![]() ![]() ![]() Read more about “Zen in the Studio” in the new book Pacific Standard Time: Los Angeles Art, 1945–1980. Painting and Sculpture, 1950–1970-are worth contemplating.Īdapted from a sidebar written by the Getty Research Institute’s Pacific Standard Time curatorial associate Catherine Taft. The asymmetric, abstract, and innovative paintings and ceramics created by Voulkos, McLaughlin, and other Zen-inspired artists-several of which are on view in the exhibition Pacific Standard Time: Crosscurrents in L.A. ( You can see Voulkos’s energetic working method in this video.) Visually, Voulkos’s muscular action ceramics have little in common with McLaughlin’s marvelous voids instead, Zen and his work are linked by an affinity for the meditative aspects of Buddhist practice. leaving you with a clean slate and a clear mind. As the water slowly evaporates your art will magically disappear. Voulkos’s teaching philosophy was informed by his admiration for mingei, the Japanese folkcraft movement that merged artisanal traditions with cultural traditions of Zen Buddhism. Paint on the surface with water and watch your creation come to life. ![]() The Oakland Museum of California, gift of the Art Guild in memory of Helen Schilling Stelzner. Zen wall art Room decor Water falling on Spa stones print Zen print Modern wall art Canvas wall art Ready to hang Free shipping (87) Sale Price 54.40 54.40 85.00 Original Price 85.00 (36 off) FREE shipping. At one point, the head of the Otis design department kidded Voulkos about all the books on Zen lying around, joking that the “whole shop was going Zen.” The next day, labels had blossomed on every object: “Zen” water faucets, “Zen” chairs, “Zen” clay. Zen also exerted an influence on the ceramics studio of the Otis Art Institute, directed by Peter Voulkos. The more abstract and neutral the picture, McLaughlin believed, the more he could intensify the viewer’s “natural desire for contemplation without benefit of a guiding principle.” He was known to quote a 15th-century Zen painter’s principle of ma, the “marvelous void.” Ma-a spatial emptiness that provides an essential focal point between two objects or subjects-is evident in his painting shown above, which consists of two black horizontal lines bordering the edge of an open white field. Painter John McLaughlin, for instance, took a decidedly Buddhist approach to his work: he strove to take himself out of the picture. Image courtesy of Greenberg Van Doren Gallery, New York The Marilynn and Carl Thoma Collection, Chicago. ![]()
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