October 13th, 2016
Tomorrow is my daughter's eighth birthday. Both my daughters will stay home to celebrate. I will be eating cake, playing with her new toys, going out for lunch and taking lots of photos so my next post will be on Monday.
Today's post is about perseverance. There are so many sayings like: "Jump and the net will appear" or "Follow your heart and the money will come". I have followed my heart and I jumped without hesitation. Guess what? There was no net or money. However, I get to do what I love every day. This includes taking care of my family, participating in activities that contribute to my community and developing my skills as a writer, public speaker and art therapist. I also enjoy a better work-life balance now that I am my own employer.
This post was inspired by a 100 year old artist named Carmen Herrera. She was born in Havana, Cuba but spent a great deal of her life in New York. Her father was the founder of a newspaper, El Mundo, and her mother was a journalist. Carmen was creating innovative, minimalist art in the 50s along with Frank Stella. As a matter of fact, her geometric shapes and use of colour and contrasts were unparalleled. Why haven't you heard about this artist before now? She's a woman and, in the 50s, she was not included in art shows because of her gender. I
n the documentary, The 100 Years Show, Carmen recalls a moment when she met a woman who was the curator for an art gallery. A friend assured Carmen that this curator admired her work. Carmen went to see this woman, hoping to be included in an art show. This woman explained that she did love her work but she couldn't include a female artist in her exhibits. This shocked Carmen because it was another woman who was placing limitations on her.
Carmen married a photographer who encouraged Carmen's creativity and fully believed that her work would be recognized one day. They were great friends. He passed away at the age of 100 after years of suffering from dementia, becoming dependent on Carmen for his care. Carmen has created every day, finding purpose in "putting order in a chaotic world". No one was buying her art but she created for herself. She created because she simply had to do it. That is true passion.
It turns out, her husband was right. People started to recognize her talent and she is now selling her art, included in art shows, part of the collection in a dozen art galleries and, interviewed in various magazines and newspapers. Starting in 2002, she has enjoyed being a recognized and celebrated artist. While it saddens her that her husband never got to see her efforts pay off, she is grateful for the income. It allows her to stay at home and afford the supports she needs such as an art assistant, a physiotherapist and a chef.
Her documentary is short but inspiring. For all of you who have worked hard and have yet to reap the rewards of your labour, there is hope. Just keep doing what you love. Trust that you are where you are meant to be and, perhaps, one day when you least expect it, your moment will come. Hopefully, you won't be 100 years old when it does.
Anne Walsh
www.artnsoul.org
Showing posts with label artist. Show all posts
Showing posts with label artist. Show all posts
Thursday, 13 October 2016
Thursday, 25 February 2016
Louise Bourgeois-Art at ANY age
February 24th, 2016
When I was completing my art portfolio at the Ottawa School of Art, I received an assignment in my Art History class. Students had to pick an artist from a list of names, research this artist and present him or her to the class. I chose an obscure name, not Matisse or Picasso but Louise Bourgeois. I was surrounded by gifted artists and I was just passing through but I thought I could do a really good job at researching and presenting this artist.
I wasted no time reading up on Mrs Bourgeois and she rocked my world. I watched videos of this little old lady sculpting out of marble and metal. This tiny, frail elderly woman was fighting censors who objected to sexual imagery. She produced art to advocate for the rights of gay and lesbian individuals to marry. She also created art to support awareness and advocacy for ACT UP, an AIDS activist organization.
Louise Bourgeois was inspired to create art that examined sexuality, gender roles as well as the duality of vulnerability and control. She used her art to process early childhood trauma, mainly her awareness that her father was cheating on her ill mother with Louise's English tutor. Her father was domineering, making everyone else feel small and insignificant, including Louise. She explored her mother's vulnerability as well as her strength through projects like Femme Maison and Maman.
Femme Maison is a series of drawings, painting and sculptures of women's bodies either standing sideways or facing the viewer, sometimes the legs are straight but they can also be spread, feet touching to form a diamond. The head or sometimes the entire upper half of the body is a house instead of a head. This shows the women's preoccupation with everything domestic while being cut off from the rest of society. The sculpture I saw displayed a woman on her back, on the floor. Her head stuffed into what looks like a dog house.
Her series of spiders made of steel and marble is called Maman. They are an ode to her mother's strength and protective nature. Louise loved her mother. She watched her repair tapestries and saw this ability to fix things, like a spider working on her web, as a strength.
Her feelings about her father were also expressed through her art. Her sculpture, Fillette, is a two foot latex penis complete with head, shaft and testicles. I saw a photo of it hanging from a wire thread through the head, just dangling from the wall. During a photo shoot with Robert Mapplethorpe, she posed with her penis sculpture tucked in under her arm. The title of this phallic sculpture, Fillette, is meant to poke fun at it.
Much of Louise's work has a voyeuristic quality to it. She sculpted eyes out of metal and marble. She created installations called cells where you walked into a scenario that was meant to elicit an emotional response. There were some cells that you didn't walk into, you were just allowed to peer through an opening. In I Do. I Undo. I Redo. people were presented with three towers measuring 9 metres high, surrounded by spiral staircases. Guests were meant to climb up to the platform where they would see a jar with a figure of a mother and her child. The platforms were surrounded by huge mirrors so spectators could watch visitors interact with the art and with one another. In her Destruction of the Father installation, you witness the aftermath of a murder scene. She and a sibling have killed their father, dismembered and eaten him.
Louise was actively creating right up to her death. Her last creations were completed a week prior to her death at 98 years of age. For the last two years of her life, friend and photographer Alex Van Gelder photographed Mrs Bourgeois. In one photo she is wearing a black mask and holding a knife. In another photo she is staring at her aged face in the mirror. She was still showing her work in Museums in 2000 and 2001 in her 80s. This artist has examined many controversial subjects, creating provocative art with a variety of art mediums. She was creating and pushing buttons until her last breath in 2010. A life well lived, a great example for women everywhere, especially those who say they are too old to start creating.
Anne Walsh
www.artnsoul.org
When I was completing my art portfolio at the Ottawa School of Art, I received an assignment in my Art History class. Students had to pick an artist from a list of names, research this artist and present him or her to the class. I chose an obscure name, not Matisse or Picasso but Louise Bourgeois. I was surrounded by gifted artists and I was just passing through but I thought I could do a really good job at researching and presenting this artist.
I wasted no time reading up on Mrs Bourgeois and she rocked my world. I watched videos of this little old lady sculpting out of marble and metal. This tiny, frail elderly woman was fighting censors who objected to sexual imagery. She produced art to advocate for the rights of gay and lesbian individuals to marry. She also created art to support awareness and advocacy for ACT UP, an AIDS activist organization.
Louise Bourgeois was inspired to create art that examined sexuality, gender roles as well as the duality of vulnerability and control. She used her art to process early childhood trauma, mainly her awareness that her father was cheating on her ill mother with Louise's English tutor. Her father was domineering, making everyone else feel small and insignificant, including Louise. She explored her mother's vulnerability as well as her strength through projects like Femme Maison and Maman.
Femme Maison is a series of drawings, painting and sculptures of women's bodies either standing sideways or facing the viewer, sometimes the legs are straight but they can also be spread, feet touching to form a diamond. The head or sometimes the entire upper half of the body is a house instead of a head. This shows the women's preoccupation with everything domestic while being cut off from the rest of society. The sculpture I saw displayed a woman on her back, on the floor. Her head stuffed into what looks like a dog house.
Her series of spiders made of steel and marble is called Maman. They are an ode to her mother's strength and protective nature. Louise loved her mother. She watched her repair tapestries and saw this ability to fix things, like a spider working on her web, as a strength.
Her feelings about her father were also expressed through her art. Her sculpture, Fillette, is a two foot latex penis complete with head, shaft and testicles. I saw a photo of it hanging from a wire thread through the head, just dangling from the wall. During a photo shoot with Robert Mapplethorpe, she posed with her penis sculpture tucked in under her arm. The title of this phallic sculpture, Fillette, is meant to poke fun at it.
Much of Louise's work has a voyeuristic quality to it. She sculpted eyes out of metal and marble. She created installations called cells where you walked into a scenario that was meant to elicit an emotional response. There were some cells that you didn't walk into, you were just allowed to peer through an opening. In I Do. I Undo. I Redo. people were presented with three towers measuring 9 metres high, surrounded by spiral staircases. Guests were meant to climb up to the platform where they would see a jar with a figure of a mother and her child. The platforms were surrounded by huge mirrors so spectators could watch visitors interact with the art and with one another. In her Destruction of the Father installation, you witness the aftermath of a murder scene. She and a sibling have killed their father, dismembered and eaten him.
Louise was actively creating right up to her death. Her last creations were completed a week prior to her death at 98 years of age. For the last two years of her life, friend and photographer Alex Van Gelder photographed Mrs Bourgeois. In one photo she is wearing a black mask and holding a knife. In another photo she is staring at her aged face in the mirror. She was still showing her work in Museums in 2000 and 2001 in her 80s. This artist has examined many controversial subjects, creating provocative art with a variety of art mediums. She was creating and pushing buttons until her last breath in 2010. A life well lived, a great example for women everywhere, especially those who say they are too old to start creating.
Anne Walsh
www.artnsoul.org
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