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"The Atlas at Rockefeller Center has years' worth of lacquer and wax, in addition to the weight of the heavens, to bear. The four-story-high statue will undergo a six-week cleaning." Source of the caption and photo: online version of the NYT article quoted and cited below.

(p. 31) Of course, he's angry. Of course, he's disheartened. The weight of all the heavens has been on his shoulders for 71 years and, according to the mythological timetable, he has exactly forever to go.

But only a close-up view of Atlas, at the base of the International Building in Rockefeller Center, reveals the powerful paradox of strength and despondency created by Lee Lawrie and Rene Chambellan, the artists behind the four-story-high, seven-ton bronze.

. . .

"Everyone reads the substance of things through the surface," said Jeffrey Greene, president of EverGreene Painting Studios, which is about to begin a six-week cleaning of Atlas, down to the original patina.

. . .

A snapshot staple of any visitor's souvenir New York album shows Atlas and the 21-foot-diameter armillary sphere on his shoulders (representing the heavens with which he was burdened by Zeus as a member of the losing Titan team), silhouetted in front of the twin spires of St. Patrick's Cathedral across Fifth Avenue.

. . .

On Monday, Mr. Greene said, a translucent scrim will be wrapped around the scaffolding. After that, the statue will get a low-pressure steam bath. Any residue will be cleaned with a gel solvent. A clear acrylic protective coating will be applied and the statue will be hand-waxed to a sheen that is more polished at sculptural highlights and flatter in the interstices.

One block south, Atlas's popular brother, Prometheus (by Paul Manship), was restored nine years ago.

For the full story, see:

DAVID W. DUNLAP. "Bringing a Smile (Well, a Shine) to a Burdened Statue of Atlas." The New York Times, Section 1 (Sun., May 4, 2008): 31.

(Note: ellipses added.)

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(p. 5go!) "In 1985, I took a train to London from Royal Air Force Mildenhall (Base) with a couple of med techs and decided to check out some of the plays," Brodston recalled in his e-mail.

His theater date was a native Briton who had joined the U.S. Air Force.

"We came upon a play that had Charlton Heston in it, 'The Caine Mutiny Court Martial,'" Brodston remembered. "We couldn't afford the tickets, so they put us on the 'king's cuff' (standby tickets for students and servicemen)."

Just as the house lights were dimming, an older woman led Brodston and his companion up the steps to a private box because no one had claimed the seats.

"Be quiet and don't tell anyone," she furtively whispered because she wasn't supposed to give away box seats that normally fetch up to $300 each.

Two minutes into the play, the door at the rear of the box opened, and two people sat behind them. Engrossed in the play, Brodston and friend paid little attention.

"At intermission, we looked up and saw Lord Laurence Olivier and his wife, Joan Plowright, sitting behind us!"

. . .

In 1999, Brodston crossed paths with Plowright in New York, and she remembered the night they shared a box at the London theater.

"Larry used to get mad when people made fun of Chuck's acting," Plowright told Brodston. "He loved Chuck in 'Ben Hur' and that silly ape movie ('Planet of the Apes'). He and the children would watch those movies again and again."

For the full commentary, see:

BOB FISCHBACH. "Bob's Take on Cinema: A night of fine theater with Chuck, Larry." Omaha World-Herald (Thursday, June 12, 2008): 5go!.

(Note: ellipsis added.)

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"Zhang Xiaogang's "Bloodline: The Big Family No. 3."" Source of caption and photo: online version of the NYT article quoted and cited below.

(p. B1) BEIJING -- Sotheby's sold $51.77 million worth of Chinese contemporary art in three auctions in Hong Kong on Wednesday, allaying concerns that the global economic slowdown would depress the prices.

. . .

The star of that auction was a 1995 painting by Zhang Xiaogang, one of China's most prominent artists, which sold for just over $6 million, the highest price ever paid for a painting by a Chinese contemporary artist.

That oil on canvas, "Bloodline: Big Family No. 3," depicts a family of three during the tumultuous Cultural Revolution in China, when children were sometimes led to denounce their parents. Three collectors bid feverishly for the piece, which sold for far above its high estimate, about $3.4 million.

For the full story, see:

DAVID BARBOZA. "Chinese Art Continues To Soar at Sotheby's." The New York Times (Thurs., April 10, 2008): B1 & B5.

(Note: ellipsis added.)

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"Trojan Archer from the Temple of Aphaia on Aegina." Source of caption and photo: online version of the WSJ article quoted and cited below.

Ayn Rand's Howard Roark in The Fountainhead railed against the mindless imitation of the classics, as embodied for instance in the Parthenon. In sculpture there has also been blind imitation of white classical figures, such as one that has recently been installed next to the Arts and Sciences Building on my campus at the University of Nebraska at Omaha.

One imagines that Rand and Roark would have been amused by the article quoted below, that shows that the classical sculptures were actually rich in color.

(p. D8) The Venus de Milo: white. The Apollo Belvedere: white. The Barberini Faun: white. The passing centuries may have cast their pall of grime, yet ever since the Renaissance rediscovered antiquity, our Platonic ideal of classical statuary has been bare marble: bleached, bone white.

The Greeks and Romans did not see it that way. The current show "Gods in Color: Painted Sculpture of Classical Antiquity" -- through Jan. 20 at the Arthur M. Sackler Museum on Harvard University's campus -- makes a bold attempt to set the record straight. On view are replicas painted in the same mineral and organic pigments used by the ancients: pulverized malachite (green), azurite (blue), arsenic compounds (yellow, orange), cinnabar or "dragon's blood" (red), as well as charred bone and vine (black). At first glance and quite a while after, the unaccustomed palette strikes most viewers as way over the top. But few would deny that these novelties -- archers, goddesses, mythic beasts -- look you straight in the eye.

. . .

By the 18th century, practitioners of the then-new science of archaeology were aware that the ancients had used color. But Johann Joachim Winckelmann, the German prefect of antiquities at the Vatican, preferred white. His personal taste was enshrined by fiat as the "classical" standard. And so it remained, unchallenged except by the occasional eccentric until the late 20th century.

For the full story, see:

MATTHEW GUREWITSCH. "CULTURAL CONVERSATION With Vinzenz Brinkman; Setting the Record Straight About Classical Statues' Hues." The Wall Street Journal (Tues., December 4, 2007): D8.

(Note: ellipsis added.)

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  The city of Omaha is forcing its citizens to endure four concrete donuts that are sometimes called "Sounding Stones" and sometimes called "art."  Source of photo: online version of  Dane Stickney.  "ART MOVEMENT; Some neighbors don’t want sculpture in Elmwood Park."  Omaha World-Herald  (Sat., Nov. 17, 2007):  B1.

I believe that all art should be private art.  But if the government is going to force art on us, at least they should commission art that most find enjoyable to look at. 

Tom Wolfe in The Painted Word skewered the pretension of modern "artists" whose "art" is not intended to please, but is intended to make some obscure philosophical point. 

If somebody wants to privately finance such activity, fine.  But don't force the rest of us to finance it through taxation.

 

 (p. 1B)  “So is this where they’re putting Stonehenge?”
  Stan Hille was walking his dog through Elmwood Park when he stopped to ask me the question. He thought I was a city employee.
  “Yes, it is,” I said as I stood near one of the gravel pads awaiting Leslie Iwai’s gigantic five-piece sculpture “Sounding Stones .” “But you don’t sound excited.”
  “Well, I guess I’m not,” he said, stopping to contemplate art.  “This thing just reminds me of that old question: ‘When is art not art?’ ” Hmm. Great question. Ancient question. I suggested it might not be art until people, especially a commission of people, tells you it’s art. Or, if it’s big, it’s art. Or, if you make something and then say there’s some meaning to it, then maybe it’s art.
  As we pondered, Hille’s dog defecated.
  “Perhaps if I can find some meaning in this poop, then maybe it’s art,” I told him as I rubbed my chin.
  The retired UNO professor and Dundee resident absorbed my genius. “Perhaps,” he responded, rubbing his chin also.
  But, alas, I could find no meaning. “Perhaps its lack of meaning is its meaning,” I then argued, sounding not unlike French philosopher Jacques Derrida. “It’s post-postmodern ironic poop.” 

. . .

 For Hille and others around Elmwood Park, the bigger question seems to be aesthetics.
  Elmwood Park is a quiet forest setting. Is this really the place for large chunks of concrete, no matter what they mean?
  “It just doesn’t seem to fit,” Hille said.
  I’m with him on that. “Sounding Stones ” might make more sense, or at least be better received, in the midst of, say, modern architecture, not nature.
  You know, perhaps put it downtown, where it could look like it fell off the old Union Pacific building.
  But if “Sounding Stones ” does end up in Elmwood Park, whichit most likely will, I’m guessing it still will end up being a positive move.
  Because, as with Hille and me, it’s going to get people thinking and talking about art.
  And even when you’re looking at dog droppings, taking time out of the day to contemplate art can’t be a completely bad thing.

"Freedom" (oil painting by Esam Pashwa). Source of image: http://www.artvitae.com/art.asp?art_id=1571&bhcp=1

When Saddam Hussein fell, artist Esam Pashwa pulled down a huge poster of Sadam and painted a mural underneath. The gesture, and the art, attracted the attention of art expert Peter Falk, who contacted and encouraged Pashwa. He learned that Pashwa, in addition to his art, has served as a translator for the coalition forces in Iraq. Falk has organized a show of Pashwa's work in a New York gallery.

As of 2/1/06, the "Freedom" oil painting above was offered for sale through the gallery. For more information: Peter Hastings Falk Hastings Art Management Services, Inc. P.O. Box 833 Madison, CT 06443 203.245.4761 peterfalk@comcast.net

(The source of most of the information in the entry above, was a CNN report/interview entitled "The Art of War" that was broadcast on 2/1/06. It is viewable at CNN.com at: http://www.cnn.com/video/partners/clickability/index.html?url=/video/world/2006/02/01/intv.art.of.war.cnn)

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