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Skeptical Debunker

Celebrating Caravaggio: First Of The Bad-Boy Artists : NPR - 2 views

  • Art scholar Stefania Macioce points out the modernity of these works. "If you think of the age, 16th century, there is same way to use the light like modern photography," she says. "It’s fantastic."Caravaggio's use of light and shadow mirrored the ups and downs of his turbulent life.It was the time of Galileo and Monteverdi, and the painter's life reads like a play by Shakespeare, another of his contemporaries.Born in Milan in 1571, Caravaggio arrived in Rome at the height of the Inquisition, when the church was all-powerful. But Rome also had a rich low-life of courtesans, gamblers and brawlers. Caravaggio led a double life, dividing his time between the gilded salons of the powerful cardinals who were his art patrons, and the back-alley demimonde of whorehouses and taverns — the inspiration for his paintings.Art historian Maurizio Calvesi says the artist rejected the uplifting Baroque style so dear to the church, and plunged biblical narratives into the gloom and desperation of contemporary reality. "Caravaggio is the opposite of the Baroque, which glorifies wealth, luxury and the triumphant Catholic Church," Calvesi says. "He was deeply revolutionary; he brought the human aspect of God back to earth." For models, Caravaggio used laborers, prostitutes and gypsies. The church was outraged. Painting after painting was rejected: a dead Virgin that looked like a bloated corpse, a jailer yanking Christ's hair, saints with dirty feet.Cardinal Federico Borromeo wrote in indignation, "Contaminated men must not deal with the sacred."The 19th century art critic John Ruskin called him the "ruffian Caravaggio," and described his work as ''horror and ugliness and filthiness of sin.''Rome's Sant'Agostino Church is filled with treasures — a Raphael, a Sansovino and a Bernini — but visitors all flock first to a corner chapel on the left and drop coins in a machine to illuminate the canvas. Madonna of Loreto shows a barefoot Virgin holding the baby Jesus. She stands in a doorway in the evening shadow, one leg saucily crossed over the other. Visitor Cinzia Margotti is enthralled. "The church couldn't possibly like a Madonna like this one," Margotti says. "Just look at her. She's real and beautiful but too free for the 16th century church."Many of Caravaggio's works were filled with grief, suffering and violence — images in contrast with the church's predilection for rosy cherubs and angels in the heavens. Francine Prose, author of Caravaggio: Painter of Miracles, says his paintings reflected the violence of the times. "Beheadings were a daily fact of life in Rome," she says. "So if you look at Judith and Holofernes or the Beheading of John the Baptist, which is in Malta, they are paintings of executions. His crucifixions, the deaths of saints are executions, so he lived in a very violent time."Under papal orders, heretics were burned at the stake. Caravaggio may have even witnessed the execution of the philosopher and theologian Giordano Bruno in Campo dei Fiori in 1600.Caravaggio also led a violent life. He left no letters, so all that is known about him comes through judicial records of his many scuffles with the law. Sentenced to death in 1606 for murdering a man, he fled Rome.The next four years were spent in flight: to Naples, to Malta, to Sicily and back to Naples. In Malta, he got in trouble again. He was arrested but managed to escape by scaling the fortress-prison walls. His works got darker and more dramatic — he believed papal hit men were on his heels. He painted David with the Head of Goliath, portraying a delicate young man holding a severed head that was Caravaggio's own self-portrait, a tormented mask of agony and horror.Suddenly, he got long-hoped-for news: He was pardoned, and he headed back to Rome.As one of his biographers wrote, "Bad luck did not abandon him."On a hot July day in 1610, a semiconscious Caravaggio was found lying on a beach along the Tuscan coast.It remains a mystery whether he had come down with malaria or some other illness, or whether he had been wounded in a duel. Two days later in the local hospital, the greatest artist of his time ended his all-too-brief career. After his death, Caravaggio was forgotten for 300 years. It wasn't until the 20th century that the visionary genius was rediscovered.
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    This year marks the 400th anniversary of the death of the Italian artist Caravaggio, believed by many art lovers to be the greatest painter of all time. Rome, the city where he was both hailed and rejected, is hosting a major exhibition of masterpieces from all over the world showcasing the first of the bad-boy artists.\n\nExhibition visitors are plunged into near-total darkness - only the canvases are lighted: Lute Player, Cardsharps, Judith and Holofernes, the Conversion of Saul and many more.\n\nClaudia Palmira Acunto is admiring a painting of a young Bacchus, the god of wine. "I'm just marveling at the sensuality of the skin," she says, "and the contrast of textures from the fruit to the wine to the fabric; it's chiaroscuro."\n\nCaravaggio invented this groundbreaking technique of light and darkness, with a single, powerful ray of light coming from outside the frame. In his time, the norm in painting was a vague and diffuse light. Caravaggio's contrast of shadow and light produced a totally new intensity and stark realism.
stvalentine stvalentine

Innovative Office Tower in Brisbane - 1 views

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    In troubled economic times, there is only one high rise office tower being built in Brisbane. So enamoured was the client, GPT, with the design by Cox Rayner Architects that he decided to proceed on the basis that the building's aesthetic, environmental and workplace benefits would lure prospective tenants. The tower's structure is organic in that the columns twist and turn up its 45 storey height, emerging through the roof to form a tree-like canopy. The resulting filigree of structure reflects the city's two iconic Fig Trees in the building's forecourt, but the rationale for the concept was initially pragmatic. This was because the tower is being built over a wide existing loading dock such that there were few points on the ground where columns could land. Cox Rayner Architects with their engineers ARUP devised a structural system where loads could be gradually transferred diagonally down to the land predominantly on one side of the site, avoiding the dock. The concept evolved with several attributes. The columns in the 'web' are abnormally thin at 600 - 400 wide, maximising views to the river. Less concrete is required than in conventional typologies entailing reduced embodied energy in construction. Overall the tower is currently measured to be above 6 star rating under the Green Building Council of Australia's Green Star Design Rating System. The tower has a corner services core that also maximises the availability of views to the office areas, with the structural frame wrapping around the remaining volume inside a glass skin with operable blinds responding to solar orientations. The ground plane is designed as a public thoroughfare space linking the city to its main ferry terminal, such that the foyers are at the first level above. This design enriches the sense of lightness and space for which the building will become renowned
stvalentine stvalentine

Kaohsiung Cruise Terminal / Emergent - 1 views

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    The design for the Kaohsiung Cruise Terminal by Emergent is interior driven, biasing building section, and interior spatial effects. The goal is to create a cavernous space which will appear simultaneously massive and lightweight. The project oscillates between volume and surface, avoiding the limitations of exclusively surface-based and volume-based architectures. The Port Services Center, made up of string of hard elliptical volumes, is pushed down into the soft bubble of the Ferry Terminal, so that exterior skin becomes interiorized. This nesting action allows for functional division between the programmatic elements while creating complex interior formations. While the Ferry Terminal is oriented towards the inside, the Port Services Center- consisting primarily of offices- is oriented towards the outside, with views out to the city and the ocean. It is a building within a building. The skin of the Ferry terminal is constructed out of transparent ETFE membrane and hard fiber-composite Armor Plates. These Armor Plates operate as both structure and ornament. They create stiff zones in the skin where the membrane can be affixed. Ultimately, the construction system is a hybrid of shell and membrane construction types- what we now call Shell-branes. A pattern of color flows over the armor, both responding to underlying formal features, and at times becoming graphic. Similar to a butterfly wing, coloration follows competing criteria, such as structural and optical pattern logics. Gradient effects begin to blur boundaries between opacities and transparencies, creating unifying visual crossovers between the two systems of the Shell-brane. The open space to east and west of the buildable area is designed as new kind of park, which does infrastructural work as well as supporting the picturesque. It is an organic machine, where energy is cultivated and grown inside algae photo-bioreactor pods. Using sunlight as well as artificial light at night, these pods gener
Benjamin Hansen

virtual gallery zademack - 0 views

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    The artist was born in Bremen Germany on December 24, 1952. Freelance artist since 1980. Several artshows of his work in and outside his homecountry. Siegfried Zademack's surrealistic visionary paintings make recipients and reviewers wonder. The arrangement of his pictorial thoughts immensely exceeds a realistic reproduction. His pictures allow us to slip in metaphysical dimensions, between humorous irony and the unfathomable deepness of our souls. The semantic sources of this art are equally past and present. The quotation from art history stands alongside the Coca-Cola bottle. His true teachers were the masters of the earl and late Italien Renaissance up to the Mannerists. The syntax of his work is completely determined by that of the ciassical masters. What is astonishing is that, in adoptingit for his own pictorial inventions, he employs such perfect techniquie - though this is indispensable, in view his objectives. His figural inventions are clearly sculptured, but his iconology presumes considerable knowledge of art history and politic. In some of his pictorial quotes, we detect the difference to the Surrealist approach: it is the historical angle, which was yet possible and this is the present-day aspect - in manneristic periods. Descartes had seen this without making an issue of it: mundus est fabula, the world is a grand fable, a never-ending story in which we are forever entangled. lf we live from, stories, there are no sharp borderlihes between periods, for history is then the present, and anything we do now is already the future. This is the link between Boltraffio's Madonna and the American Way of Life, which makes no distinction betweeh the classics and Coca Cola.
ruben vh

Romanticism - 3 views

  • second half of the 18th century in Western Europe
  • revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature
  • confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories
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  • escape the confines of population growth, urban sprawl and industrialism, and it also attempted to embrace the exotic, unfamiliar and distant
  • ideologies and events of the French Revolution laid the background
  • in the second half of the nineteenth century, "Realism"
  • Romanticism elevated the achievements of what it perceived as misunderstood heroic individuals and artists that altered society. It also legitimized the individual imagination as a critical authority which permitted freedom from classical notions of form in art
  • Despite this general usage of the term, a precise characterization and specific definition of Romanticism has been the subject of debate in the fields of intellectual history and literary history throughout the twentieth century, without any great measure of consensus emerging
  • t is the period of 1815 to 1848 which must be regarded as the true age of Romanticism in music - the age of the last compositions of Beethoven (d. 1827) and Schubert (d. 1828), of the works of Schumann (d. 1856) and Chopin (d.1849), of the early struggles of Berlioz and Richard Wagner, of the great virtuosi such as Paganini (d. 1840), and the young Liszt and Thalberg
  • At that time Germany was a multitude of small separate states, and Goethe's works would have a seminal influence in developing a unifying sense of nationalism
  • The poet and painter William Blake is the most extreme example of the Romantic sensibility in Britain, epitomised by his claim “I must create a system or be enslaved by another man's.”
  • In predominantly Roman Catholic countries Romanticism was less pronounced than in Germany and Britain, and tended to develop later, after the rise of Napoleon. François-René de Chateaubriand is often called the "Father of French Romanticism". In France, the movement is associated with the nineteenth century, particularly in the paintings of Théodore Géricault and Eugène Delacroix, the plays, poems and novels of Victor Hugo (such as "Les Misérables" and "Ninety-Three"), and the novels of Stendhal.
  • But by the 1880s, psychological and social realism was competing with romanticism in the novel.
  • One of Romanticism's key ideas and most enduring legacies is the assertion of nationalism, which became a central theme of Romantic art and political philosophy
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    very well developed description + analysis of the Romantic tradition
anonymous

Mark Tobey | Panamerican Art Projects - 1 views

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    Pan American Art Projects specializes in art of the Americas with the mission to build a bridge between North and South American cultures by presenting and exhibiting artists from both regions. We deal with emerging to established artists, as well as secondary market paintings, sculpture, and works on paper.In 1990 we started as Galerie Malraux in Los Angeles, California: at that time the gallery focused mainly on Caribbean art. In 1994 the gallery followed its founder to Dallas, Texas, in a transition which marked the beginning of Pan American Art Gallery; the inaugural exhibit was a massive 400-piece show of important modernist Cuban art. By the early 2000's the gallery moved to a 4500 square feet exhibition space in the upscale Turtle Creek area of Dallas; the first show there, a comprehensive view of Cuban photography titled "Cuban Photography - Revolutionary to Contemporary" was named one of the ten best shows of the year in America.Since that time the gallery expanded its reach to North and South America, and promotes contemporary artists of distinction from the Western Hemisphere. In December 2006 we opened as 12,000 sq. ft. compound in the heart of the Wynwood district of Miami, which features multiple exhibition rooms, a video box, on-site storage, a library, and an apartment with a studio for visiting artists. Our first Miami exhibit was a large two-man show of Leon Ferrari and Oscar Bony, both from Argentina. At that time, we modified our name to Pan American Art Projects, to reflect our evolution into a dynamic contemporary art venture.
Ian Yang

ESSAYS ON SCIENCE AND SOCIETY: Artistic Creativity and the Brain -- Zeki 293 (5527): 51... - 6 views

  • Visual art contributes to our understanding of the visual brain because it explores and reveals the brain's perceptual capabilities. As Paul Klee once wrote, "Art does not reproduce the visible; it makes things visible." But visual art also obeys the laws of the visual brain, and thus reveals these laws to us. Of these laws, two stand supreme.
  • The first is the law of constancy. By this I mean that the function of the visual brain is to seek knowledge of the constant and essential properties of objects and surfaces, when the information reaching it changes from moment to moment. The distance, the viewing point, and the illumination conditions change continually, yet the brain is able to discard these changes in categorizing an object.
  • The second supreme law is that of abstraction. By abstraction I mean the process in which the particular is subordinated to the general, so that what is represented is applicable to many particulars. This second law is intimately linked to the first, because abstraction is a critical step in the efficient acquisition of knowledge; without it, the brain would be enslaved to the particular. The capacity to abstract is also probably imposed on the brain by the limitations of its memory system, because it does away with the need to recall every detail. Art, too, abstracts and thus externalizes the inner workings of the brain. Its primordial function is thus a reflection of the function of the brain.
c newsom

Topsell's The History of Four-footed Beasts and Serpents - 0 views

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    From the site: "An English curate and the author of several books on religious subjects, Edward Topsell is best remembered for The Historie of Foure-footed Beastes and The Historie of Serpents. Born in 1572, Topsell attended Cambridge before becoming a clergyman in the Church of England. He published The Reward of Religion in 1596, and Time's Lamentation in 1599. In 1604 Topsell became curate of St. Botolph, Aldersgate, a position he held until his death. In 1607, Topsell published his magnificent illustrated work Historie of Foure-footed Beastes, Describing the True and Lively Figure of Every Beast. The book was closely based on the Historiae Animalium of Swiss author Conrad Gesner. In 1608 he followed it with The Historie of Serpents; Or the Second Booke of Living Creatures, which also drew on Gesner's Historiae. The woodcuts for both of Topsell's books came directly from Gesner's pages. Topsell authored one more religious work in 1610 called The Householder. He served as vicar and chaplain in various areas of England until his death in about 1638."
The Ravine / Joseph Dunphy

Daniel Rozin Interactive Art - 0 views

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    The pieces that this site is perhaps most notable for are the mirrors, sometimes made of things that are not naturally reflective. For example: the wooden mirror, which, taking the image from a videoacamera, activates selected actuators, causing some of the wooden panels on a display to tilt downward. Those panels, appearing darker because they are now in shadow, create the darkened region of a mechanically created, pixelated moving image of the person standing before the "mirror". In the artist's own words, "Rozin creates installations and sculptures that have the unique ability to change and respond to the presence and point of view of the viewer". Videos and photos of some of his work are included.
Ian Yang

The Meaning of Art - Chinese Art Introduction by Herbert Read - 1 views

  • The history of Chinese art is more consistent, and even more persistent, than the art of Egypt. It is, however, something more than national. It begins about the thirtieth century B.C. and continues, with periods of darkness and uncertainty, right down to the present century. No other country in the world can display such a wealth of artistic activity, and no other country, all things considered, has anything to equal the highest attainments of this art.
  • Chinese technique is amazingly simple: it involves the knowledge of the use of one brush and one color—but that brush used with such delicacy and that color exploited with such subtlety, that only years of arduous training can produce anything approaching mastery. As is well known, the Chinese normally write with a brush, and a brush is as familiar to them as a pen or pencil is to us. The first fact to realize about Chinese painting is that it is an extension of Chinese handwriting. The whole quality of beauty, for the Chinese, can inhere in a beautifully written character. And if a man can write well, it follows that he can paint well. All Chinese painting of the classical periods is linear, and the lines which constitute its essential form are judged, appreciated and enjoyed, as written lines.
  • Throughout its history, then, Chinese art conceives nature as animated by an immanent force, and the object of the artists is to put themselves in communion with this force, and then to convey its quality to the spectator.
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  • the most distinctive variations are due to religious influences, to Buddhism and Confucianism. No doubt, as always, these religions gave a tremendous impetus to artistic activities of all kinds. But they also did a lot of harm – Buddhism by its insistence on a dogmatic symbolism, always a bad element in art; and Confucianism by its doctrine of ancestor worship, which was interpreted in art as crude traditionalism, requiring the strict imitation of ancestral art. But in spite of these limitations, perhaps in some sense because of them, Chinese art maintains its vitality, reaching its highest development in the Song period, a period which corresponds roughly in time, and even more strikingly in mannerism, with the early Gothic period in Europe.
Ian Yang

Forum : Art Face Off :: View topic - Pricing Your Art - 0 views

  • In general, I recommend artists price their work as low as they can possibly bear to start out. Remember, it is more important to cultivate on-going relationships with dealers and consultants than to sell one piece.
  • Ultimately, it is better for the work to be out there than sitting in your studio. I believe art is a process, a verb, not a noun. And, part of the process necessitates that the work be exhibited, purchased and appreciated by others.
  • Remember, this is just a starting point. If you are fortunate enough to have a gallery representative, they should work with you in helping to determine a realistic price for you work. Ultimately, your prices will establish themselves as you start showing your work and getting a reaction.
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  • Medium, size, complexity, cost of production and previous sales history, also play important roles in determining the final sales price. But the bottom line could just as easily be determined by how much an artist is attached to a particular piece.
  • an increase in price is only justified when this balance shifts…either the demand increases, or the supply decreases.
  • the work you present publicly should all be of the highest caliber and of equal value. If you are particularly attached to a particular piece and want to price it twice as much as the other work in the show, it is better to just mark the piece sold and keep it for yourself until your work increases in value to a point where the price you want is justified.
  • * What is the number and quality of the venue of group and solo exhibitions? * Are the shows all local or spread out nationally or even internationally? * Are there any museum shows? * Does the artist have any critical published reviews? * What kinds of publications and who are the writers? * Have any catalogs been done in conjunction with any of the shows? * What is the artists sales history? * Is there a long list of collectors? * Are the collectors mainly private collectors, or are there public institutions listed? * Any permanent museum collections?
Benjamin Hansen

http://fionahewitt.com/ - 0 views

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    "In 1994, a few years after graduating from Edinburgh Art College with a degree in Drawing and Painting, I left Scotland for a new adventure in Hong Kong. I was struck by the sheer intensity of colours and design-style of all things Chinese, be that packaging, religious symbols, signs, labels or type. For three years, I received commissions from Hong Kong's major magazines and advertisers, but was frustrated by the limitations of the style I had created. My dream was realised when I won a place to study for a Masters at London's Royal College of Art. It was here that I discovered I could combine my drawing skills with the digital medium. This provided me with the tools I needed to realise my graphic visions. Gaining confidence in my new-found style, I returned to my Asian flavoured 'paintings' with gusto, this time bringing on board more elaborate and obscure sources, inspired by toys, communist-era propaganda, the Fifties, the Forties, sweets and packaging. In 2005, I returned to Asia for inspiration. This time moving to the romantic and inspirational former French Concession in Shanghai for a year-long sourcing adventure. I have now returned to my childhood roots of living by the sea, and now live in the beautiful English seaside city of Brighton."
Benjamin Hansen

Yumiko Kayukawa - 0 views

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    Yumiko Kayukawa was born in the small town of Naie in Hokkaido, Japan. The panoramic beauty of her surroundings and feelings of communication with the native animals inspired her to paint the things around her. As a teenager she also fell in love "with the energy and giddiness" of American pop-culture through her exposure to rock n' roll, film, and fashion. By the age of 16, she had debuted into the art world with a comic-book (Manga) feature. After graduating from Art school, she continued to paint, but struggled with truly expressing herself in her art. Fortunately, this frustration took a dramatic turn during a visit to Seattle where Yumi painted a picture at the request of an American friend. In comic-book style, two girls sit entwined atop a mushroom, Japanese symbols and American pop art styles melding together in lively color and bold lines. Yumi now realized her art persona - sagacious Japanese tradition in synergy with the jubilant irreverence of American pop culture. What does she see for her future as an artist? "I'd rather my paintings hang next to rock star pin-ups than on museum walls. Ultimately I want to connect with people all over the world on that level", she says with a smile. When we look at her work, it's obviously just a matter of time.
Trendbuddies paktrendbuddies

THE New SPECS OF THE UPCOMING Latest ONEPLUS 9 FLAGSHIP Which HAVE BEEN CONFIRMED - 0 views

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    THE New SPECS OF THE UPCOMING Latest ONEPLUS 9 FLAGSHIP Which HAVE BEEN CONFIRMED There has already been a lot of speculation on the web about the characteristics of the promising OnePlus 9 flagship, but now we have their confirmation in the form of screenshots of AIDA64 apps for Android. #news #smartphone #allmobilesdetails #newsmartphones #allaboutdevicespecifications #phonepanda https://phonepanda.pk/news/491/the-new-specs-of-the-upcoming-latest-oneplus-9-flagship-which-have-been-confirmed
Scheiro Deligne

Harriet FeBland - 0 views

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    During a long and distinguished career Harriet FeBland's sculpture, paintings, drawings and graphics have been shown in many countries outside the United States. These include England and France, Japan and Mexico. It was as an American abroad that this New York born and educated artist began her professional career. She lived and worked in England and France and actively participated in European art circles for more than a decade. Her recognition as a pioneer constructivist sculptor-painter came in the early 60's with her major New York exhibition "Plastic in Art" at the Galerie International. It was soon followed with an invitation from Thelma Newman to be included in the book "Plastics As An Art Form" published by Chilton Press in 1963. This work is still considered the eminent text on the subject today. It also highlights the handful of pioneer artist's working with plastics at that time, and the beginnings of 'construction' as the art form of Ms. FeBland.
Scheiro Deligne

we make money not art - 2 views

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    Since 1955, the World Press Photo Foundation is awarding the most striking and representative images that have documented and illustrated the events of our times in the press. The winners of the photography contest are exhibited this year in 100 cities in 45 countries and is still expanding. The plethora of exhibition venues hardly justify why World Press Photo is so wantonly careless about the way the images are exhibited
Skeptical Debunker

'Clash' of 3-D movies to hit underprepared cinemas - 0 views

  • The pileup was created in part because studios want to capture some of the excitement surrounding "Avatar," the James Cameron epic released in December. At $2.4 billion in global ticket sales, it is the highest-grossing film ever. In addition to the novelty or richer experience that might drive more people to see a 3-D movie, tickets to 3-D movies also cost a few dollars more. Around the time "Avatar" came out, Warner Bros. decided to convert a remake of "Clash of the Titans" from 2-D to 3-D and push its release back a week, to April 2. That will be the third 3-D movie to hit the market in a short span. DreamWorks Animation SKG Inc.'s "How to Train Your Dragon" comes out a week earlier, and The Walt Disney Co.'s "Alice in Wonderland" hits theaters March 5. And "Avatar" might still be playing in some places too. But a limited number of theaters can show these movies in 3-D, because not all theater owners have bought new digital projectors and undertaken other upgrades necessary to show movies in the format. About 3,900 to 4,000 3-D-ready screens are expected to be available in the U.S. and Canada by the end of March. Typically a movie in wide release might be shown on 3,000 to 10,000 screens in North America. In the past, a smaller number of 3-D-capable screens was adequate when one major film at a time was being released in 3-D in addition to 2-D. Each movie had a longer run, and moviegoers who wanted to see it in 3-D could pick a convenient time to go. With three out at once, each will get less exposure because some theaters with only one or two 3-D screens will have to choose which movies to show in 3-D. "One or all three are going to suffer in some way," said Patrick Corcoran, director of media and research for the National Association of Theatre Owners. "It makes it a much harder decision on exhibitors on what to keep or what to drop or what to add and probably should have been avoided."
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    Movies in 3-D are becoming such big moneymakers that Hollywood studios are cramming them into the nation's theaters, even though there aren't enough screens available to give each film its fullest possible run. That will mean an unprecedented number of 3-D movies for film fans to choose from this spring, and smaller profits for Hollywood studios than they might otherwise get with fewer 3-D competitors.
Scheiro Deligne

The Art Institute of Chicago - 1 views

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    It is true that art museums are about the stubborn, matter-of-factness of things: the works of art. But access to the Art Institute's collection has always been enhanced by words and reproduced images. With the launch of our redesigned Web site, we acknowledge the importance of digitized access to the works of art. Here you will learn about the character and structure of our collection and our educational programs and exhibitions. You will also learn how to visit and contact us easily. I very much look forward to seeing you at the museum. James Cuno President and Eloise W. Martin Director
Skeptical Debunker

Spectacular short film wins $100,000 LG FilmFest grand prize | DVICE - 3 views

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    "LG does more than just manufacture gadgetry - it sponsored the "Life's Good" FilmFest, a filmmaking contest with the goal of showing off the company's HDTVs. This masterpiece, entitled Nuit Blanche (White Night) by director Arev Manoukian, won the contest's $100,000 grand prize, announced January 28, 2010. After you've savored this exquisite work of art, if you want to ruin the illusion by finding out how this surreal world was created, click through for a demonstration of the technology behind its making. Keep in mind, though - all the technology in the world is no substitute for talent."
Scheiro Deligne

Brad Elterman - Photography - 0 views

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    Brad Elterman's career started with a borrowed camera at the age of 16. His first photo, of Bob Dylan performing onstage, was published in 1974. That lead to endless nights of covering the rock scene in Hollywood encompassing pop, punk and rock bands including the Faces with Rod Stewart, David Bowie, the Sex Pistols, the Runaways, Kiss, Queen, Blondie, the Ramones, the Bay City Rollers, Abba, Boney M, Kenny Rogers, The Who, Leif Garrett, Michael Jackson, etc.
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