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

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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PANEL AND EXHIBITION: Watercolor Rediscovered: Whistler in the Nineteenth Century

Watercolor Rediscovered: Whistler in the Nineteenth Century
Exhibition: May 18, 2019–October 6, 2019
Freer Gallery of Art, galleries 10 and 11

James McNeill Whistler reinvented himself as an artist in the 1880s and painted his way into posterity with the help of watercolor. Beginning in 1881, he created a profusion of small, marketable works over the next fifteen years. “I have done delightful things,” he confided, “and have a wonderful game to play.” For Whistler, the word “game” referred to the watercolors themselves and to his plans for selling them.

Museum founder Charles Lang Freer amassed the world’s largest collection of Whistler’s watercolors, with more than fifty seascapes, nocturnes, interior views, and street scenes. His vast collection also included prints, drawings, pastels, and oil paintings by the artist. Due to Freer’s will, these works have never left the museum, and the fragile watercolors have rarely been displayed. Recent research conducted by museum curators, scientists, and conservators now shines new light on Whistler’s materials, techniques, and artistic genius, as seen in this first major exhibition of his watercolors at the Freer Gallery since the 1930s.

In conjunction with the opening of Whistler in Watercolor, explore the development of watercolor in the Victorian era and James McNeill Whistler’s contributions to the genre at an event on Sunday, May 19, 2019, 2pm.
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EXHIBITION: ​​New Age, New Age: Strategies for Survival

April 25 – August 11, 2019
DePaul Art Museum
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​​New Age, New Age: Strategies for Survival is an exhibition of work from the last fifteen years by contemporary artists who appropriate, critique, or embrace “New Age” aesthetics and concerns from a 21st century perspective. Emerging in the 1960s and 1970s against a backdrop of war, social strife and a crisis of modernity, the multifaceted New Age “movement” was characterized by alternative approaches to traditional Western culture, with an interest in spirituality, mysticism, holism, and environmentalism. It embodied a complicated conflation of politics, religion, science, social communities, art, music, and self-realization. Often dismissed for its association with drugged out hippies or flower-power children, how can New Age philosophies and practices be reconsidered today as relevant movement for social change and wellness?

Artists include:
Maikoiyo Alley-Barnes, Lise Haller Baggesen, Alun Be, Elijah Burgher, D. Denenge Duyst-Akpem, Whit Forrester, Desirée Holman, Cathy Hsiao, Michiko Itatani, Rashid Johnson, Marva Lee Pitchford-Jolly, Jenny Kendler, Liz Magic Laser, Matt Morris, Shana Moulton, Heidi Norton, Tony Oursler, Mai-Thu Perret, Robert Pruitt, Bob Ross, Luis A. Sahagun, Mindy Rose Schwartz, Suzanne Treister, Rhonda Wheatley, Megan Whitmarsh and Jade Gordon, Saya Woolfalk​

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CFP: American Art and Visual Culture Seminar

CALL FOR PROPOSALS:
Submission Deadline: Monday, June 3, 2019

The Newberry Seminar in American Art and Visual Culture is open to those working in the art history and visual culture of the United States, from the colonial era to the present. They are inviting papers that cross and challenge borders both within and outside the discipline that engage questions of methodology and ideology, examine exhibition and provenance history, probe the categories of race, ethnicity, class, and gender, and reflect critically on the state and outlook of the field.

They also welcome topics focusing on Chicago art and design within the larger national and international contexts, such as: thematic studies on world’s fairs, Chicago’s Gilded Age, institutional/private/corporate display practices, urban landscapes, African-American art past and present, and self-taught artists.

Flyer about the seminar
More information: scholarlyseminars@newberry.org
Submit a proposal at https://www.newberry.org/seminar-proposal-form

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SCHILLER, G: Iconography of Christian Art (Volumes I and II)

Gertrud Schiller. Iconography of Christian Art (Volumes I and II). Lund Humphries, 1972. A few pages have highlighting. Also pencil checks, asterisks, and brackets in some margins. One volume has a marked out name on front end page. Both volumes in dust jackets. Good in good dust jacket. Hardcover. (#29884)

(Out of Stock)

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Reductionism in Art and Brain Science: Bridging the Two Cultures by Eric R. Kandel (Reviewed by Amy Ione)

Reductionism in Art and Brain Science: Bridging the Two Cultures
by Eric R. Kandel
Columbia University Press, NY, NY, 2016
240 pp. Trade: $29.95, ISBN-10: 0231179626;ISBN-13: 978-0231179621
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Reductionism in Art and Brain Science: Bridging the Two Cultures by Eric Kandel, like his study The Age of Insight [1], builds on earlier efforts to couple science and art, particularly those of Alois Riegl (1858-1905), Ernst Kris (1900-1957), and Ernst Gombrich (1909-2001). These three men, he tells us, endeavored to establish art history as a scientific discipline by grounding it in psychological principles. Riegl emphasized the “beholder’s involvement, stating that art includes the perceptual and emotional involvement of the viewer. Kris studied ambiguity in visual perception, concluding that every powerful image is inherently ambiguous because it arises from experiences and conflicts in the artist’s life. Gombrich extended Kris’ ideas to include the inverse optics problem: how our brain takes the incomplete information about the outside world that it receives from our eyes and makes it complete. This is a problem that arises because the brain reconstructs the images we see. It should be noted that Gombrich’s positioning in his well known Art and Illusion [2] is, like Kandel’s, more concerned with beholders than artists or the community.

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