CHIROT ZERO ZINE--ANNOUNCING NEW BLOG

Dear Followers, Friends, fellow Workers:

I have just begun a new blog/zine called
Chirot Zero Zine A Heap of Rubble--
Anarkeyology of hand eye ear notations
---
http://chirotzerozine.blogspot.com
the blog is more exusively concerned than this one with presenting essays, reviews (inc. "bad reviews") , Visual Poetry, Sound Poetry, Event Scores, Manifestos, Manifotofestos, rantin' & raving, rock'roll, music all sorts--by myself and others--if you are interested in being a contributor, please feel free to contact me at david.chirot@gmail.com
as with this blog, the arts are investigated as a part of rather than apart from the historical, economic, political actualities of yesterday, today, & tomorrow
as with al my blogs--
contributions in any language are welcome

Free Leonard Peltier

Free Leonard Peltier
The government under pretext of security and progress, liberated us from our land, resources, culture, dignity and future. They violated every treaty they ever made with us. I use the word “liberated” loosely and sarcastically, in the same vein that I view the use of the words “collateral damage” when they kill innocent men, women and children. They describe people defending their homelands as terrorists, savages and hostiles . . . My words reach out to the non-Indian: Look now before it is too late—see what is being done to others in your name and see what destruction you sanction when you say nothing. --Leonard Peltier, Annual Message January 2004 (Leonard Peltier is now serving 31st year as an internationally recognized Political Prisoner of the United States Government)

Injustice Continues: Leonard Peltier Again Denied Parole

# Injustice continues: Leonard Peltier denied parole‎ - By Mahtowin A wave of outrage swept the progressive community worldwide at the news that Native political prisoner Leonard Peltier was denied parole on Aug. ... Workers World - 2 related articles » US denies parole to American Indian activist Leonard Peltier‎ - AFP - 312 related articles » # Free Leonard Peltier 2009 PRISON WRITINGS...My Life Is My Sun Dance Leonard Peltier © 1999. # Prison Writings: My Life Is My Sun Dance - by Leonard Peltier, Harvey Arden - 2000 - Biography & Autobiography - 272 pages Edited by Harvey Arden, with an Introduction by Chief Arvol Looking Horse, and a Preface by former Attorney General Ramsey Clark. In 1977, Leonard Peltier... books.google.com/books?isbn=0312263805... - # Leonard Peltier, American Indian Activist, Denied Parole And Won't ... Aug 21, 2009 ... BISMARCK, ND — American Indian activist Leonard Peltier, imprisoned since 1977 for the deaths of two FBI agents, has been denied parole ... www.huffingtonpost.com/.../leonard-peltier-american_n_265764.html - Cached - Similar - #

Gaza--War Crime: Collective Punishment of 1.5 Million Persons--Recognized as "The World's Largest Concentration Camp"

Number of Iraquis Killed Since USA 2003 Invasion began

Just Foreign Policy Iraqi Death Estimator

US & International Personnel losses in Iraq &Afghanistan; Costs of the 2 Wars to US


Number of U.S. Military Personnel Sacrificed (Officially acknowledged) In America's War On Iraq: 4,667
icasualties.org/oif/

Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453
http://icasualties.org/oef/


=

Cost of War in Iraq

$691,188,637,164

Cost of War in Afghanistan
$229,137,844,021

The cost in your community

www.nationalpriorities.org/index.php?option=com_wrapper&Itemid=182

flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO--Essays, Links, Video-- US use of Torture

VISUAL POETRY/MAIL ART CALL Cracking World’s Walls & Codes Concrete & Virtual

Cracking World’s Walls & Codes Concrete & Virtual


VISUAL POETRY/MAIL ART CALL
No Sieges, Tortures, Starvation & Surveillance
GAZA-GUANTANAMO-ABU GHRAIB—THE GLOBE
Deadline/Fecha Limite: SinsLimite/ongoing
Size: No limit/Sin Limite
No Limit on Number of Works sent
No Limit on Number of Times New Works Are Sent
Documentation: on my blog
http://davidbaptistechirot.blogspot.com
Addresses: david.chirot@gmail.com
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208
USA

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'



Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'


The current 'Miss Universe' Dayana Mendoza (formerly Miss Venezuela) and 'Miss America' Crystal Stewart visited US troops stationed in Guantanamo Bay on March 20th, the New York Times reports. Here's Mendoza's account of the visit from her pageant blog last Friday. She says the trip "was a loooot of fun!"

This week, Guantánamo!!! It was an incredible experience...All the guys from the Army were amazing with us. We visited the Detainees camps and we saw the jails, where they shower, how the recreate themselves with movies, classes of art, books. It was very interesting. We took a ride with the Marines around the land to see the division of Gitmo and Cuba while they were informed us with a little bit of history.


The water in Guantánamo Bay is soooo beautiful! It was unbelievable, we were able to enjoy it for at least an hour. We went to the glass beach, and realized the name of it comes from the little pieces of broken glass from hundred of years ago. It is pretty to see all the colors shining with the sun. That day we met a beautiful lady named Rebeca who does wonders with the glasses from the beach. She creates jewelry with it and of course I bought a necklace from her that will remind me of Guantánamo Bay :)

I didn't want to leave, it was such a relaxing place, so calm and beautiful.

Friday, April 25, 2008

The Work of Asa Ames: Contours of a Surprising Golden Age - New York Times



link to slide show via this link at article:

http://www.nytimes.com/2008/04/25/arts/design/25ames.html?ref=arts ---
Art Review | Asa Ames
Filling in the Contours of a Surprising Golden Age
By ROBERTA SMITH
Published: April 25, 2008
The little-known American sculptor Asa Ames worked mostly from life, carving and then painting three-dimensional wood portraits. He made either busts or full-length figures, depicting family and friends, and when he died of consumption in 1851, at 27, he left behind 12 or 13 sculptures from the last four or five years of his life. Eight of these works form a stunning little show at the American Folk Art Museum, the first ever devoted to Ames’s work. It has been organized by Stacy C. Hollander, the museum’s senior curator and director of exhibitions.






Collection of John T. Ames
A daguerreotype, the only known photograph of Ames, is full of references to his work and leisure. More Photos »
Multimedia
Slide Show
Asa Ames at the American Folk Art Museum
Enlarge This Image



Boulder History Museum
A sculpture of Susan Ames, the daughter of his brother. More Photos >
Enlarge This Image




Fenimore Art Museum
“Head of a Boy,” a sculpture by Asa Ames.

More Photos >
The art, artifacts and objects produced in America during the first half of the 19th century constitute something of an artistic golden age, but a highly disorganized one that is still yielding surprises. Its legacy is short on towering stone temples or airy frescoes that stay in one place, and long on portable objects made for pleasure, use, profit or a combination of the three. These often anonymous efforts constitute an amazing tribute to the collective spirit, imagination and ingenuity of a time when creativity was widespread, initiative was bottom-up, and per capita participation was high. They also confirm the basic human need for beauty and decoration.
Enterprising self-taught painters of the period like Ammi Philips and Erastus Salisbury Field, who traveled around New England painting portraits for a living, have long been known in the folk-art world and beyond. Similarly determined sculptors are much rarer. Ames is an exception, though much about his life remains a mystery. He was born in 1823 in Evans, N.Y., a small town 20 miles south of Buffalo. His date of birth and death both come from his gravestone. And an 1850 federal census tantalizingly lists his occupation as “sculpturing.” He might have spent time at sea and been apprenticed to a carver of ships’ figureheads or trade figures. Until 25 years ago, Ames’s work, when noticed at all, was probably lumped together with such carvings. But in 1981 the American Folk Art Museum received an anonymous piece as a gift: a wood bust of a young girl whose head has a phrenology chart painted on it. Ms. Hollander ultimately attributed it to Ames. In 1982 Jack T. Ericson, an antiques dealer, culminated 12 years of research on Ames with an article in Antiques magazine. It reproduced the works that could be traced or attributed to him, including the folk art museum’s piece, which is thought to have been made at the end of Ames’s life, when he was ill and living with a doctor who practiced alternative medicine.
One of the show’s standouts was discovered only in 2003, in the basement of the Boulder History Museum in Colorado. Made in December 1849, it is a full-length portrait of Susan Ames, the daughter of his brother Henry G. Ames. Wearing a violet dress, Susan stands staunch and solemn, showing that posing was not much fun. Her eyes are intent but unfocused; she is holding still as best she can by thinking about other things. She has a small Bible or hymnal in her right hand; her left is raised.
The violet of Susan’s dress is boldly accented with a red collar, waist and hem; its gathers are round and regular, almost like the flutes on a Classical column. Her pantaloons are edged in eyelet lace whose holes have been carefully carved, as has the red upholstered footstool she stands on, right down to its brass-colored tacks. The colors and details imbue the entire sculpture with the intensity of Susan’s expression.
Ames’s artistry has a distinct personality. His work is full of signature tics, like his careful carvings of his subjects’ hair or ears. There is also a familial resemblance among the sculptures, and between them and Ames, as shown by the only known photograph of him.
Two of the best pieces in the show are sculptures of robust young men who might be Ames’s brothers or Ames himself. “Head of a Boy” is luxuriant with youth, from its thick, carefully combed hair (back from the brow, but forward on the sides) and flushed cheeks to its fine-looking jacket, tie and shirt. His dark, focused eyes and slightly pursed lips brim with ambition and hope; he seems to be practicing to look like a judge or senator. The slightly fairer subject of “Bust of a Young Man” is even more lifelike; here the pursed lips seem about to speak. He brings to mind the figures of the self-taught sculptor and photographer Morton Bartlett and Charles Ray’s mannequin sculptures.
Ames’s inspirations clearly included the portraits that itinerant painters were making during this period, but translating these wonderfully stiff, often emotionally fraught images into three dimensions gives them an added sense of life. The best of them have the artifice and complexity of 19th-century photographs, with which Ames had at least one close encounter.
The strange, beautiful and overpopulated daguerreotype that this encounter produced testifies to Ames’s ambition. He is in his Sunday best, working intently with a mallet and chisel on a bust of a man. (Its profile, near his knee, suggests a self-portrait.) Three sculptures look on from the upper right: a pudgy baby with a drape of fabric around its middle (it is in the exhibition, without the drape) and the busts of two other children, both in carved, off-the-shoulder togas in keeping with the neo-Classical style of the day.
The busts teeter on a textile-covered stand beneath which, peeking upward, is a young man, who might almost be another sculpture. The carving of a hand (also in the show) and real-looking bass viol visible behind this party of five increase the sense of elaborate stage-managing. Ames was probably ill when this photograph was made, and perhaps he knew that obscurity threatened. Packed with details about his leisure interests as well as his “sculpturing,” with his works doubling as an imagined audience, this carefully constructed image has the same intensity as Ames’s portraits. It is a detailed message in a bottle that he sent into the future, which is now.
“Asa Ames: Occupation Sculpturing” continues through Sept. 14 at the American Folk Art Museum, 45 West 53rd Street, Manhattan; (212) 265-1040, folkartmuseum.org.

1 comment:

Carol said...

So wonderful to see that you appreciate Asa Ames' art and work. He is wonderful. I love him! Thank you for putting this into your blog. So glad he has reached a wide audience. Very moving. He was brother of my ancestor.