JOY is a very subjective concept that can morph and seem ever changing, however we simple have to be honest and ask ourselves the question are we happy at this moment and what is the source of our JOY. When we define it in such simple terms, we may be able to discern how to create or allow ourselves to experience more of our personal avenue to JOY. Can we simply pay attention to our senses of hearing, smell and sight? We may simply like hearing the sound on running water, smell the fragrance of a orange blossom or enjoy the sight of a sunrise in a favorite location. As we pay attention to our natural appreciations we begin to realize that most often our JOY is going un-noticed. As we begin to notice the gift of JOY, we can allow our senses to access our JOY center at any moment and have a deeper experience of gratitude and appreciation for the most simple of life experience as a precious rich moment of JOY opportunity.
The 2011 San Francisco Fall Antiques Show is a spectacular event that benefits Enterprise for High School Students. For anyone who loves Antiques, Art, Interior Design and beautiful things in general, this is the San Francisco event of the year. The show consistently showcases the top international exhibitors vetted by some of the most discerning eyes for quality in the world.
As we have moved from the Age of Industry to the Digital Age, one can’t help but imagine a new generation of computer savvy collectors honing their vision of a new eclectic home environment that can include Antiques. corePLATINUM is aware of a transition of spending power in this new market place that is very different from previous generations. The new collector may want to integrate 18th Century French, 20th Century American and recognize how modern Art can all fit into a more casual eclectic lifestyle.
The 2011 San Francisco Fall Antiques Show was an opportunity for corePLATINUM to curate this new point of view that shows Antiques collecting is not limited to only formal environments, however, there is a need for more education on value, potential for integration into modern living and the opportunity for personal expression. In the Age of the Social Enterprise, this could be an opportunity for the beginning of the New Antiques Collecting coupled with “Learning & Conversation.” Joseph Osborne
THE SAN FRANCISCO FALL ANTIQUES SHOW is the oldest continuously operating international antiques show on the West Coast. The Show features over sixty dealers from across the United States and Europe, offering for sale an extraordinary range of fine and decorative arts representing all styles and periods including American, English, Continental, and Asian furniture, silver, ceramics, glass, jewelry, rugs, textiles, paintings, prints, and photographs.
THE SAN FRANCISCO FALL ANTIQUES SHOW is vetted in cooperation with the Antiques Dealers Association of California to ensure the highest quality merchandise.
Benefiting Enterprise for High School Students The mission of Enterprise is to engage and empower San Francisco Bay Area youth to discover career opportunities and cultivate their individual interest through training, guidance and employment experiences in a diverse and supportive learning environment.
“I am not a black artist, I am an artist”.
Was Jean – Michel Basquiat the messenger of the sacred and profane?
Black Identities in American Art an exhibition at Yale University Art Gallery
presents an opportunity to contemplate the question that seemed to plaque Jean – Michel Basquiat regarding Art and Black identities in American Art. With our American history in skin color being a object of oppression we are compelled to ask, can any artist of color exist in America, as Jean – Michel was quoted as saying, “I am not a black artist, I am an artist“. Can one be one without the other? Some might say, why is this a question of relevance? Well the truth is it isn’t, however in America one can’t have skin color like Jean – Michel and not be Black Identified. What is Black Identified? I would venture to say, an identity linked to a history of American Black Slavery. With that said, Jean – Michel could have identified more with the universal soul of the sacred. Or was he just high on some combination of drugs that takes one to a place of profane illusion? Our questions could go on and on, however the fact is Jean – Michel’s massive body of Art works is compelling to say the least.
Most often, the mention of Jean – Michel’s name compels us to contemplate the word – tragedy. Is it tragedy that accompanies greatness in Art or greatness in Art that accompanies tragedy. Either way most would not want to go to a tragic level for the sake of being great. However, how is it that so many of our great Artist are paired with what we most often think of as tragedy. Is it the tragedy that aides their mystique? Is it the tragedy that drives up the prices?
“I was seeing images that were all too familiar. It was black people in a state of life-or-death desperation, and everything corporeal was coming to the surface: water, excrement, sewage. It was a re-inscription of all the stereotypes about the black body.”
Kara Walker speaks of her work as being about the unexpected. How can we be the hero/heroine yet want to kill the hero/heroine at the same time? Is this the American dilemma we find ourselves in? We are all connected, yet we focus on our differences and differentiators. Kara Walker exploits the push and pull of the American wound, our modern slavery history, that is alive and played out in our everyday 21st century lives. What are the messages, both hidden and obvious, that we can glean valuable information from, as we navigate our daily lives. Are we more comfortable not directly confronting the subject, which her silhouette allows us to do or do we have the courage to face the subject head on? Kara Walker challenges us to contemplate these questions.
Kara Walker was born in Stockton, California. Her retired father [Larry Walker] is a formally educated artist, a professor, and an administrator. Her mother [Gwen Walker] worked as an administrative assistant and was inspired by her family to reveal her own artistic talents.
Kara Walker’s silhouette images work to bridge unfinished folklore in the Antebellum South, raising identity and gender issues for African American women in particular. However, because of her confrontational approach to the topic, Walker’s artwork is reminiscent of Andy Warhol’s Pop Art during the 1960s (indeed, Walker says she adored Warhol growing up as a child). Her nightmarish yet fantastical images incorporate a cinematic feel. Walker uses images from historical textbooks to show how African American slaves were depicted during Antebellum South. Some of her images are grotesque, for example, in The Battle of Atlanta, a white man, presumably a Southern soldier, is raping a black girl while her brother watches in shock, a white child is about to insert his sword into a nearly-lynched black woman’s vagina, and a male black slave rains tears all over an adolescent white boy.
In 1997, Kara Walker—who was 28 at the time—was one of the youngest people to receive a MacArthur fellowship. There was a lot of criticism because of her fame at such a young age and the fact that her art was most popular within the white community.
Kehinde Wiley is inspired by European traditionalist portraits by painters such as Reynolds, Gainsborough, Titian and Ingres to name a few. Wiley, often will show the person that is sitting for him a collection of images of paintings he has chosen. In this approach, he involves the sitter in the creative process. The Columbus Museum of Art, which hosted an exhibition of his work in 2007, described his work in the following: “Kehinde Wiley has gained recent acclaim for his heroic portraits which address the image and status of young African-American men in contemporary culture.”
Born in South Central Los Angeles, Wiley takes his inspiration from what he sees on the streets. His portraits, often are inspired with young urban men from streets of New York and LA. Wiley’s unique style often blurs the lines between traditional and contemporary presentations. His references to Old Dutch Masters, French Rococo and Islamic Moorish influences combined with West African Textiles and American Urban Hip-Hop all merged into larger than life grandeur.