the first Marilyns, and Warhol’s groundbreaking exhibitions at the Ferus gallery in Los Angeles and the Stable Gallery in New York. Reverberations were felt throughout the art world almost immediately. Whether his contemporaries realized it or not, something was, indeed, in the air.</p> <p>Edging toward banality themselves, John Baldessari and Ed Ruscha immortalized their local gas stations in the mid-’60s and Vija Celmins made photorealist paintings of catastrophic imagery pulled from the news, shortly after Warhol debuted his own “death and disaster” series. “I don’t know whether Andy Warhol was so much an influence,” she told “Regarding Warhol” co-curator Marla Prather in an interview to be published in the exhibition catalogue. “But, in retrospect, I can see that . . . his influence must’ve been everywhere.”</p> <p>Indeed, by the 1970s, Warhol was a household name whose factorylike take on fine art prefigured current studio practices and today’s staggering market demands. But his singular approach to found imagery and appropriation also set the stage for the Pictures Generation, argues Prather, from Richard Prince’s Marlboro men to Cindy Sherman’s self-styled Hollywood film stills to Louise Lawler and Sherrie Levine’s loaded snapshots of other people’s art. “Appropriation may have been more or less invented by Duchamp,” Rosenthal says. “But it hadn’t really been dealt with much since. Warhol turned it into a movement.”</p> <p>Rosenthal and his colleagues are also looking at some of the less expected Warholian threads that have populated his intergenerational wake: abstraction, identity politics, and sex. Of the latter, Prather insists, “You couldn’t have Nan Goldin without Andy Warhol.”</p> <p>Films like Blow Job (1964) and Lonesome Cowboys (1968), as well as the screen-printed Thirteen Most Wanted Men (1964), which cleverly suggested that the FBI’s hit list was somehow akin to Warhol’s own, granted a sort of permission “to come out of the artist’s closet,” she adds. “When you think about artists like Rauschenberg and Johns, that work is much more coded in terms of gay issues and lovers.”</p> <p>In this sense, Warhol paved the way for photographers like Robert Mapplethorpe and Catherine Opie. Prather also draws a connection between Warhol and the ambisexual characters in video works by younger artists like Ryan Trecartin and Kalup Linzy.</p> <p>As for identity politics, Warhol’s famously indifferent demeanor was also famously a front—he loved his mother, he regularly went to church, and, like most of us, he wished he looked like a movie star. It’s a reading of Warhol that Brooklyn artist Deborah Kass spent years tackling in her practice. “I consider Andy’s work to be really autobiographical, very deeply felt, and the opposite of everything he said about it,” says Kass, who is in the Met show and has a major midcareer retrospective opening October 27 at the Andy Warhol Museum.</p> <p>In “The Warhol Project” (1992–2000) the artist cast her personal icons—most notably, Barbra Streisand—in several Warholian motifs and roles. Streisand appears in a string of tightly cropped, screen-printed profiles, and in a series of paintings, called “My Elvis,” which portray the diva multiplied on canvas in her cross-dressing Yentl garb.</p> <p>As a Jewish girl growing up on Long Island, Kass explains, “Barbra was the first Hollywood star I could identify with. I loved Marilyn Monroe, I loved Clark Gable, but I didn’t know what I was missing until I saw Barbra—someone who looked like everyone I knew. She was someone who understood the power of her difference and who wasn’t easily absorbed into a male narrative. She was completely aspirational.”</p> <p>It was a way of identifying with Warhol and “his outsiderness,” she says. In that sense, his style and character became something of a tool. She adds, “I could use it to say what I wanted to say.”</p> <p>Meanwhile, MOCA director Deitch is leading the way in positioning Warhol as a major progenitor of today’s foremost riffs on abstraction. He mounted a group show at the museum this summer featuring works by a dozen or so contemporary abstract artists—Tauba Auerbach, Mark Bradford, and Wade Guyton among them. Auerbach showed a handful of her acrylic-on-canvas “Fold” pieces—photorealistic renderings of creased and crumpled fabrics that, from a distance, look like abstract tableaux. Bradford presented a series of his signature collages composed of flyers, scraps, and other detritus collected in sociopolitical hot zones like South Central Los Angeles, and Guyton showed several new impressions on linen. Guyton’s cleverly conceived works use an inkjet printer’s inadvertent streaks and hiccups to produce stark, abstract effects.</p> <p>Titled “The Painting Factory: Abstraction After Warhol,” the exhibition made the argument that many of the most pervasive trends in abstraction today are firmly rooted in Warhol’s work. His screen-printed shadows, his camouflage paintings, and his 1980s renderings of Rorschach blots were all representational endeavors in practice that, on the surface, appear abstract.</p> <p>“It’s the mechanical approach, the mediation, the ability to embed social or personal content into an abstract image,” Deitch says. “Even though he wasn’t a pretentious philosopher, Warhol was very conscious of his contributions to a new way of thinking.”</p> <p>Either that, or it’s all just a self-fulfilling prophecy, a posthumous extension of Warhol’s own 15 minutes of fame. As Guyton put it, “It’s like he has a PR firm on retainer after death.”</p> <p>Rachel Wolff is a New York–based critic, writer, and editor.</p> <p>Copyright 2012, ARTnews LLC, 48 West 38th St 9th FL NY NY 10018. All rights reserved.</p> <p>The post <a href="https://www.elaineciminostudios.com/2578/">Warhol Warhol Everywhere</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></content:encoded> </item> <item> <title>How smart can we get?</title> <link>https://www.elaineciminostudios.com/how-smart-can-we-get/</link> <dc:creator><![CDATA[elaine]]></dc:creator> <pubDate>Thu, 25 Oct 2012 20:23:05 +0000</pubDate> <category><![CDATA[Blog]]></category> <category><![CDATA[creative spirit]]></category> <category><![CDATA[creativity]]></category> <category><![CDATA[intuition]]></category> <guid isPermaLink="false">https://www.elaineciminostudios.com/?p=2559</guid> <description><![CDATA[<p>Watch How Smart Can We Get? on PBS. See more from NOVA scienceNOW. This is a great series about what it means to be smart. What were the circumstances that grew Einstein’s brain? Nurture creates nature vs. nature creates nurture. The hypothesis is that playing a musical instrument (the Violin in Einstein’s Case) helps to access intuition. How […]</p> <p>The post <a href="https://www.elaineciminostudios.com/how-smart-can-we-get/">How smart can we get?</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></description> <content:encoded><![CDATA[<p>Watch <a href="http://video.pbs.org/video/2293519817" target="_blank" rel="noopener noreferrer">How Smart Can We Get?</a> on PBS. See more from <a href="http://www.pbs.org/wgbh/nova/sciencenow/" target="_blank" rel="noopener noreferrer">NOVA scienceNOW.</a></p> <p>This is a great series about what it means to be smart. What were the circumstances that grew Einstein’s brain?</p> <p><a href="http://www.elaineciminostudios.com/blog/how-smart-can-we-get/attachment/how-do-you-get-a-genius-brain/" rel="attachment wp-att-2562"></a>Nurture creates nature vs. nature creates nurture. The hypothesis is that playing a musical instrument (the Violin in Einstein’s Case) helps to access intuition.</p> <p>How creativity and creative thought manifests ways of conceptualizations that can be attributed to problem solving. The actual act of creating art and focus on problem solving allows people to enter the “Zone”</p> <p>Thus allowing for processes to appear, emerge to the top and to access other intelligences and perhaps intuition itself. Musicians that learn to play an Instrument as a young person developed “bumps” on the brain that may increase intuitive thought.</p> <p>Growing the brain is important and to keep it in shape mandatory.</p> <p>The post <a href="https://www.elaineciminostudios.com/how-smart-can-we-get/">How smart can we get?</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></content:encoded> </item> <item> <title>Watercolors by Gerhard Richter</title> <link>https://www.elaineciminostudios.com/watercolors-by-gerhard-richter/</link> <dc:creator><![CDATA[elaine]]></dc:creator> <pubDate>Tue, 04 Sep 2012 18:26:10 +0000</pubDate> <category><![CDATA[Blog]]></category> <category><![CDATA[art blog]]></category> <category><![CDATA[art education]]></category> <category><![CDATA[artwork]]></category> <category><![CDATA[creativity]]></category> <category><![CDATA[Galleries]]></category> <category><![CDATA[Studio Art]]></category> <guid isPermaLink="false">https://www.elaineciminostudios.com/?p=2548</guid> <description><![CDATA[<p>I am posting the biography for Richter that is on his website along with links, one of which is the link to the 250 abstract and portrait watercolors Richter has created. It is my hope that my students view his works to see the great body of work that he has cultivated over his life. […]</p> <p>The post <a href="https://www.elaineciminostudios.com/watercolors-by-gerhard-richter/">Watercolors by Gerhard Richter</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></description> <content:encoded><![CDATA[<p>I am posting the biography for Richter that is on his website along with links, one of which is the link to the 250 abstract and portrait watercolors Richter has created. It is my hope that my students view his works to see the great body of work that he has cultivated over his life. i am a fan of his work and only hope I have the opportunity to view his work once again.</p> <p>His current exhibtion, “Seven Works” at the <a href="http://www.portlandartmuseum.org/gerhardrichter">Portland Museum</a> is closing Spetember 9th 2012.</p> <p>An important group of paintings from the Gray Series by this post-World War II German artist, Richter positions painting as a formally reductive and sensuously rich experience through these groundbreaking works from the late 1960s to mid-1970s. — Curated by Bruce Guenther, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art.</p> <p>“I blur things to make everything equally important and equally unimportant. I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information.” Gerhard Richter</p> <p><a title="Gerhard Richter Official Site" href="http://www.gerhard-richter.com/art/" target="_blank" rel="noopener noreferrer">http://www.gerhard-richter.com/art/</a></p> <p><a title="250 watercolors by Gerhard Richter" href="http://www.gerhard-richter.com/art/watercolours/detail.php?13859" target="_blank" rel="noopener noreferrer">http://www.gerhard-richter.com/art/watercolours/detail.php?13859</a></p> <p>Richter in the 21st Century: Real and Tangible Accomplishments</p> <p>“Well, after this century of grand proclamations and terrible illusions, I hope for an era in which real and tangible accomplishments, and not grand proclamations, are the only things that count.”1 At the turn of the millennium, Richter was increasingly focussed on his Abstract Paintings, with three paintings of his young son Moritz (<a title="" href="http://www.gerhard-richter.com/art/search/?title=moritz&number=863" target="_blank" rel="noopener noreferrer">CR: 863/1-3</a>) notable exceptions to this trend. Transparency, translucency, opacity and reflection were still clearly subjects with which the artist was engaging at this time, almost a decade since his last concerted period to have addressed them. Eight Grey in 2001 (<a title="" href="http://www.gerhard-richter.com/art/search/detail.php?10510" target="_blank" rel="noopener noreferrer">CR: 874/1-8</a>) heralded a number of works the following year that brought glass to centre stage. Works such as Pane of Glass (<a title="" href="http://www.gerhard-richter.com/art/search/detail.php?10512" target="_blank" rel="noopener noreferrer">CR: 876-1</a>), 4 Standing Panes (<a title="" href="http://www.gerhard-richter.com/art/search/detail.php?10513" target="_blank" rel="noopener noreferrer">CR: 877-1</a>) and 7 Standing Panes (<a title="" href="http://www.gerhard-richter.com/art/search/detail.php?10636" target="_blank" rel="noopener noreferrer">CR: 879-1</a>) demonstrated an interest in pushing wall-based works into the realm of the sculptural.</p> <p>2002 was also a significant year for Richter due to his major retrospective exhibition Forty Years of Painting at MoMA in New York. Curated by Robert Storr, the exhibition featured 190 works, and accompanied by a seminal catalogue, was one of the most comprehensive exhibitions of Richter’s works of his career. It was also the exhibition that confirmed Richter’s status as one of the leading artists in the world, and was described by Storr in his introduction as “long overdue” in the United States.2</p> <p>In 2003 Richter embarked on a small but substantially sized series of paintings entitledSilicate (<a title="" href="http://www.gerhard-richter.com/art/search/?number=885" target="_blank" rel="noopener noreferrer">CR: 885/1-4</a>) inspired by an article in the Frankfurter Allgemeine Zeitung from 12 March 2003 about the shimmering qualities of certain insects’ bodies.3 The resulting four large paintings are perhaps the most overtly biological of the abstract works in Richter’s oeuvre, suggestive of cell formations and genetic sequences seen under the microscope.</p> <p>Richter’s next significant – and in some ways unexpected – departure came in the form of a single work depicting the attacks on the World Trade Center in New York of September 11, 2001, entitled simply September (2005; <a title="" href="http://www.gerhard-richter.com/art/search/detail.php?13954" target="_blank" rel="noopener noreferrer">CR: 891-5</a>). In a 2010 publication about the painting written by Robert Storr, the author asks: “what is the meaning of a single, small, almost abstract depiction of one of the most consequential occurrences in recent world history?”4 Depicting the explosion of United Airlines Flight 175 as it hit the South Tower, Storr’s essay describes how Richter’s painting raises and encapsulates many of the complex geo-political issues that the attacks provoked, as well as the horrendous realities of those whose lives were taken away or affected by them. The painting, whilst it carries an overwhelming sense of the enormity and significance of the event, avoids spectacularizing it, instead evoking an existential numbness, sadness and incomprehension. Described by critic Bryan Appleyard for The Sunday Times as “the closest you will get to a great 9/11 work” he goes on to assert that “It reclaims the day, leaving it exactly where it was, exactly when it happened.”5</p> <p>The following year, 2006, saw the creation of one of Richter’s most significant cycles of Abstract Paintings, Cage (<a title="" href="http://www.gerhard-richter.com/art/search/?number=897" target="_blank" rel="noopener noreferrer">CR: 897/1-6</a>). These six, large-scale canvases, described by Sir Nicholas Serota as “magisterial”6 were named after the American avant-garde composer John Cage, whom Richter had never personally met but whose work had long held a resonance with his own. In a conversation with Hans Ulrich Obrist – one of the leading interlocutors of Richter’s work since the 1990s – Richter said that he had been listening to the music of Cage whilst working in his studio at the time.7 In an interview with Jan Thorn-Prikker in 2004, Richter stated, “That’s roughly how Cage put it: ‘I have nothing to say and I am saying it.’ I have always thought that was a wonderful quote. It’s the best chance we have to be able to keep on going.”8 The concluding line in Robert Storr’s 2009 publication devoted to the series,Cage – Six Paintings by Gerhard Richter, references the Cage quote, stating: “In his own idiom, and for his own reasons, [the Cage paintings] are Richter’s beautiful way of saying nothing, and as such, of once more declaring his uncompromising independence.”9 Having been shown alongside the Bach paintings at the Museum Ludwig, Cologne, in 2008, the Cagepaintings have since been exhibited at Tate Modern, London.</p> <p>In 2007 Richter completed arguably his largest commission – a major stained glass window for Cologne Cathedral to replace a window that had been destroyed during World War II. He had been invited to undertake the commission back in 2002 and had devoted considerable time to developing and completing the project in the following five years. In notes prepared for a conference in July 2006, Richter wrote:</p> In early 2002, the master builder of the cathedral suggested that I develop a glass design for the southern window. The guiding principle was the representation of six martyrs, in keeping with the period. I was, of course, very touched to have such an honour bestowed upon me, but I soon realised I wasn’t at all qualified for the task. After several unsuccessful attempts to get to grips with the subject, and prepared to finally concede failure, I happened upon a large representation of my painting with 4096 colours. I put the template for the design of the window over it and saw that this was the only possibility.10 <p> </p> <p>Several months later, Richter began work on a model with test patterns and a number of design concepts. He settled on a design in which 11,000 mouth-blown squares measuring 94 x 94 millimetres each were to be used, with half of these selected randomly by a computer programme, and the other half a mirror image of these. As well as an evolution of his Colour Charts and Colour works of the 1960s and 70s, the Cologne Cathedral window (<a title="" href="http://www.gerhard-richter.com/art/search/detail.php?14890" target="_blank" rel="noopener noreferrer">CR: 900</a>) was also informed by his Glass Window, 625 Colours of 1989 (<a title="" href="http://www.gerhard-richter.com/art/search/detail.php?6667" target="_blank" rel="noopener noreferrer">CR: 703</a>). The resulting window is a remarkable accomplishment, both real and tangible, and has been documented extensively in a film by Corinna Belz released in 2007.11 </p> <p>In 2008, Richter embarked on a significant body of colourful abstract work entitled Sinbad(<a title="" href="http://www.gerhard-richter.com/art/paintings/sinbad/intro.php" target="_blank" rel="noopener noreferrer">CR: 905</a>). Comprising 100 small paintings in enamel on the back of glass, Sinbad is the first series of works by Richter to allude to The Book of One Thousand and One Nights (Arabian Nights) and was followed in 2010 by Aladdin (<a title="" href="http://www.gerhard-richter.com/art/search/detail.php?14901" target="_blank" rel="noopener noreferrer">CR: 913</a>). That the artist was clearly thinking a lot about the Middle East is illustrated by the related series Baghdad (2010; <a title="" href="http://www.gerhard-richter.com/art/search/?number=914" target="_blank" rel="noopener noreferrer">CR: 914</a>) andAbdallah (2010; <a title="" href="http://www.gerhard-richter.com/art/search/?number=917" target="_blank" rel="noopener noreferrer">CR: 917</a>). Taking up some of the brighter palettes he had explored in the abstract works of the late 1970s and early 1980s, Sinbad is a rich, joyous journey through colour and abstraction.</p> <p>One of Richter’s most recent new avenues for the exploration of abstraction and colour takes the form of stripes. A work entitled Strip (2011; <a title="" href="http://www.gerhard-richter.com/art/search/?number=920" target="_blank" rel="noopener noreferrer">CR: 920</a>), consisting of a digital print on paper mounted between aluminium and Perspex, presents dozens of long horizontal stripes of varying thickness spanning a width of three metres. It is a tantalising taste of what is still to come from one of the world’s most prolific and respected living artists, whose insatiable desire to explore the languages and possibilities of painting and image-making continues to keep him at the forefront of developments in contemporary art today. To coincide with Richter’s 80th birthday, in October 2011 a major retrospective entitled Gerhard Richter: Panoramaopened at Tate Modern, London, before touring to the Neue Nationalgalerie, Berlin, and the Centre Pompidou, Paris, in 2012.</p> <p>Prepared for www.gerhard-richter.com by Matt Price with assistance from Carina Krause, 2010-11. The text would not have been possible without the scholarship and guidance of Dietmar Elger.</p> <p> </p> <p>1 Interview with Stefan Koldehoff, 1999. Gerhard Richter: Text, p.353. 2 Storr, Forty Years of Painting, p.13. 3 Elger, A Life in Painting, p.348. 4 Robert Storr, September: A History Painting by Gerhard Richter, Tate Publishing, 2010, p.43. 5 Bryan Appleyard, The Sunday Times, Culture, 28.08.11, p.11. 6 Sir Nicholas Serota in the foreword to Cage: Six Paintings by Gerhard Richter, Tate Publishing, 2009, p.6. 7 Robert Storr, Cage: Six Paintings by Gerhard Richter, Tate Publishing, 2009, p.54. 8 Interview with Jan Thorn-Prikker, 2004, Gerhard Richter: Text, p.478. 9 Storr, Cage: Six Paintings by Gerhard Richter, Tate Publishing, 2009, p.86. 10 Gerhard Richter, Notes for a press conference, 28 July 2006, Gerhard Richter: Text, p.518. 11 The film is entitled Das Kölner Domfenster (The Cologne Cathedral Window). In German with English and French subtitles, the film is produced by WDR/arte and zero one film, distributed by Buchhandlung Walther König.</p> <p>The post <a href="https://www.elaineciminostudios.com/watercolors-by-gerhard-richter/">Watercolors by Gerhard Richter</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></content:encoded> </item> <item> <title>Germans Embrace Artist as a Homegrown Hero</title> <link>https://www.elaineciminostudios.com/germans-embrace-artist-as-a-homegrown-hero/</link> <dc:creator><![CDATA[elaine]]></dc:creator> <pubDate>Tue, 04 Sep 2012 17:53:50 +0000</pubDate> <category><![CDATA[Blog]]></category> <category><![CDATA[creativity]]></category> <category><![CDATA[Fine Art]]></category> <category><![CDATA[Gerhard Richter]]></category> <category><![CDATA[painting]]></category> <guid isPermaLink="false">https://www.elaineciminostudios.com/?p=2540</guid> <description><![CDATA[<p>Richter is one of my faves This exhibition took place earlier this year. The last time I saw a Richter painting was at the Lannan Foundation in Los Angeles some 25 years ago. The images is stil fresh in my nimd. the he play with surface and imagery amazes me and he is my painter’s […]</p> <p>The post <a href="https://www.elaineciminostudios.com/germans-embrace-artist-as-a-homegrown-hero/">Germans Embrace Artist as a Homegrown Hero</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></description> <content:encoded><![CDATA[Richter is one of my faves <p>This exhibition took place earlier this year. The last time I saw a Richter painting was at the Lannan Foundation in Los Angeles some 25 years ago. The images is stil fresh in my nimd. the he play with surface and imagery amazes me and he is my painter’s painter. If you ever get the chance to see a Richter painting the travel is worth the time. It is no wonder that people are undaunted by the elements to see his work. I agree he is one of the best. Read and enjoy.</p> <p>Posted under the Creative Commons License 4.0 attribution.</p> By <a title="More Articles by Nicholas Kulish" href="http://topics.nytimes.com/top/reference/timestopics/people/k/nicholas_kulish/index.html?inline=nyt-per" rel="author">NICHOLAS KULISH</a> <a href="http://www.elaineciminostudios.com/blog/germans-embrace-artist-as-a-homegrown-hero/attachment/20richter-tobias-schwartz-reuters/" rel="attachment wp-att-2541"></a><p id="caption-attachment-2541" class="wp-caption-text">Photo Credit- Tobias Schwartz- Reuters</p> <p>BERLIN — Undaunted by the layer of snow crunching underfoot, hundreds of art enthusiasts stood in a line stretching halfway around the Neue Nationalgalerie on a recent morning here, eager to see the <a title="More articles about Gerhard Richter." href="http://topics.nytimes.com/top/reference/timestopics/people/r/gerhard_richter/index.html?inline=nyt-per">Gerhard Richter</a> retrospective.</p> <p>“He’s the greatest living German painter,” said Monika Dietz, 60, an eye doctor from Berlin, when asked why she was braving subfreezing temperatures to see the Richter show. “With everything I’ve heard and read and seen about how important he is, I wanted to see for myself.”</p> <p>Mr. Richter is one of the leading figures in the art world, and the retrospective, “Gerhard Richter: Panorama,” is the latest entry in the rising tide of blockbuster exhibitions, of art as event. Yet even by those already high standards the blitz of publicity and fawning praise here has soared past positive reviews toward the heights of canonization.</p> <p>A series of exhibitions, coinciding with Mr. Richter’s 80th birthday this month, have certified his transformation from a challenging but highly successful artist known for painting abstract as well as figurative works to a one-size-fits-all national treasure in <a title="More news and information about Germany." href="http://topics.nytimes.com/top/news/international/countriesandterritories/germany/index.html?inline=nyt-geo">Germany</a>, even if the treasure himself — a shy, serious man known for avoiding the limelight — doesn’t fit the mold.</p> <p>Two newspapers, Die Welt and Berliner Morgenpost, published special sections dedicated to Mr. Richter’s career. The Süddeutsche Zeitung called him the world’s “most influential contemporary painter.” The tabloid Bild, Germany’s highest-circulation daily, known for its conservative, populist bent, called Mr. Richter “an artist of superlatives: the most expensive, the greatest, the most famous.”</p> <p>Undoubtedly the “most expensive” superlative contributes to the mainstream attention. Mr. Richter has lately commanded prices at auction that are extraordinarily high for a living artist, selling one abstract painting at Sotheby’s in November for $20.8 million. He has repeatedly called the sums his works fetch “absurd,” but that has only added to the attention.</p> <p>Mr. Richter’s biography reads as though tailor made to fit Germany’s 20th-century historical narrative. Born in Dresden in 1932, one year before Hitler took power, he left East Germany for the West in 1961, the year the <a title="More articles about Berlin Wall." href="http://topics.nytimes.com/top/reference/timestopics/subjects/b/berlin_wall/index.html?inline=nyt-classifier">Berlin Wall</a> went up, and never saw his parents again.</p> <p>But his superstardom here does not stem just from a resonant back story. The retrospective, which runs through May 13, shows off his versatility, as well as his ample talent and ambition, in haunting portraits and paintings of orderly blocks of color facing enormous abstract canvases slathered with layer upon layer of paint. And his paintings of photographs, once questioned by purists, now seem to have prefigured a Tumblr and Facebook era in which finding, posting and recycling images are an everyday activity.</p> <p>“Everyone is in an archival roller-coaster process of picture language,” said the photographer Thomas Struth, who studied under Mr. Richter in the 1970s. “That almost seems to have been embedded in Gerhard’s work, as if he had foreseen the process which was going to happen 40 years later.”</p> <p>In addition to the retrospective at the Neue Nationalgalerie (or New National Gallery) those interested in Mr. Richter’s source material can travel to a museum in Dresden to view his “Atlas,” a compilation, decades in the making, of more than 8,000 sketches, clippings and photographs used to create his works, a monumental archive as exhibition. Back in Berlin a private collection, the me Collectors Room Berlin, is exhibiting the complete collection of Mr. Richter’s prints and editions of photographs.</p> <p>There will be a lecture series here and weekly screenings of the 2011 documentary “Gerhard Richter Painting,” an understated film with long scenes of the artist at work on abstract canvases.</p> <p>“He’s being treated like a German hero; he has a stand-alone position right now,” said Holger Liebs, editor in chief of Monopol, a leading German art magazine. This month Monopol ran an article about a year in Mr. Richter’s life and a series of previously unpublished photographic self-portraits from 1966, including cover images of his face frozen in contortions with strips of tape.</p> <p>Mr. Liebs pointed to a 2002 Richter retrospective at the Museum of Modern Art as a turning point not only in Mr. Richter’s reception in the United States but also in how he was perceived at home. “When Germans leave the country and get recognition elsewhere, everyone loves them even more here,” Mr. Liebs said.</p> <p>The Modern acquired Mr. Richter’s controversial cycle of paintings inspired by the suicides of members of the left-wing terrorist group the Red Army Faction. The series of 15 somber, gray atmospheric canvases, known as “October 18, 1977” for the day their bodies were discovered, had evoked strong, often critical reactions in Germany.</p> <p>When the current retrospective opened last year in its first incarnation, at the Tate Modern in London, the paintings from that cycle were part of the show. In Berlin they are displayed separately in the Alte Nationalgalerie, in a room that “normally houses works from the era of German Romanticism, works infused with patriotism after the victory over Napoleon in 1815,” according to the exhibition text.</p> <p>There the pictures, the text says, “can clearly be seen in the art-historical context of history painting.” These paintings still move Germans, but no longer prompt the kind of impassioned discussion they once did.</p> <p>“Most people who become really very good are very self-critical about themselves,” Mr. Struth said. “To receive only this positive reaction, it’s painful. You think, ‘O.K., that’s great, but what did I do wrong?’ ” He added, “Gerhard, rightly so, almost complains that everyone loves his work, which is kind of an odd feeling, but people are fascinated by celebrity, fame and money, which has very little to do with what the work is about.”</p> <p>Hundreds of journalists gathered for the news conference that opened the retrospective last week. Udo Kittelmann, director of the National Galleries, implored them not to ask Mr. Richter about the prices paid for his canvases. “It has no more novelty value, and Mr. Richter surely has more to say about his pictures than what they cost,” Mr. Kittelmann said.</p> <p>A reporter asked Mr. Richter how it felt to be “celebrated at the moment like no other artist has ever experienced,” as a “titan, an Olympian.” Mr. Richter smiled slyly and replied, “Being ignored would certainly be a lot worse.”</p> <p>“Gerhard Richter: Panorama,” through May 13 at the Neue Nationalgalerie in Berlin, is part of several related shows in Dresden and Berlin.</p> <p>The post <a href="https://www.elaineciminostudios.com/germans-embrace-artist-as-a-homegrown-hero/">Germans Embrace Artist as a Homegrown Hero</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></content:encoded> </item> <item> <title>Universal Concern that Creativity is Suffering at Work and School</title> <link>https://www.elaineciminostudios.com/universal-concern-that-creativity-is-suffering-at-work-and-school/</link> <dc:creator><![CDATA[elaine]]></dc:creator> <pubDate>Thu, 30 Aug 2012 21:52:51 +0000</pubDate> <category><![CDATA[Blog]]></category> <category><![CDATA[art blog]]></category> <category><![CDATA[art education]]></category> <category><![CDATA[Children's Art]]></category> <category><![CDATA[creative spirit]]></category> <category><![CDATA[creativity]]></category> <category><![CDATA[drawing]]></category> <category><![CDATA[Editorial Artwork]]></category> <category><![CDATA[Higher Education]]></category> <category><![CDATA[Liberal Arts Education]]></category> <category><![CDATA[painting]]></category> <category><![CDATA[Senior Center art classes Albuquerque]]></category> <category><![CDATA[Studio Art]]></category> <guid isPermaLink="false">https://www.elaineciminostudios.com/?p=2530</guid> <description><![CDATA[<p>The more research that I do I am finding that we are falling behind in our ability to be creative and support creativity at home, in schools and the workplace. Adobe released a study this past spring on how creativity is suffering. The results showed that Americans think their lack of time, money and tools […]</p> <p>The post <a href="https://www.elaineciminostudios.com/universal-concern-that-creativity-is-suffering-at-work-and-school/">Universal Concern that Creativity is Suffering at Work and School</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></description> <content:encoded><![CDATA[The more research that I do I am finding that we are falling behind in our ability to be creative and support creativity at home, in schools and the workplace. Adobe released a study this past spring on how creativity is suffering. The results showed that Americans think their lack of time, money and tools are barriers to creativity. Rightly so, the American system is slowly grinding the gears of conceptual and critical thought to a halt by adopting an ideology that only looks at the productivity of test scores in the educational system. This has resulted in massive cuts to teachers jobs, and is disproportionately cutting History, Physical Education and both the Visual and Performing Arts. The arts represents at least 37% of the entire population who are visual thinkers and problem solvers. This is why I am working on the Born to Draw Art Program because it is a way to bring drawing and the arts to children and adults, to get people to use their hands and minds once again. <p>See the <a href="http://www.borntodraw.com">www.borntodraw.com</a> website Let me know how we might be able to create a space where we can roll out the Born to Draw® art curriculum.</p> Universal Concern that Creativity is Suffering at Work and School <p><a href="http://www.elaineciminostudios.com/uncategorized/universal-concern-that-creativity-is-suffering-at-work-and-school/attachment/lack-of-tools-barrier-to-creativity/" rel="attachment wp-att-2531"></a>SAN JOSE, Calif. — April 23, 2012 — New research reveals a global creativity gap in five of the world’s largest economies, according to the Adobe® (Nasdaq:ADBE) <a href="http://www.adobe.com/aboutadobe/pressroom/pdfs/Adobe_State_of_Create_Global_Benchmark_Study.pdf">State of Create global benchmark study</a>. The research shows 8 in 10 people feel that unlocking creativity is critical to economic growth and nearly two-thirds of respondents feel creativity is valuable to society, yet a striking minority – only 1 in 4 people – believe they are living up to their own creative potential.</p> <p>Interviews of 5,000 adults across the United States, United Kingdom, Germany, France and Japan expose surprising attitudes and beliefs about creativity, providing new insights into the role of creativity in business, education and society overall.</p> <p>Workplace Creativity Gap The study reveals a workplace creativity gap, where 75% of respondents said they are under growing pressure to be productive rather than creative, despite the fact that they are increasingly expected to think creatively on the job. Across all of the countries surveyed, people said they spend only 25% of their time at work creating. Lack of time is seen as the biggest barrier to creativity (47% globally, 52% in United States).</p> <p>Education Concerns More than half of those surveyed feel that creativity is being stifled by their education systems, and many believe creativity is taken for granted (52% globally, 70% in the United States).</p> <p>“One of the myths of creativity is that very few people are really creative,” said Sir Ken Robinson, Ph.D., an internationally recognized leader in the development of education, creativity and innovation. “The truth is that everyone has great capacities but not everyone develops them. One of the problems is that too often our educational systems don’t enable students to develop their natural creative powers. Instead, they promote uniformity and standardization. The result is that we’re draining people of their creative possibilities and, as this study reveals, producing a workforce that’s conditioned to prioritize conformity over creativity.”</p> <p><a href="http://www.elaineciminostudios.com/uncategorized/universal-concern-that-creativity-is-suffering-at-work-and-school/attachment/adobe-study-creativity-4-12pg-8/" rel="attachment wp-att-2532"></a>Creativity Rating: Japan Ranked Most Creative The study sheds light on different cultural attitudes toward creativity. Japan ranked highest in the global tally as the most creative country while, conversely, Japanese citizens largely do not see themselves as creative. Globally, Tokyo ranked as the most creative city – except among Japanese – with New York ranking second. Outside of Japan, national pride in each country is evident, with residents of the United Kingdom, Germany and France ranking their own countries and cities next in line after Japan.</p> <p>The United States ranked globally as the second most creative nation among the countries surveyed, except in the eyes of Americans, who see themselves as the most creative. Yet Americans also expressed the greatest sense of urgency and concern that they are not living up to their creative potential (United States at 82%, vs. the lowest level of concern in Germany at 64%).</p> <p>Generational and gender differences are marginal, reinforcing the idea that everyone has the potential to create. Women ranked only slightly higher than men when asked if they self-identified as creative and whether they were tapping their own creative potential.</p> <p>Four in 10 people believe that they do not have the tools or access to tools to create. Creative tools are perceived as the biggest driver to increase creativity (65% globally, 76% in the United States), and technology is recognized for its ability to help individuals overcome creative limitations (58% globally, 60% in the United States) and provide inspiration (53% globally, 62% in the United States).</p> <p>About the Adobe State of Create Study The study was produced by research firm StrategyOne and conducted as an online survey among a total of 5,000 adults, 18 years or older, 1,000 each in the United States, United Kingdom, Germany, France and Japan. Interviewing took place from March 30 to April 9. The data set for each country is nationally representative of the population of that country.</p> <p>For more information on the research results visit <a href="http://www.adobe.com/aboutadobe/pressroom/pdfs/Adobe_State_of_Create_Global_Benchmark_Study.pdf">Adobe State of Create Global Benchmark Study</a> and <a href="http://www.adobe.com/aboutadobe/pressroom/pdfs/Adobe_State_of_Create_Infographic.pdf">Adobe State of Create Infographic</a>.</p> <p>The post <a href="https://www.elaineciminostudios.com/universal-concern-that-creativity-is-suffering-at-work-and-school/">Universal Concern that Creativity is Suffering at Work and School</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></content:encoded> </item> <item> <title>Jane Addams, Education and the ‘Snare of Preparation’</title> <link>https://www.elaineciminostudios.com/jane-addams-education-and-the-snare-of-preparation/</link> <comments>https://www.elaineciminostudios.com/jane-addams-education-and-the-snare-of-preparation/#comments</comments> <dc:creator><![CDATA[]]></dc:creator> <pubDate>Fri, 13 Jul 2012 14:00:59 +0000</pubDate> <category><![CDATA[Blog]]></category> <category><![CDATA[Art education reform]]></category> <category><![CDATA[College News]]></category> <category><![CDATA[creativity]]></category> <category><![CDATA[Higher Education]]></category> <category><![CDATA[Jane Addams]]></category> <category><![CDATA[Liberal Arts]]></category> <category><![CDATA[Liberal Arts Education]]></category> <category><![CDATA[Liberal Education]]></category> <category><![CDATA[Practical Education]]></category> <category><![CDATA[Pragmatic Education]]></category> <category><![CDATA[Pragmatism]]></category> <guid isPermaLink="false">https://www.elaineciminostudios.com/?p=748</guid> <description><![CDATA[<p>  From the Blog of Michael Roth President, Wesleyan University Posted: 07/11/2012 11:39 am http://www.huffingtonpost.com/michael-roth/jane-addams-education-and_b_1665027.html?view=print&comm_ref=false Creative Commons Attribution 4.0 license Giclee Prints from the Women of Peace Series are available Recently I’ve been reading early 20th century essays by Jane Addams, the dynamic activist, social reformer and anti-war crusader. Addams is best known as one […]</p> <p>The post <a href="https://www.elaineciminostudios.com/jane-addams-education-and-the-snare-of-preparation/">Jane Addams, Education and the ‘Snare of Preparation’</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></description> <content:encoded><![CDATA[<p> </p> <p>From the Blog of <a href="http://www.huffingtonpost.com/michael-roth">Michael Roth</a></p> <p>President, Wesleyan University</p> <p>Posted: 07/11/2012 11:39 am <a href="http://www.huffingtonpost.com/michael-roth/jane-addams-education-and_b_1665027.html?view=print&comm_ref=false">http://www.huffingtonpost.com/michael-roth/jane-addams-education-and_b_1665027.html?view=print&comm_ref=false</a> Creative Commons Attribution 4.0 license</p> <a href=" http://www.elaineciminostudios.com/shop/jane-addams/"></a><p id="caption-attachment-749" class="wp-caption-text">Jane Addams portrait by Elaine Cimino from the ‘Women of Peace’ series</p> <p>Giclee Prints from the Women of Peace Series are available </p> <p>Recently I’ve been reading early 20th century essays by Jane Addams, the dynamic activist, social reformer and anti-war crusader. Addams is best known as one of the founders of Hull House, a vital educational community center for civic engagement and neighborhood improvement in Chicago. Addams was a powerful force for democratic change in America, and she was also committed to the idea that education would serve democracy by allowing us to become more understanding of alternative points of view as we worked with one another.</p> <p>Addams’ father rejected her wish to attend Smith College, where she had hoped to participate in the liberal arts education of her day. So, following intellectual success at seminary, she continued her education herself by studying some of the great works Western Culture has to offer. She also studied the industrial changes of her time, including the dramatic increases in extreme poverty and extreme wealth as the 19th century turned into the 20th (sound familiar?). But at some point she began to wonder if she was forever preparing herself for action instead of taking action. Had her education become a delaying tactic for dealing with the world?</p> <p>She relates that, when confronted with the horror of poverty in East London, what came to her mind was de Quincey’s inability to issue a warning to a couple he saw in immediate danger until he recalled the exact words from the Iliad of a warning delivered by Achilles. Addams, instead of reacting to the grave situation before her eyes, found herself thinking of de Quincey’s inability to react to a situation before his eyes. Education — knowing the Iliad, knowing de Quincy — had become an impediment to action. <a href="http://bit.ly/O6niuh">Were we</a> “lumbering our minds with literature” instead of reacting to the “vital situation spread before our eyes”? This is what Tolstoy had labeled the “snare of preparation.” Addams became <a href="http://bit.ly/M2UQ0w">convinced</a></p> [t]hat the contemporary education of young women had developed too exclusively the power of acquiring knowledge and of merely receiving impressions; that somewhere in the process of “being educated” they had lost that simple and almost automatic response to the human appeal, that old healthful reaction resulting in activity from the mere presence of suffering or of helplessness; that they are so sheltered and pampered they have no chance even to make “the great refusal.”</p> <p>We often talk about liberal arts schools as “engaged universities” and the importance of avoiding this “snare of preparation.” We don’t want only to “lumber our minds” with books and articles, wesbites and blogs. We want our education to prepare us for life — not to help us avoid living.</p> <p>Liberal education today should prepare students for life, and many colleges have been increasingly focused on doing a better job of helping them transition from campus to life after graduation. Whether students do this through activism or internships, service learning or “intellectual cross-training,” they learn to make their education feed into what they will be doing in the world.</p> <p>This is pragmatic liberal arts education. To talk of pragmatism doesn’t mean that we stop reading great books, absorbing powerful art, or learning languages. After all, what I’ve written here depends on reading Addams and knowing something about de Quincey, Homer, and others. We should feel no threat to our studies when asked what we shall do with them. There are so many possibilities. The sphere of possible action wasn’t limited to industrialism at the beginning of our century, and it sure isn’t limited to finance or digital media entrepreneurship today.</p> <p>One of the founders of American pragmatism, C.S. Peirce, wrote that the whole function of thought is to produce habits of action. William James <a href="http://www.des.emory.edu/mfp/tt3.html">emphasized</a> that we had to take action in the broadest sense, “every possible sort of fit reaction…brought by the vicissitudes of life.” With Jane Addams in mind, we might say that the whole function of education is to produce habits of action, fit reactions that contribute to our individual and social good.</p> <p>Cross-posted at <a href="http://www.washingtonpost.com/blogs/college-inc/post/a-pragmatic-liberal-arts-education/2012/07/11/gJQAiKB6cW_blog.html">washingtonpost.com</a>.</p> <p>Giclee Prints from the Women of Peace Series are available at Elaine Cimino Studios Shop</p> <p>The post <a href="https://www.elaineciminostudios.com/jane-addams-education-and-the-snare-of-preparation/">Jane Addams, Education and the ‘Snare of Preparation’</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></content:encoded> <wfw:commentRss>https://www.elaineciminostudios.com/jane-addams-education-and-the-snare-of-preparation/feed/</wfw:commentRss> <slash:comments>12918</slash:comments> </item> <item> <title>THE WORLD´S FIRST INTERNATIONAL TEACHING ARTIST CONFERENCE</title> <link>https://www.elaineciminostudios.com/the-worlds-first-international-teaching-artist-conference/</link> <comments>https://www.elaineciminostudios.com/the-worlds-first-international-teaching-artist-conference/#comments</comments> <dc:creator><![CDATA[]]></dc:creator> <pubDate>Thu, 21 Jun 2012 23:11:22 +0000</pubDate> <category><![CDATA[Announcements]]></category> <category><![CDATA[Blog]]></category> <category><![CDATA[art blog]]></category> <category><![CDATA[art education]]></category> <category><![CDATA[artwork]]></category> <category><![CDATA[auction]]></category> <category><![CDATA[Children's Art]]></category> <category><![CDATA[creativity]]></category> <category><![CDATA[Teaching Artists]]></category> <guid isPermaLink="false">https://www.elaineciminostudios.com/?p=736</guid> <description><![CDATA[<p>http://www.seanse.no/default.aspx?menu=180&id=153 THE WORLD´S FIRST INTERNATIONAL TEACHING ARTIST CONFERENCE SEANSE ART CENTER is proud to present the first international conference to focus on TEACHING ARTISTRY. We invite artists, arts educators, administrators and interested professionals from all over the world to join us for an unprecedented three days of inquiry into this worldwide phenomenon, this rich […]</p> <p>The post <a href="https://www.elaineciminostudios.com/the-worlds-first-international-teaching-artist-conference/">THE WORLD´S FIRST INTERNATIONAL TEACHING ARTIST CONFERENCE</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></description> <content:encoded><![CDATA[<p>http://www.seanse.no/default.aspx?menu=180&id=153</p> THE WORLD´S FIRST INTERNATIONAL TEACHING ARTIST CONFERENCE SEANSE ART CENTER is proud to present the first international conference to focus on TEACHING ARTISTRY. We invite artists, arts educators, administrators and interested professionals from all over the world to join us for an unprecedented three days of inquiry into this worldwide phenomenon, this rich opportunity, this growing trend. WITH: ERIC BOOTH (USA), ANNA CUTLER(UNITED KINGDOM), GIGI ANTONI (USA), GRACE GACHOCHA (TANZANIA), AMANDINA LIHAMBA (TANZANIA), HILARY EASTON (USA), SARAH JOHNSON (USA), JUAN FELIPE MOLANO (COLOMBIA), JUAN ANTONIO CUELLAR (COLOMBIA), MARIT MOLTU (NORWAY), ANNE BAMFORD (UNITED KINGDOM), BRAD HASEMAN (AUSTRALIA), JOHANNES JONER (NORWAY) AND MARIT ULVUND (NORWAY) The conference will take place at: <a href="http://litteraturhuset.no/english">The House of Literature</a><a href="http://www.elaineciminostudios.com/wp-content/uploads/2012/06/doc_135_10.jpg"></a> August 29 -31, 2012 Oslo, Norway <a href="http://www.seanse.no/default.aspx?menu=180&id=155">Read more and Practical info</a> <a href="http://www.seanse.no/download.aspx?object_id=0D768B9AA772431DB0830C29D599743F.pdf">Read the full program</a> <p> </p> <a href="http://www.seanse.no/default.aspx?menu=181&app=8&app_id=8&view=app_form_public_edit">Apply here! </a> Notification: June 8. <a href="http://www.seanse.no/default.aspx?menu=152&id=138">The History of Teaching Artistry:</a> <a href="http://www.seanse.no/default.aspx?menu=152&id=138">Where we come from, are, and are heading</a> <a href="http://www.seanse.no/default.aspx?menu=151&id=137">The Habits of Mind of Creative Engagement</a> <a href="http://www.seanse.no/default.aspx?menu=153&id=139">Six Strands of the Arts Learning Ecosystem</a> Essay by Kelly Dylla <a href="http://createquity.com/2012/05/why-teaching-artists-will-lead-the-charge-in-audience-engagement.html">Why Teaching Artists Will Lead the Charge in Audience Engagement</a> <p> </p> <p> </p> Om Teaching Artists av Marit Ulvund, Senterleder SEANSE: <p>The post <a href="https://www.elaineciminostudios.com/the-worlds-first-international-teaching-artist-conference/">THE WORLD´S FIRST INTERNATIONAL TEACHING ARTIST CONFERENCE</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></content:encoded> <wfw:commentRss>https://www.elaineciminostudios.com/the-worlds-first-international-teaching-artist-conference/feed/</wfw:commentRss> <slash:comments>2840</slash:comments> </item> <item> <title>The Arts and Passion-Driven Learning is on my Wish List</title> <link>https://www.elaineciminostudios.com/the-arts-and-passion-driven-learning-is-on-my-wish-list/</link> <comments>https://www.elaineciminostudios.com/the-arts-and-passion-driven-learning-is-on-my-wish-list/#comments</comments> <dc:creator><![CDATA[]]></dc:creator> <pubDate>Thu, 21 Jun 2012 23:04:22 +0000</pubDate> <category><![CDATA[Announcements]]></category> <category><![CDATA[Blog]]></category> <category><![CDATA[Art]]></category> <category><![CDATA[art education]]></category> <category><![CDATA[Art education reform]]></category> <category><![CDATA[creative spirit]]></category> <category><![CDATA[creativity]]></category> <category><![CDATA[Fine Art]]></category> <category><![CDATA[harvard Seminars]]></category> <category><![CDATA[Havard Graduate Classes]]></category> <category><![CDATA[Seminars]]></category> <category><![CDATA[Silk Road Project]]></category> <guid isPermaLink="false">https://www.elaineciminostudios.com/?p=731</guid> <description><![CDATA[<p>I would love to attend these classes. If you can afford it you should do it. – The Constant Learner- Elaine Cimino http://www.gse.harvard.edu/ppe/programs/prek-12/portfolio/arts-and-passion-driven-learning.html What You Will Learn Deepen your understanding of how learning takes place in and through the arts. Examine the role of engagement, connections, collaborations and communities in learning. Presented in collaboration with […]</p> <p>The post <a href="https://www.elaineciminostudios.com/the-arts-and-passion-driven-learning-is-on-my-wish-list/">The Arts and Passion-Driven Learning is on my Wish List</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></description> <content:encoded><![CDATA[<p>I would love to attend these classes. If you can afford it you should do it. – The Constant Learner- Elaine Cimino<a href="http://www.elaineciminostudios.com/wp-content/uploads/2012/06/g08_3.jpg"></a></p> <p><a title="The Silk Road Project" href="http://www.gse.harvard.edu/ppe/programs/prek-12/portfolio/arts-and-passion-driven-learning.html">http://www.gse.harvard.edu/ppe/programs/prek-12/portfolio/arts-and-passion-driven-learning.html</a></p> What You Will Learn <p>Deepen your understanding of how learning takes place in and through the arts. Examine the role of engagement, connections, collaborations and communities in learning.</p> <p>Presented in collaboration with The Silk Road Project Inc.</p> What You Will Learn <p>Deepen your understanding of how learning takes place in and through the arts. Examine the role of engagement, connections, collaborations and communities in learning.</p> Program Overview <p>Students bring a wealth of excitement, talent and dreams to the classroom. In order to channel these experiences into meaningful learning for the 21st century, teachers need to be able to capture these passions through proven teaching and learning techniques. The Arts and Passion-Driven Learning explores how educators can use the arts to engage students across all subjects—not only in the arts. The program explores several key questions; How can the arts foster connections between ideas, people and places to deepen learning? How can we turn learning from a requirement into a desire? How can artists collaborate with educators to design powerful learning experiences that focus simultaneously on the individual and the community?</p> <p>This unique new program will open with a plenary session with world-renowned cellist, Yo-Yo Ma, and a concert by the Silk Road Ensemble. Along with Harvard faculty, ensemble members will present arts-integrated lessons throughout the institute. You will deepen your understanding of how learning takes place in and through the arts and consider issues of access and quality in the arts. You will join artists and educators from a variety of backgrounds in workshops, panel discussions and small group sessions to experience and analyze what passion-driven learning looks like in practice.</p> Program Objectives Examine how students can become more engaged, empathetic and responsible participants in their communities Understand how the arts can lead to deeper learning in other subject matter Identify features of strong and productive collaborations among educators, artists and community members for creating rich interdisciplinary learning opportunities Who Should Attend Classroom teachers, particularly those at the middle school level, arts specialists and school administrators Artists, teaching artists and arts administrators <p>Fluency in English is mandatory.</p> <p>The post <a href="https://www.elaineciminostudios.com/the-arts-and-passion-driven-learning-is-on-my-wish-list/">The Arts and Passion-Driven Learning is on my Wish List</a> appeared first on <a href="https://www.elaineciminostudios.com">Elaine Cimino Studios</a>.</p> ]]></content:encoded> <wfw:commentRss>https://www.elaineciminostudios.com/the-arts-and-passion-driven-learning-is-on-my-wish-list/feed/</wfw:commentRss> <slash:comments>2245</slash:comments> </item> </channel> </rss>