Elisabetta Pandimiglio is an Italian film director, writer and screenwriter. In almost 20 years of activity she has written and directed over 50 works: a feature film, documentaries, shorts, educational videos and non-profit ads commissioned by the European Union, the City Council of Rome, NGOs and many other institutions. She is one of the founders of the Italian Association Telefono Rosa (fighting against violence on women). She has written and published researches, surveys, essays, inquiries and short stories on feminine condition and social uneasiness, and the novel “Ilia di Notte” (Data News, Rome 2001), and the bio-narrative "Il camoscio e il borraccino" (Limina, Arezzo 2010). On a commission from Nanni Moretti she has made in 2002 the Sacher Diary “Zappaterra”. Her solo films or in co-direction with César Meneghetti have been shown in over 20 countries and have received several recognitions. For her directing work she has won over 50 awards, among them three Nastro D’argento - a special mention by the SNGCI (Italian Cinema Journalists Association) Annual Award. In 2009 she made the feature documentary "L'incontro" and the short "1000 days of Vito" (Official selection atthe Venice Days - 66th Venice Film Festival, winner of several international awards, among them Best Film at the 2nd Italian Cinema Festival of Madrid and another Nastro D'argento in 2010; nominated for the Golden Globes 2011). In 2011 she wrote and directed "Più come un artista" (More as an artist), official selection at the Venice Days - 68th Venice Film Festival. In 2012 she shot the bookciak “TURNING POINTS”, special event at Venice-Days – 69 Venice Film Festival. In 2013 she made the multimedia work entitled “FAME” about the increasing of eating disorders linked to media interests. Latest works: “SBAGLIATE” (wrong women) on the feminine choice of non-maternity, “SCUOLA CALCIO” (80’), LA CENA DI TONI (70’).
Elisabetta Pandimiglio, regista, autrice, scrittrice. Ha scritto e diretto oltre cinquanta lavori: lungometraggi di finzione, documentari, corti narrativi, video e spot educativi per conto di Unione Europea, Comune di Roma, Telefono Rosa, Regione Lazio. È una delle fondatrici di Telefono Rosa (Associazione Nazionale contro la violenza sommersa). Ha pubblicato indagini, denunce, inchieste, saggi, racconti su condizione femminile e disagio sociale, il romanzo “Ilia di Notte” (Data News 2001). Su commissione di Nanni Moretti, ha realizzato nel 2002 il Diario Sacher “Zappaterra”. I suoi film sono stati esibiti in oltre venti paesi. Come regista ha ricevuto numerosi premi e riconoscimenti tra cui tre menzioni speciali ai Nastri d’Argento. I suoi lavori più recenti: nel 2009 ha scritto e diretto il lungometraggio “L’Incontro” e il cortometraggio “Mille giorni di Vito” (selezione ufficiale Giornate degli autori - 66 Mostra d’arte cinematografica di Venezia, vincitore di numerosi premi nazionali e internazionali tra cui Miglior film al Festival del Cinema Italiano a Madrid 2009; cinquina finalista e menzione speciale ai Nastri d’argento 2010; nomination Globi d’oro 2011). Nel 2010 ha scritto il libro “Il camoscio e il borraccino” (Limina 2010) edito con il documentario “Taccone- fuga in salita”. Nel 2011 ha scritto e diretto “Più come un artista” (selezione ufficiale Giornate degli autori - 68 Mostra d’arte cinematografica di Venezia). Nel 2012 realizza il bookciak “SVOLTE”, evento speciale alle Giornate degli Autori – 69 Mostra d’arte cinematografica di Venezia. Nel 2013 realizza l’opera multimediale “FAME” sulla diffusione dei disturbi alimentari. I suoi ultimi lavori: SBAGLIATE (70’) sulla scelta femminile della non maternità ( selezione ufficiale 11° Biografilm festival - Concorso Italia Bologna giugno 2015 22° Libero Bizzarri – Italia doc selezione ufficiale luglio 2015 - 2° Via EmiliaDoc Fest 2015 Modena novembre 2015 - 37° Festival Internazionale di Cinema e donne Firenze novembre 2015 - 10° Italia Doc - Casa del Cinema 2015 Roma marzo 2016 - Rassegna Centro Doc donna Modena - Udi Carpi marzo 2016- 23° Sguardi altrove - Women’s Film Festival Milano marzo 2016 - Cinema Lumière Bologna aprile 2016 Rassegna Libreria delle Donne Milano aprile 2016 - Cinema Lumière Bologna aprile 2016 - Rassegna Libreria delle Donne Milano aprile 2016- Centro di Psicanalisi Italiana Roma maggio 2016 - Biblioteca Comunale di Monterotondo - Roma giugno 2016- MonFilmFest 14 edizione Casale Monferrato (Al) luglio 2016 – Saronno- Rassegna “Stelle del cinema italiano indipendente”edizione agosto 2016 (dove ha ricevuto un premio per la regia di una serie di lavori) - Alla Dogana di Milano - Cassero LGBT Center di Bologna - Casa Internazionale delle donne Roma gennaio 2017 - Teatro Cantelli – Vignola (Mo) marzo 2017 - Circolo ARCI San Vito di Leguzzano (Vi) marzo 2017 – Bari – 6° edizione Festival delle Donne e dei saperi di genere/ Casa donne del Mediterraneo Aprile 2017- Lugano 7° Other Movie Lugano Film Festival Evento Speciale. “SCUOLA CALCIO” (80’) del collettivo Mina di cui ha curato scrittura, riprese, direzione artistica. LA CENA DI TONI (70’) documentario su una vita segnata dall’irruzione di un evento imprevedibile (Evento speciale Molise film Festival 2017 - Premio speciale giuria Mediterraneo Video festival 2017). read more »
submission date: 10/9/2017
As a result of the exchange between Slovakian singer and songwriter Ivana Mer and Japanese producer Ugh Yoing (member of Poncho+Casino Tart), appears this powerful remix of "Mereus". The original song is the first single from "Early Works" [2016, Slnko Records], the debut of Ivana.
In "About Early Works" she says that "the lyrics and the music came together in one moment in Prague, in 2008 I think, when I recorded it alone with the computer. It speaks about the mythological creature, which is Mereus, the king of the seas. He is calling you by sirens so that you can see your soul in his mirror. All of a sudden the lyrics appeared and I did not really understand their meaning. And then gradually, through this mythological story, I realized that it was about the deeper inward immersion."
About his work, Ugh tells "we added an accompaniment of images that were suitable for the voices and that were different from the original song. I started adding a chord progression, a base, different from the original. Then I added a beat that fits good, the melody and then appears other. All the work was done in one week. We released a new double album through Nunulaxnulan, Japanese label, containing recent works, collaborations and remixes. Mereus is included, we like it a lot."
Filmed in 10 cities of 6 countries (Banská Bystrica, Bátovce, Banská Štiavnica, Bratislava and Zvolen [Slovakia], Venice [Italy], Ibiza [Spain], Prague [Czech Republic] ), the clip was produced and edited by Cristian Estrella. His work was focused on "connecting with water in all its forms and states, seas, rivers, fish ponds, snow ... most of the shots were made with a mobile phone and the macro lens. Amazing shapes appeared. We are made of water. More than half of our body belongs to it. Ivana's martial attitude adds an amusing and dynamic component." The remix is part of "Early Works REMIXED vol.1" along with works of djs and producers from Argentina, Uruguay, Greece, and Australia. The track will be also included in the second volume that will be released in the physical format during the following months. Musicians from Mexico, Slovakia, Argentina, Uruguay, and Hungary already confirmed their participation. read more »
submission date: 9/24/2017
“What can you teach? Not art.
Contrary to the common view, art can’t be taught.
I believe that a piece of art comes out naturally from a human being. Just like a human being comes out from another“.
Kazuo Ohno, “What can you teach? Not art.”
11HellHeaven firmly believes that art is a natural process like life itself, and that has to be shared for the growth of the whole mankind. 11HellHeaven is a cultural symposium, an experimental circle of arts and ideas with a strong focus on innovation and contemporaneity. beyond the limit of “average”. With respect to our artists we act as a nomadic Gallery, opening to unconventional locations and pooling knowledge and experience.
Our logo is two arrows moving upwards and downwards, to represent the continuous shifting between opposite poles. Our motto is: “In Media non stat virtus”, whose translation from latin is: “there is no virtue in the middle”. Mediocrity is not a value. At the same time, “there is no truth in the media” and that is why we deliberately misspelled the latin motto (middle = media). For us, art represents the last bulwark against the flattening of consciousness in the media society.
Informal, conceptual, performing arts and videoart are 11Hellheaven’s core. We produce visions, performances and ideas. Everyone is welcomed to share his/her art and vision. It’s our contribution to increase the global level of awareness of the planet. read more »
submission date: 9/17/2017
In his youth, he was fascinated with cameras and started taking photographs with a Voigtlander SLR and teaching himself photography. He uses 35mm Nikon, medium format Hasselblad, Large Format Toyo 45 and Wista Folding. His work covers a wide variety of events that can be seen on this site: portraits, glamour, fashion, reportage, fine art nudes and large format Polaroid film. Unique fine art Polaroid image transfer and emulsion lift. Available for personal - fine art portraits, portfolio developement, model comp cards, promotional material for artists and performers. His published work has appeared in a number of magazines.
Sin dalla giovane età, iniziò a scattare fotografie con una Reflex Voigtlander VSL, attivando contemporaneamente un percorso autodidattico. Utilizza preferibilmente fotocamere manuali, luce naturale e stampa personalmente le sue immagini. Nikon 35mm, medio formato Hasselblad, grande formato Wista Folding e Toyo 45 sono i suoi strumenti di ripresa. Il suo lavoro comprende numerosi generi: ritratto, glamour, fashion, reportage, nudo artistico, compreso il trasferimento di emulsione/distacco con materiale Polaroid grande formato. Disponibile per ritratti personali artistici, sviluppo / aggiornamento portfolio, composit, materiale promozionale per artisti. Pubblicato su numerose riviste del settore.
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submission date: 7/26/2017
Photographers at both the amateur and professional level are invited to enter the Chelsea International Photography Competition. With a fierce dedication to promoting the arts and discovering and exposing new talent, the CIPC will honor selected artists with an exhibition at Agora Gallery, providing invaluable exposure to promote career growth and boost recognition. This year’s competition awards are valued at over $55,000 and are designed specifically to support our larger mission: to promote the spread of extraordinary and innovative art in our modern world and to ensure the future productivity and enhance the careers of selected artists. Selected photographers will participate in the collective exhibition and receive valuable PR opportunities. A portion of the gallery’s proceeds from artwork sales will be donated to the Children’s Heart Foundation. The 2017 Chelsea International Photography Competition will be accepting entries July 18 - September 13, 2017. Results are announced on October 24, 2017, with the competition exhibition scheduled for January 27 - February 7, 2018.
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submission date: 7/26/2017
A new film shot in ultra HD 4K, based on the much anticipated exhibition at The Queen’s Gallery, Buckingham Palace
In cinemas nationwide from 26th September 2017
Directed by David Bickerstaff
Co-written by David Bickerstaff and Phil Grabsky
EXHIBITION ON SCREEN open its fifth season with Canaletto & the Art of Venice, an immersive journey into the life and art of Venice’s famous view-painter.
No artist better captures the essence and allure of Venice than Giovanni Antonio Canal, better known as Canaletto. Despite Canaletto’s close relationship with the city in which he lived and died, the world’s largest collection of his works resides not in his native Italy, but in Britain as part of the Royal Collection. In 1762, George III purchased almost the entire collection amassed by Joseph Smith,British Consul in Venice and Canaletto’s principal agent.
EXHIBITION ON SCREEN’s latest release will grant unique access to the Royal Collection’s exceptional holdings of Canaletto's work, much of which is on display as part of the exhibition Canaletto & the Art of Venice at The Queen’s Gallery (19 May - 12 November).
The remarkable group of over 200 paintings, drawings and prints on display offer unparalleled insight into the artistry ofCanaletto and his contemporaries, and the city he became a master at capturing. The film also offers the chance to step inside two official royal residences - Buckingham Palace and Windsor Castle - to learn more about the artist, and Joseph Smith, the man who introduced Canaletto to Britain.
From London, Canaletto & the Art of Venice will travel to the great Italian city to explore the origins of Canaletto’s art. Whilst appearing to be faithful representations of the city, Canaletto's skill came from his manipulation of reality. He moved buildings around or opened up vistas to create the perfectcomposition, and his paintings of Venice were highly sought after by Grand Tourists. His playful imagination extended into a new genre in which he excelled. The 'capriccio' combined real and fantasy architecture into imagined views. In this sense, Canaletto is more than a topographical artist - he is a master storyteller.
Cinema-goers will embark on their very own 21st century Grand Tour, visiting the sites enjoyed by their 18th century counterparts and immortalised in Canaletto’s views - from the Rialto Bridge to the Piazza San Marco, and the Palazzo Ducale to the Church of Santi Giovanni e Paolo. Guided by RoyalCollection Trust curators and the world’s leading experts in Venetian history, the film is not only a wonderful way to see the exhibition, but an opportunity to get closer to Canaletto and the city that inspired him.
ABOUT EXHIBITION ON SCREEN
Working with top international museums and galleries, EXHIBITION ON SCREEN create films which offer a cinematic immersion into the world’s best loved art, accompanied by insights from the world's leading historians and arts critics. Since launching in 2011, EXHIBITION ON SCREEN have released 16 films which have been shown in over 50 countries worldwide.
Submission date: 7/17/2017
Adam "BixbyKnolls" Roose, A Bixby Knolls (Uptown Long Beach) California Native born May 3rd 1987, hence the alias "Mr. May 3hird", is a melodic threat to those who underestimate him. His music consists of a pure original and versatile sound allowing Adam to create a refreshing twist to current Hip Hop. Influenced by the likes of artists as timeless as The Isley Brothers to current artists like The Weeknd, he creates a sound that allows the audience to bite their tongues before proclaiming the absence of originality in Long Beach. He also provides the rare combination of skills that would make any A & R think twice.
When he's not displaying his flow, he's probably producing or composing the very music he's writing to, not to mention working with the melodic gift of serenity he also possesses. When singing he delivers a very soulful and warming tone that can bend and fit virtually any style of music. "Consider my music the postcard for Long Beach, CA". Adam Roose refers to his music as the representation that is never displayed through music in his hometown. "I feel the options available for music being represented by Long Beach is good and I support all of them, but my sound is long beyond what people actually have to offer and doesn't need to be hidden or free any longer. People pay for music of this quality." A confident and proud individual is the self-proclaimed "Dean" and CEO/Founder of the illustrious "University". Open your minds and ears to what the "University" and Adam Roose have to offer.
"I am absolutely fascinated by cities. Because of this passion, I graduated in architecture in Rio de Janeiro. While at the university, I started my art studies at the Modern Art Museum of Rio de Janeiro and experienced different kinds of media and techniques, from oil painting to jewelry making, but after being fully introduced to watercolour it soon became another passion. I started off with small sized watercolours, then I moved on to work with large scale canvas and acrylic colours, trying to achieve the same effects as in watercolour. My works grew stronger, with more intense and explosive colours. It was while coordinating a group of geographers and urbanists that I developed a growing interest in the connection between maps and art, inspired by the aerial views and sattelite photos of cities which emerged from my computer screen. These beautiful abstract forms influenced me to develop the theme Urban Colours. I am now developing a new work entittled XXI Century Maps, an evolution of the series of Imaginary Maps. The XXI Century Maps are the future landscapes of a changing world." read more »www.soniagil.com.br
Andrea Palladio (1508-80) was an Italian architect, one of the most influential architects of our time. Palladio was born November 8, 1508, in Padua, and trained as a stonemason. Palladio moved to Vicenza in his early twenties. Originally named Andrea di Pietro della Gondola, he was named Palladio (after Pallade the goddess of wisdom daughter of Zeus) by the Italian poet and patron Giangiorgio Trissino, who oversaw Palladio's architectural studies. Trissino took him to Rome, where Palladio studied and measured Roman architectural ruins; he also studied the treatises of Vitruvius, one of the most important of the Roman architects. In and near Vicenza he designed many residences (Villas) and public buildings (Palazzi). He also planned several churches in Venice, San Francesco della Vigna, San Giorgio Maggiore, and Il Redentore. One of his last work was the Teatro Olimpico in Vicenza, completed after his death by architect Vincenzo Scamozzi. Palladio's own use of classical motifs came through his direct, extensive study of Roman architecture. He freely recombined elements of Roman buildings as suggested by his own building sites and by contemporary needs. At the same time he shared the Renaissance concern for harmonious proportion, and his facades have a noteworthy simplicity, austerity and repose. Palladio was the first architect to develop a systematic organization of the rooms in a house. He was also the first to apply to houses the pedimented porticos of Roman temples-formal porches defined by a shallow triangular gable (Timpano) supported by a row of columns. Both these features are exemplified in the Villa Almerico "The Rotonda". Palladio's buildings were highly functional. Palladio was the author of an important scientific treatise on architecture, I Quattro Libri dell'Architettura (The Four Books of Architecture), which was widely translated and influenced many later architects. Its precise rules and formulas were widely utilized, especially in England, and were basic to the Palladian style, adopted by Inigo Jones, Christopher Wren, and other English architects, which preceded and influenced the neoclassical architecture of the Georgian Style. Palladio married Allegradonna, daugther of Marcantonio, and had five children, Leonida, Marcantonio, Orazio, Silla and Zenobia. He died on August 19, 1580 in Vicenza, or probably at Maser (Treviso), while attending construction of the Tempietto of Villa Barbaro. read more »www.epalladio.com
James Clar is a lighting and installation designer working from New York and Tokyo. His work explores the properties of light to create dynamic forms and new methods of communication while fusing together art theory with design and technology. Some of the works explore sound and light interaction while others recreate spatial information or color information. He completed his Masters at New York University's Interactive Telecommunication's Program, concentrating on visual display systems and interactive retail environments. He was a resident artist at new media collective Eyebeam Atelier of NYC as well as Benetton's Fabrica facility in Italy. His work has been shown at The New Museum of Contemporary Arts New York, The Chelsea Art Museum, Tokyo Metropolitan Museum of Photography, and the Milan Triennial. His pieces have been featured in numerous magazines including Shift Magazine, Metropolis nyc, Azure, Samsung's DigitAll magazine, Tokion, as well as being awarded the 2004 Design Distinction Award from I.D. Magazine. read more »www.jamesclar.com
Particularly nowadays, what the object exhales is very important, because it let us recognize and love a place and becomes a vehicle of values expressed by the designer such as art witnesses, in the full sense of the word. Its aim is not only an economic target for the firm, but also the extension of the cultural field. Our era has engaged to extend this cultural field with the new awareness of photography, fashion, graphics,architecture.....and design. Art is being enriched by another field considered undeserving till nowadays due to well-known prejudices. Who makes 'design'at present has to cultivate himself in poetry, music and art, because especially in these fields there are incitement and sensibility for a possible verification.
2004 My first artistic study goes back to 1984, but I had already drawn since I was a child, whit a range of drawings on paper investigating abstract themes with constructive patterns of a strong chromatic impact using primary colours inside geometric schemes whith a rationalistic definition. The following development led to a succession of works based on sign interactions given by geometric signs and shapes with a variable density over different points of view which drive me towards more expressive researches. (1984-1985-1986). After some years (1988-1989-1990)supports went from paper to wood with a series of works in which the gestural and informal matrix added to the previous researches with the contaminations of different materials: cardboard, sheets, fibreglasses, sands mantaining a project structure inside the work which can be actually detected in the late works (2003-2004). In these works there is a more and more architectonic research of the painting which combines different materials on staggered bodie and planes with an almost sculpturesque sensation, on the whole. The work arises from a well-definite project, in which the formal creation defines what I call 'TOTEM' with a strong symbolic value, emphasizing intersecting and superimposing, shapes and materials creating a strong-tone and strong-identity connotation.
1997 My last works are based on energy, violence and dynamism of the sign which becomes, in a provocative way, an immediate display of my own and of an aggressive and pragmatic attitude towards reality, which is a logical consequence of a life spent every day without deceptions. My painting has no uncertain terms: the work becomes pure energy of life to be caught in the sign purposes of the space, a daring provocation which exalt action but not contemplation on of the reality which manifests itself in the sign-gesture taking on the fourth-dimension values. I carry out a direct system in painting using very clean colours and counting on a psychic automatism which,in my opinion, is an italian concept which goes back to Boccioni (personal opinion). I try to avoid every preciosity in the art looking for an aggressive structure which gives tone originality in its expressive and provocative force. read more »
Long-time collaborators Alex Valich and Christine Warren met in 1995 while studying design in NYC. They fell in love, got married and have partnered together both in work and in life ever since. Established in 2003, redstr/collective is the newest incarnation of the duos work where they consider themselves DJs of design, sampling, mixing and spinning together from different sources to create something entirely unique. redstr/collective is centered on its own product lines as well as working with private clients. They have worked on exhibitions, restuarants, in-store displays, branding, and custom furniture designs. In the future redstr/collective is looking to bring in more designers under the umbrella for their own product line as well as future outside projects.
Alex Valich After studying at Parsons School of Design Alex went into fashion imaging and applies many of those philosophies to the work that redstr/collective does. He has worked on projects for Calvin Klein Cosmetics, The Fashion Center NYC, Poets, and Girly NYC. Alex also has an extensive background in interactive design and development for such companies as Boym Partners, Raydoor, Bikini.com, and theglobe.com. Alex loves walking the streets of Williamsburg, taking snapsots, and listening the the latest Wu-Tang or Beck album.
Christine Warren Christine studied and taught product design at Parsons School of Design. After spending over 7 years working for Boym Partners, Christine decided it was time for redstr/collective to do it's own product line that started introduction in the Summer of 2003. She has worked on projects for The National Design Museum, Vitra, Authentics Plastics, and the New York Transit Museum. She has an extensive background in product, furniture, and exhibition design. In her spare time she likes to read about string theory, watch bad television, and play the new Resident Evil on her Gamecube.
Born in 1965 in Warsaw. Studied at the Faculty of Interior Architecture in Warsaw Academy of Fine Arts. In 1990 has made a diploma with distinction (work: MY PRIVATE CHAIRS). Participated in several exhibitions in Poland and abroad (solo exhibitions: HOME/1993, OBJECTS/1995, SHOWING IN A FACTORY/1997, MEBLARIUM 1/2002, OPERA GALLERY/2003). Created a lot of furniture-objects, sculptures, internal arrangements.www.grunert.art.pl
Hilow is the new collection created by Kyo-design, a design agency run by Christophe Francois During the latest Maison & Objet Fair, our booth has appealed to many specialists, whose attention was mainly focused on the Hilow Cube “One”. Materials All products from the Hilow range (Cube, Tripod & Flower) have : - a structure made with polyether foam of high density. A second layer of foam with a lower density has been added for a comfortable sitting. A soft polyamid cotton tissue is sewed for a nice appearance and finish. - Four standard colours : black, grey, red and orange. Every other colour can be produced in case of important order. Cube "One" has specific characteristics : - a gas spring (hydrolic damping element) is used to pull up the tray; the gas spring is fixed in the structure. An easy pressure (150 Newton / 15 Kg) has to be exerted on the aluminium push button to pull up or down the tray. Height adjustment of the tray is maxi 20 cm, but the gas spring can be locked in any stroke position desired. - The Acrylic tray is screen-printed and protected by a UV varnish. This means that it is very easy to customize this product Maximum load supported by the tray : around 3 Kg (perfect for a laptop) - Total weight : around 13 Kg "Tripod" Mixing different sizes is definitely not a good idea, because it would not be steady. These items have thought to be put either on the ground (20 cm & 40 cm - as a seat) or on a seat (4 cm - to give some fun and some more comfort).www.kyo-design.com
Contemporary living is bringing people back into the city as older areas are regenerated including post industrial areas, factory units comprising apartments for living. artandfurniture offers you the opportunity to help yourself in choosing suitable and innovative pieces to enhance the style of living you have chosen at a price you would consider reasonable, to own unique Art or Design or Craft forms. With no allegiance to previous art or design or craft movements, artandfurniture offers bold statements of design which refer quite comfortably to modernism.
Born in Corchiano in the vicinity of Viterbo on March 16, 1967. After earning his diploma at the Ronciglione State secondary school specialising in scientific studies, he moved to Rome where he worked for some eight years as a graphic artist at an advertising agency. Always passionately fond of art and archaeology, during those years he also devoted himself to in-depth study of texts and documents regarding the goldsmith’s art in ancient times. Little by little he began to combine experimental activity with theoretical learning with the aim of verifying the hypotheses formulated up until then concerning ancient techniques of working gold. Following innumerable fruitless attempts carefully conducted on the basis of the most erudite studies, Cagnetti tried blazing new trails in research, taking a strictly personal technical and theoretical approach. The first encouraging results thus obtained spurred him to redouble his experiments and concentrate on the application of the methodological procedures elaborated. In 1985 he returned to his birthplace where he began to devote himself to the goldsmith’s art on a fulltime basis under the name of “AKELO.” At this time he first started exhibiting his work at various shows and events. During the course of the next eight years he completed a collection of original jewellery offering proof of his having achieved at last the desired stylistic and technical perfection. His creations aroused the interest of the specialised press, as well as of certain television programmes of a strictly cultural bent. Worthy of mention is an article entitled “ Etruschi, scoperto il segreto dei loro gioielli” (or “The Etruscans, Secret of Their Jewellery Unveiled” that appeared in the Corriere della Sera (29 October 2000) and a guest appearance on “ULISSE” (RAI TRE, 23 November 2000) and “Abenteuer Erde” (HR - Hessischer Rundfunk, 27 April 2002). In 2002 he produced a series of works for Capitalia S.p.A. He currently resides in Corchiano where he continues to pursue his creative activities, including other forms of artistic expression, such as painting and sculpture. read more »http://www.akelo.it/en/
The recently released volume features 61 of the most innovative industrial, furniture, and product designers in the Western Hemisphere. Edited by Carissa Kowalski Dougherty and published by daab, this 400-page, full-color publication is now available worldwide.
Beverly Hills, CA July 12 2006 - The creativity and design of Robert Radi, an award-winning designer based in Beverly Hills, California, has been recognized in a new editorial project by Fusion Publishing (Los Angeles – Stuttgart). The beautifully executed book celebrates the inspired work of 61 pioneering designers who represent the new American generation.
In her introduction, Carissa Kowalski Dougherty explains that designers in The Americas—including North, South and Central America—are as diverse as the cultures within which they work.
“It is difficult to talk about them as one cohesive group; their passions, design strategies, and formal outcomes cannot be summed up in a simple mission statement, nor should they be,” says Dougherty. “The lack of a single, hegemonic style does not mean designers in The Americas are afraid to commit to an aesthetic ideal. Instead, it signifies a dedication to the nature of design and the restlessness of human creativity.”
Radi is featured in an eight-page spread with some of his most successful designs—including Personal Microdermabrasion and Consumer Electronics projects —that have collectively generated more than $100 million in sales. The products highlighted demonstrate Radi’s attention to detail, his unique sense of styling, and his ability to come up with humorous, original concepts for household products.
Radi grew up in Northern Italy, borne into a rich tradition of design and invention within his family lineage. He moved to the United States some 15 years ago and has gone on to achieve considerable acclaim, winning in excess of a dozen design awards in the last four years alone.
Radi has designed products for mass and limited production for companies such as Johnson & Johnson, Disney, DermaNew, Paramount, Mattel, Revlon, Colgate, Toyota, Neutrogena, Avery Dennison, Aroma Houseware, and Berkshire Hathaway (GINSU Brand)—to name a few.
In 2005, Robert Radi launched his Limited Edition Eyewear line. He is currently working with several of his high-profile clients on products that will be released in 2007
Young Designers Americas by daab (Author), Carissa Kowalski Dougherty (Editor)
Working within the ancient traditions of artistic glass, while incorporating technical innovations, our work is about classic taste mixed with contemporary design. We study the material and its capacity for transformation while maintaining the essence of glass. Celebrating the aesthetic qualities of glass, Art Studio Glass is a laboratory for experimentation and new techniques. It is an art lab where all the works are hand-made, reproducible but unique. The essence of hand formed glasswork is its uniqueness, by nature unrepeatable… We specialize in manufacturing glass beads and Murrino glass. Art Studio Glass rediscovers the antique Phoenician, Egyptian and Alexandrine techniques, which conquered the Mediterranean long ago and brings them to the present.
New design firm with revolutionary lighting product that brings the sun into your arms
Boulder, Colorado (March 2007) – The first product launched by Diana Lin Design LLC is REi Huggable™ – a huggable lighting pillow. It won the bronze prize for the 18th Koizumi International Lighting design competition in 2005. REi Huggable™ has also been published in numerous international magazines and design blogs.
The inspiration of the REi Huggable™ design is of sunlight. The comforting rays of the sun are shared by people around the world. It is the essence of people’s everyday lives. Sunlight not only represents warmth and light, it also creates happiness, joyfulness, playfulness, intimacy and life. However, people often take this for granted, missing the sunlight only when it is unavailable. The concept is to create a light that captures the essences of sunlight as a reminder, condensing it into something that people can create a close relationship with. The word REi, of REi Huggable™, comes from the sound of the word ray as the ray of sunlight. The word also promotes RE-inspiration from the sun.
REi Huggable™ is constructed of a furry pillow cover wrapped around a series of LED lights embedded within silicone bubbles. The idea is to use the properties of the silicone material to act as a diffuser for the LED lights. The silicone’s natural material color is translucent white and when lit with warm white LED lamp, it creates a very warm and comforting glow that represents the sunlight. The tactic material of silicone mimics that of a living creature that almost hugs back at you as you hold it; as well as its ability to absorb body heat, allowing it to be warm to the touch. The shape and material for the lighting pillow cover encourages people to touch, hold and bond with REi Huggable™.
REi Huggable™ is a great product for everyday use. It provides a great sense of warmth and security when held. REi Huggable™ can be used as an accent ambient lighting and also as a comforting cushion. It can also be a great night light for those who likes a warm light for a good night of sleep. In addition, it is also a great sunshine alternative that will uplift people’s mood year round for those suffering from S.A.D (seasonal affective disorder), which comes from the lack of exposure to natural sunlight. The usages of REi Huggable™ are only limited by people’s imaginations.
Diana Lin Design LLC is a newly formed design firm that designs and manufactures a wide range of products. The mission of Diana Lin Design, LLC is to bring unique and memorable experiences to people with design through physical and emotional experiences. Diana Lin Design, LLC produces innovative products that aim to bring happiness and joyfulness to people and provide companionship. Diana Lin Design, LLC hopes to create products that people will cherish for a live time.
Ted Silverman has been sculpting for over 30 years. He works in Italian and domestic marble, white and colored alabaster and clay. His abstract sculptures evolve from his spirituality and a compelling desire to expend his energy in a way that allows the viewer/owner the opportunity to feel his or her own positive energy. The sensual qualities are liberating for both the artist and the observer. Ted studied in Pietrasanta, Italy with Bruno Breciani and Leo Mutti, both of whom have executed works for Henry Moore, Jacques Lipchitz and Fernando Botero. He continues his studies at the Marble Symposium held every Summer in Marble, Colorado.
Yaga textile design studio creates handmade exclusive fabrics with unique texture effects based on patented technology. New trends are developed for high fashion, stylish interiors, exclusive accessories, classical and avant-garde theatre. Yaga fusion textile design studio being at the intersection of ancient traditions and up-to-date hi-tech achievements, bravely breaks the bounds between art and craft, daintiness and luxury. Goddess, Mother of all creatures, is the only one, but She has many faces. She is eternal and exists simultaneously in triune: virgin, mother, and crone. All-bearing and all-absorbing, creator and destroyer, she is beautiful Aphrodite and horrible Medusa, Lada and Mara, Vasilisa and Yaga, Kali and Lakshmi at the same time. Yaga is one of the incarnations of Great Goddess, she is Mistress of flora and fauna and triple goddess of fate; she is both a wise helpful adviser and a redoubtable enchantress. Yaga is a guru or a mistress of initiations. Earthly ignorance of youth is burning in the magic fire of her hearth. Through annealing in magic fire young initiates enter the world of sacred knowledge. Yaga is powerful. She ties and tears the threads of fate. Yaga fabrics find their place not only in avant-garde fashion, but also in pret-a-porter. Yaga textile design studio creates fabrics which can be used in manufacture of accessories (bags, gloves, belts, ties), in interior decoration (portieres, screens, lamps, drapery, capes, coverings, wall panels). Texture expressiveness, wide color spectrum and bulk effect allow to create unique theatre costumes and scenographic elements. Moreover, the special fabric compositions can be placed inside a frame and displayed in show rooms as "painting" of a new trend. Ready-made Yaga patterns own unique effects, plasticity, texture, and the depth which has never been achieved in textile design. Each pattern is guaranteed to be a single unit due to its original design, handmade work, and technological secrets of manufacturing. Welcome to Yaga's world woven by us.www.yaga.ru
Finnish designer Satu Makkonen designs home and fashion accessories for her own label Hau Hauz.Hand-screend-printed-designs on 100% linen fabric. Modern and yet timeless, the HauHauz products are manufactured of first class linen. The design has a strong emphasis on trends, but only in a way that fits to the Hau Hauz concept.
The combination of Scandinavian design and use of traditional materials gives the products a fresh impression. The starting point for the designs are to create simple, clean shapes and colours which make it easy to create a bold interior effect.
The prints are heavily influenced by Finnish and Scandinavian style and design. Strong colour combinations and large prints are part of the style and design.
Ideas for the prints come from many sources; the current assortment is strongly influenced by nature: Lotus-flower, Pelargonium and climbers. In addition we have tried to draw some exotic influences from the east with the India Print. Whereas the Stripe Print is a retro print from the Finnish tradition.
Despite the varying types of influences in the designs, we have tried to make the designs and patterns interact as a whole. Whereby the designs, whether it be the India print or Stripe print, can easy be combined together to create one whole very modern impression. In our colour schemes you will find both traditional and bold colours, in which traditional linen gets a totally new look.
Tovdesign, Aije and Emofurn, the definition of a new furniture style. An emotion through a furniture, a built-in expression, the user conflicted. TOVDESIGN is a company that offers know-how and design in furniture domains such as conceptual design, design study, cad-support, prototype building, financial study, serial production, engineering solutions.www.tovdesign.be
Alexandromeda project is a long-term artistic creation, the one of its kind, unique Recycling of Computer and Electronic parts into futuristic and ancient like Art objects. Beside the artistic value it is the artist’s contribution to the e-Waste reduction which will be an important issue in the 21st. Century. Modern example of how artists using technology and reuse its parts in the artistic creation. Like a modern archeologist I 'm looking for the signs left by the energy of ancient and hyper civilizations in old computer and electronic equipment. Futuristic and ancient forms presented in my Art are showing that there is something mystical going on. I did acknowledge that my artistic way is to decode and encode these signs to create new forms what we understand. Pioneer spirit, lead by higher Energy and dedication to creation of something which is original and unusual it happens right here and it's ready to be presented to the public worldwide. From the mystical ancient worlds, over the present and the future to the deep Universe, everything needed for the creative work I found through transformation of the old electronic and computer parts to the new form of existence. Future Vision arts example and High Tech Art for the 21st. Centurywww.alexandromeda.com
Apparently, Nicholas Serota, director of the Tate Modern, was not prepared to let the name of Donald Judd (1928-1994) silently fade from our memories - did he not do his utmost to make the man famous in the first place? Ten years after his death - sixteen years after the last substantial exhibition - he presents a big retrospective of the work of the artist who has 'changed the course of modern sculpture''. The exhibition travels to Düsseldorf (19/06 to 05/09/04) and Basel (02/10 to 09/01/05). Heavy artillery, that makes us ask what has to be canonised here at all cost. Who is this master and what everlasting works did he leave to posterity?
BOXES 'Il faut être un homme vivant et un artiste posthume' Jean Cocteau, Le rappel à l’ordre. From 1947 to 1953 - in the heydays of the very 'abstract expressionism' that soon will be promoted as the panacea of the Free World with a little help from the CIA* - Donald Judd studied at Art Students League in New York, the College of William and Mary and the Columbia University. Meanwhile, he is already fully active as an art critic and a painter. Already in 1957, he has his first show in the Panoramas Gallery - although from the paintings exhibited there no trace is to be found in what is announced as the 'first full retrospective'. But things are not going well with the Action Painting in New York. Andy Warhol comes to replace Jackson Pollock. Accordingly, the expressionistic gestures on Judd's canvasses are replaced with a baking tin (1961). read more »
Universal symbols from all cultures, representing everything from festive pinwheels to the internal journey of the soul. The Spiral: A movement down into despair, a motion up into joy, a sojourn inward and back out again. The Circle: A path of completion, a new beginning, a continuing sense of union. "For the past number of years I have been exploring in my photography these two symbols, creating them in sand, in flame in water, in time. Each time I learn a little more about the space I am in, both emotionally internal to my experiences, and physically external to my environment. This series is as much about the exploration of my spiritual reality, as it is about an appreciation of form, shape, and design."
Franco Donaggio was born in Chioggia in the province of Venice and has been working as a photographer in Milan since 1979. His high skill and continuous experimentation in all the darkroom and shooting techniques lead him to study in depth new aesthetic languages which constantly renew and improve his professional and creative level. In 1992 he is awarded the “Pubblicità Italia” Price for still life photography. In 1995 Donaggio realises his first major fine art project called “Metaritratti”, thanks to which he wins the Italian “Kodak Gold Award” for creative portray photography in 1996. At the same time, he is invited to carry out several creative prestigious projects like calendars, brochures and ad campaigns for national and international firms including Givenchy, Lancaster, Cartiere del Garda, Lamborghini and many others. Donaggio dedicates himself more and more to fine art photography and starts a close collaboration with Joel Soroka Gallery in Aspen, from which he is represented for the North American sales collection market. Since then, he has attended the principal photo-art trade fairs through the United States, such as 'Photo LA', Los Angeles, 'AIPAD show', New York, 'Art Fair, Chicago'. Donaggio’s fine art works have been hosted in numerous Italian galleries and museums and some of his photographs are included in several public and private photo collections: Bibliothèque Nationale de France, Collezione 3M, Collezione Scavi Scaligeri, Saudi Royal Family’s Private Collection, to name just a few. Lots of magazines in Italy, Europe and United States have published the artist’s creative profile. Donaggio is represented by the ‘Joel Soroka Gallery’ in Aspen, by the ‘Benham Gallery’ in Seattle and by the Galerie Celal in Paris for the fine art sale in the United States. read more »www.francodonaggio.it
Obscura Machina seeks out the relics of the past imagined scenes, and unconscious states
A collaboration of two artists, our world is inspired by the time of the great machines of the industrial revolution, the experimental spirit of the early 20th century, of Victorian clutter and curios, explorations of the mind, and objects of mystery and marvel.
Utilising both traditional and digital techniques, our images reflect our passion for the eclectic, desire for the unknown, and the lost poetry of the forgotten and abandoned.
The work of photographer Agnes Donnadieu has been called brooding and sexy, edgy and glamorous, erotic and slick. It's also been called "European." What nobody has ever called it is "Midwestern," though Donnadieu has lived and worked in Chicago for the last 9 years. Donnadieu's photos tend to be dark and shadowy. Her images of people appear unposed, yet the composition is graphic, candid, without being contrived. The dramatic look of her photos is due in part to her direct lighting technique. read more »www.donnadieustudio.com
Retouches photo avec Photoshop (French) by Cyril Bruneau
Since the end of 2002, I´ve dealt intensively in creatively
combining digital photography with different rendering and image-processing programs. With the motto „everything is possible! – possibly is everything nothing?“ I feel my way ahead, image for image. My own photos, foreign material – exchanged through the web, altered or left unchanged, partially or completely taken over... To give fantasy free rein, to unabashedly refuse to reject unusual material to the cyber-bin, the possibility to continuously change and yet adhere to the original idea – all this has led me into a new wide-open territory. Wide-open territory with unforseen creative possibilities. Wide-open territory restricted only by one´s own fantasy. Wide-open territory where for me now, no limits are in sight ...
Georg Hübner, born 1962 in Vienna. In 1993, after many years in music, I turned to photography. Impressed by the expressiveness of high-quality fine art prints, I devoted my initial years to the fundamentals of photography and my interest for positive and negative techniques, as explained in the literature from Ansel Adams. Several years later, after excursions into various segments such as infrared, landscape and spontaneous snapshot photography, I developed my own style, influenced by Czech photographers Michal Macku and Jan Saudek. In November 2002 I began combining "classical" analogue and digital photography. Many of the expressive possibilities, before only obtained through incredible efforts in the dark room, were now at hand, and yet more precise and time-saving than previously. Pictures occupy my thoughts long before they are transposed. Experiences, feelings, dreams.... these are the material from which the real forms arise. With the aid of files of my own and others, as well as 2D and 3D - program, the final picture is created. The challenge for my finished images is to project and represent those fleeting moments of joy and fear, of high and low spirits, of fun and madness ...
Date of Birth: 18/12/1948 in Orleans (France).
I am still living in Orleans. Studies: Ecole EFET when i was 20 years old (in Paris). It is a private school which forms students to audiovisual arts in order to be professional. It was created in 1970 in Paris Beaux-arts (Orleans) for 2 years. (school of arts) I am working with a Pentax 6X7, Nikon 24X36 and a digital camera Olympus E-10 (for the late pictures). I am not a professional photographer. I practice picture for leisure time...it's my hobby
I am working today for a local newspaper in Orleans where i am creating publicity and the numerique gave me the opportunity to make also new style of photography. I have been making pictures for 30 years and i love studio photography portraits, female nudes, glamour ...
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In today's challenging business environment, Adobe Photoshop 7.0 helps you stay competitive with innovative tools that deliver new ways to express your creativity and work efficiently. With Photoshop 7.0, you can more easily produce exceptional imagery for print, the Web, wireless devices, and other media. Photoshop 7.0 rounds out its comprehensive toolset with new capabilities to meet any creative or production demand and to handle the widest variety of image-editing tasks in the most efficient way. With enhanced Web features, you can instantly make Web page elements transparent simply by knocking out one or more colors; create dithered transparencies; manage Web page rollovers and animations; and create more sophisticated Web rollovers. Powerful new tools help you explore your creativity without limits so you can more easily meet the multimedia demands of today's market. Simulate traditional painting techniques (including pastels and charcoal) with dry and wet brush effects and use brushes to add special effects. Adjust dozens of precise brush settings including size, shape, and tilt to create custom brushes that you can share with other Photoshop users. With the new Pattern Maker plug-in, you can select any area of an image and automatically generate a nearly endless assortment of background patterns. And the enhanced Liquify plug-in lets you distort images more easily and gain greater control over warping. Photoshop 7.0 offers unparalleled precision and control so you can be confident you're achieving consistently superior output. New security features let you restrict access to your images with password protection.
I've been conjuring images in some form or fashion for the vast majority of my life. After a 24 year break working as air traffic controller in the Air Force I've once again managed to return to my creative roots on a full time basis. I did perform a considerable amount of freelance commercial work in Japan as well as the odd portrait commission before leaving the service. I've worked in every sort of medium and finally devoted myself to digital imaging a little over 2 years ago. Web design for me is akin to painful and protracted dental work.
Horkay's Museum Factory series combines original drawn and painted images, appropriated masterpieces, photographs, artists' signatures and commercial logos. These elements are digitally assembled, i.e., collaged, to create a single, layered moment reflecting different places and times. This work is post pop, i.e., post modern pop art. Whereas Warhol took moments from popular culture and turned them into history, Horkay takes history and turns it into a moment, as though the past millennium was a monolithic unit of time.
István Horkay was born on 1945 Budapest Hungary. After graduating from the School of Fine Arts in Budapest in 1964, Horkay was invited to attend the Academy of Fine Arts in Cracow, Poland, the Major Art and Cultural Center of Eastern Europe, where he received his Master of Fine Arts.He continued his Studies at the Royal Academy of Art in Copenhagen, Denmark. (1968) and did additional Post graduate work atthe Academy of Fine Arts in Budapest. (1971) Horkay studied under the Internationally known Artist and Theater Director Tadeusz Kantor as well as Professors M. Wejmann and J.Nowosielski. and Palle Nielsen (Denmark) He received Diplomas in Graphic Arts, Painting, and Film Animation. read more »
May 02, 2004 From: HAYNERART
Horkay, he is the KING
I am the Editor of Digital Photography & Design magazine,
an Australian magazine covering digital photography, digital video, web design and digital art. I am also Technical Editor of Capture - Commercial Photography magazine, a bi-monthly serving the needs of professional photographers. I am the Founder and Director of Digital ImageMakers International, and Publisher and Editor of their magazine. DIMI is an international organisation serving the needs of both professional and amateur digital image makers, irrespective of what medium they work in. Thus, this one organisation aims to exploit the convergence between digital photography, graphic design, web design, 3D graphics and animation and digital video. I am also a freelance writer for several other publications, including The Age newspaper and Desktop, a graphic design magazine. Lastly, I am the Director for 2003 of the International Digital Art Awards. I made the switch to full-time writing some six years ago, following the death of my second wife after a long battle with cancer. As one does in such situations, I examined everything I was currently doing and decided to make more room for writing and my art. Prior to this I was a Senior Lecturer in Computer Science at Swinburne University and Head of the Computer Graphics Research Group. I was an academic for 17 years there, specializing in parallel computer graphics rendering, computer architectures for graphics and mathematical and algorithmic art. I created my first computer graphics image in 1979, built my first computer in 1980 and constructed my first digital camera in 1986. Parallel to all this I was actively working on my photographic and art skills. I cut my teeth on photography as a child doing astrophotography, hooking my cameras up to the telescopes I had and built. This grew into a general interest in photography and art. I also started painting around the same time. It was during my time with my late wife that the passion for art photography and digital art really developed and I owe her a huge debt for guiding my development. I am now happily re-married and have a delightful daughter. I have exhibited my photography and digital art (predominantly mathematical and fractal imagery, up until quite recently) in group and solo shows within Australia, including invitational survey shows. My digital artwork is currently going through a period of major change and development. I also run a small graphic design and professional photography studio, with my wife and we also sell fine art materials to the local professional artists. My wife is a pastel, acrylic and oil painter (as was my late wife), and I paint in watercolours, mainly on Yupo plastic papers, as a relief from the computer work. My digital art work draws inspiration from my many interests. For my whole life I have had deep interests in, and made active studies of, philosophy, the esoteric, ancient history, esp. Egyptian, Greek, Roman and Celtic, comparative religions, mathematics, astronomy, quantum physics, paleontology, the origins of man, psychology, art and modern history, esp. European and Asian.
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I was born in Lisbon in 1970, where I lived until the age of 6. From Lisbon, I moved to the south margin of the river Tagus, to Amora, a place at the Atlantic coast, where I've lived for 29 years. My interest in drawing and painting started at an early age. I remember me playing with colour pencils for hours and hours, at a time when it was even hard to handle the materials. I used to draw on most curious surfaces as the walls, the floor... everywhere I could. I believe I've always hated limiting frames and I certainly like to experiment on new materials. The material world is a giant canvas and an infinity of mediums, as well as the mind. Experimentation means to me real apotheosis, the quintessence of knowledge. I'm a perfectionist and maybe insane, although I'm conscious that I will never reach perfection. I've been enjoying this endless road. I've studied Art and Design at school, since I was 14. Later at university and always for a lifetime. To live is to learn, to learn is to experiment and vice versa. It's a constant in my life. I finished my studies at university some years ago and since then I’ve been working in my studio in Lisbon and as a freelancer. Simoultaneouly, I've dedicated some time to artistic activities as painting and sculpture. In 2003, as I was conscious of the importance of digital technologies and how they revolutionize the arts, I started experimenting several techniques in digital painting or mixed medium (traditional/digital). I believe that a new aestetics has grown and expanded from the digital media, allowing the artist more freedom during the creative act, in which the computer represents both, the material and the medium, being a powerful tool as fast as imagination. It's not easy to answer when I'm asked to define my art in a few words. I've always faced it as “... a product of dreams with eyes opened widely, a journey through the human brain, exploring its darker places, opening imaginary doors to empty imaginary rooms... or maybe not.” I'm a member of ARTES- Seixal Cultural Association and member of Surrealists (Surrealist International). I'm represented in several national and international exhibitions and I've some permanent galleries online
Elizabeth Mañasco, was born 1959 in Gibraltar. Graduated 1979 in Arts Applied in Corunna. Graphic Designer since 1992.
"With the computer I find a personal artistic tool and a means to express my sensibility, capturing scenes and special moments" read more »
I am 72 years old from Hindu family of north India settled in Hyderabad. I am an atheist in literal sense. Yet I have absorbed a good deal of mystical, symbolic and ethereal overtones from my culture as well as an over-view of other religions. I believe that too narrow a commitment to one's own religion often leads to denial of, and antipathy to, other religions. I believe in a universal 'religion of man-in-nature' that transcends the narrow limits of physical world (fragmented, distorted, and self-centred) into the world of sublime -- pervasive realm of beauty, love, social-good; and the eternal energy of creation, progression and destruction.
I was fond of painting from childhood. I was encouraged by famous artist Sudhir Khastagir of Lucknow to join Kalabhavan (Fine Arts College) at Tagore's university at Santiniketan. I joined Kalabhavan in 1951 but after three months I was shifted to graduate school due to family compulsions. "As an artist you will starve" my father said. While at Santiniketan from 1951 to 1957 first as a student and then as a schoolteacher, I was closely associated with Kalabhavan as a part-time student. I was close to Ramkinker and did many paintings and sculptures at the young age. Only few of those works remain with me now.
I lost touch with art after entering a long academic career in social science. After studying literature (M.A., Visva Bharati) and anthropology (M.A., Ph.D. at Lucknow University), I specialised in Medical Sociology abroad (D.Sc. Johns Hopkins University). I spent time whole-heartedly for research and teaching at five different universities including Johns Hopkins University and Howard University. I was in USA for 6 years and returned to Banaras Hindu University in 1976. I shifted to Central University, Hyderabad from BHU in 1979. I retired as Professor of sociology in 1994.
The highlight of my academic career was to study and promote the folk culture and practices of ordinary villagers - first in the field of health, hygiene and sanitation, and then in the field of forestry and watershed development. Understanding the richness and limitations of folk culture, and then facilitating development through active and direct participation of primary stakeholders, was my obsession. Despite a lot of lip service and private appreciation of participatory development, this is totally against the mainstream of administration and professions in India. Except for small-scale glimpses of the potential and possibilities of such an approach, particularly when working with voluntary agencies, I was a lone crusader and failed to get support of institutions, administrators & professionals in my mission. But for few close friends and colleagues who worked with me and understood me (or did they?), it was an exciting battle.
Getting back to my private world of fine art was a healing consolation for my aging self.
An exoposure to the works of great variety of digital artist on the internet, including Pygoya and Ingrid Kamerbeek has opened my eyes to the vast arena of cyber-art. They have encouraged me. I have visited digital art sites on the Internet and I am overwhelmed by the variety, depth and complexity of the digital art today. I am still learning and exploring the possibilities of the digital medium. What I have done so far is nothing but a beginning.
Here again perhaps I am up against the mainstream by choosing the digital medium and calling myself an 'artist'. What matters is that I thoroughly enjoy what I am doing. It fills my life with a sense of fulfilment. It has charged the lonely life of an aged widower.
Like all artists I like to share and learn what others have to say. During last one year I have displayed my works in a number of art related web sites. It is time I have my own website.
Mohammed Sherif born 11 March 1978 in Egypt. Hobbies : guitar, singing, movies. Education : BSC of Computer Engineering. Skills : Adobe Photoshop, Freehand, Flash, Html, Director Graphic Design & Web Design, Digital Art.www.is.msherif.com
Valeriy Grachov was born in Archangelsk, Russia in 1949. He went to school in Leningrad in 1956 and later moved to Dnepropetrovsk, Ukraine with the family. He graduated from high school in Kiev and entered Kiev’s Institute of Design and Architecture in 1966 with following graduation in 1972. The artist travelled, resided and worked in many places over mountains in Central Asia, Baikal, Far East, on the islands in Japanese Sea. He lived and worked in Jyvaskyla (Finland) in 1988, Trenton (USA) in 1989-90, Prague (Czech Rep.) in 1974-75. Presently lives in Kiev, Ukraine. read more »www.valeriygrachov.kiev.ua
Jürgen Schmitz grew up in Cologne, Germany, and now lives and works in Ancona, Italy. Complete artist, Schmitz only recently decided to dedicate himself to digital art making in a professional way. Thanks to his vivid imagination, he creates works in which he combines formal compositions and various chromatic tones with singular textures of often materic effects. It's essential to the author creating his works with instantaneousness; all his works, unique and never reproduced more than once, are similar to 'snapshots': their birth, their elaboration and their realization is performed in a short time frame in order to take the best advantage from the immediacy, the instant, the magic intuitive and inventive moment.
Each phase of the creative process is personally followed with care and precision by the artist; like an 'artisan', he creates and produces his artwork up to the final part of the printing. Schmitz, inventor artist, gets inspiration by the experiences coming from his job in management for an international company, maker of electronic musical instruments, but, above all, by his innate and inexhaustible nature of creative, of searcher; his works reveal and introduce us in a world made of colours, figures, compositions and architectures, all products of an imaginative and immediate path.
Alan King was born in Greenwich, South East London, in February 1952. At the age of seven or eight, at John Evelyn School in Deptford, Alan was already experimenting with perspective and drawing fairly complex buildings.
Moving from a post-WWII Pre-Fabricated House in Deptford to New Cross at the age of about ten he could often be found loitering at the back of lectures at Goldsmiths College during the summer where they were often held outside - and he could get through a convenient hole in the fence from the railway embankment ...
When he went to ELTHAM GREEN SCHOOL in 1963 (pictured below) he was lucky enough to have teachers who, although teaching the disciplines of Art, allowed the students to develop their own styles. It was here he invented the word ARTYTECTURE to describe his style of work.
It was at Eltham Green that Alan was introduced to the Art of Dali, Tanguy, Reutersvard and Escher, plus the architecture of the great Frank Lloyd-Wright (all a great influence)
Leaving school in 1968 with just "O" Level Art he pursued a career in commercial Art with an Advertising agency in London's West End: Disappointingly, his commercial art career was cut short when he was transferred to the accounts Department and he left shortly afterwards. He was lucky enough to get some commissions during the Late 60's and early 70’s and exhibited and sold his work in local shows in London. He was fairly loose about the whole thing and has no idea where any of them are.
He moved away from London in 1977 and now lives in Milton Keynes, Bucks, England. His current style of artwork only really developed in January of 1999 when he decided to experiment with combining photography with his ARTYTECTURE with the aid of computer software. The rest, as they say, is History
In August 2002 Alan founded MILTON KEYNES DIGITAL ARTISTS and held the post of Chairman from August 2002 until May 2004. He regularly exhibits in and around Milton Keynes and is proud to be invited to attend schools as Artist-in-Residence for special projects
January 31, 2005 From: Rodica Sandra Miller
Your work is so wonderful, Alan.....Congratulations for this spectacular presentation at Ionone. www.sandramillergalleries.com
An aproach to the digital canvas creating directly from the stylus in the digital canvas, sketching, drawing and painting into the screen allowing me to capture the gestual energy involved, then processing with a wide range of digital tools, not emulating art techniques with the digital media instead of using them to create a digital creation itself and through a wide range of processing techniques. When i work at the same time in a series of digital Artworks, i keep different versions to alter them in a later session, creating an environment in which shapes, color, lights, textures are merged with the background, expressing energy and motion, with Digital Art tools and techniques, remaining the digital handraw inpulse as the main source. The Computer as a tool for the creative process is fascinating as you can merge and manipulate scanned sketches, draw, animate or paint directly on the screen with a pressure sensitive tablet, capturing the moment with gestual expression. My aproach when i face the digital canvas, and the processing of creating takes an attitude towards the bottom line, crossing throug my expectations, to witness and unfold my gestual traces, discovering new forms. The Digital Animation is a process in which takes a longer time to achieve the result, thus my aproach is a gathering process of ideas and images, transforming throug time and frames,a kinetic idea or script. The link between the still image and the moving picture comes when both became one, as you can see a still image but suggest you that is in motion, a parallel process in which both capture its essence. I have experience with digital video, stick figures drawings, old sci-fi movies, 3D, digital animated painting, exploring new ways to aproach digital Animation, in my own environment.
I have participated as a Computer Graphics Creative in Animation Films Festival since 1991 and recently at The Prix Ars Electronica (1998 ), Linz, Austria - The Darklight Digital Film Festival, Dublin, Ireland, ( 2000 ) - IFCT ( International Festival of Cinema and Technology ( 2002 ), Toronto, Canada, with the nominated Animated Shortfilm " The Rope". I have Lisenced in Fine Arts in Santiago, Chile Between 1981-1984, then Computer Graphics and Animation techniques at the CCAC in Berkley, San Francisco, USA(1985) - Sao Paulo, Brasil, ECA ( 1987) animation techniques, Computer Graphics at New York Institute of Technology NYIT, Computer Arts , USA ( 1988). Also i work as a Freelance Digital Artist / Animator /Designer in Film Productions, TV, Press, and i have showcase my digital Animations over Shortfilm Festivals and Internet.
My name is Karen Jones and I live in the attic of an old Victorian house in the North West of England. Originally my main creative outlet was poetry and writing, until I came across fractal art and quickly found a connection with it, and the images I could produce, that seemed to be a more natural way of expressing my life philosophy and experiences.
I love exploring the infinite possibilities presented by working with Fractals in abstract and symbolist form. I came across fractals initially after researching truth theories which led onto the trail of Creation and then to Quantum mechanics and Chaos. Fractals fascinated me from the start and the more I learned the more I felt drawn to somehow use them in a creative way. The Fractal art you see on my site is computer generated. A computer program applies a colour to each pixel on the screen based on mathematical formulas. Benoit Mandelbrot first coined the term 'Fractal' and was the first to apply it to computers. His original formula, z^2+c, is called the Mandelbrot formula.
November 18, 2004 From: Emma Kirk
This work is amazing, creative and touches the soul. I believe her work will be enjoyed by many more individuals worldwide in the near future. Thanks to the magazine for allowing people to view the work of this unbelievable artist. Regards
November 17, 2004 From: Robert Maxwell
Karen Jones has taken technology into the realm of the sensuous. Whoever thought pixels could be so evocative? Marvelous work.
November 17, 2004 From: Stephen Whitehead
I'm so pleased to see you featuring Karen Jones' artwork on your site...it's a real tribute to your magazine, as I feel her work will change the world. Thank you. Stephen Whitehead
November 17, 2004 From: G Emil Reutter
Editors: I greatly enjoyed the presentation of the digital art of Karen Jones in your recent issue. The passion of this artist generates forth from each work of art produced and leaves the viewer wanting more. Thanks for presenting Ms. Jones in your magazine. Very truly yours, G Emil Reutter
November 17, 2004 From: Amanda Roberts
What a wonderful artist, the images are perfect and intriguing and unlike any I have ever seen! Good exposure, and I hope to buy prints soon. Congratulations Karen Jones!
Sylvie Robert was born in Paris in 1964. Her love develops mostly in the areas of figurative Art (realism), first classic then contemporary. Although degreed in business administration, Sylvie has accelerated her passion for art thought the use of modern computer technology.Refining her classical and esthetic taste she has develop a fantasy vision that would make Salvatore Dali jealous as she continues her experiments in digital imagery.Her works are a fusion of dimensional speech that evolve thought time and space covering “expressionism ipormali” (ipoformal expressionism) and post realism. She mixes emotions of the purest esthetics with the timeless recognition of the evolution in technical landscape reaching the ultimate in contemporary digital expressionism. Sylvie Robert has joined the elite class of the Digital Artists Her elegant use of color combined with fluidity of forms and her originality of backgrounds (neoclassic and futuristic) will delight even the hardest critic. Owning a painting by Sylvie Robert is not only a good investment and pleasure but also a glimpse into the world of fantasy and good taste. read more »www.sylvierobert.com
Bernard Dumaine, born in France in 1953. I studied in Angoulême Fine Arts school, I have been upgraded from the Angers Fine Arts school in 1977 (sculpture - with a distinction for drawing). Since this date, I did many drawing and painting local exhibitions (hyperrealism or surrealism). When I first began to work using a computer, these collages were made with pictures collected by chance over the Web and then rebuilt in Photoshop. Nevertheless, some works were entirely created, such as the "Fragments" set. I have progressively abandonned this way of working, and I actually use scanned photographs taken from magazines or freeware images from commercial CDs. Finally, I use these e-mages as sketches and I paint some of them with oil on canvas. Since the beginning of the year 2001, I produce less images than I did before, for I spend much more time to realize them. I use now a graphic tablet which permits me to work and almost to draw with a larger accuracy.
My work is about graphical experiments; I have been drawing for years, mostly "organic" shapes without any preliminary plan. Actually, I create pictures using Photoshop and I sometime use them as sketches to paint
In the future world, one will be able to take a miraculous journey into a painting. Special high-tech computerized equipment will create a holographic space for our intelectual enjoyment. Through this program- a sound, color and light show - people will satisfy their need of painting in the future. The painter will become "a magician." But what else is painting other than magic? With several colors and a brush, a painter can create a world of forms, ideas and feelings, and you are invited to explore or travel in the artist's world of thoughts. Above this holographic space, an artificial brain will gather the thoughts and emotions of visitors through sensors and will be able to change the composition of the painting on request. The painting will live by itself like in a sort of dream room. In the future, people will evolve through knowledge and will get closer to God..." Rodica Alecsandra Miller. " Adventure in Immortality" screenplay for computer animation film, experience in art and technology, 1995.
Pygoya about Ingrid Kamerbeek: "Born in 1952 in Gummersbach, Germany. Currently lives in the romantic area of Bavaria. The beautiful landscape not only attracts many foreign tourists worldwide but also provides inspiration for Kamerbeek's art. After high school the artist embarked on a very special education in graphic arts through tutelage and apprenticeship with her grandfather and father, two previous family generations of professional painters. Kamerbeek owned galleries in Kaarst near Düsseldorf (1978 - 1980) and in Mönchengladbach (1980 - 1982) before creating her own web site which assists other cyberartists to gain exposure for their work. A true inspirational leader and motivator for the cyberarts. Much art exhibiting, on earth and in cyberspace. One of her works, "Global Consciousness", was inducted recently into the online Cyberculture Art Museum. The artist finds time to maintain the position of Co-coordinator for East Hawaii Cultural Center's International Cyberart World Tour and Coordinator of CenterofCyberspace.com". read more »www.artingrid.de
We Cyberartists have tunnel vision. Through our art, best fitted to the digital network that the spidery Web is, we pipeline our "cyber"-works for "cyber"-culture's sake that is globally prevalent. When I first established a presence on line with my "Truly Virtual Web Art Museum" in 1997, I had difficulty finding good digital art online to fill the virtual gallery spaces with international computer art. It was pretty much a vast e-wasteland. Cultural experience back then was more about taking up residency in free "home"-pages such as Geocities, and flirting in then novel online "chatrooms." But the Internet held the near term promise that scores of digital artists would soon arrive to claim this new realm of art opportunity. And yes, today, they pervasively inhabit this exciting, proliferating cyberspace! There is now such a diverse richness online of cyberarts that I am proud to be part of this pioneering first generation of artists that are providing culture unique to the Web. Here is art found nowhere else but on the Web.
"Cyberart," according to my perspective and mission, is digital art that is created exclusively for viewing, appreciation, and experiencing, on the Internet. Imagine the power to now be able to transport your feelings, ideas, as artist with anybody on the planet, bypassing the physical bottlenecks that museums and galleries are, through a democratic, distributive vehicle for public visibility and consumption. All one has to do is conform to the medium of expression that best fits this electronic modality, the computer, the network, the boxy screen. Not all artists, especially the sculptors, take naturally to this beckoning new art medium . But for me, like a fish to water, it was a logical extension from "computer artist" (1985-96) to "cyberartist" (1997- present). It just took a change of commitment from printing-framing-nailing-hanging-on-the-wall to merely uploading new works to my web pages. With the advent of this new portal for artistic visionaries, the Internet's Flash, Java, and multimedia integration developments guarantee future visual delights for all cybercitizens.
For 2002 a new milestone for all cyberartists - the EHCC World Tour of Cyberart www.lastplace.com/EXHIBITS/EHCC/ICE2002/ art of disciples for Internet Art- is downloaded, printed out, framed, and exhibited to reveal themselves to those who only "see" in the "real world"- outside the domain of online culture. With the stewardship of Ingrid Kamerbeek of Germany, it is our plan to establish a "web ring" of worldwide museums that recognize, and support, the virtues of Cyberart. Hopefully this will accelerate the pace of opening "unwired" eyes, leading the way to the hidden dimension of edge art just a fingertip away, lying buried, like hidden treasures, within the new landscape of ubiquitous desktops.
Pygoya (aka Rodney Chang, M.A., Ph.D) December 5, 2002
Rodney Chang, better known as the Internet's Pygoya, Cyberartist, was the first digital artist to exhibit in Honolulu, back in 1985. Since then he has exhibited around the world, including Paris, New York City, Russia, Germany, England, India, and Japan. His 1988 solo show at Shangahi Art Museum was China's historic first computer art exhibition. In 2002 Dr. Chang curated and organized East Hawaii Cultural Center's first International Cyberart Exhibition and World Tour. Through the 1980s-90s the artist completed his first major project of computer art (over 150 large painted canvases), "PaintOuts" (as in "printouts") or "Cyberpaintings", before dedicating his creative works solely to digital online display , as content for his virtual 3D museum, The Pygoya Webmuseum, established in 1997. His latest major contribution to the visual arts of the Web is "100 Cyberbabies" (as in new art born on the Internet) exhibition. Currently the artist is curator and director for his online virtual reality Truly Virtual Web Art Museum, webmaster for Las Vegas Art Musuem Web site (until 2002) and the East Hawaii Cultural Center Pygoya made history in organizing and traveling to Calcutta for India's first ever international digital art exhibition (1999). In early 2002 Truly Virtual Web Art Museum proudly greeted its 1 millionth visitor.
The computer serves as assistant in discovering new art visions for Pygoya. The artist, over the years' parade of changing personal computer systems, always attempts to reinvent his developed "style" on the computer, as much his own input as the evolving technical tools. Then, instead of a hard copy printout that other computer artists exhibit and sell, an intermediary actual painting on canvas is produced to "dedigitize" the work This is done in order to remove a purely technical feeling of computer graphics, which some consider a bit "sterile". Then the working painting is photographed, "redigitalized" and modified through editing refinements by the artist. The "final" work of art are either Giclée or Epson archival inkjet prints or such derived digital cyberart is placed online for exhibition in Internet cyberspace virtual reality galleries, such as the 3DPygoya Webmuseum . Most recently, purely digital images are garnered from 3D software and posted as art created for the Internet to contribute to the global visual arts online cyberculture. As such Pygoya's 100 Cyberbabies in 2002 were inspired by the online life of the artist. read more »
It is not my aim to create realistic reflections of my surrounding environment. I would rather like to show the things between and behind and to make my thoughts and perceptions visible. My works are frequently very strong related with personal and social conditions, experiences and emotions.
I was born in 1948 in Wiedenbrück, Germany. Since 1969 I'm married with the graphic designer Karl-Ludwig Kuhlmann. We live and work in Verl, Germany. After leaving school in 1967 with a secondary degree I concluded a professional education as a photographer and graphic designer. At first I was an employee of Bertelsmann publishing house and worked some years in the publicity department of the Nobilia factory, a furniture and kitchens producer. Since 1976 I have been working as a freelancer for several publicity agencies and advertising departments and shaped every kind of publicity resources, like prospects, mailings, advertisements and product designs. As an example I cared for a club-journal for Radio Télé Luxemburg (RTL) for several years. In 1994 I discovered the computer - which had been that far only a working tool, as my personal artistic medium. I gained the necessary knowledge for it in a self taught manner. Between 1994 and 2002 I extended my activities on three fields: 1. The graphic work with own photos: Digitally edited photo-collages of flowers and landscapes, frequently completed with paintings, expressing the connection between the perceptible picture and imagination. Most of them have been awarded in the annually hold Corel World Design Contest. 2. The work with 3D-programs: 3D-illustrations and landscapes in a surrealistic manner also digitally edited and supplemented with paintings. 3. Experimental and abstract works: Since beginning to use the computer as a personal artistic tool in 1994 I tended more and more towards abstraction. Especially the game with geometric forms and the research into the visual and emotional possibilities of several graphic methods are of great interest for me. i.g. to work with fractals which are always the visualized solution of a complex mathematical problem - but viewed in isolation of mathematical questions and contents they are graphic patterns as a snapshot of the infinity. Drawing by algorithmus depends widely on coincidence. However generating and selecting of dynamic forms, their editing and coloring, is based on what psychologists may call "subjective perception". Mathematical art is - although it seems to be a contradiction in terms - a very intuitive and individual kind of work. My subjects are human relations as well as personal and social conditions. [ . ] read more »
part from the catalogue of the international exibition "Science reflected in the Arts"(Hungarian Academy of Fine Arts, Budapest) "The fine arts - just like art in general - has developed parallel with other spheres of learning thinking. The manner of expression in the works of the fine arts corresponds to the way man has seen things, to his aesthetic world of taste in different epochs. The materials and means have followed the new possibilities continually being offered by science, and the thoughts and feelings presented in the works have always been strongly influenced by the spiritual questions of the time, and the attempted answers to them. In the recent decades the development of the electronical communication and computer technology have caused a revolution in the way images are produced. Kovacs-egri takes full advantage of the new technology in producing his works, while sticking faithfully to the aesthetic norms of traditional graphic art. Computer technology has multiplied the means of the artist, enabling him to realize his graphic concepts faster and more precisely than ever before, and bringing experiments in the world of forms and colors out of the restrictions of pencil or brush..."
I was born in 1951. I live in Budapest. In the past years I participated in different national and international exhibitions. My affiliation: Association of Hungarian Creative Artists.
Digital art is an extraordinarily exciting new medium that closely resembles the digital revolution in music and the way music is created, recorded and archived-so much so in fact that I could not resist applying some of the techniques that I use in composing electronic music to my digital paintings. Instant gratification is nice, and I experienced much of it at first, but as anyone will tell you who has used professional graphics programs like Illustrator or Photoshop and tried to create faithful and enduring prints of their work, the learning curves can be very long and very steep indeed. So I can't say that the transition from electronic musician to digital artist was a smooth one. But I am pleased to report that the migration of the techniques went surprisingly well and that nothing could please me more than to one day combine these two disciplines in one dynamic work. Sometime in the near future, perhaps... My formal training in art derives from classes in art and architecture at Pratt Institute, the University of Cincinnati, Wesleyan University and Queens College (SUNY) and covers, though not always in the greatest depth, everything from ceramics and sculpture to painting and figure drawing. Warren Furman
Founded in 1984 by a fine artist, Agora Gallery is a contemporary art gallery dedicated to the promotion of national and international artists seeking exposure to the New York art market. Agora Gallery connects artists with professionals, art collectors, and other artists to create an ever growing family dedicated to the world of fine art. Collectors are provided with a broad range of original artworks through our fine art sales website www.ARTmine.com our biannual art magazine www.ARTisSpectrum.com, and the Collectors Corner. read more »www.Agora-Gallery.com
From Skagen painters to Damien Hirst
On 26 January 2008 the new ARKEN is opening. The premiere exhibitions offer new light on the Skagen painters, a solo show with the bright young thing Andreas Golder and not least: A new hanging of ARKEN’s Collection, now for the first time exhibited permanently and including a unique Damien Hirst room. At last! After 2½ years of construction ARKEN can open wide its doors to the new extension. 5,000 m2 of exhibition space will be the end result – twice as much as now, making ARKEN one of Denmark’s biggest museums. The new ARKEN will continue the course of shedding new light on the classic modern art. At the same time the focus on contemporary art will be intensified through both special exhibitions and a permanent exhibition of the museum’s collection. read more »
On March 1st, 2008, Asher Neiman Gallery made its foray into the art world. While we are a fine art gallery, our definition of 'fine art' is expansive; that is, in addition to paintings and photography, we aim to house, purvey, and promote: hand-made jewelry, sculpture, music, and film. Our artist stable contains an ever-increasing variety of mediums and methodologies. Our gallery takes on a separate identity in the evenings. We host meetings, small corporate events, live music, budding artist showcases, as well as fundraisers for various charities. Asher Neiman Gallery is located in Red Bank, New Jersey, a unique and charming enclave just 5 miles from the Jersey shore and 45 miles from NYC. We're honored to inhabit 16 Monmouth Street, the former location of Art Forms Gallery, a beloved Red Bank landmark for 23 years. "I want to disseminate beauty and to stir the soul of any who are curious, to bring a fine aesthetic to peoples' homes and to fill the gallery walls with spectacular examples of creative spirit in a range of color and form." — Emily Asher Neiman, owner read more »www.asherneimangallery.com
In "Ten Years After: The Warhol Factory" the artistic achievements of six of Warhol's associates are featured. Gerard Malanga, Billy Name,.Ultra Violet,.Allen Midgette and Christopher Makos are included in the exhibition, as well as Warhol's nephew, James Warhola, who carries on the artistic tradition within the Warhola family. Laura Rubin joins the artists of the Warhol Circle with select photographs from the factory years. This multimedia exhibition examines the artistic and cultural achievements of six living artists, who first gained prominence through their association with Andy Warhol, and who continue to practice their arts to the present day. The group comprises several generations of Warhol's associates. It begins with those who played an integral role in founding the famous silver Factory in the early 1960's (Gerard Malanga and Billy Name) and those who were attracted to Andy and his studio in the early years (Ultra Violet and Allen Midgette); extends to one who entered Warhol's circle after his move to Union Square in 1968, and then to the final location on 33rd Street (Christopher Makos); and concludes with Andy's own nephew (James Warhola), who carries on the artistic tradition within the Warhola family. Each artist is represented by a mini-retrospective of ten works, surveying the varied media and phases of his or her career. These include themes of human sexuality (homosexual, heterosexual, transvested); spirituality (Christian subjects and Zen philosophy) and death and disaster (guns and car accidents); a fascination with famous people and Native Americans, with physical beauty and international travel, and with conceptual art and its progenitors (especially Marcel Duchamp, Man Ray and John Cage); the union of word and picture (in concrete poetry, and in poetic/photographic memoirs); and the appropriation and replication of images (through photography, photo silk screening, and photocopying). Laura Rubin joins the artists of the Warhol Circle with select photographs from the factory years. read more »www.audartgallery.com
Heinz Sterzenbach is a german artist who lives and works in Berlin. His Online-Gallery shows 300 "Views of Berlin". The pictures are originals and in different mediums: etchings / watercolor and oil on canvas. In the gallery you`ll also find a catalogue with 600 surrealistic pictures in various mediums (oil on canvas, mixed media, acrylic, pastel, gouache, watercolor, etc.). The E-shop enables you to purchase original works of the artist. Also you will find a link-list with top voting and rating system. read more »www.gallery-sterzenbach.com
The 198 Gallery seeks to enhance the cultural perceptions of the wider community through the comprehension and appreciation of culturally diverse visual art. It aims to provide a platform for a new and fresh visual art language that represents the cultural diversity of British society and give the opportunity for an analysis and appreciation of this work through interpretation and education. The 198 Gallery was established in 1988 after the Brixton riots to support the work of black artists by meeting their needs for exhibition space. The 198 Gallery is now a venue for artists from diverse cultural backgrounds and has gained a profile for innovative issues-based exhibitions and critically acclaimed work in the field of multicultural art education
Urban Vision-METROPOLIS (6/23 – 7/29/05)
198 Gallery in Brixton showcases the work of the young people who have taken part in the Urban Vision digital media arts education programme. 198 Gallery is proud to cement its position as a key contributor to both the wider community and the London art scene. Since its creation, in 1988, after the Brixton riots, 198 Gallery has been at the leading edge of creative education in Lambeth. Designed to provide young people aged 13-19 with access to new media technology, Urban Vision is 198 Gallery’s unique new media arts programme addressing young peoples creative needs. The Urban Vision - Metropolis exhibition gives talented budding graphic designers, photographers and illustrators an opportunity to exhibit their innovative work and celebrates the integration of the urban lifestyle to the UK culture. This year, the Urban Vision – Metropolis exhibition includes artworks created in partnership with the Youth Advocate Programme (ISSP) Digital Expressions (YAP) and the Lambeth Youth Offending Team. The exhibition is presenting pieces that have been produced through the new ‘Pix and Mix’ programme in Graphics, Photography, and Illustration. It will also include video projects such as the Africa Remix film ‘Brixton Bytes’, in collaboration with Digital Extensions-Hayward Galley. This show is the young people’s response to the urban sprawl expressed through photography and Graphic Art. They are the new lifeblood of the British Art scene and this will be their debut.
Pogus Caesar was born in St Kitts, West Indies and grew up in Birmingham, United Kingdom. An award winning broadcaster (Prix Circom Regionale 1995), he has produced and directed numerous programmes for Central TV, Carlton TV ('Xpress' , 'Respect', 'Drumbeat'), BBC TV ('A-Force') and was the first Chairman of Birmingham International Film & TV Festival.
In 1993 he set up Windrush Productions Ltd, a film, television and radio production company, and has directed select individuals including Lennox Lewis, Stevie Wonder, Jada Pinkett Smith, Prince, Sir Paul McCartney, Isaac Hayes and the late r&b superstar Aaliyah.
At an early age Caesar scribbled and sketched on anything he could find lying around the one room that he shared with his family in Sparkbrook, Birmingham. At 7 years old Caesar found a creative release in drawing and painting, later taking inspiration from the work of Georges Seurat, the French pointillist painter who created pictures using dots, "I couldn't afford paintbrushes so I had to use old fountain pens instead". In his teens he began to sell work in Birmingham's Rag Market, his pointillist paintings were so successful that within a few years he was exhibiting in major galleries like Leicester Museum and Art Gallery, Herbert Art Gallery and the Mappin Art Gallery, Sheffield. A highlight of this period in his career was presenting one of his pieces to Princess Diana in 1982, a painting called 'A New Approach'.
Finding it increasingly difficult to create the fine pointilist images, due to less than perfect eyesight, Caesar's focus moved to photography. The project took him to New York and culminated in 'Instamatic Views of New York' his first touring photographic exhibition, venues included the National Museum of Film and Photography, Bradford (1986).
He is best known for 35mm black and white photography and unique and compelling photo montages, created using traditional methods of cutting, burning and breaking images, using his photographs, resin, sand, dirt, pieces of cloth and other household materials. '" I like simplicity and prefer using fixed focus Nikon or Canon cameras, I just photograph the world around me, things I find interesting".
Caesar's works are represented in many private and public collections overseas and in Britain including the Mappin Art Gallery, Sheffield, Wolverhampton Art Gallery, Leicestershire Museums, Art Galleries and Records Service and Birmingham Museums & Art Gallery.
In 2002 Caesar directed his first cinema film drama, commissioned by Artangel Interaction, 'Forward Ever - Backward Never' is a tragic love story set against the backdrop of oppression in 19th century Cuba.
Pogus Caesar's life story is documented in the inspirational and moving book 'Portraits of Black Achievement - Composing Successful Careers', written by Jacqui MacDonald and published by Lifetime Careers Wiltshire. Lenny Henry and Paul Boateng MP are also featured in this uplifting book.
In 2001 OOM Gallery was established in Birmingham, United Kingdom, our aims are to contribute and promote artistic excellence in the city
OOM Gallery proudly presents a life time's work, showcasing Caesar's photography, photomontage and film collections, we will be updating the site regularly with new images and online exhibitions. OOM Gallery is a privately funded organisation.
Located in Birmingham, UK OOM Gallery has established itself as one of Britain's best online gallery spaces. OOM Gallery offers art by Pogus Caesar that suits a variety of spaces, from photographic prints to limited edition montages we will help you to achieve the perfect look for your personal space.
Lo staff di Architettura Arte Contemporanea vuole testimoniare e promuovere la cultura dell’impulso estetico ponendo uno sguardo incrociato nei vari ambiti disciplinari del campo visivo ed architettonico. La galleria, luogo di eventi non di silenzi, è uno spazio non unicamente espositivo ma un’agorà contemporanea dove vivere e far crescere l’emozione che l’arte in tutte le sue contaminazioni esprime. Punto dove si espongono artisti famosi ed emergenti con carattere, dove artisti e collezionisti possono trovare la loro collocazione ideale. read more »architetturaartecontemporanea.com
Ireland's rich heritage of ancient calligraphy in manuscripts such as The Book of Kells, was inspiration for Denis Brown as a schoolboy. Later, his rigorous formal training in traditional calligraphy was at London's Roehampton Institute with Ann Camp. Now his work explodes from, and extends, those traditions in the form of innovative modern works of art. Widely travelled with his work, he has won awards and commissions on four continents, and is internationally recognised as a world leader in the field of letter arts. read more »www.quillskill.com
Art, unlike science, is not measured by its progress.
Its evolution reminds one of concentric circles on the surface of water that has been disturbed by a rock. Similarly, arts of cultures and civilizations stand independently, but at the same time they are unified by their common striving for order and harmony; a tendency that can be observed not only in art but in all organic life. Art is the physical manifestation of the sensual perceptions of the world as interpreted and organized by these various groups of peoples. This is why, when compared with one another, the ancient and contemporary, the Western and the Eastern, the primitive and the modern, in spite of their many differences, each still has its own inherent qualities to which the terms better and worse do not apply.
To climb to the top of a mountain one must start his ascent from its fooot. To reach the top of another mountain one must first descend. Like a river that has rapids and stagnant pools, the history of art of every culture at has rapids and stagnant pools, the history of art of every culture and civilization consists of periods of renaissance alternated with periods of decline. For instance the first half of the twentieth century was marked by an unprecedented upsurge in the evolution of art. Then followed a period of absorption and transformation of the previous achievements on the one hand, and their total neglect and denial on the other. it is sad, but this latter current dominates in the art world today. The goal of making money prevails over the goal of making art. The importance of an art object is reduced to a minimum with the emphasis given to the spectator's perception.
Therefore an art object plays the role of a stimulus which takes its final form in the specta There is also a tendency in contemporary art toward the merging of various heterogeneous elements of styles of the past with no attempt at correlation between these elements or submiithese elements or submiandards of art to the level of comprehension of the man on the street. "Painting is a thing of intelligence" Picasso once said, meaning that its understanding requires some knowledge and ability to understand. The only art is that which serves itself; the ssion of them to the wholeness of the composition. Such a work becomes a tangle of contradictions, where disorder serves no purpose except to shock the viewer. Thus many so called artists paint eclectic works in which they are guided not by any degree of purposefulness, but rather merely by chance. Synthesis, not eclecticism, should be the goal of a thinking artist whose every detail should exist and function in harmonious union with the whole. There is also the tendency toward lowering the sttttrest is only a surrogate. A work of art contains its own intrinsic qualities which possess certain meaning and purpose.
Art functons as a mirror where the conscience of each generation is reflected in a concrete form. At present, we look at some of the reions as a mirror where the conscience of each generation is reflected in a concrete form. At the present we look at some of the refll ections with fear and repulsion, like Pasiphae at her hideous fruit of love. However, in opposition to the artistically weak and morbid creations, the principles of the other current are based on the inner structure of an art work and the cohesion of its elements that function as a whole. In this case, a work of art carries a perceptually self evident expression which a spectator does not convert into expressive and harmonious images in his mind, thus completing it; but is instead an independent entity.
The goal of evolution is improvement. Only the finest can survive this battle; an eternal battle which takes place among the representatives of each generation. The rest settle, after a time, to the bottom like det and sink into oblivion. Like all living thientatives of each generation. The rest settle, after a time, to the bottom like detritus, and sink into oblivion. Like all living thing s, an artist has a purpose. One of the meanings of his life consists of the development of his talent like a seed's purpose is to become a flower. To find his purpose in life an artist must uncover his potential. To make his life meaningful, he must fulfill that potential. The objective of a true artist is the development of a specific artistic system. He is similar to a criminal, who does not obey the old rules, but breaks them, creating hh hl, who does not -obey the old rules, but breaks them, creating his own and revealing his ego. A creator is duty bound to rethink everything with honesty, talent and ambition, creating images which correspond to his conception of reality.
When an artist paints, he does not imitate reality, but creates a new one, based on its own laws and its own principles. Also, the aim of art is not to represent the inward significance of things, but to represent the inward significance of the artist through the inward significance of the objects he paints. In the course of his work an artist relies on his intuition, knowledge and skill. With the aid of these he expresses his own conception of the ultimate reality, bringing it to perceptual level. Philosophy is the foundation on which the building of art is erected. Thus a work of art is a representation of a philosophy in a concrete form.
As snow is the crystallization of water, an art work is the crystallization of the artist's feeling; a feeling that is captured in a cage of colors and lines, in the case of painting, or by other means in other art mediums. The radiance that emanates from a work of art takes as its source that caged feeling. Like the rays of light or waves of sound which we perceive with the help of our eyes and ears, we sense this radiance through our minds and souls. It vibrates, moving and touching our senses, giving us intellectual pleasure. A true work of art is a creation of a mind for a mind. It is a harmony of symbols, which is itself a symbol.
After its completion, an art work becomes free of itits creator. It does not depend on the spectator's perception. It lives its own independent life according to its own laws, laws upon which its unity is built. In short, a work of art is an entity by itself that relies on its own qualities. Alexander Chubar
"Surrealism is not the way you live, act or feel. It's the way you dream. We, who call ourselves 'surrealists', are marked by the Lord himself with a slightest touch of insanity. Creative insanity that is, granting the freedom to transform reality, to reach beyond visible, and to display the possibility of impossible. My personal goal, as a surrealist, is to represent the unreality with maximum reality, trying to make you believe in what you see. This is what Salvador Dali did the best." -- Rezo Kaishauri
Having graduated from Nikoladze Art School (Tbilisi, Georgia) in 1994, Rezo Kaishauri begins to work as a designer for a company specialized in serigraphy printing. In 1995-1998 he creates his first surrealistic portfolios, called 'Body Language', 'Black Coffee' and 'Paranoia', representing the three different directions in his artwork. 'Body Language' contains the works which might be classified as erotic surrealism, while 'Paranoia' collates more symbolistically inclined artwork, based on visual insinuations. Yet, these two portfolios share the same impudency in style and are equally scandalous. As to the 'Black Coffee' series, inspired by the images from coffee grounds and based on earlier black-and-white sketches, this portfolio significantly differs from the other two, being closer to the spirit of classical surrealism. This same period Rezo, inspired by some fantasy literature and artwork, tries his skills in fantasy art genre, but soon decides to continue with his mainstream, returning to fantasy art only occasionally. Since 1998 Rezo Kaishauri becomes more noticeable as a designer. Having mastered computer graphics software, he abandons the serigraphy company and turns to offset printing. Trying several different advertising agencies and printing companies, finally he determines as an independent designer. Since 2000 he gradually widens the field of his activity and the range of customers, becoming a color separation specialist and trying skills as a web-designer. Presently Rezo tries to maintain the balance, continuing with his design work, but still finding some time to draw pictures despite his crowded schedule. He has many plans and projects for the future, so both sections of this website will be constantly updated with new works. read more »
We are not just material beings. There are too many questions that have inadequate answers. There are too many happenings which are outside the 'norm' of existence. And our individual lives seem to be filled with quests and drives that move us to seek a more fuller, truer way of living. Yet we are never satisfied! I believe that this is because we keep every single personal experience deep within our minds, and at the same time those experiences are matched together to form a specific creative labyrinth of wisdom which in turn regularly pushes the very bounderies of our understanding. Neither are we alone in these endeavers. I believe that not only is there a spirit world, but it is relating to our everyday lives - now! challenging us, and assisting us in a progressive way. So it does not surprise me to hear about more and more examples of individuals finding positive steps in their present lives, giving them insights and experiences which seem to move them on from the purely physical environment. It is for this reason that I am compelled to produce these pictures, which I believe are simple but relevant aids to be observed and remembered. More specifically, I feel that once the picture is seen, then the mind stores the image - permanently. The visual, being an indelible element, will be unravelled at the appropriate time. I liken this 'process' to the ancient form of chemistry - Alchemy, inwhich the alchemist was driven by the thought that gold could be made from base metals and that there was a material called the philosophers stone which was a vital ingredient to producing the elixir of life. These pictures are my attempt at being a metaphoric alchemist! read more »www.ablot.com
I paint to amuse myself, I paint what I like, I like to experiment with different painting techniques. I like sharp definitive lines and geometric shapes. I like to paint eyes. I like to 'Paint Pretty' even though it angers Art Instructors and Art Critics. My favorite medium is acrylic. My favorite art period is Art Deco. My favorite word is Glamour. My love for Architecture and Design is equal to the love I have for Fine Art. I am most attracted to people that are connected to or passionate about the arts.
I discovered at an early age that I had the ability to express myself through drawing and painting. As a young adult I was forever enrolling in art classes. But I was unfocussed , distracted, and not taking my art seriously. From my native Detroit, I moved to San Francisco, to New Orleans, to Houston, to Honolulu, and then back again to San Francisco. In my late 20's I re-committed myself to further my art education. I have studied Architecture, Interior Design, and Fine Art at Houston Community College in Texas and also at the College of Marin in California. It was at the College of Marin that I took my first figurative painting class and I heard my calling, I have been at the easel ever since. read more »
Detailed Paintings and Pencil Drawings: Lithographs, Prints; Expressing Spiritual and Personal Truth. read more »www.petrusboots.com
an abstract for geometric art ... Root2art is my attempt at finding a truly unique creative voice against the diverse background of twentieth century abstract art and in the context of the diversification of the 'visual arts' in the twenty-first century. Essentially, over the last eight years I have been concerned with developing new methods of configuring abstract art with limitation and geometric meter as a starting point. These methods utilise certain properties of geometry that not only provide structure, but also the actual fabric I use to compose my art. My principle goal here is not to create a wholly intelligible art, but an abstract art geometry that alludes to intelligence - to a narrative of evolving geometric form. Above all however, I'd like the work to be accessible through its simple beauty. And this single property I have found foils all attempts to be grasped by the intellect.....
I describe my work as being created in and derived from a unique system of geometric metre. This is the metre of visual composition as opposed to the metre found in poetry although the formalising and ordering property is the same. This metre, derived from particular and distinct geometry, provides a grammar and the fabric of my visual language.
I liken this system to the structural conventions evolved and adhered to in musical composition. These conventions limit, define and order an abstract sound world into the stuff of musical language. As with some musical language my visual language is shaped by the concerns of harmony, dynamics, rhythm, lyricism and counterpoint. I find music, and musical terminology an invaluable resource in describing my work and finding tangible ideas for invention within visual composition. read more »
Gallery of the chalcography engravings with traditional and experimental technique. Collagraphy, etching, acquatint. Biography and critical cards about the author. Short card about the chalcographic engraving techniques. read more »www.paolochirco.it
CP: What is your name?
AM: Great start. Officially it's Adamo Macri, that's if you get a hold of my birth certificate. Although my mother and some friends call me Damo. As a child, my mom would belt that out when she was annoyed with me. DAMO !....
CP: Where do you live and work?
AM: Montreal, Quebec, the land of Cirque du Soleil, Leonard Cohen, Pierre Elliot Trudeau, Vito Rizzuto and many others.
CP: What is your creative process like?
AM: It's a segmented cycle which involves writing, drawing, sculpture and photographic work. In my mind there must be this metaphysical activity which mimics procreation. Meaning the subsequent phase is derived by the previous one. I use the term vector for the beginning, it symbolizes the dry seed or the "just about nothing" stage, which is how it actually begins for me. By vector I'm referring to a number, a word or text. The last phase or end result is something tangible. My method simulates the process of food preparation. The amalgamation of different elements to arrive at a specific feeling or flavor.
CP: What is your favorite medium?
AM: I don't have a favorite. They're tools in a methodical process. It always begins with writing a word or phrase down based on an idea. Then I begin sketching. Passed that point I think sculptural and objects have to be created. Finally, the 3D work needs to be recorded and documented by means of a camera. The camera literally becomes a weapon, the weapon used to eliminate sculpture. Going back to your question, I use more than one medium, as many artists do. I'm most comfortable with being described as a multimedia artist, if the term artist doesn't suffice.
CP: The sculptural work you create must die?
AM: Figuratively speaking. Yes, it begins with a seed and it ends up getting "shot". It's full circle. My concept with the tangible object, "sculpture" is what I refer to as a 3D Event, the practice of anti-sculpture. It's about perceiving sculpture as occurrence and not static presence. Ironically it ends up being sculptural because the final is an installation piece, but the sculptural aspects are trapped within. The photographic segment places all objects in the past tense. In an instant, sculpture has vanished and a new reality is created. The same thing happened to my grandmother and now we have to resort to our photo album to see her. For me the resonating image is of utmost importance.
CP: What is your current favorite subject?
AM: It's been the same for many years and probably forever. Human nature and condition, sexuality, contamination and cultural identity, minced and fused together. These are my set commandments. Currently, I've got my Antipasto project which will be ongoing due to its scope. This project's mandate involves creating a trajectory between two iconic works, Andy Warhol's Electric Chair and Da Vinci's Last Supper. Briefly, it requires celebrity participation, in which they're asked to disclose their final meal. One of the challenges is to generate an image based on what they consume and not their physical being. I'm excited about this approach to portraiture. Food as intimate subject matter. I'm overwhelmed by the response of the many artists who've contributed to date. Another project I'm developing is Silicon 1972.5 which documents the films created by both Federico Fellini and Pier Paolo Pasolini between 1969 and 1976. The objective here is a meditation into the collective subconscious, by channeling the films and their associative subject matter.
CP: Which artists have contributed to the Antipasto project and how many do you plan to involve?
AM: I refer to each reply received as an "order". I've received orders from John Baldessari, Karim Rashid, John Gilmore, H.R. Giger, Loretta Lux, Henry Rollins, Raine Maida, Fischerspooner, Floria Sigismondi, Edward Ruscha, Barry Gifford, Franko B, Herschell Gordon Lewis, David LaChapelle and many more. As far as the amount, I'd like a figure that symbolizes 100% split into two equal halves. Meaning, two large clusters. Each one representing and functioning as a cell. That's 2 cells of 50 which totals 100.
CP: How long does it take for you to finish a piece?
AM: Usually a long time. Painters have it easy that way, they need paint and a canvas, in little time they've got a finished piece. It doesn't happen that way for me. I've got project sketches from the mid eighties which would love to see the light of day. I guess funding would speed-up the cause. Actually I take back what I said - countless paintings took many years to complete.
CP: What has been your biggest accomplishment so far?
AM: I'm not one who lives in the past. I can't and don't think that way. Everything I've done in my life has value, even the bad stuff. My answer is, what I'm working on at the moment. That excites me the most, you know... the next thing.
CP: Are there any contemporary artists that you love?
AM: Many - they're all great in my book, alive, buried or buried alive. It's a natural attraction, a kinship I suppose. Recently I was fascinated by Vanessa Beecroft's South Sudan project. I'm always eager to see Damien Hirst, Ron Mueck and Paul McCarthy's work. There are many.
CP: Can we buy your art anywhere?
AM: No, but you can contact my studio for information.
CP: Anything that people should know about that we don’t?
AM: Yes... lots, maybe too much. But I always say, don't spill your beans at once. Expose one at a time and make each as enticing as possible. Alright, I'll go out on a limb and say... I do love just about everything in nature except three things, which coincidentally rhyme - cats, bats and rats.
CP: What is your best piece of advice for those who would like to rise in their level of artistry?
AM: That would be: Determine what you're about. Find the best medium and technique to communicate what that is. Remain focussed, honest and stick to your guns. This may sound typical but it's the only way.
CP: What inspires you to keep going when the work gets frustrating or tough?
AM: Getting frustrated with what you're involved with, only means that you've been doing something wrong. Either working long hours or the project wasn't managed properly. But figuring out what doesn't work is part of the process. It should be addressed, then rectified or deleted. At times I struggle to find the missing link. It's frustrating, you're caught up in the moment, things aren't fitting properly. I believe it's time for a break. Leaving that environment works. Reinitialize... things will follow better later.
CP: How do you describe your work to those who are unfamiliar with it?
AM: I don't or as little as possible. I'd say that it's abstract. I'll talk about general subject matter and advise them to investigate other works which would help with what they're inquiring about. An artist shouldn't dictate his work. It's damaging to those who have a completely different perception. That goes against everything I'm about, which is variables, individualism and ambiguity. The title of the piece isn't ancillary, it's the best indicator of which direction to go. I believe that the art ornaments the title and not the other way around. There are many variables which would work as imagery but only one title.
CP: What kind of training did you have which helped you achieve your current level of artistry?
AM: Life experience mainly, tagged with my education in fine art, history and graphic design. You can have all the training you want from whichever reputable institution, but art comes from somewhere incomprehensible, from a very early stage in life.
CP: Is there a tool or material that you can’t imagine living without?
AM: Yes, styrofoam. It's solid yet weightless, it's dry but can become organic, seems innocent but it's toxic, can be beautiful but escentially fake, is somewhat dumb and yet I can go on forever about it. Actually I'm very close to completing a new project called Endocrine Disruptor, where styrofoam takes the lead role.
CP: Who are your influences?
AM: Other than family, friends and environment, a handful of artists have inevitably inspired me. The prominent ones would be Salvador Dali, David Lynch, Federico Fellini, Andy Warhol, Peter Greenaway, David Bowie and Alejandro Jodorowsky.
CP: What inspires you to create?
AM: Everything and nothing. It just happens. I don't have a handle on it. It's taxing at times, many artists feel this way, it's very close to being possessed. I've always joked about reincarnation and that if it exists, I'd want to come back as a "normal boy" and have the need to play golf.
CP: Your contacts
AM: Adamo Macri Studio: 514-937-9786 or email@example.com. I'd like to end with this. "The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead. His eyes are closed." Albert Einstein.
Links and References:
From: Kirk Leslee. Date: August 26, 2008
... I see the evolution of my work ... I see the evolution of my work when I look over the slight change ups in themes and symbology over the years. I've been keeping notes for what can be called "Interactive" art. Work which can change w/ the perspectives of the viewer as they change over time and with lighting. I have no studio - most of my work now is done sitting in my favorite clone cafe' - just sitting there inking. In the past i've just worked from my bedroom. I have no selling history.
Andrew was born in La Metairie, close to New Orleans, on November 1975. After High School general studies, he attended the University of New Orleans as a computer science major but gave up as he began to feel more interested in Philosophy, Qabbalah, Ontology, Metaphysics, religious believes of various cultures as well as their languages
Colin D’Cruz got into music professionally as a bassplayer with resident bands at five star hotels. Performing every night on yearly contracts with different bands laid strong foundations for his musical growth. From nightclubs to the concert stage today, Colin has played just about every form of music from jazz, rock and pop to funk and fusion. Being open minded with a best is yet to come philosophy helped in widening his musical horizons and developing an individual style. Colin’s credentials include several concerts for Jazz-India, some of which he performed as a member of backup bands for international visiting artistes. His experience with so many bands and musical styles led him to form the Brown Indian Band, a melting pot for music from all over the world.
Much has happened since 2002, when Fischerspooner released their breakout record #1. If that album’s computerized fine art was a trip back to the '80s, another time warp might be necessary to sustain any momentum for Odyssey. The dance music muse, always in motion, has backed off on the electro/new wave sound that Warren Fischer and Casey Spooner used as a platform for their experimental live shows. Upon first listen, it sounds like the duo has chosen to ignore this; if Odyssey isn’t a clone of #1, it’s at least a close relation. There are, however, crucial and clever differences. The record is much friendlier for one thing, a result of warmer sonics and an unclenched pop sense that was only hinted at previously. "Just Let Go" starts off with a familiar Human League keyboard, but right in the middle of the chorus a jagged, garage band guitar riff smears the song’s makeup. Suddenly you don’t recognize them anymore. Where’s that sexy, but vacuous pose Fischer and Spooner used to lean on? There’s no pretension in a song like "A Kick in the Teeth," with its layered and lovely vocal line. Our cheese is now served straight up. The result? Tasty. - Matthew Cooke
The new wave/electro-pop troupe Fischerspooner was formed in New York City in 1998 and has come to incorporate multimedia, strange handmade costumes, dancing, and performance art. Originally a duo formed by classically trained musician Warren Fischer and video-artist and experimental theater performer Casey Spooner for an impromptu rendition of their makeshift track "Indian Cab Fever" at the Astor Place Starbucks, the group grew to over 20 performers, mostly dancers and guest vocalists. These singers have included Cindy Greene, Lizzy Yoder (also of Sweet Thunder), and Korean pop recording artist Mona Trona. The group uses the stage antics of David Bowie and traditional mainstream pop vocalists, along with the campy electronics of Giorgio Moroder or Depeche Mode and vocoders of Trans Am. By the time of their 2000 eponymous debut, Fischerspooner was a certifiable sensation in downtown New York City art galleries and clubs. The single "Emerge" topped European charts, invited a six-song remix EP, and won Fischer and Spooner invitations to international fashion, art, and society happenings. The 2002 album #1 was a re-envisioning of their debut with yet another mix of "Emerge," this time more sedate and electro, following the trend of the times. ~ Daphne Carr, All Music Guide read more @ amazon »
Our lives are so short. The Japanese have a saying that the man who dies with the least regrets dies the happiest. So the challenge is in deciding what makes a life worthwhile. If I were to die tomorrow, what would cause me the most pain would be if I had betrayed the love in my life and the gifts God has given me. If I can keep that foremost in my mind, and act accordingly, embracing what I know in my heart to be true, I could die tomorrow with peace, knowing I’d done my best. An awareness of our imminent mortality is the best friend we have. Act accordingly. Let’s get to work. read more @ amazon »www.nedmassey.com
The new avant-garde instrumentals by composer Jimbeau Walsh, a soundtrack for the movie of your dreams. Imagine yourself on a secluded beach in Hawaii, and, tuning into the night stars, hearing the ethereal news from afar.
Blessed Doodles - Jimbeau Walsh
Jimbeau Walsh has been a musician most of his life, and a composer for many, many years. He was a professional drummer for over 20 years and wrote his first song at age 16. An avant-garde composer, he writes in many genres and could be considered both spiritual and secular at the same time, but always modern. His latest release, "Blessed Doodles," combines his instrumental expertise and percussive grooves with beautiful and ambient melodies. read more @ amazon »
Dan Stewart, once the best kept secret in country music; is about to blow his cover with the release of his new album “Thank You” He left country music’s Mecca, Nashville, for the glitter of Las Vegas. While in Nashville he recorded demos for several of the industry’s top music companies and then decided to strike out on his own. Many of his songs have hit the airwaves on country radio: on mega-station KZLA in Los Angeles and the Interstate Radio Network out of Nashville. Always creating an immediate buzz with listeners and effusive praise from the disc jockeys; Dan has a steadfast belief in his ability with a song and he always knew that if he could just get it heard , that would be half the battle. With the advent of Internet sites like MP3.com and it’s legion of imitators, Dan saw an opportunity to take his music to his most enthusiastic supporters - the listeners. Posting his music on the site , he began moving up the charts with upwards of 200 hits per day. Soon, his songs “Thank You’ and “Nothing But Your Lovin’ Will Do” were gaining him featured artist status on MP3 sites all over the Web and the World. Dan is currently represented by renowned entertainment attorney, Owen J. Sloane, whose glittering talent roster includes Matchbox 20, Elton John and Kenny Rogers. He and Sloane plan a showcase in Nashville in the near future and a recording session of new songs. read more @ reverbnation.com »
Armor For Sleep hit the guitars a little harder for their second album What To Do When You Are Dead, and the results are incredible. Moving from emo to more post hardcore territory, the album contains a lot of energy and emotion that feels very raw, similar to Thursday. Despite being a concept album nothing about What To Do When You Are Dead feels too confined or pretentious. It's still the same old Armor For Sleep, just a little heavier and little more mature.
Reviewer: Schmoo (Detroit), January 25, 2006
read more @ amazon »
Beck is bummed. Really bummed. And if song titles such as "Lost Cause," "Lonesome Tears," "Already Dead," and "Nothing I Haven't Seen" don't make the point, his achingly sad lyrics and Sea Change's unerringly downcast sound do. While 1998's Mutations arguably the singer-songwriter's masterwork and Sea Change's spiritual cousin--was filled with unflinching self-examination, moments of levity were found in songs like "Tropicalia." Not so on Sea Change. Beck's woozy, almost narcoleptic delivery seems to amplify the set's sense of ennui. But sad isn't necessarily bad, and despite the somber tone, there's much to praise, not the least of which is the return of producer Nigel Goderich (Mutations, Radiohead ) who wraps Beck's gloom in a dreamy, warm blanket of soft strings and floating bleeps and gurgles. Like Daniel Lanois , Goderich is all about vibe, and even Beck's most bare-bones songs benefit from billowy atmospherics. That's especially true of "Paper Tiger," a restless, slowly building epic improbably propelled by a languid orchestra and Beck's expressionless drone. The inky black feel of "Round the Bend"--a glacially slow dirge with muffled vocals--may be the darkest thing Beck's ever written, not counting the very grim "Already Dead." Whatever's going on in Beck's world, at least we know he's purging, which, all things considered, may be better for his soul than ours. --Kim Hughes read more @ amazon »www.beck.com
Walking into the club, you look up at the stage in anticipation of the evening’s performance, curious about this band Blue Merle. But instead of the usual array of electric guitars and stacked amps, what you see are acoustic guitar, mandolin, violin, upright bass and drums. “The people file in, and they’re looking at the stage, seeing these instruments. And until we step out onto the stage and pick them up, I think they’re expecting something else.” says Blue Merle’s Beau Stapleton
“Something else,” indeed.
Blue Merle is a band that doesn’t simply defy expectations; it renders them irrelevant. Despite its mostly acoustic instrumentation, the band is well practiced at the art of catching an audience unawares and transporting it to a place of pure rock pleasure. It’s a trick they’ve honed through heavy roadwork — whether opening for the likes of J.J. Cale, Badly Drawn Boy and Jem, or playing festivals ranging from Farm Aid to Bonnaroo — and perfect with their Island debut, Burning in the Sun.
Between the scruffy sweetness of Luke Reynolds’ rough, expressive tenor and the orchestral richness of the band’s intricate arrangements, Burning in the Sun is an album that is easy to get lost in. Produced by Stephen Harris (U2, Dave Matthews Band, Kula Shaker), its sound is immediately inviting and disarmingly nuanced. Some songs, such as the string-drenched “Every Ship Must Sail Away” and “If I Could,” are lush with harmony and emotional portent, while others — particularly the insinuatingly propulsive “Boxcar Racer” and “Either Way It Goes” — bubble over with rhythmic energy and melodic allure. Throughout, the music carries the sort of inventiveness and depth of feeling found only in the best rock songwriting.
“We have a rule in this band that the best song wins,” says Reynolds, and whatever it takes to get a song to be as good as it can is what we do. It’s not unusual for us to spend hours in rehearsal, working and re-working a song so that by the time we perform it, everyone in the band is fully committed.” Blue Merle was born when Reynolds met bassist Jason Oettel, and the two began to work on some of the singer/guitarist’s songs. “We really connected,” says Reynolds, and he wasn’t the only one to feel that way. A friend working at Sony ATV studios in Nashville offered some free studio time, and while the two were cutting demos the president of Sony Publishing unexpectedly dropped by. “He offered us a production deal and a publishing deal,” says Reynolds. They ultimately passed on the deal, but were amazed by the offer. “That was four months into our being a band, so it came really fast,” he adds. Despite that auspicious beginning, Blue Merle weren’t in a rush to add members. Reynolds met Beau Stapleton — a mandolin-playing disciple of Neil Young and Sonic Youth — on a trip back home to Vermont, and got on so well that he soon invited Stapleton to join the band. William Ellis, a jazz-trained drummer who had become a successful session player in Nashville, was a college buddy of Oettel’s, and came on to complete the rhythm section not long afterward. It was Ellis who came up with the band’s name. “It’s actually a lyric from a Led Zeppelin song, ‘Bron Y Aur Stomp’ — ‘Tell your friends all around the world/There ain’t no companion like a blue-eyed Merle,’” says Reynolds. “Will is a huge Zeppelin fan, and used to pull out all these fragments from Zeppelin songs, and keep them for potential band names.” Guitar, mandolin, upright bass and drums isn’t typical rock band instrumentation, but that’s turned out to be a blessing in disguise for Blue Merle. “There wasn’t a lot of thought put into the instrumentation,” says Reynolds. “We just met musicians we really loved playing with, and whatever they played, that was the thing that came.” “It’s actually simpler to work with,” says producer Harris. “It’s a fresh feeling, and pleasing on the ear. You don’t have to knock the listener on the head. And that’s the whole thing with the band — they have subtlety, which is beyond many people these days.” “Subtlety is what makes Blue Merle what it is,” agrees Reynolds. “The lyrics, the melody, the musicianship — it’s all there, but it’s never right in your face. There’s a confidence to it, and you can feel it in the music.” read more @ amazon »
Songs We Sing is a winding collection, running the stylistic and historic gamut of pop music; hues of ragtime, folk, psychedelia, country, and rock are cast liberally across the album. Songs We Sing recalls a time when America was under the spell of such UK imports as Donovan and Van Morrison. The man responsible for this throwback to simpler times is 23 year-old Matt Costa. At age 12, Costa received his first guitar but it was quickly shelved and replaced with a more “thrilling” gift: a skateboard. Costa compensated for his late start skateboarding with intense dedication to the sport and in a matter of years nearly turned pro. Three years ago that path shifted drastically when Matt shattered his leg in a skateboarding accident. The injury required eighteen months of recovery and rehabilitation. During that downtime, Matt directed his energy, passion and talent toward the guitar, writing and recording simple tunes. Initially, a mini tape recorder served as his crude studio. Matt’s songwriting later flourished when he invested in a 4-track recorder. Two years ago, Matt’s homemade demo began circulating amongst friends and acquaintances in and around his hometown of Huntington Beach, California. One copy found its way into the hands of No Doubt guitarist Tom Dumont. Costa made such an impression that Dumont offered to record more demos for him in his home studio. Those first recordings led to a self-titled 5 song EP that Costa and Dumont distributed themselves. As interest in the EP grew, the two were already deep into the sessions that led to Songs We Sing. Considering Dumont’s experience as a songwriter, one might expect him to have taken a more active role in the songwriting process. This however, was no usual mentorship, as Dumont remained behind the control board, offering encouragement, more interested in capturing Matt’s talent than in shaping the songs himself. Phil Ek (Modest Mouse, The Shins) applied the finishing touches, mixing the twelve tracks that have become Songs We Sing. Archetypal themes run throughout Songs We Sing. Evil, love, nature, poverty and the universe itself all make appearances. Costa approaches these topics without posture and without politics. As the narrator in “Cold December” Costa sings, “I have not failed to be what you’d expect of me / Swallowing glass just to stay pure.” Costa doesn’t put on an act and he makes no effort to meet anyone’s expectations. He re-presents his life in a mixture of words and melody, and the seeming effortlessness with which he performs leaves one wondering why songwriting isn't a more common form of communication. Matt Costa’s skill with a guitar is immediately apparent, especially in a live setting. He has supported a variety of artists including Built To Spill, Lou Barlow, Pinback and James Mercer from the Shins. A 2005 summer tour with label mate Jack Johnson opened Costa’s eyes to the rigors of touring. Taking the stage as the opening act for one of the most anticipated tours of the year can allow you to shine, or lay bare your weaknesses, but Costa held his own on the road. Whether it be solo, armed only with an acoustic guitar, or backed by a collection of musicians, his performance draws you in and you are left with no choice but to listen to the stories he has to tell. Costa’s flexibility and willingness to embrace almost any situation, musical or otherwise, keeps Songs We Sing fresh and free from categorization. It’s an unexpected effort from a young man in the unlikely suburban surroundings of Huntington Beach: a city whose reputation is built on surfers and skaters, not brown-eyed bards with compelling voices. read more @ amazon »www.mattcosta.com
If the first two Doves albums, Lost Souls and The Last Broadcast, were records that sounded like they were conceived in Glastonbury-like vast open plains, each number a snapshot of the wide open countryside or of the rolling sea, then their third album, Some Cities, paints altogether different pictures. At points it's crunching and urban, sounding like a midnight high-speed joy ride through the industrial beating heart of the city (most noticeably on the turbo charged first single "Black and White Town"). At others, it's like a long lost soundtrack to some early '60s kitchen sink drama ("Someday Soon", "Shadows of Salford"). Some Cities could only ever have been born in the North of England and is the sound of a full throttle Doves band. It's also the sound of the band at their most relaxed and confident, their most driven and fine-tuned. Some Cities arrives almost three years after The Last Broadcast. Conceived as a shorter, more forceful record than its two predecessors, the record was written primarily in cottages and holiday rents around the UK (Snowdonia, Darlington and Youlgreave in the Peak District) and recorded with Ben Hillier (producer of Blur's Think Tank and Elbow's Cast of Thousands) in Liverpool, Brixton and Loch Ness. read more @ amazon.co.uk »www.dovesmusicblog.com
After a decade as one of the world's most successful dance acts, Faithless's distinct sound has put them at risk of becoming dinosaurs. Thankfully No Roots doesn't rest on the laurels of former glory and delivers something quite special. Sister Bliss's shrill, semi-hard-house synth stabs are all but gone, replaced by less dated sounds and more thoughtful use of them. Tempos are lower and song structure plays a more valuable part, for No Roots is in fact only two gigantic, epic songs, with each track a progression on the previous one and clever segues leading into the next. The only song that doesn't fall into "Parts 1 & 2" is the lead single version of "Mass Destruction" tacked on the end; it's a funky, breaks-based tune with Maxi Jazz's trademark vocal (used sparingly throughout the album) over live bass and guitars. Anyone who's seen Faithless live knows how they can jam around their back catalog, making medleys and breakdowns of epic proportions: No Roots is a studio realization of that. Highlighted by "I Want More," downbeat tunes build until their climax when an uptempo number will kick in. "Sweep" is simply a 909 drum and percussion loop with synth flourishes that drops into "Miss U Less, See U More," a classic house tune that closes part one of the album. Something other than a collection of hands-in-the-air floor-fillers and downbeat songs to chill out to, No Roots should be listened to in its entirety. It's a cohesive body of work that builds and dips in all the right places. -- David Trueman read more @ amazon »www.faithless.co.uk
Jason Miles & DJ Logic Join Forces to Obliterate Borders on New Shanachie CD Global Noize
All-Star CD Serves Up An Intoxicating Brew of Jazz, Electronica Funk and World Music Featuring Some of Music's Most Creative Players: Meshell Ndegeocello, Billy Martin (Medeski, Marin & Wood) , Vernon Reid (Living Colour), John Popper (Blues Traveler) Cyro Baptista (Herbie Hancock), Bernie Worrell (Talking Heads, Parliament Funk), Karl Denson (Karl Denson's Tiny Universe, Lenny Kravtiz), Christian Scott & Others
The signs are everywhere: MTV launches a channel on the Arabian Television Network. African hip-hop groups mix the postures and style of American rappers with homegrown lyrical messages and M.I.A., a Sri Lankan refugee now living in Brooklyn, scores one of the year's most critically acclaimed albums--sound bites recorded around the world mixed in an electronica blender with hip hop beats. Multi-tasking cell phones, cheap lap tops, Kindle Ebooks, YouTube, internet radio, and of course the multifaceted internet itself, have engendered a cultural interchange of unprecedented scope and speed. Music, which resonates across every cultural barrier, leads the charge. The result is a grand "global noise," a spectacular sea of interchanging and mutating beats, sounds and melodies from all directions. It is precisely that reality that Jason Miles and DJ Logic set out to capture with their collaboration Global Noize. Keyboard extraordinaire Jason Miles, who has worked with everyone from Miles Davis and Luther Vandross to Ivan Lins, and Turntable guru DJ Logic, who has collaborated with diverse artists like Phish, Vernon Reid, ?uestlove and Don Byron, join forces on Global Noize to create a thrilling mix of free-wheeling tracks that take listeners on a wide-ranging journey through the minds of some of creative music's most innovative musicians such as Meshell Ndegeocello, Billy Martin (Medeski, Marin & Wood) , Vernon Reid (Living Color), John Popper (Blues Traveler) Cyro Baptista (Herbie Hancock), Bernie Worrell (Talking Heads, Parliament Funk), Karl Densen (Tiny Universe, Lenny Kravtiz).
"This is a special project as the world is a Global Noize and we need to come together in difficult times and great music has the power to do this," states Grammy Award-winning and Emmy nominated keyboardist, producer and composer Jason Miles. "The artists and musicians on the project represent a great diversity and this is what the world is really about. The beauty in this diversity is something that we all need to appreciate." Global Noize is a project that has long been brewing in Jason Miles' mind but the idea was solidified when he got a call from friend his DJ Logic last year to join him for a performance at the Blue Note in NY. "On that day I had a horrible root canal and was mourning the loss of a close relative. I thought that this could be just the tonic I needed to pick myself up," recalls Miles. The night was exactly what Miles had hoped and from this experience he knew that he and Logic had a special connection. The duo later worked together in Morocco at The Casablanca Jazz Festival and had the opportunity to venture off to Marrakech. Miles shares, "We went through life-altering experiences. It was so new to us -- mysterious, crazy and another view of the world. We both knew we had to make this project happen. The picture on the CD over of the both of us with the camel in the desert says it all!"
Global Noize is an organic, free-spirited sonic brew of some of the best elements of jazz, funk, electronica and world fusion – it is music without borders. Miles says, "We started with Cyro Baptista and Billy Martin jamming in the studio and built up the tracks from there. Logic and I pooled our musical resources and had some of the best cutting-edge artists play on the record." From the album's opening track, "A Jam 4 Joe" (dedicated to the late piano/keyboard wizard Joe Zawinul) to its concluding statements on "What I know," Global Noize takes listeners on a mind-bending, global adventure featuring all original compositions.
"A Jam 4 Joe" features Logic and Miles along with guitar wizard and founding member of Living Colour, guitarist Vernon Reid, musical chamelon and bass player Meshell Ndegeocello, percussion maestro Cyro Baptista and the stunning Indian vocal diva Falu. The groove is relentless and is supercharged with magnetic energy. Bernie Worrell joins the mix on "Spice Island' playing the clavinet and organ. Worrell, who is best known for his contributions to George Clinton's Parliament Funk and The Talking Heads, lays down a serious funk heavy groove that reverberates throughout the track. The slow-burning "The Souk" highlights Falu and Blues Traveler's John Popper on the Harmonica in a seductive dance with one another, along with percussionist Braheim. "We were lucky to get John Popper on a day off in NYC," adds Miles. "He just kills on the ‘Souk!'" "Quera Dancar/I Wanna Dance With You" is a cool breezy Bossa Nova that beckons you to move your hips and dance to the music's delight along with Brazilian bombshell and chanteause Vanessa Fallabella, celebrated Brazilian guitarist Romero Lubambo and season jazz bassists James Genus.
Global Noize, which DJ Logic describes as "a hip and eclectic musical journey crossing all boundaries," further delights with such tracks as "Dar'abesque" (named after the villa Miles and Logic inhabited in Marrakech) featuring trumpet icon Herb Albert. "When I got the track back from Herb Alpert," confides Jason Miles, "I knew that any musician who had imagination and a great musical voice would love to be a part of this. Herb just really brought the track to life. "Bollyhood" is an ear catching trip-hoppy track showcasing the haunting vocals of Falu and "Planetery Beat" joins multi-instrumentalist Karl Denson and guitarist Dean Brown together for a soul jazz romp with killer break-beats and groovin' horn riffs. "Having Karl Denson involved with this album made us happy because we knew there would be great playing, brilliant horn arrangements as well as fantastic compositions all at the same time." Christian Scott is showcased on "Exotic Thoughts," an ethereal meandering piece featuring the young hot trumpeter along with guitarist Carl Burnett and Tabla player Suphala while "Pool of Honey" is as sweet as its title with its uptempo swinging melody and feel good vibe featuring Burnett and Suphala once again along with Karl Denson on flute. "Christian Scott is one of the most exciting young artists on the scene," states Miles. "He really stepped up and showed what a young cat at the beginning of his career has got going on." "Spin Cycle," brings back a 70s funk flavor with its insatiable drum licks from Gene Lake and "What I Know" features spoken word artists Aline Racine.
Jason Miles concludes "When I hear music I love I want to be involved with it. It would be boring for me to stay in one place musically so I love to explore different music. I know Miles Davis felt that way and I'm just trying to keep the grooves hot, the melodies great and collaborate with the best artists I know. Hopefully Logic and I will be bringing Global Noize to the world and show people our musical vision." Global Noize will make its live debut this Spring. Don't miss the opportunity to catch this unique experience in a City near you! read more @ amazon »
Yes... once again - a new release from Hjörtur. Chandni, an Indian word meaning “night light”- like starlight and moonlight, or in Hjörtur's mind it could also be lights from satellites or signals from the universe straight into your mind. Light - is the things we see... Hjörtur has been busy; this is his 4th release this year! He has released an album called “Work” under the name “Alfarspace”, and a single “I Am A Man Of Constant Sorrow” under his own name. On the 13th of August he released “Humanize” under the name “The Mercuriis”. This song has been played a lot on DR Barometer Netradio. This new album “Chandni” is very soft, and the few words on it are really thought-provoking... like the song “The Paradoxical Commandments”. The words were written by Mr. Kent M. Keith in 1968 and have traveled all around the world and into Hjörtur's mind and from there onto this album with music really matching the words. Give yourself a moment of peace and listen to the music. You will feel it right under you skin...
and it will take you to the stars. Yes, that's where your moment is.
Hjörtur is an Icelandic artist. His full name is Hjörtur Haraldsson Blöndal. Some call him Hjörtur, some call him Blöndal, some call him North Man, some call him HB, some call him Haraldsson and at least one beautiful girl from Latvia calls him Jorik. Composer, musician, producer, performer and video artist
“Like a jam band for the ADD generation, this local group shreds something fierce, serving up a constantly undulating rock ‘n’ roll groove.”
Chicago Tribune | 11 Jan 2007
“Mt. St. Helens craft convincing, explosive guitar-driven rock that only gets better with increased volume” Pitchfork | pitchforkmedia.com
“With the arrangements of distorted guitars and throaty bellows provided by vocalist Quinn Goodwillie, mt.st.helens are rare as a band who successfully pull off a sound that’s both experimental and catchy at the same time. They stay focused as musicians who just want to rock out without taking themselves too seriously as ‘artists.’” All Music Guide | allmusic.com
“Close your eyes and imagine that you have just found yourself riding a train with a brain full of psychedelics and in the background over the sound of the tracks all you can hear is a blurred loop of 1950’s department store music. During the first track of You Are a Ghostly Presence, lasting all of twenty seconds, this will be your experience. However, when that twentieth second drops you had better be ready because Mt. St. Helens has already erupted onto the scene (no pun intended) and turned your confused but sustainable train ride into an all-adrenalin pumping free ride.” Lost At Sea | lostatsea.net
mt.st.helens third album Of Others offers a more refined and concise version of their compelling, guitar driven sound. Having cut their teeth in the early part of the 21st century at Chicago’s Fireside Bowl, Empty Bottle, Schubas and Bottom Lounge (and many stateside tours); mt.st.helens have stuck it out and cultivated a small but devoted following. Of Others draws from influences as diverse as Unwound, Shudder to Think, Ride and Boards of Canada but the result is far from derivative. Guitar player Michael Sprague has constructed a cadre of masterfully spare guitar leads that are at once striking and hypnotic. Guitarist/vocalist Quinn Goodwillie’s (also of acclaimed local group Sleep Out) voice has increased in range and fortitude and is greatly bolstered by the stalwart rhythm section of Jason Sprague (bass) and Ben Geier (drums). After the demise of their beloved former home, Divot Records (Haymarket Riot, Sweep The Leg Johnny, Braid), m.s.h have signed on with Chicago’s Two Thumbs Down Records, home of Driftless Pony Club, May or May Not and Dialogue. Former m.s.h member Matt Fast, of local group Rollo Tomasi, will be re-joining the band this year and handling third guitar, keyboard and percussion duties. Two Thumbs Down Records will officially release Of Others on September 3, 2007.
BRING LOST “BILL COSBY” MUSIC TO LIFE
“The Original Jam Sessions 1969” Features Music from NBC’s “The Bill Cosby Show” and Cast of Jazz & Funk-Loving Legends from the 1960s “The New Mixes, Vol, I,” An Exciting and Eclectic Dose of Contemporary Mixes from Mix Master Mike, Cornershop, Bedrock, Herbert, Los Amigos Invisibles and Others While Quincy Jones and Bill Cosby are today considered two of the most accomplished entertainers in America, the 52-episodes of NBC’s “The Bill Cosby Show” (1969-1971) were among their first notable television credits. Jones, as musical director, assembled a crack team of prominent jazz and funk artists to create a soundtrack and essentially left the tape recorder running during numerous informal jams. The sessions, however, ended up in the vault and were forgotten until over 30 years later when the “lost tapes” were rediscovered during an office move. Quincy Jones Music and Concord Records now present those sessions on two separate, yet equally unique and ultra-cool, recordings. From the first notes of Quincy Jones & Bill Cosby: The Original Jam Sessions 1969 (in stores June 22), you know you are in for a quite a musical ride. Authentic interplay, vintage 1969, the heaviest musicians on the planet¾ Jimmy Smith, Milt Jackson, Les McCann, Monty Alexander, Ray Brown, Joe Sample, and Tom Scott and among them¾enjoying a fresh, loose, funk-loving romp. Follow-up with Quincy Jones & Bill Cosby: The New Mixes, Vol. I (out July 13) and come full circle, as some of the hottest artists, DJs and producers from today’s international world of Lain, jazz, electronica, lounge and hip-hop help build a distinctive and contemporary bridge between old and new. Among the “new-mixers” are Mix Master Mike, Bedrock, Mario Caldato, Jr., Herbert, Cornershop, and Los Amigos Invisibles.
“We discovered some boxes labeled ‘Quincy, Jimmy Smith and Oscar, 1969,’ and about fell out of our chairs,” explains Marc Cazorla, executive producer for Quincy Jones Music, who along with producing partner Nancie Stern suggested the release of two separate albums. Jones quickly gave his go ahead. Cazorla explains, “A lot of people don’t really realize the impact that jazz has had on modern music, and Quincy’s always looking to turn people on to something fresh. Both he and Bill were completely supportive of the idea.” There are two original session versions of the near-cult favorite “Hikky-Burr” on The Original Jam Sessions, one instrumental and one with Bill Cosby on vocals. The EMMY Award-nominated song (Jones’ first of four nominations; he won for “Roots”) became the theme for the NBC television show but also a hit single for Jones when he re-recorded the track for his early 1970s GRAMMY® Award-winning album, Smackwater Jack. Mix Master Mike turns it into a modern-day funk-classic with Cosby’s vocals and several choice elements from the original sessions on The New Mixes album. During the original jam sessions, Jones would give ideas or themes to the musicians and then just let them play. It is obvious from “Hikky Burr” and all the other tracks included on The Original Jam Sessions that the jazz giants in the studio were having fun and savoring the opportunity to stretch their jazz legs. The New Mixes mirrored that same unscripted approach with artists encouraged “to take creative liberties.” The result is an irreverent nod to the past¾a recording that deftly retains the funk-loving spirit of the original music while firmly supplanting it in today’s contemporary music scene. “All of these artists were psyched to work with Jones’ music,” says Cazorla, “and Quincy really flipped when I played everything for him.” read more @ amazon »
Imagine early Bob Dylan meets M.Ward, and you've got Johnathan Rice, the latest singer/songwriter on the streets. The dude grew up in Glasgow, Scotland, hung out in DC and honed his chops gigging at The Living Room in NYC. He recorded his latest album, Trouble is Real, in Nebraska with Mike Mogis (producer for Bright Eyes, Rilo Kiley, The Faint).
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With an impressive 16 tracks the album you can't help but be taken on a journey across a vast amalgamation of musical styles and influences; listening to the album as though your ears were tuning into a number of different radio stations as each track progresses. The lyrics themselves could be bound and published in their own entity; insightful, expressive, emotive, reflective and sincere. My fave tracks changes everytime i listen because each is so different its hard to compare them. Would definitly reccommend this album to music lovers. Music has become so expansive over the last decade that it can no longer be neatly slotted into a genre. So, Johnathan Rice: alternative rock, folk, country, all of the above? Quite possibly so.
April 29, 2005 - Reviewer: Nadia
Talent is Real and clearly evident
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I sing and create music to comfort, heal, move, transport and awaken the divine voice within us all. Lisbeth Scott is an award winning singer/songwriter whose voice and songs have appeared in over 150 films and television shows many of which are Oscar and Emmy winners including Shrek, Narnia, AVATAR, Spiderman, Passion, Munich (in which John Williams wrote a 5 minute solo specifically for Scott), Ironman and Trueblood. She has simultaneously developed her career as a solo artist producing and recording over 9 albums and is currently working on her tenth. Her work has spent over 10 weeks in the top ten of the Billboard charts and she has toured the world appearing both with orchestra and her band. Scott has recently stepped into the role of film composer and has scored several feature films to date, working with directors Louie Schwartzberg and Adam Christian Clark among others. She is also writing with Nathan Barr as co-composer on the new Amazon children's series Tumbleaf, premiering early 2014. Her composing work will also be gracing Broadway in the next few years in two well known musical adaptations. Lisbeth began her career as a classical pianist headed for a concert career, but as soon as she could, ran away to California to literally find her voice.Someone heard her singing and playing piano for a modern dance class in the hills of Idyllwild and suggested her voice for a score by composer Hans Zimmer. That was all it took. Scott's uniquely moving and shiver-inducing voice was launched. Her voice, songs and compositions are largely influenced by her upbringing and travels, which were steeped in every kind of music imaginable. She was surrounded by classical music as a child not only due to her piano studies, but also because her sister was a professional ballerina.Her parents were award winning ballroom dancers and exposed her to everything from the Mills Brothers to Peggy Lee, to Duke Ellington Judy Garland and Tommy Dorsey. Her Armenian grandparents sang her the songs and sounds of their country. A close family friend was a blues harmonica player and gave Lisbeth an in depth blues education that lead to a love of African rhythms and jazz. Scott spent many years studying African drumming with Baba Olatunji and several others. She also spent a year and half in London studying medieval music and traveled through Ireland for a long while to immerse herself in Celtic sounds. All along the way Scott picked up instruments and learned how to play them...6 and 12 string guitar, dulcimer, harmonium, and calimba to name a few. This combination of sounds and influences translates into a uniquely mesmerizing and powerful sound. A sound that John Williams has called "absolutely ravishing" and Variety has called "...perfection".
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Simple Kid is a walking, talking, falling down pop paradox. the sharpest, most complex, poisonous, saddest and funny lyricist trading under a flimsy disguise of idiocy
Simple Kid #1 : With interest in the likes of Drake and Buckley being invigorated in recent years, there has been a surge in the number of troubadours in the music world. While most seem to happily follow the footsteps of Messrs Drake, Buckley (x2) and Dylan, Simple Kid embellishes his influences with his own experimental samples and insightful, unique lyrical style. Imagine Dylan and Badly Drawn Boy fighting with Casio keyboards and you start to get the idea. Standout tracks such as 'Staring At The Sun' and 'Average Man' are thrilling and joyous, and the rest of the songs are great fun. An assured debut that is not afraid to be different, and promises much more in the future. read more @ amazon »
Skewer came to life in 2005, hailing from Barreiro (Portugal). Part of the first line-up were Valério (Guitars/Vocals/Drums) and Telmo (Bass/Back Vocals). This line-up recorded a Demo in 2006, with a sound resembling the 90's Alternative Rock. This Demo was entitled "I Need Something Stronger", was recorded in Febraurary 2006 and was self-released in 500 copies. Most of these songs were composed by Valério between 1994-1999. In the same year, the band toured nationally, with 25 concerts to promote the Skewer name and the new release "I Need Something Stronger". In June 2006, João Galrito joins the band as the bass player. In May 2007, the band begins the recording of a new EP, baptized "Whatever", with 6 searing Rock tunes. The line-up for this EP was: João Galrito (Drums), Valério (Guitars/Vocals) and the new bassist, Ernani Carlos. With a lot of shows in Portugal, Skewer then focused on releasing "Whatever" and composing songs for the debut album. A videoclip for the single "Stayed" gains shape. This first single gets a lot of airplay in international radios: Ultra Dark Radio (Bonn, Germany), La Gross Radio (Paris, France) and over 20 other radios across USA such as Caya Radio (Colorado), Undiscovered (New York), Spider Radio (Oklahoma). The single got a lot of attention in Portugal in various radio stations too such as: Sinfonias de Aço (Rádio Barcelos 91.9 FM), Santos da Casa (Rádio Universitária de Coimbra), Catedral do Rock (Popular FM 90.9), Ratio (Eco FM 104.8), Culto do Império (Lousã FM 95.3), XFM, Radar (Lisboa) and Rádio Douro. The Portuguese press then began to notice Skewer, and they add to their resume interviews with some newspapers, magazines and blogs such as: Rostos, Jornal do Barreiro, Correio da Manhã, Webbarreiro, AGaragem.com, Santos da Casa, Margem Sul, ATrompa, Loud and Underworld. Brazilian magazines Rock Press, Rock Brigade and Mundo Rock also wrote about Skewer. Skewer releases "Whatever" in August 2007 as an author's edition (with digital distribution by the American CD Baby). In November, a contract is signed with the French Online Label Believe (http://www.believe.fr) to officialize in Januray 2008 the online release of the "Whatever" EP, with the support of Virgin, who added Believe to their catalog). "Whatever" could also be found in Vodafone (UK) and Fnac Online (France), among other big online music platforms. June 3, 2008 marks the releasing of the band's first videoclip, "Stayed", exclusively on MySpace Portugal's front page, 7th July the video premiers on TV along with the first TV appearance and interview in the popular youth-oriented show "Curto Circuito", on Sic Radical TV station. 31th July It is scheduled to air in MTV Portugal's "Headbanger's Ball". 27th August it is also scheduled to air in MTV Brasil's "MTV LAB NOW” and soon in MTV Adria and UK. read more @ amazon »Skewer @ YouTube
Hailed by NME as “potentially the most important group since Oasis,” the Music is incontrovertibly among today’s preeminent new rock ‘n’ roll outfits. With the eagerly anticipated “ WELCOME TO THE NORTH,” the UK-based quartet more than fulfills the stunning promise of their self-titled 2003 debut. The album sees the Music teaming up with legendary producer Brendan O’Brien, renowned for his work alongside such artists as Soundgarden, Pearl Jam, Rage Against The Machine, Bruce Springsteen, and countless others.
Recorded in March and April 2004 at O’Brien’s Southern Tracks Studio in Atlanta, the album marks an astonishing leap forward, reflecting the young band’s amazing journey from a high school music room in Leeds to the world stage. Songs such as the pyrotechnic title track and the shimmering “Guide” find the Music refining their distinctive meld of deep dance-inspired grooves and propulsive psych-rock riffing, integrating a new concentration on traditional songcraft and potent lyricism.
“We were a little more focused on this record,” singer Robert Harvey says. “It’s good, we get to show people that we can actually write songs. I think the main criticism of our first album was that we didn’t have enough ‘songs.’ They were more groove-based things. But people forget, we were just 18 or 19 years old, we just liked grooving and getting fucked up. Now we’re a couple of years older and we’ve got other things in mind.”
Celebrated by the Los Angeles Times for “a grand sound that mixes Zeppelin, Queen and U2 into an electronics-spiked sonic storm,” the Music first took flight in late 1999, when the teenaged Harvey, guitarist Adam Nutter, bassist Stuart Coleman, and drummer Phil Jordan came together with a goal of blending rock, soul, funk, dub, and electro to create something both uplifting and original. Over the next years, the Music developed a reputation as a truly innovative combo, known for their awe-inspiring, unpredictable live performances. In 2001, their first single, “Take This Long Road And Walk It,” was released by the influential Fierce Panda label to unanimous acclaim, followed the next year by an equally praised eponymous debut album.
Fuelled by a wave of coast-to-coast airplay and a bounty of rave reviews, “THE MUSIC” burst onto the American charts upon its February 2003 release, coming in at #4 on Billboard’s “Heatseekers” ranking of new and developing artists. The foursome headlined a number of sold-out North American dates, along with special guest performances supporting Coldplay and the Vines. Rightly acclaimed for their explosive live shows, the Music appeared on such network TV programs as CBS’ Late Show With David Letterman and NBC’s Later With Carson Daly.
Upon their return to their native Leeds, the Music took a brief respite from rock ‘n’ roll, then quickly got together to begin woodshedding material for their sophomore record. Kicking off with a series of riffs and grooves created while on tour, the band soon had a fistful of strong musical ideas to bring into the studio. The next step was deciding upon a producer to assist them in their quest.
“We were thinking about working with a more dance-oriented producer,” Harvey says, “but when Brendan O’Brien’s name came up, we were all like, ‘Well, yeah!’ We’re not necessarily fans of the bands he’s worked with, but the sheer power of the records he’s done is just unbelievable. We wanted that kind of power on our record.”
O’Brien trekked to the UK to see the Music in their natural environment – kicking out the jams onstage. Enthused by what he’d heard, the producer invited the band to team up with him in his Atlanta homebase, Southern Tracks Studio.
“We had our hearts set on making the record in England,” Harvey says, “but Brendan explained that he did his best work in his own studio. We wanted the best possible results we could get, so if it meant going to Atlanta, we were cool with it.” While stationed in Atlanta, the Music devoted themselves to their project, spending the majority of their time hard at work crafting and concocting the material that would make up “WELCOME TO THE NORTH.” “We’re constantly jamming out,” Harvey says. “While Brendan and the rest of the team were busy doing something else, we’d all get in a room and play, getting ideas together. Then we’d say, ‘This is too good to waste, let’s get it down now.’ As a result, this is a true representation of what we are as a band.” From the opening statement of ‘Welcome To The North” to the album-closing “Open Your Mind,” “WELCOME TO THE NORTH” has all the twists and turns of a journey down a long road, not unlike the remarkable ride taken by the Music over the past two years. Intricate and increasingly mature in their vision, songs such as the blistering “Cessation” and the turbulent “Freedom Fighters” represent a band whose artistic worldview has grown by incredible leaps and bounds. “You grow up in a sheltered world,” Harvey says, “then all of a sudden, you become 20 or 21, and it’s like someone taking the roof off and you’re exposed to the harsh realities of the world. There’s a lot of coming to terms with that on the album. ’Welcome To The North’ sounds like kind of a small-minded statement in and of itself, but it’s really about breaking free. That’s basically what the whole album is about – it’s about becoming universal.” Driven by that humanitarian ideal, the Music have created a second record that dares to dream, a brave and beautiful work that yearns to move and motivate all who come into its path. “WELCOME TO THE NORTH” amply demonstrates the Music’s transcendent power to shake up the world. “Music nowadays, it’s grown a bit stale,” Harvey says. “We wanted to do something that made people feel good. We want to reach a lot of people. We don’t want to be just something underground. We want to touch a lot of different people with this record.”
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The pop charts were once regularly haunted by the melodramatic musings of pianists like Liberace, Ferrante and Teicher and Roger Williams, a sensibility that eventually gave way to the more New Age-y affectations of George Winston and his fellow Wave-format-friendly ivory ticklers. But if producer David Foster has his way, young Phoenix native William Joseph will do for instrumental piano music what the Foster-mentored Josh Groban, Michal Buble and Renee Olstead have done for classical crossover and crooner revivalism. Joseph is blessed with a forceful technique and an ear for drama (he composed the theme for his hometown NHL Phoenix Coyotes when just a teen) that recalls Williams in his prime, and approaches his material with a kitsch-be-damned, crowd-pleasing verve that occasionally invokes 1970s' prog-rock excesses (the artist's own title track and "Piano Fantasy") without apology. Bolstered by Foster's usual back-row-of -the-balcony production sensibility, Joseph tackles everything from the classics ("Ave Maria," "Eternal"'s reworking of Chopin) to Led Zeppelin (a version of "Kashmir" that's as over-the-top as the original), Kansas (vocalist Garou guests on the bathos-drenched "Dust in the Wind") and even Muse ("Butterflies and Hurricanes" as MOR melodrama) with supreme confidence, if considerably less subtlety.
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When a musician loves his piano by Kerry L. Marsala
When passions give way to emotions the fulfillment of dreams blossom forth producing a rare and beautiful melody. A melody brought to full fruition by the talented concert pianist William-Joseph. As a child, William Joseph (an Arizona native) began his path towards what has now culminated into musical grandeur forming the highest peaks of bliss. At the age of eight William-Joseph, a talented prodigy was taught, disciplined, and nurtured by Russian musician, teacher, and friend Stella Saperstein. Ms. Saperstein has much to be proud of, her dream student has gone from organ player for the Phoenix Coyotes Hockey team to the grandest of achievements bestowed or desired by all great musicians, the status of musical genius. William-Joseph is now a legend in the making and the world of music has welcomed him into their arms as one who is truly elegant, and has attained the ardent status of those masters of music who have gone on before him. In a rare appearance at a intimate location, William-Joseph treated family, friends, and guests to an intimate evening of piano fantasy and the Liberace status of majestic entertainment. Flavored well with his own trademark of style, passion, and grace William played for the captivated audience his moving magical songs that he has written himself, and/or with David Foster. On his debut CD, William has recreated a few well known hit songs too, (classic rock artist- Led Zeppelin Kashmir, 80’s rock band- Kansas Dust in the Wind and Butterflies and Hurricanes by indie-rockers Muse) all leaving his audience breathless and desiring his way of defining emotion. His passion driven music leaves his audience filled and satisfied but still needing and desiring to hear more. His style is hauntingly beautiful and stirs something deep within the soul. William Joseph just recently finished his world tour with talented singer Josh Groban. With William-Josephs debut CD, Within released on Reprise Records, success has only begun to take this master concert pianist on the voyage of unforgettable beauty. An inexplicable beauty that can only be experienced, as you become a part of his world through the striking of the ivory keys. William Joseph a man created to fulfill humanities desire to hear and feel the passionate desires of what art truly epitomizes… and that is what William-Joseph delivers. He stands as a giant within the realm of the great lovers of astounding abilities to write, compose, perform and to those who just appreciate what emotional power can do for the soul. For more information, and concert performances on William Joseph: www.william-joseph.com
May 11, 2005 - Kerry L. Marsala
THE LARGEST GLOBAL ENTERTAINMENT EVENT IN HISTORY
More Than 30 Million Live Earth Videos Streamed on MSN by 8 Million People – The Largest Online Audience Ever for an Online Concert Approximately One Million People Participated in More Than 10,000 Friends of Live Earth Events in 131 Countries – the Largest Grassroots Organizing Program in History
LOS ANGELES (July 9, 2007) – Live Earth organizers today announced that the 7-continent, 24 hour music extravaganza on July 7th was the largest global entertainment event in history. “Live Earth rallied an unprecedented audience to take action to tackle the world’s paramount challenge – the climate crisis,” Live Earth Founder and Producer Kevin Wall said. “The climate crisis is a global problem that requires a global response – and that is just what we’ve received. Live Earth has established a deep foundation for the ongoing campaign that will continue to move people to help solve the climate crisis.” “Live Earth is officially the largest global entertainment event in history,” Live Earth Partner and former U.S. Vice President Al Gore said. “Live Earth is already the largest in history, and the numbers are still coming in.” MSN, Live Earth’s official online partner, broadcast the entire concert series live and has delivered more than 30 million video streams since the concert series began. More than 15 million video streams were seen during the live coverage by over 8 million people and more than 237,000 people watched the video streaming coverage from MSN simultaneously, the most simultaneous viewers of an online entertainment event. Visitors to MSN enjoyed live programming of all Live Earth concerts and extensive climate change coverage, including the Live Earth short films, detailed information on the issues and how to make a difference, and the opportunity to connect with a global community through Windows Live Messenger, Windows Live Spaces, and more. MSN expects millions more to enjoy the on-demand video experience, with extensive footage of the Live Earth concerts from every venue, celebrity interviews, backstage footage, easy searching/filtering capabilities for viewing specific songs, artists and much more. Visitors to MSN can continue to learn more about climate change through a wealth of information, tools, and resource; and can continue to Answer the Call by pledging their personal commitment. “July 7, 2007 was the greatest day in the history of MSN. Our Live Earth offering has delivered more than 30 million video streams to over 8 million people around the world, a milestone in online history,” said Joanne Bradford, corporate vice president and chief media officer, MSN. “We are beyond thrilled that MSN connected a global audience together for this important issue and invite people to explore the in-depth experience available on MSN, which millions are continuing to enjoy.” Live Earth reached its massive audience through an unprecedented media architecture covering television, radio, Internet and wireless channels. Live Earth was broadcast across television networks in more than 100 countries. In the U.S., NBC Universal dedicated all of its domestic networks to Live Earth on July 7 culminating with a Prime Time special that aired on NBC. More than 20 of the world’s leading broadcasters including NBC (US), Shanghai Media Group and CTV (China), BBC (UK), Pro Sieben (Germany), TVGLobo (Brazil), Fuji TV and NHK (Japan), South Africa Broadcast Company (South Africa) and Foxtel (Australia) dedicated a combined total of more than 100 channels to Live Earth concert coverage. Live Earth was broadcast via radio channels in more than 130 countries. Through a partnership with Premiere Radio Network, four separate radio broadcast programs at 18 hours each were heard on 200 syndicated stations in the U.S. Both XM and SIRIUS satellite radio devoted 8 channels each to carry all concerts and messaging in its entirety for 60 total hours of music. In addition, World Space satellite radio delivered 22 ½ hours of audio content across Africa, Asia and Europe in 134 countries. Beyond regular concert programming, each partnering radio station carried Live Earth PSAs and promotions to deliver the call to action and encourage listeners to take action. Wall further demonstrated the global reach of the Live Earth message by announcing that millions of personal commitments have been made via the Web and SMS in 178 countries and 35 territories. Live Earth will continue to call on people around the world to commit to make immediate and lasting changes in six key areas of their lives – at home, at work, while shopping, in their transportation, in their communities and with their governments. Live Earth is offering people simple steps they can take – like using energy efficient light bulbs and appliances – and asking people to sign a far-reaching 7-point pledge:
· To demand that my country join an international treaty within the next 2 years that cuts global warming pollution by 90% in developed countries and by more than half worldwide in time for the next generation to inherit a healthy earth;
· To take personal action to help solve the climate crisis by reducing my own CO2 pollution as much as I can and offsetting the rest to become “carbon neutral;”
· To fight for a moratorium on the construction of any new generating facility that burns coal without the capacity to safely trap and store the CO2;
· To work for a dramatic increase in the energy efficiency of my home, workplace, school, place of worship, and means of transportation;
· To fight for laws and policies that expand the use of renewable energy sources and reduce dependence on oil and coal;
· To plant new trees and to join with others in preserving and protecting forests; and,
· To buy from businesses and support leaders who share my commitment to solving the climate crisis and building a sustainable, just, and prosperous world for the 21st century.
The names of people who made commitments and signed the pledge through their computers or mobile phones on July 7th were displayed on the Live Earth web site, on the screens at the concerts, and on the global television broadcasts. However, people can continue to make these important commitments and find solutions for the climate crisis at http://liveearth.org or http://liveearth.msn.com. After the announcement of Live Earth in February, people and organizations all over the world asked to host their own events to support the cause, and the “Friends of Live Earth” program was created to support these efforts. More than 10,000 of these events were held in more than 130 countries ranging from gatherings in people’s homes to public screenings and music events exceeding tens of thousands of people. These large-scale music events, of which there were hundreds, occurred in international cities such as Zurich, Montreal, Malta, Jakarta and Singapore. While still calculating full attendance totals from around the world, Live Earth organizers estimate that more than 1 million people participated in this groundbreaking global grassroots program. In addition, Wall noted that Live Earth has produced more than 60 short films, 30 PSAs featuring stars like Cameron Diaz and Penelope Cruz, and a book – The Live Earth Global Warming Survival Handbook by David de Rothschild – to serve as lasting media that will echo the Live Earth call to action delivered at the concerts on July 7.
Live Earth was a monumental music event that brought together a global audience on July 7, 2007 to combat the climate crisis. Live Earth staged concerts in New York, London, Sydney, Tokyo, Shanghai, Rio de Janeiro, Johannesburg and Hamburg – as well as special broadcast events in Antarctica, Kyoto and Washington, DC – and featured feature more than 100 of the world’s best music acts – a mix of both legendary music acts like The Police, Genesis, Bon Jovi and Madonna with the latest headliners like Kanye West, Kelly Clarkson, Black Eyed Peas and Jack Johnson. Live Earth's 24 hours of music across 7 continents delivered a worldwide call to action and the solutions necessary to answer that call. Live Earth launched a multi-year campaign to drive individuals, corporations and governments to take action to solve the climate crisis. Live Earth is partnering with the Alliance for Climate Protection, Avaaz, The Climate Group (We’re in This Together), Stop Climate Chaos (I Count) and other international organizations in this ongoing effort. Live Earth was founded by Kevin Wall, CEO of Control Room, the company that produced the concerts globally. Former U.S. Vice President Al Gore is the Chair of the Alliance for Climate Protection and a Partner of Live Earth. Exclusive online media partner MSN is helping Live Earth reach people in every corner of the globe. Official Live Earth concerts were streamed live at http://liveearth.msn.com. MSN’s 39 localized web portals worldwide attract 465 million monthly users. smart is the world's only automaker serving as an Official Partner. Unlike any other vehicle, the new smart fortwo combines a modern, individual lifestyle with environmental protection by setting the standard in urban mobility and offering the lowest CO2 emission of any vehicle on the market. smart responds to environmental demands with innovative, technologically sound solutions and as a result produces positive and credible answers to the question of ecological driving. Philips, as the world’s leading lighting supplier, joined Live Earth as an Official Partner. Philips was the first to introduce the energy saving light bulb in 1980 and has put environmental product improvement at the heart of its business with its EcoDesign program since 1994, increasing its green product range year by year. Live Earth partnered with companies on a local level who share the commitment to helping people live a more energy efficient lifestyle. PepsiCo, an Official Partner of Live Earth, is committed to making a difference with eco-friendlier packaging, energy and water conservation and waste reduction. It’s all part of PepsiCo’s commitment to Performance with Purpose -- to do better by doing better. Esurance, the direct-to-consumer personal auto insurance company, joined Live Earth as an Official Sponsor and is the latest extension of Esurance's efforts to conserve energy and preserve the planet's precious resources. For more than seven years, Esurance policyholders have helped save thousands of trees by buying their auto insurance online and using electronic documents. An official partner of Live Earth, The Absolut Spirits Company, Inc., a subsidiary of V&S Group, produces and markets ABSOLUT® VODKA, Level ™ Vodka, FRÏS® Vodka , Plymouth™ Gin and Cruzan® Rum. The Absolut Spirits Company focuses on reducing the impact on climate change, sustainable agriculture and optimizing use of natural resources as mandated by V&S Group. To view details on the company’s efforts to combat global warming, visit www.vsgroup.com and click on “Corporate Responsibility/Environment.” Intelsat, the leading provider of fixed satellite services worldwide, is the official satellite capacity sponsor to Live Earth, providing the global high definition infrastructure for an unforgettable viewer experience. Intelsat connects the planet to Live Earth through its network of 52 satellites and global terrestrial facilities. For more information, visit www.liveearth.org or www.liveearth.msn.com. read more »
I just finished my major project "the seven prayers" which dominated my life for the better part of the last four years. Many changes in my life accompanied and influenced the work. Deep inside me sometimes I started to doubt that I would ever bring it to an end. The whole series consists of 21 large sized pictures, each one 180x180 cm. Using a specially designed alphabet based on circle segments the seven tryptichen take up motifs of the buddhist Lotus Sutra and represent them as text-pictures. The old geometrical symbol of perfection, the circle as the smallest denominator for unity, is cut into segments, to form a script. Variations of the no longer as text defined words and word fragments are stripped of their semantic meaning and become indecipherable. But this destruction of the upper layer of language bares a deeper level of meaning which only reveals itself after the habitual attachment is overcome. The series consists of seven prayers: to the sun (2000-2001), to the earth (1998), to the fire (1999-2000), to the wind (1998), to the lotus flower (1998-1999), to the sea (1998) and to the moon (2000). The choosen colors are in harmony with the seven factors of inspiration of the buddhistic philosophy. The Pollock-Krasner Foundation, New York, supported the project through a one year grant during 1999-2000. All the 21 paintings of the finished work are published as an artcard book with the title "the seven prayers" by the Edition Ursache & Wirkung, Vienna, in 2001 read more @ amazon.de »www.studio-sandor.com
"Painting for me is a dynamic process of self-exploration and a constructive way to give form and meaningful expression to an internal experience. I take on a philosophical and postmodernist approach to the art-making process, investigating problems on a personal and intuitive level. This process is what fuels my mind and informs me, raises new questions, and gives my work resonance. My subjects range from contemporary celebrities in today’s visual culture to metaphorical objects as storytellers. Celebrities bring a sense of decadence and theatricality to my work, while working with objects as metaphors on psychological level often extends meaning deep within my work. The final product becomes a passionate reflection of all that was revealed to me about my subjects during intense moments of personal clarity."
As a professional artist, Michael Bell has painted narrative portraits, by commission, some of the most powerful and famous people of our time, including the late John Gotti and for numerous cast members from HBO's "The Sopranos" and "CSI:Miami." He exhibits regularly throughout the country and is prominently featured in numerous celebrity events and high-profile charity benefits, always promoting the arts and his philosophy of art education. Bell is currently the 2004-2005 Anne Arundel County Teacher of the Year and one of twenty-four selected Maryland State Teachers of the Year. He also teaches the Anne Arundel County Gifted Visual Arts Program and has pioneered the concept of "Visual Journaling", which he has presented to art educators from throughout the country for the National Art Education Association. Bell has a documentary film out on this process vs. product artistic journey.
Michael Bell has a Masters degree (M.ed.) in the Fine Arts from Towson University, working with Dr. Jane Bates, (Thesis Advisor and the Director of Art Education), while studying in studio under Nora Sturges, (Assistant Professor of Painting), Michael Weiss, and Dr. Ray Martens. Michael Bell is a National Art Education Association (NAEA) member served as the Maryland Art Education Association (MAEA) Secondary Division Director from 2002 - 2004. Michael is listed in the 7th and 8th printed editions of "Who's Who Among America's Teachers" and was the 2001-2002 recipient of the MAEA Most Outstanding Career Arts Educator Award. In 2002 Michael created the MAEA's Artists Capturing Mentors Exhibit and in June, 2003 Michael Bell's student artists were commissioned by the Discovery Channel to create 35 works of art for the 15th Discovery Communications, Inc. Art Education Grant Program Exhibit. Michael is founder and current President of ArtQuest, Southern High School's nationally sponsored and professionally juried student art exhibition. Michael's community involvement is extensive, creating partnerships between schools and communities through collaborative projects at Discovery Village in Shady Side, MD, and mural donations for the YWCA's Men Against Domestic Violence. Michael currently instructs the Gifted Visual Arts Program for Anne Arundel County and is represented by Michael Sprouse and the Zwaanendael Gallery of Art in Lewes, DE. Michael has been named the 2004 - 2005 Anne Arundel County Teacher of the Year and was a Maryland State Teacher of the Year Semi-Finalist. read more »
Mr. Bell is my teacher at Southern High School. For the past couple years everyone has talked about him and how great he is and how extraordinary his work is. I never really took the chance to meet him or to go to art quest at school to see his work and his students work that he had a part in. Now I have Mr. Bell as my 2-D art teacher and I was looking forward to his class all summer, but when school started and I received my schedule I noticed that his class wasn't on my list of classes. I jumbled up my schedule just to take one of his classes and see what everyone was ranting and raving about, not having any love, respect or trust in him or his work. Now that I have been in his class for almost two months I respect him as a person, a teacher, and an artist. He has done some of the prettiest, original, and breathtaking artwork that I have ever seen. Just last week a student asked him why he was a teacher and not making millions upon billions of money doing his artwork. He had said that he wanted to be around people and create inspiration and help open up peoples minds to different things and create their own artwork. He had also said that he wanted to teach people how to draw and paint what they feel and what they want to. Art is supposed to be relaxing and enjoyable not stressful. Mr. Bell has helped me understand and see that my artwork is all my own and nothing can take that away from me. Mr. Bell if you read this I want you to know that I respect you so much and I look up to you because what you are doing right now in your life and as a living, this is what I have wanted to do since I was little. I just never thought that it would happen, but now I see that it can happen if you fight for it. Thank you so much.
Sent: October 12, 2005 From: Jaime Tucker
Being a self taught artist, I have learned to use art as a medium for personal interpretation into my thoughts and experiences. My inspirations come from many different places, on many different levels, wearing many different faces, taking on many different forms. This is me...This is my life. read more »www.kamiart.com
Gregoire Debailly was born in 1961 in Dijon in côte d'or in France, resulting from a family of artist (Auguste Pinel painter portraitist and friend of Courbet). He expresses as of his childhood his taste and his aptitude for the drawing and painting. After studies of right, it is initiated with the technique of painting while following the lesson of Xavier de Langlais before perfecting its training in Switzerland with Zürich, then in Berlin where it takes part in many performances in the years 1990, before installing its workshop in Prague where it will remain until 2001. On its return in Paris he becomes member of the house of the artists. He exposes his works each Saturday on the market of creation. Painter side Artprice 2005 in the auction-room Drouot Neuilly, the painting of Gregoire Debailly strikes by the extraordinary promptness of his colors, the audacity of his pallet and by the quality of his work. Currently it lives and works in Paris. "For me the problem of painting, it is that of an effectiveness which has as an aim, by any means, the sudden appearance of an image, of something of new. This known as it is not enough to be expressed to render comprehensible itself the research of the direction is essential for a painter. The image reveals instantaneously all the contents, it is not like a history with a beginning, a development and an end, all occurs here, now, it is instantaneous. A picture it is the last image of a history the last tangible trace which begins its crossing of time. It is there the essential point of my work, it is that which holds all my attention, which I seek to seize on each one of my fabrics it is this moment: the moment when all is done and demolishes in a miraculous and transitory tremor, this vibrating moment of the urgency, the urgency of living." "For me the gesture of the painter remains more recognized who is because it is the gesture which consists in affirming its individuality while resisting the standardization, by being opposed to any form reductionnism. Worst spite than a table can make us would be to leave itself completely indifferent " read more »galerieartpeinture.free.fr
Anna Ivanova was born in Tashkent in 1971
1993 graduated from Tashkent State Pedagogical institute (art faculty)
1994 - exhibition in the gallery on Cork street, London
1995 - Youth exhibition, Tashkent
since 1995 participate in almost all republican exhibitions
1997 - one-man show, gallery "Master", Tashkent
2000 - Exhibition "East-West. Dialogue at time", Tashkent
2001 - participation in "Art-Salon" exhibition, Moscow
2001 - Exhibition in the theater "Ilkhom", Tashkent
2001 - participation in "Biennale 2001. Tashkent"
2002 - Youth exhibition, Tashkent
2002 - exhibition in the gallery "World Fine Art", New-York
2003 - exhibition in the gallery "Art.Domain.com", island Majorca, Spain
2003 - one-man show in the Center of contemporary art, Tashkent
2004 - Exposition collective "Quebec: le nouvel orientalisme", Centre d'experimentation et de diffusion en arts visuels et mediatiques, Universite du Quebec a Montreal (UQAM)
“With nationwide recognition, artist Michael Sprouse has established himself as an important fixture on the Mid-Atlantic and National "contemporary-realism" art scene. Sprouse’s work featuring his unique unmistakably haunting and emotive imagery can be found in galleries and private collections from cost to cost. read more »www.sprouseart.com
Ruben Talberg (*1964 born in Heidelberg) Israeli-German painter, sculptor, photographer. He initially lived in Frankfurt, then in America and Israel. His first solo-exhibit was presented 1986 in Heidelberg. Talberg’s art constitutes an act of liberation. His family is related to Irving G. Thalberg, founder of the Memorial Award, Los Angeles. Talberg ranks among the most successful Israeli-German contemporary artists. He is reputed to represent Young Jewish Art (YJA). In his oeuvre he deals with antagonistic positions like Nature & Alchemy, Asymmetry & Dynamics or Eros & Thanathos. He works in various media such as: Painting, Sculpture, Photography, Video, Installation, Lyrics. During the last decade he intensified his interest for Jewish mysticism and magic. On extensive travels as recently to the USA and Spain he created new serials of photography that in turn generate the base for new painting cycles. Likewise the surfaces of his paintings teem with references to Aramaic letters, Voodoo or Egyptian symbols, Chinese economic numbers. Talberg is a member of the German Association of Fine Artists (BBK), VG Bild-Kunst, ROTARY International, New York Artists Equity Association, Inc. (NYAEA). Talberg lives and works in Offenbach and Miami. read more »www.rubentalberg.com
Max Weinberg (86!) wurde 1928 in Kassel geboren. Seine Eltern flohen mit ihm und seinen Schwestern vor den Nationalsozialisten 1933 zunächst nach Belgien und schließlich 1935 nach Israel. Dort verbrachte er das erste Drittel seines Lebens und nach Abschluss des Kunststudiums kam er 1959 mit 31 Jahren nach Frankfurt am Main.
In Weinbergs Werk treffen das Irrationale und Rationale, das Impulsive und das Kalkulierte, das Chaos und die Ordnung aufeinander. Seine Kunst ist unberechenbar, ordnet sich keinen Trends unter und bezweckt, der Phantasie neue Spielräume zu öffnen.
Ruben Talberg wurde 1964 in Heidelberg geboren. Er lebt und arbeitet in Offenbach am Main. Talberg ist Pataphysiker. Die Pataphysik ist eine Teufelskreis, in dem die schwefeligen Zeichen und Metamorphosen des Rausches verrückt geworden sind, ohne daran zu glauben. Sie entwickelt sich in einem parodistischen Universum, da sie die Resorbtion des Geistes in sich selbst ohne eine Spur von Blut ist. Jean Baudrillard.
The “wrong” side of the canvas becoming the “right” side. The material depth of wood, carvings, other miscellaneous textural and textual inscriptions. The big black scratch signature dipped in the pen of ashes (an imprint of tar). Beyond the visual to the tactile. Art of great significance for semiotic graffiti- style resistance against global capitalism and finance. Alan N. Shapiro, New York / hfg Offenbach.
13. April - 31. Juni 2014
Eröffnung am Sonntag, den 13. April 2014 - 14:00 Uhr
About Talberg Museum
The Talberg Museum was founded 2011 and considers itself as a long-term investment into the cultural landscape of the Rhein-Main area, a high-carat complement with regards to contemporary art. Paramount is TAMU’s task to preserve, to explore and exhibit the art of Ruben Talberg, The TAMU sees itself as a permanent autonomous zone of dialogue which manifests itself through temporary exhibitions, permanent exhibitions and events. Special exhibitions are planned with regards to contemporary Israeli (Jewish) art. The building itself dates back to 1891 when Carl Kraushaar opened a carpenter's workshop. He died in 1939 as his son-in-law Carl Salzmann took over the firm. In 1944 the structure was completely bombed out like the rest of Offenbach. After the war it was gradually rebuilt from the ashes and 1951 on its 60years jubilee Salzmann could reopen his carpentry here.
About Ruben Talberg
Multiple media sculptor and contemporary artist, based in Offenbach/Germany and Southern France. The German-Israeli artist creates abstract works from various materials with hidden references to alchemy, Kabbalah etc. Website features biography, press, photo galleries and contact information. read more »
September 11 is a day that will never be forgotten, as well as its consequences - war. The german artist Helga Kreuzritter´s paintings with the title "2001" ("2001 - The Attack", "2001 - Victory?"; "2001 - Peace?")are her contributions as reminders of this atrocious attack, but they also ask questions: Was the "victory" really a victory? And what about what was called "peace" at the end of the war? Helga Kreuzritter did create these paintings soon after the end of the Afghanistan war. In the meantime, the course of the political developments justifies her scepticism. These paintings are impressive examples for the language of an artist. A network of barbed wire symbolizes the powers of evil ("2001 - The Attack"); a banner at the top of a hill is a signal for victory ("2001 - Victory?"); a crucifix and veiled warriors are representations for the conflict between religions ("2001 - Peace"). These paintings, together with other paintings, sculptures and objects by Helga Kreuzritter, will be on display during an art exhibition in Vienna/Austria, at the well-known art gallery KANDINSKY, from June 6 until June 18, 2005 read more »www.helga-kreuzritter.com
Marco Pessa was born in La Salute near Venice in 1947, and currently lives and works in Seveso-Milan. The nature of his native country gave him a palette gifted with red hot sunschines, black grapes pressed in vats and golden wheat stirred bare footed in barns; each colour a deep plunging, a direct physical intercourse. Painter as free as sensitive, Pessa is present in personal and group exibitions since seventies, at home and abroad. His favourite techniques are distemper, acrilic and enamel, both on paper an canvas. He likes graphic works too, artistic glass windows and researches abaut the unbelivable world of the light.
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Sent: June 21, 2005 From: Mohankumar.D
Its really very good eyecatching marvellous picture in the modern art. Regards
Mohankumar.D, Chennai India
Contemporary Abstract Artist Painter Fine Art Abstraction read more »www.vincenzobalsamo.com
'An analysis of Yeat's 'Leda and the swan' against the background of his work and the history of art'
Whatever your stance on Yeats’ poetry, you would not deny that the man has written a poem the charms of which no devotee of art can possibly resist: the unparalleled ‘Leda and the swan’ which sounds as follows
LEDA AND THE SWAN
A sudden blow: the great wings beating still
Above the staggering girl, her thighs caressed
By the dark webs, her nape caught in his bill,
He holds her helpless breast upon his breast.
How can those terrified fingers push
The feathered glory from her loosening thighs?
And how can body, laid in that white rush,
But feel the strange heart beating where it lies?
A shudder in the loins engenders there
The broken wall, the burning roof and tower
And Agamemnon dead.
Being so caught up,
So mastered by the brute blood of the air
Did she put on his knowledge with his power
Before the indifferent beak could let her drop?
THE TECHNICAL BEAUTY of this poem just catches the eye. To begin with, there is the structuring of the whole episode. The poem may be divided in two halves. The first comprises the violent encounter of Zeus and Leda ending in ‘a shudder in the loins’, whereas in the second both spatial and temporal perspectives widen into infinity. This partition matches the division of the sonnet into octave and sestet. Which is marked through the similarity of the two bold phrasings summarising the event in its constituent elements: ‘A sudden blow’ initiates the octave and ‘a shudder in the loins’ the sestet. It also coincides with a shift in the temporal perspective. The octave is in the present tense; the first half of the sestet at once projects us in the far future ‘(Agamemnon dead’); from this vantage point we look back on the violent encounter (‘did she put on his knowledge…?’) that now is irrevocably referred to the past. And this binary structure is echoed in the grammatical construction: each half comprises two sentences, each encompassing a single strophe, the first and the third of which are affirmative, the second and fourth interrogative. The alternation of affirmation and interrogation goes hand in hand with a change in the commitment of the reader, who seems to identify himself with the swan in the affirmative sentences, whereas in the interrogative ones he seems to ask himself how Leda might experience her brutal overpowering.
Over this apparent articulation in two halves is superposed a second, this time asymmetric, binary structure. It is marked by the typography: ‘being caught up’ is referred to the second half of the sestet. In the first half of this partition the unstoppable unfolding of the proceedings is depicted into its furthest consequences: everything is rendered in the present tense. In the second shorter half, written in the past tense, the deeper meaning of the event is fathomed. A further counterpoint to the central partition is the shift in spatial perspective. No swan is staged, but ‘great wings’, ‘dark webs’, ‘his bill’ ‘his breast’, ‘the strange heart’ ‘the brute blood of the air’ ‘the indifferent beak’. And also from Leda we only catch a glimpse of ‘her thighs’, ‘her nape’, ‘her helpless breast’, ‘those terrified fingers’, ‘ her loosening thighs’ and ‘the strange heart’. In short: a perspective familiar to all those who happen to be cast by the spell of the flesh. Only with ‘body’, but foremost with ‘the feathered glory’ and its the counterpart: the ‘staggering girl’, does the camera seem to zoom out. But it is only when we are faced with the consequences of such promiscuous entangling of body parts that we are allowed a panoramic view on the whole: ‘The broken wall, the burning roof and tower and Agamemnon dead’. Thus, the temporal partition in present and past tense is joined by a spatial partition between the more involved close up and a rather contemplative panoramic view. As far as meter is concerned, it is apparent that the diction only unwillingly complies with the train of the iambic pentameter. We have to first witness the forceful resistance of the ‘great wings beating still’, the ‘dark webs’ and her ‘nape caught’ – an accumulation of stressed syllables wonderfully echoing the ‘sudden blow’ of the swan’s wings. But even when the metrical order seems to be restored, the asymmetry of the grammatical structure continues to oppose the regular flow on a more abstract level. Most conspicuously in that masterly - unforgettable - first half of the sestet: A shudder in the loins engenders there The broken wall, the burning roof and tower And Agamemnon dead.
The rhythm determined by the alternation of adjective and noun as it is initiated in ‘broken wall’ and ‘burning roof’, is not carried on in ‘tower’, which has to manage without adjective. But the latter surfaces again in the consequent ‘Agamemnon dead’, albeit this time after the noun. Over the repetition in the word rhythm a second pattern determined by the alternation of adjective and noun is superposed: a rotation from initial position to end position. To the unparalleled rhetorical effect that the whole procedure of begetting life is turned into its very opposite. To which we shall return below. Next to the word rhythm and the alternation of adjective and noun also the sonorous body of language is summoned up to evoke the encounter. Think only of the way in which ‘he holds her helpless breast’ unabashedly renders Zeus’ heaving. Not to mention the ‘broken wall, the burning roof and tower and Agamemnon dead’, the infernal sonority of which only joins the solemn stride of the meter to a veritable funeral march reminding of Wagner’s ‘Siegfrieds Tod’.
But let us first introduce the theme. The story of Leda stems from Greek mythology. Leda is the Spartan king Tyndareus’ wife. When she saw her chances, she did not hesitate to exchange her royal husband for a god: Zeus, even when he approached her in the shape of a swan. Which yielded her four eggs. Out of which not only hatched Castor and Polydeukes as well as Clytemnestra, but first and foremost the Helen of the Trojan war. Of old, the theme has been very popular in the plastic arts. It will turn out to be very fruitful to first examine how it has been handled there.
The representation of loving couples has always been a problem in the plastic arts. For the obvious reason that of a couple intertwining – Brancusi’s animal with the two backs – the most enticing fronts are hidden from view. Literature knows not such problem. When reading Ovid’s verse ‘ Leda is lying between the swan’s wings’ (Metamorphoses VI, 109), not only do we see before our mind’s eye the pair of wings embracing Leda, but the body covered by these wings as well, not to mention the experience of the most diverse bodily sensations. In painting or sculpture, on the other hand, we are not faced with malleable representations for diverse senses, but with a concrete visual image. The painter that from the encounter of Leda and the swan would only show us the sight of spread out wings would not show at all: he rather would hide from view precisely what we so dearly wanted to see. The classical solution consists in staging the bodies immediately before their entwining. But such is not a becoming solution in the case of Leda and the swan: we precisely wanted to witness the proceedings after the encounter! And to make a picture thereof raises a lot of problems.
To begin with, there is the tension between the impressive figure of Zeus and the rather humble shape of the swan wherein he is transformed. Especially since the little bird also has to mount the huge female body. Before the mind’s eye we inconspicuously adapt the shape of the swan, as with the already cited verses of Ovid. But when the scene is graphically depicted there before our very eyes, the discrepancy between the mighty Zeus and the rather humble shape of the swan catches the eye. It must be granted, though, that the very same humble shape also yields an unexpected gain: the beast with two backs has on one side exchanged a broad back with a slender neck, to the effect that nothing any longer prevents the full exposure of Leda’s enticing front (see Corregio’s Leda, 1530, Berlin Dahlem). But whoever might reconcile himself therefore with the humble elongated shape of the swan, cannot possibly let it pass for the mighty Zeus. Unless he focusses on Zeus' mighty member: only of this true Adam can the swan be the becoming metamorphosis – the long neck then stays for the stem of the penis, the head for its glans, the winged trunk for the scrotum. And such life-sized organ cannot fail to head straightforward towards its goal: also in the real world the stretched out neck of a swan reaches to the genitals of a woman standing. Although the beak of a real swan, as opposed to that of reckless goose, happens to rather modestly bend downwards.
La figura serpentina
Of course, the painter might proceed to adapt the shape of the swan to Leda’s body. But he then faces new problems. To begin with, also the wings grow accordingly - and they come to stand higher at that. Would we let them play the role of the lover’s arms embracing his beloved, her beauty were hidden from view by a pair of wings again. Far more interesting, then, to let them flap and express the superior strength of the swan. The task of subduing Leda’s body is then relegated to the beak which has to catch Leda in her nape. This solution has been chosen in the Hellenistic relief above. The swan’s body, running out in the slender neck, no longer embodies the erect member, but the entire body of Zeus. To the effect that the penis is relegated to the lower regions where it is reduced to its former proportions. But there again it comes to face still other problems. Although of all the winged beings the swan has perhaps the biggest penis – rather: something that can be called a penis – it does not end up in a vagina, but in an arse – and that was not precisely what Zeus was after. In the Hellenistic relief the dorsal approach implied by the catching in the nape is replaced with a frontal one, as is more becoming to men – let alone gods! But the swan seems not to be able to cope with the frontal approach: Leda has to adjust something or other with her hand! The frontal twist in the lower regions finds its counterpart in a dorsal twist in the higher spheres, were the slender neck graciously bends downwards to catch Leda’s nape from the back. To the effect that the swans’ webs are no longer stamping on a feathered swan’s back, but on Leda’s white thighs. Also on the Roman representation below, where the artist has equally chosen for blowing up the swan, the focus is on the proceedings in the genital zone. And also here things seem not to work properly: Leda has to pull the swan's legs to get things straight. So, only after some considerable twisting, turning and adjusting can they find each other, Zeus and Leda. In the ancient representations, the focus is on the problematic nature of the encounter of beast and man. We have to await the heathen Renaissance to witness a deepening of the approach and the corollary invention of more convincing solutions.
Da Vinci's Leda
It is da Vinci (1452-1519) who sets the tone for the new approach. In his first drafts of the theme he tries to solve the problem of the shape by letting Leda bend, as parents do when trying to adapt to the small stature of their children – or Mary when kneeling before her holy son. But on the eventual painting (only known through its copies), Leda is standing again, and she is approached by the rather impressive swan on her side. The interesting thing is that, in both versions, the beak no longer reaches to the navel, but to Leda’s very lips. It is no longer out at penetrating the vagina, let alone to catch Leda in her nape: its declared aim is bluntly Leda’s mouth. One of the formerly flapping wings now gently embraces Leda’s hip. And such entwining does hide nothing from view. On the contrary: since the encounter has shifted upwards, Leda can be taken under the arm from behind, to the effect that her magnificent front remains visible in all its splendour. It appears that the oral approach meets some resistance: although Leda willingly coils herself in the swan’s wings and turns her breasts toward the swan, she teasingly withdraws the lips in her face. And the same goes for the hesitating hips and her hanging leg.
In his painting of 1530 for Alfonso d’Este, which unfortunately enough has only come to us through the copies by Rosso Fiorentino, Rubens and Bos, Michelangelo (1475-1564) opted for a totally different approach. In sharp contrast with the Ancients and da Vinci, Michelangelo has his Leda lying supine. Therein she is a further development of the ‘Night’ from the Medici chapel – where another bird is paying his respects under the knees before the entrance of the gate: the owl Athena. But Michelangelo equally pushes ahead with da Vinci's innovation. While da Vinci’s Leda rather modestly opposes the indecent proposals of the swan, Michelangelo’s willingly abandons herself. No loonger needs she to be forced by a bit of a beak in her nape: she is laying there for the kissing. To the effect that Zeus has a free neck: his beak no longer has to catch Leda in her nape, his is about to kiss the lips – or to penetrate the mouth? And the complicity of the half-sleeping Leda is further emphasized by the wriggling of her fingers, betraying a nearly concealed enjoyment. Only the right arm of the swan seems to refrain the endeavours of the swan – or does it rather press the warm, feathered body against her womb?
And that reminds us of the fact that Michelangelo’s swan is granted its natural proportions again. Which induces it not only to penetrate the mouth with its beak, but also the vagina with its penis: it suffices to get a glimpse on the position of the tail, which is spread like a fan over the vagina and the black web bluntly plopped down on the soft inner side of Leda’s white thighs. Although the dark tone of the tail may be motivated through its position in a shadow zone, it first of all seems to be the emanation of what it conceals: the black penis of the swan – vicariously made visible in that equally black web. Also another colour has shifted to the periphery: the red of the equally concealed vagina. The red draperies whereon Leda is spread are the nearly concealed representation of a vagina (see also the print of Bos). Not only Michelangelo is fond of making rather obscene representations shimmer through seemingly neutral draperies... Thus, da Vinci’s swan as well as Michelangelo’s is resolutely turning perverse. But both masters immediately keep it on the straight and narrow. With this conflict corresponds the ambivalent filling in of the body of the swan. Although da Vinci’s swan takes the shape of a full-fledged human body, Leda only has to disappointedly turn away from a void, while at the same time the swan’s greedy beak is deliberately out at her lips. And even when Michelangelo’s swan remains a small bird, not only does its agitated body stubbornly try to penetrate the vagina, even more eagerly does the greedy neck edge its way between the breasts toward the mouth.
The perverse move away from the genitalia to the neck and the beak finds its counterpart in the equally perverse move away from fertilisation and birth. No longer do penises or vaginas come to spoil the fun of begetting. And with birds also birth is no longer a question of repugnant slime, but a clean affair of white shells: the immaculate conception of the white egg (see: ‘La Cane et son omelette', forthcoming’). And that holds especially for our story. The four children springing from the encounter of Zeus with Leda were not precisely born, they rather hatched out of eggs. Already in his drafts does da Vinci throw Leda her offspring in the face. With Michelangelo, where the swan is nevertheless rather busy down there, no eggs are to be seen, at least on the copies of Rosso Fiorentino and Rubens. On the print of Bos already one egg has hatched and another one on the foreground is on the verge of doing so. Even when the emphasis on the consequences of the deed is in line with the genital-fertile defence against the perverse proceedings of the swan’s neck, the fact that birds have to do without a penis and a vagina perverts their reproductive efforts from within.
And that equally holds of Yeats. Even when no eggs are mentioned in his sonnet, in ‘Among school children’ the poet stages a ‘Ledaean body’ wherewith he feels united as ‘the yolk and white of the one shell’. And that reminds us that we are dealing here with Yeats’ Leda. But only now are we ready to tackle the sonnet properly.
Yeats' completion of the image
According to Charles Madge* the above mentioned Hellenistic relief would have inspired Yeats. Which is evidenced by the flapping of the wings, the emphasis on the web on Leda’s thighs, but foremost by the way in which the swan catches Leda’s neck and presses her face against its breast. But equally right are all those who traditionally maintain that the poem is inspired by Michelangelo’s Leda. To begin with, Yeats’ Leda does not stand upright, as she does on the Hellenistic relief. She is lying supine, as with Michelangelo. And even when the webs on Leda’s thighs may also appear on the relief, marble has no colour, and it is precisely the resonance of that colour black that is more than echoed in that splendid ’her thighs caressed by the dark webs’. But foremost those ‘terrified fingers’ betray that also the painting of Michelangelo lies at the roots of Yeats’ sonnet. Even when they ward off, rather than wriggle out of pleasure. The mere fact that Yeats’ Leda uses frail fingers rather than full arms to ward off the brutal swan, at once reminds us of the fact that also on the Hellenistic relief Leda does not ward off. With her full arm she rather eagerly extends a helping hand – her wriggling fingers being hidden from view through the thighs. It is apparent, then, that Yeats must have been strongly impressed with the greediness of Michelangelo’s swan and the complicity of his Leda, but foremost with the eagerness wherewith the Hellenistic Leda helps the swan reach its goal. Which does not prevent that this erotic fervour equally unleashed a strong counter-current in Yeats. Which departs not so much from the proceedings under Michelangelo’s fanning out of the tail, as rather from the more convincing proceedings between Leda’s thighs on the Hellenistic relief. Through such regression from the ‘Renaissance’ to ‘Antiquity’, the pushy beak that effortlessly reaches its goal, is whistled back to the place where it belongs: between the thighs. And to seal the genital metamorphosis Yeats also borrows the most striking gesture of the Hellenistic relief: the compelling force wherewith the swan catches Leda in the nape, which neutralises the organ of lust into a mere instrument. And the crowning glory of this work are those ‘terrified fingers’, wherein Yeats utterly negates the seemingly denied complicity of da Vinci’s Leda and the nearly concealed complicity of Michelangelo’s Leda.
It seems as though Yeats reduces the ambivalence between perverse and fertile strivings to the sole genital proceedings. The scale seems to resolutely tip in the direction of the pole of negation. In line with this negation Yeats stresses the reproductive consequences of Leda’s encounter: the ‘shudder in the loins’ ‘engenders’ – an echo of da Vinci’s emphasis on Leda’s eggs.
The honey of generation
But that very ‘engenders there’ following the ‘shudder in the loins’ puts a heavy damper on the triumph of the member foolhardy. What is begotten there is not precisely suited to welcome the deed of procreation: whoever would like to be the father of ‘the broken wall, the burning roof and tower and Agamemnon dead’? Which of course is a reference to the Trojan war waged on occasion of the unfaithfulness of Helen, one of Leda’s chicks. The fratricide is represented through another pair of chicks: Castor and Polydeukes. Also on da Vinci’s painting the hardly hatched mortals are already attacking each other. And the role of the fourth chick is played by Agamemnon, who was murdered by Helen’s (twin) sister Clytemnestra (in Aeschyles’ version). In that ‘Agamemnon dead’ resounds still another reproach to the deed of begetting. In ‘Among schoolchildren’ Yeats complains the ‘youthful mother’ ‘honey of generation had betrayed’:
What youthful mother, a shape upon her lap (...)
that must sleep, shriek, struggle to escape (...)
Would think her son, did she but see that shape
With sixty or more winters on its head,
A compensation for the pang of his birth
Or the uncertainty of his setting forth?
What the honey-sweet ‘shudder in the loins’ engenders, is not so much life, rather death. Not to mention all those minor burdens that the poor mortals lift on their shoulders for the lust of one moment’s sake. In the short term the ’pang of birth’. In the somewhat longer term: the care for their progeny ‘that must sleep, shriek, struggle to escape (…)’. And at long last the growing realisation that all these offers have been in vain: we only beget to doom to death. For the sole taste of honey’s sake! No wonder that love recoils in the face of such dreadful perspective! Yeats, though, never speaks out this truth. He rather prefers to state without any further explanation that love is merely an transient transport – or to phrase it with Schopenhauer: a cunning of nature that is merely out at eternal reproduction. Time and again Yeats stresses the transience of love. In ‘Never give all the heart’ he holds that: it fades from kiss to kiss;
for everything that’s lovely is,
but a brief, dreamy, kind delight
That is precisely why he warns us ‘Never give all the heart’. With as an encore:
‘He that made this knows all the cost,
for he gave all his heart and lost’
Which of course causes the soul to leave her limbs, as in ‘The lady’s second song’:
Soul must learn a love that is
Proper to my breast,
Limbs a love in common
With every noble beast.
Which again sheds a new light to the swan as ‘the noble beast’
Intermezzo : the dove
Also in ‘the Mother of God’ a woman is impregnated by a bird, equally ‘wings beating about the room’. Although this time it is a dove, and although this time not a daughter is hatched, but a son. Destined to death by his very father…
What is this flesh I purchased with my pains,
This fallen star my milk sustains,
This love that makes my heart’s blood stop
Or strikes a sudden chill into my bones
And bids my hair stand up?
Herein Yeats joins a tradition that we swept under the carpet to allow ourselves a rapid transition from Antiquity to the Renaissance. But just as only as a metamorphosis of Mary Venus is reborn on Botticelli’s painting, just so the genuflection of da Vinci’s Leda before her eggs is a nearly concealed echo of Mary falling on her knees before her son Jesus. Who was brought to the world to redeem us of the sins of precisely the fratricidal twins that hatched from the swan’s eggs…
The metamorphoses of Leda
Indulging in the kind of love he has in common with ‘every noble beast’ leads to man’s fall. The endeavour to break the fall unleashes the perverse move. The tempestuousness wherewith the unruly procreative violence, embodied in the flapping of the wings of dove and swan alike, is enforcing itself, unleashes an even stronger unwillingness to surrender. For only at first sight does Yeats negate Renaissance’s perverse strivings. In fact Yeats faces us with the central conflict that sets alight the perverse fire, while at the same time allowing the perverse counter-move to expand in ever wider circles. To begin with, Leda is overpowered by a ‘noble beast’ and not by a mere man or god. The metamorphosis of man into bird releases the male of precisely the source of all evil. And even when Yeats neutralised Michelangelo’s greedy swan neck to a compelling beak, the perversion literally returns through the back door: the catch in the nape implies an approach from behind. In ‘Crazy Jane talks with the Bishop’ (Words for Music Perhaps, VI) Yeats himself betrays what is performed there in the lower regions as the counterpart of the ‘nape caught in his bill’ and under the guise of a ‘shudder in the loins’: Love has pitched his mansion in
The place of excrement.
The obliteration of the penis is completed by the vagina’s metamorphosis into a cloaca.
But the repressed returns not only through anal channels. The process of desexualising strides further along a path that also here has been paved by painters. Michelangelo’s Leda is completely naked. The impression of nakedness is only enhanced in that Leda’s hair is covered with a skin-coloured headgear. And neither is there left any trace of the pubic hair: it is covered by the fan of the swan’s tail. Which only enhances the contrast between the white-feathered body of the swan and the utterly naked body of Leda. But the very sharpening of the contrast unravels a secret affinity. Precisely because Michelangelo smoothes away the difference between naked skin and hair, it all the more comes to catch the eye that Leda’s body ends up in a horny headgear – a nearly concealed echo of the way in which the feathered swan’s body changes in the horn of the beak. Such surreptitious assimilation of the ‘Ledaean body’ is further enhanced through Michelangelo’s emphasis on those wriggling fingers and those remarkably agile limbs. Also da Vinci’s Leda seems eager to become a swan: he lets her whole body – la figura serpentina – balance in opposite directions alongside diverse axes. An echo of the above described convolutions that had to be performed to make Leda’s and the swan’s body match?
But the metamorphosis of Leda in a swan does not halt with the smoothing out of her hair and the voluptuous posture of her body: Leda also lays eggs. That seems to go for itself. But on a closer look we would rather expect eggs when a human male impregnates a female bird. When, conversely, a bird impregnates a woman, it would be more obvious that she would cuddle little swans in her womb, until at last little swan beaks would protrude from the vagina rather than children’s heads – in a variant of the story it is Nemesis that lays the scorned eggs… after her previous transformation in a goose. Not only in her alluring demeanour and her voluptuous gestures has Leda become a swan, her metamorphosis comprises her organs as well: she lays eggs and has become a bird. The metamorphosis from vagina to cloaca was only a prelude to the metamorphosis from mammal to winged bird, the sequel to Zeus’ becoming a swan.
Also Yeats seems to be ridden by the desire to smooth away every difference between the swan and Leda. The metamorphosis of the loving couple into a couple of birds is an old dream of Yeats’. Does he not sing in 'The white birds': ‘For I would we were changed to white birds on the wandering foam: I and you!’
With Yeats, the smoothing away of the difference between man and animal seems to encompass the smoothing away of the difference between man and woman. An obvious solution is their metamorphosis into a swan. It is rather impossible to tell a male swan from a female: both share a virginal front. And that sheds a new light on the fact that it is Zeus that presses Leda’s breast against his: ‘he holds her helpless breast upon his breast’. On the Hellenistic relief Zeus does not press Leda’s breast against his breast but Leda’s face. And this is also the case in a former version of the first quatrain:
A rush, a sudden wheel, and hovering still
The bird descends, and her frail thighs are pressed
By the webbed toes, and that all-powerful bill
Has laid her helpless FACE upon his breast.
Leda’s face upon Zeus’ breast: this immediately reminds us of a mother breast-feeding her child. But it is not Leda who breast-feeds Zeus as on Bacchiaca's painting above. It seems as if through his metamorphosis into a swan Zeus is at the same time turned into a mother. As if the desire of the mouth, that the beak had to give up to catch Leda in the nape for copulation’s sake, surfaces again in the shape of the nipples growing out of the breast of the swan – which, otherwise than with mammals, shows no sexual difference between male and female. But Yeats must have been equally disturbed by the difference between mother and child as by the difference between man and woman. That is why in the second version is restored the reciprocity that previously existed between beak and lips: Zeus no longer presses Leda’s head against his breast, but her breast against his. To be more precise: his breast without breasts against Leda’s breast with two breasts. And to also smooth away this last asymmetry, they both feel the same in that region: if not each others bosom, than at least each other heart beating! And how can body, laid in that white rush,
But feel the strange heart beating where it lies?
Which immediately reminds us of the already quoted verses from ‘The lady’s second song’:
‘Soul must learn a love that is
proper to my breast,
limbs a love in common
with every noble beast’
Whereas on the level of the limbs protrusion and hole oppose each other, on the level of the soul two hearts feel each other beating. From beast to breast, the journey goes through three stations: from sperm, through milk, to blood. From the feeding breast to the beating - pumping - heart: such shift is indicated in the already cited verses from ‘The mother of God’ where Mary complains about her godly son:
This fallen star my milk sustains,
This love that makes my heart’s blood stop
A similar shift is at work in Luca della Robbia’s Leda, where the swan is not out at Leda’s breast, but rather at the place beneath it where Christ shows his wound:
And that is how Leda turns into something of a Jesus Christ. Who in his turn is often represented as a pelican feeding his young with the blood flooding from his heart – the very reversal of the image of Mary with the divine child on her breast. It seems as if we are landed up in a veritable whirl of the sexes and the generations.
But there is more. The first version sheds a new light on some oddities in the second version, that otherwise might have inadvertently escaped our attention. With the image of a swan descending from heavens in mind, we are ready to read the ‘in’ in ‘laid in that white rush’ as a ‘by’. But that very same ‘in’ cannot fail to suggest that it is not the swan, but Leda who descends from heavens ‘in that white rush’. And that lends only its full weight to the wording in the second quatrain of the first version where Leda is bluntly laid ‘on’ that white rush:
How can those terrified vague fingers push
The feathered glory from her loosening thighs!
All the stretched body's laid on the white rush
And feels the strange heart beating where it lies.
In line with such increasing osmosis of the sexes lies a second shift. In the first version ‘body’ refers to Leda’s face pressed on Zeus’ breast . But in the second version ‘body’ refers to the embracing bodies as such - Leda’s body as well as the body of her swan:
And how can body, laid in that white rush,
But feel the strange heart beating where it lies?
The incipient metamorphosis of Leda turns out to be the mere prelude to a further metamorphosis: Zeus’ transformation in a woman/mother and Leda’s concomitant transformation in a man. Or to be more precise: both come to partake of the hermaphrodite by incorporating each other. And hence can eternally entwine, like Aristofanes spherical beings, hinted at in the verses:
‘For nothing can be sole or whole
that has not been rent’
which – significantly enough – immediately follow the already cited ‘Love’s mansion in the place of excrement’ (Crazy Jane and the Bishop). Also in ‘Among School Children’ the reunification in the egg is described: ‘ and it seemed that our two natures blent,
into a sphere from youthful sympathy,
Or else, to alter Plato’s parable,
Into the yolk and white of the one shell
The hermaphrodite is only a figure of the denegation of multiplicity as such. Its completion is the self-sufficient solitary – the one and only God – hinted at in ‘A prayer for my daughter” where ‘the soul’ learns at last
that it is self-delighting,
and that its own sweet will is Heaven’s will;
And so we have laid bare all the roots and ramifications of Yeats’ magnificent image. It appears that Yeats has with unparalleled mastery condensed the central conflict of human existence, far more concisely - since brought to a head - than da Vinci and Michelangelo. With this reading in mind, many an accepted interpretation rather evaporates. Foremost Yeats’ own interpretation. He believed that the age of democracy was going to its end and that a government ‘from above’ would be installed to subdue the anarchic masses, as in Russia. But Yeats himself betrays how, when working on his Leda, he was so caught by the image of the bird and the girl, that ‘all politics went out of it’ (Cullingford). And we readily believe him. Did he not write himself (in ‘Politics’): How can I, that girl standing there,
My attention fix
On Roman or on Russian
Or on Spanish politics?
And the same holds of other interpretations: from the Platonic, through the Nietzschean, the… , to the feministic (Cullingford). Idem for the interpretations of Michelangelo’s Leda. Whatever might have been the meaning intended within the context of Alfonse d’Este’s diplomacy (Wallace), every attempt to reduce the meaning of this work to mere diplomatic symbolism would overlook that already da Vinci had introduced the new theme within a totally different context. Here we stumble on the ‘immanent’ lecture of genuine art, which is out at throwing off the yoke of symbolism laid upon its shoulders (see: 'Are Rubens and Beuys colleagues?'). Which did not prevent Yeats from giving a transcendental twist to the very image he so brilliantly knew to bring to a head and at the same time to amplify. Did he not let it end on the question: ‘Did she put on his knowledge with his power?’ Whereby he caused his creation to become vulnerable: after all no human creation is perfect. We already described how a second asymmetric partition overlapped a first symmetric one. Were it not for the overall rhythm of the sonnet to ask for its further unrolling, the breath of Yeats’ image has irrevocably breathed its last when also Agamemnon has given up the ghost. Perhaps a vague consciousness of such a rupture induced Yeats to typographically separate the second half of the last verse of the first half of the sestet and to refer it to the last – ‘added’ half. I would like to spare myself the effort of answering Yeats’ question in terms of his worldview – which is utterly alien to mine. And I do so all the more eagerly, since also this addition is susceptible to a lecture that is perhaps rather non-Yeatsean, but nevertheless not less imposed by the logic of his own image. On its wings the swan is carried into the skies, but with its webs it paddles in the waters - where the cold-blooded fishes reign. The skies and the waters wherein the amphibious swan is at home are thus opposed to the earth. And even though also a swan can waggle on its webs: it is man that naturally walks on the earth’s surface. Only from the surrounding waters and skies – the outer-human world – does the ‘brute blood of the air – come to invade man’s world and make him – Leda – stagger, if not fall as if (s)he were a second Eve. Against this background the question ‘Did she put on his knowledge with his power?‘ acquires a new meaning. At first sight its seems to fit the classic opposition between man as spirit versus woman as body, which without doubt governed the (also political) conceptions of Yeats, as is evidenced by ‘on Woman’, where it is written: May God be praised for woman
That gives up all her mind…
But in the light of that damned ‘honey of generation’, an unexpected overtone comes to accompany those ominous words. God in the shape of a swan - that is no less than the reproductive drive, that willy-nilly pursues its own goals without bothering about the poor, blind mortals abused as mere instruments. Merciless does it load a heavy burden on the shoulders of the very men and women that think to dedicate themselves to love and equally merciless does it deliver them to war, decay and death. Alongside the entire way of the Cross, poor overpowered Leda – in this lecture as well as in the ancient one: mankind – lets herself deceive through ever new chimera’s, whispering into her ears that man can pursue his own - human - goals: if not the divine ‘shape on the lap’, then at least the merger via the ‘loosening thighs’, or if need be ‘the feel of the heart beating’ – and since this is doomed to remain utterly ‘strange’ – at last: 'self-delight’. In this second lecture of ‘Leda and the swan’ no longer the sexes are opposed: the divine and beastly rape the human. Before being the metamorphosis of Mary and her dove, Leda (da Vinci’s ‘figura serpentina’) and the swan (‘the brute blood of the air’) are the metamorphosis of Eve and the serpent (‘the cold blood of the waters’). The feathered swan in the skies as the counterpart of the slimy snake in the waters. Or the cold-blooded fish: after all, just like the swan has to waggle on man’s earth, so the serpent can only snake on it. And herein is to be found the very power of this poem and the merit of its poet. For according to the good old romantic tradition the poet, not otherwise than Leda for the swan, is only the vehicle of a wisdom that manages to edge its way through the musings of the poet. And – as is already implicit in the structure of this essay – Yeats did not succeed on his own. He is merely the last - albeit the supreme - link in a long chain of forebears, that one after another laid bare ever new coordinates wherein the constituent forces of the image come to nestle. Until they are condensed in a dynamic whole of strongly opposing forces. Which is a pinnacle that cannot be surpassed anymore. Similar highlights are the Don Giovanni of Mozart and da Ponte. Or better still: the Salome of Oscar Wilde and Richard Strauss. For the latter has in common with Yeats’ Leda that it were equally painters who paved the way. It suffices to cast a glance on the countless Ledas painted since Michelangelo to convince oneself of that truth. Only in Yeats’ sonnet did Michelangelo’s Leda find its accomplishment. And no poet will probably ever surpass it. © Stefan Beyst, october 2002
* cited from Cullingford.
BEGHELLI, Chiara: 'Leonardo and the myth of Leda. Models, memories and metamorphosis of an invention', Telematic Bulletin of Art, September 1th 2001, n. 281.
CULLINGFORD, Elizabeth Butler: "Pornography and Canonicity: The Case of Yeats' `Leda and the Swan,'" in Representing Women: Law, Literature, and Feminism, ed. Susan Sage Heinzelman and Zipporah Batshaw Wiseman (Durham: Duke Univ. Press, 1994), 165-87.
HARGROVE, Nancy D. "Esthetic Distance in Yeats's 'Leda and the Swan'.", The Arizona Quarterly 39 (1983): 235-45.
HOLSTAD, Scott C.: 'Yeats's 'Leda and the Swan': Psycho-Sexual Therapy in Action, Notes on Modern Irish Literature.
WALLACE, W.E.: 'Michelangelo's Leda: the diplomatic context' in: Renaissance Studies Volume 15, Issue 4, December 2001: pp. 473-499.
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Patrick Demarchelier (Stern Portfolio Library of Photography)
For many years Jerry Avenaim has been working with celebrities, models, talent agencies, modeling agencies, and advertising firms all throughout the United States from Los Angeles to New York delivering sexy, stylish photographs that convey a Beauty and Glamour. Jerry Avenaim uses his special techniques that take the work out of being glamorous and council his clients during every step of the way. Avenaim can turn your dreams into reality! read more »jerryavenaim.com
Pierre Thomas Karkau loves life as he loves women. Women were the subject of the black and white photographs of his previous book Models Secret, and they are again the topic of the colour photographs in his newly published work Colorotic with which PTK further develops his interpretation of the female aura and eroticism. For PTK women mainly shown as semi-nudes or nudes are beautiful, highly feminine creatures of great sensuality, erotic vibrancy and allurement. This does not solely emanate from the women's bodies and forms but also from their lust (for life), their assertiveness, strength and sometimes even from the positions, gestures, facial expressions and other body signals that serve to demonstrate their predominance and power. In PTK's photography men only play very subordinate roles, if any at all but they are the main addressees of his artful play with emotions, fantasies, ambitions and needs. It is a masterful interaction of perspective and light, underlined and accentuated by powerful predominantly warm colours. After years as assistant to top photographers in the fashion capitals of Milan, Paris, New York and Düsseldorf under his belt, PTK is an internationally renowned photographer who mainly works for the fashion and advertisement industry. However, he continues his artwork with COLOROTIC which has been influenced not only by the classic ideas of visuality of the last decades but is also inspired by recent trends in colour photography. As a result PTK has been published the world over in magazines such as FHM, GQ, MAX, MAXIM, PLAYBOY, RED HOT, WIENER and many more. This latest development should particularly delight his friends and admirers; the collectors of his work will certainly welcome his increasing artistic proximity to such great names of his trade as Ellen von Unwerth, Mario Testino and Helmuth Newton. You can gain further insight into PTK's work under www.ptk-photo.com where you will find impressive examples of his photographic oeuvre from different fields of fashion photography. -- Martin Fervers
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Colorotic (Compact Books Photo) (English, German, French, Italian and Spanish Edition)
Models Secret (Multilingual Edition)
An internationally published fashion photographer based in Manhattan’s Fashion District.
Richard Warren was born in Houston Texas. His father was a newspaperman. At the age of fifteen Richard moved to the Pacific Northwest where after High School worked as a commercial fisherman in Alaska and also earned a degree in Graphic arts from Western Washington University. By the time he was twenty-one he had moved to New York and began assisting great photographers: Bill King, Helmut Newton, Denis Piel, Robert Mapplethorpe.
Warren was twenty-six when he had his first break while living in Milan; a 30 page Couture editorial in Italian Bazaar photographing Valentino, and other top name couture designers.
Work continued in Milan and Paris then onto Sydney Australia for Australian Vogue, Follow-Me, Dolly and Australian Harpers Bazaar. In 1990 Warren returned to New York and started a profitable career in fashion photography.
The Fall of 2001 was a set back not only for New Yorkers but for the rest of the world.
During this period of reduced commercial work Warren immersed himself in the digital world and the result is a state-of-the art, 22-mega pixel digital studio in Manhattan’s Garment district. While still shooting traditional film on location, Warren has up-to-the minute knowledge of digital workflow from capture to post production with everything being available to clients ‘in-house’.
Richard Warren currently lives in New York with his wife, two children, a 150-foot English border, which he maintains, and an old Martin 12-string guitar, on which he plays Robert Johnson style classic Delta Blues.
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Wang Qingsong, 2004
As economic development takes top priority in China's national policies, the country has changed, and its people have changed even more. Everyone appears full of aspiration and seems satisfied with the achievements of reform and rapid development, which are expressed in the Chinese slogan, "One change a year, one big change in three years, and one unidentifiable transformation in five years." Capitalism has "modernized" our formerly agricultural country. In the last two decades, the economic reform has witnessed significant achievements-for example, being selected to host the 2008 Summer Olympic Games and China's entry into the World Trade Organization, both of which bring it into much closer contact with other countries. This rich contemporary China provides me with a huge resource for artistic inspiration. To sing highly of this new, sweeter-than-honey life of glory, I use theatrical techniques and let the camera narrate true and understandable contemporary stories. For China, with 1/5 of the population in the world, it has to resolve problems of clothing, food, housing and transportation. In housing, developers of real estate have created such terms as "Chinese Manhattan", "Oriental Versailles ", "Park Avenue Apartments", "Palm Beach Springs", "Roman Garden", "Modern SOHO", and "European Classics". In food, it is well known that McDonald's and Pizza Hut are just fast-food stores in Europe and America, nothing more than convenience. However, when they came into China, they became the top cuisine and hot rendezvous for people to have parties, invite friends, celebrate birthdays and meet lovers. On the surface, this phenomenon of going after what is western style represents an ideal for Euro-American materialistic life. But in such an era of globalization, does this ideal also represent worship that can create a lot of ridiculous contradictions? With this thinking, I created many photographic works including "Thinker" (1998), "Prisoner" (1998), "Catcher" (1998), "Requesting Buddha series" (1999), "Can I Cooperate with You? " (2000), "Look Up! Look Up!" (2000), "Bath House" (2000), "Forum" (2001), and "Beggar" (2001). As the quintessence of Chinese traditional culture, Buddhism has accompanied Chinese civilization for thousands of years. It brings comfort and fortune to the people, inspires their soul and enlightens a responsibility for having good relations with the others. This Buddha used to set its goal to save the suffering through self-devotion. However, in the current commercial society, the respectable Buddha has also been changed. It reaches out its hands insatiably for money and material goods towards every troubled person. The "Requesting Buddha" Series is the faithful representation of such a phenomenon, overflowing with desires, hypocrisy and exaggeration. What has been haunting in my mind is the position and destiny Chinese intellectuals experience in our history. In such an era that lacks ideals, people have cast doubt on the heroes and ideals of the past. I wanted to catch some scenes that describe such loss of hopes replaced with hoarding desire for money and power. To compare the past and present, I appropriated the old and known masterpiece "Night Revel of Han Xizai" which was the best piece of Chinese traditional figure painting. This old art piece reflected the then social life in the torrents of transformation, and depicted the life of a worried intellectual and high official in Post-Tang Dynasty, Han Xizai. He was powerless to fulfill his ideals of reconstructing the country. To "cleanse" himself, he chose to evade and "indulge in" comfort. After several centuries, even though the Chinese dynasties have changed frequently, the status of intellectuals in society has remained the same. With some thoughts on this question, I created "Night Revel of Lao Li". It is a portrait of contemporary Chinese reality in this new century, portraying the situation of contemporary Chinese people, and of intellectuals in particular. ... read more @ amazon »
Wang Qingsong Hardcover – November 1, 2006 by Zoe Butt (Author), Wang Qingsong (Photographer)
Out Of the Red: The New Emerging Generation of Chinese Photographers Hardcover – July 2, 2004
Narrator of China's Contemporary Life (English and Chinese Edition) 1st Edition by Wang QingSong
Presentation of Simal's work Spanish photographer specialized in portrait and humanitarian and documentary photography.
Una muestra del trabajo fotográfico de simalcamps Ignacio Simal
Rehearsing With Gods 
Ronald T Simon and Marc Estrin are pleased to announce the release of their upcoming book: Rehearsing With Gods - Photographs and Essays on the Bread & Puppet Theater. 146 Duotone Photographs by Ronald T Simon. Eight Essays by Marc Estrin. Foreward by Grace Paley. Rehearsing With Gods Photographs & Essays on The Bread & Puppet Theater combines a twenty year photographic documentation by Ronald T Simon with eight essays by American author Marc Estrin, in a unique bookwork to be published by Chelsea Green Publishing Company, available May 2004. Rehearsing With Gods offers a profile of theatre director Peter Schumann, established for decades as an important and influential artist, and presents a wealth of visual and written ruminations that may prove a respected publication in the history of modern theatre "I never thought a book could do justice to the magic, the beauty, the power of Bread and Puppet. But Rehearsing with Gods does just that, with the poetic, profound commentary by Marc Estrin, and the magnificent photographs by Ron Simon, all suffused with the loving spirit of Peter and Elka Schumann and their intrepid band of puppeteers." - Howard Zinn, author of A People’s History of the United States For an art book, Rehearsing With Gods has a solid market base to build on, beginning with Bread and Puppet`s own forty year production history and established following. Several areas of study including theatre/art history, fine art/documentary photography and activism/ philosophy are richly entwined together by eight archetypal themes that provide a framework for discussing Peter Schumann’s work. The hard bound cloth version with a first printing of 6000 is reasonably priced at $35 US. Further online discounts will make this book accessible to a larger buying public. Rehearsing With Gods may go beyond The Bread & Puppet Theater’s traditional audience and appeal to a wider readership, both as a reference and as a work of art in itself. A heartfelt tribute that rediscovers a world of artistic creation and identifies Peter Schumann’s grand theatrical vision as one of genius amongst the great directors of modern theatre. read more @ amazon »
Rehearsing with Gods: Photographs and Essays on the Bread & Puppet Theater Hardcover – May 1, 2004 by Ronald T. Simon (Author), Marc Estrin (Author), Grace Paley (Foreword)
Landscape and Desire: Bread and Puppet Pageants in the 1990s Hardcover – 1997 by John; Simon, Ronald Bell (Author)
I started taking photographs when I was about 10. My father gave me a Zenith 35mm SLR. My Grandfather was a street portrait photographer in Versailles and my father studied photography in Paris before he came over to England in 1965 and it was he who first showed me how to use a film camera..
Theatre Stills Photographer
My career in this creative field has grown over the years. I became involved in theatre stills photography several years ago when I worked with John Haynes at the MacCowen Theatre in London. Shortly after I was asked to photograph for the Linbury Theatre and LAMDA.
Performing Arts Photographer
All aspects of photography interest me greatly including reportage, film stills, studio portrature etc. Primarily I'm a people photographer and I particularly like shooting the performing arts, televison, film and theatre. The light, the fast changing subject matter and the rich expression of the stage is a great challenge and I enjoy creating art out of art.
I've been lucky enough to have worked with a variety of different directors and theatre companies in recent years - Crispin Bonham-Carter, Helena Kaut-Hausen, Greg Doran - The Linury, The Royal Shakespeare Company, The MacCowen theatre and I continue to take on new challenges within the performing arts arena including The Circus Space and BBC television. Actors Headshots I offer a very comprehensive and flexible photography service to actors and students. Whether you need a studio shoot or an outdoor or location shoot, I can offer some of the most attractive rates in the business - If you are busy perfroming or if you are in between rehearsals, I can even set up a studio where you are to save on time. You can even see your contacts in a personal and secure on-line section that you can share with your agent or manager. read more »
fine art photography and contemporary art. Presentation of the photographer C. W. Marsens and his work. "Leitung in betrieb", "Oradour", "View", "Bosnia-Herzegovina"… a glance on human cruelty
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My parents are both from Macau but I was born and grew up in Hong Kong. I love this little island. It was my father's mechanical Nikomat that started me taking photos for my secondary school's annual, and from then photography has been with me. Although I haven't received any formal education in photography, I read all photo technique books in my secondary school's library, spent more hours in darkroom than lectures when I was in the law school, and created this photo gallery for an assignment during my graduate studies in communication and new media. "Like pausing in time" was a classmate's comment on my assignment. It was the first time I queried why I take photographs - maybe I enjoy pausing the time, freezing the light that once shined on me, and having the possibility to share with people the faint visuals of life residing somewhere in my mind. This gallery is just a gathering of life's milliseconds, but stories and sentiment are behind the images. Glad to have met you and may I wish you an enjoyable pause in the time.
fashion, n.i.p ( not important person ), stories, gallery
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Marco Tenaglia is an Italian professional fashion photographer specialized in fine art fashion photography. After completing his education in the field of photography and graduating from "High Institute of Photography" in Rome, Marco began his career as a Professional Fashion, Beauty, and Modeling photographer, in the Fashion and Modeling industries. Due to his close ties to the fashion and modeling industries, and as the results of his connections and participation as a Professional Photographer in many Fashion and Modeling events, both in U.E. as well as U.S.A., Marco had the opportunity to study and evaluate the differences between these two (European and American) styles and cultures. Using his creative and artistic talents combined with his technical expertise, Marco combined the European elegance with American style and ingenuity, to developed and created a new and unique way of photography to enhance and capture the essence and beauty of both the designs and the models.
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Photographe, de studio à Paris : pack-shot, catalogues, objets (luxe, bijouterie, horlogerie), cosmétique, culinaire, reportages et portraits.Photographe Studio, Paris, bijoux, bijouterie, objets, pack shots, reportage, culinaire, image, illustrations
Pierre-jean Grouille - independent Parisian Photographer - delivers to you his personal and contemporary vision of the world which surrounds us.
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Beginning with first child's photos till the present -- 36 years. In the last sixteen years photography is a matter of life. He works as a photocorrespondent in Belorussian association of friendship and culture affairs with foreign countries, "Literature and Art" weekly and the national newspapers "The Soviet Byelorussia" and "The Republic" (since 1994 till the present time). Besides -- longtime cooperation with the famous theatres of the country (including Yanka Kypala National academic theatre) and a lot of accreditations, that means having a right to take photos of the most important political, cultural and sport events, participation in exhibitions. But the most important -- a great number of journalistic trips and journeys around his country -- Belarus. The country of deep forests and blue lakes, the country of the Chernobyl tragedy, the country of childhood, love, sufferings… As the result -- thousands of pictures. And you can find on this site only some of them.
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Tatsuya Sato's artistic background is learning from the people, books & films, local galleries, and nature on the road.
Much of his work has been inspired by the Beat Generation
" and his friends " their works and concepts.
In the meantime, Tatsuya felt a growing need to spend time on his own work. he decreased his commercial commitments, and concentrated more and more on his personal work.
His journey began at the age of 22 when he felt that " to see myself and the world " with a Nikon F (35mm film camera) and later on having a Leica M3 & MP4.
One may take with an everyday occurrence and an unexpected occurrence.
And through his lens the ordinary becomes extraordinary and poetic. He confers moods and emotions upon everyday subjects or scenes which he captures in a mystery of lights & shadows reflect a perspective of relationship between people, society and the natural world by internal images.
Setting out in the open for a poetic itinerary where the song of his sensitivity happily coexists with both his images and his soul.
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Corvisier - Barberis : A beautiful black and white day
Black and white photography is still the best language that I have found for capturing the beauty, the sorrow and the humor of the City.
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I am a self-taught photographer from Montreal, Quebec, and currently living in Ottawa. I have been making photographs since 1988, first in the traditional chemical darkroom, and since 2005, digitally.
I have been showcasing my black and white photography on the web since 1998 (link is to the wayback machine, and my website in 1998!), and through www.paulpolitis.com, since 2001.
My work has appeared or been reviewed in several magazines internationally, including Shutterbug Magazine, Black & White Photography (UK), The American Muse, Black + White Photography Magazine, and PhotoEd Magazine.
My prints are also held in private collections, and in the collection of the National Arts Centre (NAC) in Ottawa.
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Different galleries of black and white photographs made by Artez : Ballet, statues, mannequins, Venice carnaval, journeys, portraits and research works.
I live and work in Italy and I am not a professional photographer. I love Visual Arts, in particular photography, which is perhaps the most efficient and immediate instrument for telling stories. The site is divided into four parts of photography. Black and white photographs with no title, which deal with the themes of Nature, Architecture and Lifestyle. There is also a gallery “GoTo” where I tell about some places and how, in my opinion, I saw them and maybe how I would have liked to see them.
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Mark Ingram is a professional Freelance Photographer based in Cobar. Mark recently moved from the Far North Coast of New South Wales where he photographed extensive, coastal landscapes and seascapes, river scenes, sunrises and commercial images.
Mark is now living in Cobar where he captures landscapes and nature images of the outback. The outback is a dry barren landscape which has rich colours of the earth and clear blue skies. The landscape plagued by drought is rarely noticed by the majority of people in Australia, Mark's images showcase the real outback.
Mark Ingram Photography is a photography service that caters for a vast range of services. Packages are available for function and portraiture, studio lighting is used to capture natural skin tones. Images are printed by professional digital labs on a variety of mediums.
All images are captured using Canon SLR cameras, images are processed using Adobe Photoshop CS2 software. . Whether you need a studio shoot or an outdoor or location shoot, I can offer some of the most attractive rates in the business - If you are busy perfroming or if you are in between rehearsals, I can even set up a studio where you are to save on time. You can even see your contacts in a personal and secure on-line section that you can share with your agent or manager.
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Claudia Reinhardt began taking photos at the age of 18 with the goal of becoming a fashion photographer. She assisted various photographers and worked as a freelance fashion and advertising photographer. Subsequently she studied at the School of the Arts in Hamburg. In 1994 she founded the art magazine Neid. She lives currently as a freelance artist and an assistant professor in Berlin and Norwa
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Contemporary emotional powered photography made by traditional old-known method by coloring photo film. Photo Galleries: Erotica, Beauty, Dream, Fantasy, Expression, Gothic, Strange Games, X-Files
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Selected pictures of few seasons spent in Copenhagen. Bevar Christiania and Go to Roskilde festival. Winter, Autumn and Summer in Sjælland.
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Emanuele Carpenzano was born 37 years ago in Sicily, he lives in Adrano where he works as a professional photographer. His works are supported by a continuous personal research and characterized by his love for the traditions, landscapes and faces of Sicily. His participation in many contests and exhibitions has earned him great success with the public. He is President of the Sikanie Photographic Association, which was founded in 1996 in Catania. He is also a sensitive interpreter of wedding photography. He engages himself with the couples by understanding their emotional investment and with his artistry helps create one of the best days of their lives. Emanuele wants to promote the "Photographic World" through his shows, exhibitions and artworks.
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What is photography? What is art? What is the point of it? It's everything around us, and it's yourself, there is no point, it's putting your thoughts on paper, in an instant, expressing more than words can, so many things. Photography and art isn’t limited to the medium, it's more than that, I believe the real art is the artist and the world, this is what inspires us. What catches one person’s eye, but another walks past? With photography I have learnt the value of detail, it has taught me to look for details, to look for things, this is more than clicking a button. The camera simply allows the user to catch the image, it is the artist who sees it. The way I think is life is full of speeded up days, what the camera does is crop this so you can focus on what you want. It takes a moment, and stretches it to infinity, and gives us the calm of observing that moment properly, and life is like this to me, full of clutter, and very special moments. In India, I saw uncensored reality, real poverty, real madness, not the sanitized cleaned up, behind closed doors society of Britain. But why are these themes so interesting to me? Because they are more real, everyone identifies with the underdog, not many can identify with the entrenched falsity of the ruling classes. This is where photography is different, it is designed to raise questions rather than answers, but the result is that artists will remain unfulfilled, because in their quest for answers, they simply raise more questions. Don’t take anything on face value, everything can be doctored even these words words, read them once, forget them, and go make your own art
Aesthetica magazine (front cover), BBC website, pixel press, f-stop magazine, EOS magazine (Top shot best photograph of the month) creative soup zine (a new magazine that publish artwork from emerging artist) , Revolver, Global Tribe is an exciting new program that connects young people around the world through meaningful service projects. Five Photographs used for Boomerang media, a postcard company that distributes postcards to universities, nightclubs & Cinemas, Canon CPS website official site for Canon Pros. TakeGreatPictures. I was also Featured in double dare press magazine for my project on schools in India, the website gets 350,000 hits a month. Artist for www.e-cards.com with monthly hits of 6-million people my travel photography is on the website. FILE Magazine, Adbusters magazine with a print run of 60,000 it’s a magazine that gets distrusted all around Canada, Sun magazine and arts magazine in India, Smart Photography an Indian magazine that displays emerging artist distributed throughout India, European Magazine free magazine featuring art, exhibitions, travel, hotels, restaurants, fashion ,etc. We have a top class distribution in five star hotels, golf courses, marinas, boutiques, and also in the Thyssen-Bornemitza Museum in Madrid.. Medium Magazine one of the hottest magazine out their for emerging issues my work is in issue two 2005. Published in BJP (British Journal of Photography) one the best know photography magazines on the planet, an essay was published in June’s issue/2005.!
The photographers at Premier Photography have over 25 years experience in the fashion, fitness and modeling business. Jamerson Brooks started his career as a model and actor. With swimwear layouts and acting roles in The Heat Of The Night. Jamerson was also a modeling agent for 6 years. As an agent he took photos of his new models to show New York and Miami agents ...
Damon is based in London but has traveled widely in his search for better imagery. Working for some of Londons best fashion and news agency's as well as freelancing and artistic work. In the last few years he has spent time documenting Faithless the UK dance act as their official "live" photographer.
My name is Kevin and I'm a 30-something guy from the Toronto, Canada area. I live just north of Toronto, Ontario, Canada. I'm a nature nut and enjoy getting outside with my camera every chance I get. I love to travel. I've been across Canada, many parts of the US, the Bahamas, Germany, and Egypt. The trips next in line for me will be Scotland, Australia, New Zealand, and Nepal. My camera bag contains a Canon EOS digital Rebel, along with a few lenses (Tamron 90mm macro, Canon 24-85mm USM, Canon EF-S 18-55mm, and a Sigma 70-300mm DL macro super). Photography has strictly been just a hobby to get me outside into the fresh air (although I have had a photograph featured in "Wolves" magazine in the spring 2002 issue. I also have had one of my photos featured on a musicians CD package). I have no training or the patience to take a class in the art of photography. I like to just learn by trial and error (heavy on the error).
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Fotografare è la mia passione. Mi considero soddisfatto solo quando riesco a far "parlare" la fotografia.
Dedico gran parte del mio tempo a realizzare scatti, sempre con l'intento di cogliere l'attimo negli eventi, negli animali, nelle cose e nelle manifestazioni più varie della natura.
Amo la spontaneità e mi affido all'intuizione. I risultati migliori infatti li ottengo quando fotografo all'insaputa del soggetto, e la foto è pura espressività.
Infine, penso alla fotografia come ad un'arte che matura e si evolve attraverso la passione, l'impegno e a una continua ricerca.
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"Fatonoze" par Simon Gade
Notre avis : Depuis quelques années, Simon Gade explore les possibilités offertes par la vidéo et le numérique sur la fabrication d’une image. Toutes les passions de sa vie sont réunies dans ce livre de photographies vivifiantes, où la couleur et les retouches graphiques donnent une unité stylistique à ce patchwork rutilant : voitures de collection, motos racées, portraits expressifs d’amateurs de l’extrême (BMX, skate) et impressions de voyages au Tibet, Etats-Unis ou Angleterre… Rien ne doit vous empêcher de monter sur le siège arrière !
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The portfolio of a young French photographer
These "compositions", as Fabrizio Fiorenzano prefers to define the result of his work, find an illustrious predecessor in the history of figurative arts in the photo montage, that shows an image obtained at shoot-time or print-time by patching together various images in different ways; a practice that has been around since the early days of photography and is still in use today where it is used to expressive purposes. The most famous artist in this field that we have record of was John Heartfield (1891-1968), author of a large number of satyric works targeting the German Nazi government, made in collaboration with George Grosz who also helped found and support the Berlin Dada group of artists, around the end of the '10s during the last century. One of the most well-known works by John Heartfield, entitled "Once during the Middle Ages, so now under the III Reich" shows a man crucified on a swastika. Today's skillful usage of the computer as employed by Fabrizio Fiorenzano, who uses it to put together the pictures he chooses for his compositions and given to him from Giovanni Ratta or from other parts, makes the old photo montage technique appear like a tender old relative who, after having started a path with an idea and then walked it for a good distance, generously enables us to continue walking it by different means. Indeed, the results achievable through electronics are amazing for number of colours, infinitely adjustable shades, transparent veils, number of usable backgrounds, available filters, range of effects and much more - all tools that are not available in the darkroom and that can be precisely applied at each instance, without the unpredictability of chemicals. Fascinating world of possibilites in which creativity, talent, emotion and synthetical skills get along perfectly with intelligence, reflection, technique and play. The result of Fabrizio's work appears consolidated by now, and if we abandon ourselves to the reading of his works packed with atmosphere and deep tension in regards to the inequality of the world, the woman's condition in third world countries and the obtuseness of wars, as well as beauty, nature, abstractions, dream and contradictions, then we can enjoy the enchanted birth of an "image of images" which allows us to raise our awareness and communicate without words. Luciano D’Alessandro (Photographer)
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Art-is-Life.com presents artists, designers, musicians and writers from around the world. The goal of the magazine is to promote the creative lifestyle, whether it's through the collecting of art, the enjoyment of new, original music or the inspiration provided by emerging fashion designers. Home decor is also included with several interesting articles on decorating, purchasing unusual items for the home and setting the interior environment in expressive ways. Submissions from artists, designers, writers and musicians are encouraged.
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I try using my camera to overcome old learned vocabularies. I created the Big Babies series as a way of challenging myself to talk about young children without relying on the traditional visual language that is readily available for talking about children as cute, adorable little objects. I wanted to resist and challenge images that objectify the child as a doll-like material. In many ways the series was a reaction to the stereotypical Sears-type baby portrait that embodies the cultural stereotype of the cute smiley-faced baby. I find this stereotype to be such a limited and narrow view of young children. In making this series I found that the landscape of childrens' faces are intelligent, thinking, reflective, concerned, and at times intense. Instead of placing the child in a seamless photo studio - instead of yanking them out of their own environments into the photographers studio - the children were photographed within their own spaces and places. I found that use the camera can question the stereotypical standards that influence our conception of children and childhood - standards that lead to overlooking or dismissing the childs intelligence and their ability to express a wide range of thoughts and feelings through an equally wide range of gestures, gazes and expressions.
Nationality: Born in Israel, now an American
Camera: Nikon FE with a 55mm 1:2.8 lens, no filter.
Film: Kodak Max 400 ASA color film.
Where I live: Silver Spring, Maryland
My parents emigrated from Israel to the US when I was a young child. As a five year old I found myself suddenly immersed within an unfamiliar culture and language. As I experienced more and more of the new culture I found myself immersed within I realized that even though spoken language was a barrier, I could make sense of my experience through understanding the unspoken languages of visual form, emotion, and body movement. I was drawn to the study of architecture because buildings speak these unspoken languages. I received a Ph.D. from UC Berkeley, Masters degrees from Harvard and Columbia (in education and urban design, respectively) and an undergraduate degree in architecture from the University of Maryland. For over twenty-five years I have used the architectural education studio model as the basis for engaging public school children and teachers in new educational practices. My work with children in Harlem (in New York City) led me to numerous collaborations with photographers, artists, and dancers and educators interested in testing out experimental and creative classroom practices that empower students and teachers to change their communities. I have exhibited my photography in small galleries since 1979. Most recently, as a member of a group show, I exhibited I Have A Name a photo/text installation on Jewish and Palestinian identity in Israel at the Attleboro Museum (Attleboro, Massachusetts 2002). In my solo show entitled Big Babies at the Sacramento Street Gallery (Cambridge, Massachusetts 2002), I exhibited large format digital prints made from scanned 35mm color prints.
"The sparkle of small stones, the long shadows cast by the mighty red earth hills, the deep furrows created by the rivers in full flood after the spring rains and the long rows of palms in the dried-up beds of these same rivers are precious images that I'll take back to Europe with me."...
"At times something fragile can last for eternity, withstanding the passing of time, overcome timidity and adversity."...
"The desert enriches you, its emptiness fills your mind and spirit, the blinding light clarifies everything, even your thoughts."...
"The vast expanse of the desert heightens your sensitivity, stimulates your thoughts, feelings and emotions. I'm thinking about all the Kasbahs I've seen today; about these miniature cities made of earth that are destined to return to the earth because it only takes a little rain to wash them away. Yet the Kasbahs have been there for centuries, they are kept standing by the devotion and tenacity of the people who built them and who keep them alive. " ...
"I can still see all those children who ran after me smiling, unaware of anything else that exists in the world today except those houses built of earth. They told me about their families, the movie sets where they were able to get work as extras, the age-old customs of the Berber society, the geometric symbols that decorate the high walls of the kasbahs; they showed me their schools and corrected my French pronunciation; they told me about their plans for the future."...
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In this web-page I show same works made by the fusion of two photographs taken from the most beautiful images in the Universe: The greatest artists´ works of art and the cosmic spectacle
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moving heads and faces...
1. Get an old crappy scanner (new ones lamps are not bright enough)
2. Start scanning with your head in front of the scanner and move your head about to get some freaky results.
3. Send your picture to us (remember we only use the raw pics so don’t edit the picture first – no photoshop)
I am a photographer, i like to play with colours also give some diffrent look, a creative lighting and style to model, if u want to make ur name in all world trust others, i have aim to become a top photographer, I m a self-motivated individual seeking a challenging career in a technically demanding organization where I can give my optimum performance to enhance the growth of the company along with developing my skills. To advance in the field of photography in every venue
Salvo Sciacca was born in 1979 in Catania, Italy. His art name is AOC meaning art over computer. He is working as an auto body repair man. In the last 6 years he has developed a passion for photography.
I render the sensual and organic forces of nature in materials that are clearly man-made, seeking to blur the divide between nature and structure. My work reflects a refined balance of positive and negative space, embodying the tension between stasis and impending movement. Each piece exists also as a self-contained, self-referential form. The artistic path I follow is a post-minimal synthesis of abstract expressionist gesture and improvisation coupled with the literalness of minimalism. I blend emotion with form, allowing the work to evolve, probing shapes, investigating their capacity to change. I seek to reveal the nature of the material, allowing it to take on a life of it's own. I use Cor-ten steel, stainless steel, bronze, and carbon steel for their permanence and their varied looks. These diverse metals bear my forms individualistically; each material acts as an active collaborator in my process.
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Shmatko Nicolai Gavrilovich, King of marble, professor, was born and is creating his works in Ukraine. He has two sons who take part in his making different author's projects. In the course of his development of an artist, without state's and sponsors' help, he has created more than 750 monuments (bas-relieves, high-relieves, sculptures) and about 500 paintings. The author's collection, exhibited in the gallery "Shmatko & Sons", being a unique one in the world, numbers 70 sculptures made of Ural and Italian marble and about 300 paintings (pictures, drawings).
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‘Sie wissen es nicht, aber sie tun es’ Karl Marx
A bright fringe of red shining leaves around heavy boulders, a row of leaves changing from greeny white over yellow to dark green, pebbles concentrically arranged from big to small and from dark to light around a black hole, icicles frozen together into a spiral: this is only a pick at random from the meanwhile very popular creations of Goldsworthy.
Goldsworthy’s creation is governed by the principle of the elementary. Elementary is already his choice of the materials. Goldsworthy processes ‘raw materials’ in the literal sense of the word: materials as they are found in nature. That has certainly been, in primeval times, the starting point of human production as such. But gradually nature itself is processed before being subject to further manipulation. No longer the fleece of the sheep is washed and cut: it is the wool that is sheared, combed, spun before entering the fabric as a thread. The same goes for trees, that are sawn up into planks before being transformed into a piece of furniture; for the grain, that after having been submitted to cultural selection is previously ground to flour before being baked into bread; for the clay that is previously moulded into the shape of bricks and baked before entering the masonry. Not so with Goldsworthy: his colours are not just squeezed out of a tube. It are the very colours you just find like that in an autumn forest. They are all over the place. Just like sticks, pebbles, plumes, icicles and all the other materials Goldsworthy is using. Found materials, thus, that deserve an equally elementary processing. In most cases Goldsworthy limits himself to the selecting, displacing or rearranging of leaves, pebbles, sticks and boulders. When he uses instruments at all, then equally ‘found’ instruments: the stick wherewith he scrapes the sand, the thorns wherewith he sticks the leaves together. More often, he lets nature work on its own without the intervention of any instrument: as when he lets icicles freeze together. And also in this cases the forces of nature are not previously isolated and boosted, as is the case with the heath of the fire in an oven. Goldsworthy rather lets his clay dry in the sun. Sometimes the processing is negative: as when man-made stones of sand are dismantled through the tide, or when a snowball collapses when melting, or when the clay enveloping boulders bursts during the process of drying. And equally minimal is, finally, the composition created by Goldsworthy. Goldsworthy replaces the variegated chaos of leaves in the forest or pebbles on the beach with a progression from one colour to another, from light to dark, from big to small, or with a coordination in identity. He replaces sticks fallen at random on the ground with a circle, or a line. What is laying down on the earth - the ultimate fate of everything susceptible to gravity - Goldsworthy piles up to cones, towers, or even arcs, domes and eggs struggling against gravity. Sometimes the same effect is obtained through a mere shift of the direction in which nature had formed her materials: icicles pointing vertically in the skies or protruding horizontally from a rock face – or turning around themselves in a spiral. Thus contrasted as found versus created order, Goldworthy’s creations profile themselves as artificial figures against a natural background. But the new order is not unnatural as such, it is so only in the given context. Lines, cracks, meanders, spirals, concentric forms or chessboard patterns, star-shapes, spheres and eggs: these are all compositions that can be found in nature, but applied to other materials in other contexts. Goldsworthy himself reminds us of that when his composition explicitly refers to other natural phenomena: as when he imposes the spiral-shape of the nautilus shell on leaves. Sometimes Goldsworthy’s composition is so deceptively natural that we might inadvertently pass it by. That something has been photographed, makes us suspect that there is something to be seen: a mere crack running right through a whole series of pebbles. Until it dawns on us that single pebbles may well crack, but possibly not an entire row! Only then do we realise that the supposedly natural crack is in fact a composition borrowed from nature and imposed upon a series of broken pebbles. In all cases, Goldsworthy realises a maximal effect, precisely by refraining from isolating his creations from their natural soil. Precisely the untouched virginity of the environment makes the creation visible as a disturbance. That is why nature is not only the provider of raw materials, techniques and processing, but foremost the natural biotope of Goldsworthy’s creations. Transported into an artificial environment, they would lose all their charms. Also in this sense do his creations remain bound to nature by an indissoluble tie. And that brings us to the meaning of such creation. Goldsworthy is not out at the mere production of a useful object, let alone an object that should please man for its sole beauty. He wants rather to embody the beauty of the act of creation in an exemplary intervention. That is why the often irresistible charm of his work does not derive from the final result, but from the beauty of its creation, the deed to which its owes its existence and that remains visible in the end product. This kind of creation strikes the all too often disturbed chord of harmony with nature: man is allowed to intervene, to bend to his will, even to disturb, but not to rape, let alone to saw off the branch of the tree on which he is sitting. The technical beauty of Goldsworthy’s work can be read as a silent criticism on the industrial and post-industrial way of production, which no longer processes materials that have been found in nature, but materials that have been submitted to an often endless series of transformations for them to subdue without any resistance to the forces of nature unleashed by man in super-instruments and machines. As when the laser cuts thick steel plates without any resistance, not to mention the silent violence wherewith in the digital dimension quantities measured in megas and gigas are digested in fractions of seconds. Precisely the astounding ease wherewith every resistance is eliminated beforehand, results in the scaling-up that, already from the pyramids onwards, foreshadows the ultimate tower of Babylon: it is the awe-inspiring ugliness of many a architectural giga-project, that in its monstrous proportions is knocked up in a few months or of the hideous vehicles that in many a science fiction film are released in space. Goldsworthy’s silent criticism is all the more charming since it speaks through the work itself and is not added to it through some external symbolism. No references to Indians, Zen or yin and yang come to spoil or fun.
THE BEAUTY OF ELEMENTARY FORMS
We would do no justice to Goldsworthy’s work when reducing it to an embodiment of a harmonious relation to nature. Next to the pleasure in technical beauty, there is the pleasure in the beauty of the forms that are created through such harmonious creation. Of old, man has shown a predilection for forms with a transparent structure: that is what is so charming about straight, curved or broken lines, circles, crosses or chessboards and geometrical patterns in two or three dimensions. As when in the centre of a concentric form there appears a dark hole. Which fascinates, not only because it reminds of the pupil of the eye that already always steals our attention, but also because of any hole we want to know what it hides – a curiousness that often is accompanied by fear for whatever might show up: hence the aura of mystery hovering over Goldsworthy’s holes and concentric structures. Sometimes Goldsworthy soothes the anxious tension through filling it in: in the hole an object in the form of a spiral is coiling like a caterpillar in its cocoon, or a trees grows out of it, or a rocky point is poking out of it.
The formal beauty of a concentric form as well as the emotional freight of an encircled hole do not differ from the effect of similar phenomena in nature. The only difference is to be found in the maker: nature or man. But in some of his works, Goldsworthy is doing more than merely creating a new reality alongside nature. Now and then, it seems that he tries to imitate an already existing reality: as when a three-dimensional spiral reminds of a nautilus shell. Or when concentrically woven sticks remind us of a birds nest or an eye. Or when sticks with burned tops are arranged in the shape of a cone and then remind us of a volcano. Or when a fringe of red shining leaves surrounding black boulders remind us of burning rocks. Or when mandorlas remind us of eyes, mouths or vaginas. Or when the crack in a row of broken pebbles remind us of the cracks in dry clay. There are also more ambivalent cases where the ‘reminding of’ is rather a recreation. As when amidst some real rocks one single rock is enveloped in weather-beaten branches, sun-bleached bones or pieces of bark. Such ‘reminding of’ is mimesis in statu nascendi. It differs from full mimesis in that we only are ‘reminded of’ something else. We never have the impression of seeing something else as what there is to be seen. It was not Goldsworthy’s intention to evoke a birds nest, bur rather to realise around the hole in the roots of a knotty tree the concentric shape for which it seemed to ask. Where such quasi-mimetic dimension joins technical beauty and its critical-utopian dimension, as well as the formal beauty of the form and its emotional freight, a tension is created between the multiple layers of the work, contributing to a deeper resonance of the whole.
But it makes also clear why it is misleading to call Goldsworthy a sculptor – be it an ‘environmental sculptor’ or a ‘sculptor/photographer’. Not that the materials prevent us to do so. It is not because Goldsworthy does not use traditional materials that he would not be a sculptor: three-dimensional sculpture can be made in whatever material. Whether one belongs to the tradition of Praxiteles, the master of the Western portal at Chartres, Sluter, Michelangelo, Bernini, Rodin or Moore – not the mention the countless masters from other cultures – does not depend on the materials used, but on whether the intervention of the artist transforms his material in something else: like the marble that, under the hands of Michelangelo, is transformed into the flesh of a body, or under the hands of Bernini in the mantle of Saint Theresa. Everyone will agree that such is not Goldsworthy’s intention, even if some of his creations ‘remind of’ something else. No: Goldsworthy creates real things that do not at all pretend to be something else. That is why he belongs in the world of all those who transform nature into ‘humanised’ nature: from the cook, over the designer of clothes and furniture, gardens and parks, automobiles and machines, to the architects. To be more precise: Goldsworthy belongs to the tradition of garden architecture: from the geometrical renaissance gardens, over the romantic English gardens, to the mystic pebble-gardens of the Japanese, or their modern counter-parts: the ecological landscape. Witness the ‘Sheepfolds Project’ in Cumbria, where Goldsworthy rebuilds in a more artistic fashion the walls formerly built by shepherds. Or we can situate him in the tradition of the more small-scale art of flower arranging (ikebana). But within this group of ‘artists of design’ – designers to call them by their name – he distinguishes himself – just like other giants like Panamarenko – in that he does not contrive functional objects, but objects embodying the mere pleasure of making them – and a sympathetic kind of making at that: creating in harmony with nature. That is why Goldsworthy may justifiably be called the master – the artist – of free creation. Which does not prevent that he is not a master of ‘imitation’ – not an ‘artist’ (or 'sculptor’) in the traditional, more limited meaning of the word. Which does not mean that we should condescendingly look down on him. On the contrary: the designer of the cathedral is no lesser god than Van Eyck. But the former is a ‘master of design’ – a master in transforming nature into a product that provides in human needs – the latter is a master in the transformation of oil paint into a mere represented world. And, to distinguish both kinds of master from each other (and from other masters such as the masters in philosophy or in making love), it would be better when we called the former ‘designers’ and the latter ‘artists’.
Which does not prevent that a thorough understanding of Goldsworthy’s work is only possible against the background of the development of art in the twentieth century art. It has no roots whatever in the history of design. To begin with, there is a certain relation with the Duchamp’s ‘ready mades’, or rather: with the ‘objets trouvés’ of surrealism. That is why we talked about ‘found materials’, ‘found techniques’ and ‘found processing’ above. Next, Goldsworthy’s work is unthinkable without the so called ‘land-art’ from the seventies. As an offshoot of the happenings and the performances of the sixties, this movement represented a particular version of the ‘dissolving of art into life’: the replacement of conjuring up an imaginary world through real transformation of the real world – in this case: nature. It suffices to refer to the works of Richard Long, who equally limited himself to minimal interventions in the landscape and whose works equally became popular through equally popular books. At the roots of land-art lies the anti-capitalistic gesture of those who were no longer prepared to submit to the logic of the market. It was their intention to free art from the ‘art shops’: the galleries. One of the places where art was to be accommodated was nature, where it would be freely accessible to everyone – and where everyone could create it as well. The descent from land-art equally explains why Goldsworthy is deliberately out at creating transient works – exemplary in the use of withering flowers or melting snow. The predilection for transience is one of the variants of the mimetic taboo: the reluctance to make enduring works of art – with the concomitant obligation to measure up to the great masters, who, precisely because their works are enduring, continue to project their castrating shadows far into the future. Both strivings inherited from land-art were doomed to failure. It soon became apparent that land-art was not accessible at all. And it would be a pity to deliver such marvellous creations as Goldsworthy’s icicles to decay. That is why the anti-capitalistic and anti-mimetic land-art was fixed on photographs or videos and sold at a bargain. Albeit not in the gallery, but in the bookshop.
The remarkable thing about all this is that of all places here, in the very bastion of modern art, we stumble upon something that has supposedly been utterly banned from it: unbroken beauty! It is only most regrettable that this beauty must bloom on a corpse: that of the art of sculpture. © Stefan Beyst, May 2004 read more »
Permanent exhibition containing more than 85 works of art, “ Wooden Objects 2000-2003” in the main workshop of the “Ausbesserungswerk” in Hamburg, Schlachthofstraße 3
(the exhibition can only be visited after prior application tel.: 0172 405 32 38)
(...) Jan de Weryha-Wysoczanski's biography reflects somewhat of the diverse relationship between Germany and Poland. Born in Gdansk he was 31 years old when he migrated to Hamburg during the Solidarnosc movement and became a member of the BBK. Such relocation in those times also meant a change from one political system to another, from one ideology to the opposing and, therefore, may leave its mark on the person and artist. Artistically, the committing influence of the American Minimal Art is obvious, especially Carl Andre's early sculptures from the sixties. The relationship of thinking creatively makes both artists associates. Carl Andre thinks structural and consequently endeavors the repatriation to primary structures. He wants to depart from the forms invented by artists, especially from the compositional hierarchy and artistically individual touch. Or, as Sol LeWitt put it: "The form itself is of very limited meaning, it becomes the grammar of the total work." At first sight you tend to describe Jan de Weryha as a late European representative of the Minimal Art. But as soon as you take a closer look it gets clear that Jan de Weryha has demands which are extremely contrary to the Minimal Art. His creative activity is mainly focused on the nature and the natural structure of the material. With his works the natural basis meets the rational will of designing. He again admits the pure form of the Minimal Art in double respects. For example, instead of avoiding the individual processing traces of the wood through industrial production he completely puts it to the center of attention. Power saws, axes and firmer chisels leave completely different surfaces. Furthermore, he loves to align his quite minimal formations willfully to basic patterns of the nature such as anthills, beehives or archaic constructions: igloo, column, tower, or simple stacks as for drying wood can be found again and again. With Jan de Weryha's works the nature and the natural structure of the material form the starting point for his designs and creative processes. His works exist on the confrontation of the sculptured and raw, the touched and unaffected. At the same time he consciously disappoints the viewer's expectation, who is used to prefer processed sides of a sculpture compared to the supposedly unworked side. Ladies and Gentlemen: Processes of historic dimensions such as the European integration and the planned eastern expansion of the EU require the ability to communicate to a great extent, willingness to work on current problems and historic burdens but also future chances - all together and creatively. Due to their willingness, the culture, the art and the artists have always developed instruments to experiment, to exceed limits, to question the conventional, to develop instruments which may have model character when collaborating with others. And they have developed a language leaving all limits behind. In this context, the exhibition we are opening today is a living sign. Because Jan de Weryha-Wysoczanski is a German-Polish artist in whose work the history and tradition of our both countries took influence. And those, who want to understand the exhibition, do not have to be able to speak German or Polish. They must only get involved in seeing.
“My artistic considerations have concentrated upon exploring wood as a material and upon understanding its structure and its core. The question, to which extent is it legitimate to influence the material by means of intervention without interfering with its identity, has accompanied my work and will continue to accompany my work.” read more »
Ray Cologon is a sculptor based in Melbourne, Australia. Cologon utilises precious and exotic woods to create exquisitely detailed turned and carved wood art. His work is evocative and timeless and explores metaphysical themes.
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In this biography I will concentrate upon why I became an artist and my personal background for becoming nothing else. I was born in 1949 in the Danish city Brande, which since then has become famous for its murals of which - of course - the most popular is that of mine. My father was a very busy man avoiding any domestic conflicts by telling a joke, leave home and work, work, work. My mother was psychologically extremely unbalanced - for reasons I understand today. I was supposed to have been a girl. But I surely was a boy. I had to do everything on my own. I never have really talked to anybody until recently. I became a loner. The only baggage from my childhood was to accomplice something in order to have any attention. And to avoid feelings by joking and working. I became a loner and a fighter. Fighting for mental survival. I had all the "success" that anybody could want. I was a very bright student in school. I was a very talented soccer player. I was a very talented yachtsman. I had the most beautiful girlfriend with a rich family. I graduated from high school and I had a little attention, but just a little. I was married to the beautiful rich girlfriend and got a little attention, but just a little. I had three wonderful sons and got a little attention, but just a little. I was educated in computer science - graduating with "a straight A" and I got a little attention, but just a little. I became the boss of a municipality's computer department and I got a little attention, but just a little. I started my own businesses in the computer world. I became a managing director and later chairman of the board of my own companies. I suddenly got some attention. It was devastating. I sold the companies becoming one of the first computer millionaires in Denmark. I became an artist. A successful artist. Being a millionaire and a successful artist I had my family's full attention. That was what it took. As I realized this I took a break to recover from that lifelong depression due to a totally lack of reasonable values. As I had accompliced to reach the goals I was taught - and reviled the emptiness of those goals - sure a break was necessary. In this period of time I made the paintings in "Sad Days" - Exhibition of Paintings. They are existential, very emotional expressionistic paintings. I went back to a new life. I became a person. I became me. Figuring out my own goals. I re-found my own very unique artistically expression - for the right reasons - in simple shapes and bright colors. Which is not only an artistically expression - it's an attitude of life.
My artist statement is: Colorful zen-simplicity in art as in my life.
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Daniel Monnier was born in 1941 in Senegal-West Africa, where he grew up. He was 12 when he left to study in his home country, France. He immediatly showed very obvious interest for Art, and made this interest blossom by attending the "School of Art" of Bordeaux in 1964, for a period of two years. He then specialised his skills of sculpting at the "National School of Arts" of Paris ~"Ecole des Beaux-Arts"~, where he studied for a further three years. After his graduation, Mr.Monnier carried his passion of sculpting to Spain, where he spent three years. He then returned to France where he is now known for his numerous sculptures and symposiums.
Daniel Monnier enjoys sculpting all kinds of stones: soft stone -limestone or sandstone- as well as hard one such as marbles or phonolythe (volcanic stone),and will adapt himelf and his work to any kind of circumstances. It usually takes him two months and ten days to achieve a sculpture (The "Lot" project being an exception). He actually creates his sculptures in their final setting place, which allows the client to appreciate each stages of his sculpting.
Aug:02 "Looking at early modern sculpture and abstraction circa 1915, I can see a way forward, a voice of my own."
May:02 "These new works, all have a logic to them. The focus being on connections, the relationship of parts. In both harmonious structure and in collapse."
Jan:02 "Lately, I have given myself permission to introduce a sensual, almost figurative element to my work - with the subtle tension of curve against curve."
"I've not sought to push concept or elaborate meaning with my sculpture . Each piece should follow its own rules, and live or fail on the strength of it's form, alone."
Robert Hague is a Sydney based sculptor who works primarily with welded steel. Modern, abstract sculpture as well as figurative and contemporary in parts.
My work concentrates on universal human experiences, birth, death and the secrets of the human conciousness, and found its roots in the psychoanalytical foundation and the esoteric world. Living in a city and experiencing the world through my eyes. A lot of artists are aware that they're working for the museums of tomorrow. Others dream of an art without a museum, they only want to transmit to the future a contaminated piece of art of their present memory. I'm always making movies. It's really what I do. They are arty bricolages of pictures, videofootage and selfmade sounds. In all of them are some hidden clues. People do not know if they necessarily enjoy the video's.... I also do not claim to be an artist.... I'm a researcher, an observer, a thinker and a dreamer.
sputnik is the alter ego of doron altaratz, a video artist, Visual Jocky and Motion Designer living in New York City. sputnik creates exceptional artworks by digitally manipulating images, sounds and video in real time. this site contains static examples of sputnik’s work in 3D modeling, video production, progreming (soyuz vj software) and photography.
Pixels shifted. Tape stretched, cut, copied, recopied, looped. Streams of motion emerging from the aether. Endlessly morphing streams of images changing, reversing, blurring as they skip effortlessly between subjects, genres, moods, themes. From humble beginnings in the Lumiere brothers home experiments to contemporary experiments on Powerbooks around the world, there is no question that moving images and the tools to manipulate and express with them are streaking light years ahead in evolutionary terms. The challenge now is to use these tools to push the boundaries of possibility. Visual Jockeys or VJs are at the forefront of a new wave of art that is being created live, in real-time. Transient images flicker and multiply on screens as the work is created and constantly reconstructed, deconstructed, tweaked and fine-tuned by the artist. Sputnik blurs the lines separating live performance, VJing and video art even further by using computer generated video sources, custom-built physical controllers and tight synchronization with audio. Like a good DJ, Sputnik keeps it fresh by constantly refining, reworking and adding new material to his sets. His sources are renewed by mining the deep veins of life in New York City, shooting his own video, sculpting his own three dimensional landscapes and hunting for the freshest clips.
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International video artist Chris Oakley has launched a website aiming to redefine the way video art is traded and consumed. The website offers the facility to preview Chris Oakley’s videos online, with the option to download high-resolution digital video files of the artist’s videos. Out of frustration with existing sales and distribution models, Chris Oakley built the website in part as a way of taking control of the distribution of his work and as a response to internet piracy of his videos. Previously, commercial galleries selling exclusive high-priced artist’s editions, typically 5-10 DVDs, to private collectors, drove video art sales. Chris Oakley aims to offer a more democratic model for video art sales based global access to specialist. Emerging models for the distribution of video offer a new means for artists to challenge the commoditization of video and new media forms by the contemporary art market.
An artist based in the UK and working with video and digital imaging, Chris Oakley’s concerns are focused on mediated experience in its many forms, including mainstream media, amateur photography and mass communications.
In the past 3 years, Oakley’s works have received widespread media attention within Europe and beyond. His works have been shown alongside those of established masters such as Tony Oursler, Jozef Robakowski, and Pipilotti Rist, and at major media arts festivals, in gallery exhibitions and on television. He is currently working on a feature length artist’s video to be completed in summer 2007
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The CineVegas Film Festival is a platform for artists and art lovers who are drawn to the edge. Held amidst the unique, unpredictable and intoxicating environment that is Las Vegas, the CineVegas Film Festival pushes the boundaries of cinema. The Festival annually presents work by innovative, uninhibited, and renegade artists to an audience of local and national film lovers, journalists, and film industry representatives. Robin Greenspun serves as the festival’s President, Trevor Groth serves as Artistic Director and Dennis Hopper serves as the Chairman of the Creative Advisory Board.
CINEVEGAS ANNOUNCES WINNERS FOR 11th ANNUAL FESTIVAL
Easier with Practice Receives Grand Jury Prize
Godspeed and Etienne! Receive Special Jury Awards
All In: The Poker Movie Awarded Documentary Jury Award
Beetle Queen Conquers Tokyo Wins Special Documentary Jury Award
The Revenant receives Dramatic Audience Award and Documentary Audience Award awarded to Winnebago Man
Las Vegas, NV (June 15, 2009) – The 11th Annual CineVegas Film Festival announced its jury award winners at the CineVegas Awards Reception last night, where Jon Voight, Willem Dafoe, George and Mike Kuchar, Jenova Chen and Kellee Santiago were also honored. Festival winners included Kyle Patrick Alvarez’s Easier with Practice, which received the Grand Jury Prize; Godspeed was acknowledged with an Exceptional Artistic Achievement Award for Cory Knauf, Joseph McKelheer and Robert Saitzyk; and Jeff Mizushima with the Filmmaker to Watch Award for his film Etienne! Additionally, the Grand Jury Prize for Pioneer Documentaries was awarded to Douglas Tirola’s All In: The Poker Movie, with a Special Jury Award for Artistic Vision going to Jessica Oreck’s Beetle Queen Conquers Tokyo. Kerry Prior’s The Revenant won the audience award for best narrative, and Ben Steinbauer’s Winnebago Man won the audience award for best documentary.
Feature Jury Competition
This year’s feature jury was presided over by indieWIRE editor-in-chief and co-founder Eugene Hernandez, writer/director Jody Hill, The Associated Press film critic Christy Lemire and film journalist Glenn Whipp. The Grand Jury Prize went to Kyle Patrick Alvarez’s Easier With Practice. While on a road trip to promote his unpublished novel, Davy Mitchell finds himself falling for a mysterious phone sex caller. An Exceptional Artistic Achievement Award was given to Cory Knauf for Godspeed. Directed by Saitzyk, Godspeed is an intense, dramatic thriller set in the lingering light of the Alaskan midnight sun. Jeff Mizushima was also given a Filmmaker to Watch Award for his film Etienne! After Richard's best and only friend, a dwarf hamster named Etienne, is diagnosed with terminal cancer, he decides to take his pocket pet on a bicycle road trip up the California coast to show it the world before he must put it to sleep.
Documentary Jury Competition
Producer/Director Heather Rae, Senior Editor of Features for Variety Sharon Swart and Bob Tourtellotte, editor-in-charge for entertainment for Reuters news service, made up the Pioneer Documentaries Jury. The Documentary Jury Award went to Douglas Tirola’s All In: The Poker Movie, which tells the story of poker focusing on why one of our nation’s oldest games has had a renaissance in the past decade and why for so many people poker is a way to chase the American Dream. Beetle Queen Conquers Tokyo, directed by Jessica Oreck, was awarded with a Special Documentary Jury Prize for Artistic Vision. Working backwards through history, Beetle Queen Conquers Tokyo solves the mystery of the development of Japan’s cultural obsession with bugs.
Emily Doe, associate editor/producer for Wholphin, Denver Film Society Festival Director Britta Erickson and film and culture writer Stu VanAirsdale made up this year’s shorts jury. Destin Daniel’s Short Term 12 received the CineVegas Short Film Jury Prize while Justin Nowell’s Acting for the Camera won a special Grand Jury Prize in Directing. The jury also acknowledged Markus Kirschner’s Communion with the CineVegas Nevada Short Film Jury Prize.
CineVegas audiences chose The Revenant to receive the CineVegas Dramatic Audience Award, and Winnebago Man to receive the CineVegas Documentary Audience Award. The Revenant is a satirical treatise on friendship, regret, and the nature of evil under the guise of a rootin'-tootin' vampire buddy movie. Jack Rebney’s outrageously funny outtakes from a Winnebago sales video became an underground phenomenon and made him an Internet superstar. In Winnebago Man, filmmaker Ben Steinbauer sets out to find him.
According to conventional wisdom, the Villa Emo at Fanzolo could never have been based on Golden proportions. I could not believe this myself—not, that is, until I saw the entire mathematical scheme for Palladio's elegant Renaissance buildings, which sit on a flat, fertile plain in Treviso, in northern Italy [Fletcher 2000]. In "Palladio's Villa Emo:The Golden Proportion Hypothesis Rebutted" [March 2001], Lionel March argues that the Golden Section, or extreme and mean ratio, is nowhere to be found in the Villa Emo as described in I quattro libri dell'archittetura. Palladio, he says, "has given the actual measurements" and they simply do not add to a scheme of Golden proportions. He is absolutely right. The extreme and mean ratio is not observed in the Emo plan as it was published. But the villa Palladio described in that publication is not the villa he built and that survives today. The discrepancy between the two versions was known as early as the 1770s. That was when Bertotti Scamozzi published Le fabbriche e i disegni di Andrea Palladio, in which he struggled to reconcile numerous inconsistencies between built and published versions of Palladio's works [Scamozzi 1976: 75-76]. Alas, Scamozzi's measurements were not as accurate as we would have liked. Fortunately, a more definitive survey was performed in 1967 by the architects Mario Zocconi and Andrzej Pereswiet Soltan for the Centro Internazionale di Studi di Architettura "Andrea Palladio" (C.I.S.A.) [Rilievi 1972; Favero 1972: 29-32 and scale drawings a-m]. Many believe Palladio's published plans present idealized versions of his buildings, permitting him to make adjustments for the special conditions of specific sites. But perhaps, in some instances, different versions provided options for design and proportional schemes. For example, the published plan for the Villa Emo presents a conventional set of stairs that leads to a south-facing portico. In fact, a unique, elongated ramp was built. Members of the Emo family today believe it served as both an entryway and a threshing floor to meet the villa's agricultural needs. Does it correct the building's proportions to substitute the ramp with shorter conventional stairs? The Emo family thinks not, and perhaps Palladio did not think so, either, for a corrected set of measurements is not indicated. Different measures are specified, however, for the plan of rooms on the main floor of the central block, and these are the stuff of musical and mathematical harmonies, as Lionel March so brilliantly demonstrates. The discrepancy is subtle, perhaps too subtle to reflect real versus ideal conditions, but sufficient to suggest a different mathematical interpretation.
Nexus Network Journal, vol. 3, no. 4 (Autumn 2001) read more »
Documentary exhibition on the occasion of the 450th anniversary of the death of the great Florentine artist.
The exhibition Michelangelo. Incontrare un artista universale, covering the life and work of this colossus for all times, is to be held at the Musei Capitolini on the occasion of the 450th anniversary of the death of Michelangelo Buonarroti in Rome on 18 February 1564. In the heart of the city, in that very Piazza del Campidoglio which the genius of Michelangelo made unique in the world, over one hundred and fifty works, of which around seventy by the Tuscan artist, from many of the leading cultural institutions in Italy and elsewhere, are to commemorate the 450th anniversary of the death of an artist who was so magnificent as to have a lasting influence not only on the arts in Italy but also on all universally known culture. An exhibition which overcomes the objective impossibility of exhibiting “non-transportable” Michelangelo masterpieces (a prime example being the frescoes in the Sistine chapel) by showing works which can be admired together. These works are in fact displayed, in many cases for the first time, facing each other and side by side in an extraordinary compendium of matchless artistic output, from painting to sculpture and from poetry to architecture, the four genres adopted by Michelangelo, which are to be linked up in nine display sections to focus in this way on the crucial themes of his art. One major example is the extraordinary presence in the exhibition of the great work of art by Michelangelo in a political vein, Brut, on view alongside earlier classical busts, the bronze Brut from the Musei Capitolini and the Caracalla from the Vatican museum, at last on display in a direct comparison with two works which, in different ways and circumstances, were its inspiration. The fil rouge guiding visitors to the exhibition is market by a series of thematic “opposites” used to highlight the difficulties of the man and of the artist in the devising and creating of his works: ancient and modern, life and death, the battle, the victory and imprisonment, rules and freedom, earthly and spiritual love. The contrast of earthly and spiritual love, for example, was particularly felt by Michelangelo, both in art and in life. This is demonstrated by a set of drawings and other works inspired by close friendships and elective affinities such as those for Tommaso Cavalieri and Vittoria Colonna. Each theme, as if mirrored, is to be analysed by comparing drawings, paintings, sculpture and architectural models, as well as a highly select choice of signed writings, i.e. letters and poetry, via Michelangelo’s full personal and artistic career. read more »
Michelangelo. Incontrare un Artista Universale. (Italian) Paperback – 2014 by Capretti E.,Risaliti S. Acidini C. (Author)
Will Feature an Impressive Program of New Business Opportunities, Continuing Education and Celebrations
The 50th edition of Marmomacc, the International Trade Fair for Stone Design and Technology, will be held at Veronafiere from Wednesday the 30th of September to Saturday the 3rd of October 2015. As in 2014, Marmomacc will be co-located with Abitare il Tempo, Veronafiere's b2b exhibition for professionals from the contract sector, which showcases the latest in materials, interior finishes and décor (www.abitareiltempo.com). For four days, Marmomacc will, once again, turn Verona into the capital of the entire natural stone sector: marble, granite, stone, machinery and technologies will be on display, during an increasingly business-oriented and international 50th Edition hallmarked by innovation, design and professional education ... read more »
eVolo Magazine is pleased to announce the winners of the 2015 Skyscraper Competition. The award was established in 2006 to recognize outstanding ideas for vertical living. Since then, the publication has received more than 6,000 projects that envision the future of building high. These ideas, through the novel use of technology, materials, programs, aesthetics, and spatial organizations, challenge the way we understand vertical architecture and its relationship with the natural and built environments.
In 2015, the Jury, formed by leaders of the architecture and design fields selected 3 winners and 15 honorable mentions. eVolo Magazine received 480 projects from all continents. The winners were selected for their creativity, ingenuity, and understanding of dynamic and adaptive vertical communities.
The first place was awarded to BOMP (Ewa Odyjas, Agnieszka Morga, Konrad Basan, and Jakub Pudo) from Poland for their project Essence Skyscraper. The proposal is an urban mega-structure that contains diverse natural habitats. The skyscraper would serve as a place to briefly escape urban life and stimulate diverse and complex experiences.
The recipients of the second place are Suraksha Bhatla and Sharan Sundar from India for their Shanty-Scaper. The project seeks to provide housing, work and recreational spaces to the inhabitants of Chennai city’s slum in India. The skyscraper is designed to reutilize the city’s post-construction debris including pipes, corrugated metal sheets, timber, etc.
The third place was awarded to Egor Orlov from Russia for the project Cybertopia which reimagines the city of the future as the combination of digital and physical worlds – a city that grows and morphs instantly according to our needs.
The 15 honorable mentions include skyscrapers designed for the arctic, structures that intend to reverse desertification, abandoned oil rigs transformed into bio-habitats, and atmosphere laboratories among others.
The members of the Jury are: Massimiliano Fuksas [principal Studio Fuksas], Michael Hansmeyer [CAAD group at Swiss Federal Institute of Technology], Richard Hassell [principal WOHA], Alvin Huang [principal Synthesis Design + Architecture], Yong Ju Lee [winner 2014 eVolo Skyscraper Competition], Wenchian Shi [project manager MVRDV], Wong Mun Summ [principal WOHA], and Benedetta Tagliabue [principal EMBT Miralles Tagliabue].
submission date: 3/20/2015
eVolo Skyscrapers 2: 150 New Projects Redefine Building High Hardcover – May 15, 2014 by Carlo Aiello (Editor)
eVolo Skyscrapers by Carlo Aiello (Author)
eVolo is an architecture and design journal focused on technological advances, sustainability, and innovative design for the 21st Century. Our objective is to promote and discuss the most avant-garde ideas generated in schools and professional studios around the world. It is a medium to explore the reality and future of design with up-to-date news, events, and projects. read more »
eVolo Magazine is pleased to announce the winners of the 2015 VMODERN Furniture Design Competition. The award recognizes innovative design and creates a forum for the discussion and development of the discipline. What is the future of furniture design? eVolo Magazine received 233 entries from 34 different countries. The Jury selected 3 winners and 20 honorable mentions. The first place was awarded to I-Ting Tsai, Xixi Zheng, Yiru Yun, and Somdatta Majumdar from the United Kingdom for the design of Fabric Chair. This project is an investigation on the use of fabric as a structural material in furniture design. A special resin was developed to harden fabric placed on a rigid mold. The resin hardens the fabric to become structural while retaining its softness in specific locations. Studio La Cube from Spain received the second place for their project Simmis Chair. This simple and elegant design is a study on symmetry and proportions. The goal was to create a dialogue between visual lightness and the strength and heaviness of wood and steel. The third place was awarded to Open Source Workshop from Italy and the United States for the design of Helix, a diffuse furniture system that generates a continuous interior space by adapting simultaneously to any vertical and horizontal surface while defining an immersive spatial atmosphere. The honorable mentions include materials explorations, the use of digital design and manufacturing processes as well as studies in ergonomics and experiential possibilities. The members of the Jury are: Ammar Eloueini [principal Ammar Eloueini Digit-all Studio], Joel Escalona [principal Joel Escalona Studio, NONO], Mitchell Joachim [principal Terraform ONE], Po Shun Leong [principal Po Shun Leong Design], and Alexander Lervik [principal Lervik Design AB].
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submission date: 12/17/2015
eVolo Magazine is pleased to announce the winners of the 2016 Skyscraper Competition. The Jury selected 3 winners and 21 honorable mentions from 489 projects received. The annual award established in 2006 recognizes visionary ideas for building high- projects that through the novel novel use of technology, materials, programs, aesthetics, and spatial organizations, challenge the way we understand vertical architecture and its relationship with the natural and built environments. The FIRST PLACE was awarded to Yitan Sun and Jianshi Wu from the United States for the project New York Horizon. The design proposes a continuous horizontal skyscraper around the full perimeter of a sunken Central Park. The project would create 7 square miles (80 times greater than the Empire State Building) of housing with unobstructed views and connection to the park. The Hive, designed by Hadeel Ayed Mohammad, Yifeng Zhao, and Chengda Zhu from the United States received the SECOND PLACE. The project imagines a vertical control terminal for advanced flying drones that will provide personal and commercial services to residents of New York City. The recipients of the THIRD PLACE are Valeria Mercuri and Marco Merletti from Italy for the project Data Tower. The proposal envisions a sustainable skyscraper in Iceland designed for Internet servers. Among the 21 honorable mentions there are skyscrapers that purify air, buildings conceived to create rain for the driest regions on Earth, vertical cities, sensory towers that explore our psychological relationship with space, and skyscrapers that prevent cities to sink. The members of the Jury are: Matias del Campo [principal SPAN], Thom Faulders [principal Faulders Studio], and Marcelo Spina [principal PATTERNS]. The 2016 Skyscraper Competition was made possible with the sponsorship of our media partners and v2com. eVolo Magazine is also pleased to announce the publication of EVOLO SKYSCRAPERS 3, the third book in the Skyscraper Series. This publication includes the best 150 projects received in the 2014, 2015, and 2016 competitions. This is a limited edition book and only 500 copies will be available worldwide.
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submission date: 3/24/2016
eVolo Skyscrapers 3: Visionary Architecture and Urban Design Hardcover – November 1, 2016 by Carlo Aiello (Editor)
The Studio Piuarch is awarded the prize "Italian Architect 2013" and his new building is the symbol of the rising Milan architectural revolution
As part of the Porta Nuova urban renewal project, the so called "White Wave" is a building for showrooms and offices, which has become the symbol of the new architectural dynamism of Milan. Designed by Piuarch as project winner of a Competition held in 2006 by Hines Italia.
Bounded on one side by the central square, adjacent to Cesar Pelli's three towers, the White Wave has an area of about 22.500 square metres distributed over five stories and a ground floor for an overall height of 30 metres. This choice was conditioned by the need to respect the heights of the existing residential buildings as well as by the desire to make the new structure a strong and recognizable landmark within the requalified area, in contrast with the general plan which calls for much taller buildings. The simple and sinuous form of the building articulates and integrates the two volumes in a single element distinguished by a deep central fissure. A projecting roof on the southern side runs the entire perimeter of the building, resolving at the base of the first floor to form a sort of container open on the long sides. The design plays with the contrast of the building's two main facades.
The northern facade, on the plaza, is a large, light, transparent glass front that functions as a rigorous backdrop for the pedestrian area and the new Gardens of Porta Nuova.
The southern facade, at the edge of the area bordered by Via Don Luigi Sturzo, with a curved profile, is enclosed by a sunscreen system; the blades mounted on the facade vertically pace the front, regulating internal luminosity. The continuity of the elevation, of about 140 meters, is enlivened by a system of internal courts with colored windows, that penetrate different levels of the building, bringing light to the various levels.
The portico and roof are combined in a unified way: the portico rests on the glass facade of the shops, and its overhang permits a covered walkway along the entire building. The overhang of the roof closes the glass volume and clearly defines the silhouette of the building, making it simultaneously linear, clean and unique. The White Wave rises at the centre of the Porta Nuova urban renewal project - that includes the Garibaldi, Varesine and Isola areas in Milan. An ambitious undertaking aimed at revitalizing over 290,000 square meters of abandoned areas, reconnecting the urban fabric of three neighborhoods that have been separated for over thirty years. The goal of its requalification is to give this vital area back to the city and make it an integral part of the future urban dynamic. Within this multifaceted and complex plan, the White Wave seeks to establish a dialogue with the public part of the area as a whole, configuring itself as an access point to the park, which is situated at a higher elevation with respect to street level, thus the decision to position the building on a sort of podium that connects the two spaces.
On February the 14th Piuarch has been awarded the prize "Italian Architect 2013" by the National Council of Architects in collaboration with Maxxi - National Museum of the 21st Century Arts in Rome. The prize acknowledge and celebrate with an annual event the quality of architectural design, in its broad social and cultural terms. The Committee, presided by Cino Zucchi, has explained that "Piuarch works in Italy and abroad on different themes and scales - from interiors to urban design - shows a very good example of how great architectural and urban qualities can be pursued by dealing with the forces that are driving today the transformation of the environment". The motivation of the jury states that "the firm's collective organization provides a capability for dealing with different cultures, expectations and financial or technical resources. Their buildings (such as the Congress Center in Riva del Garda, Bentini Headquarters in Faenza, Quattro Corti in St. Petersburg, the Subsidized Residences in Sesto San Giovanni in Milan and Porta Nuova Building in Milan) show that, within the continuously changing professional conditions, it its possible to pursue new forms of urbanity and new spaces to live and work" read more »
Piuarch. Opere e progetti-Works and projects (Multilingual) Hardcover
Francesco Fresa, German Fuenmayor, Gino Garbellini and Monica Tricario formed the Piuarch studio in 1996 out of a desire to merge different experiences into a shared architectural project. The studio is located in an open space in a former industrial building that once hosted a typography business in Brera, in the centre of Milan. Here, Piuarch designs public buildings, office and residential complexes, commercial spaces, boutiques, shopping malls and even urban plans, with the contribution of consultants from various disciplines. Piuarch has pursued these themes participating in competitions, developing projects from the planning to the final construction phase, elaborating interior design projects. In recent years Piuarch has developed a number of projects abroad. It is active in China, Algeria, Russia, where it has recently opened an operational office, and in Ukraine, with ongoing and realized projects.
At the 2014 Fuorisalone Piuarch offers its vision of urban renaissance through a redevelopment project for the courtyards of Milan: “from Courtyard to Courtyard”
FlyingGarden is the name of the installation that Piuarch (winner of the 2013 Italian Architect Prize) and Cornelius Gavril (garden landscaper, green designer) have developed for the 2014 Fuorisalone. It is a floating installation in which the façade and the interior spaces and walls of the Piuarch studio on Via Palermo 1 are strewn with 150 Kokedama.
Kokedama is an ancient Japanese technique for growing plants using special balls made of clayey, moisture-retaining soil in the place of pots. During the four seasons the plants behavior exactly as they do in nature, changing color, blossoming, bearing fruit and losing their leaves.
FlyingGarden is a metaphor of the possibilities of bringing natural aesthetics into daily work environments. A symbol of a design philosophy that promotes viral dissemination as a method of civil and social progress.
FlyingGarden is made up of aromatic herbs such as mint, rosemary, thyme and sage; vegetable plants such as endive, lettuce, and arugula and edible flowers such as pansies, roses and jasmine. The whole creates the feeling of a flying garden, consisting of plants characterized by a small root system and an annual life cycle. The result is a constellation of colors and scents that transforms even the most sterile spaces into a green ecosystem.
FROM COURTYARD TO COURTYARD
FlyingGarden is the first project within the broader from Courtyard to Courtyard project, through which Piuarch takes part in the debate on the city of Milan as it prepares for the Expo and, more generally, on the issue of quality in contemporary metropolitan living spaces. It means applying to everyday life – locally, at home and at work – the analysis and design skills that can change the face of the city. Working on new concepts for the use and functional sharing of common areas is the seed for civic rebirth. Starting with the building where it has its headquarters, Piuarch, through the courtyard it overlooks, contemplates all of the neighboring courtyards as a whole, and then the city block, the streets of the Garibaldi quarter... firmly believing that great transformations take place through small steps. This theme will be the focus around which a network of expertise, visions, professionalism and a calendar of events will be activated. A kind of think tank for the area that hopes to bring about emulative actions of civic initiative.
THE ROOF GARDEN
The first permanent redevelopment project is dedicated to transforming the roof of the Piuarch studio into a new multifunctional “green area.” The garden among the courtyards will be many things in one: a project for upgrading the energy efficiency of the building, a landscaping, decorative, social and food self-sufficiency tool. These will also be “identity-making” actions that want to be a sign of the Studio’s specific work philosophy and design ethics.
THINK TANK ROOM
During the 2014 Fuorisalone, one wing of the Piuarch studio will become the Think Tank Room. In this room Piuarch will be staging its project and civic vision of topics regarding the contemporary city, and above all it will also be an interactive space for collecting ideas, notices, visions, inspirations and projects and putting them in a network for creating a debate on a different model for area development. Visitors can fuel this debate with their contributions and experiences. A Facebook page created especially for this purpose will post in real time the ideas, drawings, proposals, thoughts and words of those who come and want to leave their own mark on these topics. read more »
The Quattro Corti project in St. Petersburg and the Dolce&Gabbana building in Milan chosen for the “A Contemporary Landscape” section at the Italy Pavilion
INNESTI/GRAFTING is the title that Cino Zucchi – curator of the Italy Pavilion for the 2014 Architecture Biennale – has chosen for developing the theme suggested by Rem Koolhaas for the national pavilions, “Absorbing Modernity 1914-2014.” Under the section titled “A Contemporary Landscape,” Zucchi has selected two recent works by Piuarch, both of which are significant in regard to the overall theme of grafting: architecture placed in its original setting. Both express Piuarch’s ability to understand the previous historical and cultural context and to propose a vision of the project that is both modern and harmonious. The two projects selected by Zucchi are: the Quattro Corti Business Center in St. Petersburg and the Dolce&Gabbana office building on Viale Piave in Milan. The selection is a matter of great satisfaction for Piuarch, arriving in the very year in which the firm has been awarded the Italian Architect prize by the National Order of Architects. It is a confirmation of the path of excellence the firm has followed in its 16 years of activity, which have had as a constant the capacity to understand and interpret the historical, social, cultural, architectural settings in which the architects were working. The result of this “attitude” is not a univocal style, but rather the ability to create value within the originality of the results.
The two projects selected:
The Quattro Corti Business Centre – opened in 2010 as the result of a competition by invitation – is located in the historic heart of the city of St. Petersburg, very near St. Isaac’s Cathedral. The project involved the creation of a building that is modern, but nonetheless retains the historic façades of two buildings that had occupied the site. They were joined to the new building by means of a metal covering that, with different inclinations, reconnects the different slopes of the roofs in a continuous form. The materials and geometries of this roof blend in with the naturalness of the city’s skyline. Four courtyards (“Quattro Corti”) were created within the volume defined by these limits to provide lighting for the interior spaces, which function as a meeting place open to art installations, exhibitions and other public events. The building has 23,500 sq.m. of floor space on six floors above ground, with a scenic restaurant called “Mansarda” occupying the top floor. From the restaurant’s terrace one can enjoy sweeping views of the city center on one side, and the glass walls of the courtyards on the other.
The Dolce&Gabbana office building built in 2012 on Viale Piave in Milan. The long, narrow shape of the lot and the volume of the pre-existing building have led to a compositional solution involving three parallel buildings. The building on Viale Piave and the one farther back rise seven floors above ground. The central body, connected to the rest of the construction by means of a system of stairs and skyways, has three floors and is suspended over a body that connects the three buildings, perpendicular to Viale Piave and rising four floors above ground. This way a large, deep inner courtyard is created, overlooked by all the buildings. The complex structure of the building reflects the variety of uses of the spaces, with offices, areas for receiving guests and entertainment and coordination areas for the preparation of fashion shows located on various floors, and with common areas and meeting rooms on the ground floor, opening onto the courtyard. The style used for the front on the street, which conveys a sense of transparency and lightness through the use of glass and metal, contrasts with the more austere style of the interior façades.
A Contemporary Landscape
The hall dedicated to this subject represents – also in the way it is set up – the current interpretation of the Italian landscape that, as Gio Ponti said, is created “half by God and half by architects.” In the great shadowy light of the existing hall, large prisms of different shape and profile will hold backlit images of contemporary projects in different settings, which together create an unexpected, ever-changing scenario. Rather than describe the projects being exhibited, the setup puts together in the manner of a large collage the diversity of our country’s urban and rural landscapes, and the different individual responses to the common theme of the relationship between the programmatic randomness of individual works and the collective whole of the country’s building development. read more »
In designing the ENEL Pavilion for Expo 2015, Piuarch wanted to express the concept of “energy sharing” in an architectural theme. Not through a “building-container,” but rather with the creation of a virtual volume: a place, generated by a grid onto which 650 polycarbonate vectors are grafted. The arrangement of these constantly changing, illuminated vertical elements defines the volume that encompasses within itself a series of other volumes and green courtyards. http://youtu.be/_L_2pu2k3RA
THE STRUCTURE OF THE SMART GRID
The pavilion occupies an area of 900 sq.m., overlooking the Decumano (main east-west road). The initial matrix of the project is the intelligent network that ENEL created to power the EXPO site. The basic element of the space – both conceptual and structural – is the grid which can be seen on the ground. It is precisely this grid which, by means of a network created with metallic elements carrying the distribution of electricity and the flow of data, conveys the idea of energy sharing. This network is spread across the floor and gives the system a wavy pattern. Grafted onto the network are vectors that represent the system’s nerve endings. Made from clear polycarbonate tubes with a diameter of 150 mm and a height varying between 5.3 and 7 meters, the vectors create a virtual forest, illuminated by a series of LED lights placed on the grid.
INTERACTION AND PERCEPTION
The interaction between the visitor and the environment is a fundamental part of the concept. The perception that the visitors will have of the virtual volume changes continuously in relation to the point of observation and the movement of people: the alignment, disalignment and overlapping of the vertical elements produces a continuous changing of the visitors’ perception of the space. The kinetic effect is accentuated by the vibration produced by the variations of the light. The project also proposes a playful aspect that allows the visitor to penetrate freely into the “forest” and to interact with the vectors through unexpected situations of light and sound. Green plays an especially important role in enhancing the experience; in both the three densely wooded courtyards and the areas surrounding the pavilion a great variety of plants and herbs are used that belong to the “Mediterranean garden.” Full of colorful, lingering blossoms, these are designed to adapt to the changing seasons, expressing their message for the entire duration of the Expo.
THE VISIT EXPERIENCE
An elevated walkway is the dynamic experiential path that leads visitors through both the virtual forest and the natural forest. The lush green courtyards make the topic of sustainability the beating heart of the system. The wooden walkway is covered by a printed glass roof that protects against rain and creates a shaded space. A nebulizer system adds to the walk and soft music creates an evocative atmosphere. An interactive informational strip running along the entire path leads visitors into the virtual forest.
THE CONTROL ROOM
The Control Room is the operational and nerve center of the entire ecosystem. This mirrored environment is inside the virtual forest, and films and interactive elements allows the visitor to understand how the entire intelligent system works. This is complemented by a stage machine composed by kinetic mirrored elements that echo the pattern of the network even in the control room. A second glassed area has a showroom and entertainment areas that have the virtual forest on one side and a terrace on the other. The glass surfaces are treated to create varying degrees of transparency and reflection, producing a feeling of lightness. The system is powered by energy obtained from photovoltaic panels installed on the pavilion. read more »
Piuarch pays tribute to Venezuelan Artist Carlos Cruz-Diez with an optical installation created using botanical essences. Chromatic effects make dynamic the courtyard of Via Palermo 1 in Milan
For the Milan Design Week 2016, Piuarch dedicates to kinetic art a special set up of its roof garden in Via Palermo 1, Milan. Set in the heart of the old city, the Kinetic Garden is a homage to the Venezuelan artist Carlos Cruz-Diez which has always been a reference point for Piuarch. The project is a collaboration with the landscape designer Cornelius Gavril which trough the use of flowers and vegetables, designs the space in order to produce the feeling of movement and dynamism. The peculiar structure of flower beds and pallets created by Piuarch on the roof of their building, welcome a disposition of 4 plants - two varieties of salad in red and green and two pansy in yellow and blue - each essence defines a uniform color strip arranged in straight lines constantly repeated. The chromatic effect is amplified by the use of triangular axis placed along the lines of color to increase the perceived depth. The installation creates an active relationship between space and guests: the static image becomes dynamic. Partners are VerdeVivo who oversaw the preparation of plants and Vivai Mandelli who took care of the installation.
Kinetic Garden is the special exhibition designed for the 300 square meters roof area of the Piuarch building – in via Palermo 1, Milan. THE MODULAR PALLET SYSTEM Central to this concept is the creation of a modular system that uses pallets to build easily assembled structures that combine aesthetics and functionality at a reasonable cost. The Garden aims to be an inspiring system, repeatable on a large scale for redeveloping areas that are not used. The pallets are used both as a walking surface and, upside-down, as containers for soil. In this way, a single modular element is used to create the garden’s layout. read more »
IAAC | Fab Lab Barcelona, in partnership with Beyond Building Barcelona and Fira de Barcelona present the PAVILION OF INNOVATION 2015, an exhibition of select projects and prototypes as part of the international event BEYOND BUILDING BARCELONA.
19 - 23 MAY 2015. GRAN VIA VENUE
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MARKED BY VIBRANT ORDER WRITING, ENERGETIC ACTIVITY
LAS VEGAS – (January 18, 2015) – Winter Las Vegas Market – which opened today and runs through Thursday, January 22, 2015 – is drawing rave reviews for the dramatic resource expansion in the Market’s furniture, gift and home décor offerings as well as other changes and improvements throughout campus. Las Vegas Market has experienced explosive growth in leasing activity during the run-up to Winter Market, with numerous showroom expansions by leading vendors, showroom openings by new-to-market resources, and record numbers of temporary exhibitors.
“It’s the first day of Winter Market and there’s such an incredible buzz throughout our campus,” said Robert Maricich, chief executive officer of International Market Centers. “Buyers and designers are filling our hallways to take in all the new companies here for the first time which is translating to the showroom floor. Exhibitors are reporting heavy, consistent traffic and strong order-writing. It’s wonderful to see.”
Day one turn-out mirrored pre-registration indicators with strong attendance by gift and home décor retailers, which supplement the existing furniture buyer base that has been coming to Las Vegas Market since the very beginning, nearly 10 years ago. Furniture buying power remains strong at Market, with 82 of the top 100 retailers registered.
“We've seen a good number of accounts this morning,” said Jeff Lankford, General Sales manager with Steve Silver Company. “We view this as a west coast market and we're seeing west coast dealers that we've never seen before, so that's good. We've already seen about half a dozen of our top 100 retailers – Las Vegas Winter Market is off to a good start.”
“Today being the first day, we meet lots of new faces and see the potential and opportunity for building both our brands – JURA and Capresso,” said David Shull, Senior Vice President of Sales & Marketing for JURA, Inc.
Among opening day highlights was the unveiling of Las Vegas Market’s FIRST LOOK trend presentation, which distills the many thousands of new products available at Winter Market into four key trend themes: “Livable Luxury,” “A Tasteful Hue,” “The Colorful Outdoors” and “Modern Boutique” – each highlighting important decorating and merchandising trends for 2015.
Key findings of the design report include an overall softening of the color palette: Pantone’s 2015 Color of the Year, Marsala, for instance, is not as bright as the group’s recent colors of the year. “A Tasteful Hue” illustrates the role this robust red will play in creating monochromatic interiors; “Livable Luxury,” meanwhile, signals a rise in pastels for 2015; metallic finishes are the perfect foil for these surprisingly livable hues; “The Colorful Outdoors” showcases a variety of products and design themes suitable for summer living and al fresco décor; and “Modern Boutique” presents and promotes the cross-category shopping synergies available in showrooms throughout Winter Market.
Las Vegas Market is the leading furniture, home decor and gift marketplace in the western U.S., presenting 2,200+ gift, home décor and furniture resources in an unrivaled market destination. Las Vegas Market features thousands of gift, furniture and home décor lines, allowing for cross-category commerce among these industries. The Winter 2015 Las Vegas Market runs January 18-22, 2015, at World Market Center Las Vegas. read more »
submission date: 1/20/2015
Las Vegas Market is the most comprehensive furniture, home decor and gift market in the United States, presenting a unique cross-section of 2,000+ resources in an unrivaled market destination. With two markets each year, retailers and designers can shop a broad assortment of product from thousands of manufacturers of furniture, mattress, lighting, decorative accessories, floor coverings, home textiles, tabletop, general gift and more - delivering the most complete, cross-category wholesale tradeshow for the furniture, home decor and gift industries in the United States. For more information, visit www.lasvegasmarket.com. Find us on Facebook and Twitter. Las Vegas Market is produced by International Market Centers, L.P. (IMC), the world's largest operator of premier showroom space for the furnishings, home decor and gift industries. International Market Centers owns and operates 11.5 million square feet of world-class exhibition space in High Point, N.C. and Las Vegas. IMC's mission is to build and operate an innovative, sustainable, profitable and scalable platform for the furnishings, home decor and gift industries. For more information on IMC, visit imcenters.com
CHICAGO - Volume Gallery is pleased to announce its first solo exhibition with Stanley Tigerman, 821 Stanley Tigerman Sketches 821, opening October 24th from 4-8 PM at 845 West Washington Blvd, Chicago. The story of the 821 sketches of Stanley Tigerman begins with a road trip following the premier Venice Architecture Biennale, and culminating nearly 40 years later with the first Chicago Architecture Biennial. From 1976 to the present, Tigerman has maintained a constant flow of sketchbooks roughly divided into three main categories: Architectural, Travel, and Architoon sketches. The continuation of sketching, as opposed to photographing a vacation or building, is equally met with a “no shit, I am an architect, I sketch” attitude that suddenly illuminates their meditative quality. The images lose their ‘sketchiness’ and turn into studies in place, philosophy, religion, building, etc. Tigerman’s sense of recall is fully displayed; a rendered church from a trip in France becomes an Architectural sketch for a residence after ten years, and morphs once again 20 years later playing a role in the religious grappling of his Architoon drawings. Viewing the work, which is displayed chronologically, themes begin to emerge and narratives reveal themselves. There are celebrations of life and death, there are periods of extreme activity and drought, there are quick jots, and later, the work of a contemplative life.
Stanley Tigerman a principal in the Chicago architectural and design firm of Tigerman McCurry and a Fellow of the American Institute of Architects, Stanley Tigerman has thus far designed over 450 buildings and installations around the world throughout his 51 years in private practice. He was the founding member of “The Chicago Seven” as well as the Chicago Architectural Club. In 2008, Mr. Tigerman was named the recipient of the AIA/ACSA Topaz Medallion for Excellence in Architectural Education as well as the AIA Illinois Gold Medal in recognition of outstanding lifetime service. Stanley Tigerman was honored by AIA Chicago with the 2013 Lifetime Achievement Award. The author of seven books, he recently completed an essay on “erring” for Perspecta, Yale Architecture School’s journal due out in the fall and is currently working on his next manuscript on “Aura: Unattainable Architectural Longings.” read more »
submission date 10/13/2015
The promise of environmental architecture is here. An extensive pattern is emerging, where the most innovative of contemporary building design is a response to place. Instead of overcoming nature and supplanting cultural acumen, hyperlocal architecture embraces the complex intertwining of the site, people and environment. Explore firsthand how Spain Wraps commercial buildings, Japan Condenses micro homes and Australia Unfolds aggressive design solutions in a climate of extremes. Journey to Cascadia, Germany, Denmark, and Mexico to witness how buildings are inspired by and challenge the potential of the places we inhabit. With some of the most renowned sustainable architects and thinkers of our time, this ground breaking survey offers unprecendeted insight into architecture's new place in a changing climate.
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submission date 10/19/2015
[ours] Hyperlocalization of Architecture: Contemporary Sustainable Archetypes Hardcover – September 1, 2015 by Andrew Michler (Author)
The Acapulco Chair is one of the most iconic chairs of the 20th Century. This year The Common project is celebrating the chair's 60th Anniversary with a very special Limited Edition. The 60th Anniversary Edition consists of a chrome-plated frame with a translucent shell. The choice of materials evokes refinement and sophistication and brings the classic design into the 21st Century. It has been transformed from a fun patio chair into luxury indoor and outdoor seating. Only 600 chairs were produced.
The Common Project produces the authentic classic born in 1953 in Acapulco, Mexico and highlights its rich history in the world of design. The chair is also available in the 4 classic colors: black, white, mustard, and turquoise.
The 60th Anniversary Acapulco Chair is available for a limited time at The Common Project.
The Common Project was established in 2009 by architects and designers in Los Angeles, Barcelona, and Mexico City as a platform to promote modern authentic furniture and design. At the core of the project stands the philosophy to achieve intelligent and original products with high aesthetic value, functionality, and the highest manufacturing refinement. We celebrate the processes and stories behind each product.
Aliantedizioni is celebrating its 15th anniversary with an exhibition dedicated to the city of Istanbul. A source of inspiration for many artists, poets and writers of romances, the Turkish metropolis never ceases to fascinate visitors from around the world, thanks in no small part to its complex architecture and hypnotic Islamic decoration. Indeed the thousand mosques, the Topkapi Palace and the Serraglio, Sultanahmet, Bazar and Beyoglu zones were the stimuli for some photo shoots assembled by Alessandro Loschiavo in 2012, and for their recent post-production by Samantha Acciuffi. This gave rise to a collection of 27 evocative images, the result of a journey of discovery through the city streets and that, in some cases, almost become some 2-dimensional textures. The images, with more or less explicit references to both the ancient and modern city, have now been gathered into a new publication, a pocket-sized illustrated notebook that combines each portrayal with a blank page for one's own observations or sketches. So, a first AlianteNotebook dedicated to Istanbul that seeks to be a travel companion and record of memories and sensations. The book will be printed on recycled paper and published in a limited series of 999 issues.
Aliantedizioni is a collection of interior and table accessories designed for all those individuals in the world that love to chose, to be acknowledged in their own space and having a preference for formal synthesis. The items are especially dedicated to all those who do not want to abdicate life's pleasures. read more »
19 March, 2014 (Singapore) – Singapore-‐based firm designphase dba has been named one of Asia’s Top Design Practices at the Singapore Design Awards 2014. Organised by the Design Business Chamber Singapore (DBCS) and IE Singapore. The awards also recognised Joris Angevaare, Partner and Design Director at designphase dba, as one of Asia’s Top Designers. Conceived in 1988, the SDA was an initiative by the Designers Association Singapore (now Design Business Chamber Singapore) and Trade Development Board (now IE Singapore) to showcase design’s strategic role in Singapore’s overall economic development. The premiere Awards were unveiled at the first Singapore International Design Forum by then Prime Minister of Singapore, Mr Lee Kuan Yew. Introduced for the 25th Anniversary of the Singapore Design Awards, the categories for Asia’s Top Design Practices and Asia’s Top Designers recognise and profile the region’s best designers and design practices.
designphase dba was joined by just 12 other firms from the region in the list of Asia’s Top Design Practices. Working in three unique worlds of design – corporate, retail and hospitality – designphase dba has become known for its consistency of industry- leading work throughout the region. In recent months, the firm has won praise for its work on restaurant projects such as Bull & Butcher, Café Melba, FoodGarden and Zafferano. Corporate clients such as Trafigura’s Global Trading Headquarters and National Australia Bank have also received critical acclaim. More recently, the team’s work in the retail sector with Robinsons Orchard department store on Singapore’s landmark shopping belt, has set new standards in the design field.
designphase dba Managing Director, Mr. Derek MacKenzie, said both honours were a testament to their focus on quality and the creative talent of designphase dba, both as individuals and as a team unit. “Over the past 30 years, we have worked towards building one of the region’s best design teams. In this competitive environment, innovative ideas and client-‐centric thinking has consistently delivered designs that are ahead of the curve. These awards are recognition of those efforts and are a great acknowledgment of the team’s ability to execute with originality while respecting our client’s core principles.”
Partner and Design Director, Joris Angevaare, who has taken a key leadership role at designphase dba, was also honoured as one of Asia’s Top Designers with 12 of his industry peers. Since joining designphase dba in 2007, the Amsterdam native has created a fresh and intelligent portfolio of work at the firm, including Robinsons Orchard, Zafferano and FoodGarden at Asia Square. In October 2012, Angevaare became a Partner of designphase dba to reinforce the continuation of the firm’s values and extension of its experience.
“It’s an absolute privilege to be named one of the top designers in a region that has become known for its pursuit of cutting-‐edge design innovation,” said Mr. Angevaare. “These awards are a credit to the incredible work of our entire team over the years, and to the leadership of Derek MacKenzie,” he said.
“Joris has been an integral part of our team ever since he joined us in 2007, and the decision to make him a partner in the firm in 2012 was a natural choice,” said Mr. MacKenzie. “We’re delighted by his achievements and are looking forward to many more successes together,” he said.
About designphase dba
designphase dba is one of Asia’s most exciting design firms. With celebrated accomplishments on some of the most prestigious design projects in the region, designphse dba’s deep track record spans three worlds of expertise: corporate – retail – hospitality. In the world of hospitality, designphase dba have worked on an outstanding list of esteemed projects, including The Exchange, FoodGarden, Café Melba, Zafferano Restaurant, Napoleon Wine Bar, Amara Hotel’s Element Cafe and The Singapore Cricket Club. designphase dba’s world of retail has recently given birth to the most compelling injection into the retail scene, along one of the world’s greatest shopping streets. Robinsons Orchard is receiving worldwide acclaim for is innovative design narrative and its attractiveness to customers. The bright and refreshing approach has challenged traditional thinking and become a beacon for over 280 new and exclusive brands. In the corporate world of designphase dba, Trafigura’s Global Trading Headquarters and National Australia Bank are a testament to creativity, knowledge, precision and quality. Each project is highly individual and unique to their brand. Underpinned by deep research and thoughtful expression of corporate identity, both projects accommodate their employees in environments which are as ergonomically supportive as they are technically advanced. designphase dba are continually recognised for their groundbreaking work with a number of prestigious awards. They have recently taken home trophies at the 2012 Singapore Design Awards for their work on The Exchange at Asia Square, (Interior Design, Branding), FoodGarden at Asia Square (Interior Design) and Toby’s Estate (Interior Design). While designphase dba is headquartered in Singapore, their work spans the region.
About Singapore Design Awards (SDA)
Conceived in 1988, the SDA was an initiative by the Designers Association Singapore (now Design Business Chamber Singapore) and Trade Development Board (now IE Singapore) that aims to showcase design’s strategic role in Singapore’s overall economic development. The premiere Awards was unveiled at the first Singapore International Design Forum by then Prime Minister of Singapore, Mr. Lee Kuan Yew. Focusing on the creative minds behind the creative processes driving the design landscape, the SDA has adopted a fresh new approach and introduced new Awards categories to profile and provide recognition to the creators / designers and the design systems that are in place to bring forth outstanding designs in Singapore and the region. Organised annually, the premiere Awards event also celebrates the achievements of the creative industry’s excellence and talents, and spotlights the strategic business value of design to economies.
About Singapore Design Awards (SDA)
Conceived in 1988, the SDA was an initiative by the Designers Association Singapore (now Design Business Chamber Singapore) and Trade Development Board (now IE Singapore) that aims to showcase design’s strategic role in Singapore’s overall economic development. The premiere Awards was unveiled at the first Singapore International Design Forum by then Prime Minister of Singapore, Mr. Lee Kuan Yew. Focusing on the creative minds behind the creative processes driving the design landscape, the SDA has adopted a fresh new approach and introduced new Awards categories to profile and provide recognition to the creators / designers and the design systems that are in place to bring forth outstanding designs in Singapore and the region. Organised annually, the premiere Awards event also celebrates the achievements of the creative industry’s excellence and talents, and spotlights the strategic business value of design to economies. read more »
born as third generation of overseas Chinese migrant. His interest in drawing has been shown from very early age by drawing on his parents’ bedroom wall. His east and western style educational background and his intensive travel due to his studies, work related, curiousity, passion for travelling and sense of discovering makes his design unique and culturally rich. It is uniquely passionate and ingenuity design with European delicate-minimalist art touch functional design, harmoniously blend with ingenuity yet colourful Asian beauty and heritage accent. His works: drawings, photography, design a thought/ idea have been exhibited and published in Italy, France, Indonesia, Australia, China, Puerto Rico and Japan.One of his projects with Fellissimo/Unesco/design 21 project has become permanent collection at the Kobe Museum in Japan. His goal, his art /design creation can be enjoyed and can give benefit for more and more people who genuinely love and appreciate art and design as part of their lifestyles. Widianto Utomo has been working/ designing as concept designer ranging from furniture, lighting, daily lifestyle products, watch, fashion, jewellery / body wear, home, lifestyle design. read more »www.gwutomo.com
On 15 May, Bonaveri hosted a special evening for the leaders of Britain’s fashion industry
A gala dinner was held during the London leg of The Journey – the Bonaveri road show promoting new concepts in visual merchandising – to present the new Schläppi Aloof collection. The event was attended by the elite of the English fashion industry - visuals, art directors, buyers, architects and designers – who experienced an evening dedicated to creativity “behind the glass”. The guest-list included fashion makers from brands like Burberry, Karen Millen, Stella McCartney, Joseph, and Alexander McQueen, some non-British labels such as Fendi and Louis Vuitton, as well as representatives from London’s major department stores - Selfridges, Harvey Nichols and Harrods. Inside the 600 square meter Louise Blouin Foundation, in the sparkling Notting Hill district, guests were treated to an amazing creative experience in a surreal atmosphere where everything was designed to convey the meaning of the new Aloof collection: from the menus to the floral arrangements, from the sculptural installation of the mannequins on the main stage to the delicate miniatures on the tables. The concept for the evening was designed by Emma Davidge, art director of Chameleon who also co-designed the collection with Bonaveri. The dinner was held between The Journey’s stop in Paris and the main event of the year, the opening of the first Bonaveri showroom in Milan at Via Morimondo 23, scheduled for September. Updates and more at www.bonaveri.com and on the Bonaveri facebook page.
The Bonaveri headquarters and main production facility is located in Renazzo di Cento in Northern Italy. Our 40.000 square foot home is a modern, high tech facility where craftsmen, artisans and administrative staff come together to create our amazing products. Located in a landscaped park, the factory houses body-scanning laboratories, traditional sculpting workshops, production areas, offices and our magnificent showroom. From this single location we produce thousands of pieces every year which are then dispatched to all corners of the world. Take a tour of our home and see how Aloof was made. read more »
submission date: 6/2/2014
CHICAGO- Volume Gallery is pleased to announce an exhibition with Tanya Aguiñiga, Ania Jaworska, and Christy Matson, Converging Lines, opening January 29th from 5-8 PM at 845 W Washington Blvd, Chicago. Converging Lines offers new works by Aguiñiga, Jaworska and Matson which are the result of each designer challenging, amplifying and emphasizing the traditional contextual mediums within which they work. Christy Matson is a fiber artist whose jacquard woven work can often be ‘read’ as brushstrokes, nuanced in palate and structure. The watercolor works by Matson in Converging Lines are simultaneously studies for weavings and complete expressions. In these pieces that same palate and structure is evident, effectively guiding Matson effortlessly from one medium to another while emphasizing the materiality of each. Three extractions from Ania Jaworska’s suite titled A Subjective Catalog of Columns explore the history of architecture and challenge our perceptions of the built environment. In Catalog, she isolates the columns from a building’s structure, thus removing the context and enabling the images to immediately take on a decorative and graphic tone. By examining the re-contextualized image, the impactful nature of the column’s simultaneous role as art and architecture – both structural and beautiful – can be fully appreciated. Tanya Aguiñiga specializes in woven fiber work, hovering between art and design, communicating through the conceptual and physical. Reveling in their liminal qualities, her practice belongs to both worlds. A well-versed maker and designer, steeped in Mexican and American cultures, her bilingual aesthetics and means of making blend and emphasize traditions specific to each. Aguiñiga’s Knot series are bold colorful massive knotted ropes. Exaggerated in color and scale, and born of the desire to explore the nature of dyes and create a burst of rope, Knots 1, 2, and 3 reveal surprising and remarkable personalities. read more »wvvolumes.com
April 30th – May 3rd 2015 at St. Johannes Evangelist-Church | Auguststr. 90 | 10117 Berlin AMSTERDAM: Galerie AdK, Galerie Bart, Galerie Brandt, Cityscapes Gallery, Livingstone gallery, Vriend van Bavink, Galerie Wit BERLIN: C&Kunterwegs Galerie, janinebeangallery, Jarmuschek+Partner, lorch+seidel, Petra Riez Salon Galerie, seifert | lardon, Wichtendahl Galerie For the third time Amsterdam and Berlin based galleries organise a collaborative exhibition that displays current positions of Contemporary Art. Titled as I AMsterdam YOU BErlin works of international artists will be shown in the St. Johannes Evangelist church in Auguststraße. Parallel to numerous exhibition openings in Berlin, I AMsterdam YOU BErlin presents thereby a concrentrated insight into the vivid contemporary art scene of two cities with a rich background of artistic tradition. With 10 participating galleries and 4.000 visitors at one weekend, the second issue of I AMsterdam YOU BErlin has already been a great success. This year the sacral environment stirs again a special interaction with the space, whereby it invites to include the spacial component for the presentation. Works of 37 artists from 11 nations will be displayed. The focus is therefore set on painting and drawing, but also genres like installation, photography and sculpture are represented. Entitled as “Hidden Treasures“ the exhibition holds for the first time a concrete metatopic, of which every of the 14 galleries is inspired by. Therefor it creates on a superior level a diverse metatopic-related exhibition of different positions. The aim of this event is the intercultural exchange and the presentation and imparting of Contemporary Art. Each artwork is linked to the exhibition topic and of course can be purchased. The entrance is free. The project takes place in collaboration with the Kulturbüro Elisabeth. During the opening on 30th of April the artist and musician Melle presents at 8 p.m. a musical performance. read more »www.iamsterdamyouberlin.com
Friend someone working in our world for positive work by way of promotion to others . it is a very good thing or today it is very must for creation of peace and love in our world . we know some societies and NGO of our world are working in this way for promotion of true work of our world .
We know our contemporary communication way is online communication by this way we are connecting to our world in very short time . today its have a identity and we are calling to it web world . mostly all world is connect to this medium of communication for express or promotion . it is working in all sector of life , it is promoting and expressing to education, art, science ,business , or all subject of our life . people can get his or her interest level subject on this web world . it is a good way for positive action or that’s success.
Last six years to I am connect to this online communication web world as a art master. I have registered myself on this web world as a visual art master , on this way I have expressed my inner art sound and I have promoted to others art sound as a art master time to time. Because it is my art duty for our world art family .
On this way someone are observing continue to my art work and they are giving me space by promotional sound of them in this web world . I know in 2008 I were connected to a online magazine that’s name is www.ionone.com , when I were connected to this online magazine I were shared my first blog post ( Art Vibration-1 ) of this art vibration . they were observed to my true art sound in wrong English words .
Today 2014 they are connected to me and in this six years they were many time promoted to my art by this online magazine in our web world. I can say they have underline to my art.
Last week once again I saw a update from www.ionone.com on facebook.com they have shared a link with title Art From Around The World , in that update link I saw they have selected my art painting of MYSELF. I were shared that art painting image, in year 2008 with www.ionone.com . they have not forgot my true art work or that’s true art sound . after 2008 I have shared many other art work visuals with www.ionone.com but they have shared that first painting of myself like a underline work.
Here I am going to share that update link of www.ionone.com or a image of that update. I were collected that image from page of facebook.com. http://www.ionone.com/world.htm
in my heart I am once again thankful for team of online magazine www.ionone.com. they are noticing my art expressions or art visuals on online and time to time they are promoting to my art sound by web magazine of www.ionone.com . it is a big achievement for me because my art in underline of a world level online art magazine .
I hope this online art magazine will give me more art energy by right art promotion of myself art sound in front side of our world art family and I am promising to this online magazine or that’s team I will live busy in art continue just like past because I want to create love and peace in our world by way of art just like your team of www.ionone.com .
I am happy someone are working and thinking just like me in ourworld art family so I am with them as a art master of visuals art. I am happy they have underline to me or my art work .
so I said here underline to my art …
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Yogendra Kumar Purohit
Master of Fine Art
This is a real fact and a historical recorder of my art journey . I am remembering when I were joined to online network and I were learning about this new medium. that time I were alone on online , no one for guide line and no one for help to me for my art communication . In that movement I were wrote a very first note on my art work of Myself . that was in 500 something words in English in that note I were wrote perfect impression of my heart and mind but my English was not perfect .
When I were wrote that note then I were started search for share to that art note for world art family. Because by mail process that was very complicated for me so I were found a blog space by google network . I were created my own blog by support of google .com, did I gave name to that first art post Art Vibration . but that time I were not knew one day this blog link will really vibrate to world art family by sound of my true art . after google blog post . I got a short link for share with all on online. i did shared that link to 5000 something web page of our world art family by online network . some one reply or some one not but i were busy in sharing work of my first blog post with our world art family continue . that was open challenge for me and i were completed that . here I want to share with you that first blog post link for your notice. http://yogendra-art.blogspot.in/2008/07/art-vibration.html it was published on blog in year 2008 .
In 2008 I were very busy in communication and in search of art web site links because in that movement I were not connected to any online network and I did not knew much more knowledge about online use, so I were working with safe mode , I think that was must for me and I were lived with that mode . one day I were found a website link that was world wide art web site . I got that web page mail id and sent my blog post link with a short information about my art journey . after a one week I were received a reply by that web site owner . the Director of That Web Site was wrote in that mail yogendra we have published your art work image and your art note on our web site blog so you can visit our web page link ionone.com , I were got happy because first time a international online web site was selected my art work and they were published my work with title of PAINTING OF INDIA. When I saw that page then I were felt proud on myslef because my art work was representing to my nation Name with my art sound . that day I were knew the real definition or meaning of online and I were knew my real duty on this online network , because on this network we are representing to our nation with our self vision so it was very responsible job for me, after that first online art publication . that was my first online art relation , it was started by this online network tool . I were noticed its fast result and impressive effect for true art.
After 2008, I am continue in touch of ionone.com and they are watching my art journey as a true art critic or as a art promoter . it's a natural art fact of my art journey. In 2010 I were connected to ionone web site page on facebook . on facebook I were visited lots of art concept and I observed idea of ionone for true art promotion . in this time they have been shared my many art visuals for world art family by ionone.com facebook page . that was a real art promotional work from ionone .com team about my art journey. So I am thankful for them .
IN this month Before two week I were completed my 1000 drawing on concept of Myself . that concept starting work image was published by ionone.com site in 2008 . After 1000 drawing work I were shared a post on this art vibration blog and that's link I were shared with ionone.com by luck last week they were visited and noticed to my blog post and my art energy or that's result . after that they have added my blog link on main page of ionone.com with my full name . It was a true reward to my art journey by team of ionone.com. international online art promoters .
This post is just a thanks to director or team of ionone.com and a special art news for my online world art family . because I have found a right art promoter in this true art journey in year 2008 and that day to till today a one international art observer is walking and moving with me on this international online art communication path .we were not meet live and face to face but our art sense is connected with deep feeling relation and its mixed in our daily art life just like water and fresh air .. so I am saying www.ionone.com read more »
My art vision Base is Myself..i think every human being live for self and its fact of human life. So i have start from basic of life through my art vision, I am master in painting and last 15th years to continue i am doing art work, like a painting, Design, Sculptures, Installation, Craft, Drawing, Sketching, Art movie and conceptual art work and this visual you can visit at www.yogendra-art.page.tl, then you can understand my art vision and my talking way about my art. I think art is a journey and its end with artist death.. The last point of the art journey is artist death. i know it, because i have lots of example in art history just like that, the artist Vinsent Wongong, Sezaan, Picaso, Kurbe, Michelangelo, Jamini Roy, Amrta Sergill, Liyonardo the vinchi and lots of artist in our world art.i can't write all Artist name so sorry.. The painting mean for me.. The painting is a very strong way for catch the self of artist and painting giving way of live peace full life journey with colour, with love, with feeling,with nuture, with self for others. In painting not importent if how to you painting it and what you paint it but its very importent why artist paint a painting, what he want from canvas,colours,forms and from his self.. its exapmple is Vincent Vangogn.. He Had paint a paint my shoe.that time vincent was very alone and he was feel very unfit. that time he saw his shoe and thought it, My shoe care my feet when , that time i was walk alone on the road..its mean he want to say thanks to his shoe because he feel the shoe care and support to vincent in alone time.so i want to say every artist live his art life and then he think somthing and then they paint, i can say ,i am also on this track from my art Vision .. as a painter ... as a master of art...art is giving a new way to stop life in every time and in any condition of human life,,art have power of life base..art have vision,, art giving creative life and thought and confidence!
Yogendra Kumar Purohit
Master of Fine Art
* 360 original artworks by 38 international artists replace adverts by major corporates such as McDonalds, CocaCola, H&M and Morrisons
* Millbank, Department of Business and Innovation, Scotland Yard, Harrods, Oxford Street and Shell Centre in London targeted.
* Entire route of Leeds marathon covered with anti-advertising artworks
* Themes include austerity, human rights, debt, climate change, body image and fracking
This weekend has seen the biggest ever unauthorised takeover of outdoor advertising, as part of the rapidly growing “Brandalism” campaign against what activists have called the corporate take-over of public space. Around 360 adverts in 10 cities across the UK were replaced overnight with specially commissioned artworks by teams of anti-advertising activists.
'Six-sheet' poster displays at bus-stops, free standing cabinets and even a public toilet were taken down in Glasgow, Edinburgh, Leeds, Liverpool, Brighton, Bristol, Birmingham, London, Oxford and Manchester. The adverts - by companies such as H&M, CocaCola, Fanta, McDonalds, Morrisons and Lyca Mobile - were replaced with artworks exploring the impacts of consumerism, including ecological damage, financial collapse, and gender stereotypes. With the United Nations currently investigating the impact of advertising on human rights [ 1 ], Brandalism seeks to highlight the lack of control that communities have over their public space.
38 international artists participated in the latest round of Brandalism takeovers including Peter Kennard, Paul Insect, Bill Posters, Goldpeg and Radiohead’s artist of choice Stanley Donwood (UK), Princess Hejab (France), Ron English (USA), Peter Fuss (Poland) and Anthony Lister (Australia).
Brandalism first launched in July 2012, when around 40 billboards in five cities were replaced with anti-advertising artworks. Since then the Brandalism project has grown in ambition and scale. The Brandalism website will show people how they can replicate this type of action in their localities. Bill Posters, one of the artists involved in Brandalism, said: “This is a revolt against visual pollution. Advertising is key driver of a system which destroys our future to fulfil the demands of the present, a ceaseless expansion of production and consumption. Communities are taking back control over their public spaces - expect many more actions like this in the near future.”
largest advertising takeover in world history (as far as we can tell).
365 public ads were access replaced with art from 38 international artists including Peter Kennard, Paul Insect, Bill Posters, Goldpeg and Radiohead’s artist of choice Stanley Donwood (UK), Princess Hijab (France), Ron English (USA), Peter Fuss (Poland) and Anthony Lister (Australia).
Brandalism is a revolt against corporate control of the visual realm. It is the biggest anti-advertising campaign in world history and it's getting bigger. Starting in July 2012 with a small team in a van, Brandalism has grown tenfold to include teams in 10 UK cities skilled up in taking back space. The most recent Brandalism Takeover in May 2014 saw the reclamation of over 360 corporate advertising spaces with hand made original art works submitted by 40 international artists. Following on in the guerilla art traditions of the 20th Century and taking inspiration from Agitprop, Situationist and Street Art movements, the Brandalism project sees artists from around the world collaborate to challenge the authority and legitimacy of commercial images within public space and within our culture.
Brandalism has worked with 16 teams of citizens who have been trained in the techniques and tactics of 'subvertising' - the art of subverting advertisements; before heading out onto the streets of the UK’s major cities for two days of redecoration. In Liverpool, Glasgow, Edinburgh, Manchester, Leeds, Oxford, London, Brighton, Bristol, and Birmingham the team mounted artworks which they had screen-printed themselves, disguised as outdoor advertising installers.
Brandalism starts from the democratic conviction that the street is a site of communication, which belongs to the citizens and communities who live there. It is a rebellion against the visual assault of media giants and advertising moguls who have a stranglehold over messages and meaning in our public spaces, through which they force-feed us with images and messages to keep us insecure, unhappy, and shopping.
All the artwork is unauthorised and unsigned. This is not a project of self-promotion, and none of the artists names (we forgive you Ludo!) or websites appear on the works: we believe there are already enough private interests taking ownership of our streets.
In Liverpool, Glasgow, Edinburgh, Manchester, Leeds, Oxford, London, Brighton, Bristol, and Birmingham, adverts have been replaced over two days with images from artists around the world made especially for the event. Themes explored include the ecological damage of consumerism, debt, gender stereotypes, the right to the city, the disaster of finance capitalism, and the pervasiveness of advertising itself.
The first Brandalism Takeover took place in July 2012. Two friends, sick of the visual pollution of their city, spent 5 days reclaiming 36 billboards in five cities around the UK. Overwhelmed by the positive response from people across the country, we decided to train up other people to do the same thing themselves. Two years later, groups across the country are now taking action in their local areas to reclaim public space from the claws of corporate interests. More Takeovers are expected in the near future.
Brandalism provides resources and support for anyone who wants to reclaim their visual space. Check out the resources page, and get in touch through firstname.lastname@example.org
In 1997 and 1998 Filmmaker Bob Bryan singlehandedly created, produced & curated the "1st and 2nd International Graffiti Art Competition." This was a first ever event, celebrating Art creations from Spray-Can Artists all around the world. The IGAC took place in the downtown Museum of Art, Los Angeles California. This beautiful & impressive Collectors Edition (ART BOOK 1 & ART BOOK 2) commemorates the vast style diversity of the International submissions and winners. ART BOOK 1 CATEGORIES: ¨ Canvas ¨ Collage ¨ Cyber-Space Art ¨ Multi-Media Installation ¨ Old School ¨ Other Mediums THE GENESIS of GRAFFITI VERITE’: Read the Writing on the Wall "Truth Or Dare" (Featured Article in RAP PAGES MAGAZINE) Graffiti Verite’s Bob Bryan continue to prove that beauty is in the eye of the beholder GRAFFITI VERITE’, the incisive documentary on the lives of Los Angeles Graffiti Artists, blew up like no other graff video to date, leaving behind an unprecedented trail of award recognition, media exposure and education about the Art Form. Bob Bryan, director, producer and director of photography on the film, accomplished what no other videographer had yet been able to do: create a graffiti documentary with mainstream crossover appeal. “I managed to promote the documentary in a way that didn’t just reach some of the old heads that were already in the life, but ‘turn-on’ people that didn’t know anything about Graffiti Art or that had a prejudice against graffiti,” Bryan points out. The filmmaker particularly targeted gallery people, educators, librarians and institutions that could be an asset for Hip-Hop and Graffiti Art in a financial sense. Bryan’s aesthetic and technical skills have been acknowledged with film and video competitions worldwide, including the prestigious Council of Int’l Non-Theatrical Events (CINE) Golden Eagle Awards, as well as, a National Educational Media Network, GOLDEN APPLE Award, Cinema in Industry (CINDY) Awards (sponsored by the Association of Visual Communicators (AVC) - not to mention that he’s also up for an Emmy this year. This year also finds Bryan taking it to another level by legitimizing Graffiti Art on an international scale through the creation of the First Annual International Graffiti Art Competition. “I’m taking the credibility that GRAFFITI VERITE’ has established and bringing a lot of Graffiti Art to the attention of major institutions and educational organizations,” he says. “I’ve been successful with being able to bring Los Angeles Graffiti Artists up, and now what I want to do is bring the international community of Hip-Hop and Graffiti Art to the attention of a worldwide audience.” Bryan’s sole purpose for the establishment of the FIRST INTERNATIONAL GRAFFITI ART COMPETITION is to “...create a forum for the serious examination, illumination, appreciation and recognition of this worldwide Art Form and phenomenon...”
-- By Ben Higa, RAP PAGES read more @ amazon »
submission date: 6/13/2014
Graffiti Verite' 25 (GV25) The International Graffiti Art Competition-Art Book 1: First & Second (1997-1998) - Collectors Edition (Graffiti Verite' Docu-Series) (Volume 25) Paperback – June 1, 2015
Germany, end of 2013: dark clouds hanging over the heads of "analog" musicians. A popular music magazine found out that the number of rehearsal rooms and venues for young bands is significantly decreased. Especially the situation for rehearsal rooms is dramatically: too less, too expensive, too dirty and hard to reach. But in cultivated countries there should be room for many different types of culture not only mainstream
Soundlocations will go for a change in Germany and International, the founders will run own locations or locations managed by franchise partners. Under one roof, the musicians will find rehearsal rooms, a live stage, recording studio, distribution partner, gastronomy, experts for business, tour promotion, consultancy and many more.
But not only active musicians will participate and benefit in the Soundlocations project, also fans of the bands and friends of the project are welcome to join the services. Club Events, Live streams, Downloads, interactive community and many more services are planned to support the communication and interaction between the bands and their fanbase.
A comparable project is actually not known, of course there are some successful local activities but no nationwide actions. "Networking" is the demand of the hour! This is also well known to the founders of Soundlocations. The team consists of marketing-, business-, IT-, finance-, consultancy- and of course professionals of the music business. They were all brought together by the passion for music. As you can see: there is a lot to do! Founders, bands and fans: if the all work together, Soundlocations will be a success. A success for the whole community.
Soundlocations is working on www.Indiegogo.com/projects/soundlocations to ensure the financial situation for their all-in-one project.
After months of anticipation, Above & Beyond will today premiere the full concert film from their critically-acclaimed acoustic project. The premiere will take place on Vice's THUMP channel at 4pm EST/1pm PST, and will be immediately followed by a Google Hangout with the band at 5:30pm EST/2:30pm PST. The release of Above & Beyond's acoustic studio album will follow on Tuesday January 28 via Anjunabeats/Ultra Records. The feature-length concert film captures the backstories and performances from Above & Beyond's acoustic shows at London's Porchester Hall last summer, during which Jono, Tony and Paavo performed some of the biggest and best-loved Above & Beyond songs as part of a 15-piece band. Following the London performances, the band recorded an acoustic studio album and went on to sell out two further acoustic gigs at LA's Greek Theater (described by Billboard Magazine as "one of the finest and more memorable shows in EDM history).
Acoustic - Above & Beyond - February 7, 2014
About Above & Beyond
Over their three critically acclaimed studio albums, Above & Beyond have continually been celebrated for placing real musicianship and songwriting at the heart of what they do. While their famed club mixes have resonated with the dance generation, the songs behind them have touched fans of all ages across the globe. As influenced as much by Jeff Buckley or Bon Iver as they are by their deep love of electronic music, Above & Beyond's songs and lyrics have been sung back to them at the world's biggest stadiums and stages - from Brixton Academy to LA's Hollywood Palladium, to their famed 1 million people gig at Barra Beach in Rio de Janeiro in 2007. read more »
submission date: 1/24/2014
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We are a record label that started as one of us slinging basically hand-made CD’s out of a backpack. We are focusing on developing our website and ourselves with new releases, both digital and compact disc, and hope to start printing vinyl records soon. Also, we are interested in future re-releasing and linking to many older indy releases of bands that we happen to like, and you can listen to many of these already by following the links on our artist roster. Our policy is we put out what we like, no strict genre rules. Peruse and enjoy!
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submission date: 4/3/2014
A masterclass for violin, viola, cello, and bass players (from beginner to advanced). Learning how to efficiently use the bow as a string player can be one of the most difficult things about playing a string instrument. In this masterclass cellist Caleb Vaughn-Jones will demonstrate a wide variety of tips of how to practice in order to gain the most control with the bow during performance. Caleb will also share a variety of practice tips for the bow which can benefit young students as well as seasoned professionals. Port Elizabeth, South Africa, 07 June 2014
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submission date: 5/10/2014
Silvia Cecchetti began studying opera under the guidance of Prof. Maria Grazia Liguori and Maestro Marco Balderi and then traditional Neapolitan Song with Maestro Gustavo Palumbo. She graduated from CET (Centro Europeo di Toscolano) as pop interpreter and had the opportunity to work side by side with great music professionals, such as Mogol, Lavezzi, Mango, Ornella Vanoni and Oscar Prudente.
Her successful participation in the Sanremo Festival in 94- she was among the top finalists in the “Young” category- brought her national attention and appearances on national television; in the same year she guest-starred in TV shows such as “Viva Napoli” and “Festival Italiano” and released her album “Silvia Cecchetti”, produced by Lavezzi and Mogol. After Touring Italy, States and Canada, performing in theatres such as the Taj Mahal in Atlantic City and the Kodak Theatre in Los Angeles with Andrea Bocelli and Toto Cutugno she studied in Los Angeles with Maestro Seth Riggs.
In the following years she worked on a project dedicated to the history of 1900s Song with the “Opera Quintet”, a quintet of exceptionally talented musicians members of the Orchestra of Teatro alla Scala. After yet another tour, she recorded an album “Tempi diversi”, released in 2009, featuring famous Italian songs reinterpreted in a jazz key, arranged by Ricky DT and distributed by Edel Music.
In 2010 she worked with a group of Franch doctors and the Human Voice association offering her experience like singer and vocal coach and wrting the book “La voce dei 5 sensi” ed. Carish together with them in May 2011. In that book she has described a new vocal dimension that has the power of stimulate different celebral areas. She recorded a CD of “Voci pluridimensionali” with other musicians and singers.
She has been teached for years and in cooperation with Osteopaths, Postirologists, Acupuncturists, Anthroposophics she found a vocal methodology as a singer and vocal coach that respects the human beeing and the natural need for express himself. In 2011 she put on the show ”150 years of Italian tradition:from Melodramma to Pop” with Sandro Cerino and Romano Pucci singing her ability in Belcanto and Jazz styles. In 2013 she remastered the album “Tempi diversi” writing and recording a new song “Il dopo te” – together with Luca Angelosanti and Francesco Morettini – for the American audience; she took part to the italian song festival in New York winning the second place. In 2014 she won the first price at the same FESTIVAL ITALIAN SONG in New York. read more »
submission date: 3/20/2014
Tempi Diversi - Silvia Cecchetti - March 26, 2014
Rufus is an audio/video project based on a series of episodes accomplished with several different video techniques. The main character of the series is Rufus, a "junky" rat. Episodes have no dialogues, they are instead replaced by music. Each episode has a collaboration, in fact the projects involves several among the most influential underground artists in Italy (I'm from Naples). The project has a strictly artistic and experimental non-for-profit nature, but it will be broadcast one episode at a time over the web by our staff. Here is the link of the episode 0 (featuring Gionata Mirai from "il Teatro degli orrori"), location: Hell.
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The album "Wave Grass" finds the band Honey Barbara exploring a mix of pure instrumentals with a sprinkling of tracks that feature vocals. The surprisingly close, tactile-and, then again dynamic-nature of the acoustic and electric instrumentation resonates well with wholesome sounds and deja-vu-like reverberations that reveal here a country, or there a psychedelic accent all woven in together. Core members James Sidlo (guitars, etc.), Ross Marlow (vocals, keyboards), and Terry Orff (bass) are joined by Dan Tellez (formerly of Aqua Pedestrian) on guitar and Robert Potter (formerly of Pulsating Love Flower) on drums. Additional musicians, as well, join the band on various tracks to further extend the album's sound. Available now in CD, DL and (soon) the LP version in heavy black &white splatter on clear orange vinyl. Pretty keen!
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Wave Grass -Honey Barbara - May 11, 2015
In December 2014, Caleb was invited as a faculty member of the Musikwoche festival in Swakopmund, Namibia. The festival is filled with concerts by Namibian amateur and professionals as well as appearances by musicians from Germany, South Africa, and the USA. Caleb recently uploaded a video of his festival performance of Franz Liszt's "Liebestraum" with South African pianist Vera Malherbe onto YouTube. Hopefully there will be more videos in the near future. read more »www.calebvaughnjones.com
Popular award-winning urban magazine Yo! Raps, www.yoraps.com, officially launches its brand new website for Hip-Hop and R&B fans around the world. The user friendly website favoured by rappers, artists, labels and urban music fans keeps its visitors fully immersed and informed of any and every current event in the urban culture. With just one click, visitors are afforded the many treasures YoRaps.com has to offer; ranging from the hottest music releases, newest music videos, latest entertainment stories, buzzing new artists and much more combined with multiple daily updates to the young urban demographic at its website. The site, www.yoraps.com, which was established in 2006, is home to everything entertainment and Hip-Hop. Since its launch, Yo! Raps has quickly emerged as one of the premier urban music websites on the web and is Europe's biggest urban online magazine. Yo! Raps has become a key strategic partner of record labels, press agents, and artist managers in the promotion of urban music. Additionall, YoRaps.com offers artists in the urban music industry the option to get exclusively featured with music, videos and interviews via the website's automatic posting system in 3 easy and quick steps without registration and sign up. "Our goal is to inform urban music fans from around the world about the latest in Hip-Hop and R&B. We also want to support and promote independent artists to give them a chance to shine! Our visitors and loyal fans love to see new artists on the rise and to find out what's next and new in Hip-Hop," says Kai Denninger, CEO of YoRaps.com. read more »www.yoraps.com
Formerly known as Terence Trent D'Arby, the Grammy winner released a new double album "The Rise of the Zugebrian Time Lords" today. The album features an array of pop songs, or what Sananda calls "post millennium rock", like the first single "Blanket On The Ground" and "Les Paul Man".
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submission date: 10/9/2015
Rise Of The Zugebrian Time Lords - SANANDA MAITREYA (Artist)
She sang with Jana Kirschnerand worked with hang players, vibraphonists and harpist. Traveling in order to work on her music project in France, Spain, Germany and Czech Republic. Ivana Mer released her debut album “Early works” on February 29th under the Slovak label Slnko Records. "I started completely alone. Just me and the computer. Experimenting with ambient electronics and atmospheric landscapes. When my computer stopped to work while I was traveling, I started to collaborate with musicians and discoveredan acoustic way of composing and performing"recalls her beginnings Ivana Mer. Singer and composer from small town in the centre of Slovakia has great courage. In music and in life. For singing and performing was willing to travel to Spain, France and Germany. In each country she found her way to establish and improve. "First I lived for two years in Ibiza. Somehow naively, I went there to find a producer, which in the end had work out”. Ivana got to know Marc-Eric Laine with whom they produce track “Diamond Fields”. “After short time I met with group of French musicians. I started to write lyrics for the French band and organize voice workshops. Ibiza was also the place of my first performance like singer and composer. I began to present my compositions with the band, which consisted of the cellist and the santoor player." Thesecollaborations strenghten Ivana infinding her own sound which was changing and developing thanks to the variety of the musicians, artist got to know. "I was looking for some essence that would captured my music. Well, I think the journeys really helped me in that. In the end I found out that I’m a kind of beyond the genre type" says Ivana and describes it correctly. Vocal harmonies are the basis of her work, where the electronics and instruments are just supporting them. The genres areoverlaping and ethereal atmosphere of poetic countries are alternated with percussive shamanic calling. Also, on the album appearsthe mysterious sound of the Oskar Rózsa’s prepared piano. He has participated musically and produced several tracks, after he heard and really appreciated the song “Pachoľa” in Slovak Radio FM, bythat time of still unknown Slovak singer living in Berlin. Hypnotic vocal composition “Mereus” (result of cooperation with French producer Anacole Daalderop) is another single introducing subtile and exquisite debut of Ivana Mer. Currently she is preparing for tour in Slovakia and Czech Republic. [ Article by Alexander Cerevka, Slnko Records ]
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submission date: 3/6/2016
Early Works - Ivana Mer - February 29, 2016
Stevie Wonder, Pearl Jam, Red Hot Chili Peppers, Neil Young + Promise of the Real, Snoop Dogg, Paul Simon, Steely Dan, Beck, Van Morrison, Nick Jonas, Trombone Shorty & Orleans Avenue, Julio Iglesias, J. Cole, Elvis Costello & The Imposters, Flo Rida, My Morning Jacket, Gary Clark Jr., Bonnie Raitt, Maxwell, Irma Thomas, Janelle Monáe, Jonny Lang, Herbie Hancock & Wayne Shorter, Gov't Mule, Dr. John & the Nite Trippers, Tedeschi Trucks Band & Friends, Arlo Guthrie, Mavis Staples, Boz Scaggs, Ms. Lauryn Hill, Michael McDonald, Buddy Guy, Preservation Hall Jazz Band, The Isley Brothers, Aaron Neville, Chris Botti, Grace Potter, Alpha Blondy, Elle King, Galactic, Brandi Carlile, Brothers Osborne, Rhiannon Giddens, Jon Batiste & Stay Human, Ivan Neville's Dumpstaphunk with Art Neville, Nathaniel Rateliff & the Night Sweats, Sharon Jones & the Dap-Kings, Better Than Ezra, Los Lobos perform La Pistola Y El Corazon, Hurray for the Riff Raff, Punch Brothers, Taj Mahal, Maze featuring Frankie Beverly, Anders Osborne, The Lone Bellow, Kermit Ruffins & the Barbeque Swingers, Tribute to B.B. King, Tribute to Allen Toussaint, John Hammond, Elvin Bishop, Mystikal, Jazmine Sullivan, CeCe Winans, Buffy Sainte-Marie, Tab Benoit, Terence Blanchard, Davell Crawford, Gregory Porter, Snarky Puppy, Rebirth Brass Band, Big Freedia, Jon Cleary & the Absolute Monster Gentlemen, Ellis Marsalis, Arturo Sandoval, Roy Rogers & the Delta Rhythm Kings, Donald Harrison, Jr., The Dirty Dozen, The Black Lillies, Dédé Saint-Prix of Martinique, The Garifuna Collective of Belize, DeJohnette•Coltrane•Garrison, Irvin Mayfield & the New Orleans Jazz Orchestra, The Soul Rebels, The Revivalists, John Boutté, The Mississippi Mass Choir, Nathan & the Zydeco Cha-Chas, Ricky Dillard & New G, Dwayne Dopsie & the Zydeco Hellraisers, Glen David Andrews, Buckwheat Zydeco, Naturally 7, Cyril Neville & SwampFunk, George Porter, Jr. & Runnin' Pardners, Leo Nocentelli, Zigaboo Modeliste's Funk Revue, Henry Butler & Jambalaya, Big Chief Monk Boudreaux & the Golden Eagles Mardi Gras Indians, Imagination Movers, Walter "Wolfman" Washington & the Roadmasters, BeauSoleil avec Michael Doucet and hundreds more are all among the national and sinternational artists scheduled to appear at the 2016 edition of Jazz Fest.
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submission date: 1/19/2016
10th Anniversary New Orleans Jazz & Heritage Festival - Various artists - November 30, 1977
Fats Domino Live! From The New Orleans Jazz & Heritage Festival 2001 - Fats Domino - January 1, 2003
The shoes symbol of travel, but most of our introspective journey every shoe is a partial portrait of the wearer, a clue to his personality. The shoes as occasionally silent witness of our lives, our expectations, our identity obvious and hidden.
The shoes as a message sometimes obscured even to those who possess them, but ready to read those who can "drive".
The question I have asked is : the shoes are the diaphragm that separates us from the ground, protection from bad roads, but mostly because just that pair of shoes among 100 others?
For everyone the answer that best fits him.
When, 10 years ago, I found in a junk shop some forms of shoes in walnut-1950s, could not resist the urge to withdraw en masse despite not having the slightest idea what to do. What struck me was that on every pair of shoes was hand-written name of the person for which they were produced. This prompted me to imagine the life, character, inclinations belonging to the owners of those objects useless. The thought that these people have left behind a small memory, must have unconsciously touched my imagination.
After a decade I have had the desire to create for them a new pair of shoes, starting from their own forms and inspired by the themes of our daily lives.
Points of view
There are moments that leave us changed. Seemingly distant events that weave the web of life in our unconsciousness. Only later, passing over, we can discover the dense network that bound them. Three images of its history, a single framework: that's how I play the HARMONY OF A PASSAGE OF LIFE. The images, assembled with great care, will move in a continuum of sequence able to recreate the excitement of the story, still alive every time you look with careful eyes.
About Angelo Franco Bartoli
Born in Monza on 11 .11.1967 Thanks to his grandfather a painter and a sculptor and his mother a painter he has been in contact since childhood with the art world. He has likened taste and techniques he then refined over time, developing a personal expression that has moved into his versatile artistic activity which includes photography, set design, painting, sculpture and interior design. Over time it has developed a very personal ability to mix materials, with preference for those of recovery, to create objects and installations as expression and communication of its conceptual view of the surroundings. Currently, in addition to the collaboration with manufacturing companies in various sectors as industrial designer, he continued his daily activities experiencing the development of innovative techniques for the use of industrial materials in the field of art. read more »
submission date: 5/11/2014
BASEL, SWITZERLAND: Celebrating nine years in Basel, SCOPE Art Show returns to its pioneering location in Klybeckquai. A wellspring of cultural development for Basel Stadt, SCOPE is the initiator of extraordinary happenings centered on the New Arts District on the Rhine, including the founding of a world class Art & Culture Hall. SCOPE Basel will welcome 85 International Exhibitors alongside 10 Breeder Program galleries, and a selection of Juxtapoz Presents galleries offering a view of the contemporary art market available nowhere else. Exhibitors hail from four continents and over twenty countries including China, Mexico, Japan, Korea, Brazil, Italy, Iran, Russia, Turkey, France, Belgium, the Netherlands, Norway, Switzerland, Germany, UK, Spain, and Canada. Following its tremendous success in Miami, SCOPE is honored to present the second edition of Feature | Korea, in collaboration with the Galleries Association of Korea. Sponsored by the Korea Ministry of Culture, Sports and Tourism, this curated section offers a glimpse at the current art trends in Korea and shines new light on the country’s contemporary cultural practice.
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janinebeangallery: booth A13
artists: Inna Artemova, Grigori Dor, Dario Puggioni, Florian Fausch
June 16-21, 2015 - SCOPE Basel, Uferstrasse 40 CH - 4057 Basel, Switzerland
The janinebeangallery announces the upcoming exhibition "Séance ", featuring artworks of the photographer Katrin Günter and the painter Tanja Selzer. January 9th – February 20th 2016
Kathrin Günter knows all about the illusions of eternal fame and of everlasting love. She is familiar with the mechanisms of the media and all the different forms of manipulated adoration. For more than 15 years Kathrin Günter has been observing and studying every celebrity moment, particularly the simultaneous longing for attention and a desperation to stay out of the permanent spotlight. Kathrin Günter sees and records everything for what we call eternity. Tanja Selzer lives and works as an artist in Berlin since 2003. Her paintings resemble snapshots of a dream, enchanted and unreal. Seemingly incoherent motifs are combined by the artist as a sequence of an ecstatic and dream-like plot, reflecting everyday sceneries, but continuously evading mere causality.
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submission date: 1/5/2016
ALBÜM is a virtual and print magazine specializing in contemporary Latin American photography created by Galería MÜ. In order to identify new talents, we have opened four call for entries per year. Each one of our editions is focused on a region of Latin America: Southern Cone; Brazil and the Eastern Region; Andean Region; and Central and Mezo America and the Caribbean. The call for entries begins with each season according to a region. The selected artists receive 3 spreads (6 pages in total) that include images and text about the selected series and a resume at the end of the magazine. The call for entries are open to artists born in Latin American countries, foreigners that have lived for a minimum of 5 years in a Latin American country, or collectives in which at least half of their participants are Latin American. We only accept projects with photography or derivations thereof, including but not limited to: collage, scanography, image appropriation, etc. ... read more »www.galeriamu.com
For several years purpose.fr magazine has been offering space to well-known and unknown photographers who question our world, bringing together photography and contemporary musical compositions. Today we are opening our work to the publication of books, magazines, fanzines… with the creation of PURPOSE ÉDITIONS. We are delighted to present our first publication: Jean-Jaurès, a photographic book by Gilles Raynaldy. During three years, Gilles Raynaldy observed the everyday life of students, professors and staff of a school establishment in Montreuil near Paris: “the cité scolaire Jean-Jaurès”. Gilles Raynaldy’s photographs are both distant and very close to their subjects, they capture the multiple facets of a complex reality: individual gestures, movements of groups, attitudes, postures and signs of adolescence. As in a film, the book moves through the seasons of the school year; it opens classroom doors, it shows playgrounds, laboratories, kitchens, the dining hall… places that are sometimes bustling with people and sometimes silent. Shots of the exhibition which was organized by the photographer in the “cité scolaire” mingle with these black and white and colour photographs. This exhibition in situ accompanied the students’ life for a few months, forming one body with the buildings’ walls. Release date 11th June 2015 Available in bookstores and on purpose.fr read more »purpose.fr
"I started to think towards two divergent rivulets. One, the phrase "I love you" as used in daily parlance, aggressive, vulnerable, necessary, and common simultaneously, the most important frightening thing; it was also a gateway to what you, yes, as an individual with a perceived sense of identity, believe others want you to say to them; it was a qualifier to other more alluring and emotionally specific concerns. How do we trade in love, sex, happiness?"
An inspiration for the series had been "Le Dejeuner Sur L'Herbe" by Edouard Manet, depicting a nude woman at a picnic with 2 well dressed men. Painted in a rough, bold manner, this painting caused controversy in 1862 for its shocking and raw depiction of gender inequality, revealing the nude tantalizing figure as both a probable prostitute as well as an allegorical muse. Again, there is the study of contrasts -- the feminine versus the masculine, the naked versus the clothed, the elite versus the commonplace, and the innate aggression versus the vulnerability of the act of nudity itself.
Which led to secondly, maybe not so divergently, the fetishization and objectification of inspiration, of the muse, of all passion—the shattering, obvious, hard edge of this that tail gates easier romanticized views. The series, "I love you” examines the intersections of adoration and desperation, victim and aggressior, oppression and self oppression, globalism, even colonialization and provincialism."
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submission date 1/16/2016
The Nymph of the River Lou; Autumn2014 by Mei Xian Qiu
“LIVE LIFE” IMAGERY CONFRONTS OUR CURRENT CRISIS
Hosted by Time Shrine Foundation Westbeth Center for the Arts 155 Bank Street, New York, NY 10014
Anne de Carbuccia’s photographs make ingenious use of vanitas art, a tradition that dates back to the sixteenth and seventeenth centuries, which features the skull and the hourglass as symbols of vanity andtime. Using these objects, organic elements, and found objects she creates an installation—a shrine—in symbolically significant environmentsto draw attention to that particular location or to honor its beauty.This bold reimagining of classical still life composition might be called “live life” imagery. These images and a short film were made on expeditions to which de Carbuccia traveled with a very small crewand an instinctive sense of purpose. Her photographs are both an homage to their subjects—water, forests, endangered species—and an exposé on the ruinous effects of pollution and war. They record what is fast disappearing for future generations while also serving as a plea to reimagine a new world.
The indoor exhibition will take place in what was once the WestbethSculpture Room. During Hurricane Sandy, the space was completely flooded. The installation will reproduce the effect of the flood as a reminder of that event and a call to action, as climate change caused by human activities continues to disrupt weather patterns. The entrance to the exhibition is on the top floor, above the main gallery and photo coves, providing visitors with a bird’s eye view of the space. Reflections on the pools, the sound of water dropping, and the gradual descent into the main gallery sets the mood for the exhibition experience. Visitors discover the photographic works as they navigate the main gallery and four separate photos coves via a wooden deck. The theme of the main gallery is wonder and hope. Each photo cove is like a chapel consecrated to a different theme: extinction, water, war, and plastic. A short film narrated by de Carbuccia takes visitors behind the scenes on the photographic expeditions and illuminates the intention of the work. A spectacular exterior component of the exhibition will take place on a part of the Highline that has never been used before. This inaccessible stretch of the Highline will be “re-wilded” with fifty-four trees interspersed with three teleidoscopes—a kind of kaleidoscope with a lens and an open view that creates kaleidoscopic patterns from objects both inside and outside the instrument. The trees and the “game of lights” projections will be visible from Washington Street. Playful and unexpected, the Highline installation aims to surprise, amuse, and suggest possibilities for creating green urban environments. ONE • One Planet One Future is an extended two-month live event with dynamic projections, an interactive public installation, and an immersive experience. About Anne de Carbuccia Anne de Carbuccia was born in New York and grew up in Paris. She attended Columbia University in New York City where she studied anthropology and art history, specializing in 17th- and 18th-century art. She returned to Paris and worked for Drouot, one of the oldest and most respected auction houses in the world. She later developed an interest in using photography and films as a means of seeing primitive culture and art in a contemporary context. The Oceanographic Museum of Monaco hostedWater at Dusk, a solo exhibition of images from Anne’s time shrines project (January 30¬–February 28, 2016). Private collectors in Europe and the U.S. have acquired her photographs and video art portraits.
Time Shrine Foundation
In 2015, de Carbuccia founded the non-profit organization, Time Shrine Foundation, as a way to fund efforts to raise awareness and protect vulnerable environments and cultures. The exhibition ONE is another way in which the Foundation seeks to promote these goals. All proceeds from the sale of de Carbuccia’s original artworks support environmental efforts in the places she photographs and films. read more »
submission date: 8/25/2016
ONE • One Planet One Future Accordion Book Paperback – September 16, 2016 by Anne de Carbuccia (Author, Photographer)
The Guardians of Time by Manfred Kielnhofer at Public Art Basel. The “Guardians of Time” tour through worldwide museums and exhibitions for many years. The time traveler of the world of Art always seem mystical to their viewers. They walk like monks through the world. No one knows exactly where they will appear next. The Austrian artist Manfred Kielnhofer has created the mystical figures. He has been a freelance artist and worked as a painter, sculptor and photographer for many years. read more »kielnhofer.com
Featured Artists: OPN Studio, Patxi Araujo, 3DKUMO, Rachael Runner, Frederik De Wilde, Joaquin Fargas, Alessandro Scali The Technarte exhibition showcases select artists from the last 10 years of the Technarte conference on art and technology based in Bilbao, Spain. This years inagural US conference is being held at Santa Monica’s Bergamot Station Dec 10-11, 2015 and LACDA proudly presents the conference’s satellite show at it’s downtown Los Angeles location. Technarte is a vessel for growth and encourages artists to challenge the traditional boundaries and preconceptions of what is considered art, science and technology. The unique Technarte platform of support cultivates innovative ideas and fosters new opportunities for artists. These artworks, transmitted through Mobile art, Nano art, Bio art, Sciart or Robotic Art, are only a few examples of how the artists use technology to create and understand both the artistic and scientific world. TECHNARTE Conference will be held at the Writers Boot Camp on Thursday & Friday, December 10th & 11th at Bergamot Station with the Artists’ Opening Reception at LACDA Saturday December 12th at 7pm. December 10, 2015 - January 2, 2016 read more »lacda.com
A riveting story about love and redemption starring Hill Harper, Sharon Leal, Bokeem Woodbine, La La Anthony, with Wayne Brady and the legendary Ruby Dee in her final performance.
Witness the lengths one man will go to for his family when 1982 arrives on DVD, Digital and On Demand March 1 from Codeblack Films and Lionsgate. From the producer of the 2015 smash hit The Perfect Guy, 1982 features an all-star cast including Hill Harper, Sharon Leal, Bokeem Woodbine, La La Anthony, Quinton Aaron, introducing Troi Zee, with Wayne Brady, and the legendary Ruby Dee in her final performance. An Official Selection of the Toronto Film Festival, the 1982 home entertainment release includes audio commentary with actor Hill Harper and writer/director Tommy Oliver and will be available on DVD for the suggested retail price of $19.98. Tim Brown is a devoted family man who has worked hard to provide a good life for his wife Shenae and daughter Maya. But all is threatened when Shenae's old boyfriend returns from prison and lures her back into a dangerous lifestyle. Though his wife has abandoned him, Tim refuses to give up hope, fighting against impossible odds to bring his family back together in this powerful drama.
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submission date: 12/21/2015
Guido Moretti is the second of three sons, was born on 12 August 1947 at 20 Via Gramsci, Gardone V.T. His father Luigi was a carpenter and used part of the hallway of the house as his workroom. Later, he was able to set up his own furniture factory. Guido much preferred his father's carpenter's shop to school desks.
Guido completed the senior section at the main school in Brescia, where he discovered and was captivated by the beauty of analytical geometry. Then he entered to the Faculty of Engineering at Padua University in 1967. There he created his first sculptures in plastiline. Completed first two years of university, Guido switched to the Faculty of Physics and moved to Milan. In that time he was considering teaching as a carrier. During this time in Milan his sculpting output increased.
In 1973, he settled in Brescia and graduated in Phisics. In the beginning of 1974 Guido started to teach in various schools. He became involved with the Loggetta artistic group and followed various courses in drawing and ceramics. In 80s his creativity knew no bounds: from stratifications he moved on to rotations followed by orthogonal intersections. He created a set of sculptures of orthogonal intersections with various optical illusion shapes and impossible figures.
Photos of his sculptures were published in several Italian magazines. Also his sculptures are part of collections of various museums.
Since 1996 he has worked with Anna Canali's Milan gallery Arte Struktura.
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Guido Moretti Scultore - Architettura Arte Contemporanea
La mostra sarà aperta dal martedì al sabato dalle ore 15,30 alle ore 19,30 fino al 24 ottobre 2015 Le opere esposte, oltre 20, sono in bronzo, plexiglas, nylon, alluminio coloratissimo. Forme spiazzanti realizzate con un originale metodo che talvolta raggiunge la magia dell’illusione e a volte si astrae nella perfezione matematica. Guido Moretti, nato nel 1947 a Gardone Val Trompia, cresce giocando e costruendo i suoi giocattoli con il legno nel laboratorio del padre. Questo materiale lo affascina e gli consente di sviluppare la propria manualità. Laureato in fisica, diventa insegnante, organizza e frequenta corsi di disegno e di affresco. Inizia la sua ricerca dapprima nel mondo del figurativo poi nel mondo della scienza, e associando le sue conoscenze matematiche e fisiche, trova una sua personalissima linea che lo porteranno ad ottenere prestigiose onorificenze sia in Italia che all’estero. Nel 2004 Pubblica il libro “La Terza Via Alla Scultura” in cui documenta più di venti anni della sua originale ricerca plastica. Il direttore del più grande centro mondiale d’arte illusoria di Los Angeles, Mr. Al Seckel, pubblica il suo libro “MASTERS OF DECEPTION” in cui dedica un intero capitolo al lavoro di Guido Moretti. Partecipa a numerose mostre e fiere d’arte in Italia e all’estero, tenendo spesso anche conferenze sul suo originale metodo di lavoro. Nel 2009 è stato invitato dall’Istituto Italiano di Cultura di Toronto ad allestire un sua mostra personale. Negli anni 2012- 2013 viene onorato nell’ambito della 1° e 2° “grande festa della matematica al parco OLTREMARE di Riccione” con una mostra personale. Attualmente, in Australia, una sua opera il “Cubo-non Cubo”, è usata come oggetto di scena nelle riprese del film “Other Life” dal regista Ben C. Lucas tratto dal romanzo “Solitaire” di Kelley Eskridge, sua estimatrice. read more »
Born in Brescia, Giacomo Filippini grew in close contact with art, wandering in the laboratory of his mother, Giuliana Geronazzo, famous artist from Brescia. A vantage viewpoint, a living room where he could understand the movements and personalities that have built the history of contemporary art of Brescia. It is precisely in the workshop in via Quinzano that Giacomo takes his first steps, building his first works with glass. Teacher of art and life Gero was an indispensable starting point from which Giacomo began to build his identity. Through time Giacomo experiments new techniques, including ceramics and raku. Finally, the first sight with iron. First is the iron combined with glass. The strength of iron is opposed to the more fragile exists in nature fascinates Giacomo. The antithesis is the synthesis of these works: energy versus frailty, the metal that does not leave pass light against the transparency, the colour black approached with which glass is painted . The figure of Giacomo in the contemporary artistic scene, however, is defined with his iron works, which are also the biggest part of its production.
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Sculptress and painter: born in Bergamo, Giuliana Geronazzo lives and works in Brescia, with her own open art studio. After her early studies and exams at Liceo Artistico of Venice, Giuliana starts her personal quest in matter of sculpture: terracotta, bronze, wood, glass resin, raku and glass are the materials and techniques she is nowday engaged in.
From 1986 to 1988 she specializes with internships in raku and ceramic technique in Faenza, with Prof. Galassi Mariani Cimatti. In 1990 in Germany she attends internships of glass fusion techniques. From 1995 collaborates with Museo Preistorico dell’Alto Mantovano: excavations and teaching activities. In her laboratory and in the museum, where a specific path has been set up, Giuliana collaborates at courses of clay modeling also for hyposeeing and blind people: this project is done with a specialized team.
At present she organizes several didactic projects with schools.
“Under, above and inside glass” is the emblematic title Giuliana Geronazzo uses to present her glass works at Villa Pomini in 2001. Informal works, three-dimensional objects through “contemporaneity of glass”, because glass is only volume and what is enclosed inside is only transparency. Works resulting from a rich variegated journey, where studies and research marked a series of important transitions from painting to sculpture, to ceramic, to glass seen like “ union between painting and sculpture” (Franco Azimonti, Councillor for Culture at Castellanza).
“Glass with its numerous applications allows a further deepening of stylistic sphere…the value of light becomes fundamental; light, expressed through strokes, intrusion, bubbles, bravura of spirals, becomes a kind of renewed brush which works out forms and suggests mind patterns…. abstract installations the Artist seems to better build new expressive solutions in, somehow innovative, but also rooted into her history…For Gero fortune is in her hands…” (Mauro Corradini, art critic – Monograph 2009).
Giuliana is present in international art catalogues. Her works are held at both public and private collections. Her sacred art works are displayed in some churches in Brescia and Milano. Solo and group exhibitions and some art pieces are visible on this website.
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Zaven Nevaz LIVE 2014 - Architettura Arte Contemporanea - October 11 - 31, 2014
E' una attenta riflessione sul mondo quella che Zaven traduce in forza e quindi in colore trasmesso con l'impeto del gesto con pennelli e spatole, per cogliere quell'attimo breve ed interminabile e fissarne l'essenza del segno. Lo spessore della materia, nell'interpolazione tra colori primari, si mescola tra strati sovrapposti, componendosi e ricomponendosi fino al punto in cui la tela diventa luogo di creazione e concepimento. Quella stessa gestualita' che intercorre tra la tela ed il colore trova l'esatta conformazione quando fissandosi staticamente sulla superficie la impressiona, come una pellicola fotografica attraversata dalla luce, permettendo cosi' all'anima di rappresentarsi e rendersi visibile al mondo che la contiene. Colore come parole che parlano e scrivono frasi il cui senso raggiunge l'interno dall'esterno, il bianco dal nero. E' quella parte interiore che parla raccontando il complesso vissuto che separa microcosmo da macrocosmo, miniature da possenti pennellate, luogo dove il gesto misurato e sottile si dilata nell'impatto travolgente del tempo. In questo modo, nelle opere di Zaven, tempo e materia si incontrano attraversando lo spazio per fermarne un frammento che racconta l'intera esistenza di quell'anima che stenta a farsi vedere e riconoscere ma che invece parla eloquentemente attraverso l'opera d'arte. Un perfetto equilibrio tra realismi figurativi e trasformazioni astratte culminanti in un linguaggio simbiotico tra rappresentazione di un mondo apparente ed il suo profilo indefinito, intangibile, in continuo movimento, etereo ed eterno.
Artista armeno dedito alla ricerca del divino, che si esprime nell' arte figurativa delle icone e in quella dell'espressionismo dei suoi quadri. read more »
Amedeo Modigliani - L'occhio dell'anima - Architettura Arte Contemporanea from 20 June to 11 July 2014
Undici disegni realizzati in serigrafia (1912- 1919) con telai a mano su carta del Giappone in tiratura unica d'après.
L'occhio dell'anima, assente e smisurato, posto nel vuoto per descrivere l'immensità interna, è la via che è di noi spirito della mente. L'arte, attraversando disegno e corpo, racconta la possibilità di trasmettere ciò che è oltre la materia ed indaga, disegnando o astenendosi dal disegnare, aspetti del linguaggio dell'anima. Quegli stessi occhi, soltanto accennati da due semplici segni, ignari di cosa possa essere la bellezza dentro, sono in attesa di poter essere segnati e poter dire di se stessi; altri occhi pensanti e assenti, altri ancora indifferenti. Quello che divide lo spazio ne solleva la superficie e inizia a trascendere e svelare l'essenza, la matrice perfetta. Il segno, che porta con sè il dramma della vita, racconta e incide quell'ombra che ne determina il suo esistere. Abbandonati nella solitudine di un sogno dove tempo e spazio si spostano, i piani iniziano a frantumarsi e sciogliersi per svelare le forme dell'esistenza. Raccontano il vuoto e la luce come una cosa sola.
Amedeo Modigliani - L'occhio dell'anima - Architettura Arte Contemporanea from 20 June to 11 July 2014
Undici disegni realizzati in serigrafia (1912- 1919) con telai a mano su carta del Giappone in tiratura unica d'après.
L'occhio dell'anima, assente e smisurato, posto nel vuoto per descrivere l'immensità interna, è la via che è di noi spirito della mente. L'arte, attraversando disegno e corpo, racconta la possibilità di trasmettere ciò che è oltre la materia ed indaga, disegnando o astenendosi dal disegnare, aspetti del linguaggio dell'anima. Quegli stessi occhi, soltanto accennati da due semplici segni, ignari di cosa possa essere la bellezza dentro, sono in attesa di poter essere segnati e poter dire di se stessi; altri occhi pensanti e assenti, altri ancora indifferenti. Quello che divide lo spazio ne solleva la superficie e inizia a trascendere e svelare l'essenza, la matrice perfetta. Il segno, che porta con sè il dramma della vita, racconta e incide quell'ombra che ne determina il suo esistere. Abbandonati nella solitudine di un sogno dove tempo e spazio si spostano, i piani iniziano a frantumarsi e sciogliersi per svelare le forme dell'esistenza. Raccontano il vuoto e la luce come una cosa sola.
AAC is pleased to present a solo exhibition by Ugo Nespolo "Italian inventions" to reveal the richness and expressiveness of this Italian artist published in the prestigious encyclopedia Treccani and present in foreign museums with the largest number of exhibitions.
from 09 May to 12 June 2014
AAC e’ lieta di presentare la personale di Ugo Nespolo “Invenzioni italiane” per svelare la ricchezza espressiva ed appassionante di questo artista italiano pubblicato nella prestigiosa enciclopedia Treccani e presente nei musei stranieri con il maggior numero di mostre. dal 09 Maggio al 12 Giugno, 2014
Rayon de lune Original soundtrack from Il Giornalista by Tony Morgan. Music by Alessandro Giurato performed by Erika Lo Giudice. An ionone production 2015