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Ori Gersht, (1967-), Born in Tel-Aviv, Israel, Lives and works in London
“In his art historical still life series Gersht investigated the relationships between photography, technology and optical perception, at a pivotal moment in the history of photography where digital technology both threatens a crisis and promises a breakthrough. Research into the early history of the medium of photography is brought together with theoretical discourse, creating, still image and films that (literally) explode the genre of still life, the beautiful and destructive results captured using cutting-edge technology”
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L: Sick Bacchus, Caravaggio, 1493-4, R: Untitled #224, Cindy Sherman, 1990
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Diana and Actaeon, 1824,
After Titian (1490-1576), Printed and etched by Peltro William Tomkins (British, 1759-1840)
Etching on chine collé
Collection of the British Museum
“The story of Actaeon is recounted in ‘Metamorphoses’ (Book III, 138–255). Ovid tells how the noble young hunter, separated from his friends after a day’s stag-hunting, inadvertently stumbles upon Diana, chaste goddess of the hunt, refreshing herself in the waters of a shady grotto.
Titian shows Actaeon bursting onto the scene and causing consternation among Diana’s virgin nymphs, several of whom seek hastily to cover their voluptuous nudity. Not all appear entirely dismayed at the intrusion but Diana’s indignant response is unambiguous.
As her Ethiopian handmaiden helps cover her with a shift, she casts Actaeon a terrifying sidelong glance that presages her cruel act of revenge. Actaeon raises his hands in surprise as though already half aware of the deadly price he must pay for trespassing into the goddess’s domain.”
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Laura Letinsky, Works from 1996-2009
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Vanitas Still Life, 1603
Jacques de Gheyn the Elder (Dutch, 1565–1629)
Oil on wood
Found in the collection of the Metropolitan Museum of Art, this painting is regarded as the earliest known Vanitas image.
“The Latin word means “emptiness” and loosely translated corresponds to the meaninglessness of earthly life and the transient nature of vanity.”
Seventeenth century artists depicted specific objects as symbols of life’s brevity, such as skulls, bubbles, cut flowers, and fruit.
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Bill Moyers: Eden was not. Eden will be.
Joseph Campbell: Eden is. “The kingdom of the father is spread upon the earth, and men do not see it.”
BM: Eden is – in this world of pain and suffering and death and violence?
JC: That is the way it feels, but this is it, this is Eden. When you see the kingdom spread upon the earth, the way of living in the world is annihilated. That is the end of the world. The end of the world is not an event to come, it is an event of psychological transformation, of visionary transformation. You see not the world of solid things but a world of radiance.”
From The Power of Myth
