The Whitest Boy Alive[via FoxyTunes / The Whitest Boy Alive]

<p><b>The Whitest Boy Alive</b></p><p class=”foxytunes-signature” style=”font-size: 12px;”>[via <a href=”http://www.foxytunes.com”>FoxyTunes</a&gt; / <a href=”http://www.foxytunes.com/artist/the_whitest_boy_alive”>The Whitest Boy Alive</a>]</p>

Klaus Burgel

I like to think of my jewelry as a secretion. Like a bee produces honey, the jewelry is what comes out of me.

I find it very difficult to live up to my own standards. It’s like wrestling an alligator. I know there is a place where I feel complete but the place is always shifting. There are times when I wonder why I do what I do and what it is all for. But then, each piece I finish opens a new door .

Beautiful objects turn the most mundane activity into a ceremony.

I prefer to use materials which do not like to talk, materials which are shy, locked up in themselves. Their silent power is driving me crazy. I try everything to make them open their mouths, everything to make them talk to me.

If I use a found object, it is usually for the opposite reasons. Found objects are loaded with history, chatty and eager to tell their story.

The pieces I feel very strong about usually combine discipline with chance. Intellect with emotion. They encourages me not to listen to all the sweet voices I so very much would like to please.

A successful piece to me has to incorporate the surprise of discovery, a secret and a mistake

I would love to see more obsessive craftsmanship, abstract constructions, deconstructivist ornaments, anti-dogmatic and unpredictably honest. Work of divine madness, visually complex and free of seductive packaging. Work that is bold, confident and discrete. Work that makes use of the advantages of the small intimate format to connect with the human psyche.

kristoferstrom

http://www.ljudbilden.com/
http://www.myspace.com/ljudbilden

Billy Collins

(from 1999): As I’m writing, I’m always reader conscious. I have one reader in mind, someone who is in the room with me, and who I’m talking to, and I want to make sure I don’t talk too fast, or too glibly. Usually I try to create a hospitable tone at the beginning of a poem. Stepping from the title to the first lines is like stepping into a canoe. A lot of things can go wrong.

(from 2004): Moving from the position of United States poet laureate to New York State poet laureate might seem like a demotion or a drop in rank to the military-minded. It might even appear that I am heading toward eventually being crowned laureate of my ZIP code. But in fact, it is very gratifying to be honored again as a representative of poetry, this time by my native state where I grew up — more or less — and continue to live.

Louise Bourgeois

Bourgeois’s essentially diaristic conception of drawing: the images she draws are made in immediate psychic response to the experience of daily life.

Otte (a rap song)

Paul Klee

“Art does not reproduce the visible, it makes visible,”

Piet Modrian

This is the painting that knocks the wind out of me at the MOMA. Brings tears. Seems the most sacred.

‘Everything was spotless white, like a laboratory. In a light smock, with his clean-shaven face, taciturn, wearing his heavy glasses, Mondrian seemed more a scientist or priest than an artist. The only relief to all the white were large matboards, rectangles in yellow, red and blue, hung in asymmetric arrangements on all the walls. Peering at me through his glasses, he noticed my glance and said: “I’ve arranged these to make it more cheerful.”‘

He painted a fake tulip white because he banned the colour green from being in his house

* * Play the Modrian Machine * *

Ellsworth Kelly

“I noticed that the large windows between the paintings [in the Musee d’Art Moderne] interested me more than the art exhibited. From then on, painting as I had known it was finished for me.”
(Ellsworth Kelly)

Arthur Dove

“I would like to make something that is real in itself,” [Arthur Dove] once wrote, “that does not remind anyone of any other thing, and that does not have to be explained like the letter A, for instance.

“What do we call ‘America’ outside of painting?” he asked a friend. “Inventiveness, restlessness, speed, change. Well, a painter may put all these qualities in a still life or an abstraction, and be going more native than another who sits quietly copying a skyscraper.”

“I no longer observed in the old way, and not only began to think subjectively but also to. remember certain sensations purely through their form and color, that is, by certain shapes, planes of light….”

Arthur Dove was interested in synesthesia – the possibility that sounds could be experienced and depicted as colors or shapes, an idea current in French Symbolist circles since the 1880s. Foghorns, 1929, represents the moaning of warning sirens in the Long Island mist as concentric rings of paint growing in lightening tones of grayed pink from a dark center: the bell mouths of the horns, their peculiar resonance, and the color of the fog are fused in one image.
http://www.artchive.com/artchive/D/dove.html

Rodney Greenblat

I just stumbled on this

http://www.whimsyload.com/home.html

What! This is his bio…..

Rodney Alan Greenblat is a creator of intriguing and whimsical art. His paintings and sculpture have been exhibited in galleries and museums around the world. He is the author and illustrator of children’s books, and creator of computer art and characters for children and adults. Rodney’s sculpture was featured in the 1985 Whitney Biennial, and his work was a major component of the East Village art scene. Rodney designed the characters for 1996 hit Sony Playstation game “Parappa the Rapper” which has sold over 3 million copies world wide.

WHOA ! …..
The Center For Advanced Whimsy is Rodney’s New York City showroom and studio.

THERE’S MORE !

Welcome to my (Rodney) web site, a constant work in progress. In this latest version I am switching many of the older areas over to a new database driven format. The gallery page demonstrates how many of my works can be viewed through a search system. I am constantly creating new works, and since the 1980s I have created thousands of pieces. Little by little I am adding older works to the database, and over the next few months I hope to add info on works from the 1980’s and 1990s. Many of my famous productions such as Funscreen, Dazzeloids, and Canworld are not yet well represented on the site. My children’s books, Thunder Bunny and Slombo The Gross will eventually be added. Many of my Japanese consumer products can bee seen in the shop area, and I hope to include projects that I did for Sony, Minolta and Family Mart in the main database in the future. For now you can find images of those projects on RodneyFun.com.