JaZzArt en València

Pues tiene razón don Pedro… ¿No?

Inglés, nació en 1922, teorista y critico de arquitectura, murió en Londres en 1988… Muy conocido por dos libros que escribió: Theory and Design in the First Machine Age (1960) y el otro en 1971, Los Angeles: The Architecture of Four Ecologies. En este ultimo hace un análisis de la ciudad de Los Angeles y la identifica dividiéndola en cuatro modelos ecológicos: Surfurbia, las estribaciones, los llanos de Id, y la Autopía… Visitaba frecuentemente EEUU hasta que se trasladó a ese país en 1976… Comenzó sus estudios es su ciudad natal de Norwich y en 1949 ingresó en el Courtauld Institute of Art de Londres con profesores muy renombrados como Anthony Blunt, Sigfried Giedion y Nikolaus Pevsne… Comenzó de escritor con el Architectural Review en 1952… Banham fue profesor de la Bartlett School of Architecture, University College London de 1964 al 1976 y en la State University of New York (SUNY) Buffalo de 1976 a 1980) y durante la década de los 1980 en la University of California, Santa Cruz… Reconociendo que había que experimentar cada ciudad de la manera mas idónea y haciendo lo que mas la caracteriza, aprendió a conducir y sacó su permiso para conocer la originalidad de Los Angeles y así lo escribió en su libro sobre esa ciudad… Le hicieron un documental corto titulado Reyner Banham Loves Los Angeles (1972) dirigido por Julian Cooper… Le habían asignado una catedra en la Institute of Fine Arts, New York University, pero murió antes de llegar a ejercer en ella… Creo que para todo artista, arquitecto, o escritor, le seria interesante y útil conocer la historia de un hombre tan reconocido y renombrado como Reyner Banham. Os convido a ahondar mas en su obra y su vida…

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Reyner Banham was an English architectural theorist and critic. He was born in 1922 and passed away in London in 1988. Banham is well-known for two books he wrote: «Theory and Design in the First Machine Age» (1960) and «Los Angeles: The Architecture of Four Ecologies» (1971). In the latter, he analysed the city of Los Angeles and identified it with four ecological models: Surfurbia, The Foothills, The Plains of Id, and Autopia... Banham frequently visited the United States until he moved there in 1976. He began his studies in his hometown of Norwich and in 1949, he enrolled in the Courtauld Institute of Art in London, where he studied under renowned professors such as Anthony Blunt, Sigfried Giedion, and Nikolaus Pevsner. He began his writing career with the Architectural Review in 1952... From 1964 to 1976, Banham served as a professor at the Bartlett School of Architecture, University College London, and from 1976 to 1980, he taught at the State University of New York (SUNY) Buffalo. In the 1980s, he taught at the University of California, Santa Cruz. Recognizing the need to experience each city in its most authentic way, Banham learned to drive and obtained a driver’s license to get to know Los Angeles in its original, which he wrote about in his book about the city… A short documentary titled «Reyner Banham Loves Los Angeles» (1972), directed by Julian Cooper, was made about him. Although he had been appointed a professorship at the Institute of Fine Arts, New York University, he passed away before he could take up the position. Reyner Banham’s life and work are of great interest and value to artists, architects, and writers. I invite you to delve deeper into his oeuvre and his life.

GRACIAS – CHEERS – GRACIAS – CHEERS – GRACIAS – CHEERS – GRACIAS

I am Bodo Vespaciano, an experienced painter and writer. For me, all art is poetry, whether it’s on canvas, through music, or in words. Art without poetry is not real art.

Art is a creative process. The product is never something real. Artists make things up because art is contrived. Konstantin Stanislavsky, the great theatre director and creator of «the method» said that raw emotion is not art. I believe in this idea and it has become my approach to creating art.

I invite you to my YouTube channel, my Instagram, and my Twitter, and of course, to VALENCIARTIST. Here, I post daily about art, artists, music, poetry (usually my poetry and my Euro-Ku), and current events. Please be aware that I always express my opinions freely on any subject. I am a free thinker, democratically oriented, and totally against totalitarianism, socialism, communism, and any other ideology that denies God, enslaves humanity, and destroys our ideal to live in freedom. However, I accept all opinions as long as they are expressed in a civilized manner and do not denigrate or offend.

Instagram: @Francisco_Bravo_Cabrera

Twitter: @Euskadi_Bakero

Here is my latest YouTube video. Let me know what you think.

I hope to hear from you too…

Cheers…

AND THEN THERE’S WATER

Is it sad
to go looking through the ashes? The fires of passion once were crystal clear and pure with dancing flames that consumed us but strengthened us. Heat that paced the rhythm of our hearts; annihilated the oxygen in the air. It left behind just dust…

What could we ever hope to find?

I never kept my word.
Bad, late and never I repaid you. And I never wrote you a love song, never will…

Which god denied us happiness?
Was it the one who stole our innocence and plundered our wonder?
Was it because we climbed his Tree and satisfied our hunger with its tiny fruits?
We just wanted to taste them, discover their flavour, bite through their skin and let their juices moisten the silken robes that we slept in…

And then there’s water…
Water puts out fires. And the years? They whiten the sunburn of a summer’s love…

It’s me that now, with sweat-stained fingers, that winds the clock.

It’s not our fault.

We’re broken and every day more and more pieces of us fall carelessly to the dust.

Tears are not enough.
Nowadays they’re greatly overvalued.
They’re not worth what they were worth before,
yet, some still proclaim they are.

It’s now just you.
Sometimes just me.
No trace of us.

We aren’t innocent, but we aren’t guilty.
What destroyed us was an act of God…

C.2023, Francisco Bravo Cabrera, 28 JUL 2023, Valencia, España
(As I listen to “Goodbye Porkpie Hat” by Charles Mingus)

You want to study art? At a university? But at uni professors don’t know anything about how to be an artist, it’s all academic there…

Are you going to be taught how to make art or glorify those who dedicate themselves to video, performance and installation (VIP)? They’re going to drill into your head that Warhol was a genius, that Jeff Koons is the Wizard of Oz, and that Damien Hirst is bang on perfect…

Go ahead, study, but keep in mind that university education is a waste of time. Ask Lennon and McCartney and they’ll tell you that the only way to learn is on the fly. The university is only good for you to end up, after being bestowed with that bachelor’s, master’s, or doctorate, facing life with no clue how to fit in and wind up getting depressed. And once you’re beaten, defeated and wasted, you’ll start…without even realising it…your career as a failed artist.

You’ll say that the art world is a fraud, a piece of shit, and that you’ll only be recognized when you’re dead. After all the only famous artists are the dead ones. You’re right. Keep going like that, failure is your goal and you’ll get there. Walk around dressed like a ragpicker…a starving artist… and constantly talk about Van Gogh, Warhol, and Dalí. Remind everyone who approaches you… if anyone does… that those were tormented artists and that only Dalí lived well because he came from a wealthy family. Go to all the vernissages and gallery openings and tell everybody you’ve got shows lined up in Ulan Bator, Upper Volta, and Oshkosh and that Jeff Koons thinks you’re smashing good…

Next step on your road to being a failed artist is to become addicted to drugs and to become a drunk because that way you won’t be able to paint, sculpt, or do anything. So don’t paint, don’t read about art, don’t worry about composition, perspective, colour theory or even knowing who the hell was Michelangelo. And if someone sees one of your few paintings and tells you how poorly it is painted, tell them that art has no rules and that you can do whatever you want. Or just tell them that they don’t have the sensitivity to recognise the sufferings of a tormented artist. That’s how you’ll be a great failure. After all that’s what you’ve set out to do…

And well, I haven’t seen much of life or ventured much out of my cave, except for that one summer afternoon when I was taken to see the King and Queen in the streets of Mallorca…

Y ahora para aquellos que entendéis el castellano, aquí os dejo el vídeo que inspiro todo lo que en inglés he escrito.

Gracias…

Los colores por sí mismos son arte, pero hay que saber usarlos, aunque no necesariamente hay que regirse por las normas y preceptos tradicionales, pero si utilizarlos para crear, desarrollar ideas y mas… Para mi, el dibujo en blanco y negro es un cuadro con menos colores, pero un cuadro a todo color es un cuadro que brilla por su complejidad y por estar en un estado de perfección completa. Aquí os brindo algunos de los viejos y uno de los nuevos que demuestra lo que siento por los colores….

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Colours themselves are art, but you have to know how to use them skilfully, although you don’t necessarily have to adhere to traditional rules and precepts, you would do good to use them to create and develop ideas and more… For me, my black and white drawings are paintings with fewer colours, but a full-color picture is one that shines with complexity and in a state of complete perfection. Here I present some of the old ones and one of the new ones that shows what I feel about colours.

OMNIA CAELUM STUDIOS VALENCIA:

Web/Gallery: https://www.fbcart.wixsite.com/jazzart
YouTube: https://www.YouTube.com/@FranciscoBravoCabrera
Instagram: @Francisco_Bravo_Cabrera
Twitter (X): @euskadi_bakero
Artist Representative: “By Guloshka”
Instagram: @Guloshka
E-Mail: guloshka404@aol.com

Gracias…

Cheers…

El momento aquel cuando decidí que mi trabajo artístico seria «Jazz-Art» fue una epifanía, pero no recuerdo exactamente cuando fue. Lo que si recuerdo fue cuando cambié la forma de escribirlo. Fue durante la pandemia (2020) estando confinado y solo comunicándome con seguidores, amigos, galeristas, fans etcetera, cuando escribí jazz art así: «JaZzArT» y como me gustó así lo dejé.

Pero bueno, la motivación, lo que me provocó a dirigir mi camino hacia el JaZzArT fue el Jazz. Simple, y llanamente siempre he sido un amante de la música. Primero los Beatles y los Rolling, después Led Zeppelin, Deep Purple, y casi todos las otras bandas de esa época y después el Jazz. Y lo que más me fascinó del jazz fue la manera como se hace, como se toca, como se desarrolla.

Pues el Jazz (como forma musical) se ajusta a tres principios fundamentales que son:

1- la improvisación; 2- La maestría del solista que toca y compone simultáneamente; 3- el ritmo, el swing que tiene que tener la pieza.

Los tres los convertí en la base de mi trabajo pictórico. Claro, tuve que hacer algunos ajustes pero creo que a través de los años los he logrado entrometer en mis cuadros y lograr así la espontaneidad y la frescura de la improvisación sin alejarme mucho de la planificación.

Dime tu si lo notas en mis cuadros.

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The moment when I decided that my artistic work would be «Jazz-Art» was an epiphany, but I don’t remember exactly when it was. What I do remember is when I changed the way to write it. It was during the pandemic (2020) while being confined and only communicating with followers, friends, gallery owners, fans, etc., when I wrote jazz art like this: «JaZzArT» and since I liked it, I kept it that way.

But well, the motivation, what led me to steer my path towards JaZzArT was Jazz. Simply put, I have always been a lover of music. First the Beatles and the Rolling Stones, then Led Zeppelin, Deep Purple, and almost all the other bands of that era, and then Jazz. And what fascinated me the most about jazz was the way it is made, how it is played, how it unfolds.

Well, Jazz (as a musical form) adheres to three fundamental principles, which are:

1- Improvisation; 2- The mastery of the soloist who plays and composes simultaneously; 3- The rhythm, the swing that the piece must have.

I turned the three of them into the foundation of my pictorial work. Of course, I had to make some adjustments, but I believe that over the years I have managed to integrate them into my paintings and thus achieve the spontaneity and freshness of improvisation without straying too far from the planning.

Now I ask you, do you see these Jazz principles in my work?

Gracias…

Cheers…

«Red Dress Jazz,» that you see here, is in its canvas print form. It is now available at Fine Art America through my gallery. This is the only company that I have trusted with my images to create fine art prints of high quality. Fine Art America handles the entire transaction and ships quickly. Check out my gallery often as I change the images frequently to keep things exclusive and fresh.

OMNIA CAELUM STUDIOS VALENCIA PRESENTS:

Cheers…

BIJOUTERIE
(Begun on 19 AUG 2023, listening to The Crimson Jazz Trio)

Have you the power to defeat your destiny?
Your ego’s still trapped in temples
and your truths still fear the truth.
When thorny lips filled with emptiness glide by your face,
upon touching you they vanish seeking glory after having touched you.

Don’t go thinking you’re so wise ‘cause children never catch your lies.
Don’t go begging God for light,
for the most horrific fire that gives off the brightest light
can burn out in an instant.

You can’t ride off into the sunset on a horse of silver white
‘cause your horse ain’t used to trotting
over nothing but asphalt.
So you’ll always be a charlatan at the tent of fortune tellers
in the shabbiest of carnivals I’m betting.

Gold that glitters yellow, bright,
chilling beers to cool the nights
on the hottest days of August…
And the nipples of your melon breasts resemble candy kisses
while a spy sells her bijouterie to men who listen…

C.2023, Francisco Bravo Cabrera, Valencia, Spain

A veces hay que dejar que la imaginación se haga cargo de la producción y uno se sienta ahí, tranquilo, y observa. Luego puede reírse a carcajadas uno o joderse…

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Sometimes one has to let one’s imagination take over production and one can just sit back, relax and watch. Afterwards one can laugh out loud or not…

Hacer un retrato siempre es hacer un estudio de la persona que se va a retratar. Yo a veces…como aquí lo veis…hago retratos de gente imaginaria, pero resultan ser muy reales…

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Making a portrait implies doing a thorough study of the person you are going to do the portrait of. I, at times…as you see here…make portraits of imaginary people, although they always turn out to be quite real…

OMNIA CAELUM STUDIOS VALENCIA PRESENTS:

One of the best portrait painters in Art History, Lucien Freud…

Gracias…

Cheers…