The National Gallery Acquires Its First Painting by a Woman Since 1991

I guess this article (title verbatim from Hyperallergic) would be only mildly newsworthy unless you were a hysterical fan of Artemesia Gentileschi.  That would be me.  Artemisia was the wrong gender in 17th-century Florence so there are many who have not heard of this supremely under-rated painting prodigy.  She is fair game for an Event Horizon feature if I find a dearth of 21st century artists to showcase.

artemisia museum  artemisia self

artemisia judith

 

 

Call to artists: Issue 5

calls logo

It’s that time again.  Issue 4 has been published.  This is a call for submissions:

Event Horizon is seeking poetry, fiction, and non-fiction of many varieties.

Event Horizon is calling for graphic arts suitable for a print publication:  illustration of any variety, photography and photography of craft work, and pictures with stories comprising manga, graphic novels, comics and cartoons.

Event Horizon is soliciting cover art.  See the website for specs.

There is no fee for submitting nor is there payment upon acceptance. Event Horizon comes out bi-monthly.  Target date for publication of Issue 5 is September 1, 2018.

The best place to start for any questions is the website. There are four issues available to view.

The website and free pdf downloads can be found at eventhorizonmagazine.com .

All submissions and inquiries should be directed to eventhorizonmagazine@gmail.com .

Contest winners; Issue 4 update

I am pleased to announce the winners of the Event Horizon Pictorial Contest and its $100 prize:  the strip Saint Michaels, written by Gene Turchin and illustrated by Jacob Duchaine.  The strip was featured in Issue 3.  To Gene and Jacob, congratulations and thanks for your participation.

cover for article

Issue 4 is now available as a print copy for purchase.  Go to the Home page.

The Art Agenda

Sure I have an agenda. Can’t help myself. But here I try and restrain myself. I try to limit my effects to providing a mirror and providing a platform where art can do what it does when it decides to.  Art changes people.  It educates them. Art speaks to hearts and minds. Art can topple the most well-armed, well-organized and well-funded tyranny. Full stop.

There is an article in Hyperallergic Hand-Copying the Constitution and Other Responses to Trump by Thomas Michelli. I haven’t finished reading it yet. I will but I’m gratified and reassured just to find the report drifting about. The genie is out of the bottle and won’t be easily stuffed back in.

constitution2

Some needed corrections have been made to Issue 4 – free pdf download, and posted to the Home page.  Hopefully this will help to yield a mostly error-free print option, to be made available soon.

Barely in time – Issue 4 available

i4 front cover hi dpi

Issue 4 – the free pdf download – is now available on the home page.  Not quite solstice but June, anyway;  11:30pm.  The print version will take just a little longer.  I debuted a new feature in Issue 3, Offworld.  Unfortunately, I had to jettison the feature this issue because I ran out of time;  solstice came and went and I was still drafting the issue.  Down but not out:  Offworld will be back.  For now, I hope you enjoy Issue 4.  By the way, Event Horizon is going to a bi-monthly schedule.  The next issue will be   2018  September/October Issue 5 and will come out early September.

NRA threatened by Cloudgate

Cloudgate by Anish Kapoor is a monumental outdoor sculpture in the Chicago Loop. People say it looks like a giant kidney bean or a blob (a big blob) of mercury. The image here is from a screen shot of a propaganda video by the NRA.  Kapoor has strong objections to his sculpture being used to further the agenda of an organization that he hates and he is using a novel approach to express his dismay by suing the NRA through US copyright law.

anish-kapoor-1000-720x445

The discussion in Hyperallergic reviews a topic – US Copyright law – close to the heart of artists, curators and publishers.  Such users of art have mastered the concept of “fair use” in order to stay on the correct side of what is often a very fine line. Under “fair use” copyrighted work may be used without consent of the artist, evaluated case-by-case, in consideration of four factors: (1) the purpose and character of the use, (2) the nature of the copyrighted work (i.e. how factual or fictional is the copyrighted work), (3) the amount and substantiality of the portion taken, and (4) the effect of the use upon the potential market.

But a potential infringer of copyright may also be protected by a legal construct called the deminimus use exception:  the court is not going to bother with a full fair-use investigation if the amount of copying is trivial.  Hyperallergic cites a judge who states, “.. Because of the de minimis doctrine, in trivial instances of copying, we are in fact not breaking the law.”

Kapoor will probably lose:             

The Copyright Act also does not stipulate that a third party must first ask for permission before raising the fair use defense. In fact, Sir Anish’s insistence that he would “never have granted [the NRA] permission” to use his work for the NRA’s video is precisely why fair use exists. Imagine if an art critic was writing a devastating and acerbic critique of an artist’s paintings, and that same art critic needed to illustrate her argument with images of the artist’s paintings. It’s not far-fetched to believe that not only would most artists not grant that critic permission to use images of the paintings, the artist would most certainly not provide the critic with high-resolution images of the paintings.

I’m still working on getting Issue 4 out the door by my new deadline:  any day now.

Solstice – hello and goodbye

Solstice was my self-imposed deadline and publication date for Issue 4.  My new deadline is any day now.  My staff and I (redundant – they’re the same) are spread thin across all departments.  But I’m looking forward to the issue.  It’s a little smaller this time.  I want to encourage contributors – new and old – to act on their desire to find themselves featured in Event Horizon.  That’s mostly what Event Horizon is for.  But we’ve been literate for over 5000 years; we’ve been drawing for 20000 or more and movin and groovin to the tunes for I don’t know how long.  There will always be plenty to share and talk about.  For right now, I’m pleased to feature some new and recent poets and authors. Thanks to Heather Haley for beautiful front and back covers.  And in the words of Diana Ross and the Supremes,  come see about me.sawtooth summer splendor (2)

Sawtooth Summer Splendor by Heather Haley

Rick Bartow at the Autry Museum

Rick Bartow died in 2016 in Newport, Oregon at the age of 70.  By that time he was an established American artist and an icon here in Oregon.  His influences are evident.  He was a Native American and a Vietnam War veteran.  He reached deep within his heritage and history and you can read carnage, grief, slaughter as well as monumental beauty and intimate personal narrative in his art. The personae of Native American legend – Raven, Salmon, Bear, Owl – as well as the hanging carcasses and grisly abstractions reminiscent of Francis Bacon: they all haunt the canvasses and installations of Rick Bartow.  He was mentored by his friends Charles Froelick and William Jameson (deceased), the Portland gallery owners and curators.

There is a major show of his work – Rick Bartow: Things You Know But Cannot Explain –  at the Autry Museum in Griffith Park, Los Angeles.  Charles Froelick will present a “gallery chat” there about Rick Bartow on Saturday, June 23, 2018, 1:00–4:00 p.m   After January 6, 2019, the show will go to Bend, Oregon and then to Missoula, Montana.  Read the article about the show in the Los Angeles Times.

bartow 1

bartow 2bartow 3bartow 4

Award-winning cartoonist and Trump critic is fired

Art is dangerous. Art is loud. And for the powerful, that loud abrasive voice is always shouting from one side or the other of that line that should not be crossed. In America, political cartoonists are usually given a pass because of their obvious stature as the most sacrosanct embodiments of Free Speech and Freedom of the Press; kind of  a third rail if you’re a politician – touch it and you die. Usually but not always.

The Daily Kos reports that award-winning editorial cartoonist Rob Rogers has had many of his cartoons “spiked” or axed in the last several weeks by the new editorial editor of the Pittsburgh Post-Gazette.  Rob Rogers has worked for the Pittsburgh Post-Gazette for 25 years.  He was fired yesterday, June 14.

Daily Kos explains:

The past two years leading up to the Pittsburgh Post-Gazette merging with the Toledo Blade’s editorial staff have seen the newspaper turn more and more Trumpservative. The merger in March was the final move in turning the newspaper into a propaganda rag for the Trump administration.

Here is a gallery of some of Rogers’ most recent work.

rogers4rogers 1rogers5rogers3rogers2

An afternoon at the opera

Indulge me for a moment.  True opera aficionados will hear my comments as what you can expect when you cast pearls before swine.  My son and I saw a production of Gounod’s Faust. We went because he wanted to better appreciate the allusions to Goethe’s Faust that are laced throughout his favorite anime, Madoka Magica. We had a great time.  How could we not?  Even from the cheap seats the efforts of over a hundred people, busting their asses to entertain us could not help but enchant and there was much to recommend this show.  The Keller is a grand and comfortable venue.  In my lifetime experience  it is important to me that the cast was ethnically diverse, making this somewhat less a ritual of just rich, snobby white folks.  The sculptural art of John Frame was integrated into the production.  The effect – occasionally inscrutable – was strange, somber and dramatic.  The music, the singing, the costumes – none of that failed to enrapture the viewer.

Any discouragin’ words are my own misgivings about the venerable institution of opera itself.  I know what I like and I think either a musical or a play goes miles farther in projecting mirth, pathos or empathy into the heart of the audience participant.  My mother liked Balanchine ballets more than classical because with classical, you have a lot of people (male dancers) “just standing around”; she meant when they were props, variously supporting the ballerina.  An actor is constrained by a script, an opera singer is constrained by a libretto but – crucially – also by the score;  and there is a lot of standing around, belting it out.  Even during the songs in a musical I see far more physical engagement of the characters.  The biggest weakness in classical opera is the lack of opportunity for character development.  The characters in musicals get a chance to talk and even their pantomime and dancing promote the shape of their character.

 I saw a 20th century opera, The Turn of the Screw, which, for me, may have come close to the intended operatic experience.  The opera was based on the novel by Henry James. The score by Benjamin Britten was monumental.  The cast was smaller and this probably gave a tremendous boost in favor of individual dramatic success.  The ghosts were haunting.  The fragility and obsession of the principal characters were palpable.  The predicament of the children was menacing.  The creepy parts were creepy and scary.

Bizet’s Carmen is a 19th century classic opera.  My only experience with the opera is the 1984 movie version with Julia Migenes as Carmen and Placido Domingo as Don José.  OK, I love that movie.  I don’t know if it was the movie vehicle or superior staging and direction that succeeded where the live Faust failed.  For one thing, the music of Bizet’s Carmen is beloved by me.  With only the first pass at the music that afternoon, I can’t remember a single theme from the score of Gounod’s Faust.

Other than that, I like what I like.  I like light, tuneful, silly, pretty stuff.  I like Mozart’s Cosi Fan Tutte and The Magic Flute.  I like Gilbert and Sullivan.  But as I said, my son and I had a great time at the opera.

angel blue

Angel Blue is Marguerite in the Portland Opera production of Gounod’s Faust.