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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.
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
geneliasmith6

Art Exhibition Websites |] Online Exhibitions by Female Artists - Four You Gallery - 0 views

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    Want a unique and one of a kind experience touring an art gallery? Our online gallery exhibition is just the thing for you Contact us for details!
yc c

Art of Science - 2 views

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    The Art of Science exhibition explores the interplay between science and art. These practices both involve the pursuit of those moments of discovery when what you perceive suddenly becomes more than the sum of its parts. Each piece in this exhibition is, in its own way, a record of such a moment.
c newsom

Musée d'Orsay: Max Ernst, "Une semaine de bonté" - the Original Collages - 2 views

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    An exhibition of Max Ernst's collage novels.
c newsom

Tate Britain| Past Exhibitions | Gothic Nightmares | Room 7 works - 3 views

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    Revolution, Revelation and Apocalypse; a set of images from an archive of an exhibition at The Tate.  Some really nice Blake and Fuseli.
Scheiro Deligne

Art Tattler - 3 views

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    Art Tattler is a journalistic-style reiterative web-based intervention of the organizational and curatorial aspects of exhibitions around the world. As a virtual journal Art Tattler publishes a comprehensive directory of extended form exhibition listings from around the world, organized geographically and archived in the categories of general, architecture and design.
Taylor Wilson

Tim Burton exhibition at LACMA - 3 views

  • The Los Angeles County Museum of Art presents a major retrospective exploring the full range of Tim Burton's creative work, both as a film director and as an artist, illustrator, photographer, and writer.
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    LOVE the detail sketches from TIm Burton. Don't miss out this show. It will be there only until end of OCT!
c newsom

Black Panther Posters - 1 views

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    An exhibition of Black Panther posters from the 60's and 70's designed by Emory Douglas.
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.
Scheiro Deligne

Exhibitions | likeyou - the artnetwork - 1 views

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    likeyou - the artnetwork is a Zurich-based information bureau dedicated to the international distribution of information for contemporary visual arts via our platform, our weekly newsletter and our fan page on facebook, reporting on current exhibitions, openings and events.
anonymous

Famous Haitian Art & Paintings by Haiti Artist Andre Pierre - 0 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.
yc c

Masao Yamamoto - 1 views

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    HackelBury collection of old B&W photos by Yamamoto HackelBury exhibits 20th and 21st century Fine Art, specialising in photography - a carefully selected stable of artists, founded on the shared expertise, passion, & experience of Sascha Hackel & Marcus Bury, dealers & curators of fine art photography since 1990. 
Ian Yang

Austin Museum of Digital Art - 0 views

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    The Austin Museum of Digital Art (AMODA) is a non-profit institution that promotes access to and appreciation of digital art. Currently AMODA is a nomadic institution, holding exhibitions, showcases, lectures, youth programs and other events at various locations around Austin, often in collaboration with other arts and educational organizations. Ultimately, AMODA is envisioned as a permanent venue for digital art -- a world class art museum in downtown Austin, open to the public. Our goal is to make AMODA a leading center in the community for art presentation, education and outreach. Our mission is to engage the public, educate the community and support artists in the creation, understanding and appreciation of digital art.
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?
Ian Yang

Art Community & Forum : Art Face Off :: View topic - Top 10 Reasons Why Galleries Rejec... - 0 views

  • Too Similar: A gallery looks at the group of artists they represent, much like an artist looks at a painting. It is not so much the individual artist that is considered, but, rather, how that art fits into the existing group. Often galleries are reluctant to take artists that are too similar to an artist they already represent. Too Different: All galleries try to create a niche for themselves by representing artists that are stylistically similar and would appeal to their core group of collectors. If your work is outside the arbitrary parameters they have established, you are out of luck. Too Far Away: Unless you have already established a reputation elsewhere, galleries are reluctant to work with artists outside their regional area. Issues surrounding shipping costs and the inconvenience of getting and returning work in an expedient manner make it often not worth it. Too Fragile/Difficult to Store: Regardless of how big a gallery is, there is never enough storage space. Galleries shy away from work that is 3 dimensional, easily breakable, heavy or hard to handle. Too Expensive: Most artists undervalue their work. But, occasionally I will come across an artist with a totally unrealistic sense of how to price their work. Prices are established by the law of supply of demand (Read Pricing Your Art). If a gallery feels they can not price your work fairly and still make a 50% commission, they will not be willing to take a chance on you. Too Cheap: Artists who only do works on paper, photographers, etc often can not generate enough income from sales to make an exhibition worth it to a gallery. If you have 20 pieces in a show, and each piece sells for $500, and your show completely sells out…your gallery has only made $5000… barely enough to cover the costs of the postage, announcement and opening reception. Too Difficult: Entering into a relationship with a gallery is in many ways similar to entering into a marriage. It's a relationship that needs to be able to endure candid dialog about the things that are often the most difficult to discuss with anyone…your artwork and money. Both the artist and the gallery need to have a level of trust and comfort that will guarantee honest communication. If a gallery perceives you as being a difficult person to work with, they tend to veer away. Too Inexperienced: Many artists start approaching galleries too soon, before their work has fully matured. Most critics and curators say it takes an artist several years after college for their work to fully develop stylistically. Galleries want to make sure that once they commit to you, your work will not make radical and/or unpredictable changes. Even if a gallery LOVES your work, they may want to watch your development over a period of years to confirm their initial opinion. Artists must also have enough work of a similar sensibility to mount an exhibition. Too Experienced: The gallery fear of failure is strong, particularly in this economic climate. Careful to be sensitive to a price point that is right for their audience, galleries may not be financially able to risk representing artists who are farther along in their career, therefore demanding higher prices, than emerging younger artists. Artists with a long sales history of gradually appreciating prices may find themselves priced out of the current market.
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    Something that every artist should keep in his/her mind.
c newsom

Frank Lloyd Wright: Designs for an American Landscape, 1922-1932 (Library of Congress E... - 0 views

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    Presents five remarkable projects that Frank Lloyd Wright worked on during the 1920s, in which he developed architectural prototypes of far-reaching consequence.
c newsom

Russian Utopia: a depository. Museum of Paper Architecture. - 0 views

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    Exhibits of plans, sketches, models, installations, etc. regarding Russian architecture.
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.
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