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Golden Etruscan Jewellery by Andrea Cagnetti Next Issue N.51 Artwallzine

Sun, 06/16/2013 - 21:47 |  admin

 

California Gold Rush 1848

 

The story of gold is as rich and complex as the metal itself.

Wars have been fought for it; love has been declared with it. Ancient Egyptian hieroglyphs portray gold as the brilliance of the sun; modern astronomers use mirrors coated with gold to capture images of the heavens.

By 325 BC the Greeks had mined for gold from Gibraltar to Asia Minor. In 1848 AD James Marshall found flakes of gold whilst building a sawmill near Sacramento and so triggered the gold rush in California.

Held securely in national vaults as a reserve asset, gold has an irrefutable logic; released from the tombs of pharaohs and emperors alike, gold has an undeniable magic.

 

In Heritage we describe just some of the key moments from gold’s history. Further sections take time to discuss important fundamental issues such as the relationship of demand and supply, gold’s price history; the golden constant and gold’scontribution to society.
Numbers and facts draws together some of the more extraordinary statistics which gold has accumulated across the centuries and around the world.

 

Text from : World Golden Council

 

It is all about our next issue from Artwallzine N.51  with the great Andrea Cagnetti and his Etruscan Golden Jewellery Here is his page on the World Golden Council

World Golden Council Great gold jewellery designers

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GOTTFRIED HELNWEIN in Canada

Sun, 06/16/2013 - 16:35 |  admin
 
 
 
GOTTFRIED HELNWEIN PAINTINGS ARRIVE IN CANADA!
 
Highly anticipated, after 1 year of waiting for original works from Gottfried we are proud to announce that we have his works on display for the first time in Canada.
 
Standing in front of the work we are left amazed at the emotions it draws. It is quite a sight to see… many people passing by in the mornings and evenings peer into the gallery and upon walking into the space are left mesmerized, restraining themselves from reaching out to touch it --thinking at first that it's a photograph then taking a double take realizing it is oil and acrylic on canvas.
 
Recently Gottfried's work “Mouse III” from 2001, 94" x 63" sold for € 110,000 at the Dorotheum Auction House in Vienna and this past weekend the doors opened for the Retrospective Show of Helnwein at Albertina Museum Vienna. On view till August 25th 2013.
In 2012 Helnwein had a Solo Show in the Museo Nacional de San Carlos, Mexico City Solo Show at Hilario Galguera, Mexico City along with the Annual Show “Miles to go before I sleep” (Group) Gallery House, Toronto Canada and a Solo show with Friedman Benda Gallery, New York. Upcoming Helnwein is preparing for a Solo Show at Daelim Contemporary Museum Seoul, Korea.
 
Gottfried Helnwein who’s concerned primarily with psychological and sociological anxiety, historical issues and political topics.
 
As a result of this, his work is often considered provocative and controversial. Reoccurring focuses include the Child unlike portrayed in usual innocent carefree manners are vividly depicted as physically and emotionally harmed. As well as self-portraits and the Holocaust.
 
Also reoccurring are cartoons twisted with a monstrous vision. Other works of Helnwein includes portraits of the Rolling Stone, John F Kennedy for Time magazine, Andy Warhol, Muhammed Ali and works of art in the ‘History’ album of Michael Jackson.
 
Each show draws a crowd. With over 130,000 recorded for the San Fransisco Museum of Modern art.
 
Gottfried now almost exclusively does museum exhibites and is booking 2-3 years in advance and selling his original paintings sometimes prior to completion.
His prints are also coveted and hard to find.
For more information please contact 
or Tel: 416.315.8123
 
2068 DUNDAS STREET WEST TORONTO ON M6R 1W9 CANADA
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Pierre Carreau - Photography

Fri, 06/14/2013 - 09:53 |  admin

Pierre CARREAU - Showing the invisible to create liquid sculptures... ​

Pierre Carreau was born in 1972 near Paris surrounded by artistic influences. His family includes a photographer, a talented sculptor and painters. Despite this artistic upbringing Pierre graduated university with a degree in business. After several years working in the Information Technology industry he decided to respect his soul and become a professional photographer.  Since he was a child Pierre is fascinated by the ocean. He loves playing with all water gear that allow him to enjoy the wind and waves. Naturally, his first photography projects were capturing action shots for surf or kitesurf magazines and water sport equipment manufacturers.  In 2004 Pierre moved his wife and children to the caribbean island of St Barth where he is still living the dream. On this small paradise, he found the opportunity to combine his passion for architecture and interior design with his photographic skills. He stages and photographs the most prestigious villas and hotels of St Barths.  Pierre works intensively on his project "AquaViva", a study of wave shapes. ​"I like the fact that this energy comes from far away to be revealed on our beaches". These images mix power and fragility. Like glass or metallic sculpture, they bring us momentary treasures created by nature. Each wave is different and a single wave offers various beautiful shapes and light reflexion. However to get a good picture, the process is extensive. Pierre has to take hundreds of shots to capture the right moment. In his words : "digital photography and the best camera/lens are absolutely necessary to create my images. Technology allows me to make it possible". Pierre has found small waves to be more interesting to him as they show details and transparency that are not visible on huge waves. A perfect control of natural light is also important for the visual impact of his project. Pierre always says : "a photographer is literally someone who writes with light". 

http://www.pierrecarreau.com/

 

 

 

 

 

 

 

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Cultura Inquieta - Spain Art Festival

Fri, 06/14/2013 - 09:24 |  admin

More Information go to www.culturainquieta.com

 

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Liquid Borders - International art festival of photography, video art and installation

Fri, 06/14/2013 - 09:14 |  admin

“La Corte - Fotografia e ricerca” cultural organization and International
ArtExpo are proud to announce the opening of Liquid Borders - International
art festival of photography, video art and installation, held in Bari (Italy)
in the prestigious and historical locations of Castello Svevo (Swabian
Castle), Santa Teresa dei Maschi and Sala Murat, from the 3rd to the 31st of
July.

International ArtExpo is an independent group of artists founded in 2001 and mainly dedicated to contemporary art and videoart. Most of our last events have been realized in museums, galleries, private foundations and public institutions around the world. Our object is to use new technologies to globalize the language of art, to connect the conceptual points of contact of artists working in every part of the world, all united in the thick plot of the world net.
We work with a number of national and international galleries as well as publishers, museums, curators and writers from all over the world. We help artists through solo and group exhibitions, gallery representation, magazine reviews and advertisements, press releases, internet promotion, as well as various curatorial projects.

The openings of the event will be on Wednesday the 3rd of July 2013 at
Castello Svevo (Swabian Castle), at 06.00 PM; and on Thursday the 4th of July
2013 in Santa Teresa dei Maschi at 05.00 PM, and at Sala Murat at 06.00 PM.

The event will last until July 31st 2013.

The Festival is based on the main concept of the hybridization among art,
culture, physical and social identities in contemporary cities, and the
mixing between people and space. Urban environments, people, rules and limits
are no more distinct realities, but they constantly modify and get mixed
together, generating new connections and hybrid results, with undefined
ethic, social, sexual and religious borders. Forty-two artists, from all over
the world, have been invited to present their artworks related to the theme,
during the festival which will be hosted in the three venues of the city of
Bari, until the end of July. The aim of the festival is to understand which
are the borders still alive in contemporary metropolis, and which ones have
become undefined and hybrid. To understand that, artists use material,
pictures, sounds, videos and site-specific installations. Fausta Maria
Bolettieri e Luca Curci, curators.

More information :

International ArtExpo

http://www.lucacurci.com/artexpo/

Corso Vittorio Emanuele II, 33
70122 Bari (Italy)
+39.0805234018
+39.3387574098
lucacurci@lucacurci.com

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TEMPORARY EQUILIBRIUM - Jim Kazanjian and William Hundley

Wed, 06/12/2013 - 10:25 |  admin

TEMPORARY EQUILIBRIUM

Jim Kazanjian and William Hundley

Curated by Sven Davis

June 6 – 29, 2013

VIEW ARTWORK HERE

http://breezeblock.viewbook.com/album/temporary-equilibrium-kazanjian-#1

 

Temporary Equilibrium brings together the talents of Jim Kazanjian and William Hundley in a two-person exhibition.

Both artists restructure photography as a medium, inviting the viewer to look twice and initiating a challenge to understand just how their compositions are made.

Jim Kazanjian does not come into contact with a camera throughout his entire creative process, but uses a library of literally thousands of images to assemble a palimpsest of unfamiliar imagined images into his series of landscapes and labyrinthian abstracts. The internet serves as his camera, Photoshop his lightbox and the mouse his shutter whereas William Hundley’s photography is taken straight from the camera with no postproduction alterations or manipulation applied. Hundley calls this series of work Entoptic Phenomenaand has been exploring his unique thread of visual trickery since 2006.

Kazanjian and Hundley’s distinctive yet divergent work is inextricably linked through their proposal of reality as illusion within the subject matter of their work as a common and unifying bond.

Both widely known and respected, Kazanjian and Hundley use and capture the urban landscape in a state of flux. Kazanjian’s composites of impossible architecture hang in the balance as if ready to fall at any moment as the viewer bears witness to the last moments that his illusionary images (never) exist, whereas Hundley’s gravity defying in-camera captures illustrate a constructed moment in time, preserved for perpetuity.

Temporary Equilibrium opens in Breeze Block’s Gallery 1 space on Thursday 6th June 2013 6-10pm, with a preview evening onWednesday 5th June 2013 6-8pm alongside Eric Shaw’s solo exhibition in Gallery 2; Throw Off Your Mental Chains.

About Jim Kazanjian

Jim Kazanjian received his MFA from the Art Center College of Design in 1992. His BFA was completed at the Kansas City Art Institute in 1990. He has worked professionally as a commercial CGI artist for the past 18 years in television and game production. Various clients he has collaborated with include: Nike, Adidas, NBC, CBS, HBO, NASA, HP, Intel and others. He currently lives in Portland, Oregon.

 

About William Hundley

William Hundley is an American artist born in St. Paul, MN. He completed his BFA in Studio Art at Texas State University in 1998. Early in his career he first used photography to capture an image or idea to recreate later via drawing or painting.  At some point he started to enjoy the photography side of his practice more than the artwork it informed. His intention is to create images never seen before by capturing surreal imagery and performing magic in the eyes of the camera and viewer. He currently lives and works in Austin, TX.

About The Curator

Sven Davis is an art collector and arts commentator in his role as UK director for the internationally staffed online arts magazine Arrested Motion. He lives in York, in the North of the UK, where he works in an architectural practice. In September 2012 he curated an architecturally themed group exhibition entitled Space//Form at Breeze Block Gallery with over 100 participant artists and site specific installations from Michael Murphy & Mark Dean Veca. This exhibition led to an ongoing relationship with the gallery and throughout 2013/14 he will be curating Breeze Block Gallery’s artist program. This endeavor began in May 2013 with Wider than a postcard – another large group show featuring 200 international artists all making commonly sized work dealing with place & belonging.

 

Inquiries, please email Paige Prendergast, paige@breezeblockgallery.com

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Diego Rivera - Mexican Master

Tue, 06/11/2013 - 18:28 |  admin

Diego Rivera

Painter and muralist Diego Rivera sought to make art that reflected the lives of the working class and native peoples of Mexico.Born on December 8, 1886, in Guanajuato, Mexico, Diego Rivera sought to make art that reflected the lives of the Mexican people. In 1921, through a government program, he started a series of murals in public buildings. Some were controversial; his Man at the Crossroads in New York City's RCA building, which featured a portrait of Vladmir Lenin, was stopped and destroyed by the rockefeller family

 

The Hands of Dr Moore 1940 Oil on canvas

 

Video about Diogo and his Art 

http://www.biography.com/people/diego-rivera-9459446/videos/diego-rivera-mini-biography-17726164

 

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Genesis by Sebastiao Salgado brazilian photographer

Sat, 05/11/2013 - 13:03 |  admin

http://www.nhm.ac.uk/visit-us/whats-on/temporary-exhibitions/salgado-genesis/

 

The Anavilhanas, the name given to around 350 forested islands in Brazil's Rio Negro, form the world's largest inland archipelago. We headed north-west up the Rio Negro over land so flat that the river is sometimes 20 kilometers wide, leaving long fingers of islands covered by dense vegetation. What may appear in a photograph to be a static landscape is in fact ever-changing, depending on the changing seasons and the flow of water coming down from the Andes.
Brazil. May 2009.

©Sebastiao SALGADO / Amazonas Images / NB Pictures

https://www.facebook.com/SebastiaoSalgadoGenesis

http://www.amazonasimages.com/accueil

 

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Maya Kulenovic,a Canadian artist

Fri, 05/10/2013 - 23:13 |  admin

 Maya Kulenovic

 

 
INTERVIEW
 
ATLAS MAGAZINE INTERVIEW WITH MAYA KULENOVIC (Complete version)
 
 
Atlas: What drove you to start painting and why? Was art always part of your life, or was it something you discovered much later in life?
 
 
MK: I started drawing and painting before I can remember. My mother later revealed to me that she had hoped I would be an artist even before I was born; so when I declared to my family that I was going to be an artist, it was received as a matter of course, and neither me nor them have ever questioned it. So, I had been lucky that I had this identity of an 'artist' established so early on, and I never had to struggle with decisions about my future. I have been interested in many other fields, especially science and music, but never with any intention of pursuing them professionally. 
 
 
 
Atlas: Your paintings seem to speak for themselves, with dark, soft voices. But what aspect of your life (or yourself) do you believe they reflect?
 
 
MK: I never try to connect my personal life with my paintings. I believe that the connection between personality and life of the artist with his work is inevitable, and that it should be left as a subliminal process. My paintings are inspired by what I see, and if something inspires me, this is usually because it contains a larger, universal truth as well as a connection to my own life. So all of my images bear scars of my own experiences as a participant, but also as an observer of both history and the present, who is trying to make sense of it all on rational, emotional and philosophical levels. Every one of my paintings contains different aspects of everything that I know and have experienced, expressed either as a presence in the image, or as an absence. Ultimately, whatever their particular subject may be, my paintings are existential in nature and they usually show the critical points: borderline states between being and non- being, creation and destruction, life and death, trance and wakefulness, sanity and madness. 
 
 
 
Atlas: Was your mother an artist herself, or anyone in your family?
 
 
MK: No. Both of my parents, as well as almost everyone else in my family are in science. My father had some drawing talent when he was young and an eye of an architect - logical, precise, correct. He was interested in analyzing direction, perspective, composition, anatomy, weight, relation of objects to each other and to empty space. My mother's approach to art is more intuitive. She has an innate ability to allow herself to be absorbed and awed by beauty as well as emotional meaning behind it without the need to judge it rationally for its subject. She told me that, when she was a child she knew a boy who would not go out and play with the other children but he would sit on his windowsill and draw for hours on end. She thought it must be a great fortune to love an activity so much that it absorbs you so completely, that time, place and people cannot touch you when you are in that world which belongs to you alone. So she wished for her child to have that. I have learned a great deal from both of my parents.
 
 
 
Atlas: You say you are inspired by what you see, what surrounds you, but which other artists have inspired you the most throughout your career? Do you believe any of them has played an important role in defining who you are today as an artist?
 
 
MK: Rembrandt - that's an obvious one. I have loved his imagery since I was a child, so his art is a sort of a 'home' for me. Everything else I do has some relation to it, even if it is not direct. The second most important was Lucian Freud, even though you probably would not see that immediately in my paintings now. For about 4-5 years in college and after, my painting was very directly inspired by his work. At that time I did not use glazes but thick impasto, and Freud influence was very obvious. But then, for some reason I went in the opposite direction, back into glazing and eventually almost annihilating the brushstrokes. What remained from my studies of Freud is a particular use of strong colours - only I use it in transparent, damaged, overlapping layers. Also, his use of perspective, gaping, empty spaces and damaged walls, oppressive shadows, damaged surface. As I said, I don't expect anyone else to be able to see these elements as in my paintings they are translated into a different language, but I know they are there. I have not had any direct influences from another artist in some time now, but every artist is a product of the entire art history that came before them. Amongst other influences on me in the past I'd mention Greek sculptures, Roman death masks, ancient Middle Eastern architecture, early American documentary photography and film, East Asian ink paintings, Leonardo’s drawings, Goya's prints, Turner's sky, Atget, Bourke-White, Bacon, Rego, Dumas. 
 
 
 
Atlas: Do you paint every day, or only when you are feeling inspired?
 
 
MK:I work in the studio every day, but I do not paint every day. There are many other aspects to the work, such as researching ideas and reference material, taking photographs, sketching, doing many variations on a theme until I come up with the right one. Then there are also the other aspects of work such as making stretchers, stretching and treating canvasses, documenting the paintings and then preparing them  for shipping to galleries. I used to hire a studio assistant from time to time, but I actually enjoy this kind of work and I am very particular about how I do it, so I usually do it myself.
 
When it comes to inspiration, I usually have plenty of it... however, I usually don't paint at the times when I have to focus on the business side of my profession. The concerns of business are those of time, space, money; they are precise and often they involve short and long term plans. On the other hand, the concerns of painting are timeless, as it aims at giving a visual form to something ethereal, unnameable, that has roots in our common history as well as in the private one.  This is a form of meditation, a very private act that to me doesn't have anything to do with the administrative, public and detached nature of business.
 
 
 
Atlas: Do you tend to visualize in your mind how you want the painting to turn out or do you usually just improvise? I would love to know more about your creative process!
 
 
MK: I start from a realistic image and composition that is based on certain principles; however, I also search for an expression of a larger truth, which I don't even know what it looks like until I recognize it in a mark on canvas. I wish for my paintings to end up more powerful than I can visualize them. I can achieve this only by allowing something else other than myself into it - an element of randomness - and when something surprising and wonderful happens, I can recognize and distill it, build upon it.
 
I begin with reviewing various source images, imagination and sketches, so I have a solid idea of what image I'm painting and what in it I find most interesting.  I am a minimalist in the sense that I try to take out whatever I think is not necessary so there are no decorative or purely aesthetic elements in the image. This is an intuitive as well as a rational and emotional process. At this stage I pay most attention to the relationship between light and shadow; the way the combat and compliment each other and how that affects the subject. In most of my paintings there are certain elements of order, chaos, infinity and disturbance; these are roughly established at the earliest stage, but they change and develop later, as the original idea is intended to be transformed by the painting process.
 
The technique I use allows for random influences of paint as well as what I call 'destruction' layers, which are meant to damage an established structure of the image and provide space for surprising events. The atmosphere of the painting arises from the relationships between the defining and destroying elements. Those are the elements that I cannot predict completely, but they end up affecting the entire image sometimes at its core. This is what makes painting interesting for me. If I could know exactly how a painting would look like, there would be no reason to paint it..such an act would feel too self- congratulatory to be fully satisfying.
 
 
 
Atlas: What do you think has been your greatest achievement so far? Are there any dreams you have yet to fulfil?
 
 
MK: Thats a tricky question... what I consider to be my greatest achievements are all those situations where I managed to find strength to keep doing what I need to do in spite of difficulties, wherever I exhibited a dogged perseverance and disregarded risks or pain, in life or work. I can also consider the results of my work - my paintings -  to be my greatest achievements, not so much individually, but as a collective spirit; however, I cannot completely take credit for that, as my paintings are a combination of my work, certain abilities that I was born with and various external influences. In a way, I owe something to everything and everyone that has ever inspired me. 
 
I don't dream much and I don't plan much, I simply do the best I can in the moment. In art I strive for a certain ideal - emotional, intuitive, intellectual- that satisfies me on every level of my being, so maybe that can be considered as a dream. The same is with my life, I crave for moments of perfection, which sometimes you travel for but you may not find them, and sometimes they present themselves when you least expect it. I guess, both in art and in life I have this desire for awe, the kind that takes away all concern and opens up the sky. Perhaps that counts as a waking dream.
Atlas: And last but not least: What would you say to a young aspiring artist?
MK: Educate yourself intellectually, emotionally and intuitively. Try to understand the world on every one of those levels - develop critical thinking, emotional intelligence and feeling. Do not underestimate either one, but when you make art, aim at creating something that will be felt first, then perhaps understood intellectually, not the other way around. The art that lasts is the kind of art that affects the viewer directly  and immediately, and not the ones that you have to read about first to understand them. This is the kind of art that transcends its time, person of the artist, its style, its medium and becomes a life in itself. Please do not get distracted by fashions, styles and particular art scenes, all that will pass.
Interviewer: Alexis Daiana Cataldo
This interview in online edition of ATLAS Magazine, Winter Issue 2012 pages 198-209
 
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Vivienne Westwood au Forum Creative Wallonia speaking about the responsibility of art

Sat, 05/04/2013 - 09:58 |  admin

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