Origins Of Real Art

Origins of Real Art

I am a purveyor of the unconscious. From the first time paint touched canvas at the bequest of the muse that guided my hand, I knew that I would paint and make images that are at once timeless and that contain a unique connection to all of reality, not just our limited perception and experience, but of reality in the all encompassing sense of being universal. These are the origins of real art. You can take that anyway you want.

I started painting in 1970 at the request of James Harithas who was then director or the Everson Museum of Art in Syracuse. Harithas saw once small painting that I made on a canvas board and wanted to meet me. We talked about art for hours and he offered me an opportunity to do a one man exhibit of figure paintings at his museum. I painted day and night for three years and had my show in August of 1973. I filled one entire gallery room in the sacred upstairs with 15 huge to large figure paintings. My art my imaging making is a spontaneous outburst of the unconscious energy that defines all existence. My images are energy, archetypal energy, the energy that stuff is made of made tangible and real. When I move paint around on a canvas, real or digital, something very strange and compelling happens. The works take on a life of their own. They extend past our limited world, and relate positively and in a very real sense to the very place that defines all existence. I have lived and always live in this very special place.

Like I said, I am a purveyor of the unconscious. I make the things quantum and ethereal become tangible. The incredible fast world of the electric synapse lets me work at the speed that my brain and my being functions. I now make digital art in the same spirit as my painterly exploits of earlier years. I found due to health reasons that I could no longer use oils or even acrylics. After a while they start to hurt your body. We all exist as some part of the greatness of everything. We are all a part of the universe of all existence whether we can see it or not. My inspiration is intuitive by nature, and comes from past space and past time to the quiet and beautiful place that belies all of what we are. Who we are is unimportant.

As an artist and human being, I chose to leave my counterparts and contemporaries behind. I chose to go where the spirit of existence would and will continue to take me. My work makes some uncomfortable, mostly because most people cannot and will not understand it; but it does get under their skin and makes theor nerves crawl if only just a little, some more than others. The fact that viewers cannot understand true beauty and inspiration is not my problem. My only mission was and is to make sincere and real images that come from deep within the unbounded place at the root of all reality. What defines the quantum second the quantum moment is the relation of the hand in unison with the mind as it moves line and color to certain places that correspond to a finished work of art, the coordinates of the space-time continuum made visible. There is a timeless sense to all of this, a place that is at once exciting and calming at the same time. It is where we all are born from.

As we all contain a little piece of totality, the very thing that sustains our existence for however long we are privileged to be here. I have just been lucky enough to have been part of the secret. I have seen and continue to see what it is I see. That much, in this time of total uncertainty, is real and certain. I know what I know, and what I do not know I will try to find out. It takes time and patience, and another circle around the merry-go-round of existence. I think I have done a pretty good job with the task I was handed at birth, and I will continue to try to keep it working. I cannot get away from what defines what I am, any more than you can. I will not apologize for any of this. I will do what I have to do by the hand of inspiration, a very real commodity, and hope and pray that you will fare as well!

 

Modern Art Promoted By CIA

From The Independent April 7, 2015pollack2

Jackson Pollack

For decades in art circles it was either a rumor or a joke, but now it is confirmed as a fact. The Central Intelligence Agency used American modern art – including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko – as a weapon in the Cold War. In the manner of a Renaissance prince – except that it acted secretly – the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.

The connection is improbable. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art – President Truman summed up the popular view when he said: “If that’s art, then I’m a Hottentot.” As for the artists themselves, many were ex- communists barely acceptable in the America of the McCarthyite era, and certainly not the sort of people normally likely to receive US government backing.

Why did the CIA support them? Because in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.

The existence of this policy, rumoured and disputed for many years, has now been confirmed for the first time by former CIA officials. Unknown to the artists, the new American art was secretly promoted under a policy known as the “long leash” – arrangements similar in some ways to the indirect CIA backing of the journal Encounter, edited by Stephen Spender.

The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.

The next key step came in 1950, when the International Organisations Division (IOD) was set up under Tom Braden. It was this office which subsidised the animated version of George Orwell’s Animal Farm, which sponsored American jazz artists, opera recitals, the Boston Symphony Orchestra’s international touring programme. Its agents were placed in the film industry, in publishing houses, even as travel writers for the celebrated Fodor guides. And, we now know, it promoted America’s anarchic avant-garde movement, Abstract Expressionism.

Initially, more open attempts were made to support the new American art. In 1947 the State Department organised and paid for a touring international exhibition entitled “Advancing American Art”, with the aim of rebutting Soviet suggestions that America was a cultural desert. But the show caused outrage at home, prompting Truman to make his Hottentot remark and one bitter congressman to declare: “I am just a dumb American who pays taxes for this kind of trash.” The tour had to be cancelled.

The US government now faced a dilemma. This philistinism, combined with Joseph McCarthy’s hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing. It discredited the idea that America was a sophisticated, culturally rich democracy. It also prevented the US government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s. To resolve this dilemma, the CIA was brought in.

The connection is not quite as odd as it might appear. At this time the new agency, staffed mainly by Yale and Harvard graduates, many of whom collected art and wrote novels in their spare time, was a haven of liberalism when compared with a political world dominated by McCarthy or with J Edgar Hoover’s FBI. If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.

Until now there has been no first-hand evidence to prove that this connection was made, but for the first time a former case officer, Donald Jameson, has broken the silence. Yes, he says, the agency saw Abstract Expressionism as an opportunity, and yes, it ran with it.

“Regarding Abstract Expressionism, I’d love to be able to say that the CIA invented it just to see what happens in New York and downtown SoHo tomorrow!” he joked. “But I think that what we did really was to recognise the difference. It was recognised that Abstract Expression- ism was the kind of art that made Socialist Realism look even more stylised and more rigid and confined than it was. And that relationship was exploited in some of the exhibitions.

“In a way our understanding was helped because Moscow in those days was very vicious in its denunciation of any kind of non-conformity to its own very rigid patterns. And so one could quite adequately and accurately reason that anything they criticised that much and that heavy- handedly was worth support one way or another.”

To pursue its underground interest in America’s lefty avant-garde, the CIA had to be sure its patronage could not be discovered. “Matters of this sort could only have been done at two or three removes,” Mr Jameson explained, “so that there wouldn’t be any question of having to clear Jackson Pollock, for example, or do anything that would involve these people in the organisation. And it couldn’t have been any closer, because most of them were people who had very little respect for the government, in particular, and certainly none for the CIA. If you had to use people who considered themselves one way or another to be closer to Moscow than to Washington, well, so much the better perhaps.”

This was the “long leash”. The centrepiece of the CIA campaign became the Congress for Cultural Freedom, a vast jamboree of intellectuals, writers, historians, poets, and artists which was set up with CIA funds in 1950 and run by a CIA agent. It was the beach-head from which culture could be defended against the attacks of Moscow and its “fellow travellers” in the West. At its height, it had offices in 35 countries and published more than two dozen magazines, including Encounter.

The Congress for Cultural Freedom also gave the CIA the ideal front to promote its covert interest in Abstract Expressionism. It would be the official sponsor of touring exhibitions; its magazines would provide useful platforms for critics favourable to the new American painting; and no one, the artists included, would be any the wiser.

This organisation put together several exhibitions of Abstract Expressionism during the 1950s. One of the most significant, “The New American Painting”, visited every big European city in 1958-59. Other influential shows included “Modern Art in the United States” (1955) and “Masterpieces of the Twentieth Century” (1952).

Because Abstract Expressionism was expensive to move around and exhibit, millionaires and museums were called into play. Pre-eminent among these was Nelson Rockefeller, whose mother had co-founded the Museum of Modern Art in New York. As president of what he called “Mummy’s museum”, Rockefeller was one of the biggest backers of Abstract Expressionism (which he called “free enterprise painting”). His museum was contracted to the Congress for Cultural Freedom to organise and curate most of its important art shows.

The museum was also linked to the CIA by several other bridges. William Paley, the president of CBS broadcasting and a founding father of the CIA, sat on the members’ board of the museum’s International Programme. John Hay Whitney, who had served in the agency’s wartime predecessor, the OSS, was its chairman. And Tom Braden, first chief of the CIA’s International Organisations Division, was executive secretary of the museum in 1949.

Now in his eighties, Mr Braden lives in Woodbridge, Virginia, in a house packed with Abstract Expressionist works and guarded by enormous Alsatians. He explained the purpose of the IOD.

“We wanted to unite all the people who were writers, who were musicians, who were artists, to demonstrate that the West and the United States was devoted to freedom of expression and to intellectual achievement, without any rigid barriers as to what you must write, and what you must say, and what you must do, and what you must paint, which was what was going on in the Soviet Union. I think it was the most important division that the agency had, and I think that it played an enormous role in the Cold War.”

He confirmed that his division had acted secretly because of the public hostility to the avant-garde: “It was very difficult to get Congress to go along with some of the things we wanted to do – send art abroad, send symphonies abroad, publish magazines abroad. That’s one of the reasons it had to be done covertly. It had to be a secret. In order to encourage openness we had to be secret.”

If this meant playing pope to this century’s Michelangelos, well, all the better: “It takes a pope or somebody with a lot of money to recognise art and to support it,” Mr Braden said. “And after many centuries people say, ‘Oh look! the Sistine Chapel, the most beautiful creation on Earth!’ It’s a problem that civilisation has faced ever since the first artist and the first millionaire or pope who supported him. And yet if it hadn’t been for the multi-millionaires or the popes, we wouldn’t have had the art.”

Would Abstract Expressionism have been the dominant art movement of the post-war years without this patronage? The answer is probably yes. Equally, it would be wrong to suggest that when you look at an Abstract Expressionist painting you are being duped by the CIA.

But look where this art ended up: in the marble halls of banks, in airports, in city halls, boardrooms and great galleries. For the Cold Warriors who promoted them, these paintings were a logo, a signature for their culture and system which they wanted to display everywhere that counted. They succeeded.

* The full story of the CIA and modern art is told in ‘Hidden Hands’ on Channel 4 next Sunday at 8pm. The first programme in the series is screened tonight. Frances Stonor Saunders is writing a book on the cultural Cold War.

Covert Operation

In 1958 the touring exhibition “The New American Painting”, including works by Pollock, de Kooning, Motherwell and others, was on show in Paris. The Tate Gallery was keen to have it next, but could not afford to bring it over. Late in the day, an American millionaire and art lover, Julius Fleischmann, stepped in with the cash and the show was brought to London.

The money that Fleischmann provided, however, was not his but the CIA’s. It came through a body called the Farfield Foundation, of which Fleischmann was president, but far from being a millionaire’s charitable arm, the foundation was a secret conduit for CIA funds.

So, unknown to the Tate, the public or the artists, the exhibition was transferred to London at American taxpayers’ expense to serve subtle Cold War propaganda purposes. A former CIA man, Tom Braden, described how such conduits as the Farfield Foundation were set up. “We would go to somebody in New York who was a well-known rich person and we would say, ‘We want to set up a foundation.’ We would tell him what we were trying to do and pledge him to secrecy, and he would say, ‘Of course I’ll do it,’ and then you would publish a letterhead and his name would be on it and there would be a foundation. It was really a pretty simple device.”

Julius Fleischmann was well placed for such a role. He sat on the board of the International Programme of the Museum of Modern Art in New York – as did several powerful figures close to the CIA.

Moving Through The Universe

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Climbing Time

Your soul is my soul. We all come from the same place and eventually, we will all go back to the same place. That is the beauty of this whole thing, it has no beginning and it has no end. It is what it is and we all eventually go to from where we came. Carl Jung once said that the further one gets from one’s center, the greater the distortion of the given reality. As we get further and further away from our starting point, the more a reality distortion sets in.

We are inside time, but outside time.

Consider these facts. The earth spins on its axis at a rate of 1,040 miles an hour at its equator. The earth also travels on its orbital path through space around the sun at 65,000 miles per hour. Next in the progression, the earth and other planets (our solar system) travel through space at the rate of 40,000 miles per hour, on a course in the direction of a blue star called Vega. Finally, our galaxy is moving at a rate of 700,000 miles per hour toward the constellation Cepheus. Finally, there are spiral galaxies found beyond our Milky Way are speeding away from us at the rate of 25 million miles per hour.

Now we know that “dark matter”, a relatively newly discovered component, is accelerating the pace or speed at which the universe (meaning all universe, total universe, everything there is everything that exists, anywhere, whether we know about it or not) and all its contents are moving apart. Think about that. Everything there is, is being pulled apart at an ever increasing speed. Meaning this acceleration will continue to become faster and faster until all matter, all universe, is blown apart into nothingness.

If you consider these facts, we are actually moving, at an astounding rate of speed, 700,000 miles per hour. It is obvious that we are not staying in one place for too long. If you consider your age in hours, and multiply it by 700,000, that will tell you how far you have traveled through space since your birth. Imagine the amount of space you have gone through, different space with different textures and different dimensions and different realities. What is even more bizarre, we are distorting on one plane, and experiencing our reality as everyday occurrences on another plane. It is no wonder we sometimes get confused and act bizarre.

Consider the different textures, thicknesses, warps and just plain different things that we experience on a second to second basis, things we cannot understand or even be aware of because they are absorbed by the other 94 percent of our consciousness, the area called the unconscious, the area that we largely ignore because we do not want to deal with any unconscious implications during the course of our everyday reality. It gets too confusing, too much information, too much to deal with. Therein sets up a very real denial at one of the deepest levels of our individual personalities, as well as a collective denial of so many different things that are going on around us. We do not have a clue as to what is going on. We just hope to get through another day.

Creative Art Images And Writings That Teach And Inspire Passion And Feeling-Modern Art Visions Of Forever

Art can and should teach and inspire. Let yourself live! Feel some passion! This stuff is fun stuff! It makes you happy. Gives you joy!
You know what, after all these years I still believe and feel that everything I have done here is done for a reason. I still believe that there is great art to be made and that the old masters lived and created for a reason.
I still believe, in all sincerity and humility, that there is a special something, a reason, a spiritual synapse, a flow, a power, that lives in all of us and that makes things happen the way they are supposed to happen. I still believe that we are all a part of that reason, that something special, and that we just need to discover that little crack in our self-imposed realities to set us free, to give us entry to that special place.
Now more than ever we need to discover our true sense of humanity. That is why I am here. It is not a noble goal or purpose, it is just the way it is. It is what I do, what I love to do, what I am meant to do.
John Lombardo believes. He believes in himself as he relates to all other beings, reality and existence. He believes that our life form is unique, that all life forms are unique and that we exist for just a short time. He understands the positive as well as the negative, and understands that both are necessary as a balance for our survival. He believes in his innate and instinctual ability to translate ideas, space, time, spirit, soul, and being into reality in the form of his art.
All I ever wanted to do with my art, my sole purpose for creating and making the images that I make, is to help people who view my art along their roads to a better life, to somehow make their lives a little better.
I could have quit a million times already, because I know that it all in the end may not mean anything. Yet I persist in my task described and exhibited on this website. This work is my love, my life and my passion. I hope I have gained the insight to let it through to all I meet, to help us along is some small way. To make things better.
In the face of our mass insanity, this vision, the current of energy has kept me alive. It gives me peace of mind and strength of spirit. It is intuitive reason and happens mostly by itself.
I am an animal of creative instinct. I am just a humble conduit, a pipeline for that which must come forward. That which has a life force of its own. That which comes forth when it wants to, and moves the spirit to create. It is not by chance, it is by the inherent force of creation.
Art images digital paintings created by John B Lombardo Artist over a span of over 45 years, works that are timeless in their origins, works of the collective unconscious, works that conjure a direct link to our archetypal links to a timeless mind, spirit, and soul of forever, energy filled colorful images made from the intention of pure spiritual inspiration. Heartfelt renderings from the place of creation.
John B Lombardo Artist exhibits limitless strength, courage, perseverance, and resources tapped from the spirit and soul, inherent to his vision, while creating a visual record of the ever changing landscape of the evolution of the human being, creating works that mirror the matter of mind that is inherent in all of creation. The images are born in the unconscious collective and will live and flourish there long after we are all gone.
You will see what you see. If you view the same works ten years from now, you will see something totally different. A note or chord will sound at the very core of your being. Your soul, your spirit will resonate with the ever changing vibrations of creation and the creation of your reality. The currents of space and time as we each experience them will fine tune your being to enable you to live a fuller and more productive life. Your heart will become open to the limitless possibilities of your existence.
Art Images linked to the spirit, food for the soul. High energy art creations that mirror your dreams, your reality, the soul of eternity, the elusive matter of consciousness made visible.
Art can teach and inspire you to believe in yourself on deeper and more profound levels.
John Lombardo, over a span of over 45 years, created and still creates art that mirrors and translates the spirit, and soul of forever, energy filled colorful images made from the intention of pure spiritual inspiration. Art that truly changes as with changing currents of our existence itself!
Gain insight into the true artistic process linked to the core of creation. Insight that links us to that place we have all come from and that place to which we will return. You see, none of this really matters anyway. We are but an illusion visible in the time that has passed us by; it is our sense of importance that give us our dream, the place in which we live. Sorting the dream from the reality is the hard part, when the reality is inherently part of the dream.
There is eternal, an eternal. If you want to see glimpses of what lies elsewhere in the eternity of being, take a look at the art work in this website. In a sense, these images, paintings, works of art are reflections of the intangible substance called mind, in the collective sense. These images convey the collective synapse, the collective dream if you will, the power of soul and spirit, your soul and spirit, your dreams, made visible. In this sense these images show imagery like a mirror of the timeless essence of energy of all that is and all that will ever be. It is our essence, our bond with the universe made visible. I am in this sense a purveyor of our collective unconscious as we relate to our existence here where we are.
Art is art is art is not art. High art is high art, fine art is fine art, and real art is real art. Art should instruct us on  some level and carry us into another dimension of what we are, take us to the core of our beings. Real art has substance and created from the stuff from which we came, in a universal and total and cosmic sense.
There is eternal, an eternal. If you want to see glimpses of what lies elsewhere in the eternity of being, take a look at the art work in this website. In a sense, these images, paintings, works of art are reflections of the intangible substance called mind, in the collective sense. These images convey the collective synapse, the collective dream if you will, the power of soul and spirit, your soul and spirit, your dreams, made visible. In this sense these images show imagery like a mirror of the timeless essence of energy of all that is and all that will ever be. It is our essence, our bond with the universe made visible. I am in this sense a purveyor of our collective unconscious as we relate to our existence here where we are.
Art is art is art is not art. High art is high art, fine art is fine art, and real art is real art. Art should instruct us on some level and carry us into another dimension of what we are, take us to the core of our beings. Real art has substance and created from the stuff from which we came, in a universal and total and cosmic sense.
These images are unique and brilliant in their simplicity, yet tremendously complex, because of the artist’s innate ability to capture the moment of existence and time, the synapse of creation.
The images contained herein reflect a body of work created over the last 45 years. There are many themes and styles that have evolved through  technical, software, media changes and the changing landscapes of time and space. Yet the message, consistency, and power of the work remain unaffected by these changes. Using Light, color, form, shape and composition John B Lombardo has remained true to what he knows.
Lombardo remains strong, his soul is clean, and his spirit continues to soar. It is a simple proposition. This is his life.