www.kenboe.com

4/13/2009

CLICK THE CROSS BELOW FOR KEN BOE ††††††††††">CLICK THE CROSS BELOW FOR KEN BOE ††††††††††

Filed under: — site admin @ 9:10 am

Neither/Nor

The raven takes the smallest pieces
of forbidden knowledge,
confabulating in carnal thesis
with claw on bible
his dead man’s pledge:

Never More

That life he lived
fraught for his liver,
and his forsaken gifts,
though not forgiven,
to speck across his eyes azure
like holes straight through his scull’s contour.
Through his head then flies the raven.

Through to the charms long lost, forgotten,
the laws engraved on fleeting wind
like the hush of secrets ill-spoken.
The world’s talisman is a dream of wealth,
The world’s talisman is a dream of murder;
Who brought this score of another’s death,
as one man’s scream is another’s laughter:

either/or

That he personified animals
within his own evil
then threaded their feathers
back onto straw villains;
wars wolfed, and vanity vultured
onto GI Joe scarecrows and crucified totems,
his stomach, his brain, his culture.

Neither/Nor

He is contained by his own shadow
like tintinnabulation in the bell tolled
escaping out through the burned over meadow
vibrating through the bones of a world gone cold.
He prays and he raves for the blood of Mohammad,
for fortune, for frankincense and crude.

In the mask of the morals of the sad
history of the self, and the stark raving rude
generations that don’t give a flying fuck.
The generations of pink noise and white lies
feeding off the world’s poor like the raven plucks
out of war, out of waste, our eyes. © Ken Boe 2007 El Tovar, Grand Canyon USA

3/14/2009

KEN BOE ART SHOWS

Filed under: — site admin @ 9:51 pm

There’s no better place for enlightened discussion than in the presence of art.

CURRENT SHOWS:

1.) Arizona

GROUP RESIDENT SHOW AT THE FIREHOUSE ART SPACE
1015 N 1st Street, DOWNTOWN PHOENIX - Open Weekends, call 602-253-2251 for entry, or see if someone is around back to let you in. You may get a Latte, also.

2.) Southern California

I currently have one painting in the following show in Orange County, California. The show is currently in between travelling events if all comes to pass as wished, but you may request to see it. It is my Totemizer painting, with found objects. You can see it as my profile picture at www.facebook.com/kenboe

WORLD ART FOUNDATION HEADQUARTERS AND GALLERY
1555 E IMPERIAL HIGHWAY
BREA CALIFORNIA, IN BREA PLAZA (behind Denny’s!)


(Call 440-281-6242 for directions & to make an appointment. PLEASE LET ME KNOW IF THERE ARE ANY DIFFICULTIES gaining access, etc., my number is 928-273-7679. My email is kenboe@hotmail.com)
TO SEE MORE:
http://www.worldartfoundation.org/ken_boe.html

It is my belief that art enriches the language and character of discussion that occurs in its presence. Put another way, its my thesis that the environment we share is a language we share. Where our bodies are is where our brains peripherally seek out available metaphors, analogies, and other more sentient designs that help bring forth a more richer dialogue. If people would like to, we may have these discussions in the future on anything from fairly casual subjects to outright philosophy. This week’s events will center around ideas for future art shows, their promise and import, and really anything. I am also prepared to read an art statement later in the event schedule for us to discuss these ideas, should anyone be interested.



..
Teapot Totems and Poem. Firehouse in April.
ALSO
MIAMI LOCO! MIAMI ART WORKS, 509 Sullivan Street, off highway 60. Miami, Arizona. CALL 928-273-7679


..

The Miami Loco Art Show (closing reception) and The Miami Loco Soundstage, 509 Sullivan, Miami Arizona

Click here to view THE COPPERMINE PICTURE CAFE’S CURRENT EXHIBITION

Click here to REVIEW MIAMI ARTWORKS 2008 BOOMTOWN ART SHOW

EVENT HAS ENDED BUT THE ART SHOW IS STILL UP!
GIVE US A CALL OR COME OVER:
928-273-7679
MIAMI ART WORKS 509 SULLIVAN, MIAMI AZ 85539

3/11/2009

My discussion regarding Cliche in art(has become cliche)

Filed under: — site admin @ 9:34 pm

From the TEA FOR TWO WORLDS show at The Coppermine Picture Cafe.

Its hard to remember what hasn’t yet existed, so we forget to create or even like new things, and this reinforced by cliches such as “everythings been done” and “there’s nothing new under the sun” and “you betcha,” but cliche, idiom, type, and other familiar forms and figures are a good place to start. Cliche can be seen as “dead metaphor,” so its a healthy job in society for artists to re-invent them and bring them back to life, as well as create new ones. Likewise, mindlessness dominates our experiences with familiar forms, forms whether its the buildings we drive past each day in the daily grind, no longer really seeing them, or objects such as Tea Pots. Now coffee pots might have been even more familiar thing for me to tweak but but Tea Pots are more common in at. Ceramic artists have had to deal with them extensively, and and ceramic workers who strive to be artists, not just artisans, have developed a genre of Tea Pots as sculpture, in fact, many of them are non-functional. They are objectified art objects. Keep that in mind.

SYNCHRONIC VOCABULARY


The thingamajigs that seek to create are multi-leveled objects of art perception which probably don’t strike the fancy of people who haven’t struck a fancy for art (if you don’t like modern art you don’t like art, redundantly). In a society where most art teachers don’t practice, where students are not developing a textural literacy of materials and medium, as art lovers we are like “Christians” who only go to church at Christmas, or smart people who dropped out of high school. Just haven’t put the time into art, or art literacy, which is an on-going thing, and they might say that they, or even I have no idea what they are looking at, which is not a bad start, though I do use nice colors, so I’m not totally trying to piss you off. Well I use color as contrast in a heuristic problem-solving and semi-improvisational and experimental jam session of art making process, which happens “over time,” just as use light and dark contrast to give my abstract images resonance. I think its interesting that the words “thing” and “time” are etymologically related. I give my abstract images names and other clues, like the word/idea “teapot” like I use color, and you can’t pour tea out of a tea pot painting on canvas no matter how “realistic” it is, even if the paint is still wet. Well, you might like to have a guessing game” with abstract art, and I do you on, don’t I? “Oh, its a rocket ship” or “oh, its a clown smoking a bong” but not really; that’s you smoking the bong, and that’s fine with me that you have your own interpretation, I actually design them for that, though I think that art as a guessing game is a real drag because I long ago noticed that its an end game, with the end being ‘Escape From Having To Think About This Stuff,’ in that once viewers have “guessed” what they think “it is,” that’s when they stop looking at it, and move on. You see, once we’ve put it into some neat little category, we can begin driving past it mindlessly on the way work like everything else. But the point of original art is to run interference with mindlessness, and enter new vocabulary and ways of seeing, and new metaphor and analogy, into our mindscape.

Of course, “total originality” could only be a rhetorical proposition as assuredly as “totally literal” is. But originality and new meaning can be found in everything as surely as the context of everything in how we experience life is constantly changing. Yet, in in judging and critiquing I think we judge more by comparison to the known, lacking any other basis in which to comprehend the onslaught of the ordinary Art should help us free our consciousness from the need to JUDGE BY COMPARISON, not be a parody of it. So just let the art work hang there and be present with it. Don’t censor these thoughts which bubble up, but reMind yourself. its a dynamic art-work with multiple possible meanings like a dictionary is not just one definition, so keep it on the mind-shelf close to you for constant refreshment.

Be careful not to say so quickly what you like and don’t like, for that could also become a dreadful reflex. We like what we decide to like, and all taste is acquired. That we don’t recognize ourselves doing this is similar to not remembering our dreams.

9/7/2008

The Kenboe Experimental Artist-materials Research Laboratory

Filed under: — site admin @ 9:31 pm

There is a revolution going on in the development of new metamaterials such as silver nanowires already famous for possible military cloaking devices, and there is an entire history of innovations the past few centuries, and there are archeological discoveries going back thousands of years, and little of this is being considered for the production of art. I believe that new means of creating art should be one of our first priorities, and that by applying new and old directions of technological innovations to art production there is likely to be a much greater “spin-off” effect in all areas of science, culture, and industry, than military applications, which are too secretive for this synthesis to occur.
METAMORPHOSIS

I am therefore gathering together the proposal for KEARL: The Kenboe Experimental Artist-materials Research Laboratory. My initial thoughts are that this would eventually become a large well funded institute and residency where scientists and other types of researchers would be commissioned in the form of a Residency to apply their research to art applications in association with other artists also on Residency who would collaborate with these researchers on specific projects, as well as spin-off projects within the synergy of a very creative environment. KEARL will hopefully be located in a very small town along with several other creative organizations such as galleries, cafes, a theatre residency, and writer residencies, so that the entire town, along with the locals, becomes a kind of creative incubator in general, but one which also engenders greater focus than a commuteropolis.

There are materials research laboratories everywhere studying everything from road pavement and house-building materials to archaeometallurgy and paleobiology from which to draw new ideas and materials for artists to work from, let alone the exciting work being done in nanotechnology and physics.

I will post more as I develop these ideas. Please contact me at kenboe@gmail.com if interested in helping to make this dream become possible. Below are some links, and I will add more later.

5/31/2008

Click The Cross for THE WEEDING: ">Download this Screenplay as a PDF<"
  • Click The Cross for THE WEEDING:
  • Filed under: — site admin @ 9:04 am

    THE WEEDING is about a gang of outlaws who recruit white collar criminals to become armed robbers, but weed out the weak ones by doing small jobs, prior to the big job. Everything goes nuts because Samantha and Sandy want what they think should be THEIRS, and are determined to screw up the main antagonist’s plans. Much of this occurs through a magically shifting point of view brought on by a mysterious drug that Samantha’s team spikes the punch with.

  • Screenplay: c l i c k here for the Screenplay THE WEEDING

    *e-mail THEWEEDING@KENBOE.COM or you may reach me at 928-273-7679 (Contact info on PDF has been updated 11/11/08)

  • 5/25/2008

    Order a copy of the Greylight Anthology to read Enemy Towers!

    Filed under: — site admin @ 7:24 pm

    Click here for my stage play Enemy Towers

    Enemy Towers is an avant-garde parody of academia written to coincide with an art exhibit curated to have works by local artists both in the performance, as well as in an adjoining gallery space where a reception will be held each night before and after the play. Its party-time!

    Its first run at Greylight Theatre, directed by Jason Hedrick, was a hilariously smashing success, leading to publication in an anthology which, ironically, has occasionally been used as a text book in academia.

    The Weeding is a screenplay which is less obviously avant-garde, but very much and subversively is so. More and more my works tend toward tweaking the idiom of medium, genre, and language in general. So I give you Hollywood conventions turned in on themselves. In film business “log-line” speak, which I hate, The Weeding is something like Reservoir Dogs meets Six Degree’s of Separation on acid. And by the way, I am one degree away from Kevin Bacon. I worked as an extra on a film set with him in Montana last summer, along with some Albanian actors from Kosovo that I dragged along with me.

    My screenplay “GREY PROPAGANDA” won Honorary Mention in the Holman Screenplay Writing Contest at Wichita State University, in 2002. Contact me for more information on that.

    *e-mail THEWEEDING@KENBOE.COM or you may reach me at 928-273-7679

    5/22/2008

    Collaboration by Ken Boe and Art Kenyon, 2007

    Filed under: — site admin @ 4:20 am

    This mixed-media/mixed-message art work a combination of photographic prints of found objects, cut out around those objects, oil paint, chalk, pumice, enamel hardener, and spraypaint with Fiberized Aluminum Roof Asphalt on Masonite. There is one other, not shown, which is a double-sized dyptic of this same series. Though highly mixed-media, these works are built to last, and are extremely strong works of experimental art. To be in the presence of these works is to endow oneself in the very idea of creativity and experimentation, and a host of other possible meanings.

    5/21/2008

    Artist Statements by Ken Boe

    Filed under: — site admin @ 6:04 pm

    Click for Mixed-Media /Mixed-Message

    Click for Synchronic Alchemy

    Click For Metamorphosis

    The late Kelly Mall created The Richter Place where he referred to a mode of metamorphosis as “The Crystalization Process” in his discussion of one Dr. Idylanger. I am interested in organizing a group art show which revolves around this theme. If anyone is interested, or if anyone has ideas of example concerning the Crystalization Process, in light of Kelly Mall’s larger meta-narrative of Amnesia, please add to the discussion, or contact me.


    IMAGE ONTOLOGY

    Filed under: — site admin @ 4:51 pm



    Check out myspace page: MYSPACE.COM/KENBOE

    KEEP SCROLLING DOWN FOR IDEAS, SCREENPLAYS, POETRY, & more…

    4/25/2008

    Bottles Of Genocide

    Filed under: — site admin @ 6:40 pm


    Life is not fair they say,
    and then they win,
    and then they celebrate,
    and then they accelerate
    with the faces of the feast
    under foot.

    And like a rear view mirror,
    the weak rise up with machetes.

    You just can’t win wars without
    a bottle of genocide on your side.
    The streets are covered with the broken glass
    of head-butted windshields
    like melting ice cubes.

    Empires pass through here, changing lanes
    through wars on poverty, wars on inflation,
    through laws which change like secret codes
    the war on drugs, illegal immigration,
    the infidelity of slaves.

    They speak of the Jews, it’s a glass menagerie.
    The scientific beatitude, the failure of God;
    the Heidegger on the shelf,
    the Ford in the driveway.

    We will stitch up Iraq with razor wire,
    its the sound of Moses snoring,
    its the rattling wheel’s of Nahum,
    but even these things fall lesser.

    The tray of bubbling flutes glitter grimly
    all the way from below to what’s left behind,
    the top of the whole wide world
    screeching into the forgotten,
    blackening the street with the most fowl secret:

    Death by automobile.

    The Inner Tube Tree

      The manual laborer of pedaled wheels
      pulls around the symbol of his relationship with time
      as it hisses, quickly losing form.


      A circle of patches to be balanced against the odds,
      stuffed with compressed air against long stretches of road
      like a rubber band that becomes a black cobra
      swallowed by its own tail, then dies, becomes limp;
      and so the bike surgeon tries his best,
      but gives up on it,
      gives it up to the innertube tree.
      He swirls it up into the air, briefly
      the shape gasps, as though wigling against memory,
      and then it slides defeated into the monument.


      Its an art form how to toss them up there,
      like putting make-up on dead wind,
      like fly fishing for black birds
      and then the line breaks.


      The bulbous tree like a venus fly catcher
      never gives up the old carnies;
      buds burgeon green, then to orange and yellow,
      wreathing the pliant exoskeletons beyond season.
      The street is her long digestive track, the wind her juices,
      but they stay put like fossils in an inverted cave


      across the street from the plasma donation center.
      The tired men wait there, with cheap house painting
      jobs splattered across their 2nd hand pants and sleaves,
      with 3rd read newspapers in their hands, and counting
      in their minds their bills, groceries, beer, and cigarettes
      from the 25 dollars they will receive for strapping
      their arms to the donation machine.
      The tubes blow back and forth, the needle in the vein,
      the blood platelets go into one containment
      while the plasma is filtered into another,
      and then the blood cells are returned
      if it all goes as planned.


      Caesar’s Things



      “Render therefore unto C the things which be C
      And unto G the things which be G.” Luke 20:22



      These pieces of subjected time
      in the rendering of history
      lay around before me
      as I walk the dogs of strangers.



      I find these things, see them, what others
      ignore as litter, obsolete truths;
      I assign the variable meanings
      of an untenable Universe,
      the of nothing as the of something.



      A thing that is a wall,
      and a thing of scattered stones.
      I enbrace the idea with vigilance
      and with vigilance declare its heracy
      as I walk the dogs of strangers.



      A thing to be born,
      and a thing to die,
      a thing to plant,
      and a thing to pluck,
      a thing to kill,
      a thing to heal,
      to break down, to build up: An old can



      that weeps and worries full of what I did;
      A faded bottle that laughs under my stare,
      and the shattered shards of my mourning
      against a sun dancing upon them.



      And the dog walks me to the south,
      and the dog walks me to the north,
      the path whirls about continuously
      returning again according to the circuits;
      The lifting of her leg, the marking of things.



      And all these things run into the sea;
      yet, the sea is not full; and from
      where all things come from, they return
      like the names which children give things
      like the names which parents give children.



      “I made great works; I built me houses;
      I planted me vineyards: I made me gardens
      and orchards, and I planted trees of all fruits…
      And whatever my eyes desires, I keep not from them.”
      Ecclesiastes



      A thing to get,
      and a thing to lose;
      a thing to keep,
      and a thing to cast away;
      a thing to turn into something else,
      a thing to sew unto silence, like words
      cast into the garden of the heard.



      A thing to love,
      and a thing to fear;
      a thing of war,
      and a thing of art.
      I gather up the vexation of ideas
      and put them into miscellaneous bags.



      I came along the path a fierce white wolf
      and my dog pushed me aside, over an embankment,
      and where there is one wolf, there are others,
      and swiftly we ran along the shore of the lake,
      our legs leaping over many uncovered things,
      just as the wolves may have watched us for weeks



      And then one day made themselves apparent,
      perhaps wondering, why had we ignored them?

    4/11/2007

    Recent Paintings Of Synchronic Alchemy, By Ken Boe

    Filed under: — site admin @ 9:00 pm

    GALLERY 414 - FINAL FRIDAY CLOSING RECEPTION
    Please Note: This Show has ended, some works still available.
    click here to see some Ken Boe Art on myspace

    Overview: The “man-made” object is subject to the violence of being thrown out, exposing it to the elements and entropy of nature. The object is divested of its functional meaning, entering a state of abstraction, until it exists no longer. My art works harvest these types of abstraction midway, also including The Scribble painting with Manipulated Whips(Action Printing), and other techniques which brew design from chaos and order. Why I do this has its roots in my learning on the function of art itself: The Theory Of Synchronic Alchemy.

    The intention is to create an ambiguous but wide ranging vocabulary of imagery which may become synchronic at an unconscious level with the creative thinking process of those who are in the presence of the work. For this, I prescribe “sticky” images, rather than hyper-clean “digital” imagery, especially in today’s commercial environment. My work is very experimental, and by exhibiting them one is communicating the basic idea of experimentation to those present, for instance.

    My main theory of Synchronic Alchemy is that while at a gallery or museum one may spend a few moments staring at an art work, but most of the time art work and other objects around us are only viewed peripherally. Yet, peripheral viewing is a powerful process not well known. The subconscious mind is “seeing” and processing peripherally gathered information in numerous ways. If there is someone in a crowd you knew years ago, your subconscious mind will inform your conscious mind to notice them. Other signifiers are to recognize danger, food or water sources, lost items, sexual orientations, tool making needs, and the intellectual and communication tools of Analogy and Metaphor. A synchronous intellectual harmony exists in a gathering of two or more naturally when they share an art-rich and/or nature rich environment in which they discuss ideas together: The place of the discussion is the most immediate language shared. It is where our bodies are. It is an instantaneous and experiential well of shapes, forms, and variable symbolism to derive tropes from for communication and concept making.

    Cognitive Science has demonstrated that language is foundationally metaphorical, and experientially embodied. For instance, the earthly experience of gravity informs the metaphorical basis of “up” meaning positive, and “down” meaning negative. Hell is falling down, heaven is ascendant, on and on, but let’s not get bogged down in examples.

    What I discovered in 1992 hiking in the Berkeley Hills was that surrounding imagery informs creative discussion with someone else you are with. While involved in a very intellectual and creative discussion, I noticed that I was using metaphors and analogies from the natural environment around us to bridge the concepts between us. Roots, branches, and an old bottle became creative tools in our discussion. But I had not noticed that I even saw these images, until I looked over and realized the synchronic processing that had just occurred. This moment convinced me more than ever to continue with my pursuits as an artist, and to hone a path for further learning to develop these ideas for my art work. My goal has been to create art which provides a rich synchronic vocabulary for those around it, enabling the creativity of those who press on together in changing the world in their own ways, with pleasure. I hope to create the ultimate art for the creative class to display in their offices, conference rooms, studios and living rooms. Raw art is like vitamins to a digitally sterilized work place. In fact, I believe that class rooms should be filled with art if educators are serious about having real discussions.

    I am interested in doing artwork designed for specific teams of people to display where they work (this can involve a gentle but experimental interviewing technique with participants, and/or research into the archetypes most suited to their creative needs.) I am also interested in working with a clinical researcher for a more empirical study on peripheral sensory information collection/processing, and the pharmaka† of art (†Greek for both painting and remedy.) For an appointment with the artist, e-mail to kenboe@gmail.com to see works from the current exhibition, to commission work, or to participate in similar projects and collaborations.
    © 11/24/2006

    THE DAPHNE, OR METAMORPHOSIS PROJECT

    Filed under: — site admin @ 7:49 pm

    The last group show at Gallery 414 in Wichita, Kansas concerned itself with metamorphosis. I offered up to myself and the other artists an essay-bibliography-poem by Norman O. Brown titled Daphne, or Metamorphosis. This wonderful meandering image-ontology of myth and imagination offers a sapling from which we may grow or revive artworks to put in this show, even without much time to do so. But we artists cannot rest on our laurels, and any excuse to produce must be induced as much as possible, and that is what I aim to do here with these shows. Metamorphosis is a constant in art, and symbol making in general, and some of our cultural roots in trying to understand this transformation of meaning and image go back to the ancient Greeks, and the story of Apollo and Daphne. Brown’s writing is a modern way of approaching that without telling the artist exactly what they should do, and for the artist to do what they do, without telling the audience exactly what they should think or perceive from a piece.

    Here is a sample of Brown’s writing, as allowed online from the publisher:click for METAMORPHOSIS

    It is just one kind of stretch that artist’s make, to use ancient cultural mythologies in order to create transformational imagery. It is a cogent one, though, since it is retroactive to the evolution of human symbol-making to draw upon myths. Myths were carved to be justifiable to the elders, but these days we are a little more free to do whatever we want with symbolism, image, substance, and meaning. We have more symbols to play with(Daphne could turn into a refrigerator, instead of a Laurel tree,) or she could run for President. So don’t feel encumbered by Mythology with a capitol M. Let’s just put on another good show for the art walk, the last ones have been so good, and its been so much fun. And if you’ve got some cash, buy some of the artwork in this show for your home to experience a metamorphosis all your own.
    Email kenboe@gmail.com for more information.

    Where: Gallery 414 (in the Wichita Art District, at Commerce and Waterman)
    414 S. Commerce, Wichita, KS
    When: May 25th, 2007 from 6pm to 11pm, rain or sun and moon.

    ARTIST WEBSITES:

    MICHAEL KOZIEN

    KENT WILLIAMS

    SCOTT MURREY

    CODY SEEKINS

    Kenneth Boe

    Other artist’s include Tim Steinlage, and Matthew Alber, from Lawrence; Art Kenyon, Rick Dunway, and Bradley Sims from Wichita.

    Special Thanks to Chris Stong

    3/16/2007

    Mixed Media, Mixed Message (Manifesto)

    Filed under: — site admin @ 6:48 pm

    MIXED MEDIA MIXED MESSAGE
    Group Show for Final Friday – March 30th, 6PM to 11PM:
    414 S. Commerce Street in the Wichita Kansas Art District.

    Though the artwork in this show is defined by each artist individually, there is much that I would like to say about this bastard term “mixed media”. Artists and curators use it repeatedly on the little tags that state the artists name, medium, price, etc. We use it to describe medium because we’re too lazy, embarrassed, or unsure to write out an eclectic list of materials used in an experimental artwork that we think the public is too lazy, ignorant, and uninterested to read in the first place, which may often be true, or it certainly will be.

    The problem I have with this kind of exclusion is that the information about medium informs our literacy of texture when viewing artworks, which informs our appreciation of artwork, and our ability to “read” imagery in general. For those of us who are interested in learning about the mediums behind mixed-media, it is our chance to become more involved, educated, and interested. I believe humans have a great capacity for this kind of literacy which I call “textural literacy”. There is a texture to how different kinds of paints and materials lay down, pop out, dry, shine, crackle, ooze, sag, puff, glitter, etc..etc… which is how the “trained eye”, though hands on experience, recognizes media. And if “the medium is the message”, then there are many subtle messages coming through an artwork which is mixed-media. (And do not let the message about whether or not an artist’s choice of materials is “professional” sway you, for these pretensions were rendered obsolete by the Da Da movement in the 1920’s.)

    As mixed-media artists we need to contribute to our collective learning of this subtle message-making through materials-used because the poetry of this kind of literacy can only be handled intuitively. No one has really written out the vocabulary of texture, or how to pair it with content, its just something that our brains are capable of. The more we can inform each other and the public of the results of our experimentation’s, the more we can advance as artists, and the more mixed-media art can advance as part of our cultural dialogue, and the more our culture can advance by engaging it.

    Just to give an example of mixed-media-mixed-message-making, consider a heart painted in tar, ground dead leaves, and oil paint. Compare that to the same heart painted with acrylic paint. Compare that to one painted by an airbrush, as with medical illustration. Compare that to one cut out of construction paper, or to one that is printed on a gift card. Go look at the heart made of core 10 steel at the Lawrence Art Center. These are all different messages weaving through the same supposed content because of the media used to make them. We recognize them differently through their texture(which like the word text, comes from the latin word textus, which means to weave.)

    ARTIST WEBSITES:
    Lee Shiney

    Chris Frank

    Paul McKee

    Kent Williams

    Kenneth Boe

    Other participating artists were Art Kenyon, Mande Braden, Brian Niles, and Paul Harrold.

    © 2007 Kenneth Petersen Boe

    4/12/2005

    ENEMY TOWERS ˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚˚ A 3 Act Play For The Stage by kenboe

    Filed under: — site admin @ 11:48 pm

    click here for ENEMY TOWERS

    “The average person seems so numb and zombified, art is like waving your hands in their face and saying, “Hey! wake up!” Chet Zar

    I recently had the opportunity to pick the mind of Chet Zar— native Californian artist—known for his work with the band Tool, movies such as Sin City, and surrealist portraits. For November I have also interviewed Idaho sculptor Samuel Stimpert.
    Click here for the Underground Art Union INTERVIEWS

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