CThru.com Presents Tony Ward

The Mysterious Distance Between Men Of Means

STATEMENT/BIO

Jed Williams was born in Philadelphia, Pa., U.S.A in 1975 and raised in Paris, France. He is a French and American dual citizen currently based in the city of his birth. He is the son of famed Pulitzer Prize winning poet C.K. Williams, who is currently teaching creative writing at Princeton University. Jed graduated from the University of the Arts (BFA in Painting and Drawing, 2000) and the Pennsylvania Academy of the Fine Arts (Certificate in Painting, 2005), both located in Philadelphia, and has been exhibiting his work in various venues ever since.
Jed works on his images in different kinds of media: oil paint, acrylic, mixed media; his art stems from a wish to blend a more formalist, expressionistic abstract tradition with a conceptual quest nourished by his interest in the human figure, pop and mythological culture, and different forms of spirituality.

We Have Ways Of Making You Smile

The images Jed makes simultaneously stem from intense inner turmoil and wonder expressing itself in his fascination with certain objects, images and symbols, which he observes and works from. The objects, images and symbols he chooses to work from possess “loaded” meanings as well as symbolic societal and cultural connotations. He is juxtaposing and associating ciphers of meaning by physically bringing these objects, images and symbols together in seemingly illogical yet intellectually and culturally relevant ways, all the while creating his own personal semi-abstract painting style.

I Speak To Me

C.K. sent us a poem that applies to Jed’s paintings. It was published in the New Yorker and will be reprinted in his new book “Wait,” this Spring.

THE FOUNDATION by C.K. Williams

1.

Watch me, I’m running, watch me, I’m dancing, I’m air;
the building I used to live in has been razed and I’m skipping,
hopping, two-footedly leaping across the blocks, bricks,
slabs of concrete, plaster and other unnamable junk…

Or nameable, really, if you look at the wreckage closely…
Here, for instance, this shattered I-beam is the Bible,
and this chunk of mortar? Plato, the mortar of mind,
also in pieces, in pieces in me, anyway, in my mind…

Aristotle and Nietzsche, Freud and Camus and Buber,
and Christ, even, that year of reading “Paradise Lost,”
when I thought, Hell, why not? but that fractured, too…
Kierkegaard, Hegel, and Kant, and Goffman and Marx,

all heaped in the foundation, and I’ve sped through so often
that now I have it by heart, can run, dance, be air,
not think of the spew of intellectual dust I scuffed up
when in my barely broken-in boots I first clumped through

the sanctums of Buddhism, Taoism, Zen, and the Areopagite,
even, whose entire text I typed out—my god, why?—
I didn’t care, I just kept bumping my head on the lintels,
Einstein, the Gnostics, Kabbalah, Saint This and Saint That…

2.

Watch me again now, because I’m not alone in my dancing,
my being air, I’m with my poets, my Rilke, my Yeats,
we’re leaping together through the debris, a jumble of wrack,
but my Keats floats across it, my Herbert and Donne,

my Kinnell, my Bishop and Blake are soaring across it,
my Frost, Baudelaire, my Dickinson, Lowell and Larkin,
and my giants, my Whitman, my Shakespeare, my Dante
and Homer; they were the steel, though scouring as I was

the savants and sages half the time I hardly knew it…
But Vallejo was there all along , and my Sidney and Shelley,
my Coleridge and Hopkins, there all along with their music,
which is why I can whirl through the rubble of everything else,

the philosophizing and theories, the thesis and anti- and syn-,
all I believed must be what meanings were made of,
when really it was the singing, the choiring, the cadence,
the lull of the vowels, the chromatical consonant clatter…

Watch me again, I haven’t landed, I’m hovering here
over the fragments, the remnants, the splinters and shards;
my poets are with me, my soarers, my skimmers, my skaters,
aloft on their song in the ruins, their jubilant song of the ruins.

Greetings From Home Planet

Faltering Onlooker

Trapped Radiance

The Prophecy

Posted By Mikel Elam

“Numbers and letters may fitly be called eyes” Alan Ginsberg

……..I have a kindred spirit in another well known artist by the name of Francesco Clemente. We share in several ideals. Words can be great inspiration for future paintings, as I have always been an avid reader. I’m fascinated with the concepts of hidden messages. In my life numbers, letters and passages have become fodder for my imagination.

In this painting, there is a woman who is in a meditative state of consciousness. A place of relaxation and exploration of her future objectives. Something unexplainable is happening to her. Perhaps it occurs in her subconscious. It’s leading her in a certain direction. She clutches a tool for choosing her fate.
This story is one I created for this painting, yet as important to me is the viewer’s interpretation which can be quite different and equally as valuable.
My work has been a constant exploration of the mind’s eye, intermixed with the conscious world.

In fact eyes are the windows to the soul. It’s the place where breathing leads to meditation and ultimately to transformation.

…….To learn more about Mikel’s work log on to www.mikelelam.com……..

In Front Of A Good Cause

……As a follow up to our earlier feature on the illustrious success of the anti-rape campaign, “THIS IS NOT AN INVITATION TO RAPE ME”, spearheaded by Creative Director Charles Hall. We decided to publish a follow up post on the continuing global reach the advertising campaign continues to impose. Rape crisis Scotland contacted Mr. Hall to use the campaign to bring awareness to rape conviction rates in Scotland, a deplorable less than 3%.

Upon arriving in Edinburgh, Charles was introduced to the METRO news headline of the day; “RAPIST OF GIRL AGED 10 FREE IN MONTHS”. This appalling court ruling served as a backdrop for the new task at hand for Charles and his creative team. He contacted regional artists Julie Cerise to contribute photographic images, and New York based graphic designer, Graham Clifford to contribute their talents for the new campaign. To learn more about Julie Cerise’s photographs, log on to www.juliecerise.carbonmade.com. To learn more about Graham Clifford’s graphic design, log on to www.grahamclifforddesign.com.

Anti Rape Campaign: Scotland

Anti Rape Campaign: Scotland

Anti Rape Campaign: Scotland

Anti Rape Campaign: Scotland

Master At Work Photo: Roy Ives

……I had the pleasure of meeting Genevive Zacconi in 2006, when she curated an art exhibition entitled, “Negative Exposure” for Trinity Art Gallery in Philadelphia. Her unusual interest in the erotic as well as the macabre, forms the basis of her unique vision. A distinct persona that is reflective in her paintings. Genevive was born in Philadelphia in 1981. As an artist and curator, she has been involved in numerous art exhibitions around the globe and has been featured on MSNBC, New York Press, Coagula Arts Journal and Juxtapose magazine.

Objective Observation

In addition to creating her own art, Genevive has also worked as a painting assistant to Ron English, headed the first Philadelphia branch of “Dr. Sketchy’s Anti -Art School”, and was the founding director of Trinity Art Gallery in Philadelphia and Paul Booth’s, Last Rites Gallery in New York.

Delusions Of Candor

Disillusion

Miss Fortune

Try Walking In My Shoes

Genevive is currently curating an exhibit within “The Dirty Show” (the worlds largest art show) to take place in Detroit, February 12 to the 20th, 2010. The exhbit will include works by Michael Hussar, David Stoupakis, Shawn Barber and yours truly. To learn more about Genevive’s work, log on to www.genevive.com……..TW

Genevive Zacconi, Photo: Lithium Picnic

Bang

Posted by Charlene Lanzel

I used to do target practice in my driveway as a kid. We had a BB gun… and also a pellet pistol. I preferred the pistol. I suppose this painting has some deep hidden psychological meaning. Perhaps that I have always felt like a target. Like prey. Some men make me feel that way, when they leer at me on the street. It’s like they’re foaming at the mouth. I find that very disturbing. Sometimes I feel like I need protection. And then, I remember those days of doing target practice in my driveway.

www.CharleneLanzel.com

Self Portrait Alex Remnick

…..On November 19th, 2009, I was invited to lecture at the University of Pennsylvania’s, Body class taught by Fine Arts Photography instructor, Gabe Martinez. Meeting with a lively group of Ivy League fine arts students resulted in a continuing dialogue with a few of the aspiring photographers. I found the exchange to be so personally inspiring, that I asked a few of the them to allow me to publish our ongoing dialogue, along with some samples of their work. Here are a few excerpts from our recent conversations…..TW

Lucy, Photo Bt Ayasha Guerin

Dear Tony,

You spoke to my Body photography class this afternoon. I am the student who asked “what are you trying to say with your work?”. I asked because answering this question, in regards to my own work, has become a personal struggle lately.

Like you, I like to photograph beautiful women in beautiful places, and before I came to Penn, that used to be enough (so long as my images were technically profound). Here, it seems there is more of an emphasis placed on the message behind the images than on the actual successful execution of the photography. In other words, instead of discussing the success of the composition, or lighting, or even the subject matter – critiques seem to focus on “What the artist is trying to say”. I’m sure this experience will only make me a stronger artist, but after years of being critiqued on the overall aesthetic quality of my photos, these new critiques that often label my work as being “just pretty”,  have served to be quite discouraging. I feel as if my understanding of “good” photography has been completely wrong all along, and that I don’t have the angst (or something) to be an artist in the 21st century.

I’m writing to you because I want to tell you how much I enjoyed your work today. Your images are both provocative and so crushingly beautiful. I’m intrigued by how you achieve both of these effects in your work. Hearing your response to my question inspired me to dig a bit further for the message behind my own work. Is it not enough to want to capture the beauty, the sensuality of a women in her youth? The thrill of being young and in one’s prime? What if all I want to say with my work, is “Look at her- she’s beautiful”?
I guess, when you spoke about finding and filling a niche in the art world, I began to understand what my process is lacking.  If I want to be a respected artist, I need to be saying something new. And yes, it is possible to do this with beautiful images, as you do.

Anyway, you should know that you’ve inspired me to start thinking about this. I would love to help you with the feb/march art show, or with any other assignments/projects that you find you could use some extra help with. I’m going to attach some of my own photography. Take a look if you get the chance.

Thank you again.
It was truly wonderful and inspiring to meet you,

Ayasha Guerin

TW: Hello Ayasha, Clearly you have absorbed many of the comments and suggestions that I discussed in yesterdays lecture. It seems as though you’ve reached an analytical crossroads in your artistic pursuits which is often a good thing. You have set a good precedent for how you will use the camera to move forward in your next body of work. “Look at her-she’s beautiful” could form the basis of a powerful survey of how beauty is defined in America in the 21st century. Keep asking yourself intellectual questions and your photographic works will lead you to visual answers that transcend the practical issues of light and shadow.
Dear Tony,
I’m currently working on a new piece, also pertaining to the
female body. I will show it to you as soon as its done! I would also like to
continue to stay in contact with you, I am currently trying to pursue a
future as a commercial photographer, starting with applying to graduate
school to get my MFA in photography and continue my studies.

Self Portrait Tryptych Kateryn Silva

I’d love to get your perspective on the current field of photography,
both commercial and fine arts, and how I could make a name for myself in the future.
I admire what you’ve done, and I’d love to have a chance to learn from what you did
and how you got there. Its great to see a photographer that can succeed in
the commercial world while still having a say in the fine arts world. Often
I get sick of seeing the same photograph, the same advertising picture, the
same models wearing pretty clothing or pretty shoes, and its refreshing to
see new takes on it (like fashion fetish).

Kateryn Silva

Rising Tides Ayasha Guerin

Hi Tony,

I wanted to thank you for coming to our class on Thursday. Your lecture, and the subsequent lecture we saw by Olaf Breuning brought up a very interesting question for me about art and entertainment. I feel like a lot of the images that I did for my class this semester were very much in the realm of attempting to entertain the viewer, rather than trying to project any specific message. Do you think that the art world has a place for people who are more focused on entertainment, or does there have to be a serious or important message in your work in order for it to be relevant?

I also had a personal question about your own work. Most of the more, as Gabe would call it, “naughty” work that you showed us seemed to come from Amsterdam and outside of the United States. Have you ever considered looking for sexual subcultures in the United States, or is it harder to find people who are that open/out there?

Best,
Alex Remnick

Hi Alex,  It really depends on how the artist wants to be perceived by the viewers of his or her work.  There are plenty of examples of both approaches scattered throughout photographic history.    Celebrity portraiture and the paparazzi for example created a cottage industry within  the photographic medium.  George Hurrell’s celebrity portraits were so well done in the early part of the 20th century, the pictures were considered to be “high art” influencing others to follow.  The paparazzi, Ron Gallela became famous for stalking Jackie Kennedy, purely for the entertainment value to sell his images to magazines, yet his pictures have been exhibited in galleries and some of his work to be sure has been collected by the art connoisseur.  The artist has to set the precedent for how his or her work is perceived.  If you don’t take your work seriously, the general public will not either, both approaches coexist.
Actually most of my collection has been photographed in the United States, in the major cosmopolitan centers, Los Angeles, New York, Philadelphia, Miami etc..  Most of the pornographic material produced and distributed worldwide is created write out of the Los Angeles area.  Many of the pictures I have produced for the top adult publications ,Playboy, Penthouse, Hustler etc..were created through sources I have here in Philadelphia.  I hope this information is helpful.  All the best,  TW

www.StephanieVovas.com

…..We’ve had our eye’s glued to this image since we first discovered the work of LA based photographer Stephanie Vovas, whose work we’ve featured recently. It is very different from most of the other pictures on her repertoire, in that the identity of the person in the photograph remains a mystery, hidden unlike most of her pictures which are more portrait like. We asked her to write a brief commentary on how she arrived at creating this image, the mystery surrounding the photograph. In her own words, Stephanie offers us a glimpse in to her creative process at work……

Posted by Stephanie Vovas

Serena was my muse I guess you could say for many years until she moved away to New York City. Something between us matched as we felt free to play together. I guess we provoked each other creatively, her showing sides of herself, and me experimenting beyond my normal boundaries. It was a sort of fearless collaboration and there was great trust between us. I love how open, strong and confident she is. I wish I could find 10 Serena’s.

The picture just came about organically, we were spending a few hours together trying on different things. Then she put on those red underpants. I suggested we go into the garage where my sister stored this great old BMW. I pulled it onto the street, put the headlights on, and it was raining outside. For some reason those red underpants seemed like they went perfectly with the car. I walked behind the model and there was the picture.

Man On A Mission

…..Things couldn’t have been going better for Charles Hall in the mid 90s. A talented writer/creative director working for one of the leading advertising agencies in the country, Chiat Day Advertising in New York City. A creative person in that position worked on multi million dollar advertising campaigns with expense accounts to bring to fruition their ideas to promote and sell a variety of blue chip products.

Charles invited friends over to his girlfriend’s loft to celebrate his 30th birthday, listen to some music, one of his many pleasures outside of his love for advertising. The following day he received a phone call that would change his life. Someone attempted to rape a friend of his at the party. The tragedy became a rallying cry to take creative action, a public service campaign was born entitled; THIS IS NOT AN INVITATION TO RAPE ME. Charles pooled his resources in the advertising community to draw attention to the hideous criminal act of that evening, raising awareness to force people to think about their sexual conduct and the ramifications of improper behavior.

Charles Hall

Charles contacted a group of photographers to join him in bringing awareness to his cause, by contributing photographs that would appear in a variety of popular culture magazines. The contributing photographers were Ellen Von Unwerth, Daniella Federricci, Moshe Brahka, Mario de Lopez, Walter Chin, Howard Schatz and Tony Ward.

Ellen von Unwerth

Mario de Lopez

Tony Ward

Press Clippings

Charles was very successful in getting his message across and years later 2007/08 was invited by the government of Scotland to launch the campaign overseas.

Original Campaign Sticker

The studio is pleased to announce that Charles Hal, now a professor at the VCU Brandcenter, in Richmond, Virginial is at it again, this time bringing the campaign to the city of his birth Philadelphia, with the generous support of The Ortner Center for Social Policy at the University of Pennsylvania. A new series of images will be produced and exhibited at the Fox gallery and around campus from February 17th to March 5, 2010. Anyone that is interested in helping us support Mr. Hall in his effort’s please contact the studio at tony@tonyward.com.

Moshe Brahka

Post by Corey Armpriester

Amsterdam and Philly and Computerland

CA-Amsterdam seems just right for you on many levels; think about the Tulip and two lips being the vaginal lips. Have you ever thought about doing an erotic shoot in a field of Tulips or is that redundant?
TW- It’s actually a wonderful idea, I would be very compelled by something like that, and now that you gave me the idea, you may see that picture in the near future.

CA-Do you have a favorite Philadelphia artist?
TW-Hands down George Krause, he was one of my early mentors in the ’70s and after meeting him I invited him to Rochester to lecture when I was studying at the Rochester Institute of Technology, and he stayed as a guest in my home for a weekend which was unbelievable for a 24-year-old photography student. Even these days when I look at his work, it remains top shelf.

CA-Are you enthusiastic about art or photography?
TW-I feel enthusiastic about digital media, the internet, specifically blogs. I think that is where artists should move their work forward, by creating their own community around the work.

CA-I’ve been to your blog and it feels like an explosion of yes.
TW-I appreciate that because for the first time in several years I feel like my creativity has been invigorated. Whenever you go through personal struggles like a divorce or illness or death in the family, it’s very draining on the creative process. I’ve catapulted all of my energies into a daily commitment to the blog. I encourage any artist young or old, if you don’t have a blog or a website or email address to get those things so you can become part of the digital world.

CA-Is there any way of escaping that?
TW-No, it’s like if you need glasses. It’s part of the process now.

CA- You see it as an empowering tool?
TW-Absolutely, you become your own publisher.

CA-Empowerment through electronic media?
TW-One hundred percent. I’ll take it a step further; I think galleries as a vehicle to show work these days is passé.

CA-Really!
TW-Yes, the frontier for showing uninhibited work is on the internet.

CA-How do you balance reaching for the stars and accepting reality as it exist?
TW-There is no balance. The artist must have an unwavering commitment to what they believe in and must maintain this unique position.

CA-Do you mentor artists?
TW- I’m constantly mentoring artists.

CA-What is it about human sexuality that makes you seek it out and explore it? What happened in your childhood?
TW-It’s what happened when I studied art history. I saw a lot of great things–I saw great painting and great ancient art, great sculpture, and then I started to see a lot of photography and when I looked at all of that work I said, you know what’s lacking in this great canon of art that I studied? Where’s the human sexuality? That was lacking in my view of art history.

CA-Do you think it was cleverly disguised?
TW-It was disguised in allegorical paintings but hard core sexuality, which is part of human existence, was never seriously addressed.

CA-Does the name Pindar mean anything to you?
TW-No, I don’t know Pindar. What is it?

Tony And Tony

CA- You have a photograph on your website that is a portrait of you and Tony Ward (model/actor/artist) you’re both wearing sexy short shorts and slogan t-shirts that say “I am Tony Ward” (I am=God, esoteric symbol) and Tony Ward (model) is feeding you something that looks like a cigar and you’re blowing smoke out of your nose while the other Tony Ward is touching his penis. This trinity of symbols made me think of Pindar, the golden penis of the dragon/lizard that lives in the South of France. Are you familiar with this myth and legend?

TW-It’s interesting you bring up mythology and the esoteric; I have heard these kinds of connections to my work before. People may not know but I meditate twice a day. Who knows, maybe just a subliminal thing. On a practical side, the way that t-shirt came about was Helmut Newton’s former stylist Sascha Lilic saw my book Orgasm in a book store in Europe. He was creative director of Spoon magazine at the time and sent a message to his editor in New York to contact me about us working together. I thought he was looking for Tony Ward the model. So I contacted Sascha and suggested we do a shoot with Tony Ward. Tony Ward shoots Tony Ward (the model) and Sascha loved it. We met in LA to produce the shoot where Tony resides and that’s really how that photograph came about.

CA-You seem to be more and more involved in the world of celebrity. Is there anything about that world that frightens you?
TW-The more famous you are the less autonomy you have.

Actress Thandie Newton