"We have long been familiar with the power of the Chinese to balance colours, but we were not so well acquainted with their power of treating purely ornamental or conventional forms ; and in the chapter in the Grammar of Ornament on Chinese Ornament I was led, from my then knowledge, to express the opinion that the Chinese had not the power of dealing with conventional ornamental form : but it now appears that there has been a period in which a School of Art existed in China of a very important kind. We are led to think that this art must in some way have had a foreign origin; it so nearly resembles in all its principles the art of the Mohammedan races, that we may presume it was derived from them. It would be no difficult task to take a work of ornament of this class, and, by simply varying the colouring and correcting the drawing, convert it into an Indian or Persian composition. There is of course, in all these works, something essentially Chinese in the mode of rendering the idea, but the original idea is evidently Mohammedan. The Moors of the present day decorate their pottery under the same instinct, and follow the same laws as the Chinese obeyed in their beautiful enamelled vases. The Moorish artist takes a rudely–fashioned pot or other object, and by a marvellous instinct divides the surface of the object, 'by spots of colour, into triangles of proportionate area, according to the form and size of the object; these triangles are then crossed by others."
(Owen Jones, 1867)
Owen Jones (1867). "Examples of Chinese Ornament Selected from Objects in the South Kensington Museum and Other Collections: By Owen Jones. One Hundred Plates", S. & T. Gilbert, 4 Copthall Buildings, E.C. Back of the Bank of England.
New York debut of Anne Morgan Spalter
@ Stephan Stoyano/LuxeGallery
November 29, 2011– January 6, 2012
"Stephan Stoyanov/Luxe Gallery is pleased to announce the inaugural New York City solo show of Anne Morgan Spalter, a new–media pioneer who initiated and taught the first fine arts new media courses at the Rhode Island School of Design (RISD) in 1990 and Brown University in 1992. Spalter's exhibition, Traffic Circle, is a milestone in her two–decade odyssey in integrating art and technology. Spalter draws on centuries of work in the landscape genre but brings a new perspective on the modern landscape.
With works created exclusively for this exhibition, Spalter introduces geometrically patterned video works generated from footage she shoots in traffic, from aerial perches, at airports, and on the highway. Several pieces feature iconic New York City landmarks such as Rockefeller Center. The rhythmically structured compositions isolate or abstract features and motion of the landscape, highlighting the passage of taxis down 5th Avenue, for example, and the soaring of planes on takeoff. Inspired by her mathematical background and interest in Islamic art, she uses a symmetrical kaleidoscopic framework to brings order to complexity.
Spalter's art has explored the concept of the 'modern landscape' since first shown publicly at the deCordova Museum in 1992. She draws on her travels and her digital photographic and video database to create still and moving pieces. Works are realized as prints, intimate screen–based works, and large–scale screen and projection works: her work was shown this past summer at Big Screen Plaza's 30–foot LCD screen in New York City as part of Leaders in Software Art (LISA) and at the RISD Museum of Art's Open Call Video Art Screening Program."
(Anne Morgan Spalter)
5). Exhibition Press Release.
Retrospective "identities use as resources narratives of the past which provide exemplars, criteria, belonging and . ... This provides for an unambiguous, stable, intellectually impervious, collective identity. This consumes the self in all its manifestations and gives it a site outside of current and future instabilities, beyond current ambiguities of judgement, relation and conduct. In some contexts it produces a strong insulation between the sacred and profane, such that it is possible to enter the profane world without either being appropriated or colonised by it. Islamic fundamentalism enables the appropriation of western technologies without cultural penetration. Nearer home orthodox Jews in the 1920s, and even earlier, occupied small shops and business slots in the economy and retained their identity through strict orthodox practice. In the 1960s and onwards many British [Central] Asian Moslems occupied a similar economic and cultural context. The problem here for such retrospective identities is their reproduction in the next generation, and here we might expect a shift to prospective or even therapeutic positions. Age may well influence the expression of the retrospective identity through differential selection of resources. It may well be that the young are attracted to the current revival of charismatic Christianity with its emphasis upon the subjective, the emotional, upon intense interactive participation and upon oppositions to institutional orthodoxes. On a more anecdotal level I have been impressed with the revival of student fraternity rituals in Portugal, Norway and Germany. Finally we can consider nationalism and populism as subsets of retrospective fundamentalism, drawing on mythological resources of origin, belonging, progression and destiny (rise of the extreme right). Any weakening of the collective resource on which the fundamentalist identity draws and which minutely regulates conduct, belief and participation, as is likely in inter–generation reproduction, may entail a shift to re–centring identities on the part of the young."
(Basil Bernstein 2000, p.74)
Bernstein, Basil. (2000). 'Pedagogy Symbolic Control and Identity, Theory Research Critique'. Oxford, Rowman & Littlefield Publishers, Inc.