From Harvey Dunn, WWI combat artist and my favorite of all time:
Kerr Eby
and Edward Ardizzone are two other favorites of mine.
More combat art here: The Navy Art Collection Branch Online Exhibits
Posted on 02/07/2005 8:12:08 AM PST by owls_man
ROCKLAND - Free speech clashed with free expression on a downtown street corner Saturday as artists opposed to war protested the showing of combat paintings of Marine Sgt. Michael Fay at the Farnsworth Art Museum. Sgt. Fay stood ramrod straight when confronted by the small group of protesters upset with the Farnsworth for exhibiting his paintings of combat forces in Iraq and Afghanistan. The afternoon sun reflected off the combat ribbons pinned to his green uniform, and the red chevrons on his sleeves glinted in the finish of his spit-shined shoes as Fay listened to his challengers.
Fay told the group he recognized their right to voice their opinion but reminded them that he had a right to express himself as well.
"I think it's great that we can have a passionate debate," Fay told the protesters. "I am not a spokesman for the war. But am I proud to be a Marine? You bet."
About a half-dozen artists carried signs and stood vigil outside the Farnsworth as the show "Fire and Ice: Marine Corps Combat Art from Afghanistan and Iraq" was previewed for museum members. Fay's paintings show soldiers carrying out their daily duties while serving on hostile ground.
Fay's paintings and drawings do not depict war, but there is no doubt as to their nature. They are set in a combat zone and include images of tanks, bombs, planes, ambulances and rifle-carrying soldiers.
The protesters objected to the show's content and what they claimed was the museum's "implicit support of war." They said a more balanced show would include images of civilian deaths and mass destruction. To represent one facet of military life in combat zones without placing it in the context of the true costs of war displayed a lack of sensitivity, they said.
(Excerpt) Read more at bangornews.com ...
"I thought the left stood for free speach and expression!"
They always do, like in the Soviet Union, Communist China, North Korea, Cuba, Vietnam, Kampuchea, Berkley, etc. /Grim, sick, self-pain-inflicting sarcasm on/
I will bet you that if we search long enough, we will find Natasha involved in the making of GIANT PUPPETS.
And if asked this group would support the Museum's right to display a crucifix in urine.
You're right. This protest in fact has given him a great deal of publicity. Good!
From Harvey Dunn, WWI combat artist and my favorite of all time:
Kerr Eby
and Edward Ardizzone are two other favorites of mine.
More combat art here: The Navy Art Collection Branch Online Exhibits
It just so happens that Natasha is the "Artist-in-Residence" for "Peace Action" of Maine. Back in December, "Peace Action" sponsored a rally that featured "large, participatory art projects". And I think we all know what that's code for ;)
Well, as you know I have this thing about those puppets. Glad to see I could spot a puppet person! LOL!
No wonder she doesn't like realistic, representational work. She's jealous!
"A group of Maine artists, including (from left) Suzanne Hedrick of Nobleboro and Natasha Mayers of Whitefield, gathered at Rockland's Farnsworth Art Museum on Saturday"
These people are idealogical zealots rather than 'artists.' If they were artists they would be at their studios working instead of trying to stifle other people's free expression. To call them 'artists' is a misnomer.
When a bull goes full-circle so fast---it craps in its own face.
AHEM. Can you tell I can speak "art talk?" My daughter graduated from an art college and I went to a LOT of exhibits. My current theory on contemporary art is that you can put anything out there, as long as you have a BS explanation of the meaning of the piece.
Your wit is not wasted.
Well, nearly not
Marple's Rule: The importance of a protest is inversely proportional to the number of giant puppets present.
.
And there, at last, it was! No more realism, no more representational objects, no more lines, colors, forms, and contours, no more pigments, no more brushstrokes, no more evocations, no more frames, walls, galleries, museums, no more gnawing at the tortured face of the god Flatness, no more audience required, just a “receiver” that may or may not be a person or may or may not be there at all, no more ego projected, just “the artist,” in the third person, who may be anyone or no one at all, for nothing is demanded of him, nothing at all, not even existence, for that got lost in the subjunctive mode -- and in that moment of absolutely dispassionate abdication, of insouciant withering away, Art made its final flight, climbed higher and higher in an ever-decreasing tighter-turning spiral until, with one last erg of freedom, one last dendritic synapse, it disappeared up its own fundamental aperture . . . and came out the other side as Art Theory! . . . Art Theory pure and simple, words on a page, literature undefiled by vision, flat, flatter, Flattest, a vision invisible, even ineffable, as ineffable as the Angels and the Universal Souls.-- Tom Wolfe, The Painted Word.
I guess she just BS'ed a different line for the Micks . . .
(Don't bite me - I'm part Irish and I married a boy who's third-generation immigrant!)
All I noticed so far were two chaise lounges, a telephone, and some traffic signs.
Left wing fools bump.
There is some green in one of the corners. Maybe that is the Irish part?
It was on a page with a quite peculiar but also quite recognizable portrait of James Joyce.
Maybe that's all she knows how to draw, and she just recycles and renames portions of it.
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