Neda's Mother Mourning at Her Grave

July 31, 2009
Behest Zahra, Tehran 7pm
Iran - Neda's mother mourning on her beloved daughter's grave مادر ندا در سوگ دختر بی گناهش


The Call - ندا -Neda

Gregg Chadwick Interview With "Artists 4 Freedom"

I am eager to share with you an interview I did with Artists 4 Freedom on my paintings for Iran.
Artists 4 Freedom is international in scope and is located between London, Barcelona, Lisbon and Berlin,

Here's the link. Please feel free to comment on the site.

Artists 4 Freedom

They are doing important work.

Joyeux Quatorze Juillet !

"Rue Mosnier with Flags"
Édouard Manet
25 3/4 x 31 3/4 in. oil on canvas 1878
Getty Museum, Los Angeles
photo by Gregg Chadwick

Édouard Manet's "Rue Mosnier" was painted two years before July 14th was declared the French national holiday in 1880. The holiday is known as the Fête Nationale in France and commemorates the Fête de la Fédération of 1790, held on the first anniversary of the storming of the Bastille prison in Paris by an angry mob on 14 July 1789, sparking the revolution that rid France of its monarchy. Manet painted the scene as if he is looking down from his second story studio onto the flag decked street below. Manet's brush is fluid and the color scintillating but the weary amputee on crutches, perhaps a war veteran from the disastrous Franco-Prussian War of 1870-1871, is the figure with which we enter the painting. In essence we as viewers enter the scene carrying a ladder just behind the man on crutches bearing the "costs and sacrifices" of nationalism and national pride. With this in mind, the swirling strokes of red, white and blue that make up the French tricolor flag are not as joyous as a cursory glance would suggest.

And also on this Bastille Day, I look forward to a future Evin Day in Tehran, when that horrible prison is at last closed down.
In the United States and France we celebrate our freedoms and our revolutions and we remember the brave souls fighting with words - tweets and blogs - against tyranny in Iran.

From the Getty's description of Manet's " Rue Mosnier with Flags":
" The French government declared June 30, 1878, a national holiday: Fête de la Paix (Celebration of Peace) which marked France's recovery from the Franco-Prussian War and the divisive Paris Commune that followed.

The urban street was a principal subject of Impressionist and Modernist painting; many artists aimed to show not only the transformation and growth of the Industrial Age but how it also affected society. Manet's eyes saw both elegant passengers in hansom cabs and, in the foreground, a worker carrying a ladder."

Modernkicks has more on the birth of Liberté.

Bonne fête !

Eleanor Antin's Classical Frieze at LACMA

"Pompeii, especially, with its grand murals and flourishing gardens haunted by the dark shadow of Vesuvius, has always suggested uncomfortable parallels with our contemporary world, especially here in Southern California, where the sunlit life also turns out to have dark shadows in which failure and death lurk at the edge of consciousness. Now, in these times, we have even closer parallels with those ancient, beautiful, affluent people living the good life on the verge of annihilation."
—Eleanor Antin on Classical Frieze


Eleanor Antin
The Artist's Studio from "The Last
Days of Pompeii," 2001 (detail)
chromogenic print
46 5/6 x 58 5/8 inches


Eleanor Antin
The Tree from "The Last
Days of Pompei," 2001
chromogenic print
60 x 48 inches

Eleanor Antin's film and photo work, Classical Frieze, re-imagines Pompeii and the classical Roman world as if seen through the eyes of a contemporary filmmaker paying homage to the sword and sandal film epics of the 1950's which are then viewed through a scrim of French neoclassical painting from the 1800's. Eleanor Antin's work was chosen to illuminate a contemporary viewpoint or perhaps fantasy of the Roman world and is featured alongside LACMA'S current exhibition Pompeii and the Roman Villa: Art and Culture around the Bay of Naples.

Art21 on PBS describes Eleanor as "a cultural chameleon, masquerading in theatrical or stage roles to expose her many selves." Eleanor has a long and influential record as a visual and performance artist, as well as a filmmaker and photographer. Eleanor Antin "delves into history—whether of ancient Rome, the Crimean War, the salons of nineteenth-century Europe, or her own Jewish heritage and Yiddish culture—as a way to explore the present. "

I find Eleanor's Classical Frieze to be lightly provocative and very humorous. At the same time, the work which is ravishing in its color reminds me of the rich chroma in David Lynch's Blue Velvet. In that film and Antin's work, as Eleanor suggests," the sunlit life also turns out to have dark shadows in which failure and death lurk at the edge of consciousness" Antin sees that "Pompeii, especially, with its grand murals and flourishing gardens haunted by the dark shadow of Vesuvius, has always suggested uncomfortable parallels with our contemporary world, especially here in Southern California, ... Now, in these times, we have even closer parallels with those ancient, beautiful, affluent people living the good life on the verge of annihilation."

"Pompeii and the Roman Villa illustrates how the Trojan War and the death and wandering of the great Greek heroes were the moral and aesthetic tropes of Roman culture. Whereas for us, the romance of the Roman Empire, with its deliciously decadent affluence and military power, lies deep in modern Western consciousness. The great 19th-century colonial powers that preceded us saw themselves as the new Rome, bringing civilization to primitive peoples, not unlike the way we see ourselves today. At the same time, we are uneasy and haunted by the great empire that owned but then lost the world."


Art:21 | Eleanor Antin | Inventing Histories

May 14, 2009–October 4, 2009 | LACMA - Art of the Americas Building

What Lies In the Shadow of the Statue? ~ Ille qui nos omnes servabit.

Update; January 26, 2010
The statue is of Tawaret the goddess of protection during pregnancy and childbirth.

Temple of Haroeris and Sobek, Kom Ombo, copyright by Gary Jones.

The Egyptian god Sobek seems to be the inspiration for the giant statue on LOST. I was leaning towards Anubis but the crocodilian snout gives it away. (Anubis was probably a bit too close to Stargate anyway.) Gary Jones' masterful photo of the Temple of Haroeris and Sobek in Egypt shows Sobek in detail. The light in Jones' photo is stunning - mysterious and beckoning.

Caroline Seawright writes of Sobek:

"Having the form of a crocodile, the Egyptians believed that he also had the nature of a crocodile. He could be the strong, powerful symbol of the pharaoh, showing the ruler's might. He could use this force to protect the justified dead in their after life, and be the protector and rescuer of the other gods... yet he could also use that power to savage his enemies and the sinful deceased. He could bestow sight and senses to the dead, he could bring water and fertility to the land."

"What lies in the shadow of the statue?" Richard's answer in Latin is:

"Ille qui nos omnes servabit," ("He who will protect/save us all.")

Just in time for the release tomorrow of the film Angels and Demons, we have Richard on LOST answering questions in Latin and calling himself Ricardo. Latin of course brings to mind the Catholic church and the history of Rome. Could Richard be a priest? Is he also known as Father Ricardo?

More at:
Sobek, God of Crocodiles, Power, Protection and Fertility