Sunday, September 24, 2017

David J. Wagner, PhD., Museum Director and Curator


David J. Wagner visits The Memorial Art Gallery
September 21, 2017

I have the pleasure of introducing a series of guest speakers in conjunction with our exhibition currently on view of wildlife art by my father, Arthur Singer.  The title of our show: Arthur Singer, The Wildlife Art of An American Master is also the title of a new book published this summer by R.I.T. Press and it has a fine introduction written by David Wagner.  The genre of wildlife art doesn't have the cachet of impressionism or surrealism probably because it is illustrative - being a blend of science and art.  But wildlife art does have a following and there have been artists like John James Audubon who have set a high bar for the artists who have followed in the 20th century through today.



Francis Lee Jacques paints a diorama (1930's )

To help us get closer to understanding artists who portray birds and animals from a contemporary perspective I invited John Fitzpatrick and David Wagner to fill us in on the knowledge we need to better judge this form of art - which we can call naturalism.  My first speaker in September was John Fitzpatrick, and he is currently Director of the Laboratory of Ornithology at Cornell University in Ithaca, New York.  He started his talk, telling us about Francis Lee Jacques his next door neighbor in the upper midwest. John Fitzpatrick was very young, but Jacques impressed him with his knowledge of science and art.  Jacques had painted a series of great dioramas for The American Museum of Natural History on the west side of Manhattan, and also later at the Bell Museum in Minnesota.  My father, Arthur Singer grew up in New York City and was well acquainted with the paintings by Jacques and the two may have met while the dioramas were being installed.



John Fitzpatrick
Director, for the Laboratory of Ornithology, at Cornell University

John Fitzpatrick went on to speak about the aims of science and art saying that "science was organized curiosity" and that art could be an expression of that curiosity.  John Fitzpatrick gave credibility to the advancement of science through the application of art, building a bridge to the public with published guide books that people would use in the field.  This is citizen science.  A week later, David Wagner came to Rochester Institute of Technology to further flesh out the history of wildlife art in America.


Arthur Singer illustrated biography by Paul and Alan Singer from RIT Press

David Wagner was the Director of the Leigh Yawkey Woodson Art Museum in Wassau, Wisconsin when their show "Birds in Art" became a regular feature of their yearly calendar.  My brother Paul, and I asked David Wagner to write the introduction for our book which has just been published by RIT Press.  Our choice highlights the fact that as a museum director, David Wagner met my father, and had firsthand knowledge of his artwork which counts for a lot when we were putting together our book.


Brian O'Neill and David Wagner studio visit

On the morning of his talk at R.I.T., we went for a studio visit in the Hungerford Building to see the paintings of Brian O'Neill and speak to the artist.  His paintings run the gamut from abstraction to realism ( often seen together in the same work ) and I found in the studio a little painting of a hawk, so this idea ( of wildlife art ) seems to be in the air.  In his studio, Brian spoke about his role as a teacher, and indeed there were work stations set up so his students could improve their artwork under his watchful eye.  Larry Keefe was making a small study from a sculpture by Olivia Kim in the old fashioned way of indicating a structure of values reminding me of the days when students drew from plaster casts made from the great sculptures by artists of the past.


Sculpture by Olivia Kim, drawing by Larry Keefe

In the afternoon, David and I took a long walk through the collection at The Memorial Art Gallery and I spotted a few interesting Japanese prints on view in the Lockhart Gallery.  Upstairs we worked our way through the European paintings, and then Asian art, commenting upon the pieces from Syria, and the terrible destruction that occurred in Palmyra.



Kobayashi Kiyochika, The Asakusa Bridge and Fire, 1881

In the evening, everyone sat and listened to David Wagner in the University Gallery as he approached the history of wildlife art in America through some choice examples.  Carl Rungius was one of the memorable examples he offered that evening, and I thought that this is worth all the effort we put into the evening to have this speaker here to share his knowledge and expertise.  Thank you, David Wagner!


David Wagner introduces Carl Rungius
in
The University Gallery at R.I.T.

Friday, September 22, 2017

Start Now


Annual Faculty Show at Bevier Gallery
Rochester Institute of Technology

My quick tour of the annual faculty art show at the Bevier Gallery in Booth Building at the Rochester Institute of Technology did not do the show justice, as I had to move quickly through.  Why the rush? The reason for this run around was that I was supposed to be giving a guided tour through our show down the hall at the University Gallery and a class was waiting for me!

Willie Osterman has a wall rack full of interesting photos with an ethnographic slant to them, and he calls this assembly "Summer Journal".  Its reminds me of glass plate prints you would expect in a museum, and the  media  includes Collodion, aluminum and tin - surfaces on which to make photographic prints.  I admire the way that Mr. Osterman delves back into the techniques of yesteryear, and I assume that there are not many who could make such convincing works with methods that have become obscure with age.  Matter-of-fact the theme of these images is all about time, and the ravages of time symbolized by the print of the skull in his installation.  Think of all the film based technology for which Rochester became famous and how that chemistry will have to be brushed up for future generations that may want to explore a more recent path.


  
Digital Animation
Meghdad Asadilari


Certainly, Rochester Institute of Technology has a perspective on the future, just look at the new building going up in front called:"Magic Spell Studios".  What new miracles will come out from there, and how will students change the course of history with their visual arts?



Painting by Cliff Wun
at 
Bevier Gallery

The faculty in studio arts often bring out their best work, and one painting you will find there in the Bevier Gallery is so intense..by Cliff Wun.  He has a self-portrait that reveals the insides of the torso, revealed by three bluebirds practicing a surgical art with their bills and feet.  This image could be terrifying were it not for the robin's nest of eggs stuffed into the back of the digestive system.  The effect is part medical diagram and part Francis Bacon ( OMG ).  Cliff is brave to put a face on this - we usually don't want to spend much time with contemplating our insides,  so this is about as revealing as it gets!

There are some other spooky images in this faculty show however.  The painting by Denton Crawford below has an aspect of mystery and horror of a bad trip.  What is that thing where the face should be?


Painting by Denton Crawford

And then there is the elegiac encaustic work - a portrait by Joyce Hertzson, her "Memorial to Kim".
This small painting has a sadness attached to it with the color and overlapping layers of faded flowers.



Encaustic by Joyce Hertzson

Another work in the show celebrates "Women of Rochester", a mixed media piece by a faculty trio: Marla Schweppe, Shu Chang, and Christine Heusner.  A dress has inscriptions, and additions the shape of tennis racket covers, or small handbags announcing Renee Fleming or Ursula Burns, or Haudenosaunee Mothers, etc. . This art is both entertaining and entirely apt.  Why don't we have something like this in the Rochester Airport?


"Women of Rochester"
by Marla Schweppe, Shu Chang, and Christine Heusner

There is so much more in this show, but I have to go and lead a tour so a few last glances, and I found a nice juxtaposition of my print that I call: Tropicalia, and the large sculpture by Wendell Castle that he titles: Be The Wind At Your Back...  I will have to contemplate that last look!



Wendell Castle at left, Alan Singer on right
at Bevier Gallery, R.I.T.


Tuesday, September 5, 2017

Buy The Book


Art & Physics
Parallel Visions in Space, Time & Light
by
Leonard Shlain


Usually, I write about what I have been seeing in the art galleries, but I wanted to give you - the reader of this blog some rest before the next wave of art reviews come to this space.  I thought that I would say something about books worth reading.  I do try to read a few pages everyday, maybe you do too?

The artist and gallery owner Rick Muto, on a visit to my studio, told me about a book written by the author and doctor, the late Leonard Shlain.  I had mentioned to Rick, that I had read a wonderful book by the same author years ago, called "Art & Physics"  published in 1991 that explained many of the puzzles that I dealt with as I pursued my interests in art and mathematics.  Leonard Shlain had opened the door to a whole new understanding - because at one time I thought that there was little connection, but after reading this book, I saw that art and math were different sides of the same coin.



Leonard Shalain's book on Leonardo Da Vinci

Now, armed with the tip I received from Rick Muto, I bought a copy of "Leonardo's Brain" and I am so glad that I did.  Dr. Shlain took the time through writing this book ( his last unfortunately ) to give the reader a broad portrait of Leonardo Da Vinci from a number of vantage points - some having to do with art, and others having more to do with science.  Dr. Shlain lays out a very convincing case for the genius in Da Vinci with many examples of how he was way ahead of his time.  Some of Da Vinci's drawings were for inventions that would not come to fruition for several hundred years!
Why was it that so many of Da Vinci's paintings remained unfinished?  How did Da Vinci draw out maps as if they were seen from an airplane?  What made Da Vinci's time and place so unique?
Get a copy of the book and find out.



Helen Macdonald's book: H is for Hawk

As my brother Paul and I have just published a book about my father's artwork, I have been very involved in promoting our new art book about Arthur Singer and his life long involvement with birds.  In the bookstore near me I bought a copy of "H Is for Hawk" by the British naturalist and writer Helen Macdonald.  The book has a very artistic cover by Chris Wormell and inside it is a story about falconry.  Helen Macdonald writes a personal account of learning the ways and means of the falconer - training a goshawk to come and sit on her glove and take some bites of food to gain  the trust of a wild bird.

I thought that her observations were right on the mark, and I know this because I have brought falcons into my classroom for my students to draw, and over the years I have done this with the group here called  Wild Wings, I have noticed how these birds behave when observed.  Be prepared, if you buy this engrossing tale to take a roller coaster ride because this is a very emotional story told by a poet looking at nature through the eyes of a practitioner of a very old art form - falconry.



Arthur Singer, The Wildlife Art of an American Master
published by RIT Press
summer 2017

This is the view at Shop One, a place to buy arts and crafts at Rochester Institute of Technology.
Here we have copies of our new book for sale, along with three original paintings by my father Arthur Singer ( 1917 -1990 ).  If you have bought a book already, bring it over to the University Gallery for our opening on Friday, September 8th, and my brother Paul and I will sign it for you from 5 - 7 pm.  If you want to order our book, here is the link:https://www.rit.edu/press/

Sunday, September 3, 2017

Fine Art in the Finger Lakes


Mitchell Messina
"Fuse"
at Main Street Arts
Clifton Springs, NY


You can learn so much by taking a little tour, for example I start out in Ithaca, New York at The Herbert F. Johnson Museum of Art where I was introduced to the expressionist art of Robert Richenburg, and I wonder to myself - Why haven't I heard about this artist before?  The paintings are elemental, like building blocks leading the way toward a new kind of geometry - a painterly look at minimalism - that was practiced by another artist like Jennifer Bartlett who is in the next room, or by the sculptor Carl Andre.  Below is a typical work from the show now on thru September 10, at The Johnson Museum.  I was living and studying at Cornell while Robert Richenburg was teaching in Ithaca College, yet I never came across these paintings... so it is nice to see them here...finally!



Robert Eichenburg  ( 1917-2006 )
oil on canvas

At the Johnson Museum on the Cornell campus you can find  artworks by artists that were collected widely and have come to be known as the touchstones of the mid 20th century, so it is interesting to see how Robert Richenburg fits into that landscape.  Right next door you can see works by John Chamberlain and Andy Warhol and make some judgements for yourself about values and what society has come to praise for a variety of reasons.



John Chamberlain and Andy Warhol
at
The Herbert F. Johnson Museum of Art

The art season is off to a fresh start and people come out in numbers for Gallery Night so I go off to investigate what is happening at The Ink Shop.  One can't help but notice the new construction in Ithaca, New York on this late summer evening.  I walk into the corridor of the CSMA Building and find the etchings of Anna Pausch in a show she calls simply "Muse".  Anna credits Rembrandt for her initial inspiration and her intaglio prints demonstrate a terrific patience and skill at rendering in line the intimate landscapes she favors. Rocks, trees and branches merge into compositions that can go from the simple to the very complex.  One of the large plates that she made en plain air, offers a certain time of day with the light hitting everywhere ...just so.



Intaglio print by Anna Pausch 
at
The Ink Shop, 330 East State Street, Ithaca, NY

Upstairs, the second part of this two person show at The Ink Shop, I find a selection of prints, often in color, by Andrew Kosten who hails from the Dakotas.  His prints often had a dose of humor and cultural critique- related to political cartoons one might find in the Atlantic magazine.  Here, as with Anna Pausch downstairs, you find an artist with a fine touch, delicate almost - creating characters in his own satire on modern living.


"Little Toot Toot" by Andrew Kosten
at
The Ink Shop

Driving up from Ithaca I stop into Main Street Arts located on 20 West Main Street in the cozy town of Clifton Springs.  On view in the main gallery is a selected show: "Painting Invitational" that features some of the best artists in our area.  Among my personal favorites is a large painting by Kurt Moyer that has an energetic deep surface full of texture, and structured mark making that is nuanced and filled with light.  The subject is the abstraction of the forest floor and the time of day would seem to be in an early morning when the light is very even.  Here the materials are handled in a very expressive way, quite tactile, but without loosing the reference points needed for a dose of realism.



Kurt Moyer at Main Street Arts, Clifton Springs

At Main Street Arts, some of the paintings that caught my attention weren't on the scale of Kurt Moyer's canvas, some of the intimate size works could also be quite enigmatic including the jazzy abstract works from Sarah Sutton, and the outdoor studies from Jim Mott.  I think that the portraits by Mike Tarantelli are only getting better ( I remember him when he was one of our students at R.I.T. ) and the colors he works with are almost translucent ( how does he achieve that effect? )...



Mike Tarantelli at Main Street Arts

Upstairs, Mitchell Messina has a show titled: "Fuse" and it is a grouping of figure studies in a variety of situations like the image at the top of this post that can bring a certain level of discomfort to a viewer.  These sculptures provide situations for figures that look to be compromising without being overtly uncomfortable, and the artist hints as much in his statement about the use of clay in the making of molds for these sculptural situations.



From the show "FUSE" by Mitchell Messina
at Main Street Arts

Finally, back in Rochester, I stopped into the Brown Hound for lunch at The Memorial Art Gallery and a conversation with the Director, Jonathan Binstock.  What a vital cultural region we have, and Director Binstock has done a lot to re-vitalize the presence of the visual arts along with new curatorial initiatives including the mural downstairs that has just been finished by Sarah Rutherford. Each of her portraits defines a character; these are different souls who are contributing to the fabric of our community, and Sarah Rutherford is to be given due credit for bringing these paintings to life here in the museum.



Sarah Rutherford presents her mural "Her Voice Carries"
that
celebrates five women of our city...
-More to come-

Wednesday, August 23, 2017

Gorges in August


Ithaca Falls in August, 2017


Taking some well deserved time off, I drive over to the falls ( don't dare swim there! ) to take a photo or two.  The temperature is just right, and the view is great.  I want to go up to see what it looks like at the Herbert Johnson Museum of Art out on the Cornell Campus, so off I go...



Herbert F. Johnson Museum of Art
on the Cornell campus

I want to see a view of the lake from the floor that houses the Asian Collection, and while I am there see a few highlights that I have missed before.  The view down the lake is impressive, but I really came in to see the art, and I am not disappointed.



My photo of Lake Cayuga


My monotype of Lake Cayuga

Play a game of compare and contrast, I think about a print I made in my studio last week which reminded me of a view of my favorite Finger Lake.  I use a mathematical formula that I created in my studio, and with my program called Cinderella, I can render the image that I then made into a print on my  etching press.  Even though it is mathematics, it still requires selection, control, skill, and aesthetics of design and composition - plus the good luck of having the print turn out fine.  And like any art this requires practice, practice, and more practice.



Tibetan art at The Hebert F. Johnson Museum

In the Asian Collection I have always admired the Tibetan arts that I see from time to time. Often they represent Tibetan deities, with remarkable clarity and sense of purpose.  These are powerful images and today this painting had the same clouds that I had just seen out the window!  The strength of that vision was cast in a light of strong belief, which is also carried through in other Asian arts, like the painting I found on the lower level titled: " A Symptom of the World's End " by the Taiwanese artist Wu Tien-Chang that you see below.  The painting had elements of Picasso and Jean-Michel Basquiat.  The images in this work imply difficult journeys that the artist took on the path to self-expression.


Wu Tien-Chang
oil on canvas, 1986

Downstairs, on the first floor, I also found a painting that had some of this same angst, and that was Philip Guston's work called: "Key, Wall, Sea".  The Guston had the same condensed space, and the conglomeration of bricks, and horseshoes seems like a self inflicted imprisonment, rather than the effect of a government sponsored crusade that one might expect as a result of Martial Law.



Philip Guston

It is such a lovely day outside, but here inside the museum I find the images haunting.  And then I come across the big wall work by Lee Bontecou, and that seals the deal.  One giant dark eye looking out from the wall which has a resonance with what I have been feeling this month, especially about the mood of our country.  This is an appropriate sign for our times....



Lee Bontecou
An appropriate sign for our times.....

But to end this post on a more positive note
I return to contemplate nature, especially in the simple direct 
way that a flower can attract your attention and respect,
for something so fleeting in life.
Here are the Morning Glories!


Friday, August 18, 2017

Show & Tell


The University Gallery at Rochester Institute of Technology
Presents
Arthur Singer, The Wildlife Art of An American Master


(Show and tell....it is probably that basic...)  This is not kindergarten, but I do have the urge to speak and write about something and it is a natural outgrowth for all of the forethought that I have given the subject.  I am thinking about the book we have just published and the show that is currently on view at the University Gallery at RIT.  This urge hits close to home for me because what my brother Paul and I have been doing is writing a book about my father and then planning this exhibition for his artwork.  The stars have come into alignment and we have had the idea to write this book, get it published, and then try to show the artwork that engenders all this effort.  My brother and I also consider the recent history of a naturalist at work in the field and we would like to see Arthur Singer's artwork find its rightful place.


Arthur Singer on Audubon Avenue

Arthur Singer ( 1917-1990 ) had a prodigious output during an illustrious career, and in our new book and in our exhibition we give some space to his early drawings made at The Bronx Zoo when he was still a teenager.  Was it fate for a boy who was born on Audubon Avenue in the Washington Heights section of Manhattan?  What caught his eye at the zoo were the big animals and the tropical ( colorful ) birds, and his attention was riveted.  Arthur had the skills at a very young age to capture an image of nature that was full of detail, with a nod towards design that always kept things in balance.  Arthur also had the luck of capturing an audience during his teenage years attracting the attention of curators at The American Museum of Natural History where he would visit to see the dioramas which were just being installed.


Arthur Singer's drawing of a leopard at the Bronx Zoo

Arthur Singer, or Artie as his friends would call him, was a jazz fan and he also played handball on the streets with the other kids.  His artistic skills earned him a place in the School of Art at The Cooper Union which was then tuition free for those who could pass the entrance exam.  "Artie" had already published some of his animals in national newspapers, so he felt confident.  Some of his friends from college later became world class designers like Herb Lubalin and Lou Dorfsman.  Judy Goulfine was my father's favorite, and they later got married and started a family.


Arthur Singer's portrait of Judy, circa 1942
in watercolor on paper

During World War ll Arthur Singer was drafted, and later served with a battalion dedicated to deception - later dubbed "The Ghost Army".  World War ll was underway and Arthur brought his paints and paper with him when the men that travelled by sea departed along the shores of Normandy.  Arthur also brought with him a knowledge of camouflage which was actually discovered by another bird artist Abbott Thayer in the early years of the 20th century.  During our exhibition we will have as a guest speaker - Rick Beyer who produced a PBS special documentary on "The Ghost Army" and he will present this film on October 5th, 2017, at 5 pm, in the University Gallery.



Arthur Singer in the 1950's

After the war there was a long period of readjustment to civilian life. My mother had worked during the war as a draftsperson for Emerson Radio and she looked forward to starting a family.  My father went to work during the day as an advertising art director, and at night he practiced his painting in our attic studio where everyone in the family gathered after dinner.  As the 1950's progressed my father  received assignments from publications like Sports Illustrated, the World Book Encyclopedia, and Readers Digest, but the event that changed the course of his career was the publication of a series of eight prints that he made for The American Home Magazine, and they enabled him to have a stable income and busy schedule meeting the demand for his artwork.

If you want to know more about our book, and how to order it, take a look at this link:https://www.rit.edu/press/

If you want to come to our opening in Rochester, see this link:
https://www.rit.edu/fa/gallery/

Thursday, August 10, 2017

New Frontier


Alan Singer
2017
"The High Plateau"
transfer monotype

My interest in Mathematics and Art that I experienced at the recent BRIDGES conference in Waterloo, Ontario has been strengthened.  It was good to see that there were growing numbers of interested practitioners at the conference and that they were so willing to share their enthusiasm.



BRIDGES Conference for 2017
underway in Waterloo University
Waterloo, Ontario

Years ago, I wanted to have geometric shapes in my paintings and I had to go back and remember what the formula was for building a pentagon or a hexagon.  I looked up programs on the computer that could help me and found Mathematica and downloaded it.  Terms used on this site were unfamiliar to me.  Looking over "Implicit Surfaces" attracted me because you could write in your own instructions in the form of an equation and a program like 3D-Xplormath could render an image for you.  Before, I never stopped to think that there was a visual equivalent to a few lines of algebra.



Dan Bach exhibition at BRIDGES 2017

In Germany they had a "Year of Mathematics" in 2008 and the results included the completion of new software to help people like me  visualize mathematical shapes.  One program is called Cinderella and it came as part of a geometry toolbox that you could download for free.  I got hooked on using this program to produce images like the one at the top of this post.

Last week during my visit to BRIDGES in Waterloo, Ontario I had the chance to hear from a wide variety of practitioners of mathematical disciplines and presenters at the conference brought their artwork to show.  In the past, artists like M.C. Escher would use symmetry as a way of creating art that was attractive and thought provoking.  My own art uses symmetry, but I am also interested in the compositional prospect of using geometry in my paintings and prints.


University of Waterloo Art Gallery

I am more interested in an art that has compositional aspects, and too often the artwork that I found at BRIDGES just had an image floating against a blank surface.  True, this allows you to study the object carefully without other distraction, but I like the relational aspect of art and I often want to see a form in relation to other forms, more "natural" if you will.

There were several beautiful pieces in the BRIDGES exhibitions, so I was happy to be part of this experience.  I spoke with one of the founders of the BRIDGES conference, and remarked on how it has grown over the years.  Carlo Sequin is a force in this field of math and art.  He had a very fine discussion that I attended and below is one of his sculptures.


Carlo Sequin

I was very impressed by the UWAG art gallery space and there was a very interesting opening that happened to coincide with the BRIDGES conference.  I particularly like the paintings of Andrew Smith, shown below.  He is onto something unique and very directional.



Painting by Andrew J. Smith


Opening at UWAG
"Passage & Obstacle"

It seems clear to me that there are many new frontiers for an artist to forage for ideas and expression.  I think that the visual aspect of mathematics is just beginning to unfold, and this arena just was not accessible before the era of the computer for most people.  This kind of art is just in its infancy, but there is a considerable amount of energy and interest to be found there.  The Waterloo University is a sprawling campus and full of people making the most of their education, which I found to be exciting and enjoyable.


Sunday, August 6, 2017

Construction



"Congruent" at Axom Gallery, Rochester, New York

Before I leave for CANADA, I stop into the Axom Gallery in Rochester to see the show called "Congruent" that includes paintings, furniture, plants and a whole range of vignettes - like stage sets with potted plants that are also reflected in photos strategically placed.  St. Monci is the painter whose work I have admired and this show represents a shift towards theatre and more complex compositions that carry along their own floating panels as an extension of the paintings themselves.  This borrows heavily from the Constructivist movement in Europe ( early 20th century ) where the paintings were reductive and precise with a focus on planes and abstraction.  In this show, St. Monci prepares the architecture of his paintings as if he were planning a small city.



My brother, Paul Singer
at the entrance to the University Gallery at R.I.T.
with our new show:
Arthur Singer: The Wildlife Art of an American Master

I have had a busy month with a new book coming out that I worked on with my brother, Paul Singer, and a new show planned for the University Gallery at Rochester Institute of Technology. Our new show honors the artwork that our father, Arthur Singer, created during his illustrious career.



Arthur Singer's early 20th century works


 And off I go, on my way across the Peace Bridge over the river and through the woods to "BRIDGES" - the conference on math and art in Waterloo, west of Toronto.  Watch out for Google Maps!  They chart my route, but don't seem to know about the construction delays....!  CANADA is so clean!  No wastepaper strewn along the roadside like in the U.S.



BRIDGES - a conference of mathematics and art in Waterloo, Canada


Waterloo University is the host of BRIDGES 2017, and the various college buildings sprawl across a section of a town that was home to the Seagrams brewers way back when.  Waterloo is a top-rated University that reminds me very much of what we do back in Rochester - high tech with a good blend of music and art.  The University of Waterloo has a fine art gallery ( UWAG ) and they staged a show called " Passage and Obstacle".


Math and Model
at 
BRIDGES, Waterloo, Canada

So what is it about art and math - why are they seen as subjects for which you need a bridge to cross over?  Some of the presenters at this conference tried to trace the differences and similarities of math and art.  I just see them both as a human endeavor to achieve some understanding of the universe we live in.  Both have their own languages with their own grammar like foreign countries, and both math and art have their own discipline and practice.  With mathematics I see it as finding ways to measure and calculate, to find a process to analyze what may or may not be physically present.  With fine art you have a practice that often but not always results in a physical manifestation that may not be easy to understand at first because it is primarily often a visual experience.

In my next post I want to look at various aspects of the conference that may resonate with a view towards the future, so stay tuned.....