In futurity I want to find new realities in the notes from the universe. I think that is why I fluctuate from putting pen to paper short writings (for example, haiku, short stories, poetry) are what I write about mostly. People assume that writers and journalists must have the ‘gift of the gab’. Some do. Others don’t.
I want to mock conventional ways knowing that they are not the most convenient truths. Knowing that they came there through indoctrination. Through the church of my childhood, through faith, the discovery of something else, the journey of finding the I Am. Finding the experience formulaic. We tell ourselves that this is the marathon hope of reality. Reality for the most part can injure/wound terrifically. Terribly. Injudiciously. It says welcome to the party with open arms but it can also wound. So far and no further. When it comes to the craft of writing your attitude will always govern the characters, the protagonist, and the antagonist.
This is our country. A writer’s country. My country. Your country (if you are a writer). The secret to knowing the craft of writing is a simple one. That the knowledge of intuition is inseparable (or rather should always be) from imagination. That is the real magic. Creating the lyrical. Showing off miracles when they weren’t there before.
Finding your inherent soul in music, and even the half-baked ideas that you come up with in the early hours of the morning.
The inflow/influx of the self imposed exile living outside of Africa is steadily on the increase. Poverty, civil unrest, frustrated people, well they interest me in as far as I write about that. Does that inspire me to write? To show off my skills. Of course it does. Now more than ever. I doubt if it will ever inhibit me. Drown out me out by a hair’s-breadth the landscape of my youth, my childhood, the church of my childhood.
I speak about spirituality and church because for me in my writing church and faith played a major role in the development of my formative years.
Those self imposed exiles are escaping. Escaping from the only home that they have ever known but some do return. Homesick for Azania. Homesick for the attitudes of their people.
A writer has to articulate what spirituality is, how profound it is. A writer has to embrace the abstract, the figurative autodidact ism and literal metaphor.
A writer is not one who when it comes to the truth of matters of the heart prevaricates about them. They have a mission (I have a mission).
They have no pretense of mapping out cleverness. Marring the last-ditch attempts of the clarity of their thought (thought is powerful, thought is an inheritance) and vision. Writers never read almost for pleasure or for a lark. There is a extraordinary lassitude that writers experience for all of their lives that they experience innermost. Are they never enough, (or) what I have written is ‘it’ enough?
The question of the ego, the identity, and the identity crisis is always inimical. It never goes away completely. It is like the analogy of the egg. What comes first? The chicken or the egg. What comes first the ego or the identity? The savant or the genius. The writer, poet as artist or the artist, painter as artist. In the end I know it is fustian. I know.
I have discovered that when you are an inexperienced writer you need a someone who will guide you. A listener. Someone who will give you advice. Who will be kind and critical at the same time. A person who you can forgive.To not to trust what you write about is one interpretation of belief.
Getting there is also much about you having a philosophy on how, and why you write about the things that you do. Pay attention to what came before and most especially after in your writing environment. I think that you can call a triumph and without any denial something profound, and a breakthrough.
I have written about the quiet death of Lonmin, the bridge over troubled water in South Africa, Rilke’s advice to young poets, the status quo of xenophobia, the brave new world of living in post-apartheid South Africa, the culture behind, and of African cinema. I hope to keep on writing on the marginalized and disenfranchised of Africa using this platform. The self imposed exile that found the pastures of the grass is always greener on the other side of the world. This is why I write.
I have read many books. Perhaps not as many as educationalists and academics or scholars even. Some I enjoyed reading. Some I read for pleasure. Honestly, some were very painful to read. Some I found difficult to explain. It was a long time before I realized the difference between the writing style and technique of different writers. By then I had been writing for a few years already.
With some writers you can read their progress as known/unknown, see it as unimaginative or imaginative. You can see the horizontal, the vertical perspective of their education, or you read their process like a magazine that won’t go out of style.
Writers, good writers can speak to their readers in a genuine, psychological, sensitive, and authentic way. What does that vital, ethereal energy mean?
Writers survive inside their climate. They do not forget the unequivocal. They put to memory editorial paradigm shifts. Other writers writing. The dry, the good and the bad. There is an sacrosanct agreement among emerging and published writers. I was here before you. You have to put in the work before the breakthrough. That goes without saying.
What makes me disconsolate as a writer is the creature discomforts that come with having a traditional attack of the ego, mad love of crises. At the end of the day you will master contrition. You will fight for it with grace and humility though. It will take you being contumacious on your end. There is a consensus out there that in order for you to be good and to become great or a greater than kind of writer is that it is going to take more than opinion, life skills, and life experience.
I don’t know if every writer wants to be remembered for what they write. Be immortalized in some way. Be brought to life in a museum life kind of way. Leave behind a serious legacy. That was not my intention when I first started to write seriously. You want to make a go of it. That is all I remember. I just wanted to make a go of it.
Andy Warhol: From A to B and Back Again
The San Francisco Museum of Modern Art (SFMOMA) announces the exclusive West Coast presentation of the critically acclaimed exhibition, Andy Warhol—From A to B and Back Again on view from May 19 through September 2, 2019. Spanning the artist’s 40-year career and featuring more than 300 works on three different floors of the museum, the exhibition includes paintings, drawings, graphics, photographs, films, television shows as well as a personal time capsule of ephemera. The retrospective features examples of the artist’s most iconic pieces in addition to lesser-known abstract paintings from later in his career. Uncannily relevant in today’s image-driven world, Andy Warhol—From A to B and Back Again provides new insight into Andy Warhol himself by examining the complexities of this enigmatic artist more than 30 years after his death in 1987. The show’s title is taken from Warhol’s 1975 book, The Philosophy of Andy Warhol (From A to B and Back Again), a memoir featuring the artist’s musings on fame, love, beauty, class, money and other key themes that frequently appear in his work.
“He’s a complicated figure and a complicated artist,” said Gary Garrels, Elise S. Haas Senior Curator of Painting and Sculpture at SFMOMA. “His inner emotions, his psychic self were not his subject matter. Warhol is constantly labeled a Pop artist, but all that happened within a couple of years and then he moved on and the work goes quite dark and explores questions of gender and sexual identity, fame, subcultures. At the time of his death, the consensus was that Warhol was no longer relevant. But the last major retrospective in 1989 was a wake-up call: this is an artist we have to reckon with.”
First presented at the Whitney Museum of American Art in New York and curated by Donna De Salvo, Deputy Director for International Initiatives and Senior Curator at the Whitney, with Christie Mitchell, senior curatorial assistant, and Mark Loiacono, curatorial associate, this exhibition provides an opportunity for new generations to reconsider Andy Warhol, one of the most influential, inventive and important American artists. Warhol’s understanding of the growing power of images in contemporary life anticipated our social media-focused world and helped to expand the artist’s role in society making him one of the most recognized artists of the 20th century.
Andy Warhol—From A to B and Back Again also showcases SFMOMA’s impressive holdings of many of the artist’s most important works including National Velvet (1963), Liz #6 (Early Colored Liz) (1963), Triple Elvis (Ferus Type), (1963), Silver Marlon (1963), Robert Mapplethorpe (1983) and self-portraits.
Andy Warhol—From A to B and Back Again will be presented on three floors of SFMOMA: two, four and five.
On the museum’s second floor, two galleries of works on paper offer a detailed look at Warhol’s earliest drawings from the 1940s and hand-drawn commercial illustrations created for advertising in the 1950s. These early drawings lay the groundwork for many of the techniques and approaches he would use throughout his career. This portion of the exhibition includes delicate, gilded collages and sketches of shoes for the Miller Shoe Company, and illustrations for publications such as Glamour Magazine and The New York Times.
On display in SFMOMA’s fourth-floor special exhibition galleries, the exhibition takes visitors chronologically through the arc of Warhol’s career and his production in painting, drawing, photography, film and installation. The first half of the exhibition opens with his best known work from the creatively active period of 1960–68, with his earliest paintings such as Dick Tracy (1961) and Superman (1961), followed by the groundbreaking, iconic Pop Art paintings, Green Coca-Cola Bottles (1962), 192 One Dollar Bills (1962) and the sculpture, Brillo Boxes (1969, version of 1964 original). The exhibition then highlights Warhol’s depictions of celebrities, including Elvis, Elizabeth Taylor and Jacqueline Kennedy. In a dedicated black box gallery adjacent to the early Pop Art work, samples of Warhol’s films and videos will be on view including his series of Screen Tests featuring Ethel Scull, Edie Sedgwick and Billy Name (1964–65).
Subjects take a darker turn in Warhol’s Death and Disaster paintings (1963–64) memorializing car crashes, the electric chair and a benign yet sinister can of tuna fish contaminated with botulism. An eye-popping gallery filled with 16 colorful Flower paintings (1964) will be installed on top of Warhol’s Cow Wallpaper (1966) for a bold immersive experience. Visitors will have a chance to experience Silver Clouds, Warhol’s sculptural installation of shiny Mylar balloons created in 1966, the point at which he declared himself to be done with painting.
Warhol’s work of the 1970s and 1980s focuses on post-Pop artwork, which Garrels observes are “very unknown to most people.” In these galleries Warhol shifts his focus with a massive portrait of Chairman Mao (1972), followed by a gallery featuring photographs and paintings of trans women and drag queens from the 1970s, which provide a look into Warhol’s fascination with the elusiveness and complexity of gender and identity. A separate suite of photographic self-portraits of Warhol in drag provides a different view into the artist’s carefully cultivated persona. A large single gallery is dedicated to Warhol’s grand experiments with abstract painting, featuring a gold Shadow painting (1978) and two large-scale Rorschach paintings (1984). Warhol’s influence on the young artists of the East Village in the 1980s is highlighted through collaborative works created with Jean-Michel Basquiat and Keith Haring. Also on display is an unpacked personal time capsule, one of 610 created over the course of the artist’s life.
Two galleries in the museum’s fifth floor Pop, Minimal and Figurative Art presentation feature a 1970s “facebook” of wall-to-wall grids of large-scale silk-screened portraits representing a “who’s who” of celebrities, cultural icons, gallerists, athletes and business leaders. These galleries feature nearly 40 portraits such as Halston (1975), Dominique de Menil (1969), Liza Minnelli (1978), Pelé (1977), Leo Castelli (1975), Mohammad Reza Shah Pahlavi (1976) and Gianni Versace (1979–80), as well as the artist’s mother, Julia Warhola (1974). For the subject, a Warhol portrait provided social validation and an immediate status symbol; for Warhol these commissions were a consistent revenue stream that supported his studio and desire to explore other more personal ventures. Warhol’s television shows and videos are on display in the city gallery on this floor.
Andy Warhol was born Andrew Warhola in Pittsburgh, PA in 1928. In 1949, he graduated from Carnegie Institute of Technology (now Carnegie Mellon University) with a Bachelor of Arts in pictorial design. Shortly after graduation, Warhol moved to New York City, where he would live for the rest of his life, and began what would become a vaunted career as a commercial artist, for which he earned numerous awards and accolades. Despite his commercial success, Warhol was determined to pursue a career as a fine artist. He first exhibited his work at the Hugo Gallery in 1952, though he did not gain recognition in the fine art world until 1962 when the Ferus Gallery in Los Angeles staged his groundbreaking exhibition of Campbell’s Soup Can paintings. Through the 1960s, Warhol exhibited at Ferus, Stable Gallery, Castelli Gallery, Sonnabend Gallery and internationally to great acclaim. He established “the Factory” in 1963, the same year he began his pioneering work in film. In 1965, Warhol announced his “retirement” from painting to pursue filmmaking full-time; underground films such as Empire (1964) and The Chelsea Girls (1966) remain some of his most influential works.
In 1968, Warhol was shot in a near-fatal assassination attempt, but by 1969 he had founded Interview magazine and his interest in producing work across all media—including sculpture, video and performance—was reignited. In 1975, Warhol published The Philosophy of Andy Warhol (From A to B and Back Again) and by the late 1970s had expanded his practice to cable television shows with Andy Warhol’s Fashion, Andy Warhol’s Fifteen Minutes and Andy Warhol’s T.V. Warhol’s work of the late 1970s and 1980s exhibits an increased interest in abstraction and collaboration and often reflexively returns to his own earlier work and iconography. His late work speaks to a voracious interest in current events and enthusiasm for artists from the East Village scene such as Keith Haring and Jean-Michel Basquiat, with whom he collaborated. In February 1987, Warhol died after a brief illness following routine gallbladder surgery. The Andy Warhol Diaries, his infamous account of his own life from the mid-1970s up to his death, was published posthumously in 1991.
Major exhibitions during Warhol’s lifetime include his first institutional solo exhibition at the ICA Philadelphia in 1965, a 1968 exhibition at the Moderna Museet, Stockholm, a 1970 retrospective organized by the Pasadena Art Museum, which traveled extensively and Andy Warhol: Portraits of the 70s organized by the Whitney Museum in 1979–80. The final exhibition of his work during his lifetime, at Robert Miller Gallery, New York, in January 1987, debuted a new series of stitched photographs. Warhol’s work is collected by significant institutions across the world including major repositories at SFMOMA, the Whitney Museum of American Art, Tate, The Museum of Modern Art, The Art Institute of Chicago, The Museum Brandhorst, Munich, The Museum Ludwig, Cologne, The Marx Collection at the Hamburger Bahnhof, Berlin, the National Gallery of Art, Washington, D.C. and the Andy Warhol Museum, Pittsburgh.
The exhibition is accompanied by a full-color, 400-page scholarly monograph edited by Donna De Salvo spanning all periods of Warhol’s career and including paintings, sculpture, drawings, prints, videos, photographs, archival and printed material, installations, films and media works. A contextualizing essay by De Salvo is complemented by essays and contributions from Jessica Beck, Okwui Enwezor, Trevor Fairbrother, Hendrik Folkerts, Bill Horrigan, Bruce Jenkins, Branden W. Joseph, Barbara Kruger, Glenn Ligon, Michael Sanchez and Lynne Tillman, as well as a plate section with 450 images. The catalogue is published by the Whitney and is distributed by Yale University Press.
San Francisco Museum of Modern Art
151 Third Street
San Francisco, CA 94103
Into the Void: Prints of Lee Bontecou
The images of Lee Bontecou (American, born 1931) are unmistakably hers: black voids, cosmic orbs, floating serrated teeth, mutant flowers, and strange, hybrid forms. They reflect a post–World War II angst and existential fear brought on by the arms race and nuclear threat, coupled with awe at a technology capable of space travel. While best known for her wall reliefs that bridge the divide between painting and sculpture, Bontecou produced a series of important prints between 1962 and 1982 at Universal Limited Art Editions (ULAE), a workshop founded by Tatyana Grosman in West Islip, New York, in 1957. This exhibition is the first show devoted to Bontecou’s prints since 1975 and is drawn from the Art Institute’s complete edition and significant archive of her ULAE production.
In Bontecou’s prints, as in her early sculptures, the color black dominates. “Getting the black,” she said, “opened everything up.” The color, through its endless interpretability, evokes the mystery of the infinite and the terror of the unknown. Her powerful prints—mostly lithographs but some etchings—attend to all of the profound issues Bontecou addressed in her sculptures and drawings. In particular, many of the prints she produced at ULAE explore the black void at the heart of her early sculptures, a motif that runs through her entire career.
Into the Void: Prints of Lee Bontecou analyzes for the first time the totality of her prints as a reflection and an extension of her larger corpus, showing not only final states of her prints but also working proofs, variant states, finished and preparatory drawings, matrices (such as the copper etching plates used to print her works), and other ephemera that shed further light on her practice. Including over 100 objects, the exhibition explores the phenomena of process, repetition, and artistic obsession, and traces Bontecou’s voyage through a series of experiments and happy accidents toward the mystique of her final, definitive images.
Art Institute of Chicago, Jan 26–May 5, 2019
Rio de Janeiro named as World Capital of Architecture for 2020
UNESCO’s Assistant Director-General for Culture Ernesto Ottone R, Thomas Vonier, President of the International Union of Architects (UIA), and Verena Vicentini Andreatta, Municipal Secretary of the City of Rio for Urbanism, on Friday 18 January announced that the city of Rio de Janeiro (Brazil) will be the World Capital of Architecture for 2020.
“The World Capital of Architecture initiative underscores the common commitment of UNESCO and the UIA to preserve architectural heritage in the urban context,” said Ernesto Ottone R. “Through the range and quality of its activities, the World Capital of Architecture in Rio de Janeiro will demonstrate the crucial role of architecture and culture in sustainable urban development.”
In keeping with UNESCO’s recent partnership agreement with the UIA, UNESCO, designates the World Capital of Architecture, which also hosts the UIA’s World Congress, an event that takes place every three years. The World Capital of Architecture is intended to become an international forum for debates about pressing global challenges from the perspectives of culture, cultural heritage, urban planning and architecture.
As the first World Capital of Architecture, Rio de Janeiro will hold a series of events under the theme “All the worlds. Just one world,” and promote the internationally agreed 2030 Agenda for Sustainable Development’s 11th Goal: “Make cities and human settlements inclusive, safe, resilient and sustainable.”
UNESCO, the UIA and local institutions will organize activities to promote projects involving architects and urban planners as well as policy makers, social institutions and professionals from other sectors including artists and writers in an open and creative space of dialogue and innovation.
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