Talk:Paul Hartal

message: The content of the Lyco art article is now merged into the Paul Hartal article. It is not notable enough to stand on its own, but can certainly be used in the Hartal article. I hope that this will satisfy Hartal. -- Fyslee 17:00, 19 November 2006 (UTC)
thread_title:  Merged articles 

message: Lyco Art (Lyrical Conceptualism) is a theory of art, as well as an art trend. When I say this, some people frown. How can you call Lyco Art an art trend, they ask, when it is just an art idea of a lonely artist? ,
.
Now let me pose a question to you.
How many artists are needed for the creation of a movement? Art currents, after all, are not political parties with thousands or millions of members. The Neo-Impressionist trend of Pointillism, or Divisionism, for example, is basically associated with the name of Georges Seurat, although another French painter, Paul Signac, worked closely with Seurat on the development of Pointillism. Similarly,the art movement of Neo-Plasticism, or De Stijl  was started by Piet Mondrian, a very loose organization held together by Theo van Doesburg.
Now, please open on page 151 the sixth edition of Artists/USA 1979-80, edited by Howard Jeffries, . Here, the visual artist and mathematician Kara Szathmary 
says: "When modern art is viewed as a periodic table, Cosmic Symbiosis emerges as an isotope of Paul Hartal's element, Lyrical Conceptualism". Kara and I collaborated and exhibited together throughout the years. His statements on his affiliation with Lyrical Conceptualism can be found in other publications as well, including the 7th edition of Artists/USA. On June 24, 1978, Le Nouveau Journal in Paris reviewed my show of "les Conceptions lyrique" at the Raymond Duncan Gallery and reported that I won the Prix de Paris. 
The Canadian poet Tom Konyves  wrote about Lyrical Conceptualism and the foundation of the Lyrical Conceptualist Society (LCS) in The Montreal Star, July 21, 1979. The LCS also organized exhibitions, including the 1980 International Concrete Poetry exhibit held at Vehicule Art in Montreal.
Apart from Canada, submissions for the show arrived from England, Germany, Italy and the United States. On June 27, 1980, Virginia Nixon reported the event in The Montreal Gazette. She mentioned among the participants John Robert Colombo , Endre Farkas , LeRoy Gorman ,  Rober Racine  , Nancy Herbert  and Klaus Groh   . In her view,  part of the items on display were essentially “visual artworks, depending primarily on visual effect rather than on the concise balance of form and content that marks classic concrete poetry, such as the examples by Colombo, Stephen Morrissey , Davi det Hompson    and Paul Hartal”.
In the course of time many became interested in learning about Lycoism and participated in collaborative projects. A far from complete list of artists affiliated with the LCS comprises Silvia Angotti , Paolo Barrile ,  Billy Curmano , Toshio Kojima , Antoni Miro , , , Gertrud Nasri, Barry Pilcher , Jon Roll, Bernard Re , Mogens Otto Nielsen [,  and Litsa Spathi  
 
Assembling a remarkable collection of stamp designs by Mail Artists, Jean-Noel Laszlo in France organized the Timbres d’artistes exhibition at the Musee de la poste , which opened in September 1993 in Paris. The participants included Anna Banana, Gyorgy Galantai, Klaus Groh, Ruggero Maggi, Mogens Otto Nielsen, Clemente Padin, Balint Szombathy, Patricia Tavenner, Chuck Welch and many others, . The theme of my image submission was “Does the Future Exist?” accompanied with an artist’s statement.  The museum published a glossy catalogue, Timbres d’artistes, with color reproductions of the miniature images and commentaries on 247 pages .
In Russia, the A.S. Popov Museum of St. Petersburg  also exhibited my art-stamps. Moreover, the art historian and scientific adviser of the museum, Andrei P. Diatchenko, has published in Russian his research findings on Lycoism. He also initiated the translation of my writings into Russian, including an article on Space Art, and the monograph Painted Melodies. The latter, he points out, is of particular interest to art historians and musicologists, because it delineates a novel approach regarding the relationship between painting and music. In contrast to Kandinsky’s famous book, Concerning the Spiritual in Art, which treats color as an analogue of sound, Painted Melodies approaches music as a metaphor of visual form. In the focus of the project, Mussorgsky’s music is refracted and metamorphosed into a series of abstract and figurative paintings that correspond to the two types of music: absolute and programmatic. On June 23, 1990, Balint Szombathy reviewed Painted Melodies in Budapest in the influential Hungarian journal Élet és Irodalom.  Seven years earlier, in March 1983, I had a solo show of paintings at the Joyce Yahouda Meir Gallery in  Montreal. Painted Melodies was a companion book of the exhibition, an investigation of the connectivity of tone and image as structural definitions in the human experience of time and space.
In early 1975 I had a solo exhibition of my paintings and multimedia at the Jacquie Gallery on Stanley Street in Montreal. A few weeks later I published A Manifesto on Lyrical Conceptualism, a new idea of art based on the synthesis of emotion, intuition and reason. In a sense, the manifesto protested the prevailing drift and tenor of our alienating and fragmented culture. It also reflected my break with the aesthetic withdrawal of Post-Formalist movements, such as Information Art and Conceptual Art. Calling for using the power of art for redemption, it rejected the Postmodern posture that life is meaningless. In the November-December 1976 issue of Art in America, I published a statement on Lyrical Conceptualism (p. 153), followed by another in Artnews, November 1977 (p. 214). In October 1979, Billy Curmano reprinted the full text of the Manifesto in the small format Fine Art Press, which he edited in Rushford, Mn. In December 1992 ,Trudy Myrrh Reagan introduced Lyrical Conceptualism to the readers of Ylem. In the same year I participated in the Art and Mathematics Conference hosted by the State University of New York at Albany, June 6-12, 1992. Amy Biancolli of the Albany Times Union interviewed me during the conference. In “Math meets art: Excitement at SUNYA as idea finds form”, among other things she wrote: “Hartal devised a theory, called 'lyrical conceptualism', that describes the necessary and natural balance between the ‘free flow’ of art and the strict mathematical design of science. It is a balance that Hartal said is more in accordance with Renaissance notions than those of the more specialized Industrial Revolution. During the Renaissance, the distinction between math and art--or more generally, math and science--did not exist at all".  As a new art term, Lyrical Conceptualism also found its way to the pages of reference books. Thus, Who's Who in Art (The Art Trade Press, U.K.), , in its 19th edition, page 202, already in 1980 acknowledges that I am the originator of Lyrical Conceptualism and the founder of the LCS. Similarly, the Dictionary of International Biography of 1986 (IBC, Cambridge), ISBN 0-900332 -79- 4, on page 303 mentions the Manifesto on Lyrical Conceptualism and the LCS in connection with my name.
In the 1990s the NTT InterCommunication Center (ICC)
, a futuristic media art museum located in the Opera City Tower of Tokyo, initiated a research project on Lyrical Conceptualism for its “Art and Techno-Science Dictionary” and database system. Directed by Masato Shirai, the ICC by 1994 also produced a compact disc containing data on approximately 300 selected artists that features my oeuvre as well. Also in Japan, I have contributed to over a hundred "Brain Cell" editions produced by the Osaka artist Ryosuke Cohen. Collaboration with artists from other movements, among them Conceptual Art, Blankism, Space Art and Mail Art has eventuated in the cross-fertilizing exchange of ideas.     
Lyco art is an open ended system and it is in constant flux. In 1994, "as a noted Space Artist", I received an invitation from Space Week International Association to display my visionary work on the cosmos at the NASA Space Center in Houston. The event honored the 25th anniversary of Apollo 11's historic landing on the moon. I participated in the group show with an acrylic painting of Antares (image 5 ), a giant star in the Scorpius Constellation of the Milky Way, about 250 light years distant from our planet. 
It did not take long and Richard Denson, publisher of the NASA national magazine Orbiter, contacted me and suggested to write an article on my cosmological paintings for the journal.  “Space Art” was published in Orbiter in January-February 1995. Andrew Coleman , the editor, introduced it on the “Inside this Issue” page of the bimonthly: “Paul Hartal poetically expresses his universe through abstract paintings”. “Space Art” was illustrated with my painted interpretation of  Antares, the galactic formation Horsehead Nebula 
, facing the gigantic star Alnitak in the picture, a portrait of the astronomer Kepler and the symbolic composition, Orion Tree . The article discussed Lyrical Conceptualism, in which “beauty and tradition are viewed as integral, indispensable elements of the totality of life. The past is part of us", it said, and "the rejection of traditional values is an ingredient of the alienation syndrome: a sign of self-estrangement, humanity ignores itself." Another attribute of this art idea, explained the article, involves "a rich and versatile world of imagery relying on tradition and innovation alike. Lyrical conceptualism holds out a balanced creative method based on the integrity and unity of the soul and mind".
In September 1988 Radio Canada International broadcasted to millions of listeners an interview on Lyrical Conceptualism and the Korean Consulate's press release on my invitation as an Olympic artist in Seoul. Exploring similarities and differences between the Blankism  of Cho Sang Hyun  and Lyrical Conceptualism, an exhibit organized by the Seoul International Fine Art Center in Korea attracted 5,000 visitors in one week. Along with Cho Sang Hyun and Antoni Miro, in 2004 I showed my work in Seoul under the title,  "Painting and Poetry".  Painting and Poetry was a major Lyrical Conceptualist event held at the Korean Ivy League Hanseo University , where as a visiting artist I gave numerous interviews to newspaper journalists and TV reporters. Please see, for example, Art Korea, February-March 2004, pages 102-5. Also, artists, architects, poets and students approached me with their questions about my work. The influence of an art work cannot be objectively measured, but it transcends the walls of the exhibition hall. 
Art works featured in books can be viewed as travelling exhibitions without walls. In this regard, please, allow me to draw your attention to a book by Jean-Marc Denomme and Madeleine Roy, Pour Une Pedagogie Interactive, Gaetan Morin Editeur, 1998,  . The front page of the volume is illustrated with a painting of mine and on page 2 you find a biographical note of the artist. Here is an excerpt from it: (Paul Hartal) "Poete et artiste reconnu mondialement, il est a lâ origine du conceptualisme lyrique" (a poet and artist recognized worldwide, he is the originator of lyrical conceptualism).  
Let me also point out that since the early 1990s I have collaborated with the renowned writer and scientist Clifford Pickover, contributing numerous illustrations to his books, including Chaos in Wonderland; The Zen of Magic Squares, Circles and Stars; and the frontispiece on Einstein in Strange Brains and Genius. In Mazes for the Mind, Dr. Pickover wrote a chapter about the significance of my work, lyrical conceptualism and the philosophy of space and time. A few years ago Alisa Barstow in Russia reviewed in "Life Style"  the exhibits of two exponents of the "Moscow School of Lyrical Conceptualism", Elizaveta Berezovskaya 
and Yekaterina Nesterova .
Paul Hartal 04:24, 6 December 2006 (UTC)
thread_title:  Lyco Art as an Art Trend 

message: This article was automatically assessed because at least one WikiProject had rated the article as start, and the rating on other projects was brought up to start class. BetacommandBot 21:11, 9 November 2007 (UTC)
thread_title:  WikiProject class rating

message: I just did a Google search and this guy is not famous at all. This wiki page should be deleted.
—Preceding unsigned comment added by Amosjo (talk • contribs) 
:It appears to me that he meets WP:Notability, but you are welcome to suggest the article's deletion through either the WP:PRD or the WP:AFD routes.  ·:· Will Beback  ·:· 23:42, 3 July 2008 (UTC)
replies: text: The exac guideline is here: WP:CREATIVE. I suppose there's some room for interpretation. If you think he doesn't qualify then suggest deletion. As for the other artist - why not start an article about him?  ·:· Will Beback  ·:· 18:00, 6 July 2008 (UTC)
thread_title:  Not famous enough 

message: July 6th 2008:
Mr Paul Hartal has taken offense to my comment here on the discussion page and has since spammed me with complaints. Apparently he is very defensive about his wiki page and it makes me question whether his notability has been deliberately fabricated by he himself.
I also consider his contacting, stalking and spamming of me to be a violation of my privacy agreement with Wikipedia. Users should not be allowed to make unwanted contact with other users outside the confines of Wikipedia. If this does not cease I will be taking legal action.
(Amosjo (talk) 17:21, 6 July 2008 (UTC)
replies: text: When that user was banned he was still allowed to send emails. I've changed the block term to prevent that. Sorry for the trouble.  ·:· Will Beback  ·:· 18:03, 6 July 2008 (UTC)
thread_title:  Harasssment