The Magic of the Cities.

Zen promotes the rediscovery of the obvious, which is so often lost in its familiarity and simplicity. It sees the miraculous in the common and magic in our everyday surroundings. When we are not rushed, and our minds are unclouded by conceptualizations, a veil will sometimes drop, introducing the viewer to a world unseen since childhood. ~ John Greer

Monday, December 3, 2012

Portraits I

[This series was shot in the Wall Street Bull area]
Charging Bull, which is sometimes referred to as the Wall Street Bull or the Bowling Green Bull, is a 3,200-kilogram (7,100 lb) bronze sculpture by Arturo Di Modica that stands in Bowling Green Park near Wall Street in ManhattanNew York City. Standing 11 feet (3.4 m) tall and measuring 16 feet (4.9 m) long, the oversize sculpture depicts a bull, the symbol of aggressive financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination which draws thousands of people a day, as well as "one of the most iconic images of New York" and a "Wall Street icon" symbolizing "Wall Street" and the Financial District.

As soon as the sculpture was set up at Bowling Green, it became "an instant hit". One of the city's most photographed artworks, it has become a tourist destination in the Financial District. "Its popularity is beyond doubt", a New York Times article said of the artwork. "Visitors constantly pose for pictures around it." Adrian Benepe, the New York City parks commissioner, said in 2004, "It's become one of the most visited, most photographed and perhaps most loved and recognized statues in the city of New York. I would say it's right up there with the Statue of Liberty." In 1993, Arthur J. Piccolo, chairman of the Bowling Green Association, made the same point with the same comparison. Henry J. Stern, the city parks commissioner when the statue first appeared in the Financial District, said in 1993: "People are crazy about the bull. It captured their imagination."

The statue's popularity with tourists has a very international appeal. One 2007 newspaper report noted a "ceaseless stream" of visitors from India, the United Kingdom, South Africa, Venezuela and China, as well as the United States. Children enjoy climbing on the bull, which sits "famously" at street level on the cobblestones at the far northern tip of the small park. One popular tourist guidebook assumes that a visitor will want to get his or her picture taken with the statue ("after you pose with the bull [...]"). A popular Bollywood movie, Kal Ho Naa Ho features the bull in a musical number, increasing its familiarity with Indians. One visitor told a newspaper reporter it was a reason for his visit.

In addition to having their pictures taken at the front end of the bull, many tourists pose at the back of the bull, near the large testicles "for snapshots under an unmistakable symbol of its virility." According to a Washington Post article in 2002, "People on The Street say you've got to rub the nose,  horns and testicles of the bull for good luck, tour guide Wayne McLeod would tell the group on the Baltimore bus, who would giddily oblige." According to a 2004 New York Times article, "Passers-by have rubbed — to a bright gleam — its nose, horns and a part of its anatomy that, as Mr. Benepe put it gingerly, 'separates the bull from the steer.'"

A poster showing a ballerina on the Charging Bull to promote the Occupy Wall Street movement.
A 2007 newspaper account agreed that a "peculiar ritual" of handling the "shining orbs" of the statue's scrotum seems to have developed into a tradition. One visitor, from Mississippi, told the Tribeca Trib she did it "for good luck", and because "there’s a kind of primal response when you see something like that. You just have to engage it." The enthusiastic reaction to the sculpture continues into the darker hours. "I’ve seen people do some crazy things to that bull," said a souvenir vendor, "At night sometimes, when people have been drinking, I’ve seen them do stuff to that bull that you couldn’t print in a newspaper."
Following the 2011 Occupy Wall Street protests, the sculpture was placed under police guard and is generally off-limits to tourists.  [Wiki]

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Sunday, December 2, 2012

On The Road


To see is to forget the name of the thing one sees. - Paul Valery

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Friday, November 30, 2012

The Inner Thoughts of Tenth Ave



“We don't stop playing because we grow old; we grow old because we stop playing.”

“You use a glass mirror to see your face; you use works of art to see your soul”

~George Bernard Shaw

THE CURRENT CHALLENGE
Fri Nov 30, 2012
This week's challenge:
'Orderly'.


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Thursday, November 29, 2012

Wheels

High Line Rink. NYC

Designed by Diller Scofidio + Renfro and James Corner Field Operations, in partnership with HWKN, the High Line Rink comprises 8,000 square feet within The Lot, a temporary public plaza below the High Line at West 30th Street and 10th Avenue. The High Line Rink expands the existing public amenities at The Lot, which include a rotating series of food trucks, a beer and wine bar, and an ongoing series of free public events.

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Wednesday, November 28, 2012

Robert Brady Museum II







Robert Brady Museum
House - Museum : Cultural Center

In the shadow of the Cathedral of Cuernavaca the Casa de la Torre houses a unique collection of fine and decorative arts from all over the world. The visitor will enjoy a house-museum created in a portion of a massive adobe and stone XVI century Franciscan Monastery.

This collection (more than 1,300 pieces) was assembled by Robert Brady (1928-1986). Born in Iowa with a career in the fine arts at the Art Institute of Chicago, the Tyler Arts Center of Temple University and the Barnes Foundation in Merion, Pennsylvania, he established residence in Venice, Italy for five years before settling in Cuernavaca, Mexico in 1962.  [Brady Museum]

More images in previous post here.


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Tuesday, November 27, 2012

Coras Series III






Semana Santa Cora  /  Cora Holy Week
The Cora Indians, or Na'ayarij how they call themselves, is a small indigenous group of about 20,000 people that live in the rugged mountain and deep canyon country of Sierra del Nayar in the Mexican state of Nayarit. Since the early 16th century, the Coras have for decades fearlessly resisted several attempts at conquest and religious conversion by Spanish conquistadors. In 1722, the Cora military leader was captured and executed and Spaniards destroyed all Cora temples. Jesuits and then Franciscans established their missions in the Cora territory and began converting the Indians to Catholicism. The long process of evangelization of the Coras has, among other things, given rise to a complex syncretic ritual called “La Judea”, the weeklong Semana Santa (Holy Week) celebration that merges indigenous beliefs, shamanism and animism with Christianity.

Each year during the Holy Week all the Cora villages are taken over by hundreds of wildly running men, who have decorated themselves firstly with ashes and later with shiny colors. Painted all over their semi-naked bodies, wearing horned masks and holding wooden swords, these Judios (literally, Jews) or Borrados (“erased ones”) represent night demons or the evil itself. Reflecting the never-ending cosmic struggle, wild-eyed Judios run around in groups, they dance, often comically with lots of sexual imagery, they fight with wooden sabres in ritual duels and primarily, they seek Jesus Christ to capture him. During this phase of celebration, “evil” endangers cosmic harmony. On the Good Friday, after several attempts “Jews” finally find a little boy (Cristo Niño), an effigy of Jesus Christ, and they kill him symbolically. The next day, on Holy Saturday, the situation changes. Jesus Christ resurrects and painted demons return metaphorically to the river, washing off their colors in its water. The balance of the cosmos is restored and peace comes back to the Cora towns.

According to the various anthropology investigations, La Judea, with all its intricate symbols, seems to be originally linked to the agricultural cycle, together with the rain season arrival and the regeneration of life. Hence the fertility symbols, animal images and reproduction acts are featured throughout the spectacle, yet everything is mixed with elements of the Roman Catholic dogma. All Judios, participating in La Judea, run around for a couple of days, with almost no clothes and virtually without a break, and moreover, they are not allowed to eat and drink the whole day until the sunset. Due to those characteristics, it is supposed that the ancient Cora warrior initiation rituals were also incorporated into the Holy week celebration.

La Judea, the Cora Holy week celebration, remains the most truthful expression of the Coras' culture, religiosity and identity. Although this annual festival unites all the Coras (children, teenagers, adults and elders) into a spectacular commemoration of their roots, forming the basic element of community cohesion, many young people leave and never come back. The drug cultivation and trafficking, propably the most growing industry in Mexico within the last decades, followed by violence, have reached the world of Cora and have dramatically changed their traditional society.
Jan Sochor

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Monday, November 26, 2012

Lazy Afternoon


Joy in looking and comprehending is nature's most beautiful gift. - Albert Einstein

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