The richness of life smells like pain, terror and joy. 

Artist - eternally rich in life 

Adam - Pennington school counsellor

Behaving well when you are not being watched 

Idea

Matchbox paintings

Don’t pick up the baggage

Notes for loki

- you have come to the right juncture

- after a long winding road, you are here. 

- feels very precious and rich 

- wild with possibilities 

- thorny brush feels free 

- a weightlessness

- a weight lifted

-//-

Composure of releasing the things you have carried. 

——

Release the baggage 

——

You are the sum of all the great artists you eat for breakfast every day. You have developed form and shape and muscle. You always had soul, the gift of your mother and father… 

- you are absolutely free and released to pursue the things you want to pursue

- the skye is blue, the sun is shining, the vista is wide open…..

- God is welcoming you to enter the space where he knows you will find natural to inhabit 

—- 

You have been free, without knowing it or testing it.  Now you feel the freedom

- to be prepared to jump into the water

- you have always been seeing from the sidelines….. now time to take the plunge 🙏🏽🔥💪🏽

—— 

Your determination will ultimately prevail 

—-

Determination will ultimately prevail 

—- 

"Natural to inhabit"

Notes : fundamental things

20 works of fundamental things 

Fundamental things that make you alive: 

Wilderness

Water

Leaf

Tree

Bird

—- 

Wilderness 

Air

Wind

Stone

Hill

Tree

Leaf 

Grass 

Paper

Lemongrass

Bird

Sky

Clouds

Nature

Wilderness

Vignelli

The New York City subway and The Museum of Modern Ar located just outside this station, have a long history of collaboration. The 1970 Graphics Standards Manual and the 1972 subway diagram were the result of concerted efforts by MoMA curator Mildred Constantine and Transit Authority head Daniel T. Scannell to unify a complex system of train lines once controlled by different companie Developed by graphic designers Massimo Vignelli and Bob Noorda of Unimark International, their radical approach introduced bold colors, geometric lines, and clear typography to simplify signage and lettering. In 2004, the Standards Manual, the 1972 diagram, and station signage were added to MoMA's collection, cementing the legacy of these now iconic designs. This installation highlights the continued success of the original graphic identity with updated diagram designs that celebrate the intricate intersecting points of the vast subway network. Unless otherwise specified, all images are credited as follows: Massimo Vignelli and Bob Noorda. Unimark International Corporation,

Print 2

"When I see something that just gets me, I want to work with that artist," Jacob Samuel has said. "And if they've never made prints, all the better.... Because then it becomes a real process of discovery." As a master printer, Samuel has been creating etchings for five decades; as a publisher, he introduced the five-hundred- year-old printmaking technique to some of the most influential artists of our time. Samuel began his career as a printer in Santa Monica, California, where he worked with the Abstract Expressionist painter Sam Francis, a prolific printmaker. In 1988 he began inviting other contemporary artists-painters, sculptors, photographers and even performance artists-to collaborate with him, assisting them in adapting etching to their own artistic visions. He published the resulting projects under his own imprint: Edition Jacob Samuel. To prepare an etching, an artist makes marks on a copper plate; the printer, harnessing acid, ink, and a powerful printing press, transfers those marks to paper, creating distinctive works of art. The projects Samuel published all share the same modest dimensions, they are generally printed in a single color, and most are serial, unfolding across multiple sheets. Rather than restricting artists' creativity, these limitations were profoundly generative, as shown by the diversity of visual styles and approaches presented in this exhibition. Selected from the complete set of more than seventy Edition Jacob Samuel publications in MoMA's collection, the works on view each tell a unique story of collaboration between an artist and a printer. Together, they are compelling evidence of the beauty and versatility of etching and its relevance for future generations of creators. Organized by Esther Adler, Curator, and Margarita Lizcano Hernandez. Curatorial Assistant, Department of Drawings and Prints Support for the exhibition is provided by the IFPDA Foundation. Additional funding is provided by the Annual Exhibition Fund Leadership contributions to the Annual Exhibition Fund, in support of the Museum's collection and collection exhibitions, are generously provided by the Sandra and Tony Tamer Exhibition Fund, Sue and Edgar Wachenheim IIIJerry 1. Speyer and Katherine G. Farley, Eva and Glenn Dubin, the Kate W. Cassidy Foundation, Kenneth C. Griffin, Alice and Tom Tisch, the Marella and Giovanni Agnelli Fund for Exhibitions, Mimi Haas, The David Rockefeller Council. The Contemporary Arts Council of The Museum of Modern Art, Anne and Joel Ehrenkranz. Kathy and Richard S. Fuld, Jr., The International Council of The Museum of Modern Art, Marie-Josée and Henry R. Kravis, Jo Carole and Ronald S. Lauder, and The Junior Associates of The Museum of Modern ArtMajor contributions to the Annual Exhibition Fund are provided by The Sundheim Family Foundation. Major funding for the publication. New Ground: Jacob Samuel and Contemporary Etching, is provided by the Riva Castleman Fund for Publications in the Department of Drawings and Prints, established by The Derald H. Ruttenberg Foundation

Print

What Is a Print? A print is an artwork created by transferring an image from one surface to another. While a drawing may be made directly on paper, a printmaker instead makes marks on a "matrix," such as a metal plate, a mesh screen, or a stone slab. This surface is then treated with ink and pressed against a sheet of paper-sometimes in a printing press- so that the marks pass from the matrix to the paper. Because the matrix can be reinked and printed over and over, prints are often produced in an edition (a numbered set of identical works). Printmaking is frequently a collaborative effort, with highly trained printers working closely with artists to realize their visions. On view here are prints made with three different techniques, along with the tools used to create them. Each process has distinctive visual characteristics: the fine lines of etching, for example, or the flat planes of color in a screenprint. A variety of advanced etching techniques are on display in the nearby exhibition New Ground: Jacob Samuel and Contemporary Etching.

Ruscha

"How things go from robust to desolate"

Ruscha

Ideas often come to Ruscha on the road, whether driving on the congested freeways of Los Angeles or across the expansive mountains and deserts of Southern California. Drawing inspiration from this varied geography, Ruscha introduced new motifs in relation to familiar themes in his work from the last two and a half decades. For instance, soaring, snow-capped peaks emerge in the backgrounds of his word paintings-a novel take on his ongoing preoccupation with language and landscape. Ruscha has also meticulously represented cast-off debris and roadside markers in works that meditate on the passage of time through their depictions of accumulation. and decay. "I have always operated on a kind of waste- retrieval method," he has said. "I retrieve and renew things that have been forgotten or wasted." More than mere description of his subject matter, this statement captures the ways certain ideas have been revisited and reimagined by Ruscha across his six-decade career.

Ruscha

872 While documenting Los Angeles streets, Ruscha amassed an extensive archive that details the project's costs, materials used, and streets photographed. Notebooks from 1973, 1995, and 1997 record the locations and times Ruscha and his team started and stopped shooting. To maintain continuity of lighting and street conditions, they photographed early in the morning, when there was less traffic and fewer people. Ruscha also used the notebooks to detail his process for creating what he described as "motorized photographs." A sketch showing his setup-a camera mounted on a tripod, which is grounded by sandbags-includes instructions for how to shoot from the bed of his Datsun pickup truck.

Ruscha

Whether as an avid reader or self-publisher, Ruscha has always had a special attachment to books. In the 1990s he began using secondhand books as supports for his paintings, rendering the letter o in various typefaces on their covers. By using bleach to create an image through the absence of color, the artist mimicked the effects of extensive light exposure on clothbound volumes. In one example Ruscha drew the letter o in charcoal and colored pencil onto the book's substantial fore edge. His attention to the various surfaces and dimensions of these objects recalls his approach to his own artist's books as "bits of sculpture."

Ruscha

The American flag is a dynamic winner in terms of design, not what it represents

Ruscha

The mood shifted in Ruscha's work in the mid-1980s, as his use of both color and language became more restrained. A switch from oil to acrylic paint, which he applied with an airbrush, prompted the artist to make a series of "strokeless" pictures. Restricting himself to a largely black-and-white palette, the artist portrayed subjects drawn from history and fantasy, such as ships and elephants, as hazy silhouettes. Rather than faithful representations, these motifs function like symbols. "The ship is my interpretation of a picture of a ship rather than a ship," Ruscha has said. "It's like a painting of an idea about a ship." The grayscale surfaces of these works recall early photography and cinema, which Ruscha further explored by painting film projections in painstaking detail, recreating the effect of degraded celluloid through simulated scratches and dust spots. Just as these marks interrupt the compositions, blank rectangles occasionally appear in other works from this period. Resembling redacted text, these voids both stand in for language and, as the artist has offered, "suggest a space for a thought."

Ruscha

Asked in an interview about the unusually long and skinny format of paintings like this one from the late 1970s, Ruscha remarked, "I'm a victim of the horizontal line and the landscape." "I guess maybe I'm trying to put more time and mileage between one end and the other," he added. In this example the artist depicts the kind of luminous sunset he encountered during his cross-country road trips between Los Angeles and Oklahoma City. Barely visible within the panoramic vista is the painting's evocative title, its diminutive scale seemingly at odds with its weighty subject.

Ed ruscha

Sufferer of the horizontal

- loki muthu 

Ruscha

Following a period of experimentation with unconventional materials, Ruscha returned to using traditional mediums, like oil and pastel, to paint and draw prismatically colored and increasingly complex backgrounds. They conjure the sparkling grid of a city at night, the refraction of light in a swimming pool, and brilliant sunsets in the western United States. Yet despite their evocative imagery, Ruscha denies any deeper meaning, referring to them simply as "anonymous backdrops for the drama of words." Ruscha's use of language in his work also evolved at this time. In place of single words, the artist began depicting longer strings of text borrowed, he explained, "from memory, sometimes from dreams, sometimes from listening to the radio." Expanding on Ruscha's repertoire of sources, works in this gallery feature phrases from literature and film, conversations overheard, and the terminology found in science books. In other examples, his language is more self- referential, humorously alluding to his occupation as an artist.

Ruscha

Seeing things age is a form of beauty 

Ruscha

For Ruscha, words "live in a world of no size." Infinitely scalable, they might exist at 8-point font in the pages of a book or tower overhead on billboards. In 1962, intrigued by its commanding monumentality, Ruscha recreated the dynamic logo of the film studio 20th Century-Fox on canvas. The image's dramatic diagonal composition-what he termed its "horizontal thrust"-would become a useful pictorial device for the artist. "I could see that a lot of subjects could work their way into this format," he reflected. "It was like broadcasting something from a tiny point, then expanding beyond the limits of things." Similar to how this painting evokes the fanfare that accompanies the logo on screen, other works of this period explore the sonic possibilities of visual imagery.

Ruscha

Ruscha left Oklahoma City in 1956 to study commercia art at the Chouinard Art Institute (now CalArts) in Los Angeles. While his design courses focused on precision and balance, his fine art classes emphasized spontaneity and gesture. "They would say, 'Face the canvas and let it happen,"" Ruscha recalled. "But I'd always have to think up something first." The artist would ultimately merge these approaches, neatly ordering text, images, and found materials within painted compositions. A series of travels-a cross country hitchhiking trip in 1954 and a months-long European tour in 1961- sharpened his attention to signage, architecture, and everyday objects. Back in California, Ruscha began rendering single outsized words in impasto, accentuating the shape of letters with thick layers of paint. These "guttural utterances," as he called them, include onomatopoeic exclamations (like "oof" or "honk"), popular slang, and brand names. Sourced from comic strips and supermarket shelves, the artist's frequent references to consumer culture aligned him with the burgeoning Pop art movement.

Ruscha

"Tendency to photograph things in a serial manner"

Workplace workforce concepts

Story

Story of abbreviations, there was a person who used to read AMDR as amor AMR. Every word was every abbreviation was translated to something else. Bon appétit fish fleet. This person was AWOL. TMI. Aarti L. Making a story about abbreviations and making fun of English.

Name of story

Credit River Valley 

Sunflower adult home

—/-

I am a robot

Run algorithms. I am created. I can perpetuate. I am a robot. I run various kinds of algorithms. I'm self correcting

Book notes selfless

I was trained to be selfless, and I would be selfless to point where it's not healthy. It had to be fixed.

" to listen to other peoples problems. They give away my money to give away my time…. 

Book notes

Just pick up the raspberries

When the berries fall from the fridge,

just pick up the raspberries

help your partner

you

you are your enemy

you anger is your enemy.

today you are angry at x

tomorrow you are angry at y

you are your anger

anger is toxic

you are your toxic

you have to heal you 

not the other person who you are angry toward 

Notes on Life: Book Notes

We are robots.

Somewhere along the way, we have been programmed how we live.

We have to be aware of our own programming.

and make upgrades regularly.

----

Conversation /w Leke Nov 27,2023

Leke's mom being in an "Abstract Prison '' of her own programming.

Visiting her is like visiting her in a prison. 

---

Killers and bad people:

They have bad programming.

They have to be stopped 

For myself

Everyday,

I have to be happy for myself. 

That is what God intended 

—-

Not happy for others,

In the face of others

Loki is interested in

Simplicity

Purity

Highest quality 

Do everything

 Do it. Do everything. Do everything you can think of. Do everything you think is a good idea

Josh Baer on Art Fairs

Most of it is noise. 

Most of what's being sold here, 20 years from now will be worth zero.

I'm here to tune out the noise. 

Focus on things that are great.

Art fair - notes

Collectors make their own decisions - that's a good idea. 

Art fair: smell the art. 

"Young collector"

Highly informed, not educated.

Informed and educated - good combo 

Andrew krepps - NY Gallerist 

Herman and Dorothy Vogel 

Skulls 

Markets always correct and adjust

—-

5000, second level old masters 

"It's a matter of timing" 

"Gmail art advisors" 

——

Art in America 

David Zwirner 

"How do you get information"

How to make things accessible and impart knowledge 

——

reckoning

All mean people will have their Karmic reckoning.

Who

I'm very proud of me for being a good man.

Now I'm learning to be good to myself 

Loki 

Who?

Do you want to be a Sunday painter?

Do you want to be a painter? 

Critters

I am a crazy critter. You are a crazy critter. We're perfect for each other.

Lisa Opoku

Create

Drawing is like dreaming

It is the beginning to everything

Beginning of creation 

Shape

Only God determines the shape of things in your life. In that sense every one's life is like a pattern in a kaleidoscope. You can drive the shape of your life, but the true shape of your life is what God plans for you. You can't override God's shape for your life. In that sense, every once life is the same. 

Henry Taylor

But Taylor said achieving prominence was never his aspiration. "There are people that have big major goals, and that's great," he said. "Me, I just want to get to a place where I can pay rent. That was my thing for a long time. It was nothing grandiose.

"My mom always told me to stay out of jail, and I've done that," he added. "I know that I want to take care of myself. I'm happy to show work. I'm happy to sell work. I'm happy to feed my kids, feed myself and have a few friends and family. If it allows me to do that, I can't frown on that."

Book title

Life unexplained

One must do:

Beautiful works

Works of arresting beauty

It should carry the highest version of the artistic thinking of the artist with every piece.

It should be intellectually ambitious

It should be bold, beautiful and complete.

It should sing like a bird 

It should hit you with a hammer

It should make you stand still and lose yourself 

I only have a few things to do in my life:

I only have a few things to do in my life:
pay off my loans
Do gods work - create art, write books, teach
Gods work together with Lisa
Honor our Mother by Publish a book of mom's art
Teach, write, create, travel 
Pray, meditate
—- 
I summon the courage to challenge myself to be my best
Summon the courage to be fearless about anything( always remember you are released) 
Summon the will, and channel will through daily practice and dedication. 
Make this your ultimate romantic pursuit. 
Romance with your true nature,toward God
(Bhakti!) 
—- 
Everything is given to you. Use it celebrate it! 
—-
Everything in the eyes of God
This life is given to you by God. This life will be taken back. So live in service and duty and humility, knowing nothing is yours, but live in the humility and dignity and make it worthy of your life, worthy of the gifts you have received. 
Let God be happy with the decision he made to put you on this earth. 
Make yourself worthy of the creators gifts. Be a role model, in the eyes of God. 
"Be God like"
Seek God's truths
Do Gods work
"Love Supreme" 
"You are released" to do "Gods work"
Share your gifts, that God has given you. 
Gift your gifts generously. 
Let people be loved by your gifts, let them see the power of God through your gifts. 
Let others "see" their gifts through your work. 
Gods work above all. 
Stay fit and prime, to go Gods work. 
Multiply Gods work. Scale God's work. 
10x Gods work!!! 
God bless you Loki 

Chase

Don't chase after anything secular.

Chase the glory of God 

Lisa