#zollinger

[271828]

I've ordered two prints of Zollinger's Black Forest Prophet , and now I have to pick them up, they've arrived! :3 it's one of my favourite paintings.

[drugcarts]

Zollinger–Ellison syndrome is a disease in which tumors cause the stomach to produce too much acid, resulting in peptic ulcers.

[schoolofthearts]

Is Dance a Sport or Art form? It's Not As Controversial As You Think | Dance Article

We're tackling the age-old question: Is dance a sport or an art? Let go of categories and read on to appreciate dance for what it uniquely is.

Check out the recent article written by CSU, Chico's Department of Music and Theatre assistant professor Megan Glynn Zollinger.

[anahide-book]

Gare routière a Roissy CDG 2016

[anahide-book]

Gare routière a Roissy CDG 2016

[hamermansculptureblog-blog]

It was challenging for me to select a sculpture at Pratt to discuss in this post. As a general rule, I’m not drawn to public sculpture -- I find most of it merely decorative, distant, and even alienating. For me, most of the sculpture on Pratt’s Brooklyn campus helps liven up the environment; it helps give it a parklike atmosphere that’s separate from the bustling city. But in my everyday routine, I rarely stop to appreciate these sculptures as art. 

Raphael Zollinger’s Welcome is one work that I’ve stopped by again and again, perhaps because it’s so suggestive without suggesting anything in particular. The figurative piece features five cement cast “prisoners” -- as Zollinger refers to them -- about life size, kneeling with their heads down and their hands behind their back. The figures are identical: bald and masculine, without any glaring personal features. Furthermore, they are placed directly on the ground, without any base or separation from the viewer. When I pass by them, they immediately evoke a sense of suffering and violence that draws me out of the mundane and everyday. 

But it’s not the evocation of suffering that makes the work interesting to me. It’s the fact that I can’t place this suffering, connect it to any particular historical event. Are they torture victims? Prisoners of war? Enslaved men? Even the undated artists’ statement gives no real clue, referencing “recent” events and “contemporary social change.” The title, Welcome, is dissonant, as if the viewer is being invited to witness something he or she can’t un-see. I am still not sure what that “something” is -- if Zollinger had a particular tragedy in mind. However, his work is successful precisely because it manages to universalize human suffering and human cruelty. The figures don’t represent particular people, and it can even be argued that they are genderless (they lack genitalia). The figures get at the psychological and existential “truth” of suffering, one that can be personal and internal as well as historical and social.

This sculpture does have aesthetic beauty and pleasing lines, but it stands out to me because it’s troubling. Traditional public sculpture seems to exist to glorify the powerful and beautify significant spaces. Even sculptures that touch on tragedy and conflict often do so in order to uphold values of heroism. For me, Zollinger’s rejection of these edifying themes makes his work powerful but also very contemporary.

[elephantandart]

Elephant and Umbrellas

by Holly Zollinger

[rzollinger]

image objects, a set on Flickr.