Monday, December 21, 2015

Writer, Author, Artist of the Day: Carol Nissenson

Carol Nissenson is my artist of the day: long-time friend, author, thinker, musician, activist, improvisationalist, the list goes on and on.

And here's more about Carol. . ."Carol Nissenson is a professional actor/director. Her resume includes opera, recordings, commercials, stage and film work in both DC & NYC and national tours of Broadway shows. She currently performs with and directs Now This, a DC-based music and comedy improv troupe. They’ve performed in 23 states. Their audiences range from preschools to Fortune 500 execs."

"Carol has been working with the ‘unwritten word’ for two decades, and storytelling is central to that work. She knows it will sound like a cliché, but she always wanted to write. It was the road not taken. But Carol did get to hang out with a lot of well known, and soon to be well known writers when she lived in NYC. Ironically, that may have discouraged her. She wanted to write light, fun, frivolous stuff and they wrote literature. A couple of years ago she said 'I’m just going to do this, damn it'. Now it is an obsession." ABOUT CAROL NISSENSON.

And you can hire her troupe, NOW THIS.

Tuesday, December 8, 2015

Tuesday, October 13, 2015

BLACK, MOSTLY 9H

“Mostly 9H” Series, each 8"×8″ plus black satin frame, graphite, charcoal, conte crayon on gessoed clayboard.

“Black”, October 22, 2015 opening reception, close November 28th, Space Gallery, 400 Santa Fe Drive, Denver. Conceptualized by Sharon Swidler, curated by Jo Marks Aardsma.

Exhibiting with Jo Marks Aardsma, Tonia Bonnell, Michael Burnett, Nancy Koenigsberg, Diane McGregor, Corey Postiglione, Susan Schwalb, Sharon Swidler.

WHY BLACK?

…I was no longer working with black…but with the material of black, the surfaces of black, created a light. And this light is a secret light. A light that is not obvious. It was coming out of the black….”– Pierre Soulages

“This show interests itself in the ‘non-objective’: art that is not representational, that contains no recognizable figures or objects, art that has no intentional derivation from any concrete matter.The work for this show was selected because each artist uses black, not as negative space, but as an opening from which to reveal what lies at the edge of vision.”—Jo Marks Aardsma

This work is a continuation of paintings and drawings from the last several years. http://www.rounderstudio.com/black/ and the current work at http://www.rounderstudio.com/mostly-9h/ 

Friday, July 24, 2015

Artist of the Day: Tor Dettwiler


"Overfishing Ones Waters"
c 2000
wood, pvc, epoxy, acrylic, found: plumbing and fishook
13" x 4 and 1/2" x 6 and 1/2"
"Umbilically Urban - Mother & Child"
c 1994-96
pvc, wood, tin, acrylic, found: duct elbow, plumbing
3' x 1' x 2'

Wednesday, June 10, 2015

Paris Slept on by Scamander Side

Paris Slept on by Scamander Side

He walked to the bed
And I followed
While the two of us slept
Menelaus prowled
Aeneas went to Rome
Armies raged, women wailed, empires fell.

c.2015, Nancy Charak

I Saw a Man Shoot Not an Arrow Into a Tree

The Tree Climber

I saw a man shoot not an arrow into a tree
A beanbag
Yanked thin yellow leader line
I craned my eye-neck on high
Fatter red line followed yellow
Hidden in leaves branches

I saw a man shimmy up the red rope
Step clinch step clinch step clinch
Slip slide down swift swift

I saw a man shoot not an arrow into my heart
A beanbag
Thunked, thin line yanked around me
Shimmy up, step clinch, slip down, swift, swift. 

c. 2015, Nancy Charak

Thursday, May 28, 2015

Artist of the Day: Robert Irwin

Artist of the day: Robert Irwin, courtesy of the Indianapolis Museum of Art. This should serve as a reminder to us all that museums in the hinterlands (fly-over country?) so often have great art by great artists.

Friday, May 22, 2015

Waiting

Winsor & Newton, Rembrandt, Old Holland
Pigment, ground fine, linseed refined, redolent turp
Chrome yellow, cadmium red, flake white
Waiting, waiting, waiting

Fabriano, Arches, Strathmore
Rags shredded, pressed, bleached, deckled
Hot press, cold press, toothy
Waiting, waiting, waiting

Brushes, fan, sable, Kolinsky
Caps twisted, tubes squeezed, water
Swirl, mix, dip
Waiting, waiting, waiting

Done, empty, full.

c. 2015 Nancy Charak

Thursday, April 2, 2015

Nancy Charak exhibiting Tucson Open Studios Come on by...

Tucson Open Studios, April 18-19, Sat-Sun, 11a-5p, exhibiting with Greta Ward at 652 S. Meyer, Tucson AZ. Come on by.
Check in to see the work of the Barrio Viejo artists of Tucson, Katja Fritsche, Lisa Mele, Alex Streeter, Tony Guzman, Greta Ward, Catherine Eyde, Leslie Cho Newman, Barbie Lock Lee, Stinkbug Studio, Keith Marroquin, Charles "Chip" Hedgcock, Tom Baumgartner AND me, Nancy Charak.



Once More Britain Refuses to Return the Elgin Marbles

Elgin Marble Horse, Nancy Charak photographer c. 2004.
Contemporary classicist Mary Beard admits to being conflicted: "Personally I hold no brief for Lord Elgin (I have remained uncomfortably "on the fence" on the whole issue for many a year)."

Clearly the Elgin Marbles are the crown jewels of any visit to the British Museum. They were removed from the Acropolis between 1801 to 1812, installed in the museum in 1817. From the museum's website:

"Material from the Parthenon was dispersed both before and after Elgin’s time. The remainder of the surviving sculptures that are not in Athens are in museums in various locations across Europe. The British Museum also has other fragments from the Parthenon acquired from collections that have no connection with Lord Elgin."
The museum's statement is as follows [which translates to "we're not giving them back."]

"The British Museum tells the story of cultural achievement throughout the world, from the dawn of human history over two million years ago until the present day. The Parthenon Sculptures are a significant part of that story. The Museum is a unique resource for the world: the breadth and depth of its collection allows a world-wide public to re-examine cultural identities and explore the complex network of interconnected human cultures. The Trustees lend extensively all over the world and over two million objects from the collection are available to study online. The Parthenon Sculptures are a vital element in this interconnected world collection. They are a part of the world’s shared heritage and transcend political boundaries."

"The Acropolis Museum allows the Parthenon sculptures that are in Athens (approximately half of what survive from antiquity) to be appreciated against the backdrop of ancient Greek and Athenian history. The Parthenon sculptures in London are an important representation of ancient Athenian civilisation in the context of world history. Each year millions of visitors, free of charge, admire the artistry of the sculptures and gain insight into how ancient Greece influenced – and was influenced by – the other civilisations that it encountered."
"The Trustees are convinced that the current division allows different and complementary stories to be told about the surviving sculptures, highlighting their significance within world culture and affirming the place of Ancient Greece among the great cultures of the world."
"Such claims on the national identity of antiquities are at the root of many states’ cultural property laws, which in the last few decades have been used by governments to reclaim objects from museums and other collections abroad. Despite UNESCO’s declaration that “no culture is a hermetically sealed entity,” governments are increasingly making claims of ownership of cultural property on the basis of self-proclaimed and fixed state-based identities. Many use ancient cultural objects to affirm continuity with a glorious and powerful past as a way of burnishing their modern political image -- Egypt with the Pharaonic era, Iran with ancient Persia, Italy with the Roman Empire. These arguments amount to protectionist claims on culture. Rather than acknowledge that culture is in a state of constant flux, modern governments present it as standing still, in order to use cultural objects to promote their own states’ national identities."
"But it’s impossible to visit the marbles today without feeling slightly uncomfortable about their provenance — especially in a time when looting in the Middle East has become the focus of international attention. Many individuals and organizations have been advocating for the Greek sculptures’ return, including the British Committee for the Reunification of the Parthenon Marbles, the Marbles Reunited Campaign, the Melina Mercouri Foundation, and most recently, the human rights lawyer Amal Alamuddin Clooney, who has been advising the Greeks on the dispute."
I admit to feeling no discomfort at all when visiting encyclopedic catch-all museums full of the loot of empires, the Louvre, the Prado, the British Museum [which still houses many Benin bronzes]. Having spent much of my childhood and later adult time in encyclopedic museums in Chicago, the Art Institute of Chicago, the Field Museum of Natural History, Cuno's argument that "no culture is hermetically sealed" rings true.

Saturday, March 7, 2015

Monday, March 2, 2015

Artist of the Day, David Scott Moyer

Today's Artist of the Day is the multifaceted and well traveled David Scott Moyer. He is exhibiting photographs at Contreras Gallery, 110 E. 6th St., Tucson, Arizona, opening reception, Saturday, March 7th, from 6 to 9pm. Please come on by.

You can find David's website here and he blogs as well.

Three Wise Men, David Scott Moyer photograph

Thursday, January 29, 2015

Sneak Preview, Nancy Charak, Geologic Time

Here is a sneak preview of the four framed pieces for Geologic Time, group exhibit at Conrad Wilde Gallery, 101 W. 6th Street, Tucson, opening reception, Saturday, February 7, 2015, from 6 to 9pm. Several additional pieces will be in the flat files. Come on by. The show runs to 2/28.

Exhibitors for Geologic Time are Jason Adams, Nancy Charak, Adrian Cornejo, Rebecca Crowell, Marc Leone, Laura Moriarty.

The watercolors are the Sympathy for the Devil Series, each is 22"x30", watercolor, prismacolor, graphite on white Stonehenge, 2015.

Excellent framing by Fred Soto, fredscustomstretching@gmail.com, 520-977-3738, Fred's Custom Stretching is at 901 N. 13th Ave, Tucson 85705.





Wednesday, January 21, 2015

Nancy Charak Exhibiting at Conrad Wilde Tucson

Opening reception, Saturday, February 7, 6 to 9pm, Conrad Wilde Gallery, 101 W. 6th St, Tucson AZ 85701, enter from 9th Ave.

Please come on by, "Geologic Time," will feature four from my series Sympathy for the Devil on the wall and several others in the flat files. The exhibit runs from 1/23--2/28, 2015.

Sympathy for the Devil No 4, Nancy Charak artist, c.2014, 22"x30", watercolor, prismacolor, graphite on white Stonehenge.

Sympathy for the Devil No 14, Nancy Charak artist, c.2014, 22"x30", watercolor, prismacolor, graphite, oil stick on white Stonehenge.

Thursday, January 15, 2015

Fog in the Desert

Yesterday there was serious fog here in Tucson. I had a hunch that the light would be interesting as it lifted the fog out in the desert. So, I packed up Tux the Dog, a sandwich, some cheese, an orange, the camera and out we went to the Saguaro National Park, West. The desert always smells sweet and piquant after the rains.

Tux the Dog is a rescue courtesy of Tucson Cold Wet Noses. And to learn about Tucson from the BBC read this featuring the fog.

Nancy Charak c.2015 photographer, Fog in the Desert 01

Nancy Charak c.2015 photographer, Fog in the Desert 02

Nancy Charak c.2015, photographer, Fog in the Desert 03

Nancy Charak c.2015 photographer, Fog in the Desert 04

Nancy Charak c.2015 photographer, Fog in the Desert 05