tag:blogger.com,1999:blog-87326686836840605202024-02-19T03:43:03.803-08:00 ArtXpert Gallery - Fine Art Consulting and Career ManagementArtXpert Fine Art Consulting is dedicated to support local emerging artists in order to reach an international level of recognition. Based upon our 26 years of expertise in art retail.Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.comBlogger137125tag:blogger.com,1999:blog-8732668683684060520.post-691199193267311462016-09-12T04:38:00.001-07:002016-09-12T04:46:05.255-07:00Lucian Muntean - "Povestile Zidurilor"<div class="MsoNormal">
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Zidurile Bucureștiului oferă trecătorilor o expoziție
permanentă de colaje. În 2016, la sarbatorirea a 100 de ani de DADA, aceste
colaje se încadrează perfect în spiritul curentului. Instantaneele lui Lucian
Muntean trasmit mesaje cu totul neașteptate și prezintă asocieri inedite de
imagini, create involuntar prin deteriorarea afișelor, care au fost lipite
succesiv pe panouri sau pe ziduri. Brusc ele
funcționeaza ca o memorie recentă a evenimentelor culturale desfășurate
în Bucuresti și prezintă totodată diversitatea de genuri sau vedete preferate
de public. "Poveștile zidurilor"
o serie de fotografii făcute fără nicio
altă intervenție, a afișelor jupuite sau spălate de ploi. Acest demers artistic
e o preocupare a artistului, care se concretizează în decursul ultimului an. Cu
toate că de fapt sunt un exemplu de poluare urbană, aceste colaje au un farmec
aparte.<o:p></o:p></div>
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Lucian Muntean este un fotojurnalist cunoscut, un pasionat al imaginii foto dar si pictura. A expus in galerii prestigioase, a participat la bienale de arta iar expozitia de la ArtXpert vine imediat dupa cea de la Berlin unde “Povestile Zidurilor” bucurestene s-au aratat publicului german.<o:p></o:p></div>
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Fotografia lui Lucian Muntean e usor descifrabila, nu e sofisticata, ceea ce o face placuta si pe intelesul tuturor, probabil ca mesria de fotojurnalist nu ii ”permite” sa se disocieze de rutina. Insa acesta rutina e frumoasa si sincera, nu cauta senzationalul ci doar face o expunere corecta a ceea ce vede, la rece, fara interventii.<o:p></o:p></div>
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Povestea zidurilor e un exercitiu, o documentare de jurnalist. Ea vine ca o proiectie recenta a intamplarilor efemere intr-un oras brutalizat de un panotaj stradal haotic. Ce e interesant si surprinzator in aceasta expozitie vine chiar de suprapunerea de layere din imagini, numai ca ce a facut providenta si intamplarea, accidental, e unic, nu implica photoshop sau nicio alta unealta digitala. Pana la urma imaginile lui Lucian Muntean s-ar descrie ca fiind un “Photoshop natural”.</div>
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In perioada 24septembrie - 8 octombrie, galeria ArtXpert va invita la expozitia lui Lucian Muntean "Povestile Zidurilor". Vernisajul va avea loc vineri 30 septembrie orele 19.</div>
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Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-42374870936778398952016-04-04T03:55:00.000-07:002016-04-04T03:55:10.296-07:00Rare copy of Giotto fresco discovered in ruins of Transylvanian church<div class="separator" style="clear: both; text-align: center;">
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The fragments found deep in the Romanian region are part of a 14th-century fresco reproduction of Giotto’s “Navicella” mosaic that used to adorn St. Peter’s Basilica in Rome, Szilard Papp said in Budapest last week.</div>
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Only three other 14th-century copies of the work, depicting Christ walking on water before apostles in a boat, are known to exist, in Strasbourg in France and in Florence and Pistoia in Italy.</div>
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“This is definitely the fourth,” said Papp of the Transylvanian fresco, in the village of Jelna, 430 km (270 miles) northwest of the Romanian capital, Bucharest.</div>
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Giotto made the vast mosaic — measuring roughly 10 by 14 meters (33 by 45 feet) and considered a marvel of medieval art — for the basilica’s atrium around 1300.</div>
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It was later destroyed during reconstruction of the basilica in the 17th century.</div>
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“It is astonishing that such a major work was reproduced in a small village church on the periphery of western Christianity at that time, so far from Rome,” said Papp, who works for the Budapest-based Istvan Moller Foundation, a heritage protection body.</div>
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“Who painted the fresco and how will likely forever remain a mystery,” he added.</div>
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Papp’s theory is that probably a sketch of the mosaic somehow made its way from Rome via painters’ workshops to Transylvania where a local artist painted the copy in the church.</div>
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During a trip to Jelna in 2014, he first saw the fragments of color on the wall in the mostly roofless church, abandoned since its congregation of ethnic-German Lutheran Protestants died out in 1976.</div>
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Last year he examined photographs from 2003 of the fresco in a less degraded state, but it was not until he later came across fragments on bits of plaster stored in a museum warehouse in nearby Bistrita that his pulse quickened.</div>
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Poring over academic literature on Giotto’s mosaic, Papp finally arranged the pieces of the puzzle in January.</div>
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“When I put together all the elements — the sail, mast, apostles, the Christ figure, the heads with their particular gestures — visible separately on the wall, in the photos, and on the museum fragments, I realized it must be the ‘Navicella,’ ” he said.</div>
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Remarkably, it is not “less faithful” to the original than the other three copies, he said.</div>
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“There is a lot (in the findings) that makes sense,” Ciprian Firea, a historian in the Transylvanian city of Cluj-Napoca’s Institute of Archaeology and Art History, said.</div>
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The church was built in the second half of the 14th century by ethnic Germans, thousands of whom settled in Transylvania, then part of Hungary, after an invitation by a 12th-century Hungarian king.</div>
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After the 16th century Reformation frescoes were whitewashed or plastered over by Protestant converts from Catholicism who frowned upon imagery inside churches.</div>
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Barely altered since the Middle Ages, decaying churches in Transylvania have revealed many medieval frescoes since the fall of communism in Romania happened in 1989.</div>
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The church in Jelna could totally collapse within one year unless urgent repairs are carried out, experts warned at a seminar held in Bistrita on Thursday.</div>
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Source : www.japantimes.co.jp</div>
Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-40230642743590915722016-03-22T00:34:00.002-07:002016-03-22T02:03:17.741-07:00 Cuban Artist Ángel Ramírez: "Now at least there is a prospect of progressive movement."<div class="MsoNormal" style="text-align: left;">
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<i><span style="color: #1a1a1a; font-family: "times";"><span style="font-size: large;">On the internationalization of Cuban
art, the uses of engraving, and new art spaces in Hava</span></span><span style="color: #1a1a1a; font-family: "times";"><span style="font-size: large;">na</span><span style="font-size: 20pt;"><o:p></o:p></span></span></i></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">La Sexta Puerta, the studio-workshop of Ángel Ramírez (b. 1954,
La Habana), could also be a time machine—or maybe an art history class. The
artist himself could serve as a teacher, or he could let his works speak of the
connection to Romanesque art and show how in history there are processes that
are repeated or can be used in different contexts, even with centuries in
between.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">In the enforced quiet of his workshop, two large colonial
windows separate Ramírez from the bustle of Obispo Street. From this hubbub, he
has distilled the essence of the street cries, popular sayings, and the gossip
of <i>habaneros</i>, transforming them into aesthetic impressions in various
formats. These works shake hands with literature, because for Ramírez the
relationship of text to image has been a constant—a clever way to combine
sensations and mix them with the medieval imagery that is never absent from his
art, and that helps him in explaining the context of here and now.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 11.0pt;">Ángel Ramírez, <i>Llegas, preguntando por toda Cuba</i>,
2014<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 11.0pt;">Courtesy Ángel Ramírez<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">He acquired these aesthetic resources through his work as an
engraver—a technique he studied by sheer chance, he says, but which has served
as a linking element among all his works. Not even the latest technology can
replace the taste for playing with wood and metal. "My work tries to
communicate with an internal discourse that I enjoy while I’m creating it, but
I know that once finished, it can fall on good or bad terrain," the artist
remarks to <i>Cuban Art News</i>.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">His works delineate the symbolic space of each stage of his
life. So it’s possible to identify thematic groupings that define identity, the
challenges of the diaspora, power, and hierarchy. But in all of them, the
figure of man is highlighted, with his social processes translated into
artistic motifs that provoke the viewer with suggestive titles: <i>Darla Kara</i>
(2004), <i>Marchar Unidos</i> (2004), <i>Todo está Kuadrao</i> (2005), <i>Paciencia
mucha paciencia </i>(2008<i>) En su lugar descanse </i>(2011), <i>De noche y
ciego, siego</i> (2012). In many of them, the artist repeats motifs, going from
woodcut to canvas and from sculpture to installation on a journey of great
dedication.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">According to critics, the exhibition<i> Kafé de la bodega</i>
(2002) established Ángel Ramírez as a mature artist. But 13 years later, Ángel,
who is unusually modest for an artist, still tells us that he is not yet
established.<o:p></o:p></span></div>
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<i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">So, at what point in your career are you?</span></i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">Right now, in a very sweaty one (laughs). I´ve worked hard for
many years and I don’t think it´s time to jump ahead and consider the future,
but rather to continue creating and to be true to myself, which is what
interests me most.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">My work has been steady, but I´ve gone through different
periods. In my generation, we didn’t study to be artists, but rather to be art
teachers. We were all teachers of teachers. When I graduated, the idea of the
independent artist was just beginning, but it grew very slowly.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">But art has moved on: previously, it was found in the biennials,
which are purely cultural institutions. Now art is found in fairs, which are
commercial institutions where galleries participate, not artists. Everything
has changed a lot. Artists who emerged in each of these stages have more easily
found their place. I have been in the middle.<o:p></o:p></span></div>
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<i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">However, we cannot say that your work has been limited, the
variety of media you use is proof of that. Do you prefer one medium over
another?</span></i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">I prefer not to be bored. I don’t like to repeat, or to produce
too much. There are artists who put together a way to create and produce
infinitely. That's not bad, it's what works with the market. But it doesn´t
give me pleasure. I live on my creation and I have not starved.<o:p></o:p></span></div>
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<i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">What about the thematic groupings then?</span></i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">The themes don’t vary too much: one is oneself, and also in
context. My work is almost journalistic in that sense, because I reflect what
is happening at the moment—what I live and what happens around me. That is the
constant in the work.<o:p></o:p></span></div>
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<i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">How do you assess the new trends in contemporary art?</span></i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">I think you cannot do everything. People have their time and
their way of approaching creative work. These new trends will have to settle
down, and then we´ll have to discard. Although one thing does not replace the
other: throughout the world, people are still painting, making sculpture, and
creating works of all kinds. Photography didn’t finish off painting, cinema
didn’t end theater; they complement one another. The digital world has an
impact on painting, for example, but painting continues. Art is a means of
communication, and everyone invents his own story. Contemporary art is not necessarily
that which is tied to technology. With new media, you can frame an old
discourse, or vice versa.<o:p></o:p></span></div>
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<i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">But there are techniques, such as engraving, for example, which
are often avoided.</span></i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">Engraving has to do with a way of thinking, a way of predicting
what will happen. And it also has the incentive of surprise, because in the end
unexpected things occur. There have been different historical reasons for
engraving. Right now, in Cuba, people are making works related to it but are
not considered prints as such. Because right now the need for multiple images
is not very important to Cubans.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">Engraving is widely used to print copies of works that are very
successful, to be sold cheaper in the market. But in Cuba it’s the opposite: if
you make a printed image, you have to sell a complete edition in order to
recoup the investment you make when you sell just one picture or other work.
Engraving doesn’t make much sense. Great artists, such as Miró and Picasso,
experimented with engraving, played with technique. But that is past; there is
very little to do in this regard.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">Nevertheless, for my work engraving was an important tool,
because it has another side: the manual work, a taste for wood or metal—all
that is in my work. Moreover, engraving teaches you to paint, helps you
organize. What has happened is that many engravers continue selling the
technique—that is, what you can achieve with it—and that is boring.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">It’s what I was saying about video and new technologies: no
matter how new they are, you can get bored with them, if we limit ourselves to
video for the sake of video, or photography for the sake of photography. Right
now, there is too much engraving for its own sake. The boom of the 1990s, with
Belkis Ayón and Ibrahim Miranda, is very far from what is being done now,
although there is the occasional interesting project.<o:p></o:p></span></div>
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<i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">However, these are boom times for Cuban art, thanks to the new
social context in the country. Do you think the island could be identified as
the epicenter of art in this region?</span></i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">Very good art is being made in Latin America. We sometimes think
we’re the navel of the world, but if we compare Cuban art with that made in
Brazil, Argentina, Mexico, or Colombia, we would see that our art is a little
disoriented and preoccupied with looking outside, rather than looking at
itself. Therefore, some works are empty, in the sense that the artists don’t
look at themselves, at the immediate source that an artist can have.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">The internationalization of art is a sign of our times. Anyway,
there is good art production in Cuba and that is undeniable, especially because
people can have good educational training. Now, Cuba is also in a boom, and
people worldwide are very curious to come here before things change too much.<o:p></o:p></span></div>
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<i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">And that's largely thanks to the market…</span></i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">In Cuba there is no art market. But the international market,
now more than ever, sets out the routes to follow. Many young artists are
guided by these commercial paradigms, and only think about what they can take
from this, how to do it so it fits into the international market.<o:p></o:p></span></div>
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<i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">In Cuba there is also a boom in the so-called studio-gallery,
which allows greater mobility of works. Could these spaces become some kind of
competition for official galleries?</span></i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">I couldn’t say. There are many artists in Cuba, and these studio
spaces can’t cope with that. A serious gallery may represent 20 or 25 artists,
but consider that most of those 20 or 25 artists already have at least an
initial trajectory, some kind of preliminary recognition; there is not much to
be done for the many artists who have to work individually. That is true
throughout the world, but what happens here is that the galleries are not as
aggressive, to the extent that they prevent an artist from moving on unless
represented by the gallery. In Cuba, those officially represented can also work
independently.<o:p></o:p></span></div>
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<i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">Although there is no legal framework for establishing private
galleries.</span></i><span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">No, but there is a space that nobody deals with. There are
beginning to emerge spaces that are not run by artists, but by critics or
curators independently, and who have a group of artists. For example, Factoría
Habana is a gallery run by and curated by a foreigner. I think that's
important, because a little competition doesn’t hurt.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "arial"; font-size: 14.0pt;">Many Cuban artists were already exhibiting in the United States
before December 17, and many interested people in the art world have been
coming to Cuba. I don’t think anything spectacular will happen from now on. But
there are some who are too optimistic and others who are overly pessimistic,
which is ridiculous, because there is certainly a good chance that we will
continue to move forward. In the 1990s, hardly anyone knew what was going to
happen. Now at least there is a prospect of progressive movement.<o:p></o:p></span></div>
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<span style="font-family: "arial"; font-size: 14pt;">— <a href="http://www.cubanartnews.org/?ACT=19&result_path=news/authors&mbr=71"><span style="text-decoration: none;">Lianet Hernández</span></a><o:p></o:p></span></div>
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<b><span style="font-family: "arial";">Lianet Hernández</span></b><span style="font-family: "arial";"> (Artemisa, Cuba, 1989) Graduated in
journalism from the University of Havana. She works at Casa de las Americas and
often collaborates on <i>Casa Contemporánea </i>magazine.<span style="color: #1a1a1a; font-size: 14pt;"><o:p></o:p></span></span></div>
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<span style="font-family: "arial";">Source:</span>http://www.cubanartnews.org/</div>
Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-24493304109715321302016-03-11T02:48:00.002-08:002016-03-11T02:56:51.339-08:00Ce se ascunde in spatele galeriilor de arta? <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXbt5he1AGANfqtMmQSR_fBZNlrIeg3wnGAZqLU37zR3NFX2dDS5jJuUtYe77XOjItlQpmPZezhgGIP4NzURTPvAzGD_oPgH9LEvEgxr4dhMrUo3GnQrH8ww_ba43iSnyweVoA7l2mk00/s1600/maini.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXbt5he1AGANfqtMmQSR_fBZNlrIeg3wnGAZqLU37zR3NFX2dDS5jJuUtYe77XOjItlQpmPZezhgGIP4NzURTPvAzGD_oPgH9LEvEgxr4dhMrUo3GnQrH8ww_ba43iSnyweVoA7l2mk00/s400/maini.jpg" width="400" /></a></div>
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Cand vine vorba de cumparat bunuri oamenii fac un mic studiu de piata ca sa afle care e cel mai bun magazin, care e cel mai bun produs, ce optiuni au, analizeaza si decid. In US exista, pentru fiecare industrie, produs, serviciu, un rapor,t "Consumer Report," care reprezinta primul pas inainte de a cumpara ceva. Oamenii consulta acest raport, apoi fac si alte cercetari mai amanuntite pana iau o decizie.</div>
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In cazul areia contemporane, consumatorul stie ca achizitia reprezinta mai mult decat o simpla cumparatura. Preturile pot fi ridicate. Ei bine, cine vrea sa o faca cum poate proceda, de unde se documenteaza? In cine poate avea incredere?</div>
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Iata un prim pas:</div>
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Va intrebati adesea cum se deruleaza lucrurile in businessul
de arta din Romania si cum de poate rezista o galerie de arta contemporana in contextul in
care tara e saraca, puterea de cumparare e redusa iar oamenii cu dare de mana
sunt extrem de inculti?<o:p></o:p></div>
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Va oferim o imagine de ansamblu care sa va ajute sa intelegeti ce se intampla si,
evident, ce artisti sa urmariti, fara a va directiona catre un anume autor,
lasandu-va loc sa discerneti singuri, in functie de cine ii reprezinta si ii
promoveaza. Pentru a facilita propria dumneavoastra analiza va ghidez in
tipologia galeriilor de arta contemporana, caci acestea sunt platformele,
legatura dintre colectionar si artist. Rolul lor, important poate ajuta sau, mai mult incurca decizia de a cumpara.<o:p></o:p></div>
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<!--[if !supportLists]-->1<span style="font-size: xx-small;"> </span>Galerii abonate, prin fundatii si asociatii
paravan, la fondurile Ministerului Culturii, ICR, ACUB. <o:p></o:p></div>
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Asadar, indiferent ce expun, aceste”
lacasuri de arta” ele nu vor reflecta niciodata o situatie reala, economic vorbind,
iar artistii lor nu reprezinta in niciun fel o investitie pentru colectionari.
Mai exact, atat timp cat galeria e subventionata prin paravane de catre bani
publici, autorii care expun nu pot genera incredere si nici macar o cota de
piata. Mai exact, acesti artisti sunt doar pretextul accesarii de fonduri, ei
fiind doar manipulati cu abilitate de catre galerie. Un artist bine
impamantenit, cu parcurs si valoare nu are nevoie de finantari pentru a-si
impune opera si, evident, cota pe piata. Cota se impune in exclusivitate prin
vanzari constante.<o:p></o:p></div>
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<!--[if !supportLists]-->2<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Galeriile “doamnelor” - aceste galerii sunt
detinute si/sau sub managementul unor doamne intretinute de soti sau amanti,
galerii care nu fac altceva decat sa alimenteze dorinta acestor Dinu Paturica
feminine ( de cele mai multe ori cu origini provinciale, cu studii discutabile ) ce spera sa isi castige un statut social. In cele mai multe cazuri mamici satule sa stea acasa ele se gandesc in perspectiva castigarii unui statut social pentru copilasii lor.<o:p></o:p></div>
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<!--[if !supportLists]-->3<span style="font-size: 7pt; font-stretch: normal;"> </span>Galeriile masina de spalat - sunt galerii care
recicleaza si sprijina o activitate infractionala comuna in lumea artei_
spalarea de bani. Sunt galerii care figureaza doar pe hartie, nu au inventar,
nu au program expozitional, doar mineaza activitatea in domeniul artei
contemporane. Activitati de tip suveica, unde artistii tranzactionati nici
macar nu simt circuitul dubios in care le este introdusa opera sunt principala activitate. O astfel de operatiune
se bazeaza pe lipsa de cunoastere a drepturilor de catre artist si pe intretinerea
unei nebuloese, a unei stari neclare intre autor si galerie.( Lipsa de
contracte, operatiuni cash, etc.)<o:p></o:p></div>
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<span style="text-indent: -0.25in;"> Galeriile escrocherie - sunt galerii care
vaneaza, sub promisiunea ca artistii pe care ii reprezinta vor avea vreo data
cota de piata, divesi speculanti naivi ce traiesc cu impresia ca au investit in
viitorul Ciucurencu sau Tonitza. Sunt galerii ce se axeaza pe vanarea de personae
cu bani, fara cultura plastica, potentiali clienit ce pot fi speculati atat
sub aspect emotional cat si financiar.</span></div>
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<o:p></o:p></div>
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<!--[if !supportLists]-->5<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Galeriile presiune - sunt galeriile care sunt
abonate la programele CSR ale marilor corporatii, stabilimente in care se scurg cei
2% livrati de cumnati, socri, celule securisto-masonice. Ca si in celelalte
cazuri, artistul nu reprezinta o prioritate pentru afacere ci doar un pretext
pentru a colecta si cheltui prin terte entitati juridice afiliate galeriei, sumele obtinute din “donatii”.<o:p></o:p></div>
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<!--[if !supportLists]-->6<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Galeriile restaurant/bar - sunt galerii care se
chinuie sa-si asigure un cash flow din activitati conexe celei de arta, un
lucru absolut normal, avand in vedere cheltuielile operationale mari. pot fi locuri interesante, cu autori buni, promitatori. Cu siguranta se chinuie sa reziste pe piata. Nu le neglijati.<o:p></o:p></div>
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Galeriile legitime - sunt galerii cu un trecut palpabil, de mult timp in bransa, in general detinute de oameni legati de arta de cel putin o generatie, cu studii de specialitate. Au un program curatorial clar, pe termen lung, inceput de ani si care continua si in viitor. Au un portofolio restrans de artisti, ii promoveaza si ii sustin cu ritmicitate. Sunt o cale buna de urmat. Din pacate foarte putine.</div>
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Starea economica a tarii, lipsa
know-how-ului si mai ales lipsa de anduranta a antreprenorilor din domeniul
artei contemporane sunt factori care duc constant la fluctuatii ale
businessului de arta. Multi isi imagineaza ca a promova, vinde si sustine arta
contemporana este o activitate simpla. De aceea multe galerii apar si dispar cu
repeziciune din peisaj. <o:p></o:p></div>
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Pentru colectionari, achizitionarea de arta
direct de la autor nu poate fi o optiune sustenabila caci, place sau nu, galeria
este garantul carierei si longevitatii artistului, ea este punctul de
intalnire, "vitrina" si intrumentul de promovare a acestuia. <o:p></o:p></div>
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Asadar, atunci cand va ganditi sa
achizitionati arta, arta cu impact, care sa reziste in timp dincolo de estetic,
alegeti cu grija galeria.<o:p></o:p></div>
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Urmariti artistii mai ales functie de cine-l reprezinta si nu va sfiiti sa cereti cifre si documente reale ale
vanzarilor anterioare atunci cand cumparati. Chiar daca cifrele sunt
confidentiale, puteti avea acces macar la partea superioara a unei facturi. Nu
credeti in vorbe ci in hartii!<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-63959383617046735962015-10-09T21:23:00.000-07:002015-10-09T21:23:24.529-07:00Lumea in Fragmente<div class="separator" style="clear: both; text-align: center;">
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<span lang="EN" style="color: #141823; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-ansi-language: EN;">"Lumea
in Fragmente" este o interpretare personala a unei artiste care pricepe si
vede realitatea printr-o perspectiva voalata a unei experiente personale destul
de zbuciumata. Experientele si trairile personale au facut-o sa vada si sa
inteleaga lumea in felul ei, dupa propriile-i valori. <br />
Expozitia "Lumea in Fragmente" surprinde placut lumina unor locuri
unde iarna nu vine niciodata. Fie ca e sudul Spaniei sau Florida, bucuria
luminii, jocul umbrelor in vegetatia abundenta, freamatul naturii miscata de
briza sunt greu de redat in carbune pe hartie. Cumva, Livia o face! Personal
rezonez cu lucrarile ei pentru ca am inteles firea naturii locurilor pe care ea
le deseneaza. Lucrarile ei traiesc, sunt dinamice si sofisticate, fara a fi
prefabricate, fara clisee. Livia isi explica, probabil trairile personale in
aceste tensiuni creeate in compozitiile sale. <br />
Expozitia "Lumea in Fragmente" de la ArtXpert este primul fragment al
unei lumi pe care Livia Krasting o dezvaluie incet-incet,! Acesta este doar un
prim pas.</span><span lang="EN" style="font-family: Arial, sans-serif; font-size: 10pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 10pt;">“Perfectiunea naturii m a facut sa inteleg ca este inutil, chiar
frustrant sa incerc sa o copiez intocmai.De aceea incerc sa descopar forma din
spatele formei, cea contaminata de trairile mele atunci cand privesc un
fragment al lumii.Astfel am descoperit si am imbratisat expresionismul abstract
ca modalitate de exprimare si ca fel de a ma simti sigura pe hartie sau pe
panza.” – Livia Krasting<o:p></o:p></span></div>
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<br />Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-57710422836955039582015-07-20T02:11:00.004-07:002015-07-20T02:11:57.674-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn1gohhYM-OhO23RSZdxfnQxgnjCrQ04jGOwAzsnRxmhjotQNpGo6IFI44o8S_kBfxnsmvvMzhMVhJuOZ7_SyyC6MHRgeGQLl00oRDodKVnHkXYdQhTGxJqGOEM0N72DLgpLbrKAYPA2g/s1600/SERENA_LUNA_RAGGI_3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn1gohhYM-OhO23RSZdxfnQxgnjCrQ04jGOwAzsnRxmhjotQNpGo6IFI44o8S_kBfxnsmvvMzhMVhJuOZ7_SyyC6MHRgeGQLl00oRDodKVnHkXYdQhTGxJqGOEM0N72DLgpLbrKAYPA2g/s320/SERENA_LUNA_RAGGI_3.jpg" width="207" /></a></div>
<div class="western" lang="en-GB" style="margin-bottom: 0cm;">
<b>Artxpert presents Serena Luna Raggi</b><br />
</div>
<div class="western" lang="en-GB" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" lang="en-GB" style="margin-bottom: 0cm;">
Serena
Luna Raggi is a young Italian Artist born in Bologna, Italy. She
Graduated the Academy of Fine Arts in Bologna. Her works are inspired
from Indian and Persian Miniatures. The artist is using a mixed
technique of oil colours, watercolours, acrylic, pastel, usually on
paper. Serena is travelling intensely, and, pretty often we will see
in her works the treasures she gathered during her expeditions:
jewellery, fabrics, symbols, but above all the stories of the people
she met.</div>
<div class="western" lang="en-GB" style="margin-bottom: 0cm;">
Passionate
about oriental art, Persian miniatures to Indian patterns, Byzantine
icons, they all combine smoothly with the image of the ancestral
woman, image that we get to see usually in the works of Serena.
Another trait of her works is the delicacy while approaching the Roma
journey through the continents and throughout history. The colours in
her works are bright, delicate, with intricate arabesques.</div>
<div class="western" lang="en-GB" style="margin-bottom: 0cm;">
Serena had
exhibitions in Rome, Milan and other Italian cities.</div>
<div class="western" lang="en-GB" style="margin-bottom: 0cm;">
We are
proud to invite you at the first exhibition abroad of Serena Luna
Raggi, on the 25<sup>th</sup> of July, starting with 20.00 ,presented
by Artxpert Fine Art Concept Store. Artxpert gallery is located in
Bucharest, Putul lui Zamfir no 45, Dorobanti area.</div>
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Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-14724548262314569942015-05-27T06:43:00.000-07:002015-05-27T06:43:30.337-07:00Elis Iaia-Inceputuri Alternative<div class="MsoNormal" style="background: white; margin-bottom: .0001pt; margin-bottom: 0in; mso-line-height-alt: 12.0pt; mso-outline-level: 1; vertical-align: baseline;">
<br /></div>
<div style="background: white; line-height: 17.85pt; margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<strong>Galeria ArtXpert</strong><span class="apple-converted-space"> </span><b>prezintă
în perioada</b><span class="apple-converted-space"> </span><strong>3-15 iunie </strong><b>expoziția
de pictură interactivă a artistei<br />
<strong><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Elis Iaia – “Începuturi alternative” și o inovație în arta vizuală.
<o:p></o:p></span></strong></b></div>
<div style="background: white; line-height: 17.85pt; margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<strong>Vernisajul va avea loc pe 3
iunie, începând cu orele 18.00. </strong><br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><o:p></o:p></div>
<div style="background: white; line-height: 17.85pt; margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
Elis Iaia este unul dintre artiștii care evadează din
canoane și găsește noi mijloace de expresie, fără a sacrifica totuși emoția
estetica sau firul narativ. “Începuturi alteranative” propune un nou mod de a
te raporta la o lucrare de artă. Tablourile interactive permit privitorului să
schimbe povestea printr-un mecanism complet nou. <o:p></o:p></div>
<div style="background: white; line-height: 17.85pt; margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<br /></div>
<div style="background: white; line-height: 17.85pt; margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
Neo-pop ca și orientare, Elis Iaia explorează teme
precum identitatea, rolurile asumate în cuplul modern, temerile existențiale și
alte preocupări ale omului contemporan, dar iși lasă privitorul să iși
definească punctul de vedere interacționând cu lucrările. <o:p></o:p></div>
<div style="background: white; line-height: 17.85pt; vertical-align: baseline;">
“Privim
același lucru, dar vedem povești diferite. Adevărul nu e absolut. Adevărul ți
se adaptează ție. “Începuturi alternative” iți permite să schimbi povestea
oricând. Întoarce lucrarea si obții o nouă stare, o nouă mască, un nou vis, un
nou rol, o nouă teamă, un nou tu. Fiecare instalație iți oferă un nou început.”
spune Elis Iaia despre conceptul expoziției.
<o:p></o:p></div>
<div style="background: white; line-height: 17.85pt; vertical-align: baseline;">
<br /></div>
<div style="background: white; line-height: 17.85pt; vertical-align: baseline;">
****<o:p></o:p></div>
<div style="background: white; line-height: 17.85pt; vertical-align: baseline;">
Resursă:
demo tablou interactiv <a href="http://elisiaia.com/x4/">http://elisiaia.com/x4/</a>
<o:p></o:p></div>
<br />
<div style="background: white; line-height: 17.85pt; text-align: justify; vertical-align: baseline;">
<br /></div>
Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-11353955996986815532015-03-25T15:01:00.003-07:002015-03-25T15:01:51.881-07:00"Exquisite Work" - Matei Serban<div class="MsoNormal" style="text-align: justify;">
In ultimii ani am cautat artisti care au ganduri! Imi pun
din ce in ce mai des intrebarea, atunci cand ma uit la un tablou, ce ganduri il
macina pe artist ? Pentru ca simt cu tarie ca un gand naste o framantare, o
framantare naste o solutie iar odata gasita solutia, sau raspunsul, executarea
tabloului e simpla! <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Recent am participat la doua targuri importante de arta in
Statele Unite. Am vazut acolo o arta lamentabila, o executie tehnica ieftina a
unor idei puerile. M-am intalnit cu o noua generatie de autori fara ganduri, cu
o generatie de bisnitari, de pseudo artisti, oameni intrati in fine art pentru
ca ar exista o sansa, cumva, sa se imbogateasca. Afirm asta cu usurinta in urma unor lungi discutii cu artisti
contemporani din occident. Totusi, singurii autori care au atras atentia
publicului si, evident a colectionarilor, au fost cei din Asia.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
Mai nou, de cativa
ani, artistii din Asia au prins atat mestesugul dar si gustul picturii in
stilul marilor maestri europeni. Fata de colegii lor occidentali, acestia
sunt mult mai motivati, mai tenaci, mai dornici sa depuna efort. Curand, la
nivel global, artistii din Asia vor domina piata de arta contemporana. E firesc
sa fie asa atata timp cat euro-americanii se balacesc in continuare in aceasta
mascarada post-modernista fara sfarsit. Curand, foarte curand, piata , publicul
va cauta autori care cunosc mestesugul picturii, autori educati, profunzi,
capabili sa spuna o poveste pe care au gandit-o profund inainte de a o aseza in
opera.</div>
<div class="MsoNormal" style="text-align: justify;">
Publicul neavizat e inca hipnotizat de rezultatele caselor mari de
licitatii, fara a realiza insa ca, acestea reprezinta, in fapt o fractie mica
din volumul tranzactiilor de arta contemporana. Multi nu cunosc si nici nu vor
sti de ce, cum si ce anume face ca rotitele caselor de licitatii sa se invarta.
Oamenilor li se pare spectaculos ce se intampla pentru ca oricum povestile de
success se vand inca din antichitate. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
Ei bine, arta contemporana exista in masura mult mai mare
decat ceea ce transpira publicului larg prin PR-ul si marketingul
art-corporatist. <o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBtk5DHWot5HZxV_da0DCj9b9wLbSMxxClYCjIRmKI9sH1bF30AAQ-01cP55X1AJd0XoiD6K3eLk5PX6wPRX8mEuO896Kt-OyqbY_bDTJyXt429jGD9py29tGzk8Wh-0ZTcq01HDRolVo/s1600/3.+S%C3%A6culum+21+summus.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBtk5DHWot5HZxV_da0DCj9b9wLbSMxxClYCjIRmKI9sH1bF30AAQ-01cP55X1AJd0XoiD6K3eLk5PX6wPRX8mEuO896Kt-OyqbY_bDTJyXt429jGD9py29tGzk8Wh-0ZTcq01HDRolVo/s1600/3.+S%C3%A6culum+21+summus.JPG" height="185" width="200" /></a></div>
<br />
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<div class="MsoNormal" style="text-align: justify;">
Restrangand imaginea globala la una mult mai ingusta dar
perfect adaptata la ceea ce se intampla international, imaginea de ansamblu
asupra artei contemporane romanesti (si ma refer in exclusivitate la pictura,
din pacate) in Romania lucrurile nu stau cu mult mai bine. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
Totusi, recenta expozitie a lui Matei Serban “Exquisite
Works” lamureste o stare de fapt creeata in timp. Autorul vine dintr-o lume
artistica veche si consolidat, cu valori puternice atat morale cat si estetice.
Lucrarile sale, nu numai cele din recenta expozitie, au fost gandite, da ,
gandite, inainte de a fi asternute in bidimensional. Ce e interesant la Matei
Serban e dialogul sau cu sine, cu divinitatea, vesnica framantare ca lucrurile
sa fie asezate bine, structurate valoric perfect inainte ca ele sa fie
dezvaluite public. Totdeauna, din copilaria autorului, lucrarile lui Matei
Serban au fost mai mult decat o poveste, ele au fost piese mici ale unei
cariere contruite inteligent si cu rabdare dupa tipicul si invatatura
maestrilor sai.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXEZKDlEUn8PlkkwMiuD58IQNuGVpRxtCiF6NTnAW9oD-vOvbUcxVtwr5TNV1nFV0NNjWC8ge6A9E4gPD78vx-5mOJgOF-31cWSrOXELmlCNnqWiTFVn7qPY1vwt1FdRHB5SUzjKpuqq4/s1600/8.+Lenore+(Objects%2Bin%2Bmirror%2Bare%2Bcloser%2Bthan%2Bthey%2Bappear).JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXEZKDlEUn8PlkkwMiuD58IQNuGVpRxtCiF6NTnAW9oD-vOvbUcxVtwr5TNV1nFV0NNjWC8ge6A9E4gPD78vx-5mOJgOF-31cWSrOXELmlCNnqWiTFVn7qPY1vwt1FdRHB5SUzjKpuqq4/s1600/8.+Lenore+(Objects%2Bin%2Bmirror%2Bare%2Bcloser%2Bthan%2Bthey%2Bappear).JPG" height="320" width="242" /></a>Azi, intr-un context in care piata de arta e satula de ironie si dornica de concret,
lucrarile lui Matei Serban sunt o revelatie, atat pentru simplii privitori cat
si pentru colectionari. Prin atitudinea sa artistul ramane un cavaler imbracat
in armura complecta, o pasare rara, asa cum nu prea se mai intalneste in vest
dar cum va rasari din estul dornic de afirmare.<o:p></o:p></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
Astazi arta lui Matei
Serban transcende modei, tendintelor. Emotiile,mesajele, povestile, atat pentru
initiate cat si pentru publicul larg, sunt atemporare. Executia e dupa reteta,
bineinteles, o reteta la care umanitatea nu vrea sa renunte, dar o vede din ce
in ce mai rar, la care omul nu vrea sa renunte. Oricand se poarta clasicul! <o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com1tag:blogger.com,1999:blog-8732668683684060520.post-79793224256758413872015-02-09T22:52:00.002-08:002015-02-09T22:52:22.404-08:00 The Art of Jorge CarrillioJorge Carrillo is a Chilean painter who live and work in Santiago de Chile. He also made, screen-printing, installation and video, starting his training at the Institute of Contemporary Art then at the University of Chile.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaqQ4EyVFq832GOGNYaUySfVCcs_mNcnaJOQt2wG2wXFzUH9GYk4RrX9FWAx_sk1TgfzwRVBAeTdeLFE4Me5XU9lnhOJGDrBKHoEsARahzl10dCstBScgxvBVPyihwzbCS3Q4I15a4ggY/s1600/10530747_646841805446008_7007606886893862319_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaqQ4EyVFq832GOGNYaUySfVCcs_mNcnaJOQt2wG2wXFzUH9GYk4RrX9FWAx_sk1TgfzwRVBAeTdeLFE4Me5XU9lnhOJGDrBKHoEsARahzl10dCstBScgxvBVPyihwzbCS3Q4I15a4ggY/s1600/10530747_646841805446008_7007606886893862319_n.jpg" height="320" width="264" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8FSlC00moClBV6hFF9SPMoP-M4QSLE42soa7Uhkn253UIhxWJhB-TzlsrRVtwJ6F2ulVbBbA3Z9Vciyq6MnhJRRUBSv6KnjFfYp7wDsWEy-ZkFG7axtV4gou9lDgYwLYQYoC1K_annkU/s1600/10978719_652939951502860_4393681799013610468_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8FSlC00moClBV6hFF9SPMoP-M4QSLE42soa7Uhkn253UIhxWJhB-TzlsrRVtwJ6F2ulVbBbA3Z9Vciyq6MnhJRRUBSv6KnjFfYp7wDsWEy-ZkFG7axtV4gou9lDgYwLYQYoC1K_annkU/s1600/10978719_652939951502860_4393681799013610468_n.jpg" height="320" width="295" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT4ICXNdO6AlJ5GD-8Pk9sKvyMIWs6prHn37RMnQndpzUMF99uqqPNuwdnzWPjd4CVaaElwOGFT9LSHYslFeL2IVc36Zim-qT6sQng07dBJBRC_B5Y560iYKmrWronbxkO19UGaHjHw6w/s1600/10993389_652939898169532_473322942689474564_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT4ICXNdO6AlJ5GD-8Pk9sKvyMIWs6prHn37RMnQndpzUMF99uqqPNuwdnzWPjd4CVaaElwOGFT9LSHYslFeL2IVc36Zim-qT6sQng07dBJBRC_B5Y560iYKmrWronbxkO19UGaHjHw6w/s1600/10993389_652939898169532_473322942689474564_n.jpg" height="320" width="295" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-77072041676155714702015-01-28T23:48:00.001-08:002015-01-28T23:48:51.004-08:00ArtXpert Romania - Annual Report<div class="MsoNormal" style="text-align: justify;">
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;"> We are getting ready to start
2015. (For those who does not know , in terms of gallery business, the year starts in March, if you are
active on any European market). Before we start the new art business year let us take a look at the year before:<o:p></o:p></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"> First… a big thank you to our customers to
witch we are always loyal and thankful. 2014 it was one of the
best years. Because most of our customers are private we cannot name them, but we can name our sponsors that understood
the direction the gallery is following and the support we need in order to help
emerging artists: a big thank you to Coca-Cola, Butan Gas, Piraeus, Heberger,
Funk International and our friends and constant supporters at VO Patrimony. <o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"> 2014 certanly was a unique year.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"> We were the artisans behind street closure in
Putul lui Zamfir St for the festival and we created a great partnership with
Romanian Academy and The Minister of
Culture in order to support The Balkan Expressionism Manifesto and its artists.<o:p></o:p></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"> In December we re-opened our
gallery in Los Angeles, California .<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"> In terms of sales we grew like no
other year before.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"> We are a significant contributor to the Romanian fiscal authority ( because 100% of our business is legal, all sales are recorded) and a revenue generator to the artist in our portfolio.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;"> ArtXpert positively impacted local vendors . Our frame,
printing and logistic suppliers grew up with us. <o:p></o:p></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"> We kept artists and real
investors happy as we all benefited from the credibility ArtXpert built on the market.<o:p></o:p></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"> We started 2014 with sales of
Paul Hitter at wholesale value of 400 euro and closed the year with top 5000. We
doubled the estimated number of artwork to be sold in the first year.<o:p></o:p></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">We started year 2014 with Matei
Serban at average 1200 euro and closed with top 7500 euro on Romanian market
and an certified international appraisal of $40,000 for his major works.<o:p></o:p></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">We gave 25 % growth to Dragos
Raicu and Cornel Lazia which is a great
two digits figure considering the international rate. <o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">For all these above reasons, we thank you all. </span><o:p></o:p><br />
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2015 is the year we incorporated under the law of the State
of Nevada_ ArtXpert Investment Group LLC had launched . This is an important step for us, a duty to our dedicated customers, to our investors and to the artist that participate actively under the ArtXpert umbrella. Official public figures will be posted after the first quarter. <o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-3319830137034923382015-01-21T01:39:00.002-08:002015-01-21T01:45:45.151-08:00Spain Arrests Three Alleged Art Forgers<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: 16pt;"><br /></span></div>
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<span style="font-size: 16pt;">Three suspected members of an art
forgery ring were arrested in the Spanish cities of Zaragoza and
Tarragona, <i><a href="http://politica.elpais.com/politica/2015/01/13/actualidad/1421149852_498189.html" target="_blank"><span style="color: black; mso-themecolor: text1;">El Pais</span></a> </i>reported.
Accused of peddling drawings falsely attributed to Miró, Picasso, and
Matisse, they’ve been charged with crimes against intellectual property
and fraud.<o:p></o:p></span></div>
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<span style="font-size: 16pt;">The police first caught whiff of their
dealings in July 2014, during a routine check on the border of Spain and
Andorra. Inside the car of an Andorran resident they found drawings signed by
Miró. Though the man was carrying documents attesting to their authenticity,
police decided to go ahead and have them inspected by several experts. All
confirmed that the drawings were counterfeit.<o:p></o:p></span></div>
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<span style="font-size: 16pt;">The man was then placed under
surveillance by the Historical Heritage Group of the Civil Guard for an
operation called “Mirones.” He was observed traveling frequently from Andorra
to Zaragoza, where he would meet with gallery owners and collectors. He
would often deposit fake artworks in the office of a lawyer in Tarragona, so as
to avoid the possibility of them being intercepted at the border.<o:p></o:p></span></div>
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<span style="font-size: 16pt;">“Once we collected and processed all
the information, we proceeded to the operational phase of the operation,
arresting this person and charging two others, including a gallery of art from
Zaragoza that allegedly collaborated as an intermediary for the sale of
the forgeries,” the police explained in a <a href="http://www.guardiacivil.es/es/prensa/noticias/5208.html" target="_blank"><span style="color: black; mso-themecolor: text1;">press release</span></a>.<o:p></o:p></span></div>
<div style="text-align: justify;">
<span style="font-size: 16pt;">Over the course of the investigation,
they discovered nine counterfeit paintings: six attributed to Miró, two to
Matisse, and one to Picasso that came with a false certificate of
authenticity. The arrest thwarted the sale of two lithographs the suspects
were trying to pass off as works by Miró.<o:p></o:p></span></div>
<div style="text-align: justify;">
<span style="font-size: 16pt;">This is the second time in less than a
year that Spain has made art-forgery-related arrests within its
borders. In April 2014, authorities <a href="http://hyperallergic.com/122695/art-movements-44/"><span style="color: black; mso-themecolor: text1;">arrested</span></a> Spanish art dealer
Jose Carlos Bergantinos Diaz, who, along with his partner, Glarifa Rosales, has
been accused of selling more than $30 million worth of fake art attributed to
the likes of Warhol and de Kooning. The works were <a href="http://www.nytimes.com/2013/08/16/nyregion/one-queens-painter-created-forgeries-that-sold-for-millions-us-says.html" target="_blank"><span style="color: black; mso-themecolor: text1;">forged in
Queens, New York</span></a>, then sold at <a href="http://hyperallergic.com/tag/knoedler/"><span style="color: black; mso-themecolor: text1;">Knoedler & Co. gallery</span></a> for a total of more
than $80 million.<o:p></o:p></span></div>
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<ul id="special_byline_items">
<li id="custom_byline"><div class="headline_meta">
by <span class="author vcard">Laura C. Mallonee for hyperallergic.com</span></div>
</li>
</ul>
Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-81784583888024104412015-01-15T11:14:00.001-08:002015-01-15T11:14:55.069-08:00A Day Without Art<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmiumD2JzsVvD3qTedJXzHUdb2a_C7CN1PN36rjutbFXRd4z4Z5B6iwzHgQ_t2kpJG3v_ro5rM0a9Ba2qFQDTmO7VtJjJ3AvZz3PDkqZhgLGJ1iE9_FYyxpiWA8byGeQ8D3m1eoLMbupg/s1600/1798744_717374388293848_1040616603_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmiumD2JzsVvD3qTedJXzHUdb2a_C7CN1PN36rjutbFXRd4z4Z5B6iwzHgQ_t2kpJG3v_ro5rM0a9Ba2qFQDTmO7VtJjJ3AvZz3PDkqZhgLGJ1iE9_FYyxpiWA8byGeQ8D3m1eoLMbupg/s1600/1798744_717374388293848_1040616603_n.jpg" height="320" width="320" /></a></div>
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Imagine your life without art
just for one day. Waking up in the morning without music on radio, opening up a
coffee box without label, looking out the window and watching plain color painted
buildings, driving a boxed shape car.<o:p></o:p></div>
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Well, we all agreed that this society
moved forward because of artists. From ancient temples to modern buildings,
from scratches on cave walls to the beautiful painting in your living room,
from plain flute sounds to complicated symphonies, all came to life because of
artist. And we all enjoy, we love our everyday life being improved by anonymous
artists, designer and architects. Also we love to show that we do know the name
of the most famous ones. It makes us look good in front of others. <o:p></o:p></div>
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So, if what stated above is true
and fair, why the hell you people do not buy that CD with music that you say
you love, that painting that you brag on Facebook about it, that independent movie
you claim it changed your vision about life? <o:p></o:p></div>
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Why you people are so fake and self-centered?
Why you people do not give a chance to artists you claim you love so they can survive
and create more beautiful art? <o:p></o:p></div>
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How the hell do you expect them
to be able to crate if the fridge is empty, if no gas is in the car, if no paints,
or musical instruments or cameras, or ink or paper are available? You are more
likely able to spend 350 on a pair of jeans on Melrose Ave, or 2500 on a stupid
leather jacket than buying a painting from an emerging artist. So let me tell
you that without these artists your life will look like shit and this is going
to happen very soon. Take your eyes away from the art and artists that are
served to you by the mainstream media! They are as fake and corrupted as their proprietors.
Don’t let the eye fool your mind! Please have some decency and instead of
asking the artist to do a selfie with you at an art opening buy some art from
him. Your stupid selfie will not put food on his table and not pull you out
your anonymous life, but collecting that piece of art makes you part of that
artist’s biography. <o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-8820718341082905302014-12-30T20:05:00.002-08:002014-12-30T21:59:48.014-08:00ArtXpert Gallery- Pasadena Grand Opening<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuk3DIgsgvAFr3c2AaPhcbBL3xd2b64OIm6Bd_Y6HSCoV4hDgHcJFvOLG5CIZYi_Cj8Irob5gwY79WBGYRWEnHsGxTkHiDaW22M7ixNeKMXGVuZSE_qD0hqgvV9YdEPVBQsoYfJ9FP7fY/s1600/1477400_805271212866145_7708197533054720109_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuk3DIgsgvAFr3c2AaPhcbBL3xd2b64OIm6Bd_Y6HSCoV4hDgHcJFvOLG5CIZYi_Cj8Irob5gwY79WBGYRWEnHsGxTkHiDaW22M7ixNeKMXGVuZSE_qD0hqgvV9YdEPVBQsoYfJ9FP7fY/s1600/1477400_805271212866145_7708197533054720109_n.jpg" height="145" width="400" /></a></div>
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<div style="text-align: justify;">
ArtXpert Gallery - Pasadena has a portfolio of exqusite international emerging artist_Paul Hitter, Matei Serban, Marina Obradovic, Anatol Danilishin, Eugene Al Pann.</div>
<div style="text-align: justify;">
The gallery is located in one of the most artistic cities in Souther California, a city dedicated to nurse fine art, galleries and top museums. Pasadena is the home of Cal Art Institute, Pasadena Museum of California Art, Norton Simon Museum.</div>
<div style="text-align: justify;">
The city is constantly involved to develop the art community and to support over 300 galleries that do business in the area.</div>
<div style="text-align: justify;">
Our gallery is dedicated to support his artists from the franchised portfolio but it is available to Eastern-European artist willing to show in Los Angeles area.</div>
<div style="text-align: justify;">
Please go to our website to see terms and conditions to show at ArtXpert Gallery Pasadena.</div>
<div style="text-align: justify;">
<a href="http://artxpert.net/p/for-artists-only" target="_blank">http://artxpert.net/p/for-artists-only</a></div>
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<br />Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-4144151864233787362014-12-12T01:46:00.000-08:002014-12-12T01:46:38.436-08:00From US with Love<br />
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Paul Hitter moved over to California. <br />
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This is his new website. You can fallow his work, order prints, buy originals or simply check his blog.<br />
Starting December 19th our Gallery will extend to Pasadena California. For more info about our new location visit our site :<a href="http://www.artxpert.net/" target="_blank">www.artxpert.net</a><br />
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<a href="http://www.paulhitter.com/original/" target="_blank">http://www.paulhitter.com/original/</a>Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-87651625755159733962014-11-09T07:31:00.001-08:002014-11-09T07:31:52.709-08:00Tomasso Cristofaro - The Man Behind The Lights in our Gallery<div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-38746503616835153512014-11-09T01:18:00.002-08:002014-11-09T01:18:18.318-08:00Sixth Annual Passion for Freedom Art Festival Launches in London<br />
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<strong><span style="font-family: Arial, Helvetica, sans-serif;">The 6th annual Passion for Freedom Art Festival takes place in London from 5th -15th November in the Embassy Tea Gallery (close to Tate Modern) in London. The annual festival is a rare collection of works of "courageous artists" who have answered three pivotal questions: What is freedom? How easy is it to lose it? How difficult is it to get it back?</span></strong></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This year at the festival there will be collection of 15 films, 10 books, 10 journalists and 51 artworks from all over the world: Peru, Venezuela, Iran, Israel, Syria, Taiwan, China, South Korea, Ukraine, Poland, Germany, Belgium, The Netherlands, France, Spain, Sweden, Italy, Greece, United Kingdom, USA & Australia. The youngest artist is 18 years old, the oldest – 64. Some of the artists use pseudonyms because of threats imposed on them, some of them can’t come because they are imprisoned, cannot leave their country or cannot give interviews. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The founding body comprises of a group of friends of different nationalities, predominantly Polish, Hungarian, Russian and Danish, who for the last 6 years have been saying, “We are checking the status of freedom of speech and artistic expression in Europe”. They have clear message – promotion and protection of human rights using the means of aesthetic expression. The festival itself, which is in direct contrast with the political correctness so prevalent within our society, is growing in recognition and prestige. The PFF Festival is supported by world-famous artists such as Ai Weiwei, Mehdi-Georges Lahlou and Iranian director Jafar Panahi.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Ai Weiwei as we all know is a Chinese artist and performer who posted a blog report exposing the corruption within the Chinese Communist Party and challenging the government over the poor construction of schools in Sichuan, which led to death of more than 5 thousands pupils. In 2011 he was kept imprisoned for 81 days without any official charges and beaten by the police officers. Even today he can’t travel or give interviews as a result of alleged business fraud.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">29 years old Mehdi-Georges Lahlou of French and Moroccan origin in one of his artworks presents fragments of the Quran and the Bible depicted on a naked body. In many Muslim countries and in Morocco itself his art hailed a storm of protests and death threats, even though his works have not been shown there.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Jafar Panahi, the Iranian director, has been imprisoned more than once for promoting women’s freedom and for his anti-Iranian activities and convicted for the films he made. Since the trial he can only make his movies in his own apartment and he solely can be his own protagonist. Everyone who has worked with him has been harassed and now has restrictions on leaving Iran.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This year 3 general awards as well as Freedom Film Award will be given for art and film productions. Also during the Private View the audience will have a chance to choose their favourite piece of art and give People’s Choice Freedom Award. The jury panel comprises of: Gary Hill – one of the most prominent American artists in video art, Sarah Maple – a provocative young British artist, Deeyah Khan – Iranian pop star and activist anointed by the media as the “Muslim Madonna”, Lee Weinberg – curator, art researcher and lecturer at Goldsmith University</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">For the first time this year along with films, sculpture, painting, photography and installations there will be 10 books and 10 journalists recognised (3 British, 2 Russian, 2 Canadian, 1 Danish, 1 Polish and 1 Indian) during the Festival.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In 2003 an Islamist disguised as a postman tried to kill Lars Hedegaard in his home. He did not succeed and the assailant fled. Danish Prime Minister condemned the attack saying that the attempt to assassinate a journalist was highly serious as its motive was aimed not only at Hedegaard, but also at damaging his work defending freedom of speech.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Special Guest Artists include: Miriam Elia – is a visual artist and Sony nominated surreal comedy writer. After graduation from the Royal College of Art her diverse work has included illustrated books such as ‘We go to the gallery’ and ‘The Diary of Edward the Hamster,’ as well as prints, drawings, short films, radio comedy and animations.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Daniel Arzola - coming out as a gay in Turmero, Venezuela, was a nightmare. Daniel’s graduation project consisted of series of posters sending out strong messages against homophobic bullying. With his country hit by deep political, economic and social crisis, Daniel is considering moving to Argentina. His life is in danger in Venezuela. Being a human rights activist in Venezuela equals being a public enemy.</span></div>
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<strong><span style="font-family: Arial, Helvetica, sans-serif;">Image Right: Johan Wahlstrom "Don´t Die As A Virgin" Painting shortlisted in Visual Arts/Paintings.</span></strong></div>
Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-21265311988114131032014-10-29T00:52:00.000-07:002014-10-29T00:52:06.249-07:00Painterly Dogg, Doggy Dogg: Snoop Shills Swedish Socks in Salacious Studio Scene4 hyperallergic by <span class="author vcard">Benjamin Sutton</span> on <abbr class="published" title="2014-10-28">October 28, 2014</abbr><br />
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“My process when I get ready to paint? I definitely gotta have a blunt, because the blunt is inspiration to the creation,” so says Snoop Dogg during a new commercial for a Swedish sock company that placed the rap legend in a studio equipped with your typical art-making paraphernalia: blank walls, blank canvases, paint, brushes, spray paint cans, tennis balls, water guns, boxing gloves, water balloons, three skimpily clad assistants, and at least one blunt.<br />
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“For many years I’ve always felt like painting was something that I wanted to do, but I never had time to do,” Tha Doggfather explains. “Painting gives me an emotion like no other. I could cry while I’m painting. I can laugh while I’m painting. I can be serious while I’m painting. I don’t have no parameters. When I’m rapping there’s certain things I can’t do. When I’m acting there’s certain things I can’t do. There’s certain things I won’t do. But with the painting, there’s no limit.” Accompanying slow motion footage of Snoop (legal name Calvin Broadus) in the studio shows him laughing and being serious while painting, though any evidence of tears shed over the sublime beauty of his Willem de Kooning-lite compositions apparently wound up on the cutting room floor.<br />
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The erstwhile Snoop Lion’s works appear to fall predominantly in an abstract vein, borrowing from the canonical Ab Ex painters like Jackson Pollock as well as more contemporary figures like Julian Schnabel. Despite their non-figurative imagery, Snoop’s paintings are informed by very real, lived experiences<br />
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“My mind is somewhere else where it was a colorful time,” he says, “where these colors and these patterns and these ideas really mean something to me and what I was going through as a kid or maybe what i was going through yesterday, or maybe right now.”<br />
Though this marks — as far as we know — Snoop’s debut as a painter, he appears to be just as confident in the work coming out of his painting studio as he is of the pieces he makes in the recording studio. Not surprising, considering that a painting he made earlier this year <a href="http://www.goldcoastbulletin.com.au/news/gold-coast/snoop-doggs-wigged-out-palazzo-versace-work-of-art-scoops-a-cool-10200/story-fnj94idh-1226830891678" target="_blank">sold for $10,200 on eBay</a>. In fact, Snoop seems so confident in his art, you might say he’s <a href="http://www.thelmagazine.com/newyork/snoop-dogg/Content?oid=1139619" target="_blank">ego trippin’</a><br />
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“I know that I’m an artist, I know that my paintings mean something and people are going to be interested in them and they’re gonna want to buy them, and, you know, have them hanging up on their walls in their favorite spots because it’s an expression of somebody who has been giving the truth from day one,” he says. “They’ve been riding on this journey with me so it’s another piece of the puzzle, it’s like a piece of Snoop that we can take with us forever.”<br />
In other words, be on the lookout for Snoop’s paintings in Miami in December<br />
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Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-39386229389501922162014-10-15T23:09:00.001-07:002014-10-15T23:10:33.662-07:00Rare Opportunity to Acquire Matei Serban's New Work<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8TuQ-4yJCiMfXdoIDgm8RSlbWVV9KaNY8DFEGlMQyzu_vQTH0BImOI_D5FBoLZcfme1TtE7v37QXStZMu6gHWzdWtyuXabDeaMPoOFJGOSLWPvSECKMK_ANZQxxHhuAP-OYPF34FEJH4/s1600/Poster_50X70.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8TuQ-4yJCiMfXdoIDgm8RSlbWVV9KaNY8DFEGlMQyzu_vQTH0BImOI_D5FBoLZcfme1TtE7v37QXStZMu6gHWzdWtyuXabDeaMPoOFJGOSLWPvSECKMK_ANZQxxHhuAP-OYPF34FEJH4/s1600/Poster_50X70.jpg" height="400" width="285" /></a></div>
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The "Grand Circus" series of Matei Serban will be displayed for five days at Pleshoo Contemporary.</div>
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The purpose of this event is to introduce few new small works of Matei in the context they've been created, as part of The Grand Circus theme. </div>
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Therefor we gladly invite the public to visit the gallery daily between 6 PM-10 PM.</div>
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This show focuses on committed buyers, collectors and business professionals. </div>
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Price ranges:</div>
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6.500 -12.000 euro for the large format paintings</div>
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800 - 1.500 euro for the small new one</div>
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100 euro for the limited edition print on canvas signed by the author </div>
<br />Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-18932799379633514032014-10-06T00:49:00.000-07:002014-10-06T00:50:27.953-07:00Save the Date! <div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-12175676771504721082014-10-05T10:02:00.003-07:002014-10-05T10:02:55.235-07:00Five Rules for Viewing a Gallery<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqRS2L6uGOkAgLlyEyzHNGOtDDOURZlJUTNAoSUY-4znptVNd8-L29ly_iJPyMiXzXLvr_LHJkiyCYpXg98qoFEU-sV2ZTceRa2ygBjPljjrzhH6VLVf8NHlMmcauR5LQBAnjPNjnstL4/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqRS2L6uGOkAgLlyEyzHNGOtDDOURZlJUTNAoSUY-4znptVNd8-L29ly_iJPyMiXzXLvr_LHJkiyCYpXg98qoFEU-sV2ZTceRa2ygBjPljjrzhH6VLVf8NHlMmcauR5LQBAnjPNjnstL4/s1600/blog.jpg" height="202" width="400" /></a></div>
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<span style="font-family: Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times New Roman, serif;">The trigger of this article is our recent show at ArtXpert. Being sick and tired of people coming to visit the gallery just because, sometime we offer good quality wine and service, and not because they really have a strong interest in the artist displayed we decided to share with those five steps when you visit a gallery:</span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 18.0pt; mso-fareast-font-family: "Times New Roman";">1. Take Time<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">…
lots of it, because you’ll need it. The most important thing when visiting a
museum is to see as much artwork as possible, since, let’s be honest, you
don’t manage to go that often, do you? Yeah, didn’t think so.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The
best way to ensure that you see enough art is to set an Instagram quota for
yourself for the day’s visit. Think about how many photos you posted on your
last art outing and try to up the number by some reasonable amount, like
10. Bonus points if all the photos are <span style="color: blue;">selfies</span>,
but keep in mind that this might be difficult to achieve if you don’t have
enough selfie experience. Maybe try starting with a selfie with every
work in one specific gallery, for instance. Be aware of your strengths and
limitations, and of those of your Insta followers. #awesome<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">In
order to leave yourself enough time, line up at the entrance to the museum at
least half an hour before opening time. Plan to spend the entire day with
frequent breaks and trips to the various cafes and restaurants within the
institution, since food is the new art anyway. Make sure to Instagram those
meals, too — your warm goat cheese and toasted walnut salad alongside your
favorite newly discovered Minimalist sculpture might make make for a slightly
ironic but also intriguing visual comparison.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 18.0pt; mso-fareast-font-family: "Times New Roman";">2. Bring a Friend<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">For
art critics, the way to process art is through writing; for laypeople, it’s
through talking. Bring a friend or a date to help you talk your way through
whatever art you’re planning to see — conversation in front of a painting
inevitably produces fresh insights. If you can’t find an equal, think
about bringing a child, either your own or one borrowed from a friend. You’ll
be amazed at what <span style="color: blue;">thoughtful art viewers</span> kids can make.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">If
that’s not an option either, visit alone but plan to be bold and make
acquaintances (famous artworks are best for this: there’s always a crowd around
the “Mona Lisa”). This has its advantages: strangers can offer
perspectives you might never even dream up — plus, you never know what might
happen. A long, involved, unbelievably romantic story of how you met your
future spouse while seeing art will make for a great entry on your future
wedding website.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 18.0pt; mso-fareast-font-family: "Times New Roman";">3. Go with an Open Mind<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">And
by that I mean <i>really open</i>. Some people say you have to read and learn
about art to understand it, but that’s really only if you’re a critic or
an academic. Everyone else (the lucky bastards) gets to just see and
experience art, rather than having to <i>think</i> about it so hard. If
you’ve looked at the work and still want to know more, read the wall
label. If that’s not enough, you could consider a docent-led tour,
definitely a good way to meet people and engage in conversation.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">But
there are more interesting and original ways to open yourself up to art and
commune with it. Try talking to the work, or moving around in front of it,
letting your limbs lead you into a freeform improvisational dance. If you see a
vibrant red and it inspires lust, run with it. Find a way to express the
feelings the art stirs within you before, like everything else, they’re gone.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Later,
when the museum’s about an hour from closing time, visit the gift shop.
Try to find the mouse pad, calendar, umbrella, watch, or water bottle that most
embodies your experience that day, and buy five of them: one for you, four to
share with your closest friends who really get you.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 18.0pt; mso-fareast-font-family: "Times New Roman";">4. Don’t Worry Much about Remembering Things<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Back
in the day before the internet, people had to remember any and everything
they thought was worthwhile — texts, how to cook a chicken, their age,
etc. Now that the digital blessings of computers and smartphones have been
bestowed upon us, we’re able to free up that memory space for day-to-day
minutiae, like whether or not we forgot to turn off the stove last night.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The
same applies to art: it used to be you had to remember the names of specific
pieces and artists you like, but thankfully now it’s all just a
Google Image search away! Instagram also comes into play here: the more photos
of artworks you post, the fewer you’ll have to remember. This is also why
it’s good to visit with a friend — if you can’t remember enough to get a solid
Google/Google Image search going, just text them. Between the two of you, you
might just be able to figure out who made that immersive
installation filled with found trash, flickering lights, and taxidermy
that you took selfies in <i>and</i> what it was called.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 18.0pt; mso-fareast-font-family: "Times New Roman";">5. Seek Out Art that Fits Your World View<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">These
days there’s <i>so much</i> art being made and shown, it can be hard to know
where to start. I find it’s always good to seek out art that reflects your own
ethos and approach to life. Art can be many things, but it’s probably most
effective when it’s a mirror — either literal or figurative — reflecting
yourself and your ideas back at you. If you’re into abstract art but find
its politics hard to decipher, just look at the institution that’s showing
it and you should get some answers.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Some
say art is meant to be beautiful; others argue it should seek to
enlighten or enliven. It doesn’t really matter what camp you’re in <i>as
long as you’re in one. </i>Seeing art is worthless until you walk away with
four things: a story to share about your experience, an opinion about what
it meant, a larger lesson to draw from it, and at least one Instagram.
This is how you effectively view art in the age of social media.<o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-9149040542523793422014-09-30T21:04:00.000-07:002014-09-30T21:04:04.163-07:00UK Copyright Law Gets Exception for Parody<h3>
<span style="font-weight: normal;"><span style="font-size: x-small;">by <span class="author vcard">Jillian Steinhauer</span></span></span></h3>
<br />
A series of updates
to UK copyright law are scheduled to go into effect tomorrow, finally
allowing for the use of copyrighted material in the creation of parody,
the BBC reported.
The country’s copyright law does not currently include a fair use
(“fair dealing,” in British parlance) exception for satire, an
omission that’s left many artists, musicians, and others vulnerable to
legal action.<br />
One of those artists is Miriam Elia, who, upon release of her parody children’s book <em>We Go to the Gallery</em> earlier this year, faced a slew of legal threats
from Penguin UK, the publisher of the original book series on which
Elia modeled her work. Elia says Penguin finally backed off after she
stopped replying to the company’s “endless threatening letters.”<br />
In theory, her work should be protected by the new law, which states specifically that “f<span class="LegAmendingText">air dealing with a work for the purposes of caricature, parody or pastiche does not infringe copyright in the work.” </span>Asked about the exception, Elia told Hyperallergic, “I would say the law change is a great leap forward for the art of satire.”<br />
But, as she and others have also pointed out, the update is far from
comprehensive. There’s no change, for instance, to the status of “moral rights,”
under which a copyright holder can object to “derogatory treatment of
the work.” This provides plenty of ground for lawsuits, whose outcomes
will be determined by judges ruling on whether the works in question
meet the legal standard of a parody. The International Business Times
(IBT) explains:<br />
<blockquote>
Judges presiding over parody court cases will have to refer to a ruling
by the European Court of Justice (ECJ), which on Sept. 4 defined parody
for the first time. Under that definition, a parody has to “constitute
an expression of humor or mockery.”<br />
Ciara Cullen, a senior associate at the London law firm RPC, said
that subjective definition will leave much to the individual tastes of
U.K. judges.</blockquote>
Elia echoed these concerns in her email to Hyperallergic: “Will the
judge laugh at the work? What if the jury find the work funny, but the
judge doesn’t? Will we need specialist comedy courts for future
infringement cases?” (Maybe not such a bad idea.)<br />
Speaking to IBT, one half of the English music and comedy duo
Cassetteboy noted as well that although parody will be allowed under the
new law, mashups still won’t be (unless they’re funny). US law, on the
other hand, identifies fair use based on four tenets including “the purpose and character of the use,” which is commonly understood to be the extent of the transformation from the original.<br />
<span style="font-size: xx-small;">source hyperallergic.com on sept 30 </span>Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-55456598735559670302014-09-16T05:23:00.001-07:002016-03-21T13:49:35.444-07:00LA Apartment Galleries - a New Trend in Town<!--[if gte mso 9]><xml>
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<br />
<div class="headline_meta">
<abbr class="published" title="2014-09-15"><br /></abbr></div>
<br />
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<br /></div>
<div style="text-align: justify;">
LOS ANGELES — The contemporary art world often
seems to be on a super-sized trajectory, with the rise of <a href="http://www.latimes.com/entertainment/la-et-cm-schimmel-arts-center-20140606-story.html#page=1" target="_blank">mega-galleries</a> and record-setting auction prices all the rage. Alongside this
bigger-is-better mindset, there is a competing approach that favors the humble,
the personal, and the DIY, from artist-run spaces, to backyard performance art,
to micro-galleries. One of the newest additions to this group is Del Vaz Projects, an
apartment gallery and residency project located in Los Angeles’ Little Osaka
neighborhood (it’s west of the 405, not to be confused with Little Tokyo). Over
cups of tea and plates of dates and almonds from a local Iranian kosher market,
we sat down with Del Vaz’s founder Jay Ezra Nayssan to get the lowdown on the
new space, why he started it, and his ideas about art.</div>
<div style="text-align: justify;">
Nayssan’s enthusiasm for contemporary art is
clear when speaking with him, but he originally came to the art world as an
outsider. A native Angeleno, he studied anthropology and business and now works
in his family’s construction and development firm by day. In 2012, he got his
first opportunity to organize an exhibition, co-curating <em>Synesthesia</em>,
a group show at LA’s M+B
with Daniele Balice of Paris’ Balice Hertling Gallery. Last winter he organized a
residency for French artists in LA and this past summer he offered French
artist Lucile Littot a cottage, which was slated for demolition,
to exhibit her work.</div>
<div style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJuH29mxX3BmTPBn_SdxHCFHDNcck8D-sYxVXh9NQIKuYUBucBBSxvib1quMzkA1LW1Zli0l_y4O4tCGSVndJv1Rx0Ypzi3qp9mZ_yUMp4b0NAC4JDIA4mhSM_5zDIptrfKXc3eleOZyI/s1600/Nayssan_DelVaz1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJuH29mxX3BmTPBn_SdxHCFHDNcck8D-sYxVXh9NQIKuYUBucBBSxvib1quMzkA1LW1Zli0l_y4O4tCGSVndJv1Rx0Ypzi3qp9mZ_yUMp4b0NAC4JDIA4mhSM_5zDIptrfKXc3eleOZyI/s1600/Nayssan_DelVaz1.jpg" width="504" /> </a></div>
<div class="separator" style="clear: both; text-align: center;">
Jan Ezra Nayssan at Del Vaz Projects, in front of work by Benjamin Phelan and Spencer Longo </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: justify;">
The decision to open a gallery in his apartment
was the result of a fortuitous setback. What became his inaugural show was
originally scheduled to open at a New York gallery this fall, but was
eventually postponed until early 2015. Unable to sit on the project for four
months, he decided to hold the exhibition in his new apartment and Del Vaz was
born. The name comes from the Farsi phrase <em>dast-o-del vaz</em> meaning
“open-handed and open-hearted,” and it speaks to the informal and collaborative
atmosphere that Nayssan hopes to foster. He intends to open the space up to
artists, writers, and curators to organize shows in the future.</div>
<div style="text-align: justify;">
Nayssan acknowledges the commercial aspect of the
gallery system, but envisions his space as somewhere visitors can find respite
from the heavy hand of the market. “Art in its true and honest sense is a place
for discussion, for feeling, for beauty, and there’s a kind of a nobility to it
still for me, even though some people don’t believe in that, but there’s still
a respect and a dignity for me in it. It’s a place where you can shed this
marketplace attitude, though that’s not always the case,” he says.</div>
<div style="text-align: justify;">
He cites an early experience in a <a href="http://en.wikipedia.org/wiki/Souq" target="_blank">souk</a> with shaping
his vision for the space:</div>
<div style="text-align: justify;">
“I’m Persian, so for me a marketplace is like a
hot, stuffy crowded place, it’s really a visual that’s been with me all my
life, and I’m like, ‘I don’t wanna be in a souk,’ then I remember one time
being in a souk and my mom being curious about something and the proprietor
being like, ‘come to the back,’ and we ended up spending an hour there, sitting
down having tea, in the shade, having good discussion, hearing about the city,
his family, and so I was like, ‘OK, if I open up a space in my apartment, this
will be a little somewhere in the shade, out of the hustle and bustle of the
marketplace, to come down and have dates and good discussion.’ So that’s what
it was really. That’s how it kind of unfolded.”</div>
<div style="text-align: justify;">
This first show sprawls from Nayssan’s modest
living room, into a more modest second bedroom. (Most future shows will be
confined to the bedroom.) Titled <em>Bathymetry</em> – the study of undersea topography – the
group show deals with issues of the human body, hyper-consumerism, and
technological obsolescence, and envisions an open-ended future defined by
“Proto-” as opposed to “Post-.”</div>
<div style="text-align: justify;">
“I wanted to give the viewer the liberty and the
power to imagine a future and to kind of do a discovery on their own, taking
into consideration the ideas of the post-human body, post-consumerism — that’s
a substrate for the show — but it really was about an exercise on imagination
for the viewer, not daring to tell people how or what to think,” he says.</div>
<div style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwswjiEpN0fAnRt6fKzSh5_EDQ13Yhjc5fm3l3JjEpgnXfvGZCzyP4gIpvBCNsFRlJTRkc0jqQDlt_-E78olanZBHIxMcYPUhF9mMKb1BPe5oRuw6sDT3CDvaexE7pBnaWGCT-nqIfwTk/s1600/IMG_2283.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="588" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwswjiEpN0fAnRt6fKzSh5_EDQ13Yhjc5fm3l3JjEpgnXfvGZCzyP4gIpvBCNsFRlJTRkc0jqQDlt_-E78olanZBHIxMcYPUhF9mMKb1BPe5oRuw6sDT3CDvaexE7pBnaWGCT-nqIfwTk/s1600/IMG_2283.jpg" width="640" /></a></div>
<div style="text-align: center;">
<i>Max Hooper Schneider, “The Last Caucasian War” (2014), Acrylic tank, 1996 Toshiba Tecra 700CT, polymer resin, mud, leaf litter, gravel, found detritus, Ocypodid crabs</i></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The works in the show give the impression of
being created, then abandoned by humans. Benjamin Phelan’s
extruded Styrofoam sculpture, Natalie Jones’ planters made from a casts of her
head and citrus fruits, and Spencer
Longo’s computer-etched loofahs have the washed-out look of beach fossils.
With her “Checkerboard Mountains,” Liz Craft creates a handmade tabula rasa,
and Max Hooper Schneider’s
“post-conflict tide pools” re-imagine outdated technology as landscapes for
crabs and scorpions.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE1rRuUQ7tR0VbGBRqjvrWONrc_5b7lCKZfWnO8fXKnAqBrOtpOqG-J0UBgs2Wr7ANCArwWQ8Mt98AAS4MfwqP9T38qMoQQvgSET5-yEmJ1RPx38uRS9kzAoXGqxp9kq7LgvTvT4Cmx5Q/s1600/IMG_2281.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE1rRuUQ7tR0VbGBRqjvrWONrc_5b7lCKZfWnO8fXKnAqBrOtpOqG-J0UBgs2Wr7ANCArwWQ8Mt98AAS4MfwqP9T38qMoQQvgSET5-yEmJ1RPx38uRS9kzAoXGqxp9kq7LgvTvT4Cmx5Q/s1600/IMG_2281.jpg" width="480" /></a></div>
<div style="text-align: justify;">
<br /></div>
<br />
<div class="wp-caption-text" style="text-align: center;">
<i>Liz Craft, “Checkerboard Mountains” (2010/2013), ceramic, steel</i></div>
<br />
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Nayssan enlisted Brazilian architect Pedro Câmara
for the exhibition design, who ended up using cinder blocks to create
structures that emulate the different levels and textures of the ocean floor.
“We decided to create a parcours, like a runway and give people the freedom to
walk around and be in this atmosphere,” Nayssan says. “I didn’t have any
furniture, so he made these modular ones that move around, and anything with
foam, you can sit on.”</div>
<div style="text-align: justify;">
Bathymetry will run through November, followed by
a group painting show slated for mid-January. Nayssan doesn’t have specific
exhibition plans after that, but said that he would like to see LA artists use
the space to show their work before it leaves for an exhibition elsewhere. “I
went to Human Resources
and Joel Kyack had a one day painting party before he shipped all his paintings
off to Paris, so that people could see his work. That was so good … with all of
these different blogs, young artists today are hesitant to reshow the same
piece in another show because it’s already been seen all over the world. I’m
hoping with LA artists, before they have a show in Belgium or London or
whatever, that they come do a one night little thing, so we who live here with
them, in this city, get to see the work in person.”</div>
<div style="text-align: justify;">
The space is open by appointment only, so
visitors should email or call if they’re looking for a shady spot to see some
art, engage in discussion, and maybe share a cup of tea.</div>
<div style="text-align: justify;">
<em>Del Vaz Projects is located at 1600 Westgate
Avenue, Little Osaka, Los Angeles. </em><a href="http://delvazprojects.com/current" target="_blank">Bathymetry</a><em>
runs through November 22.</em></div>
<div style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ2ZiCP-Ojlu1V0FeDlSHkK99PH0_9iPFDOXkQ5lO13a7Rnbz7Lh91RU8aLWjjmMCw7MQgSpzt-8kqKihLAOrWRkg0GSngsQOD4D2hyOTa65wEunynS4f7iz1cWU8g4bCOg0MP60s5nb8/s1600/IMG_2280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ2ZiCP-Ojlu1V0FeDlSHkK99PH0_9iPFDOXkQ5lO13a7Rnbz7Lh91RU8aLWjjmMCw7MQgSpzt-8kqKihLAOrWRkg0GSngsQOD4D2hyOTa65wEunynS4f7iz1cWU8g4bCOg0MP60s5nb8/s1600/IMG_2280.jpg" width="480" /></a></div>
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<br /></div>
<br />
<div class="wp-caption-text" style="text-align: center;">
<i>Natalie Jones, “Untitled (Head Planter)” (2013), Plaster, wig, lacquer, rope, paint</i></div>
<div class="wp-caption-text" style="text-align: center;">
<br /></div>
<div class="wp-caption-text" style="text-align: center;">
<br /></div>
<div class="wp-caption-text" style="text-align: center;">
<i><span style="font-size: xx-small;">by <span class="author vcard"><a class="url fn" href="http://hyperallergic.com/author/matt-stromberg/">Matt Stromberg</a></span> on </span><abbr class="published" title="2014-09-15"><span style="font-size: xx-small;">September 15, 2014 for hyperallergic</span></abbr> </i></div>
Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-36252422879691476692014-09-16T04:58:00.000-07:002014-09-16T04:58:54.460-07:00Long-Running Moscow Art Fair Canceled<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0wFPo8p6tM8pikkBPVI-jRWfOAeDIPRLpmklppu_HaJTVl2mqGYrpN75xd8wMBssGrXW0JgSQiVyjYCqCU1QvQQu9dxM5DmlRAgsRY2qOPm7Y5JHdELhksh8tZHzoYPEnwd9cuJY87Go/s1600/ArtMoscow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0wFPo8p6tM8pikkBPVI-jRWfOAeDIPRLpmklppu_HaJTVl2mqGYrpN75xd8wMBssGrXW0JgSQiVyjYCqCU1QvQQu9dxM5DmlRAgsRY2qOPm7Y5JHdELhksh8tZHzoYPEnwd9cuJY87Go/s1600/ArtMoscow.jpg" height="223" width="400" /></a></div>
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A key Russian contemporary art fair has been
canceled in its 18th year and appears unlikely to return, <a href="http://www.theartnewspaper.com/articles/Art-Moscows-future-is-in-limbo-/35625"><em><span style="color: windowtext; text-decoration: none; text-underline: none;">The Art
Newspaper</span></em></a> reported. <a href="http://www.art-moscow.ru/"><span style="color: windowtext; text-decoration: none; text-underline: none;">Art Moscow</span></a>
— by one account the city’s “<a href="http://www.theartnewspaper.com/articles/Art-Moscows-future-is-in-limbo-/35625"><span style="color: windowtext; text-decoration: none; text-underline: none;">oldest fair
for contemporary art</span></a>“; by another, “<a href="http://baibakovartprojects.wordpress.com/2014/09/03/art-commerce-and-some-broken-locks/"><span style="color: windowtext; text-decoration: none; text-underline: none;">Russia’s
oldest art fair</span></a>” — seems to have been facing both economic and
political troubles, including EU and US sanctions on the country, “which
organizers fear may hurt the fair, since the half of the exhibitors are from
abroad,” as well as an <a href="http://calvertjournal.com/news/show/2683/boycott-hits-moscow-book-fair-following-censorship-concerns"><span style="color: windowtext; text-decoration: none; text-underline: none;">episode of
censorship</span></a> that happened at this past June’s International Book fair.
According to <em>The Art Newspaper</em> (<em>TAN</em>):</div>
<div style="text-align: justify;">
A precedent was set this June at the
International Book fair, when two plays were eliminated from the program: one
for a profusion of foul language, another because of an accusation of hidden
gay propaganda. The organizers self-censored the works, although there was an
implication of external pressure.</div>
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As <a href="http://news.artnet.com/in-brief/art-moscow-canceled-due-to-unfavorable-conditions-in-russia-102564"><span style="color: windowtext; text-decoration: none; text-underline: none;">artnet News</span></a>
points out, the blog of Moscow-based Baibakov Art Projects <a href="http://baibakovartprojects.wordpress.com/2014/09/03/art-commerce-and-some-broken-locks/"><span style="color: windowtext; text-decoration: none; text-underline: none;">sums up the
cancelation of the fair</span></a> as “due to a combination of reasons ranging
from politics (by now its hardly surprising that some galleries and artists
could boycott a fair in Russia) to economics (the art market in the country is
not exactly booming) to good old – fashioned censorship.”</div>
<div style="text-align: justify;">
In a follow-up interview with <em>TAN</em>,
Vasily Bychkov, chief executive of Art Moscow organizer ExpoPark Exhibition
Projects, admitted that the decision to cancel the fair was made in the winter,
adding, “We decided to relocate the resources usually employed for Art Moscow —
people, money — to another project.”</div>
<div style="text-align: justify;">
An article about last year’s edition of Art
Moscow indicates the fair was already struggling financially, facing “<a href="http://www.themoscowtimes.com/arts_n_ideas/article/17th-art-moscow-fair-opens-with-new-format/486214.html"><span style="color: windowtext; text-decoration: none; text-underline: none;">budgetary
woes and a stagnant art market in Russia</span></a>.” Meanwhile, another
contemporary art fair, Cosmoscow, will open in Moscow on Friday as planned.
This is Cosmoscow’s second year after an initial outing in 2010, according to <a href="http://baibakovartprojects.wordpress.com/2014/09/03/art-commerce-and-some-broken-locks/"><span style="color: windowtext; text-decoration: none; text-underline: none;">Baibakov</span></a>;
its <a href="http://cosmoscow.com/"><span style="color: windowtext; text-decoration: none; text-underline: none;">website</span></a> identifies it as “Russia’s only
international fair for contemporary art.”</div>
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Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-36427871241932090882014-09-11T13:33:00.001-07:002014-09-11T13:33:55.241-07:00Arts District Opens The Door For New Live/Work Units, But They Can't Be Tacky<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj_8s5YrLdJB4xfJWtwUcuOeiZ2PDXMA-vcB9QLy-C1USMVY_-tIjLk7gtPaXbyDDbWfb_uKrvZbOgusBxIP7RnNcJeRUszMZA27ga2W_AKfEM4DYt6EzyzN9eQGBkbz4Mx6Ho2EmxDyw/s1600/artsdistrict2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj_8s5YrLdJB4xfJWtwUcuOeiZ2PDXMA-vcB9QLy-C1USMVY_-tIjLk7gtPaXbyDDbWfb_uKrvZbOgusBxIP7RnNcJeRUszMZA27ga2W_AKfEM4DYt6EzyzN9eQGBkbz4Mx6Ho2EmxDyw/s1600/artsdistrict2.jpg" /></a></div>
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<div style="text-align: center;">
<em><span style="font-size: x-small;">The Arts District (Photo by Juliet Bennett Rylah/LAist)</span></em></div>
<div style="text-align: center;">
<em><span style="font-size: x-small;"><br /></span></em></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
The Arts District is working to maintain its status as a cool, eclectic
neighborhood and avoid becoming a super-gentrified concentration of yuppies. <o:p></o:p></span><br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The
new <a href="http://planning.lacity.org/Ordinances/DraftArtsDistrictLive-WorkOrd.pdf" target="_blank" title="Opens in a new window"><span style="color: blue;">Interim
Live/Work Zone</span></a> will allow new live/work units, but they have to
follow strict rules that ensure the neighborhood keeps the artists and
aesthetics that made it so attractive in the first place, <a href="http://la.curbed.com/archives/2014/09/arts_district_working_on_new_rules_for_cooler_gentrification.php" target="_blank" title="Opens in a new window"><span style="color: blue;">Curbed
reports</span></a>. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Currently,
developers can't build any new live/work spaces in the Arts District; they can
only be put into buildings that already exist. Under this temporary rule,
developers can apply to construct new live/work units in a certain zone while
the Department of Planning works on a larger, permanent zone. Only a limited
number of projects will be allowed, and these will be used as a test.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The
affected area is bounded by 1st Street to the North, 7th Place/Violet Street to
the south, Alameda Street to the West and the Los Angeles River to the east. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">There
are some rules for these new developments, in terms of how they are used, how
they look and their impact on the neighborhood. Perhaps most important to
potential new tenants is that each project must have a minimum number of
affordable units. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The
individual units must have high ceilings, open floor plans, plenty of natural
light and must be no smaller than 750 square feet. These are not supposed to be
traditional apartments—they must be created with working artists in mind. Each
project must also have on-site, communal spaces for residents to work and
create. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">There
must also be space for green projects (like living walls) and art murals, the
latter of which <a href="http://laist.com/2013/08/28/las_bizarre_ban_on_murals_finally_overturned.php"><span style="color: blue;">now legal</span></a> in downtown Los Angeles. The buildings
must look like they belong there from design to signage—so no concrete
monstrosities or billboards. And no unsightly dumpsters; trash has to be
enclosed. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">All
new construction must also be sustainable, using solar reflective roofs,
installing bike parking and planting trees. Big sites will have to break up the
buildings and put in pedestrian-friendly areas. Parking is encouraged to be put
underground, and is "unbundled." This means that you purchase the
spot(s) if you need one, but it's not included in your rent if you don't.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Source: laist.com</span></div>
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Anonymoushttp://www.blogger.com/profile/08804082772549632763noreply@blogger.com0tag:blogger.com,1999:blog-8732668683684060520.post-39041104899639150362014-09-11T13:16:00.001-07:002014-09-11T13:16:06.305-07:00Art Consultants: Seven Secrets Every Artist Should Know<div class="entry-content full-content">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeek1KUYeEJToQIL6MKppZuASbg4CHmA70SA8jWtg_gY-RZKzTd2tupEe4pb6ixZ92xVmi2BeXKJ0dEmGQlC3FaSkpc7ocGODXHiLLqkFevK1EUDFITeY5Q1Td_HJIBqZNOhS88X2o0NY/s1600/images.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeek1KUYeEJToQIL6MKppZuASbg4CHmA70SA8jWtg_gY-RZKzTd2tupEe4pb6ixZ92xVmi2BeXKJ0dEmGQlC3FaSkpc7ocGODXHiLLqkFevK1EUDFITeY5Q1Td_HJIBqZNOhS88X2o0NY/s1600/images.jpg" /></a></div>
<o:p></o:p><br />
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Secret
#1: Build Your Own List</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br />
I should let you know right now that I’m not going to give you a <span style="color: windowtext;">contact lis</span><span style="color: windowtext; text-decoration: none; text-underline: none;">t</span>.
Not because I’m being coy or territorial, but because the first secret to being
successful at this is to customize your own <span style="color: windowtext;">list</span> based on what kind of work you
do and then make targeted, individual contact with the art consultants who
specialize in that kind of work. If there’s one generalization that can safely
be made about art advisors, it’s that they hate to receive portfolios from
artists who haven’t done their homework. It’s a waste of their time to handle
them; it’s a waste of your time and money to send your work out into the void
or, more specifically, the wastebasket. First impressions matter, and the first
impression that carpet-bombing your portfolio makes to art consultants is that
you don’t respect their time or understand how the business works.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Art
consultants are so numerous that the challenge is how to not end up working
with so many that you don’t have enough supply to meet the demand. My strategy
has been to build relationships with 20-25 who are a very good fit with my
particular style of work so that I never have to compromise what I want to
make. One of the most refreshing things about selling work through art
consultants is that you don’t have to give them an exclusive like galleries
often demand. They’ll ask you to because they don’t want their offering of
artists to overlap with their competitions’, but unless they’re selling enough
of your work to give you a steady, livable income, you should politely decline.<o:p></o:p></span></div>
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<b><span style="color: windowtext; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-no-proof: yes; text-decoration: none; text-underline: none;"><!--[if gte vml 1]><v:shapetype
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<br /></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Secret
#2: Be Selective</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br />
Because there are a lot of art advisors, you can (and should) be selective
about the criteria you use to qualify them. What I look for is an impressive
client list, and I need to like the quality of the work of the other artists
they’ve dealt with. All of this can usually be found on their web sites the
old-fashioned way by Googling “art consultant” and “art advisor.” Do the leg
work and keep your eyes open. When you see a restaurant, corporate lobby, <a href="http://www.thesah.org/template/index.cfm"><span style="color: windowtext;">hospital</span></a> or <span style="color: windowtext;">hotel</span> with
beautiful artwork in a design magazine or in the real world, contact the
interior designer or architect and ask who was the art consultant on that
project. Most of the large framing companies have art-consulting arms (and
don’t assume they only show the generic work inside the rectangles in their
showrooms). Ask other artists outright. When perusing the web site of artists
whose work you like look at their resume or gallery page to see if they’ve
listed the art consultants they work with.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">After
you screen consultants for quality and compatibility with your aesthetic, check
their web sites for instructions on how artists should submit work. If there
are none, send them a short e-mail introducing yourself as an artist who came
across their web site and sees an affinity between your aesthetic and theirs.
Then ask how you would go about submitting work. I always include a link to my
web site inviting them to preview my portfolio to see if there’s a reason for
further communication. This is actually a Trojan Horse because by then I’ve
already done a ton of compatibility research and know that when they see my web
site they’ll get the obvious connection between what I make and what they sell
and probably want to go to the next step of having me send more information. As
a teaser you can also attach one or two JPEGs (NOT your entire portfolio) being
careful that they are formatted to download fast and fit on a computer screen.
And while it pains me to say it, make sure the resolution is low enough so that
it can’t be reproduced by anyone unscrupulous. It wouldn’t be a bad idea to put
a watermark or copyright symbol on it while you’re at it, at least until you’ve
established trust.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Secret
#3: Follow-Up</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br />
This must be a secret because so few artists do it! Unless they’ve specifically
told you they’re not interested, there’s nothing wrong with reminding them that
you’re still out there by sending them images of new work at one- or two-month
intervals. More than once I’ve gotten a sale because images of my work had just
landed in a consultant’s inbox the same week they were looking for work for a
big project. Every time I send out a mailing I make at least one sale. If it
doesn’t work that way for you, it likely means you haven’t made the right fit
between your work and what those particular art consultants specialize in
selling. You need to take a step back and rethink your strategy.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">There’s
always that fine line between being persistent and being a pest. If I don’t
hear back from them for two weeks after my initial contact, I follow-up with an
e-mail saying something like “I hope I’m not bugging you but I wanted to make
sure you got my e-mail a couple of weeks ago and had a chance to look at it.
I’d love to work with you if you think my work would be a good fit with your
projects.” If I don’t hear from them after the second follow-up, I put them on
the back burner to contact in 6 months or when I have new work. But that’s my
personal comfort level. I know more aggressive artists who seem to be doing
very well.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Keep
in mind that art advisors are in the same entrepreneurial boat that you are, so
make follow-up a two-way street by sending them leads to possible projects. If
you find out that there’s going to be a big new hotel, convention center, or
hospital built, forward that to one or two of your favorites. You don’t want to
be promiscuous about it, though. Art consulting is a tremendously competitive
field and it would water down the specialness of this favor if they found out
you had sent it to 15 other firms.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Secret
#4: Make It Easy for Them to Find You.</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> Art
consultants don’t represent artists like galleries do. In order to stay competitive,
they constantly need fresh blood. In her book "<span style="color: windowtext; text-decoration: none; text-underline: none;">Becoming a Corporate Art Consultant"</span>,
veteran art advisor Barbara Markoff devotes a lot of ink to helping would-be
art advisors figure out how to find artists because, as she says, “I describe
the stable of artists an art consultant has as their ammunition to close a
sale. Finding artists that your competitors do not have is critical.” Markoff
suggests these target-rich environments for finding artists:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">1.
Attending art festivals<br />
2. Investigating local artist organizations<br />
3. Networking groups<br />
4. Exchanging information with other gallery owners<br />
5. Looking at poster catalogs<br />
6. Attending trade shows such as the West Coast Art and Frame Show<br />
7. Visiting galleries while traveling<br />
8. Posting inquiries on your website<br />
9. Social networking sites such as LinkedIn<br />
10. Looking at websites of artists and other galleries<br />
11. Asking your artists for introductions to artists they know.<br />
12. The Guild.com<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Lest
it doesn’t go without saying, this is a veritable playbook of where we should
have our work to make it easy for them to find us. Notice how galleries do not
loom large in this list. Unless they’re dealing with big-ticket artworks,
independent art advisors for the most part prefer not to work with galleries
because they’d have to split the commission if that’s how they’re making their
fee. For those consultants who are getting paid a retainer or flat rate by
their clients, they’ll negotiate a discount with the gallery to pass onto the
client. The majority, however, make their fee from commissions off of the sale
and framing services.<o:p></o:p></span></div>
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<a href="http://chicagoartmagazine.com/wp-content/uploads/2011/06/Basa2.jpg"><span style="color: windowtext; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-no-proof: yes; text-decoration: none; text-underline: none;"><!--[if gte vml 1]><v:shape id="Picture_x0020_3" o:spid="_x0000_i1025"
type="#_x0000_t75" alt="http://chicagoartmagazine.com/wp-content/uploads/2011/06/Basa2-203x300.jpg"
href="http://chicagoartmagazine.com/wp-content/uploads/2011/06/Basa2.jpg"
style='width:152.25pt;height:225pt;visibility:visible;mso-wrap-style:square'
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“The
Artist’s Guide to Public Art: How to Find and Win Commissions” by Lynn Basa<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Because
art consultants are constantly trolling for artists you will start getting cold
calls from them. Yes, that’s right. You don’t always need to cold-call them.
They will cold-call you. Recently, an artist told me that she periodically gets
e-mails from art consultants saying they saw her work and want to talk to her
further. She said she deletes all of them because she assumes they are spams.
(Whereupon I asked if she could forward them to me from now on!) Yes, there is
a weird phishing spam going around that’s easy to recognize because it’s some
BS about someone who saw your work on-line and they’re moving to London but
they’ll send you a check blah blah blah, but more than half of my golden art
consultant contacts have come from them contacting me. The real ones are easy
to check out because all you need to do is go to their web site and if it looks
legit call them back and get a sense of what projects they’re working on and
where they think your work might fit. Ask them how they found out about you so
you can track where your most effective marketing is taking place. If I still
have a flicker of doubt, I will call one or two of the artists that they’ve
worked with.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Secret
#5 Brand Yourself</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br />
I know that talking in commercial terms about art is taboo but I’m going to say
it anyway: You need to brand your work. Think of it as editing your portfolio.
The less of a hodge-podge it is, the easier you’ll make it for the art
consultant to appreciate and sell your work. You can still have different
bodies of work, but be intentional about which ones to show which art
consultants based on her market niche. And don’t ask the art consultant to do a
portfolio review. By the time you show her your portfolio it’s got to be all
tailored, groomed and shiny. She’s your client, not your art professor.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Secret
#6: Be Flexible</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br />
The demand for certain mediums and price points will fluctuate depending on the
economy. The fact that any image that can be digitized can be printed on almost
any substrate as a <a href="http://en.wikipedia.org/wiki/Gicl%C3%A9e"><span style="color: windowtext; text-decoration: none; text-underline: none;">giclee*</span></a>,
means that you can sell inexpensive multiples of your originals. In addition to
paper, images of your 2-D work can now be printed on ceramic, glass, fiber,
aluminum, bamboo, acrylic, you name it. If your medium is so tied to your
message that the intent of your work would suffer if reproduced on another
material, that’s okay. Just make that clear to the consultant. It will limit
how much of your work she can sell — partly because you should raise the prices
of your originals to offset the loss in cashflow from not doing multiples — but
how you feel about your work is priceless.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Another
form of flexibility that not all artists can stomach is that you will be asked
to do commissions on variations of your own work. Like, “Can you take this
section from this other painting and put it over here on this one?” or “Could
you do that same painting but make it bigger and square?” I used to feel a
twinge of resistance about these requests, but after revisiting my work a few
times in response I realized that I not only enjoyed it but was learning a lot
from recreating something I had made spontaneously the first time.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Secret
#7 Have Your Act Together</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br />
Quick! What’s your artist’s net for a 20″ x 24″ print? Don’t know the answer
to that off the top of your head? Then you, my friend, do not have your act
together, according to Markoff. Before your initial approach to a consultant,
you should have the following materials ready:<o:p></o:p></span></div>
<ul type="disc">
<li class="MsoNormal" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Images of work available for
sale (remember, low-rez JPEGs only)<o:p></o:p></span></li>
<li class="MsoNormal" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Artist’s net” (i.e. wholesale
is 50% of retail) pricelist divided by format (i.e., originals, giclee,
substrate)<o:p></o:p></span></li>
<li class="MsoNormal" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Resume<o:p></o:p></span></li>
<li class="MsoNormal" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Artist statement<o:p></o:p></span></li>
</ul>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Find
out in what form the art consultant wants to see your portfolio. Markoff and
many others prefer 3-ring binders because they can spread out the work on a
table for their clients to mix and match. Some only want to use your web site
while others need JPEGs in an e-mail or on a CD. Keeping track of what you’ve
sent them when and in what format adds up to one heck of a bookkeeping chore.
I’ve hired a studio manager to keep up with it all.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">No
names please. Unlike a gallery, art consultants don’t want their clients to see
the names of the artists they’re showing them until they sign on the dotted
line. They remove the temptation from the client to go around the art advisor’s
back directly to the artist and cut them out of their 50% (usually) commission.
And when you do get a call from an unknown prospective client, casually ask
them how they heard about you.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Whatever
material she needs, get it to her right away. Lisa Boumstein-Smalley of <a href="http://www.chicagoartsource.com/"><span style="color: windowtext; text-decoration: none; text-underline: none;">Chicago Art Source</span></a> says
that clients are typically calling her at the last minute in a panic to get
something on their walls. Even though the art is the first thing people see
when they walk into a room, it’s usually the last thing that’s planned for. In
such a fast-paced business, artists who can keep up will get repeat sales,
those who need their hands held will soon be road-kill.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">This
should be enough to keep you busy for a while!<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">*
Giclee: A recently made-up word for “ink-jet print” that sounds more arty and
expensive.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><a href="http://lynnbasa.com/home.html"><span style="color: windowtext; text-decoration: none; text-underline: none;">Lynn Basa</span></a> is a full-time artist
living in Chicago. She teaches in the Sculpture Department at SAIC and is the
author of <span style="color: windowtext; text-decoration: none; text-underline: none;">The Artist’s
Guide to Public Art: How to Find and Win Commissions</span>.<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: justify;">
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