Was Kandinsky a Synaesthete?

Take a look at  Dyedra K. C. Just‘s paper “Was Kandinsky a Synaesthete? Examining His Writings and Other Evidence,” which examines a subject also examined by Amy Ione and Christopher Tyler  in their paper “Was Kandinsky a Synesthete?
Below is the abstract for the D. K. C. Just paper:

Wassily Kandinsky is widely regarded as one of the most prominent examples of a synaesthetic artist. However, in the scientific literature there is disagreement on the genuineness of his synaesthesia. This paper investigates whether Kandinsky had inborn synaesthesia, while acknowledging that there are also types of induced synaesthesia which he may have cultivated. As these two types of synaesthesia are seen to work additively in some synaesthetes and not to be mutually exclusive, this is not seen as an argument against the view that he was a true inborn synaesthete. Whether Kandinsky was a synaesthete is examined through a detailed study of his primary writings (e.g., On the Spiritual in Art, Point and Line to Plane, and Reminiscences), in light of the modern diagnostic criteria. The experiences described in those writings indicate that his synaesthetic perceptions were genuine and inborn and not just a theoretical endeavour. Given the genetic dimension of synaesthesia, this view is further supported by the fact that Kandinsky’s uncle Victor Kandinsky also described having synaesthetic experiences.

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Amy Ione Exhibiting at the Sebastopol Center for the Arts

Painting: The Relativity Room #2WINDOWS AND DOORS

February 22 – March 29, 2020
Opening reception February 22, 1-4 PM

This exhibition presents a wide array of interpretations of “windows” and/or “doors”, symbolically or figuratively.

A virtual tour of Windows and Doors Art Exhibition in the Main Gallery at Sebastopol Center for The Arts, Sebastopol, California. Feb-March 2020. (no audio).

Sebastopol Center for the Arts

Amy Ione Exhibiting at Gallery North, Edmonds, WA

On Display: 2020 Small Works Exhibition

Homage to Paul Klee (Blue Night) by Amy Ione
Artwork. Homage to Paul Klee (Blue Night) by Amy Ione

Percept: Space Study, #3 by Amy Ione, painting

Percept: Space Study, #3 [Original Oil Painting by Amy Ione, image

Dates: March 1 through March 30, 2020
Opening: March 7, 1-4pm, 401 Main Street, Edmonds, WA 98020

Edmonds Art Walk, March 19, 5-8pm

Call for Artists: Flathead Lake Biological Station (FLBS) Residencies

Open AIR 2020 Artist-in-Residence Opportunity Spotlight: Summer and Fall sessions available at the Flathead Lake Biological Station (FLBS).

Stay in a quaint cabin.  Learn about the largest freshwater lake west of the Mississippi with access to researchers, undergrad and grad students, interns, taxonomic collections, analytical Lab, sensor lab, tool shop and more!

Flathead Lake Biological Station, University of Montana is one of the oldest active biological field research stations in the United States. It was established near Bigfork in 1899 by its first director, Dr. Morton J. Elrod, UM Distinguished Professor of Biology. It was moved to Yellow Bay in 1908.

Applications Due: March 1st.

Call for artists! Rising: Climate in Crisis Residencies at A Studio in the Woods

Apply for Rising: Crisis in Climate Residencies by April 13

A Studio in the Woods is now accepting applications for Rising: Climate in Crisis Residencies. The call is open to artists of all disciplines who have demonstrated an established dialogue with environmental and culturally related issues and a commitment to seeking and plumbing new depths. Residencies are 6 weeks, will take place between September 2020 and May 2021, and include a $2500 stipend and $2000 materials budget.

Proposals are due by April 13th and residencies will be awarded by June 12th, 2020. Direct questions to Cammie Hill-Prewitt at info@astudiointhewoods.org.

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Soul of a Nation: Art in the Age of Black Power Reviewed by Amy Ione

Book cover. Soul of a NationReview:
Mark Godfrey, Zoé Whitley, Curators

de Young Museum, San Francisco, 9 Nov. 2019-8 Mar. 2020
Exhibition organized by Tate Modern
Catalog by D.A.P./Tate; 2017, 256 pp., ISBN: 978-1942884170.

In balancing a range of art practices with socio-political realities, Soul of a Nation: Art in the Age of Black Power 1963-1983 effectively demonstrates that there isn’t a Black art per se but rather a Black experience that informs what, how, and where Black artists present and re-present. The project also superbly presents the rich contributions of African American artists are an important and integral part of American Art, despite their often being underrepresented in art histories. While the catalog expands one’s understanding of the exhibition immeasurably, I was glad to have the opportunity to engage with the actual size works so as to optimally experience the interweaving of artistic insights and materials with concepts like Black Power, Black Pride and the array of social realities that informed the work (e.g., the Watts riots) [1]. Still, the catalog is invaluable. Reading curator Mark Godfrey’s essay on Black abstraction in the publication before visiting the exhibition primed me to see the socio-political elements through the eyes of individual artists musing about material objects and black identify in tandem. In essence, his essay, co-curator Zoé Whitley’s essay, and the recollections from a number of people associated with this art in the documentation, all of whom were black participants, further underscored that there is a black American culture to celebrate, one that has thrived despite its peripheral place within institutions. Furthermore, the written material demonstrate the value of critically engaging with objects on a number of levels.

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Now Online: Was Leonardo da Vinci’s World Map the First to Name America?

Was Leonardo da Vinci’s World Map the First to Name America? A Quincentennial Reappraisal

Leonardo da Vinci’s World Map, image

Abstract
In addition to his better known artistic, scientific and engineering talents, Leonardo da Vinci has an extensive reputation as a cartographer, drawing maps for a wide range of hydro-engineering projects for the rulers of Florence, Milan, Arezzo and the Vatican, amongst others. However, he is not generally acknowledged as authoring a world map (or mappamundi) spanning the globe, which was the domain of a few specialized cartographers of the era. Nevertheless, there is a world map among his papers in the Royal Library, Windsor, which has the correct overall configuration of the continents, including an ocean at the north pole and a continent at the south pole. Moreover, it has a unique cartographic projection onto eight spherical-geometry triangles that provide close to isometric projection throughout the globe.

This quincentennial anniversary year of his death in 1519 is an appropriate moment for a reappraisal of this contribution to global cartography. Although the authenticity of this world map has been questioned, there is an obscure page of his notebooks in the Codex Atlanticus containing a sketch of this precise form of global projection, tying him securely to its genesis. Moreover, the same notebook page contains sketches of eight other global projections known at that time (early C16th), from the Roman Ptolomaic conic section projection to Rossellli’s (1508) oval planispheric projection. This paper reassesses the dating of Da Vinci’s unique mappamundi to suggest that it predates that of Waldseemüller (1507), and may thus have been the first map to name both America and Florida.

Citation:
Tyler, CW. 2019. “Was Leonardo da Vinci’s World Map the First to Name America? A Quincentennial Reappraisal,” Calafia Journal, 2:7-12. PDF

Lecture: Was Leonardo da Vinci’s World Map the First to Name America?

Was Leonardo da Vinci’s World Map the First to Name America?

by: Christopher W. Tyler, Ph.D., D.Sc.  –  Saturday Sept 28 @ 3:00 PM

Christopher Tyler’s scientific interests are in visual perception and visual neuroscience. With regards to Leonardo da Vinci, Tyler’s interests extend from his youthful activities as an extempore singer and artist’s model in Florence to his architectural and anamorphic influences in the Court of Renaissance France.

image+%281%29.jpgIn addition to his better known artistic, scientific and engineering talents, Leonardo da Vinci has an extensive reputation as a cartographer, drawing maps for a wide range of hydro-engineering projects for the rulers of Florence, Milan, Arezzo and the Vatican, amongst others. However, he is not generally acknowledged as authoring a world map (or mappamundi) spanning the globe, which was the domain of a few specialized cartographers of the era. Nevertheless, there is a world map among his papers in the Royal Library, Windsor, which has the correct overall configuration of the continents, including an ocean at the north pole and a continent at the south pole. Moreover, it has a unique cartographic projection onto eight spherical-geometry triangles that provide close to isometric projection throughout the globe.

This quincentennial anniversary year of his death in 1519 is an appropriate moment for a reappraisal of this contribution to global cartography. Although the authenticity of this world map has been questioned, there is an obscure page of his notebooks in the Codex Atlanticus containing a sketch of this precise form of global projection, tying him securely to its genesis. Moreover, the same notebook page contains sketches of eight other global projections known at that time (early C16th), from the Roman Ptolemaic conic section projection to Rosselli’s (1508) oval planispheric projection. This paper reassesses the dating of Da Vinci’s unique mappamundi to suggest that it predates that of Waldseemüller (1507), and may thus have been the first map in history to name both America and Florida.

EXHIBITION: Mana BSMT Presents: N. M. Brandreth’s Phantasmagoria’s Seeing Shadows

Apr. 26–Jun. 7, 2019
MORE INFORMATION

Have you ever glimpsed a movement out of the corner of your eye and turned to find nothing there? Have you ever bolted up the basement steps convinced that something was down there with you? Seeing Shadows attempts to visualize these sensations as photographic objects. Derived from Brandreth’s love for horror and the macabre, and from the histories of photography and film, these unique handmade works are at once seductive and utterly uncanny.

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