At the end of this video it says: Live by faith not sight

…….I say live by sight and faith like they can not be separated from each other.

Sight lets us find the entrance to the spaces that are in between

Those moments within the moments… not kept by the ticking of the clock

Faith is the emotional action that we are doing  when we allow those moments to happen

The only way I can describe those spaces that are in between the elemental is that  in those moments the logical mind that brought you first to that place is now humbled by the feeling of a perfect pause of time…..

We are a sum of those experiences…..don’t overlook the power of the experiences you have….they are always accompanied by those in between moments that have no words to describe them not making them any less  important. What is quiet and still can sometimes teach us more than what is loud and seems obvious…..

I hope you all let yourself experience those two parts of each moment

Love from Mee

Artistic Rendition By R.Cunning

Click here to view the video on YouTube.

Quotation by Klimt on his painting Nuda Verita (1899). The quote is from Johann Chistoph Friedrich Schiller (1759-1805), A German dramatist and poet

Although I am not moved by all of  Klimt’s work.  I do enjoy these soft betrayals of women and the love that is expressed between man and woman in such paintings as  Fulfillment 1909 and The Kiss 1907.

I also really enjoy his landscapes

Farm Garden with Sunflowers 1912

Tannenwald (Pine Forest)  1902

The Three Ages of Woman

The Three Ages of Woman

In 1905, Gustav Klimt created ‘The Three Ages of Woman’, also known as ‘Mother and Child’. It was the artist’s first oil painting in the large scale category. It is believed to represent three main stages of a woman’s life: infancy, motherhood, and old age.

The mother with child on the right of the canvas is a stunning representation of the beauty and love of motherhood, as well as the stage of infancy. The mother holds her infant in a warm, secure embrace, offering unconditional love. The sleeping child’s face shows content as a result of the overwhelming affection.

The left side of the canvas shows the last stage of a woman’s life, which Klimt chose to depict as a worn out, old woman, who is withering away. Her hand over her face not only implies that she has had enough of life, but also suggests that she needs to hide. The harsh, brown background that immediately captures the viewer’s attention symbolizes the ground, showing her body already half-buried.

Analysis and Quote

Over the years, “The Three Ages of Woman”, a remarkable painting, has ignited much controversy amongst women who view the art work as lacking in appropriate symbolism to the enduring strength of women. Many feminists believe that the painting’s subtle message is that a woman’s most significant role in life occurs when she is a young mother.

In response to his inability to overcome his fear of public speech, Gustav Klimt stated: “Whoever wants to know something about me–as an artist, the only notable thing–ought to look carefully at my pictures and try and see in them what I am and what I want to do.”

“The Three Ages of Woman” by Gustav Klimt is currently located at Galleria Nazionale d’Arte Moderna in Rome.
Artist: Gustav Klimt
Created: 1905
Dimensions (cm):198.0 x 178.0
Format: Oil on canvas

I am sharing some of this info from www.aaronartprints.org/klimt-thethreeagesofwoman.php

Something  a little fun…Klimt spats  http://en.dawanda.com/product/1019910-50-Klimt-Gamaschen-Unikate

Click here to view the video on YouTube.

“Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.” Albert Einstein

I HIGHLY RECOMMEND TO GO SEE THIS EXHIBIT

Through impossibly daring feats Harry Houdini (1874-1926) captivated audiences worldwide, and his legendary escapes instill awe to this day. Houdini: Art and Magic, the first art exhibition in an American art museum on the master magician, features magic apparatus such as his straitjacket, handcuffs and milk can, posters, broadsides, period photographs, archival films, and contemporary art work by artists such as Matthew Barney, Petah Coyne, Jane Hammond, Vik Muniz, Deborah Oropallo and Raymond Pettibon.

Harry Houdini, c. 1920
Gelatin silver print
10 x 8 1/16 in. ( 25.4 x 20.5 cm)
National Portrait Gallery,
Smithsonian Institution,
Washington, D.C.

The exhibition explores how Houdini’s role as an American icon was transformed across three centuries, first in the late nineteenth century by Houdini’s own interpretation of his status, next by twentieth-century popular culture, and today by contemporary artists who conjure Houdini as an audacious performer and showman of raw physicality. The theme of escape animates Houdini’s work and permeates the film footage, posters, photographs from Houdini’s day. While Houdini deliberately controlled his image, after his death in 1926 and his wife’s death in 1943, contemporary culture held sway. The magician was no longer an audacious apostle of grueling physical activity but a leading man with silver-screen appeal. By the 1970s his edgy performances that caused fear, excitement, and apprehension in his audiences at the turn of the last century was a source of inspiration for contemporary vanguard artists.

Houdini not only escaped from physical constraints and potentially deadly situations but was himself an exemplar of the American dream, escaping the past and succeeding in the new world. Born Ehrich Weiss, Houdini made an immigrant’s getaway from Budapest to Appleton, Wisconsin to New York. Finding the bright lure of the big stage greater than the austere pulpit of his father’s rabbinic profession he joined the circus, ultimately arriving on the national and international stage. Houdini’s career and performances embodied key elements of the American archetype: hard work, ingenuity, modernity, and renewal. His significance as a Jew who became a popular phenomenon attracting huge crowds and a muse for contemporary artists and writers is extraordinary.

Blog
How well do you know Harry Houdini? (3/24/2011)
“My darling I love you” (2/14/2011)
Collective Magic: An Interview with Dr. Bruce J. Averbook (11/5/2010)
Collective Magic: An Interview with Ken Trombly (10/29/2010)
Collective Magic: An Interview with Jeff Taylor (10/22/2010)
Collective Magic: An Interview with Kevin Connolly (10/15/2010)
Collective Magic: An Interview with Arthur Moses (10/8/2010)

Related Links
Thirteen/WNET: THIRTEEN Specials: No Escaping Houdini (28:24, 12/16/2010)

Houdini Upside Down in the Water Torture Chamber, c. 1912
Photograph
6 x 4 1/4 in. (15.2 x 10.8 cm)
Kevin A. Connolly Collection


Houdini Upside Down in the Water Torture Cell, c. 1913
Lithograph
Approx. 24 x 16 in. (61 x 40.6 cm)
The New York Public Library for the Performing Arts, Billy Rose Theatre Collection


Tim Lee (Canadian, b. Korea 1975)
Upside-Down Water Torture Chamber, Harry Houdini, 1913, 2004
Photograph
45 1/4 x 49 1/4 in. (115 x 125 cm)
Lent by the American Fund for the Tate Gallery, Courtesy of the American Acquisitions Committee, 2006

Jane Hammond (American, born 1950)
Untitled (221,181,275,156,227), 1991–92
Oil on canvas
76 x 70 in. (193 x 177.8 cm)
Private collection

Der Weltberühmte, Houdini, c. 1912
Lithograph
27 x 36 1/2 in. (68.6 x 92.7 cm)
Courtesy of Fantasma Magic Shop, New York, www.fantasmamagic.com

Mother Economy – by Maya Zack from celeste.prize on Vimeo.

Mother Economy, a film by Israeli artist Maya Zack, is a meditation on Holocaust remembrance and an homage to resourceful women during violent periods of political upheaval. Wearing glasses, a lace-collared blouse, and her hair neatly arranged in a bun, the protagonist maintains order and composure by performing domestic chores with scientific precision and efficiency. The homemaker locates and identifies objects belonging to absent family members while broadcasts from the radio suggest the destruction and chaos occurring outside her controlled space. She traces a tennis racquet, cigarette ash, pocket change, and other personal artifacts on paper covering the walls and floors. The paper is pink, a color associated with financial newspapers and femininity. Taking on the role of home economist, she proceeds to catalogue objects before her. Using an abacus and formulas from her notebook, she compiles data to bake a round kugel (noodle pudding) which is cut to resemble an economic pie chart.

Both the artist and her fictional character struggle to make sense of personal and collective trauma when information is scarce. Zack’s video was strongly influenced by a visit to her grandmother’s former house in Kosice, a city in present-day Slovakia. Unable to enter the house, Zack tried to imagine the interiors-both present and past. For the film’s mise-en-scène, Zack incorporates period clothing and furniture, but it remains an incomplete sketch of the past. Although the work is entitled Mother Economy, the artist intended her hero’s identity to remain ambiguous. The protagonist may be a dedicated non-Jewish housekeeper who remained in the house long after the family’s deportation and continued to perform rituals in their absence. If she is the Jewish mother, she survives because of calculated efforts to distance herself from traumatic memories.

Maya Zack (Israeli, b. 1976) lives and works in Tel Aviv. Her work has been exhibited at the Noga Gallery of Contemporary Art (Tel Aviv), Artneuland Gallery (Berlin), The Israel Museum, The Haifa Museum of Art, The Tel Aviv Museum of Art, and the 4th Gwangju Biennale in Korea. In 2008 Zack was awarded Germany’s Celeste Art Prize for Mother Economy.

Click here to view the video on YouTube.

I wish I took a picture of this cabinet before I redid it. It was a light orange stained wood color. Here is the finished product.

I am still going to tag it under my new category of before & after.

My Resinsoul Tiny found the perfect place to hang awhile.

The cabinet before I put my signature at the bottom right corner

Resinsoul  Yu Tiny

Japanese doll size food erasers you can get at http://www.iwako.com/IWAKO/

Resinsoul  Yu Tiny, in a dress  I made from a sewing kit I bought at Dolldestash http://www.etsy.com/shop/DollDestash

~All Done~

Click here to view the video on YouTube.

I am not going to say much about this piece except it is for the mind to wonder in between human existence and the world to come.

The material and the ethereal.

This piece was created using charcoal, ink, and spray paint. The felt covered upholstery pins tack the piece to an old chair top. On the back there are two wood balls at the bottom, to pop the piece out from the wall. Which makes it look a little suspended from the wall.

Keeping with the whole feel of the piece hovering.

~The End~