For the 8th class, they was 3 absent students.
HERARD Dachemine, HERARD Blondine, HERARD Orlie Mariotte.
- Bengie was teach on the poeme ( The black flower )
- To wear
- clothes
- Colors
**art project in progress**
Fearing that modern American painting had reached a conceptual dead end, Rothko was intent upon exploring subjects other than urban and natural scenes. He sought subjects that would complement his growing concern with form, space, and color. The world crisis of war lent this search an immediacy, because he insisted that the new subject matter be of social impact, yet able to transcend the confines of current political symbols and values. In his essay, “The Romantics Were Prompted”, published in 1949, Rothko argued that the”archaic artist … found it necessary to create a group of intermediaries, monsters, hybrids, gods and demigods” in much the same way that modern man found intermediaries in Fascism and the Communist Party. For Rothko, “without monsters and gods, art cannot enact a drama”.
Rothko’s use of mythology as a commentary on current history was not novel. Rothko, Gottlieb, and Newman read and discussed the works of Freud and Jung, in particular their theories concerning dreams and the archetypes of the collective unconscious, and understood mythological symbols as images that refer to themselves, operating in a space of human consciousness that transcends specific history and culture. Rothko later said his artistic approach was “reformed” by his study of the “dramatic themes of myth”. He apparently stopped painting altogether for the length of 1940, and read Freud’s The Interpretation of Dreams and Sir James Frazer‘s The Golden Bough.
Rothko’s new vision would attempt to address modern man’s spiritual and creative mythological requirements. The most crucial philosophical influence on Rothko in this period was Friedrich Nietzsche‘s The Birth of Tragedy. Nietzsche claimed that Greek tragedy had the function of the redemption of man from the terrors of mortal life. The exploration of novel topics in modern art ceased to be Rothko’s goal; from this point on, his art would bear the ultimate aim of relieving modern man’s spiritual emptiness. He believed that this “emptiness” was created partly by the lack of a mythology, which could, as described by Nietzsche, “[address]… the growth of a child’s mind and – to a mature man his life and struggles”.
Rothko believed that his art could free the unconscious energies previously liberated by mythological images, symbols, and rituals. He considered himself a “mythmaker”, and proclaimed “the exhilarated tragic experience, is for me the only source of art”.
Many of his paintings of this period contrast barbaric scenes of violence with those of civilized passivity, with imagery drawn primarily from Aeschylus‘s Oresteia trilogy. In his 1942 painting, The Omen of the Eagle, the archetypal images of, in Rothko’s words, “man, bird, beast and tree … merge into a single tragic idea.” The bird, an eagle, was not without contemporary historical relevance, as both the United States and Germany (in its claim to inheritance of the Holy Roman Empire) used the eagle as a national symbol. Rothko’s cross-cultural, trans-historical reading of myth perfectly addresses the psychological and emotional roots of the symbol, making it universally available to anyone who might wish to see it. A list of the titles of the paintings from this period is illustrative of Rothko’s use of myth: Antigone, Oedipus, The Sacrifice of Iphigenia, Leda, The Furies, Altar of Orpheus. Judeo-Christian imagery is evoked: Gethsemane, The Last Supper, Rites of Lilith, as are Egyptian (Room in Karnak) and Syrian (The Syrian Bull). Soon after the war, Rothko felt his titles were limiting the larger, transcendent aims of his paintings, and so removed them altogether.
At the root of Rothko and Gottlieb’s presentation of archaic forms and symbols as subject matter illuminating modern existence had been the influence of Surrealism, Cubism, and abstract art. In 1936, Rothko attended two exhibitions at the Museum of Modern Art, “Cubism and Abstract Art,” and “Fantastic Art, Dada and Surrealism,” which greatly influenced his celebrated 1938Subway Scene.With mythic form as a catalyst, they would merge the two European styles of Surrealism and abstraction. As a result,Rothko’s work became increasingly abstract; perhaps ironically, Rothko himself described the process as being one toward “clarity”.
New paintings were unveiled at a 1942 show at Macy’s department store in New York City. In response to a negative review by the New York Times, Rothko and Gottlieb issued a manifesto (written mainly by Rothko) which stated, in response to the Times critic’s self-professed “befuddlement” over the new work,
“We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.”
A few photos from our Port-au-Prince Photography Program:
Launched in April, 2013: Project HOPE Art offers a studio environment where students can work on digital, analog, electronic and alternative media art projects. Students in our new after-school program will create experimental multimedia works. A variety of conceptual, formal, and performance-based approaches to the medium will be explored over the course of each year long program. Topics include Storytelling, Printmaking: digital, lithography and woodcut, Synesthesias, PhotoJournalism, Visual Music, Color Theory, Film Soundtracks, Creating: Mobile, Illuminated, and Responsive Works of Art and The Relationship between Biology and Art.
Our Photography Program will begin with ten students (ages 12-18) from our esteemed list of Project Partners. The theme of the 16 week program is “Daily Life” as viewed and lived by children in various neighborhoods throughout Haiti.
The first class will kick off with a Program Orientation with Photographer Melissa Schilling. The Program will have one teacher (Jean Pierre Romel – a Haitian documentary filmmaker) and will run for 16 weeks. The Program will take place on Sundays from 10-3pm; May – August; at the Project HOPE Art Center in the Clercine District of PaP.
In September 2013 the students portfolio of work will travel to the US to be displayed at the Project HOPE Art Donor Dinner. It will turn around and head back to Haiti in time for the October 11, 2013 celebration of The Day of the Girl at the United Nations. The body of work will live permanently at Haiti Communitere.
Visiting Photographers will teach Sunday workshops with the students and work with Romel throughout their stay in Haiti focused on editing and curating students bodies of work. Join us in our premiere journey.
Sign up to teach and volunteer, here.
Meet our Students! Click Here
You may donate items from our wishlist:
We are on the hunt for money, but also gently used equipment:
• 10 Point and Shoot digital cameras
• 1 DSLR
• 2 Photo Printers (8X10 sized paper and up)
• Camera Card Readers
• Reams of Photo Paper
• 2 laptops
• 2 iPads
About Project HOPE Art
Our Mission:
“To inspire, heal and improve the quality of life for children in need through the creative process of art.”
Our Values:
Art is the universal language which transcends differences in cultural and customary barriers.
Art is a tool for education that encourages creative thinking, problem solving and growth.
Art gives a voice to the voiceless.
Art is good for the soul.
Our Actions:
Project HOPE Art uses art as a vehicle to inspire, to educate and to create intentional whimsy. We work with children in hospitals, orphanages, schools and communities in disaster stricken areas, utilizing art to help establish self esteem, self expression, self respect and stress relief for our students. We create art for art’s sake, while educating through our art, science, nutrition and literacy programs. We twirl in tutus and face paint because it’s good for the soul. Since our inception in January 2010 we have made multiple trips to Haiti and have recently launched a Visiting Artist Program, creating a sustainable way for artists in any medium to share their creativity with our kids and project partners as we strive towards our mission to inspire, heal and improve the quality of life for children in need.
We LOVE the girls of OJFA so much, we wanted each girl to have a piece of our heart. Lead Artist Jenni Ward created these magic wands so the girls could invoke magic and hold tight to the idea that even from afar, we love them so much.
You can support Art in Haiti AND have your very own coeurs magiques by clicking here.
The Santa Cruz Art League in Santa Cruz & earth art studio in Aptos
Thank you for your support!!
Bwat Aliminyom means Aluminum Cans, in Kreyòl.
We are always looking for ways to create fun, whimsy and art from unwanted discarded materials. So when Delphine Bedu spied these cans on a pier in Key West, Florida all of us sat up and took notice.
As we speak, our home team artists at the Project HOPE Art Center at HC, Racine Polycarpe, Claudel Casseus and Romel Jean Pierre are devising a class around upcycling cans into planes, boats and cars. On the last Sunday in April 2013, 10 children from local orphanages will be on site at our art center creating their dream vehicle in a class led by Racine and Claudel.
They will compete in a Can Race and we will be awarding tools and art supplies to the winner of the race.
The race will be captured as the first assignment by the students in our new photography class. Stay tuned for the results. We will be sure to post instructions and best practices in early summer so you may host your own Can Race.
If you’d like to get involved, we are ALWAYS accepting donations to stay afloat. In fact we need to raise $1,000 to make this Can Race happen.
Click here: http://projecthopeart.org/fundraising-and-philanthropy/