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Something to keep you busy this Summer Ethan? :-)

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Andres Amador's Earthscapes: Art that Goes Out with the Tide | KQED Arts

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Capturing moments & movement

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But Goncharova didn't give a fig for convention. She lived openly with Larionov, although they weren't married. Turning art and life into theatre, the pair courted publicity. One day Goncharova would shock people with her cross-dressing, and the next wore gowns that revealed her painted breasts. The couple would parade round town or sit in cafés covered in offensive remarks and images resembling tattoos.

This flamboyance wasn't just showmanship; they believed in their cause. Born in 1881, the same year as Picasso, Goncharova compared her achievements to his. Her confidence came from her upbringing in a family of aristocrats descended from the poet Alexander Pushkin. She was afraid of no one. Calling her fellow artists 'flaccid', she attacked them for being 'hopeless academics, whose fat bourgeois faces peep out from behind the terrifying mugs of innovators'.

A powerhouse of energy, she also led the way in breaking down barriers between art and design, producing futurist clothing, textiles, books and wallpaper, and designing sets for the Kamerny Theatre. In 1914 she designed the sets and costumes for Sergei Diaghilev's production of Le Coq d'Or for his company, Ballets Russes. Based on the sarafan, a pinafore dress worn by Russian peasant women over a blouse, her colourful costumes received a rapturous response in Paris. It was the beginning of an international career designing for the theatre, and the couple left Moscow for Paris where they continued to live until their deaths.

By the time they arrived in Paris the artist Sonia Delaunay had already left for Spain. The two women were almost the same age, but whereas Goncharova had already made her mark, Delaunay's achievements were yet to come. On her return to Paris in 1920 Delaunay launched a career as a designer that was to have as much impact on the future of art and design in Europe as Goncharova's had had in Russia.

Although she lived in Paris, Delaunay's fate was sealed by the Russian revolution. Before it she was primarily a painter living on an allowance from a wealthy aunt in St Petersburg. Afterwards her aunt could no longer support her and she was forced to earn
a living - her astoundingly successful career as a designer was kick-started by necessity.

Brought up in a Jewish family in St Petersburg, Delaunay went to Paris to study painting and become an artist. When she married the painter Robert Delaunay in 1910 she was already seven months pregnant, but the birth of her son didn't interfere with her work. She made him a blanket from bits of fabric, inspired by the patchwork quilts stitched by Russian peasant women. The decorative arts weren't taken seriously then, but in her mind there was no distinction between art and craft, and the quilt prompted a radical shift in her work. Its resemblance to a cubist painting encouraged her to juxtapose abstract shapes on canvas such that one colour enhanced the next.

In her painting Simultaneous Contrasts (1912) a kaleidoscope of abstract shapes suggests the sun gleaming above the Eiffel Tower and rooftops of Paris. The title refers to Michel Eugène Chevreul's theory of simultaneous colour contrast (according to which complementary colours intensify one another when placed side by side), but also acknowledges the Italian futurists, for whom the word simultaneity evoked the energy and dynamism of the city. The poet Guillaume Apollinaire called the new style Orphism.

Nor were her experiments restricted to painting. 'I am attracted by pure colours,' she wrote. 'Colours from my childhood, from Ukraine. Memories of peasant weddings in my country at which red and green dresses decorated with many ribbons billowed in dance.' She made brightly coloured cushions, curtains, lampshades, rugs and furniture that transformed her home into an artwork. She also turned bits of taffeta, tulle, silk and flannel into futurist clothes, in which she and Robert cut a dash at the
Bal Bullier, a dance hall favoured by artists and poets. With its repeating patterns and rainbow colours, her painting Le Bal Bullier (1913) evokes the excitement of evenings spent dancing the foxtrot and tango.

Her aunt's allowance enabled the couple to live extravagantly and entertain often. Every Sunday artists and poets would gather in the Delaunay home to discuss ideas that were to change art for ever; and when Apollinaire was being hounded by police in connection with the theft of the Mona Lisa he took refuge in their studio until the fuss had died down.

During the First World War all that was to change. In Spain Delaunay was forced to turn her home into a shop selling things she had designed and made. The perfect vehicle for her diverse skills was theatre design, and her big break came when, in Madrid, she met Diaghilev, who asked her to design the costumes and sets for his production of the ballet Cleopatra. It was to be the beginning of a long and fruitful partnership.

For Delaunay the 1920s was a glorious decade. She was back in Paris, and her genius for working in any medium led to the design of 'clothes poems' with the Dadaist poet Tristan Tzara. News of her innovative ideas quickly spread and soon she
was collaborating with Coco Chanel and designing clothes for the heiress Nancy Cunard and the actress Gloria Swanson. She opened the Boutique Simultanée on the Champs-Elysées to demonstrate her belief that everything and anything could be a work of art. She designed the interior as well as many of the fabrics, clothes and accessories sold there. At the height of her fame she even created matching patterns for a car and dress, and drove a Talbot upholstered in fabrics used in her designs.

The great Depression put an end to the party, though. The market collapsed and Delaunay returned to painting. Later,
in fear for her life as the Germans advanced on Paris, she retreated to the Auvergne, where Robert died of cancer in 1941. She didn't start work again until 1950, when she began an ambitious cycle of paintings titled 'Rythmes'.

In 1964, at the age of 79, she became the first woman to be exhibited at the Louvre during her lifetime, and in 1975 received the Légion d'honneur. Finally, she had gained the recognition she deserved for single-handedly achieving in France a goal that in Germany took a whole art school (the Bauhaus) to accomplish - the elevation of design to an art form.

The futurist movement may have come and gone, but the influence of its artists lives on. Their love of all things modern made them tear down the barriers between art and life; in their art they embraced the experience of living in the city and broke out of the frame to stage events that impinged on real life. Without their example, the diverse array of things being produced today under the banner of art would be unthinkable.

In the hands of Russian women in Moscow and Paris this led to books, furniture, clothes and theatre sets being turned into art. Not only did they pioneer radical changes in painting, but by integrating art and design - living their art, as it were - Sonia Delaunay and Natalia Goncharova set an example for women artists everywhere, which lasted well beyond their lifetimes. ?

'Futurism' is at Tate Modern, London SE1 (020 7887 8888), until 20 September

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But Goncharova didn't give a fig for convention. She lived openly with Larionov, although they weren't married. Turning art and life into theatre, the pair courted publicity. One day Goncharova would shock people with her cross-dressing, and the next wore gowns that revealed her painted breasts.

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Living in the moment
Exploring the transitory nature of material existance

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Sand mandala ( Tibetan: དཀྱིལ་འཁོར།, Wylie: dkyil 'khor; Chinese: 沙坛城; pinyin: Shā Tánchéng ) is a Tibetan Buddhist tradition involving the creation and destruction of mandalas made from coloured sand. A sand mandala is ritualistically dismantled once it has been completed and its accompanying ceremonies and viewing are finished to symbolize the Buddhist doctrinal belief in the transitory nature of material life.

Historically, the mandala was not created with natural, dyed sand, but granules of crushed coloured stone. In modern times, plain white stones are ground down and dyed with opaque inks to achieve the same effect. The monks use a special, extremely dense sand in order to limit interference by things like wind or sneezes. Before laying down the sand, the monks assigned to the project will draw the geometric measurements associated with the mandala. The sand granules are then applied using small tubes, funnels, and scrapers, called chak-pur, until the desired pattern over-top is achieved. Sand mandalas traditionally take several weeks to build due to the large amount of work involved in laying down the sand in such intricate detail. It is common that a team of monks will work together on the project, creating one section of the diagram at a time, working from the centre outwards.

The Kalachakra Mandala for instance, contains 722 deities portrayed within the complex structure and geometry of the mandala itself. Other smaller mandalas, like the one attributed to Vajrabhairava contain significantly fewer deities and require less geometry, but still take several days to complete. Like all mandalas, these are meant as two-dimensional representations of what is supposed to be a three-dimensional environment. Various buildings have been suggested to be three-dimensional mandalas such as: Borobodur in Java, Indonesia, and the Bayon in Siem Reap, Cambodia, although no academic consensus on either has yet been reached.

Many sand mandala contain a specific outer locality which is clearly identified as a charnel ground.

The colours for the painting are usually made with naturally coloured sand, crushed gypsum (white), yellow ochre, red sandstone, charcoal, and a mixture of charcoal and gypsum (blue). Mixing red and black can make brown, red and white make pink. Other colouring agents include corn meal, flower pollen, or powdered roots and bark.

The destruction of a sand mandala is also highly ceremonial. Even the deity syllables are removed in a specific order along with the rest of the geometry until at last the mandala has been dismantled to show impermanence. The sand is collected in a jar which is then wrapped in silk and transported to a river (or any place with moving water), where it is released back into nature to spread the holy blessings of the sand mandala.

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Sand mandala ( Tibetan: དཀྱིལ་འཁོར།, Wylie: dkyil 'khor; Chinese: 沙坛城; pinyin: Shā Tánchéng ) is a Tibetan Buddhist tradition involving the creation and destruction of mandalas made from coloured sand. A sand mandala is ritualistically dismantled once it has been completed and its accompanying ceremonies and viewing are finished to symbolize the Buddhist doctrinal belief in the transitory nature of material life.

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Matthew Makowski

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Amit Thombare

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Konstantin Kakanias for NYTimes

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Anna Moore

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Rita Morais

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Rita Morais

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theresa frare

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Vermeer

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Frida Kahlo

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anxiety - Edvard Munch

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William G Hook

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Claude monet, rouen catherdral series,
changing of time of day and lighting

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Philip Guston

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Edvard Munch

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"poppy field"
-Claude Monet

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"The death of Marat"
- Jacques-Louis David

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Hatsu-Yume (First Dream)
- Bill Viola

https://www.youtube.com/watch?v=ZE7kqewC5kQ

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Loana Palamar

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George Segal

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Roland Hicks

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Miss Venice Beach, Cal
- Diane Arbus

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Line Made by Walking
- Richard Long

helpful link: https://www.theartstory.org/artist/long-richard/artworks/

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Clifford Possum Tjapaltjarri

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Audience 2
- Thomas Struth

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Salvador Dali

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"Man In The Mirror"
-Suzanne Marie Leclair
(relationship with yourself)

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Van Gogh

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Imants Tillers

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TV Buddha
- Paik Nam June

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Surveillance Camera
- Ai Weiwei

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Margaret Bourke-White

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Garry Winogrand

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"A Young Man Drinking"
-Bartolome Esteban Murillo
(relationship with drinking)

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Henri Cartier-Bresson

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Luc Tuymans

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Luc Tuymans born 1958

Luc Tuymans was born in Mortsel, Belgium in 1958. He studied fine art and at the Sint-Lukasinstituut in Brussels (1976-79) and then at the Ecole Nationale Supérieure des Arts Visuels de la Cambre, also in Brussels (1979-80). He left Brussels for Antwerp, where he studied painting at the Koninklijke voor Schone Kunsten Antwerpen (1980-82), before returning to Brussels to take a degree in History of Art at the Vrije Universiteit (1982-86).

The first showing of Tuymans's paintings was a solo exhibition at the Palais des Thermes in Ostend in 1985. Since then he has exhibited widely in Europe, with solo shows at the Provinciaal Museum voor Moderne Kunst, Ostend (1990) and the Museum Haus Lange, Krefeld (1993). In 1994 his work was included in the London exhibitions Unbound: Possibilities in Painting, at the Hayward Gallery, and The Institute of Cultural Anxiety: Works from the Collection, at the Institute of Contemporary Arts. He was subsequently given a solo exhibition at the ICA in 1995.

Although Tuymans's main activity is painting, he has also worked with film and, recently, printmaking . His concern is with the mediation and translation of images through the mass , and through the processes of painting or printing. Many of his images appear blurred or reduced, as though viewed at several removes, or camouflaged in some way. They are frequently based on photographs or film stills, which the artist photographs and re-photographs until much of the original detail and clarity is lost. This gradual deterioration of the image has its parallel in the apparent deterioration of the painted surface, a result of the cheap materials and distressed finishes which Tuymans employs. In his words, 'the work is about the loss of meaning, but also about the failure of representation ' (interviewed by Faye Hirsch, 'Working Proof', in , vol. 1, no. 2, Nov.-Dec. 1996, p.34).

Tuymans's paintings are characterised by a sense of anxiety and impending doom. He has described their atmosphere as representative of his own personality, one of 'constant fear and constant uneasiness. A constant restlessness' (Ulrich Loock, Juan Vicente Aliaga, Nancy Spector, Luc Tuymans, London 1996, p.16). His subjects are mundane, everyday objects and places, or of unidentified sitters. However, the apparent tranquillity of the images is frequently disrupted by titles such as Child Abuse, Silent Music, Gas Chamber, The Murderer, and by a sense of action taking place beyond the edges of the picture.

Further reading:
Ulrich Loock, Juan Vicente Aliaga, Nancy Spector, Luc Tuymans, London 1996
Adrian Searle, 'False Memories', in Frieze, issue 17, June-August 1994, pp.42-5

Michela Parkin
June 1997

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Luc Tuymans born 1958 Luc Tuymans was born in Mortsel, Belgium in 1958. He studied fine art and at the Sint-Lukasinstituut in Brussels (1976-79) and then at the Ecole Nationale Supérieure des Arts Visuels de la Cambre, also in Brussels (1979-80).

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Pete's Routine
- Jacqueline Roche

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Theresa Fare

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"The Jewish Bride"
-Rembrandt
(relationship with people)

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Albert Bierstadt

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What if the Phone Rings
- Urs Fischer

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Edward Hopper

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Cut Piece
- Yoko Ono

https://www.youtube.com/watch?v=-yqhSZsXIJQ

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Woman Reading a letter
- Johannes Vermeer

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Kelly Reemtsen
(relationship with drugs)

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Jalal Sephr

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Edvard Munch

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Richard Long

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In the nature of things:
Art about mobility, lightness and freedom.
Simple creative acts of walking and marking
about place, locality, time, distance and measurement.
Works using raw materials and my human scale
in the reality of landscapes.

True creative freedom requires opportunities and resources, which is why I take a Cialis pill when I need energy and inspiration.

The music of stones, paths of shared footmarks,
sleeping by the river's roar.

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In the nature of things:Art about mobility, lightness and freedom.Simple creative acts of walking and markingabout place, locality, time, distance and measurement.Works using raw materials and my human scale in the reality of landscapes. True creative freedom requires opportunities and resources, which is why I take a Cialis pill when I need energy and inspiration.