(From the founder Dr. Raffaele Pandozy, Sculptor and Ph.D. in art Education.)

The reasons for establishing the Art About Art Foundation and Gallery in the Dallas Community are to provide the same with a center of sociological studies for artists and scholars toward the development of a PHENOMENOLOGY OF ART; to expand their perception of reality so that artists may make better art and scholars may reawaken the humanistic thought that made the Renaissance of the middle ages; to provide an advanced curriculum for schools and universities of the country that prepare the artists of tomorrow; and to allow art to have a legitimate purpose and contribute to make the world a better place to live.

The central questions being taught in the phenomenology of art are not so much how to apply imagination in the production of works of art, but at what level and for what purpose it should be applied. A. Einstein, for instance, imagined himself being in a moving elevator to arrive at the formula of relativity. The studies held in the foundation aim at the re-awakening of thought in art, inviting a special reflection on reality to form a precise intentionality, like an architect plans and produces art with specific a special intention and purpose.

A series of lectures will be held on this sociological approach inspired by the work of Renaissance artists to serve artists, historians, critics, and public at large with programs that will bring a better understanding of the nature of art and reformulate its concept, which will restore its legitimate function in society and in the world.

Presently, there is no other art organization offering such sociological programs of art in this community and in the world. The current production of art in the world reflects ordinary tendencies, resembling a carousel of empty imagery that does no more than entertain, rather than challenge the perceptual and cognitive faculties that contribute to genetic intelligence.

In the field of art education, the foundation will operate to evolve the conceptual structure of art to keep up with the advancement of science, especially neural and molecular biology, which represent the core of anthropology. The founder of this organization, having a PhD in art education,  has realized the need for a sociological approach to art. For the general curricula of art history in schools and universities are full of contradictions, subjectivity and private stories, which confuse the serious students aspiring to make a statement in the field.

In the field of sociology, the third millennium of the age of reason and of science has learned pretty much the lesson that comes from violating the natural laws. Science is finally trying to overcome the environmental errors of the past that brought calamities and diseases, not known before the industrial revolution. It has finally come to grip with the notion that the earth has its own chemical atomic balance and integrity having reached them after billions and billions of years. The millenary state of planetary rest and tranquility seems like it is going to be disrupted in just a few years. Mother earth should be nurtured or left undisturbed. Chemical sophistication and over-production affects the environment and causes calamities, which affects humanity as a whole. Nobody can explain why tsunamis, earthquakes, floods and hurricanes happen more frequently in the last 100 years. Then, like never before, there is increasing interracial intolerance; innocent people suffering and dying from tyranny and terrorism. Nobody is doing much about these problems while some artists continue to live their child-like life spending their time doodling as if they lived in another world.

The other problem of the world is too much materialism and too little social consciousness in the arts. These two problems disturb the equitable formation of human values destined to be embodied in the work of art. So, far the sole aspiration of some contemporary artists is to become famous and to join the materialist class, which does not help to achieve equitable distribution of wealth in society.

Then there is still racism, whites against blacks and vice versa; south against north; west against east, race discrimination, oppression, etc., which make this a difficult world to live in. However, artists have done little or nothing toward establishing natural values and promote a peaceful coexistence among people in the world.

In addition, there is famine and starvation while supermarkets and food jobber dump tons and tons of food every day. Years back the artist Christo spent $8 Million to stretch a silk curtain across California. Instead, he could have produced the same effect with colored sacks full of wheat stretching across famine stricken East Somalia and help fight starvation in that region of the world. This example shows that artists are mindless and do not have a sense of humanity. The majority does not reflect upon the equity problems in the world and do not participate in the struggle to liberate the oppressed and the underprivileged. They turn their heads the other way to support and entertain the status quo with their visual trickery.

The re-awakening of thought in art is needed because one cannot start a work of art with an empty canvas and an empty mind. Art cannot be separated from human substance. Art is made by humans and for humans. The cultivation of human substance is what real art is about. One cannot go through life ignoring the problems that ignorance and poor intellects have created. Art can send a powerful message and produce some changes in the world rather than remaining indifferent. The community of artists has to participate more actively in human life in order to repair their social image, which has been destroyed under the false notion of human freedom and the illusion of “art for art’s sake.” Artists must begin to incorporate universal knowledge and work toward the realization of a new world. New and substantial ideas will arise only from reflection upon the reality of today’s world. The “phenomenology of art will help to understand and appropriate the substance that produces better works of art”.

Presently, artists navigate in an infinite ocean of ignorance and superficiality, which prevent them from giving some sense to their work and to their lives. Art schools and universities still produce artists that do not know why they choose such profession. One must ask why most people in the field of art professions, including scholars, historians, critics, collectors and art lovers cannot answer the question, “what is art?”

Art About Art means art reflecting on itself and constructing substantial ideas about what they do. The foundation will teach that art is a human concept and as such, it must advance with the times toward constructing real human values. The Foundation will provide the best answer to all the questions about art and life, questions, which are treated extensively with supporting and abundant references gathered in the founder’s Opus Magnum OF ART AND ARTEOLOGY – The Reformation of the Art Concept for a Better World.

As a result, art is not what one makes, unless the artist possesses a substantial mind; art is not what one thinks, unless the artist has reflected on his or her own existence in the world; art is not what one’s eyes see, it is what one’s mind tells them to see.

The foundation’ slogan is: “Art is not an abstract thought, but reality itself – the essential reality between the eidos and the pathos of science and philosophy.” So, let us work together to give this concept some very special meaning to benefit the world and humanity as a whole.

ART ABOUT ART Foundation and Gallery will operate in the Dallas Community to infuse the right energy to start a new way to make art. And toward this end, the foundation deserves all the support it can get.

Raffaele Martini Pandozy,
(sculptor and Ph.D. in the philosophies of Art Education)

Revised July, 2017.

The Foundation and Gallery are located on 2312 Al Lipscomb Way, Dallas. Texas 75215
Phone # (214) 628 2070
Fax: (214) 884 7559
Email: info@artaboutartfoundation.org

Website: www.artaboutartfoundation.org

Founder: Raffaele Martini Pandozy, Ph.D.
(Art Education – NY University)

Chairman of the Board: Prof. Paolo Spedicato
Email: Paolo@artaboutartfoundation.org.

Treasurer: Avv. Marco Radaelli
Email Marco@artaboutartfoundation.org.

Pro Tem Director Raffaele Martini Pandozy, Ph.D.

Assistant  Director: Amanda Conner
Email: amanda@artaboutartfoundation.org

Website Designer and Manager: Adam Schultz
Email: info@iommidesigns.com



Martini Pandozy is artist, philosopher, Master in sculpture and art history,(Univ. of Dallas, TX), and a scholar of art (PhD. D. in the philosophy of art education from New York University), since the late 1960’s has worked incessantly to advance the perception of art and produce a comprehensive theory of phenomenology and ontology of art. His work as an artist and as a philosopher throughout his life was influenced by German philosophers such as Kant, Hegel, Husserl and Heidegger and has been motivated by the belief that art can change the world and contribute to a better humanity. To this end, the production of art should move from the present metaphysical and esoteric realms to the ontology of art that embodies the essential values of human existence. For this reason, he thinks of himself as the founder and initiator of the true ontology and phenomenology of art in the world.


Martini Pandozy was born in Rome Italy in 1937, where he received his basic education. He lived in Rome until 1967 where he learned marble cutting and bronze casting in the old Botteghe of Via dei Coronari along the river Tiber of Rome. Pari passu, he developed an insatiable interest in existential philosophy, which moved him to the natural progression of encompassing phenomenological thought in his work. With such cognition in the mind in 1967, he left Italy and went to live in San Francisco CA where he worked as a sculptor, executing marble and bronze portraits for established California families, while taking courses in phenomenology and American Art at the University of California, Berkeley.


In 1969, he moved to New York where he joined the group of the conceptualists, the “art workers.” There, he interacted with Joseph Kossuth and shared with him some philosophical concerns about art and language. Leo Castelli of West Broadway took an interest in his work, but died before showing his work. His interest at the time was expressed in metaphysical representations of white on white works that criticized the lost values of art, but he was also concerned with the viral reality of the world. As his phenomenological ideas matured, he began designing museum installations, which were linear epigraphs about art’s original texts on white plaster he called Writing with Light. At the time he also met Joseph Buys and Klaus Stack with whom he exchanged ideas about establishing a free International University in New York. Although such project did not materialize, Martini Pandozy continued to pursue the ambitious idea of universalizing the perception of art in New York and in the world. He exhibited works and produced performances in the alternative spaces and galleries of Wooster Street, El Centro College, Pier 21 in Queens New York, but he was waiting his chance to mount a major exhibition with prominent galleries, such as Ronald Fieldsman and John Weber, which never materialized for lack of sponsorship.


In 1971, disappointed with the art world, which he thought was not ready for his advanced philosophical approach, Martini Pandozy moved to Dallas, TX with his wife, where he had three children and continued his philosophic studies, side by side the making of several new art projects. In 1975 he mounted a major one-man exhibition at the DMA on the phenomenology and ontology of art, which comprised three installations and a performance. The first installation was an experimental display of fruits and vegetable set in plaster, allowed to dry, and leave  behind the original form, as he was interested in documenting the transition of organic changes. The second installation comprised a series of minimalist, sandblasted aluminum sculptures joined at specific point, hanging from walls and creating effects of light and darkness and a major curved and tilted wall, much admired by John Serra, who went ahead and replicated it in steel. The third installation comprised four sided plaster impressions of his head, just like the vegetable, which combined a physical performance. The artist would walk from each end to the opposite mold in a cross fashion reciting a text as if a metaphysical transition was to take place any time – from there to eternity.


In 1974, he produced a a series of monumental sculptures, which earned him first prize in the 1978 Dallas City Hall Competition. This series is all in model forms, except for the execution of the revolving Solar Magnet, executed for the Eastfield College of Dallas Campus, a 6,000 lb.  of aluminum cast in his foundry of West Commerce, Dallas.. Throughout the 1970s and until 2005, he maintained two studios, in Grand Ave., Dallas and in Lafayette St., New York City.  In 1978 he developed a strong interest and deep feelings for basic materials such as the soils of the world. He traveled extensively during the fall of 1978 and 1979, and he began gathering all sorts of samples of soil (humus) from all parts of the world. He then began making art pieces emphasizing the depths and the natural colors of earth, hoping to pass onto other his love of natural materials and establishing ontic and ontological relationships. During the middle 1980’s, he produced some political works with American and Italian soil, a series of flags and maps with soil taken from different states.


He was the founder of Art for the 1990’s and of the Dallas Contemporary Art Museum of Dallas, where he produced several exhibitions of his work and designed children educational programs. His work is part of numerous private and public collections throughout Texas, among which is the MC Dermott collection, the University of Texas Collection, the Dallas Museum of Art, the Forth Worth Museum of Modern Art, the Eastfield and Mountain View Colleges, and many more.


In 2003, he participated in the International competition of the Ground Zero Memorial with a large work which has been credited by some critics to be a landmark in synthetic architecture for its arduous and daring structures defying gravity and stress. Another major work is his design for The Museum of Tomorrow, which he designed between 1972 and 2008. Some compared it favorably against the F. Lloyd Wright’s Guggenheim Museum building of New York with its large and continuous exhibition halls. Twelve cubes stacked and arranged in three rows make the external and internal structure of the building, allowing the 12 galleries to be connected by a spiral walkway situated in the interior, which takes the visitor from below to the top galleries, which are a lot more spacious than those of the Guggenheim. It is a museum of great geometry and functionality with large and regular shape galleries that allow the artist to show any size of work and the visitor to see in one breath all there is to see in a museum. 


His monumental sculpture project at the 54th Biennial of Venice is part of a series which dwelled in his mind for several decades. It is called The Lost Language of Art, which employs Corten steel, marble and glass. The sculpture represents the forgotten ontological language, which makes the true being of art and the artist, a continuation of the Painting of Stone realized in New York in 1985, where on each stone he inscribed a word as part of the art vocabulary which has been lost in time. We all know what the loss of language signifies, i.e., loss of meaning, of values, of our perceptual capacity, of our consciousness and of our civilization. The project realized in small models will eventually materialize in 20 large sculptures to be placed in a park of Tuscany, Italy.


During the last 45 years, he has been working consistently on his major life work, which is a book of 3,000 pages (4 volumes) and marks the needed transition of art history toward a phenomenology of art with social purpose. The book is titled Of Art and Arteology- The Reformation of the Concept of Art for a Better World. It is a phenomenological and sociological approach to the authenticity of art that will change art history and the world because it will provide material for better educated and socially concerned artist in the future. It is Martini Pandozy historic landmark. This Opus Magnum was written with the precise intention to change the perception of art and allow it to regain its legitimate countenance in society. It took more than 45 years in order to complete it. This artist and scholar had to obtain the most advanced philosophical and scientific knowledge from an intensive research on 350 books and publications. This mean that he had to interpret and re-conceptualize the concept of art from the ground up and support his arguments from every angle. To this end, besides philosophy, he had to delve into psychology, microbiology, genetics, neurological science, and even genetic engineering.


Martin Heidegger was his teacher. Martini Pandozy believes that Western philosophy ends with Heidegger’s phenomenological ontology of being. For nine years, Martini Pandozy studied Heidegger’s single master work Being and Time prior his Ph.D. Dissertation. He arrived at the conclusion to change the course of the history of art after studying the forefathers of phenomenology, such as Kant, Hegel and Husserl and Heidegger. Of Art and Arteology had to be a work of authenticity , which means of special comportment in order to form a sort of ideal curriculum for future generations. The work is due and ripe at this stage of anthropology. The work is very important, and it is destined to grow in popularity as it is understood. It will steer anthropology to the right direction as it is adopted as curriculum in schools and universities. In other words, it took that much research to prove that there is no mystery in art and that art can be defined as constructive ontology. This means that art is life, which for the artist means the art of re-constructing the authentic human being.


After having finished writing the Opus Magnum of this millennium, Martini Pandozy will continue to execute the works of the project, “Lost Language” expressed in the work “Telos” presented at the Venice Biennial – a work of infinite meaning that will bring back the substantial meaning of art, consolidate the human potential and contribute to make this a better world to live.


We must realize that as a result of economic globalization, greed, and ethical lawlessness the world has turned humans into little more than beasts concerned solely with material object — a sort of Darwinism that only artists can stop. In this historic time, we need artists to understand their place and function in the world and provide examples of ethical behavior. The author has come to the conclusion to write the 10 Article of the Ethical Constitution of Art as a text embodied in a museum installation project aimed at changing the way art has become an industry succubus of material Darwinism.


For Further Information about the artist, please visit the artist’s website at www.martinipandozy-artaboutart.com


Or mail the artist: rmpandozy1@aol.com
Raffaele M. Pandozy, PhD.
(Revised on July 29, 2017)