Author: ultrawolvesunderthefullmoon

https://www.instagram.com/wolvesofgray This blog is a refugee and a survivor of the Great Tumblr Inquisition of December 17th, 2018. I am gay artist, who received training at the Rhode Island School of Design, and now, a retired high-end fine art framer living in Maryland, USA. My interests and studies in life run a wide gamut from art to history and from the scientific to the esoteric. I have been building this blog of images and texts for the last eight years. My wish is that my posts pique the interest of viewers and encourage them to experience more.

Au4, “Planck Length”

Au4, “Planck Length”

The AU4, the Audio / Visual Creative Collective formed in 2004 in Canada , including the three brothers Ben Wylie, Aaron Wylie, Wylie Nathan and their friend Jason Nickel, which began from an early age to study music at the Royal Conservatory of Music of Toronto . Later, in high school, they took part in the groups of alternative rock , continuing his musical studies as well as participating in the productions of jazz , choral and theatrical .

In particular, Nathan and Jason Wylie Nickel later attended the Capilano University , based in Squamish and Sechelt, north of Vancouver, deepening their knowledge and practice of jazz, while Ben Wylie and his brother Aaron were dedicated to electronic music. The experiences of this period would then merged to form the future of the group’s style.

Partly inspired by the spread of electronic music in the 1990s, as well as from the albums milestones of the Underworld , Massive Attack , Björk , AIR , Nine Inch Nails , Mogwai and M83,  Ben and Aaron began to compose and shape of the productions both musical and visual, accumulating an amount of work that would later find her suitable accommodation in their debut album on: Audio, and their live show on: Visual.

Fantastic band and experience. Check them out.

(Source: https://www.youtube.com/)

Red Fox

Artist Unknown, (Red Fox), Computer Graphics, Animation Gifs

“To survive
we’d all turn thief

and rascal, or so says the fox,
with her coat of an elegant scoundrel,
her white knife of a smile,
who knows just where she’s going:

to steal something
that doesn’t belong to her –
some chicken, or one more chance,
or other life.”
― Margaret Atwood, Morning in the Burned House

Stephen Greene

Stephen Greene, “The Mourners”, Oil on Canvas, 1946, 50.8 x 76.2 cm, Private Collection

Stephen Greene was a painter from Valley Cottage, New York, known for his abstract paintings and in the 1940′s for his social realist figure paintings. Greene taught at Princeton University for many years where he was teacher to many well-known figures in the art world including Frank Stella and art critic and historian Michael Fried.

Greene had more than 2 dozen solo exhibitions of his work in leading art galleries in New York City. He also taught at the Art Students League of New York for several decades. After the mid-1950s and until his death Greene’s mature work was related to abstract expressionism, color field painting and surrealism.

“I have always wanted to achieve a profoundly moving image, to make of paint and canvas a visual fact worth dealing with on many levels. Art does set up a particular world and the one that suits my vision of what I see, know, deals with the dark side of experience as well as its enchantment and pleasures. In art, our hopes and desires shape our visions of fulfillment for more than the actual experiences that we may have.

My use of color and light that is mysterious is of an interior perception. My formal stance is very much involved with an underlying structure that is insistent to the life of the work. I remain subject ridden and how a vertical divides the space from top to bottom, from my earliest works to the present, is as much subject matter as overt reference to the known world. I prefer to make paintings that are sufficiently individual to be granted their own place.”                            — Stephen Greene, Valley Cottage, New York, 1999.

Henry Moore

Henry Moore, “Mother and Child and Figure Studies”, Mixed Techniques on Paper, Colored Crayon, Charcoal, Pencil, Ink and Gouache, 25.5 x 18 cm

According to the Henry Moore Foundation, this work is probably page 7 from the Upright Sketchbook 1942. “ Although all known drawings of the sketchbook are horizontal, it is numbered upper right on the recto and upper left on the verso in vertical format…. The recto is interesting in that it provides the sketches for two larger drawings.”

Chattakan Kosol

Chattakan Kosol, “Yee Peng Festival in Chiang Mai, Thailand”

Yi Peng or Yee Peng is part of the festival of lights in Northern Thailand to show respect to Buddha. It’s date usually coincides with Loi Krathong which all of Thailand celebrates using floating lights on water. In Northern Thailand Yi Peng, which is celebrated alongside Loi Krathong, is different in that lights are placed into sky lanterns which float up into the air.

Loi Krathong still happens in Chiang Mai but the actual Loi Krathong floating lanterns on water event happens the day/night after Yi Peng.

Alongside the floating light ceremonies there are also parades, fireworks, displays of colorful lanterns and cultural highlights involving the Lanna. As Chiang Mai was the former capital of the Lanna Kingdom it holds the largest Yi Peng Festival.

The Chiang Mai Yee Peng Lantern Festival is Wednesday, November 1, 2017 to Saturday, November 4, 2017.

Concha Flores Vay

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Paintings by Concha Flores Vay

Concha Flores Vay is a self-taught artist from a small village in the province of Valladolid , Spain. She now lives in works in Alicante’s Province on the Mediterranean coast of Spain. Her work can be found in private collections in Spain, Germany, Holland and Norway.

“I express myself through my fantasy and creativity. My art-style is very childlike, I love colour, I like to create something different, I don’t follow any trend, I do what I like and the best I can without going out of my art-style, my work is spontaneous.” -Concha Flores Vay

Ray and Maria Stata Center

Ray and Maria Stata Center, Massachusetts Institute of Technology, Boston

The Ray and Maria Stata Center for Computer, Information and Intelligence Sciences is built on the site of MIT’s legendary Building 20, a “temporary” timber-framed building constructed during World War II that served as a breeding ground for many great MIT-originated ideas. Designed by renowned architect Frank O. Gehry, the Stata Center is meant to carry on Building 20’s innovative and serendipitous spirit, and to foster interaction and collaboration across many disciplines.

The building is home to the Computer Science and Artificial Intelligence Laboratory (CSAIL), the Laboratory for Information and Decision Systems (LIDS), and the Department of Linguistics and Philosophy. Its striking design—featuring tilting towers, many-angled walls, and whimsical shapes—challenges much of the conventional wisdom of laboratory and campus building.

When the building opened in 2004, Pulitzer Prize-winning critic Robert Campbell wrote in the Boston Globe that the building is “a work of architecture that embodies serious thinking about how people live and work, and at the same time shouts the joy of invention.”

Joseph Gielniak

Etchings by Joseph Gielniak

Joseph Gielniak was born in a family of Polish immigrants in France, where he finished high school and studied for a year at the famous Ecole des Beaux Arts in Vallenciennes. He went to Poland in 1950 with the intention of studying at the Department of Consular and Diplomatic in Warsaw. This plan was canceled due to a severe case of lung disease. At the age of 21 Joseph Gielniak was sent to a sanatorium in Bukowiec near Kowary in Lower Silesia, where he spent almost his entire adult life. The architectural elements and the environment of the sanatorium were frequent motifs in his art.

Reginald Marsh

Reginald Marsh, “Flying Concellos” , Etching and Engraving, Date of Plate 1936, Edition of 100, 8 x 10 in. Collection of the Art Students League of New York

Reginald Marsh is one of the best known chroniclers of 1930s and 40s New York. It has been said that Marsh was to New York what Daumier was to Paris and Hogarth was to London. His paintings, drawings, and prints capture the aura and pace of the ever-changing city at a particularly exciting time in its history.

Marsh was fascinated with the seedier aspects of New York, and he was an obsessive explorer of the great metropolis. It was in places such as Coney Island, the burlesque parlors and dance halls of Fourteenth Street, the Bowery, the streets, and the subway that the Yale educated, financially comfortable Marsh found the subjects he was looking for – Bowery bums, burlesque queens, musclemen, bathing beauties, and streetwalkers. Marsh returned repeatedly to his favorite locations, usually working on the spot with sketchbooks and taking photographs that were used as the source material for completed works back in his Fourteenth Street studio.