Thursday, November 1, 2012

Designing a Decision: The art behind campaigns

With the 2012 presidential election just a few days away, all eyes are on President Barack Obama and Republican presidential nominee Mitt Romney. While the candidates’ stances on the economy, jobs and civil liberties are what many Americans consider the most divisive issues, there’s an aesthetic element to campaigns that often goes unnoticed.

“Images play a key role in politics,” Rackham student Caitlin Brown said. “Images have the ability to bypass critical thinking and connect to citizens’ emotions. The emotions evoked can be positive or negative.”

Brown, whose studies focus on political communication, noted that art can be a useful form of propaganda.
Politicians spend millions of dollars on advertisement campaigns and, in the case of this unprecedented election, billions — a record-busting $1.7 billion has been spent as of Saturday, thanks to the Supreme Court’s decision in Citizens United v. Federal Election Commission that allows unlimited donations to technically unaffiliated SuperPACs.

Campaigns hoping to appeal to the greatest variety of voter demographics pore over countless designs for posters, fliers, pamphlets and logos to ensure they’re sending the right message.

The focus group thought Romney’s tie wasn’t patriotic enough? The red didn’t test well with this audience? Back to the drawing board.

As The Michigan Daily reported last Wednesday, even campus political groups feel the pressure to brand themselves. University students are likely familiar with the circle logo of the University’s chapter of the College Democrats — posters and fliers hung across campus boast the image, a blue and maize donkey with its bottom half in the shape of a Block ‘M’. Now, the University’s chapter of the College Republicans plans to overhaul its image in the vein of the opposing party.

“Democrats have a great brand name,” LSA senior and chair of the College Republicans Rachel Jankowski told the Daily. “When you see their stuff, you know it’s the College Democrats. That is what the College Republicans have been focusing on and it’s what we’re pushing.”

Images through history
Advertisement campaigns are nothing new. From the 1840 election’s “Tippecanoe and Tyler Too” to the iconic “Hope” poster from the 2008 presidential election, politicians have used images for centuries to disseminate their message.

Rebecca Zurier, an associate history of art professor, said politicians believe art and images will make a difference in their campaigns, because they tend to stay with people longer than something written or spoken.
“Images can get to people in a direct way, or can propose things that aren’t there in the literal words,” Zurier said. “It can make possibilities imaginable with people.”

Zurier said one of the most prominent examples of the power of imagery occurred in the Kennedy-Nixon presidential debate in 1960 — the first ever televised debate. Because television was a brand new medium, the campaigns had no precedent to follow to prepare their candidates for the focus on their appearance. In the end, this proved disastrous for Nixon.

Today, candidates are more familiar with how various images play on TV or in print and are able to manipulate their image in a positive way.

Looking at how candidates pose and what props they use, such as the American flag, is an aspect of politics that has always interested Zurier. And then there’s always the question of what a president or politician “should” look like.

“They all face that ‘looking presidential’ thing, don’t they?” Zurier mused. “We saw plenty of that in the presidential debates and then the pundits went right for it, ‘Who looks more presidential?’ ”

Even something as seemingly unobtrusive as a pin can make a world of difference.

When then-candidate Obama didn’t wear an American flag pin on his lapel during the 2008 election, voters noticed, and were not pleased.

After major backlash, Obama began to wear the pin because, as a presidential hopeful, he had to conform to what a candidate “should” look like, Zurier explained.

“Would people have to learn more (without images)? Maybe not because we have soundbites, slogans,” Zurier said. “But the complicated process through which an image helps you imagine something is possible, (like) ‘This guy could be a leader.’ ”

Zurier illustrated her point with mailings encouraging her to vote against certain ballot proposals in this year’s election. She said a particularly bizarre image of Lady Liberty and Uncle Sam made her take a second look at the mailing, but didn’t sway her opinion on the issue.

“Somebody’s putting thought into creative use of imagery in an effort to get Michigan voters to take these initiatives seriously enough to vote on them,” Zurier said. “Whether it persuades people or not, I don’t know.”

She said the one use of art that may have made an impact in U.S. politics was the federally funded art program during FDR’s New Deal, when artists were paid to create murals across the country. But, as Zurier pointed out, the murals weren’t endorsing a candidate or promoting a certain agenda.

Though it’s difficult to point to any one image as profoundly impactful, images and politics continue to go hand in hand.

Cartooning politics
Josh Neufeld, a narrative cartoonist and a current Knight-Wallace fellow at the University, calls art a provocative, personal format that can illicit strong reactions from observers.

“Art is a subjective interpretation of reality, and the artist intends for it to have an effect, create an emotional response,” Neufeld said.

In the wake of Hurricane Katrina, Neufeld produced a graphic novel titled “A.D.: New Orleans After the Deluge,” detailing the aftermath of the disaster. Though not intended to be political, the book was critical of the government’s response in a way that people were able to relate to and understand.
In this way, he explained, art will always play a role in politics.

“I think there’s still something special about a demonstration or a hand-held sign that’s sort of pretty similar now as it was 100 years ago,” he said.

Neufeld noted that comic strips, such as “Doonesbury,” are often placed on the editorial pages of newspapers because of their underlying political commentary.

Public Policy senior Natalie Berkus, a member of the Ann Arbor Obama campaign team, also pointed to the power of political cartoons to connect to audiences.

“When you see a drawing of a gnarled George Bush on a flaming background with the words ‘READ MY APOCALIPS’ in the center, that has an impact, distinguishable or not,” Berkus wrote in an e-mail in reference to a critical poster of the former president by Robbie Conal, an American guerrilla poster artist.

“I think that it is an interesting juxtaposition: art and politics,” she continued. “While both things seem to come from completely different worlds, it’s interesting to note the close symbiotic relationship that both things share.”

Rebranding with new media
Today, most campaigns and political groups have moved away from physical mediums like posters, to online messaging.

“Effective design has become an essential part of campaigning and Obama’s 2008 campaign truly changed the landscape because of how good the design was,” said Business sophomore Kyle Smith, a member of the College Republicans.

Smith said art and graphic design have become intrinsic parts of campaigns, citing President Obama’s first campaign as the precedent for subsequent efforts.

“In campaigns — and the evolution of social media and other methods of image sharing — graphic design can play a big part in a candidate’s success,” Smith said. “The way people are getting information is moving to the virtual world and our attention spans are shrinking.

Smith said the current election hasn’t produced a campaign — on either side — that used arts and graphics as well as in 2008. As a result, both candidates are suffering.

“I can guarantee you that the next presidential campaign to match or exceed how effectively Obama used imagery to help create his theme will win by as much of a landslide as he did in 2008,” Smith said.

Public Policy senior Tessa Wick, fellow member of Obama’s Ann Arbor campaign team, wrote in an e-mail that much of the president’s ability to connect to the younger generation is a direct result of his campaign’s ability to weave art, media and technology together in a refreshing way.

“He has used art to create a style and finesse in all aspects of his campaign that have differentiated it from any other presidential campaign I know of,” Wick wrote. “His use of art and his commitment to detail in his emails, website and in the overall look of the campaign, have created an unparalleled visual experience for his followers.”

At the University, both the College Democrats and Republicans hope to create a similar cohesive campaign.
LSA junior Alexandra Brill, chair of the University’s chapter of the College Democrats, said the group’s logo has made it easier for other students to approach the organization with questions about important issues.

Brill has received e-mails about voter registration from unaffiliated individuals who recognize the group as a resource.

Jankowski said the College Republicans are seeking a “unified look” on the club’s clothing, posters and other materials, similar to College Democrats.

“We’re working hard to put together that look about us,” Jankowski told the Daily. “We’re trying to really build a presence on campus, and build a solid look about us so that you know, when you see an advertisement, that’s the College Republicans and not a different club.”

Smith said the College Republicans hope their image becomes synonymous with a more inclusive GOP.
“Our brand is pretty strong as of now I think,” Smith said. “(But) we may begin using infographics on our Facebook page or through posters and handouts at events explaining how the notion that Republicans are anti-women is ludicrous and emphasizing that the (College Republicans) welcome all people, LGBT or otherwise, to our club.”

If history is any indication, a well-executed campaign aesthetic can only help.

'Light Forms: The Fine Art Landscape Photography of James Faist' at the N.H. Art Association


James Faist, an accomplished fine art landscape photographer, will be exhibiting a major collection of his work during the month of November at the N. H. Art Association's Robert Lincoln Levy Gallery. "Light Forms: The Fine Art Landscape Photography of James Faist" will be on display from Wednesday, Oct. 31, through Friday, Nov. 30, at the NHAA's Robert Lincoln Levy Gallery, with the opening reception scheduled for Friday, Nov. 2 from 5 p.m. to 8 p.m.

The Robert Lincoln Levy Gallery is located at 136 State St., Portsmouth.

Based in southern New Hampshire, Faist's photography ranges from grand, wide angle views, intimate landscapes, and abstract works of light, texture, pattern, color, and form.

As a student of contemplative photography for more than 40 years, Faist's work often concentrates on coastal and natural regions, while also allowing for the eclectic element of "mindful vision".

Faist is a juried member of the New Hampshire Art Association, as well as a member of the Newburyport Art Assoc., and the Seacoast Artist Association of Exeter. Faist's award winning, limited edition prints are frequently displayed at local galleries, and various public venues.

Please stop by the Robert Lincoln Levy Gallery during the month of November, and review this collection of James' work.

You can also visit Faist's website at www.FaistFoto.com, where you can review and browse many unique, scenic fine art images.

The New Hampshire Art Association is a non-profit professional art association founded in 1940. It is one of the oldest statewide art associations in the country. It consists over 420 members of painters, photographers, watercolorists, printmakers, sculptors, and other fine arstists living and working primarily in New Hampshire, Massachusetts, Maine, and Vermont.

Our mission is to engage visual artists and the public at large through a passionate and energetic agenda of artist support and exhibitions, community outreach and education. These programs nurture creative expression and stimulate dialogue, thereby enriching contemporary culture and community spirit.

Zombies takeover Laing Art Gallery in Newcastle


 Zombies take over the Laing Art Gallery for Halloween
Zombies take over the Laing Art Gallery for Halloween

SCREAMS echoed around a North East art gallery as zombies turned out in force for some spooky fun.
The Laing Art Gallery on New Bridge Street in Newcastle was transformed into a ghoulish place to celebrate Halloween.

Visitors were transformed into zombies by professional special effects artists, as part of the Zombie Takeover day yesterday.

Teenagers had their faces painted and wore zombie costumes before staggering through the museum to see the futuristic landscape of the Futureland Now exhibition.

Assistant learning officer at the Laing Art Gallery Joy Howe said: “It’s been a fantastic day and everyone has really enjoyed themselves.

“This morning everyone worked with the special effects artists where they showed them how to apply various different make-up techniques.

“They then created their own costumes which were all gory and splattered with blood. They all staggered through the gallery and the young people are all leaving the Gallery today dressed as zombies to go and attend their own Halloween parties.

“All in all, a spooktacular day.

Younger visitors enjoyed spooky activities, freaky face painting and balloon modelling during the Halloween events this half-term.

Chief curator for art galleries Julie Milne said: “After such a busy summer of activities, our visitors will be happy to know we’re offering these Halloween themed events during October half term.”

Spooky goings-on also crept into other venues across Tyneside. At Beamish the museum was overrun by terrifying monsters and spooky ghosts yesterday.

Children went trick or treating in the Town, Pit Village and Pockerly Waggonway in the museum, which was swamped with petrifying creatures.

Meanwhile, in Gateshead children visited Clasper Towers to take part in a range of spooky activities.
From scarecrow-making to pumpkin carving and face painting, youngsters enjoyed a host of events planned at Tyne View Children’s Centre and the playground on Rose Street, in Teams, Gateshead.

Brave youngsters also took part in the spooky story trail and got up close with a host of creepy crawlies.

A love for art and nature

Artist Neal Massy continues to inspire his fans through scenes of nature and the environment as 21 pieces of his works are on show at the Horizons Art Gallery, Mucurapo Road, St James. The theme "Eternity in a Moment" is his 25th solo exhibition in which he has skilfully captured the calming effects of flowing waters, crystallised rivers, clear skies, lush mountains, rich foliage and flora and fauna. His latest collection is a year's work of drawing inspiration from nature.

Massy is a realist who turns to mother nature as his main source.  Over the years he has grown to appreciate the use of his camera to capture things that inspires him. According to the artist, "I am usually inspired by nature; it is easy for me to connect with the things around me. I take nature walks and take pictures of the life around me. Then I return to the studio and I use my pictures as inspiration. Through the pictures I tend to get a closer look at things before I paint them. I am able to compose and combine things I want to paint; it's easier for me to work from pictures," Massy said.

Massy exhibits his works every year. Although he dabbles in portraits and other themes he is at his best when he focuses on nature. He advocates through his paintings, for the preservation of the environment. His paintings, he said, encourages people to be more aware of their environment.  "I hope that through my work people will be more aware of their environment and the need to protect it. I tend to create an awareness of the beauty of our islands; and the need to preserve wildlife, through my paintings," he said.

The realism of Massy's paintings is so alive and vivid that it is easy for viewers to lose themselves in his works. Paintings such as "River Scene Lopinot 1 (with Wren)", " River's Edge — Mathura River", "River Scene Lopinot 2", "River Scene Valencia", "North Coast View — Maracas", "Ferruginous Pygmy Owl" and "Coastline View — Las Cuevas", are all captivating and authentic in acrylic. According to Massy, "I have a reverence for nature because I feel closer to God and I see everything as sacred.  Life is sacred. To me the purpose of art in itself is to try to express the essence of the divine; I try to bring that out clearly though my paintings. Nature is my specialty; I am at my best when I work with nature," he said.

Massy got bitten by the nature bug in 1980 and was hooked ever since. He started specialising in nature paintings after attending an environment seminar for two weeks. Since then, he started focusing on local birds and nature scenes. In 1998 he published a book of his paintings and writings entitled Nature's Light. The book is largely based on his personal feelings about nature and various inspirations he drew from the outdoors over the years.

When Massy is not painting, he spends most of his time with nature, drawing inspiration for his next showing. His favourite environment is the Asa Wright Nature Centre. "I take time away from painting to go bird watching and to connect with nature and to find subjects I want to paint. It's nothing I get tired of because I love doing it. I choose to be an artist because of the love I have for nature," he said.

"It's all about love for nature and love for life and getting that message of peace and love and harmony across through my work rather than all the negativity and complacency," Massy said. 

Philadelphia’s art galleries, museums, sculptures a great cultural experience

Sure Rocky (and actor Sylvester Stallone) calls Philadelphia home. But more importantly for the city, his statue sits in front of the Philadelphia Museum of Art, one of the United States' most important cultural landmarks. 
 
Showing brotherly love alongside the famous Swann Fountain in Philadelphia, one of many picturesque spots on the gallery- and museum-laden Benjamin Franklin Parkway. 
 
PHILADELPHIA—In a world of pick or choose, Philadelphia swings both ways.

Travelling with your partner, solo or a group of culture-seeking adult pals? It’s your city, with lively nightlife, upscale hotels and chefs that you’ll swoon for.

Travelling with the family? No problem. Education meets entertainment, open spaces welcome all and around every corner there are homegrown snacks that you’ll want to take home with you.

It’s the opposite of the typical “Chinese Food and Pizza” restaurant way of thinking: It does two things, very, very well.

In the last five months, I’ve visited the city twice with and without kids. Both times, I left longing to go back.
Here are our picks for the must-dos:

With the Kids
Where to Stay: Wherever you like. 25 blocks of city (river to river) means you can get quickly and easily to anywhere you need to be. There are hotel options that range from budget to luxurious. The Best Western Independence Park is right in the heart of the Old City with the historical icons steps away. If space is a priority, the Embassy Suites Philadelphia City Centre is great, or if it’s a great Sunday buffet you’re after, try the Four Seasons — both are on the edge of the beautiful Benjamin Franklin Parkway.

Where to Eat: Reading Terminal Market. Whether it’s the much talked about chocolate chip cookies at The Famous 4th Street Cookie Company, the home of the best sandwich in America (and the lineup to prove it) at DiNic’s or the fact that you’re around the corner from the Pennsylvania Railroad of Monopoly fame. Kids will love the buzz, sights and smells of this indoor market with offerings to satisfy every possible craving.
Prefer a less hectic option? Pop over to the City Tavern (with its period settings and costumed staff) or The Franklin Fountain where ice cream sodas and mile high sundaes rule the roost.

What to Do: The question is, “What not to do?” You’re going to run out of time before you run out of options. You can focus on an introduction to the arts with stops at The Barnes Foundation (where the Art See scavenger hunt will keep kids busy), spend an afternoon searching for the sky-high artwork on the Mural Mile or wander the glass mosaic masterpiece of Philadelphia’s Magic Gardens. Want them edu-tained? Hit the National Constitution Centre, The Franklin Institute, The Academy of Natural Sciences, the President’s House (an outdoor exhibit examining the lives of nine slaves who served the country’s first president), the Please Touch Museum and more.

Rather keep them outdoors, set them free amidst the carousel and mini golf at Franklin Square. Or let them explore the outdoor art: From the famous LOVE statue to oversized “Your Move” game board pieces, there are more outdoor sculptures here than any other U.S. city. And no trip here is complete without a run up the steps of the Philadelphia Museum of Art just like Sylvester Stallone did in the Rocky movies.

Where to Shop: Head to Market St. where American brands you recognize line the beautiful district — Burlington Street Factory, Ross, Macy’s and more.

With the Culture Seekers
Where to stay: Impress your fellow travellers with a stay at either The Ritz Carlton (a former bank turned four-star hotel) or Le Meridien Philadelphia (housed in a former YMCA building and home to a 75-foot high central atrium courtyard).

Where to Eat: Looking for a casual meal? Try JG Domestic where Chef Jose Garces’ 40-acre local farm is showcased in the menu. Do not miss the Sweet Corn (with smoked onion cream, bacon and cheddar) or the Bourbon Beignets. For something lighter, the Chicken Avocado salad inside Granite Hill, Stephen Starr’s stellar offering inside the Philadelphia Museum of Art will hold you ’til dinner.

What to Do: Art. The options rival Washington on the museum front. From the Philadelphia Museum of Art (the third largest art museum in the United States) to the newly restored Rodin Museum (home to The Thinker) to the Pennsylvania Academy of the Fine Arts (featuring 19th- and 20th-century American paintings), there’s something for every taste.

A personal favourite? The Barnes Foundation which opened this summer and houses the private collection of founder Dr. Albert C. Barnes — an eclectic mix of classical works from Cezanne, Matisse and Picasso, alongside African sculpture and iron works.

A fan of architecture? Celebrate the Frank Furness-designed Pennsylvania Academy of the Fine Arts through Dec. 30 at the exhibition honouring the 100th anniversary of the architect’s death.

Where to shop: The city’s art gallery gift shops (I liked PAFA’s and Philadelphia Museum of Arts’ shops the best) offer pieces you won’t find elsewhere alongside ones you’ll have to consult the bank manager for. For the latest in fresh, young designers’ offerings, head to the boutiques located along 2nd and 3rd streets in the Old City. With options that include the quirky and the jaw-dropping and no sales tax on clothes, you won’t go home disappointed.

Art world full of forgery 'shenanigans', artist says

Peter Ireland. Photo / Tracey Grant Wanganui artist Peter Ireland who exposed a fake Gottfried Lindauer painting at the Waikato Museum of Art and History says there are plenty more forgeries out there to be uncovered.

Ireland said it took 10 months from the time he spotted the forgery hanging in the Hamilton museum till its owners, charity Trust Waikato, took action and had the work investigated.

The matter is now with the police and the trust has brought in the lawyers.

The painting is of Tainui chief Kewene Te Haho. The painting was brought by the trust at auction in 2001 for $121,000.

Ireland suspects the painting may be the work of forger Karl Sim, who took the name of the artist he most often replicated, CF Goldie. Ireland said he came across the painting while at an exhibition for a fellow Wanganui artist, potter Paul Maseyk.

"I was nosing round the museum and saw the Lindauer on a wall. It too just two minutes looking at it to release it wasn't a Lindauer.

"I've seen a dozen or more in the Whanganui Regional Museum so I know what a real Lindauer looks like."
Ireland said he has been in the art world for more than 45 years and has done registration work for many galleries, which involves condition reports on paintings.

"Everything about this one was wrong. The lighting in it, the anatomical treatment of the ear and head ... there was no ageing on the painting.

"It was immediately absolutely obvious."

Ireland wrote to the curator of the exhibition and though he got a reply, there was no follow up on the information. He then went to the collections manager at the museum but it wasn't until trust chief executive Bev Gatenby was contacted last July and colonial art expert Roger Blakley was brought in that any action was taken.

Auckland Art Gallery conducted forensic testing and the University of Auckland tested the painting with sounds waves.

"The soundwaves testing is fascinating. They tested it against several other Lindauer works and the painting had different results to all the others."

In the Waikato Times newspaper earlier this month, Mr Blakley called the painting a "good fake".
Ireland said the provenance of the fake painting is "murky".

"It was found in Scotland by a New Zealander in the early 1990s. It was on sold to a private collector by Webbs and then bought by the Trust Waikato charity from International Art Centre.

He said the art world is full of "shenanigans like this".

"There's a conspiracy of silence in the art world over these things. But if something is hanging in a public art gallery and the label says it's by someone then we need to make sure people know it is by that person. It's a trust issue."

"There's a real lack of accountability and transparency here - something that's essential for both the public interest and the business of selling art. Those two words ... the more we seem to use them the rarer they are actually true."

Ireland said he expected more forgeries to be found out like this.

Fla. chalk festival yields mind-bending art works

Anthony Cappetto, of New York, NY., works on his 3D pavement art project during the Sarasota Chalk Festival Wednesday, Oct. 31, 2012, in Sarasota, Fla. The annual festival begins this week and runs through Nov. 6. Photo: AP / AP Artist Kurt Wenner, seated left, instructs fellow artist working on his 3D circus pavement art project during the Sarasota Chalk Festival Wednesday, Oct. 31, 2012, in Sarasota, Fla. The festival runs through Nov.

SARASOTA, Fla. (AP) — Chalk: it's not just for blackboards.

On a stretch of asphalt in Sarasota's downtown, dozens of artists from around the world are sketching, rubbing and painting chalk on the pavement. For hours they work, creating mind-bending images of whimsical cats, Renaissance beauties and surreal 3D images of spooky teddy bears. They're here for the fifth annual Sarasota Chalk Festival, which is free and runs through Nov. 6.

Kurt Wenner, a former NASA space illustrator who studied classical art in Italy, is something of a rock star in pavement art circles because he invented 3D chalk art in the mid-1980s.

On Wednesday, he sat on the ground with a dozen other artists, talking about chalk technique, shading and hue. Wenner has a masterpiece at the festival; he and other artists worked on it feverishly Wednesday morning.

"This particular piece has a bit of a different geometry, in the sense that we've set the viewpoint up pretty high here at fifteen and a half feet," he said. "And there's going to be a second layer of art, suspended over the first layer of art, horizontally, and gives the appearance of a much, much larger drawing."

Nearing completion, the sprawling mural looked to be a sepia-toned renaissance piece, with delicate women's faces and fantastical animals, yet with a circus feel.

The theme of this year's festival is Circus City USA — a nod to the city's heritage as the headquarters for the Ringling Bros. Circus.

The world's top street artists from Italy, Brazil and Japan were drawn to the festival to create these temporary works of art on the pavement. While the artists do use traditional-looking cylindrical pieces of chalk, many also mix the chalk with water and use paintbrushes to apply it to the asphalt.

Some pieces are classical, like Wenner's. Others are whimsical, like the one by artist Bryan Moon of eight cats dressed as Wild West characters.

"It's really quite hard work," said Moon, who spent nearly 40 hours on his 30-foot-long kitty masterpiece.

Other works are mind-bending, surreal 3D images of futuristic robots and mechanical parts.

Denise Kowal, the founder of the Sarasota Chalk Festival, said that many of the artists also work on traditional canvas and it's a treat for people to see them actually in action, "painting" on the ground.

"Artists always spend their time inside the gallery and this is so awesome because the public really gets to be there and see the whole creative process and what goes in it from beginning to end," she said.

There are a number of pavement artists visiting the Florida festival from Italy, a country where street art is popular. In the 16th century, Italians who painted the Madonna and other images from inside cathedrals in chalk on the streets were known as Madonnari.

Can art contribute to making Salem a more distinct and vibrant city?

08-008-0102
You could argue that the state of a city’s public art is a barometer that indicates its economic health, its self-confidence, its cultural maturity and its civic pride.  In some cities, public artwork plays such a central role that individual works are even used to brand the city.  Grand Rapids, Michigan, for example, uses the silhouette of Alexander Calder’s outdoor sculpture “La Grande Vitesse” as its logo.

Art, especially public art, can change the way we perceive a place.  It can even change our relationship with the place where we’ve lived for years.

Art can help a city to establish and express its identity.  This is particularly pertinent for Salem as it wrestles with the stereotypical image of itself as a dozy, bureaucratic backwater, perpetually in the shadow of Portland’s cultural bounty.

Murals, street art, and public sculpture allow a city to examine itself, to ponder its history and identity, and to project a positive vision of itself and its future.  It is not hard to visualize a city whose many murals and public sculptures embody its civic pride and proudly project its optimistic sense of self.  Unfortunately Salem is not currently such a city, but if our mayor and city council make the right decisions, it could become such a place.
How would we initiate such a transformation here in Salem?  The short answer is that it would require vision and leadership on behalf of the city and the active participation of a coalition of public and private sector entities and educational institutions.

It could, for instance, take the form of a series of collaborations between the city, the business community, the Marion County Historical Society and local artists, where they convince downtown business owners to provide outdoor wall space for the painting of murals that address Salem’s history and identity based on research and information provided by the State library or the Marion County Historical Society.  The Oregon Arts Commission could help to fund the project, and the Salem Art Association might want to contribute its expertise and the benefit of its connections with the region’s artists.  Similarly, local businesses under the leadership of the chamber of commerce could exhibit their civic spirit by paying for the cost of paint, while artists donate their time and their skill.  Local colleges, universities and schools could become involved through student participation either in terms of historical research or mural painting under the guidance of experienced artists.  All of these elements could combine to realize a vision of art as an endeavor that is collaborative, educational, socially involved, and that energizes and brings together a variety of community constituencies in the pursuit of a common goal.

The beauty of this kind of project is that it need not cost much, could be initiated relatively quickly, and would make an immediately visible difference.  We already possess the expertise and the resources.  We need only cultivate the will to employ them.

The city might begin by appointing a committee of volunteer stakeholders to focus on ways to make public art a central part of its urban revitalization process, and to spearhead the solicitation of proposals and the selection and approval of projects.  Such a committee could easily be organized and supported by the City of Salem’s Community Development Department’s Neighborhood Enhancement Division.

If we adopt this vision and strategy, our city can be transformed in short order to a place where public art enhances the quality of residents’ lives and projects the distinct identity and cultural vibrancy fit for a state capitol.

Pacific Asia Museum lauds Sherry Rehman for aiding Pakistani art addition


art painting 400WASHINGTON: Pacific Asia Museum, an acclaimed center of art in California, has added a Pakistani artist Hamra Abbas's work to its permanent collection with efforts and generous support of Ambassador Sherry Rehman.

"We are extremely grateful for Ambassador Rehman's support," said Executive Director Charles Mason of Pasadena-based museum said, according to a report in online magazine Pasadena Now.

"In today's increasingly globalized world, it is important to us to foster intercultural understanding across a broad range of Asian cultures, and acquiring this contemporary Pakistani work speaks directly to that mission".

Ambassador Rehman has a long-standing interest in the arts, and studied art history as an undergraduate, the report noted.

"The ambassador's gift recognizes the increasingly important role of Pakistani artists in the contemporary art scene around the world," said Shaila Andrabi, president of Pacific Asia Museum's Pakistan Arts Council.

The piece of work represents the first contemporary work in Pacific Asia Museum's permanent collection by a female Pakistani artist.

Previously, several works by the artist were included in Pacific Asia Museum's 2010 exhibition Beyond the Page: The Miniature as Attitude in Contemporary Art from Pakistan, the report said.

This work is part of Hamra Abbas's 2008 series Paper Plates. She received a BFA and MA in Visual Arts from the National College of Arts, Lahore and now she lives and works in both Boston and Islamabad.

She was awarded the Abraaj Capital Art Prize in 2011 and a Jury prize at the Sharjah Biennial 9 in 2009. Her work also has been shown in exhibitions all over the world and in several Biennials including the 2007 Istanbul Biennial and the 2006 Biennale of Sydney. Abbas work is also held in the permanent collection of The British Museum.

Pakistan art exhibition opens in London


LONDON: A landmark exhibition of Pakistani art opened at London’s Asia House on Tuesday night showcasing the country’s rich culture, social aspects, vibrant and blossoming art scene.

The “Different Faces of Pakistan” the group exhibition is organised by Sasheen Abbasi, in collaboration with CARE, Pakistan’s educational NGO. The exhibition sought to highlight the unexplored artistic side of Pakistan by bringing together works by 35 artists, juxtaposing established modern masters such as Sadequain and Gulgee alongside contemporary talents that included Khusro Subzwari, Farrukh Shahab, Inam Raja, Dr Wasif Ali and Tassadux Sohail.

Abbasi told The News she selected the works to demonstrate the “creativity, courage and conviction of artists living through some of the most trying times the nation has witnessed over the past few decades”. For Abbasi, they “depict the real face of Pakistan, so often neglected in sensationalist international news, and instead showcase the beauty, sensitivity and remarkable grit of the Pakistani people”.

Some 150 arts professionals, collectors and critics attended the opening night, with notable guests including David Abrahams of RUSI, Dr Azra Pechucho, Chairman of Defence Committee, Pakistan, Nick Viner, Director of Conservative Friends of Pakistan and several key media figures.

Speaking on the occasion, Mehvish Khan, Chief Executive of CARE Pakistan, commented, “Asia House was the perfect setting for a fabulous evening of Pakistani art and culture.

It was wonderful to see so many people supporting Pakistani art.” Talking to The News at the opening ceremony, Farzana Baduel, who handled organisation of the exhibition, said that the country brand of Pakistan is in “negative decline”. She added, “This exhibition is a much needed promotional platform for Pakistan and its immense artistic and cultural heritage.

Creating a cultural dialogue between Pakistan and the international community will enable a greater understanding of Pakistan and its people; hopefully one that differs from the usual negative narrative that is sadly so often prevalent in the international press”, Farzan Baduel said.