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  • CONNECTIVITY AND VALUES: NORMAN ROCKWELL AT THE SMITHSONIAN AMERICAN ART MUSEUM

    • 4 Jul 2010
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    • Interdependence Norman Rockwell
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    “The picture reminds Steven Spielberg of Alfred Hitchcock looking at the next wave―at Dennis Hopper and Peter Fonda about to make Easy rider.” © 1962 SEPS: Licensed by Curtis Publishing, Indpls, IN. All rights reserved. Photo © 2010 American Illustrators Gallery™ NYC

     

    The exhibition Telling stories: Norman Rockwell from the collections of George Lucas and Steven Spielberg opened on July 2nd (through January 2nd, 2011) at the Smithsonian American Art Museum in Washington.

    Deborah Solomon writes in The New York Times:

    In an age when Democrats and Republicans are barely on speaking terms, you might not think that decades-old paintings of freckled schoolboys and their loyal mutts could help revive the conversation about what we value as a nation. Yet Norman Rockwell’s cheerful America has lately acquired a startling relevance both inside and outside the art world, in part because it symbolizes an era when connectivity did not require a USB cable.

    Maybe this is an inspiration not only to our American friends on this Independence Day: what do we value, as interdependent human beings and interdependent nations? How can we authentically connect with each other? How can art, our practices and beliefs help in this process?

    Check the slideshows with pictures from the exhibition at The New York Times and also on the Smithsonian American Art Museum website.

     

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  • THE WAY THINGS GO

    • 27 Jun 2010
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    • Contemporary art Interdependence
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    The way things go (Der Lauf der Dinge) (1987). Photo: T&C Film

     

    The way things go (Der Lauf der Dinge) (1987) is an art film by Swiss artists Peter Fischli and David Weiss, and it presents a long and unexpected causal chain. It’s a story on cause and effect, mechanism and art, improbability and precision.

    In spite of the artifice, each chain and the ensemble bring a feeling of likelihood and sometimes of probability, raising profound questions.

     

    In 2003, the directors threatened legal action agains Honda because of the similarities between a commercial and the film. Eventually, the company responsible for Honda’s advertising film admitted to copying a sequence of the original film.

    Comparing the film and the commercial may reveal obvious and subtle differences between times, mentalities or maybe between art and advertising. What do you think?

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    © Andy Karr

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    contato@dharma.art.br

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