Sylvester Stallone's Art Exhibitions in Europe

Images http://bit.ly/1K2zHRq http://www.bbc.com/news/entertainment-arts-24693264 http://www.inquisitr.com/2098798/sylvester-stallone-exhibits-paintings-at-museum-in-france/ Stallone paints naked http://www.dailymail.co.uk/news/article-3102757/ Sylvester-Stallone-takes-inspiration-paintings-sell-120-000-Rambos-subconsciousness.html http://www.forbes.com/sites/jimdobson/2015/05/23/sylvester-stallone-the-artist-launches-real-love-exhibit-in-france/ http://www.theguardian.com/artanddesign/jonathanjonesblog/2013/oct/28/sylvester-stallone-art-rocky-paintings

http://www.telegraph.co.uk/culture/art/11636202/Sylvester-Stallone-not-your-average-Hollywood-painter.html http://edition.cnn.com/2013/11/04/travel/stallone-art-exhibition/ http://www.cntraveler.com/stories/2013-10-31/sylvester-stallone-art-exhibit-russian-museum-st-petersburg

Artists Call For Entries | SUBMIT NOW

ARTIST OPPORTUNITY: Pure Arts Group Call For Entries | SUBMIT NOW Pure Arts Group is a marketing and PR Agency founded in 2009 by FAD writer Lesley Samms. Internationally renowned for discovering, mentoring and supporting talent in contemporary art. Submissions are now invited for 2015/2016 selection. Open to all fine art disciplines including painting, original print, mixed media, sculpture, ceramics, glass, textiles, installation, film and photography. Pure annually select 60 artists to exhibit with them, however, all submitting artists become a member for the year, whether selected to exhibit or not. JUDGES Antony Penrose – Director Lee Miller Archive Ryan Stanier – Fair Director The Other Art Fair Linda Salway – HO Creative Arts Development Eastbourne College Jennifer West – Director Gallery North ANNUAL AWARDS DSCF9246 1024x680 ARTIST OPPORTUNITY: Pure Arts Group Call For Entries | SUBMIT NOW £2,000 Prize Fund Exhibitions & Events Professional Development Mentoring WHAT ARTISTS SAY ABOUT PURE Louisa Crispin 1 1024x380 ARTIST OPPORTUNITY: Pure Arts Group Call For Entries | SUBMIT NOW Lichen on Hawthorne Elan Valley 2014 | Louisa Crispin Winning the Pure Drawing Prize was a huge endorsement of the path I had chosen to follow. Subsequent mentoring by Lesley Samms and networking with other Pure Artists has given me the confidence to develop my practice and successfully approach the London market with the knowledge of their continuing support in the background. Louisa Crispin AUA

Bridging the void 1024x729 ARTIST OPPORTUNITY: Pure Arts Group Call For Entries | SUBMIT NOW Bridging the Void Film Still The Bridging the Void 2015 tour has finished and was an unbelievable success, with 4 out of the 7 venues selling out. Thank you for your help. You have been a wonderful support and I would be grateful to continue the partnership. Rachel Johnson | Choreographer & Film Artist Helen Acklam Afterwards 1 ARTIST OPPORTUNITY: Pure Arts Group Call For Entries | SUBMIT NOW All That Remains | Helen Acklam Entering the Pure Arts Group Open Submission in 2013 has proved to be a pivotal time for me and for my career as a painter. Most importantly, exhibiting with Pure Arts and winning an award was a real boost to my self-confidence as an artist. Following on from that, I had the chance to exhibit in Group Shows which then led to commissions and further sales. The Pure Arts team have consistently been supportive, giving me very useful and practical feedback on my work and helped me to develop my website. Another real benefit has been the chance to get to know other Pure Arts members and gain what feels more like friendships than professional relationships! Helen Acklam | Painter SUBMISSIONS CLOSE MIDNIGHT 3rd JULY 2015 ENTER ONLINE | pureartsgroup.co.uk purefineart.org.uk About Lesley Samms Lesley Samms - Art consultant, curator, writer. Lesley has a background in finance, having spent the early part of her career working in the City of London. For the past 25 years she has worked primarily in the Contemporary Fine Art Marketplace. She is passionate about the arts and is the founder and driving force behind PURE Arts Group, a creative marketing and pr agency. PURE is internationally recognised as a key player in contemporary art; discovering, mentoring and supporting emerging talent This entry was posted in ART and tagged Artist Opportunities, artist opportunity, Lee Miller Archive, Pure Arts Group, The Other Art fair. Bookmark the permalin

sell you art here http://www.absolutearts.com/

sell you art here http://www.absolutearts.com/

How to Think About Conceptual Art

How to Think About Conceptual Art By Blair Asbury Brooks Sept. 25, 2014 How to Think About Conceptual Art Joseph Kosuth's One and Three Chairs Share on Facebook Share on Twitter Share on Pinterest Share on Tumblr There has been a lot of bickering about what Conceptual art is/was; who began it; who did what when with it; what its goals, philosophy, and politics were and might have been. I was there, but I don’t trust my memory. I don’t trust anyone else’s either. – Lucy Lippard, “Escape Attempts” The term “concept art” was coined by Henry Flynt in a 1961 essay to describe “an art of which the material is ‘concepts,’" going on to state that, "concept art proper will involve language.” Was this new term known to the artist practitioners of the time themselves? Curator and writer Lucy Lippard thinks not in her essay “Escape Attempts,” adding that Flynt’s term was “in any case a different kind of ‘concept’—less formal, less rooted in the subversion of art-world assumptions and art-as-commodity.” To Lippard, the term conceptual art means “work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or ‘dematerialized.’” Lippard does not deny conceptual art material form (yes, it can even involve paint) and by stressing the importance of the “idea,” she keeps conceptual art open to language-based work. “The label conceptual art is simplistic and misleading,” art dealer, curator, and writer Seth Siegelaub said of conceptual art during a 1973 interview with Michael Claura for the French magazine XXe siècle. After decrying the impossibility of categorizing so many artists under one umbrella, Seigelaub allows that “a global description would be that these artists are engaged in an art whose principal characteristic is the predominant use of language." He went on to elaborate that, "in a certain sense, conceptual art could be defined" as: Painting The Novel _______ _________ Conceptual Art Journalism Sol LeWitt wrote “Paragraphs on Conceptual Art” for Artforum in 1967 and, like Lippard, focused on the “idea”: “What the work of art looks like isn’t too important. It has to look like something if it has physical form. No matter what form it may finally have it must begin with an idea. It is the process of conception and realization with which the artist is concerned.” Of course, he added, “Conceptual Art is only good when the idea is good.” Others attempt to break it down further. “Generally speaking, it may be in one of four forms,” explains Tony Godfrey in his survey on conceptual art—namely: the readymade, intervention, documentation, or words. Does anyone agree on what exactly conceptual art is? Not in absolute terms, but that’s kind of the point. That Lippard and Siegelaub—two of conceptual art’s most important proponents—have differing parameters for it hints to the movement's subversive intentions. BEGINNINGS Conceptual art developed partly as an adverse reaction to Modernism, specifically to the formalist strictures hammered in by Clement Greenberg, who championed flat abstract painting. Minimalism also fought Greenberg's orthodoxy at the same time as conceptual art—by rejecting the Modernist idea of painting and instead working with industrial materials—but contained the dialogue within the gallery system. Conceptual art sought to work outside of the gallery and the art world. Marcel Duchamp is an oft-mentioned precursor to conceptual art, particularly in regards to his readymades, like Bottle Rack (1914) or Fountain (1917), which questioned both the monetary value placed on art as well as the aesthetic judgement. Duchamp also initiated the focus on documentation over the “final” artwork by, in 1934, exhibiting his notes and photographs for his The Bride Stripped Bare by Her Bachelors, Even (Large Glass) (1915-23) as artworks in their own right. Early conceptual works were not only in the visual arts but also in music, most significantly John Cage’s 4’33” (1952), in which the performer sits at the piano for four minutes and 33 seconds in the silence of the room. There is, of course, no “silence” but rather, Cage’s reliance (expectation) of the audience’s participation in listening. The importance of the viewer/audience as participant—that only through that participation could a work exist—became a tenet of conceptual art. DESTRUCTION It was through Cage’s contemporary, Robert Rauschenberg’s Erased de Kooning Drawing, 1953, that art historian Leo Steinberg, “suddenly understood that the fruit of an artist’s work need not be an object.” Conceptual creation through destruction was also utilized by John Latham in 1966 when he (along with the artist Barry Flanagan) chew up pages of a library copy of Greenberg’s anthologized essays, Art and Culture, only to return the masticated texts to the St. Martins School of Art library in vials years later. Another example is John Baldessari’s 1970 Cremation Project, in which he destroyed his paintings made between May 1953 and March 1966 at a crematorium, producing cookies out of the ashes, which were accompanied by documentation. DOCUMENTATION The use of documentation of artistic processes as artworks in and of themselves was a foundational conceit of conceptual art. For what many consider to be the first conceptual art exhibition, Mel Bochner curated a show at the School of Visual Arts in 1966 titled “Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art” in which he presented xeroxed copies of papers submitted by other artists in binders that he set on plinths in the middle of the gallery. While proclaiming the non-artness of the documents, Bochner presented his non-art in traditional gallery fashion in order to challenge the perceptions of what constitutes art, exactly. If something is presented as art in a gallery setting, deals directly with art, but is declared by its presenter to not be art, is it art? BOOKS AND MAGAZINES As early as 1962, Los Angeles artist Ed Ruscha published his Twenty-Six Gasoline Stations. The conceptual work was a book comprised of black-and-white photographs of 26 gas stations. It was not a precious artist's book, and the photographs did not exist as art apart from the book. The unglamorous, mass-produced (the first printing was an edition of 400) book was the artwork. Other early moments in conceptual art also utilized mass-produced publications, particularly arts magazines. In 1966, Mel Bochner, along with Robert Smithson, made the first “magazine intervention” piece. A response to gallerists requesting reproductions of artwork instead of taking the time to visit the artists’ studios and see the work itself, “The Domain of the Great Bear” (Fall 1966, Art Voices)—an eight-page fictional account of an artwork created in the Hayden Planetarium—was intended to bypass the galleries and exist solely as a reproduction. The intention was subversive or, as Bochner has written, “to plant an intellectual time bomb inside the art system’s machinery.” Currently best known for his pavilions, Dan Graham also used magazine intervention. His Homes for America (1966-67) used the ephemerality and simultaneously mass-produced/audience-specific qualities of an arts magazine as his medium. LANGUAGE It has been said that conceptual art was an approach for the thinking artist. Proof of this is the quantity—and highly analytic quality—of writing on conceptual art by the so-called "Conceptual Artists" themselves (not that any of them accepted the label—except for Joseph Kosuth). It makes sense therefore, that many early conceptual works were indeed language-based. An influential collective of English artists, Art & Language was started in Coventry, England, in 1968 by Terry Atkinson, David Bainbridge, Michael Baldwin, and Harold Hurrell as a journal of conceptual art. The intention was, as art historian Thomas Crow explains in The Rise of the Sixties, “to create the necessary intellectual framework in which their ambitions could be understood, even if this mean suspending the actual making of art for the duration.” Kosuth became the American editor of Art & Language in the '70s. The group somewhat disbanded in the late '70s, although it continues today with Baldwin and Ramsden and now includes traditional media. Language as medium also allowed for new approaches to painting and sculpture, and Lawrence Weiner famously uses works as the medium for his sculptures, which require the participation of the viewer to be realized in thought. Painting did exist within certain conceptual practices beginning in the late '50s and '60s, notably in the work of the late On Kawara, whose “date” painting simply consist of the calendar date of the work’s execution painted on canvas, rendered in the language of the place it was made. If the work was not completed by the midnight of the day it was begun, it was destroyed. In “Art After Philosophy,” Kosuth described Kawara’s use of paint as “a pun on the morphological characteristics of traditional art, rather than an interest in painting ‘proper.’” BEYOND THE U.S. AND U.K. Many important Conceptual art practitioners were in Europe, like Yves Klein in France and Piero Manzoni in Italy was before their untimely deaths. (Fun note: Manzoni began to “sign” people as art of his practice, one signee being artist Marcel Broodthaers). Jan Dibbets and Reiner Ruthenbeck (who was a student of Joseph Beuys’s at the Düsseldorf Academy) made innovations in the used and disjointing of image and text. Other artists, like Daniel Buren, used interventions. For Buren this meant placing pieces of paper with painted stripes 8.7 cm wide, alternating white and a color, in various locales inside and outside. A practice he continued for years, “without any evolution or way out.” PERFORMANCE Intervention could also relate to the performance elements of conceptual art—and their blurring of public/private space and viewer/participant—which in turn related to the early “Happenings” (Allan Kaprow coined the term “Happenings” which he first staged in 1959) and early Black Mountain performances by Rauschenberg, Cage, and Merce Cunningham. Later, artists included Adrian Piper and Vito Acconci. (Piper has of course also written Conceptual texts as well as as volumes of critical theory.) OTHER MOVEMENTS Concurrent to conceptual art was the Italian conceptual movement arte povera, so named in 1967 by curator Germano Celant, which included artists like Alighiero Boetti, Mario Merz, and Guilio Paolini. Many conceptualists like Kaprow, Yoko Ono, and Nam June Paik became involved in the Fluxus movement, influenced by John Cage and Dada. IS CONCEPTUAL ART DEAD? Surprising even its most ardent supporters, conceptual art found a place in the art market as early as the 1970s. Many believed that this art-world acceptance and market success equated the end of conceptual art. Lucy Lippard laments in the postface to Six Years: The Dematerialization of the Art Object, 1966 to 1972: “Hopes that ‘conceptual art’ would be able to avoid the general commercialization, the destructively ‘progressive’ approach of modernism were unfounded. It seemed in 1969 that no one, not even a public greedy for novelty, would actually pay money, or much of it, for a xerox sheet referring to an event past or never directly perceived, a group of photographs documenting an ephemeral situation or condition, a project for work never to be completed, words spoken but not recorded; it seemed that these artists would therefore be forcibly freed from the tyranny of a commodity status and market-orientation. Three years later, the major conceptualists are selling work for substantial sums here and in Europe.” Joseph Kosuth also bemoans, “Had we known that its death would have come from acceptance, perhaps many of us would have appreciated (for as long as it continued) that the hostility and extreme defensiveness that marked its public greeting was paradoxically its life support system.” Conceptual art’s prime years—some say “lifespan”—are generally considered to be 1966-72. Extensions of the movement included Post-Conceptualism of the '70s and '80s (Sherrie Levine), and Neo-Conceptualism of the '80s and '90s (Damien Hirst and the YBAs). Of course, while the original period of the so-called "Conceptual Artists" may be consigned to the history books, countless artists incorporate conceptual approaches into their work today—suggesting that the legacy of movement chronicled by Lippard continues to extend and evolve around the globe.

Matias Faldbakken’s Unorthodox Cardboard Box

Matias Faldbakken’s Unorthodox Cardboard Box By Artspace Editors May 21, 2015 Matias Faldbakken’s Unorthodox Cardboard Box Matias Faldbakken's Box 1 (2014) Share on Facebook Share on Twitter Share on Pinterest Share on Tumblr Here's what you need to know to regale your friends about Matias Faldbakken's "Box" series. 1. An artist who proves irresistible to curators, the Norwegian sculptor Matias Faldbakken has built a career out of approaching the physical trappings of our globalized industrial landscape—shipping containers, tie-downs, bags, boxes, etc.—with barely contained violence, rendering them incapable of fulfilling their purposes. 2. This lithograph of a cardboard box (which comes in three different formats) derives from a series of works he exhibited at Paula Cooper Gallery in the spring of 2014, using minimalist techniques to transform the disposable object into a composition in the tradition of the classic monochrome. 3. Working as an acclaimed novelist on the side under the name Abo Rasul, Faldbakken has exhibited his work widely (including at dOCUMENTA 13) and is collected by the Rubells, Jerry Speyer, Eugenio López Alonso, and other prominent connoisseurs; he will be included in this year’s inaugural Vienna Biennale. 4. The artist's literary output includes a collection of short stories titled Snort Stories (2005), an updating of Ibsen's A Doll's House, and a trilogy of novels cumulatively called the "Scandinavian Misanthropy," the first of which graphically details the day-to-day lives of a family-run pornography production company. 5. Faldbakken is an occassional collaborator of fellow Norwegian artist Gardar Eide Einarsson, and last year the two joined artist Oscar Tuazon to form a supergroup of agressively minimalist installation art for a show at Team Gallery titled "Chez Perv."

6 Artworks to Invest in This May

6 Artworks to Invest in This May By Artspace Editors May 27, 2015 6 Artworks to Invest in This May A detail of Ed Ruscha's Cold Beer Beautiful Girls (2009) Share on Facebook Share on Twitter Share on Pinterest Share on Tumblr From an enigmatic piece by a young breakout star of this year's Venice Biennale to a classic work by an American art icon, here are gems to tickle the canniest collectors. The following artworks were chosen by Artspace editors in consultation with VIP Client Manager Hannah Flegelman. ED RUSCHA Cold Beer Beautiful Girls (2009) ruscha Ed Ruscha is the paradigmatic Los Angeles artist, and as that city’s art scene has caught fire (metaphorically—don’t be alarmed) his star has attained unprecedented heights. This month, one of his signature text paintings fetched $4.2 million at Christie’s, and this piece—derived from a 1993 painting sold when the artist was repped by Leo Castelli—has the full-throttle, all-American gusto of his best work. It also happens to be about as L.A. as it gets: when Sofia Coppola wanted to convey rock-star living at the Chateau Marmot in her film Somewhere she propped one of these prints up in the antihero’s hotel room. PAMELA ROSENKRANZ Clearer (2014) pamela One of the undisputed breakout hits of the current Venice Biennale, Pamela Rosenkranz’s Swiss Pavilion is a deceptively soothing apparition: an airy, light-flooded pink-walled room containing a pool of water colored a similar blushing pink. Sensual and fleshy yet nearly immaterial, the installation (which served as the illustration for the New York Times’s Biennale review) expresses the young artist’s preoccupation with the evanescent physicality of the body. Currently also exhibiting at the Zabludowicz Collection in London and at Kassel’s Fridericianum, Rozenkranz is a bona fide rising star. This subtle piece—containing her signature pink and blue hues—is an excellent place to begin collecting her work. EL ANATSUI Variation I_C (2015) anatsui Awarded the Golden Lion for Lifetime Achievement by this year’s Venice Biennale curator, Okwui Enwezor, the Ghanaian-born sculptor El Anatsui has ascended over the past half decade from being the world’s most famous African artist to being one of the most renowned living artists anywhere, full stop. Today his intricate tapestries made from bottle caps and other humble detritus routinely sell on the primary market for over $1 million—a value confirmed on the secondary market by the $1.1 million performance of a 2007 sculpture at Christie’s in May. Now in his early 70s, Anatsui is receiving a victory-lap retrospective at Jack Shainman’s Kinderhook, New York, space The School, with over 40 pieces from across five decades hand-selected by the artist’s longtime dealer. This print is an accessible (and instantly recognizable) example of Anatsui's work. CHANTAL JOFFE Red Head on Ochre (2012) joffe The painter Chantal Joffe is one of the boldest stylists in contemporary portraiture, employing a distinctive shorthand approach that seems almost casual—although a longer look reveals links to the sustained, empathic processes of Alice Neel and Lucian Freud. Joffe’s expressive paintings are currently on view at the Jewish Museum in New York, where 30 portraits she made of Jewish women—including Hannah Arendt and the artist's idol Diane Arbus—have been assembled by the curator Jens Hoffmann. This portrait, of a flame-haired young woman against a striking, mustardy backdrop, exemplifies Joffe’s uncanny way of collapsing the space between the viewer and her subjects. WAYNE THIEBAUD Reservoir (2014) thiebaud The great American artist Wayne Thiebaud is often too easily understood as the painter of iconic cakes, pies, and other heartland desserts, but his position in the history of his country’s art is far more interesting. His still lifes, influenced by New York Abstract Expressionism (he knew the de Koonings et al. as a young man), predate Pop and in fact are closer to the mute Neo-Dada statements of Jasper Johns. His majestic landscapes, meanwhile, a lesser-known but increasingly coveted body of work, display kinship with the great Bay Area Figurationist Richard Diebenkorn. One of these landscapes, Hill Street (Day City (1981), doubled its low estimate last November to sell at Sotheby's for $4.9 million—the 94-year-old artist’s second highest price at auction. This large yet delicate landscape in aquatint and drypoint is a captivating example of this body of work. TSENG KWONG CHI San Francisco, California (from the series “East Meets West”) (1979/2004) tseng Currently the subject of a critically acclaimed survey at New York’s Grey Art Gallery (which you can read about here), the puckish Chinese artist Tseng Kwong Chi created a daring, improbable, and deeply funny career by playing up the difference between his Maoist upbringing and his adopted American home. Although he died in his prime in 1990 (from AIDS-related complications) the artist created a potent and diverse oeuvre, and he stands as one of a generation of Chinese artists who worked in the U.S.—among them Frog King Kwok and Tehching Hsieh—who are garnering new attention as the Chinese art market evolves. This piece from “East Meets West,” his most famous series, is an iconic work by an artist whose reputation is on the rise.

The Revolution Was Televised: Groundbreaking Early Marriages of Art and the Tube

The Revolution Was Televised: Groundbreaking Early Marriages of Art and the Tube Goldie Hawn in "Rowan and Martin's Laugh-In." Image provided by The Kobal Collection at Art Resource, New York. Share on Facebook Share on Twitter Share on Pinterest Share on Tumblr “Mad Men” may have come to an end, but armchair historians have a new opportunity to scrutinize the visual culture of mid-century—this time, from an art lover’s perspective rather than an ad man’s. “Revolution of the Eye: Modern Art and the Birth of American Television,” which recently inaugurated a national tour at New York’s Jewish Museum, looks at the underexplored relationship between early TV and avant-garde art. Placing works by Roy Lichtenstein, Agnes Martin, and Robert Morris alongside snippets of popular broadcasts, it gamely ignores the high/low distinctions that were common in that era (and are still respected, for the most part, by scholars and curators). The exhibition, with a Sterling Cooper-worthy design led by Pentagram parter J. Abbott Miller, is narrowly focused on the 1950s and '60s; don’t expect to see slightly later classics of TV art such as Richard Serra’s Television Delivers People (1973) or Dara Birnbaum’s Technology/Transformation: Wonder Woman (1978-9) or more recent attempts to televise the art world (e.g., Bravo’s “Work of Art.”). But the postwar years—the formative years of television, as we know it today—is a fascinating period, full of conflicts and neuroses about art as mass entertainment and the place of television in museums. Victor D’Amico, who founded the Museum of Modern Art's education department in 1937 and led its programming through 1969, once expressed the ambivalence many purveyors of “high culture” felt about the new medium: “That vicious little box sits in everybody’s living room and has taken possession of the minds of America. But television can be used for good as it can bring aesthetic experiences into every classroom, art center, and home.” During these years, MoMA was embarking on an experimental program called the “MoMA Television Project.” The "Ed Sullivan Show" was bringing Minimalism and Color Field Painting to the masses by way of its ever-changing stage sets. Rod Serling was updating Duchamp and Magritte in his Surrealist-influenced show “The Twilight Zone” and Madison Avenue was mining the Op and Pop movements to sell everything from ice cream to cameras. Artists including John Cage and Allan Kaprow, ignoring the critical hand-wringing about the impoverishment of mass culture by public intellectuals such as Dwight MacDonald and Clement Greenberg, were turning up on popular shows like “I’ve Got a Secret” and “What I Did On My Vacation.” As the show’s curator, Maurice Berger, writes in the catalog, “the dynamic new medium, with its imperative to experiment and extend the limits of entertainment, paralleled the visual and conceptual dynamism of modern art.” Below is a critical look at a few highlights from the exhibition (on view in New York through September 27). ROD SERLING'S "THE TWILIGHT ZONE" (1959-64) From the spiraling sequence of its most famous opening credits—a direct nod to Duchamp’s Rotoreliefs—Rod Serling’s “The Twilight Zone” was as steeped in Dada and Surrealist art as it was in science fiction. As Berger writes, “The series reverberates... with themes recurrent in Surrealist art—the eyeball, the whirling vortex, the mannequin, the door, the clock.” Dada and Surrealism were already several decades old, of course, but the movements were enjoying a late resurgence in postwar America as younger artists such as Johns and Rauschenberg and film and television professionals discovered the work of Duchamp. MOMA'S "TELEVISION PROJECT" MOMA TVInstallation view of "Revolution of the Eye: Modern Art and the Birth of American Television," May 1, 2015 – September 27, 2015. © The Jewish Museum, NY. Photo by: David Heald One of the most important points of contact between modern art and television was “The Television Project,” MoMA's short-lived and deeply conflicted experiment in art programming for TV (it was initiated in 1952 and disbanded three years later). As part of the project, its codirector Sidney Peterson (an avant-garde filmmaker) came up with a charming children's television special called The Invisible Moustache of Raoul Dufy (1955). It was co-produced by MoMA and NBC, and animated by the Hollywood studio UPA, but the Modern ultimately withdrew from the project because it did not "further the cause of modern art." Also rejected was Peterson's short film Architectural Millinery, which made bemused comparisons between Manhattan rooftops and the hats of passers-by; the museum fretted that it was insufficiently "intellectual." MoMA would later suppress its anxieties about the marriage of modern art and popular entertainment enough to mount 1962's "Television U.S.A.," a survey of programs and commercials, and to establish a Television Archive of the Arts in 1967. STAN VANDERBEEK, ACHOOO MR. KERROOSCHEV, 1960 Before he became a pioneer of experimental film, Stan VanDerBeek worked as an animator of the children’s program “Winky Dink and You.” (The interactive show, which encouraged children to draw on plastic screens that could be superimposed on the television, was more progressive than its title may suggest.) VanDerBeek’s early film Achooo Mr. Kerrooschev, a spirited animated short spoofing the Cold War politician, strikes out in a slightly more grown-up direction. KODAK INSTAMATIC COMMERCIAL, 1965 In the mid-1960s, Op Art was on the vanguard of art and design—and Madison Avenue was quick to coopt it. This commercial for the Kodak Instamatic, made the year of the now-infamous MoMA show “The Responsive Eye,” plunges the viewer into a dizzying dance party that could be seen as a more sanitized version of one of Yayoi Kusama’s orgiastic happenings. Fresh-faced men and women do the watusi in a disco with black-and-white patterned walls and floors á la Victor Vasarely as a suave photographer records the scene with glinting flashcubes. "POP GOES THE JOKER," 1967 Long before Homer Simpson became an outsider artist, the creators of the 1960s “Batman” television series were skewering art-world characters and conventions. In the episode “Pop Goes the Joker,” the villain is a conceptual-art provocateur who spray-paints museum masterpieces and wins an “international art contest” with a nearly blank canvas. All the enfant-terrible clichés are here: paintings are made with feet, Gutai-style, and by monkeys hurling fruit. As one might expect from this high-camp series, there’s even a nod to Warhol: the Joker’s patron is named Baby Jane Towser, after collector and Factory star Baby Jane Holzer. ANDY WARHOL'S THE UNDERGROUND SUNDAE, 1968 Warhol SundaeWarhol, still from The Underground Sundae, TV ad for Schrafft's Ice Cream, 1968. Kramlich Collection, San Francisco Warhol, not surprisingly, gets his own gallery in the exhibition. It contains a mix of TV appearances, the 1965 film Outer and Inner Space, and the artist’s early graphic designs for CBS and TV Guide, along with a liberal sprinkling of relevant quotes (“A whole day of life is like a whole day of television.”) Also exhibited is this trippy commercial he made for Schrafft’s Ice Cream, which layers a melting sundae with a massive maraschino cherry over a background of TV color bars. Warhol film stars Joe D’Allesandro and Viva were part of the shoot, but were edited out (presumably for decency, as both were reportedly shirtless). What’s left is a kind of edible lava lamp, a wholesome dessert with just a hint of countercultural flavor. "THE MEDIUM IS THE MEDIUM," WBGH-TV, 1969 As the exhibition approaches the 1970s, it acknowledges the blurring of art-for-television with the then-nascent medium of video art. The two categories merge in “The Medium Is the Medium,” a program that aired on the Boston public television station WGBH in 1969. Consisting of commissioned works by Allan Kaprow, Otto Piene, Nam June Paik, James Seawright, Thomas Tadlock, and Aldo Tambellini, it finds these artists fiddling with the TV's inner workings (with some assistance from expert technicians). Paik’s Electronic Opera #1 [not included in the excerpts at the museum] plays with color saturation and distortion; Kaprow’s contribution, Hello, shows people communicating with each other across multiple monitors in various locations in a kind of primitive Skype.

Robert De Niro addresses the class of 2015- a good read and chuckle

Robert De Niro addresses the class of 2015 Last week Robert DeNiro addressed the student body at NYU Tisch School of the Arts, telling them: “You made it. And you’re f–ked.” The brilliant, esteemed New York actor failed to elaborate, exactly, the nature of the students’ f–kedness. He went on to talk about choices, and the (artistic) passion that clouds the common sense needed to make practical ones. But his first sentiment — which inelegantly expressed the sense of doom that surrounds an artist’s life — was typical of the kind of thing that older generations say to younger generations so that younger generations will feel incapable of experiencing the kind of life that people like DeNiro have lived. He could have told them other things.

He could have told them not to make the same mistakes as him, and to learn from the dubious career path by which he has succumbed. Robert DeNiro could have told the kids not to make awful movies after establishing himself as one of our great living actors. He could have told them not to trust Hollywood, because Hollywood has suckered him into Meet the Fockers and Little Fockers and Meet the Parents and Grudge Match and The Score. He could have told them that just because you are good and

legendary and you can write your own ticket, you shouldn’t settle for anything less. He could have told them to push and push and push to create great art even when money calls you forward. He could have told them to resist fame and the lure of being in the public eye. He could have told them that making a great film will last beyond any absurd commercial box office smash.

He could have told them to remember what made you — fearlessness, devotion to craft, the love of art — and to never betray that, no matter how big the director or how powerful the studio. He could have told them to observe these mistakes, and feed off of them. He could have told them anything other than, “You’re f–ked.” Robert De Niro could have told the kids not to make awful movies after establishing himself as one of our great living actors Before Bill Cosby was outed as a predator, he told director Melvin Van Peebles an instructive and important thing: “In order to achieve your

dream, you have to wake up from your dream.” Great artists have to know what to find before they can ever find it. Neil Young might have seemed like a wandering hippie, but he dreamed up “Rust Never Sleeps” in a single moment, and, months later, was staging a trans-continental tour. Bob Dylan was the same — the regenesis of Woody Guthrie in modern times — and so are Rush. The idea for their new tour was conceived in a flash, and awhile later, it hit the road. Great artists know that the pursuit

will hurt, and some won’t ever recover; we lose art, and artists, every day. Some become lawyers and some become accountants, and this is something DeNiro also mentioned in his speech. But my dad was an accountant and he raised two artists as kids. I was probably less f–ked because he had a job and a life and a career. Maybe that’s something DeNiro could have told the kids: Your parents. Their support . Don’t be ashamed and don’t mortgage their goodwill to pretend to be someone you aren’t.

I wish DeNiro had said: Don’t make bad movies if you can help it. Aspire to be a new creation every time. Try to claw against the shell that hardens around you as you age and point the way forward even as you grow grey and bearded and infirm, telling the kids: “Follow me.” The older generation has a duty to show the younger generation what it’s like to be an aging artist — aging artists are successful artists because

e it means they’re still doing it — and to show them how the world looks from here. DeNiro could have evoked the words of musician Nick Lowe, who said: “I want kids to come to my show and say, ‘Man, I can’t wait to get old.’ A life in art isn’t about being f–ked. It’s about continuing to be f–ked and f–ked and f–ked while riding into the great and beautiful evermore.

Wealthy investors dabble in art investment funds These funds provide a shot at partial ownership at the Grand Masters. Shelly Schwartz, special to CNBC.com Friday, 29 May 2015 | 10:29 AM ETCNBC.com

Art investment funds are a bit like the Wild West. They're unpredictable, largely unregulated and dominated by speculators. Still a tiny fraction of the overall fund market—a $1.3 billion niche—the sector has been getting attention by the well-heeled from all parts of the world. Such funds, which are structured like hedge funds and marketed exclusively to the very rich, pool investor capital to buy and sell fine art. Managed by a professional manager or advisory firm, they seek to deliver returns through the appreciation and ultimate sale of their underlying assets, which includes paintings, sculpture, photography, video or print. Some art investment funds focus on investing in art from a certain region, a particular style period as well as a specific medium. Read MoreThe 5 keys to picking the right funds: Jack Bogle Fund managers must be diligent at trend and market analysis—tracking auction houses, curators and galleries—since their role is to predict when a certain work will peak in value in order to sell for a profit. View of the sculpture 'Pensive Woman' (1913/14) by German sculptor Wilhelm Lehmbruck during a press preview of the ImEx (Impressionism, Expressionism) exhibition at Berlin's Alte Nationalgalerie (Old National Gallery) on May 20, 2015. John Macdougall | AFP | Getty Images View of the sculpture 'Pensive Woman' (1913/14) by German sculptor Wilhelm Lehmbruck during a press preview of the ImEx (Impressionism, Expressionism) exhibition at Berlin's Alte Nationalgalerie (Old National Gallery) on May 20, 2015. Art funds hold growing appeal to those who have enjoyed a net-worth surge and are looking for ways to diversify their portfolios, especially in new growth markets such as Asia, the Middle East and Latin America. They can carry a high price tag. London's The Fine Art Fund Group, the largest player in the market, with more than $500 million in assets under contract, requires a minimum investment of $500,000 to $1 million. Where individual works by the most important artists are increasingly out of reach, art funds provide a means of entry— and a shot at partial ownership. The series of funds managed by The Fine Art Fund Group allows investors to borrow works of art from the fund and hang them in their homes and offices. Read MoreSecond-home real estate play is hot—for now Based on assets sold and the estimated value of works that have not yet been sold, fund founder and CEO Philip Hoffman said his funds have produced an average return of 9 percent before fees. (Most art funds, including those offered by The Fine Art Fund Group, charge a 1 percent to 3 percent management fee, plus a 20 percent cut of profits. The Fine Art Fund Group collects its share only after clients have earned at least 6 percent.) "We have seen huge interest from clients who are interested in having their eggs in 20 baskets as opposed to three," said Hoffman, noting most of his clients allocate roughly 5 percent of their wealth to art, but some allocate 20 percent or more. "After 2008, investors got burned [by being underdiversified], so they are delving in with smaller amounts to start with." None of its funds are open to new investors. In its 2014 Art & Finance report, Deloitte Luxembourg and market research firm ArtTactic found that 76 percent of art buyers and collectors were acquiring art and collectibles for investment purposes, up dramatically from 53 percent in 2012. Read MoreThe strong dollar and your portfolio At the same time, some 88 percent of family offices and 64 percent of the private banks surveyed said estate planning around art and collectibles is a strategic focus in the coming 12 months. Roughly half of the family offices surveyed also indicated that one of the most important motivations for including art and collectibles in their service offering was the potential role it could play in a balanced portfolio and asset diversification strategy. Indeed, multimillionaires have a disproportionately high allocation to cash, according to a 2014 survey by U.S. Trust, which found 60 percent of those with at least $3 million in investable assets held between 10 percent and 25 percent of their money in cash. While all art funds utilize a traditional "buy and hold" strategy, individual funds differ in their size, duration, investment focus, investment strategies and portfolio restrictions, according to the Art Fund Association. Most charge 1 percent to 3 percent of assets in annual management fees and take a cut of profits at the end of the fund's life, some as much as 20 percent. Apart from The Fine Art Fund Group, the largest art funds globally include The Collectors Fund in Kansas City, Missouri, which reports an 8.3 percent internal rate of return since its inception in 2007, and Artemundi Global Fund in London. Artemundi reports its book value per share has grown from an initial value of $500 in 2009 to nearly $950 at the end of 2014, an accumulated 90 percent return. (Book value is an accounting term that refers to the value of the shares if the company were to liquidate its assets and pay off all its debt obligations.) The real return per share will only be attained at the end of the fund's life. How art funds work By design, art funds allow only a small number of "accredited" (wealthy) investors to purchase shares, which ensures they are not subject to the same regulatory oversight as stocks, bonds and mutual funds. Proponents suggest the lack of regulation, deficient price discovery mechanisms, non-transparency of the market, subjective value and illiquid nature of fine art enables them to generate arbitrage opportunities that seasoned art professionals can exploit for the benefit of their investors. Read MoreThese hot funds are leaving the S&P in the dust They note, too, that as a non-correlated asset class, art provides portfolio diversification benefits, stores value and can help hedge inflation. Ironically, though, it's the lack of transparency that has also been the art fund industry's undoing over the last 12 months. To protect investors from unrealistic promises of double-digit returns on the resale of artworks by some funds, France, China and the U.K. have all imposed stricter regulations on unregulated collective investment schemes. A shakeout under way The 2014 Art & Finance report indicated that such measures have created a temporary crisis of confidence among would-be investors, especially in China, which, due to its size and appetite for tangible assets, serves as a bellwether for the global art fund market. Assets under management in art funds have declined nearly 40 percent to an estimated $1.3 billion since 2012, according to the report. As of last summer, 72 art funds existed globally, with 55 in China and the remainder based in either Europe or the U.S. By comparison, art funds totaled 115 in 2012—a record, when 90 such funds were open in China. Read MoreWant a stock windfall? Bet on these big brands "The Chinese government is putting the clamp down and trying in a more robust way to regulate the shadow-banking system, which has had the effect of contraction in the art fund space," said Evan Beard, head of Deloitte's U.S. art and finance group. Shadow banking refers to the network of informal lenders, such as trust companies, leasing firms, and money market funds that lend to riskier projects where conventional lenders will not.

Over the long term, however, the current contraction brought on by tighter oversight could be positive for investors, he said. Know the risks "When you start commoditizing art, people start to think they can do it on a large scale and be successful, but there's a lot of risk." -Kemp Stickney, chief fiduciary officer, Wilmington Trust

"If China can maintain their growth story, if their regulatory environment allows for these trust structures and if the infrastructure continues to develop on this path, I think you'll see continued growth in this space in China, which because of its size could fuel the art fund market," said Beard. In the meantime, wealthy investors who are looking to diversify their portfolio amid the stock market's soaring returns must decide if art, or art funds, provide value in their portfolios.

"We don't promulgate a certain percentage of assets being in art," said Kemp Stickney, head of family wealth and chief fiduciary officer

Top 10 Visual Arts Exhibitions in Europe This June

With summer just around the corner, there’s no better time to catch this month’s top visual art shows with two of our picks in an airy palace (Château de Versailles) and a well-manicured castle (Auckland Castle). London is blooming with the work of contemporary artists including Julian Opie and Gabriel Orozco, while rock stars of modern art including M.C. Escher and Jackson Pollock are also on view in the UK.

In Paris, inquiring minds will do well to see an exhibition that weaves a compelling narrative on the encounter of the Spanish and Inca in South America or you could immerse yourself in the secret world of prolific outsider artist Henry Darger, a janitor and dishwasher by trade. Our top 10 picks for visual arts shows in Europe this month will keep your weekends brimming with creativity. Click on the LINK BELOW to see http://www.blouinartinfo.com/photo-galleries/top-10-visual-arts-exhibitions-in-europe-this-june-0

Expo Chicago to bring scores of art dealers to Chicago in September

Expo Chicago Director Tony Karman has been busy. The founder and head of Chicago's only major international contemporary art exhibition said late this week that he has rounded up no fewer than 140 art galleries to participate in the fourth annual edition of the show slated for Sept. 17 to 20 in Navy Pier's Festival Hall exhibit space. Despite troubling signs that Chicago's visual arts and gallery scene may not be as robust as it was 10 or 20 years ago, Karman has continued to insist the city can — and will — support a major international contemporary art show if he has anything to say about it.

The list of participating art dealers at the 2015 Expo Chicago represents 15 countries and 40 cities from around the world. Among the countries represented are China, France, Germany, Italy, Singapore and Switzerland and, of course, the United States. As in years past, Expo Chicago's presenting sponsor continues to be Chicago-based financial institution Northern Trust.

Karman had this to say of the Expo Chicago exhibitor line-up and the city's place in the international art scene: "We are extremely proud to announce this exceptional list of exhibitors for our fourth edition. Coupling this international list with incredible museum alignments, numerous special events, core programming and exhibitions bringing in notable artists, curators and collectors to our city, I am confident in saying that Chicago is definitely the place for the art world to be this September."

Redefining the 21st Century Museum: Immersive Technology, Hollywood Effects, and Fine Art Converge At The Petersen, Creating a Totally Unique Automotive Experience - See more at: http://globenewswire.com/news-release/2015/05/29/740585/10136575/en/Redefining-the-21st-Century-Museum-Immersive-Technology-Hollywood-Effects-and-Fine-Art-Converge-At-The-Petersen-Creating-a-Totally-Unique-Automotive-Experience.html#sthash.CfuVQK6r.dpuf

Redefining the 21st Century Museum: Immersive Technology, Hollywood Effects, and Fine Art Converge At The Petersen, Creating a Totally Unique Automotive Experience Museum announces partnerships with top global brands that will introduce innovative new technologies and fine art exhibits, experiences never before seen in a museum setting. - See more at: http://globenewswire.com/news-release e/2015/05/29/740585/10136575/en/Redefining-the-21st-Century -Museum-Immersive-Technology-Hollywood-Effects-and-Fine-Art-Converge-At-The-Pete seen in a museum setting. 0 0 0 25 Print May 29, 2015 13:32 ET | Source: Petersen Automotive Museum

Los Angeles, May 29, 2015 (GLOBE NEWSWIRE) -- The Petersen Automotive Museum proudly announces several new partnerships with some of the world's most prominent brands, including BMW, Maserati, Ford Motor Company, Lucas Oil and Landi Renzo. These companies join Automobile Club of Southern California, Microsoft's Forza/Xbox brands and Belkin's Linksys division as valued supporters of the museum's re-birth. When the totally transformed museum reopens to the public in December 2015, its world-class partners and innovative use of state-of-the-art connectivity and multi-media will set a new international standard for automotive museums. The Armand Hammer Foundation Art Gallery will be presented by BMW, which will feature a revolving display of pieces from BMW's world-famous Art Car Collection. In 1975, the program started when race car driver and art lover Hervé Poulain collaborated with BMW to use a BMW race car as a canvas for Alexander Calder. Over the next 40 years, some of the world's most talented artists such as Frank Stella, Roy Lichtenstein, Andy Warhol, Jeff Koons, and Jenny Holzer have created BMW Art Cars, of which there are currently 17, using various BMW race and street models. The collection represents a fascinating intersection of fine art, automotive design and cutting-edge technology.

Maserati, the 100-year-old Italian luxury automotive manufacturer, was also announced as a partner and will collaborate with The Petersen on a robust educational exhibit. The Design to Production display, located prominently on the museum's second floor, will show how a Maserati evolves from concept and raw materials to chassis, drivetrain, interior, and -- finally -- finished car in a unique exhibit using real concepts, prototypes, and production vehicles, courtesy of the Trident. The Petersen will also be the exclusive home of a prototype Ford GT Supercar. Ford Motor Company rocked the automotive press -- and the world -- when it unveiled its vision for a new supercar at the 2015 Detroit Auto Show. The new GT's technological evolution will be displayed, dating back to the Le Mans-winning 1966 Ford GT. This will be the only "permanent" installation for the new GT Supercar before the car hits Ford showrooms in late 2016. The Automobile Club of Southern California (AAA) is lending its vast historical resources to help convey the story of how the automobile defined Southern California. While many cities literally grew up or are rooted at a central place, the car's popularity made Southern California expand horizontally. More than anywhere else in the world, the Southern California lifestyle and culture are indelibly shaped by the automobile. The Auto Club's archives document this impact and influence.

Lucas Oil, the leading manufacturer of petroleum additives and oils for high-performance engines, will proudly sponsor the Petersen Motorsports Gallery. With a tremendous presence in motorsports as well as owning MAVTV, a television network with its roots in the automotive world, Lucas Oil will benefit the Motorsports Gallery as a strong partner who will bring content and a motorsports programmatic approach to The Petersen. The Petersen and Microsoft Xbox announced the Forza Motorsport Experience. Visitors to the 1,500 square-foot simulation room will be able to experience legendary racing circuits from behind the wheel of state-of-the-art Forza Motorsport simulators, or experience the beauty of the automobile up close in ForzaVista™. The experience will open in the museum this December, with plans to create programmatic and event experiences to follow thereafter. To learn more about Forza Motorsport, visit ForzaMotorsport.net. Also, Belkin International's Linksys brand has partnered with The Petersen to provide state-of-the-art networking, Wi-Fi and security capabilities for the new museum. An array of sophisticated network switches, Wi-Fi access points and an entirely new security camera upgrade will be part of the content infrastructure of the new museum. The Petersen/Linksys partnership will allow for a 21st century patron experience wher e accessing data, social network posting and other online activities from mobile devices are ensured to be seamless experiences. In addition, the museum plans on enhancing the practical museum-going experience with augmented reality: content viewed on a personal, mobile device, and only made possible by precision planning of Wi-Fi services. Italian company Landi Renzo, a maker of eco-friendly engines best known for its compressed natural gas (CNG) powerplants, will sponsor The Petersen's Alternative Fuels gallery in its opening year.

Media partners are The Enthusiast Network (TEN) and Bonnier Corporation. Plans are for TEN to house its photo archive -- which includes historical Petersen Publishing material -- at the museum. This material will be digitized as part of the museum's dedication to historical preservation. TEN is also the presenting sponsor of the Hot Rod Gallery. The Bonnier Motorcycle Group is the presenting sponsor of the Richard Varner Family Motorcycle Gallery. Since 1994, The Petersen has been the benchmark for automotive museums. Its diverse vehicle collection, diorama-based

Streetscape, and educational-outreach programs effectively communicated how the automobile impacted life in Southern California and beyond for over 20 years. As technology and visitor expectations evolve, the museum is reinventing itself to deliver a new experience. The New Petersen will meld the art and engineering of history's fastest and most beautiful automobiles with cutting-edge technology , including augmented reality and realistic simulators to redefine the 21st century museum experience. The Petersen is currently on schedule to complete its year-long total transformation in December 2015. The Wilshire Boulevard building, the western entrance to "Museum Row," promises to be one of the truly iconic architectural designs in Los Angeles. Select partnership opportunities still remain for The New Petersen. For more information about The Petersen Automotive Museum, please visit www.petersen.org or call 323/930-CARS. ### f

East Brunswick Arts festival; viosit Museums through your phones/ipads

Print Email Mike Romano | The Star-Ledger By Mike Romano | The Star-Ledger on May 30, 2015 at 10:00 AM, updated May 30, 2015 at 10:05 AM 0 Reddit Visitors to the 2014 East Brunswick Fine Arts Festival.jpgAttendees from the 2014 East Brunswick Fine Arts Festival, an outdoor juried show of fine arts and crafts. EAST BRUNSWICK — The Township of East Brunswick will host the 13th annual Fine Arts Festival June 6 from 10 a.m. to 4 p.m. The event, which will be held on the grounds of the municipal complex, is an outdoor juried show of fine arts and crafts that is intended to provide artists with a venue to exhibit their work, demonstrate their talents and offer original art and craft items for sale. Approximately 70 artists are expected to display their work at this year's festival, which will include demonstrations in glass blowing and stained glass. The event also will feature a display of artwork from the students at Hammarskjold Middle School, musical entertainment by guitarist/vocalist Tommy Aboussleman, food provided by "ahh! La cart" food truck, ice cream from Frank's Ices and Ice Cream, and a community art project organized by freelanc e photographer and social worker Scott Friedman. The municipal complex is located at 1 Jean Walling Civic Center Drive. -------------------------------------------------

MUSEUM APPS Museum apps: Introducing Generation Facebook to Great Art May 30, 2015 JONAS SCHOELL 0 Comments E-mailPrintPDF Scrolling through a painting on a touch-screen, examining a sculpture with a virtual magnifying glass, or being guided from your hotel room all the way to the museum entrance - the age of the app has begun in Germany's museums. "More and more museums are replacing their audio guides with app-based guides on tablets and smartphones," says Thomas Thiemeyer, professor of cultural studies at the University of Tuebingen. The digital guides are designed to attract a younger generation of museum visitors. But there's a problem - developing apps costs money, and not all museums can afford it. "The inclusion of digital media is an investment in the future of the museum," warns Anja Schaluschke, director of the German Museums Association. German museums sell around 110 million entrance tickets per year, a rise by 12 million over the past decade thanks to Germany's growing importance as a tourist destination as well as museums' skill at drumming up publicity for star attractions and special shows. But the old-fashioned museum and the bookish visitor are the past. The future is the world of the "digital native," predicts Schaluschke. In many places museums are already using apps. More than 5,000 museums in Germany are listed on museum.de, a website and app that tells you when you are close to a museum and what it shows. The app is offered for both the iOS and Android operating systems. Along with image galleries, the app also offers information on exhibitions, admission prices and opening times. Visitors can even use it as a sat-nav to give directions from their hotel to the museum . But the best apps can do more. Frankfurt's Staedel Museum is regarded as a new media pioneer by experts. Tens of thousands read the Staedel's online blog, hundreds of thousands watch its YouTube videos, its Facebook page has more than 30,000 likes and its Twitter account more than 11,000 followers. Smartphone-wielding visitors have been able to use the museum's free wifi service since February to download a new app after they arrive. Of course it's better to install the app before you arrive. For children it has educational computer games. In other nations, museums are also going digital, with experts seeing Amsterdam's Rijksmuseum as a prime example. Those interested can take an up-close look at almost every painting, from Rembrandt's The Night Watch to one of Van Gogh's self portraits, using a smartphone. It's like having a magnifying glass in your pocket. It's also possible to download the pictures. With ingenuity, you can even print them onto a mug or T-shirt. Whether it's films, audio or extra explanatory notes, any file type can be integrated into the apps, forming a multimedia package that can complement the exhibitions. Frank Tentler, a digital media advisor, predicts another development: augmented reality. The concept involves real elements such as a painting or a sculpture being overlaid with a virtual environment. Visitors can point their smartphone or tablet at a picture, take a photo and use an app to display notes, graphics or an animation in front of the picture. The Tower of David Museum in Jerusalem, for example, already has several apps which make use of augmented reality. One programme, the so-called AugmentiGuide, allows visitors to download a wealth of information about the city's historical buildings with their tablet computers. There is also further information on the exhibitions, for example historical films, via QR codes, which can be scanned with a smart phone. "Apps work differently to embedded media," says Thiemeyer. "They're going to fundamentally change educational work." "As a digital accompaniment to an exhibition, they can solve the conflict between seeing and reading," he adds. There used to be a conflict between posters with lots of text, which critics said spoiled the displays, and doing without text, which meant that the visitors were left in the dark about what they were seeing. An app now makes both possible, says Thiemeyer: "Lots of information without visual collateral damage." But for a museum app to succeed it needs a well thought-out concept and a proper digital strategy, warns Tentler, adding that many museums are only starting out on digital technology. And, he adds, in some places, there is no desire to take on such changes. Money is another problem, because developing apps means hiring expensive software contractors. "Museum budgets are limited," says Schaluschke. "Locally funded museums are especially hard up." So the digital revolution may be a while coming to some museums.

Call for artists goes out

Home News Call for artists goes out 2015 Edwardsville Art Fair now in the planning process Story Comments Share Share Print Create a hardcopy of this page Font Size: Default font size Larger font size Posted: Friday, May 29, 2015 2:00 pm By JULIA BIGGS jbiggs.edwi@gmail.com | 0 comments jbiggs Posted on May 29, 2015 by Julia Biggs The Edwardsville Arts Center is accepting artists' applications through June 1 for the 2015 Edwardsville Art Fair that will take place Sept. 25 through Sept. 27 in Edwardsville's City Park. The event supports artists – both locally and nationally – enabling them to share their labors of love with the community. The city of Edwardsville and EAC are excited to again collaborate as they host the second annual Edwardsville Art Fair. Last year's inaugural Art Fair was a big success drawing over 60 artists from six different states. “Whether you are a budding artist looking to explore the art scene or a seasoned artist who travels the country showing your work, the Edwardsville Arts Center would be pleased to consider your application for Edwardsville Art Fair 2015,” Edwardsville Arts Center Gallery Manager Carolyn Tidball said. The deadline for artists' submissions is June 1. Apply by visiting the EAC’s Web site at www.edwardsvilleartscenter.com. Tidball pointed out that last year's artists made many positive remarks about the inaugural event. “One artist from last year’s Art Fair said that it 'was an awesome turnout.' I was able to talk to a variety of people and share my investigations and processes with them. It made my heart happy,”” Tidball added. The Edwardsville Art Fair is a juried Art Fair that will feature the original works of approximately 100 accomplished artists as well as local food and drink It's a three-day opportunity for the family to see art, make art, and buy art. The Children's Create IT and Take IT Activity tent, generously sponsored by Scott Credit Union, was overwhelmingly popular last year. Last year’s Create IT and Take IT Activity was such a big hit that it will be offered on two days – on both Saturday and Sunday – this year instead of just one. Art materials will be provided for free, and kids will have a great time getting creative and colorful with this fun art opportunity. For the artists in the fair, the EAC will be awarding prizes worth $15,000 including Best of Show ($1,500), six named awards ($750 each), 12 Best of Category awards ($600) and nine merit awards non-specific to categories ($200). Local businesses are already stepping up to the plate to sponsor artist awards, including First Clover Leaf Bank, which is sponsoring a First Clover Leaf Bank Award for $750, and Borden Dental Arts, which will be sponsoring a $200 Merit Award. Sponsors will receive tickets to the VIP Event, signage and logos on volunteer t-shirts, and the event poster. Contact the Edwardsville Arts Center at 618-655-0337 or office@edwardsvilleartscenter.com for more information on becoming a sponsor. Simmons Hanley Conroy will be sponsoring the Art Fair’s Hospitality Services, an extremely important part of this event. The EAC volunteers will again be providing assistance to artists with set-up and break-down of displays, refreshments throughout the event, and booth sitting services when needed. Returning this year will be the Children's Art Gallery which is a collection of donated artwork from each of the exhibiting artists. With the purchase of a $50 ticket, a child can select (no parents allowed) one piece from the gallery to take home – a perfect way to start an art collection. All monies raised from the Children's Art Gallery fund the free art classes offered each Saturday at EAC. Art Cash (gift certificates) will also again be available for purchase in $50 increments to spend at the Edwardsville Art Fair. The Art Cash, which can be purchased in advance, makes for a great gift idea for any occasion, and can be used as currency during the three day event.

New Video of paintings by Ulrich de Balbian 30 May 2015

http://youtu.be/IfSgXYD915s

New Video of paintings by Ulrich de Balbian 30 May 2015 May 30, 2015Leave a comment New Video of paintings by Ulrich de Balbian 30 May 2015 http://youtu.be/IfSgXYD915s

10 TRAITS OF A GREAT ARTIST (Art Book guy) with my summaries from personal experience

10 TRAITS OF A GREAT ARTIST (Art Book guy) with my summaries from personal experience – MY ONE PHRASE summary underneath each statement. These summaries (in my role as philosopher, sociologist of culture/art) sum up what I discovered in my own thinking ABOUT life, my life and my own work as an artist. But, also about all really creative (thinking) people (eg composers, scientists, philosophers, writers, etc

——————————————————————————- After having interviewed hundreds of visual artists over the course of quite a few years, I’ve come to realize that there are numerous traits that make great artists stand out from merely okay artists. What are those traits? KICK-ASS WORK: This goes without saying and yes, while it’s very subjective, it’s also undeniable, like a foregone conclusion. When I see kick-ass work from an artist, it literally takes my breath away. There is NO decision-making process involved. This happened to me not long ago while I was beholding a huge, purple, Helen Frankenthaler painting at the Asheville Museum of Art. WOW! When I see kick-ass work, I always think to myself, “Yeah! Baby, Yeah!” It’s an absolute yes. It’s a home run. It’s a violent, visceral reaction. There’s no question or debate whatsoever. It’s simply an overwhelming knock-out. Not every work produced by a great artist is an overwhelming knock out, but they’ve got more than a few of them. – work makes a striking statement

COMMAND: Great artists have authority and command over their own process. This does NOT mean that they don’t have bouts of insecurity or uncertainty. It simply means that they rise above those insecurities by harnessing the power of their process which they’ve cultivated over many years. – mentally/cerebrally (grasp, insights, understanding, development) and physically (technical execution/expression/realization of the former)

INSIGHT: Great artists have ever-flowing, unbridled insight. Despite mental blocks and setbacks, they know how to access that space where inspiration flows and insight grows. – creative ‘mind’/nature

EXECUTION: Great artists are able to take their insight and bring it into concrete reality on canvas or in sculptural form. It’s one thing to have a great vision, but quite another to execute it. Execution is what happens when vision becomes a goal under deadline. Let’s be real here. -as above –

CONTEXT: Great artists have some idea about where their work falls in the art history continuum. They’re familiar with what and who came before them and while they often don’t know where they’re headed, they’ve got the tools to move them in the right direction. -understand their context and the discourse of visual art (Fine art, painting etc), its aims, values, norms, principles, purpose, etc

JOY: Great artists love what they do. This doesn’t mean that they don’t have bad days . It means that at the end of each day, they know they did it because they simply could not … not do it. Joy is the most authentic of motivators. I don’t know about you, but I believe it comes straight from God. -motivated/passionate – their reason for living

SKILL: Great artists have the technical skills. They’ve got gravitas. This doesn’t mean that they don’t make occasional clunkers. It means that they’ve got the chops needed to make great art. This goes without saying. Even under-educated observers know really great art when they see it. Skill harnesses creativity and yields craftsmanship … not just mere product. -see under command

HUMILITY & GRACE: Great artists have the humility and grace of a lovely summer breeze. You can barely tell it’s there, but when it moves, it’s unmistakable and oh so welcome. They don’t scream, “Look at me!” or “Look at what I’ve done!” There’s no need for ego or aggression. Aggression arises from fear that you don’t have the chops or a way to harness natural power. Humility and grace are twin traits that will carry you through the most difficult of times. They are organic and captivating … sort of like being moonstruck or watching a rose unfold to the sun. You find yourself gazing and you simply cannot turn away. And when you praise them, they blush and come into full bloom. Humility and grace are the killer-combo that make the whole winning thing sing. Without them, it’s like the cake that falls when you remove it from the oven too soon. Somebody got too cocky or impatient and the whole thing got shot to shit. Ugh. – a small percentage of all people are humble, not necessarily creative ones

SERVANT: Great artists are servants to humanity and not their own egos. In a world obsessed with wealth, success, titles and royalty, servants are the true nobility. Open your eyes and see this hidden truth. It’s not about servitude, it’s about gratitude … gratitude for being blessed with this gift. When you release your ego and operate from a place of grace, you lay the foundation for a masterpiece. That masterpiece doesn’t always have to be a painting, but it will surely be your life. – a small percentage of all people have this attitude

MATURITY: Not all, but most artists start out when they’re young and develop over time. No one is born a “master” of anything. You first have to find your talent, figure out who you are and just work, work, work. Desire, sweat and persistence fuel accomplishments . You can only really accomplish things of true value over time … the long haul. That’s just the way life is. Phenoms are rare and despite that, many of them burn out. Perseverance is the name of the game. Most of the truly great artists I know are definitely older artists – well above 40 – and believe me, their experience, insight, intelligence, heart and depth definitely show up in their work. You cannot fake these things at 20. With all due respect to 20-year-olds … you just cannot fake it. You can try, but trying to fake it is – in itself – a sign of youth. Great artists know that it’s about trial and error and … the journey. – development (of the whole person and more specifically the discourse he works in) of individuals in all/any discourses or socio-cultural practices (compare for example Beethoven’s later String Quartets with his earlier ones, the work of scientists, philosophers, et al. -Over 40? Mozart, van Gogh and many others.. (see History of Art 101)

While much of the art media seems obsessed with young artists, I’m enthralled by older ones. They rock. Do you know WHY older artists rock? Because they know HOW to rock. Most young artists don’t even know what they don’t know. There’s nothing more delicious than the work of an old artist whose been around the block a few times. Age is like fine wine. There simply is no shortcut to greatness. You learn and earn this with age. Show me an artist with a kick-ass body of work and I’ll show you an artist who has racked up some serious time in their studio. -as above

http://artbookguy.com/10-traits-of-a-great-artist_1017.html

10 TRAITS OF A GREAT ARTIST (from ART BOOK GUY) - MY ONE PHRASE summary underneath each statement. These summaries (in my role as philosopher, sociologist of culture/art) sum up what I discovered in my own thinking ABOUT life, my life and my own work as an artist. But, also aboutall really creative (thinking) people (eg composers, scientists, philosophers, writers, etc) silkver gold etc ------------------------------------------------------------------------------- After having interviewed hundreds of visual artists over the course of quite a few years, I've come to realize that there are numerous traits that make great artists stand out from merely okay artists. What are those traits? KICK-ASS WORK: This goes without saying and yes, while it's very subjective, it's also undeniable, like a foregone conclusion. When I see kick-ass work from an artist, it literally takes my breath away. There is NO decision-making process involved. This happened to me not long ago while I was beholding a huge, purple, Helen Frankenthaler painting at the Asheville Museum of Art. WOW! When I see kick-ass work, I always think to myself, "Yeah! Baby, Yeah!" It's an absolute yes. It's a home run. It's a violent, visceral reaction. There's no question or debate whatsoever. It's simply an overwhelming knock-out. Not every work produced by a great artist is an overwhelming knock out, but they've got more than a few of them. - work makes a striking statement ne234 COMMAND: Great artists have authority and command over their own process. This does NOT mean that they don't have bouts of insecurity or uncertainty. It simply means that they rise above those insecurities by harnessing the power of their process which they've cultivated over many years. - mentally/cerebrally (grasp, insights, understanding, development) and physically (technical execution/expression/realization of the former) mione1 INSIGHT: Great artists have ever-flowing, unbridled insight. Despite mental blocks and setbacks, they know how to access that space where inspiration flows and insight grows. - creative 'mind'/nature a1455-fh59 EXECUTION: Great artists are able to take their insight and bring it into concrete reality on canvas or in sculptural form. It's one thing to have a great vision, but quite another to execute it. Execution is what happens when vision becomes a goal under deadline. Let's be real here. -as above - c698a-hm1017 CONTEXT: Great artists have some idea about where their work falls in the art history continuum. They're familiar with what and who came before them and while they often don't know where they're headed, they've got the tools to move them in the right direction. -understand their context and the discourse of visual art (Fine art, painting etc), its aims, values, norms, principles, purpose, etc cfef5-11-out-of-africa-series-ulrich-de-balbian JOY: Great artists love what they do. This doesn't mean that they don't have bad days . It means that at the end of each day, they know they did it because they simply could not ... not do it. Joy is the most authentic of motivators. I don't know about you, but I believe it comes straight from God. -motivated/passionate - their reason for living 23956-sim1c SKILL: Great artists have the technical skills. They've got gravitas. This doesn't mean that they don't make occasional clunkers. It means that they've got the chops needed to make great art. This goes without saying. Even under-educated observers know really great art when they see it. Skill harnesses creativity and yields craftsmanship ... not just mere product. -see under command b5026-hi223 HUMILITY & GRACE: Great artists have the humility and grace of a lovely summer breeze. You can barely tell it's there, but when it moves, it's unmistakable and oh so welcome. They don't scream, "Look at me!" or "Look at what I've done!" There's no need for ego or aggression. Aggression arises from fear that you don't have the chops or a way to harness natural power. Humility and grace are twin traits that will carry you through the most difficult of times. They are organic and captivating ... sort of like being moonstruck or watching a rose unfold to the sun. You find yourself gazing and you simply cannot turn away. And when you praise them, they blush and come into full bloom. Humility and grace are the killer-combo that make the whole winning thing sing. Without them, it's like the cake that falls when you remove it from the oven too soon. Somebody got too cocky or impatient and the whole thing got shot to shit. Ugh. - a small percentage of all people are humble, not necessarily creative ones f185b-2aq SERVANT: Great artists are servants to humanity and not their own egos. In a world obsessed with wealth, success, titles and royalty, servants are the true nobility. Open your eyes and see this hidden truth. It's not about servitude, it's about gratitude ... gratitude for being blessed with this gift. When you release your ego and operate from a place of grace, you lay the foundation for a masterpiece. That masterpiece doesn't always have to be a painting, but it will surely be your life. - a small percentage of all people have this attitude 12aa6-fa106 MATURITY: Not all, but most artists start out when they're young and develop over time. No one is born a "master" of anything. You first have to find your talent, figure out who you are and just work, work, work. Desire, sweat and persistence fuel accomplishments . You can only really accomplish things of true value over time ... the long haul. That's just the way life is. Phenoms are rare and despite that, many of them burn out. Perseverance is the name of the game. Most of the truly great artists I know are definitely older artists - well above 40 - and believe me, their experience, insight, intelligence, heart and depth definitely show up in their work. You cannot fake these things at 20. With all due respect to 20-year-olds ... you just cannot fake it. You can try, but trying to fake it is - in itself - a sign of youth. Great artists know that it's about trial and error and ... the journey. - development (of the whole person and more specifically the discourse he works in) of individuals in all/any discourses or socio-cultural practices (compare for example Beethoven's later String Quartets with his earlier ones, the work of scientists, philosophers, et al. -Over 40? Mozart, van Gogh and many others.. ai54 While much of the art media seems obsessed with young artists, I'm enthralled by older ones. They rock. Do you know WHY older artists rock? Because they know HOW to rock. Most young artists don't even know what they don't know. There's nothing more delicious than the work of an old artist whose been around the block a few times. Age is like fine wine. There simply is no shortcut to greatness. You learn and earn this with age. Show me an artist with a kick-ass body of work and I'll show you an artist who has racked up some serious time in their studio. -as above hj1372 http://artbookguy.com/10-traits-of-a-great-artist_1017.html

rt gallery http://www.susaneleyfineart.com/

SUSAN: People are intimidated by art galleries. I am too! I think it's silly really. It's a weird phenomenon that so many galleries want to cultivate a haughty attitude and give off a vibe of unapproachability. One of the mandates of Susan Eley Fine Art was to NOT be like this, but to be welcoming and service oriented. I greet everyone who comes into the gallery and teach my assistant to smile and offer information. The crazy thing is that if you wen t into a clothing store or any retail store and were treated with this sort of condescension, you'd walk out and say what terrible service. For some reason, we let galleries get away with this behavior. And it's not because they are too busy. http://www.susaneleyfineart.com