Five artists who won’t perform their biggest hits

Paramore announced they would no longer perform Misery Business at a special homecoming show.
BBC News – Entertainment & Arts

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An Idyllic Artists’ Retreat that Invites Guests to Take in the View

With help from architect David Chipperfield, Antony Gormley and Vicken Parsons have transformed an 18th-century villa in Norfolk, England into an inspiring retreat for artists.
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Artists Who Lose Their Vision, Then See Clearly

Eight artists found new ways to see after learning they had macular degeneration. “Nothing to lose is a kind of new freedom,” says one of them.
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13 Drugstore Beauty Products Makeup Artists Swear By

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Faced With Calls for a Boycott, H&M Withdraws Lawsuit and Pledges Respect for Artists

H&M DODGES BOYCOTT: Less than 24 hours after a curator-collector-consultant called for an artists-led boycott of H&M, the fast-fashion chain has withdrawn the legal filing that fired up the controversy.
Last week, H&M filed a lawsuit in New York federal court claiming that copyright law did not apply in regards to its recent advertising campaign featuring graffiti done by artist Jason Williams, known as Revok. After seeing H&M’s New Routine imagery, which featured his artwork in the background, Williams had sent a cease and desist letter alleging that his art had been used without his permission or knowledge.
On March 14, Roger Gastman, a curator, collector and brand consultant, rallied fellow artists to boycott H&M. In an Instagram post, the Los Angeles creative described H&M’s legal action as “full-out assault on artists’ rights and we must raise our voices. This could render millions of murals and important pieces of artwork worldwide completely unprotected and available for corporate use, without any payment or permission needed whatsoever,” he posted. “We must not allow this company to use our artwork and appropriate our culture to sell their products for their own financial gains, while at the same time allow them to devalue and delegitimize our

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Melissa Shoes Taps Artists Rachel Rossin, Cecilia Salama for Store Installation

Melissa Shoes has mounted two artist installations within its SoHo store.
The Brazilian rubberized shoe company has teamed with Rachel Rossin and Cecilia Salama on special works on display through May.
Rossin’s video piece is played on massive pixelated screens that comprise the Melissa store lobby.
Salama installed an immersive experience inside a petite stand-alone room — surrounding shoppers with her conceptual, visualized play on themes like migration, eco-diversity, femininity and identity politics.
“Melissa presented me a lot of material on their new collection, called Mapping — a lot of it had to do with borders. I managed to relate this to a theme I use a lot in my work, which are butterflies. They possess both power and vulnerability — I started doing a lot of research about their migratory journey and learned they are one of the largest symbols of immigration right now,” the artist explained of her piece, titled “Danaus Plexippus.”
Salama’s work has a souvenir component — the installation offers a butterfly-shaped “seed bomb” to visitors. The tiny objects are inlaid with milk thistle seeds, and when planted, they grow to become a plant enjoyed by butterflies as a source of shelter and food.

Seed bombs 
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For Melissa, the installations offer a dual

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In Puerto Rico, Artists Rebuild and Reach Out

Visitors to the post-disaster island found many artists eager to help one another, and their communities.
NYT > Arts

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Which British artists topped the 2017 album chart?

British artists made eight of the top 10 best-selling albums of 2017 – with Ed Sheeran leading the way.
Entertainment News – Latest Celebrity & Showbiz News | Sky News

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Li Edelkoort to Open Paris Gallery to Spotlight Artists, New Voices

WATCH THIS SPACE: Having first opened a private art salon in Paris more than three decades ago, Trend Union founder Li Edelkoort will soon take her career full circle by unveiling a public design gallery in her company’s headquarters.
Set to open its doors Jan. 18 at 30 Boulevard Saint-Jacques, the space will showcase design and arts and crafts — “what deserves to be shown collected and cherished at this moment in time,” according to the trend forecaster. To that end, a Heartwear pop-up shop will be among the planned events.
Created in 1993 by Edelkoort and some of her fashion designer friends, Heartwear is a nonprofit that collaborates with artisans by helping them scale up their creations without compromising their design integrity, culture or environment that they live and work in. With the assistance of department stores and magazines, Heartwear develops high-level goods with broader distribution. The nonprofit’s aim is to create a lasting connection with a collective or region. Khadi cotton from India and indigo-colored textiles from Benin are two of the projects that have been executed. To try to help the specific regions become self sustainable, profits are reinvested in those where the artists are based.
Trend Union will also

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Their Words to Live By: Artists We Lost in 2017

Artists who died this year left behind gripping scenes, profound turns of phrase, unforgettable melodies and plenty of laughter. We pay tribute to a few of the most notable — through their own words.
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And the most streamed artists of 2017 are…

Spotify has released its most streamed list of 2017 – the year when streaming officially became the biggest indicator of success.
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BBC Music Sound of 2018: Will these artists define the year?

The BBC announces its Sound of 2018 longlist. Who will be this year’s Adele or Sam Smith?
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Abrams Artists Agency Welcomes Outliers and Media Disrupters

There’s a famous section of sociologist Malcolm Gladwell’s 2008 bestseller, “Outliers,” which maintains that those with natural ability and skill for a subject can become masters if they have the time to devote to a craft, particularly if no one is looking because they’re all concentrating on other, more mainstream, facets of that industry. Abrams […]

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Artists and Designers Rally to Help Hurricane Maria Victims in Puerto Rico

FOR A GREATER GOOD: Rather than just talk about concern for Hurricane Maria victims in Puerto Rico, hairstylist Dana Boyer and makeup artist Erin Green agreed a fund-raiser was in order.
With the help of Pace Gallery’s shipping manager Tim Strazza and independent producer Travis Kiewel, their NY4PR event will be held Nov. 2 at Think!Chinatown x ChaShaMa space at 384 Broadway. All proceeds from the event will benefit Unidos/The Hispanic Foundation. Seventy artists, photographers and contributors have already signed on and between 200 and 300 supporters are expected.
With only 2 percent of schools open, and electricity still a problem for most of Puerto Rico, Boyer said of the upcoming fund-raiser: “It felt important. It felt that it needed to happen.”
The roster of participants includes Inez & Vinoodh, Bibi Cornejo-Borthwick, Curtis Kulig, Tim Barber, Petra Collins, Daniel Shea, Lachlan Bailey, Dan Martensen, Jay Miriam, Meriem Bennani, Paul Wackers, Chad Moore, Signe Pierce, Daniel Arnold and Joe Garvey. From the fashion and beauty crowd, Trademark, Joanna Vargas, Alumnae, Catbird, Nova and Anna Sheffield will be contributing items for the auction. Donations will also be accepted at the door with NY4PR aiming to raise upwards of $ 60,000, Boyer said.
“These events are always so

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After a Late Start, an Artist’s Big Break: Michelle Obama’s Official Portrait

Amy Sherald has yet to start the Obama portrait, due by year’s end. If she seems calm, it’s likely because she has faced tougher challenges.
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Get To Know The Artists Painting The Obamas’ Official Portraits

Kehinde Wiley and Amy Sherald are the first black artists hired by the Smithsonian to paint a president and first lady.
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Art Review: From Innovation to Provocation, China’s Artists on a Global Path

East (minus 3) meets West at the Guggenheim, in what Holland Cotter calls a “powerful, unmissable event” about a world we are still getting to know.
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Google Partners With Emerging Artists to Design Pixel 2 Cases

Google has a very long and varied partner list, including Wal-Mart, Harvard Medical School and every major beauty influencer on YouTube. Over the past year, the tech giant has added more artists and designers, thanks to Google Artworks Series collaborations with Jeff Koons, Jeremy Scott, Opening Ceremony, FriendsWithYou and Skrillex, among others.
Today, two more officially join the ranks: The company worked with Los Angeles-based digital artist Petra Cortright and graphic artist Baron Von Fancy from New York on customizable Google Artworks Live Cases for its new Pixel 2 smartphone.
Emerging and influential artists, Cortright and Von Fancy each created a series of limited-edition digital canvases, giving the public access to their work in a convenient and affordable way. Customers can print the canvases for their cases or download the wallpapers for their homescreens from the Google store for $ 40.
Cortright’s digital canvasses showcase her signature impressionistic digital landscapes, formed from computer-rendered marks and strokes. “For my work, I source images from the Internet, and Google Images has always played a huge role in finding material,” Cortright said. “I thought it was kind of cool that this project would allow for my work to come full circle.”
The artist also conveyed her appreciation for

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Instead Of Focusing On Yesterday’s Monuments, Artists Are Building Tomorrow’s

A years-long project in Philadelphia called Monument Lab asks, “What monuments would we build to reflect our values as a city?”
Arts
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Five Minutes With Alfre Woodard on Acting Gigs, Artists’ Roles in Race Relations

MIRROR, MIRROR: Truth be told, Alfre Woodard knew Badgley Mischka before she met Mark Badgley and James Mischka. Sizing herself up as “ample at the top, and not tall,” the Oscar-nominated actress said she started wearing the label years ago. “Whenever you are out and about for eight to 10 hours at events, you want to feel at your best,” she said before the lights went down at Tuesday morning’s runway show.
The film, stage and TV actress got to know the design duo through the equestrian circuit, where her daughter and Badgley compete. “My daughter is an equestrian, so I have watched Mark ride. I didn’t even go introduce myself. I was already wearing their clothes. I thought, ‘Oh my God, there he is with the horse,’” she said.
In regards to her own pursuits, Woodard is shooting the second season of the Netflix series “Luke Cage” and her latest movie “So B. It” premieres early next month. The independent film also features Talitha Bateman in the lead role. As for the role the arts play in helping with race relations, Woodard said, “Well, not just race. What art does, the creation of it, the exploration of it, the sharing and

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Calvin Klein and Warhol: The Brooklyn Artists Who Got the Job Done

The postmodernist prints blanketing Raf Simons’ second offering for Calvin Klein Collection are the work of a New York City screen-printing collective, WWD has learned.
Lqqk  Studio — the Brooklyn-based screen printing studio and brand profiled by WWD last week — took up residence on the 14th floor of the brand’s headquarters, serving an in-house printing operation for the weeks leading up to the label’s show.
Lqqk founder Alex Dondero, along with a staff of five printers, created experimental treatments and screens for the house’s spring collection.

Lqqk Studio’s Brooklyn headquarters. 

Simons’ collection required extensive screen-printing development, logistics and labor. For the task, Lqqk created 70 screens using licensed Warhol prints — sometimes printing garments with up to five layers of color. The team printed on surfaces including leather, canvas, nylon, silk, wool and PVC — adjusting its ink formulas to suit each fabric.
Dondero said of the project: “It was all licensed Warhol prints — that is the inspiration, so staying true to that was really important. The liberties I was given were rooted in technique. It was about how to print something and make sure it’s not too clinical, but not too messy. Being gestural without going too far.”
“It’s kind of just knowing

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Three Top Interior Stylists on Their Favorite Hotels, Artists, Buildings and More

Forces in the field apply their discerning taste to the curation of their favorite things.
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Robert Downey Jr warns fans about online ‘scam artists’

But fans reply by saying they have sniffed the impostors out – and got their own back.
BBC News – Entertainment & Arts

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Instead Of Focusing On Yesterday’s Monuments, Artists Are Building Tomorrow’s

A years-long project in Philadelphia called Monument Lab asks, “What monuments would we build to reflect our values as a city?”
Arts
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Books of The Times: An Artist’s Childhood, Etched in Trauma and Abandonment

In her epistolary memoir, “The Book of Emma Reyes,” the Colombian painter recounts her childhood in Bogotá, made vivid by the horrors of the workhouse.
NYT > Books

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At Creativity Explored, Artists With Disabilities Express Their Own Sexuality

“Just because someone has a developmental disability doesn’t mean that sense of sexuality is non-existent.”
Arts
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Contemporary Artists Give Centuries-Old Ceramics a Modern Twist

Starting in the 16th century, international trade began to leave its traces on tableware as European and Asian ceramics were created for newly opened export markets. Contemporary artists are now mining the rich heritage of these styles.
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Watch Street Artists Repaint New York’s Lower East Side

Market Surplus raised over $ 6,000 dollars for the Lower Eastside Girls Club.

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Artists Defend Shakespeare In The Park, Because Political Theater Matters

“Such discussion is exactly the goal of our civically-engaged theater,” The Public declared.
Arts
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Young Digital Artists, Anxious About … Technology

An exhibition at Sotheby’s in New York betrays a broad generational anxiety about the technological future and the role of humans in it.
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Spotify denies promoting ‘fake artists’

The music streaming platform has responded angrily to claims some of the artists it streams don’t exist.
BBC News – Technology

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What Happens When Chelsea Manning’s DNA Becomes An Artist’s Material?

What 3D “portrait masks” of the trans whistleblower reveal about the danger of biotechnology’s essentialist understanding of gender.
Arts
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Artists turn hateful tweets into loving artwork

A group of artists are fighting online prejudice against the LGBT community by producing work inspired by troll tweets.
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Artists Defend Shakespeare In The Park, Because Political Theater Matters

As critics denounce a Trumped-up version of Shakespeare’s “Julius Caesar,” actors, writers and illustrators are pledging their support for one of New York City’s most beloved cultural attractions.

Every summer Shakespeare in the Park arrives in New York City, bringing with it free stagings of the Bard’s best works, sometimes updated to appeal to modern audiences flocking to Central Park to see a play.

This year, that was certainly the case. The Public theater’s update of “Julius Caesar,” Shakespeare’s famous play about the assassination of the titular Roman dictator, features a Trumped-up storyline in which Caesar, golden hair and all, wears a business suit instead of a toga. His wife Calpurnia dresses in silk and high heels, speaking with what’s been described as a “heavy Slavic accent.” An American flag can be seen waving onstage. 

The decision to infuse the story of Caesar with the spirit of today’s political mania ― to base the main character on U.S. President Donald Trump ― was a bold one. (Though hardly unprecedented; for example, a 2012 American Conservative article recounts a version of the play with an Obama-esque Caesar.) Bold because in the production, the leader of Rome is assassinated, stabbed to death by senators who felt his death would be best for their troubled republic. So in director Oskar Eustis’ rendition, a figure that looks an awful lot like Trump dies at the hands of ardent critics every night of the play’s run.

When Fox News and the corporations sponsoring The Public Theater caught wind of the death, they, still digesting the bloody antics of comedian Kathy Griffin, bridled. Delta and Bank of America pulled their support for the play. Appalled citizens made their opinions known on Twitter, threatening to boycott the free program.

While the outrage machine seemed to be throttling forward, a few famous artists, actors and writers took to social media to disrupt the current of negativity and defend Eustis and the staging of “Julius Caesar.” While some did so by simply pointing out the fact that detractors were largely misunderstanding the very essence of the play, others began rallying support for the theater by pledging to see the show and donate to The Public. 

New Yorker cartoonist Tom Toro promised to give those who donated more than $ 25 to The Public a free print of a themed illustration, which reads, “Just when you’re about to lose your faith in humanity, you see Shakespeare in the Park.” Actress Amber Tamblyn and author Joyce Carol Oates tweeted their intent to see “Julius Caesar” despite Delta’s lack of support. Others, like Nia Vardalos, shared links to The Public’s donation page.

While those strongly opposed to the “Julius Caesar” play have expressed that they don’t want their tax dollars used to fund what they have perceived as an anti-Trump artwork, the National Endowment for the Arts cleared up those concerns quickly: “No taxpayer dollars support Shakespeare in the Park’s production of ‘Julius Caesar,’” it announced in a statement.

And in response to those choosing to boycott The Public, a few individuals have in turn suggested boycotting corporations like Delta, who’ve pulled their support unwisely. 

“Maybe we should be less concerned that Shakespeare in the Park staged Caesar & more that Caesar calls Trump to mind?” author Celeste Ng tweeted. “Just a thought, @delta.”

Those familiar with Shakespeare’s centuries-old work know the playwright presents Caesar’s death as a disastrous event for Rome. The murder is similarly depicted in The Public’s production as an inarguable mistake on behalf of those American democrats who felt deposing of a tyrant through violence and illegal means was an act of patriotism.

“’Julius Caesar’ is about how fragile democracy is,” Eustis wrote in a statement about the play before it even opened. “The institutions that we have grown up with, that we have inherited from the struggle of many generations of our ancestors, can be swept away in no time at all.”

In a more recent statement from The Public Theater, the organization affirmed that it stands “completely behind our production of Julius Caesar. We recognize that our interpretation of the play has provoked heated discussion […] such discussion is exactly the goal of our civically-engaged theater; this discourse is the basis of a healthy democracy.”

The theater also reiterated that it in no way condones violence towards anyone. In fact, it makes the exact opposite point: “Those who attempt to defend democracy by undemocratic means pay a terrible price and destroy the very thing they are fighting to save.”

Julius Caesar is slated to run at Central Park’s Delacorte Theater until June 18 as part of New York’s Shakespeare in the Park festival. Tickets are free.

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Bono Has A Message For Young Christian Artists

U2 musician Bono has spent years reading and learning from the poetry of the Psalms, a book of the Bible that contains ancient hymns.

If there’s one thing Bono has realized from his studies, it’s that art always requires honesty.

During a conversation with Fuller Studio, the rock star spoke at length about the intersection of faith and art, particularly art that is produced by Christians.

“I would really like this conversation to unlock some artists,” the singer, a devout Christian, said. “Because I think there are trapped artists and I’d like them to be untrapped.”

In a previous dialogue with Fuller Studio released April 2016, Bono compared the Psalms with contemporary Christian worship music ― and found modern-day praise music to be sorely lacking. He argued that some contemporary worship music lacks the range of raw emotions that’s contained within the Psalms. 

In the new video series, released this April, Bono revisited the topic with Fuller Theological Seminary’s professor David O. Taylor. He offered further insights into how deeply the Psalms have influenced his life and his music. 

Before taping the new interview, Bono said he reread the Songs of Ascents ― a series of Psalms that were possibly sung by Jewish pilgrims as they made a trip to Jerusalem. Within those few chapters, Bono said he found songs about peace, protection, laughter, hubris, rage, tears, humility, and unity. 

“Okay, that’s just Songs of Ascent. They had utility. And why is it in Christian music, I can’t find them?”

He also critiqued the impulse to label music as “Christian,” or not Christian.

“Creation screams God’s name. So you don’t have to stick a sign on every tree,” Bono said, suggesting that just because a song isn’t explicitly called a “Christian” song, that doesn’t mean it isn’t spiritual in nature. 

“This has really, really got to stop,” he said.  “I want to hear a song about the breakdown in your marriage, I want to hear songs of justice, I want to hear rage at injustice and I want to hear a song so good that it makes people want to do something about the subject.”

The musician also shared his biggest dream for up-and-coming artists ― that they would create art for themselves and not necessarily just to please other people.  

“I want to argue the case for artists or potential artists who might be listening in on our conversation and are not giving expression to what’s really going on in their lives because they feel it will give the wrong impression of them. We don’t have to please God in any other way than to be brutally honest,” Bono said. “That is the root. Not just to a relationship with God, but it’s the root to a great song. That’s the only place you can find a great song. The only place you can find any work of art, of merit.” 

Listen to Bono’s second conversation with Fuller Studio above. For more, visit their website.

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The Iconoclastic Homes of Top Artists

Homes of painters and sculptors often boast high ceilings and lots of light. But selling a place with no living room can be a challenge at resale.
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An Artist’s Mythic Rebellion for the Venice Biennale

Mark Bradford’s concern: How can he represent the United States when he no longer feels represented by his government?
NYT > Arts

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Loni Love Rips Into Trump at Make-Up Artists & Hair Styling Guild Awards, Ryan Murphy Accepts Honor

I.A.T.S.E Local 706 held its annual Make-Up Artists & Hair Styling Guild awards ceremony on Sunday, Feb. 19 at the Novo in Downtown Los Angeles, honoring make-up artists and hair stylists whose work appears in motion pictures, television, commercials, and live theater. The show was hosted by “The Real” co-host Loni Love, and featured celebrity… Read more »

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Grammys 2017 Red Carpet Arrivals: See the Artists and All the Fashion You Cannot Miss on Music’s Biggest Night

Lea Michele, 2017 Grammys, ArrivalsGrammys 2017 Red Carpet Arrivals
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Ah, Grammys night. When the artists get going and the fashion gets wild.
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Visa Ban Leaves Artists in Limbo, and Institutions Perplexed

Museums, film festivals, theaters and workshops are scrambling to figure out President Trump’s executive order on immigration and the effects it may have.
NYT > Arts

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23 Black Artists Who’ve Turned Up For Obama At The White House

It’s no secret, President Obama loves his music.

Beyond his passion for hope and change, Obama made it a point to celebrate black music in The White House during his presidency by hosting various events recognizing some of the musical contributions that have helped shaped America.

During BET’s special, “Love & Happiness: An Obama Celebration,” Obama told attendees how each musical event resulted in one of the first family’s “favorite traditions” and why celebrating black music at the White House is essential to the American experience.

“It makes sense because this is the people’s house ― and it ought to reflect the amazing diversity, and the imagination, and the incredible ingenuity that defines the American people,” he said. “And while much of the music that you will hear this evening ― gospel, R&B, rap ― is rooted in the African-American experience. It’s not just black music. This is an essential part of the American experience ― it’s a mirror to who we are, and a reminder of who we can be.” 

“That’s what American music is all about.  And generations from now, I hope it’s the story that the White House will continue to tell,” he added.

In celebration of POTUS’ historical presidency, we’ve highlighted 23 memorable performances from black artists who’ve performed at The White House. 

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Artists’ Brushstrokes Can Reveal Early Signs Of Brain Disorders, Study Finds

Abstract expressionist painter Willem de Kooning was diagnosed with Alzheimer’s disease in his 80s. However, a new study by Alex Forsythe at the University of Liverpool claims there were signs of de Kooning’s cognitive decline apparent in his paintings, long before his condition was medically detected. 

Forsythe set out to determine whether changes in artists’ brushstrokes over long periods of time could help detect signs of dementia or other neurodegenerative disorders. She analyzed 2,092 paintings, with work by de Kooning, as well as Claude Monet, Pablo Picasso, Marc Chagall, Salvador Dalí, Norval Morrisseau and James Brooks.

Forsythe examined the works using a technique called fractal analysis, highly contested among physicists, to determine whether there was a relationship between the fractal complexity in a painting and the brain activity of its artist. 

Fractals are complex, self-repeating, geometric patterns ― like the spirals that appear in Romanesco broccoli, or the patterns formed by certain mountain ranges. If you examine a painting closely enough, some researchers contend, artists’ brushstrokes break down into such geometrical shapes, so unique to each artist’s hand they operate almost like fingerprints. In 1999, physicist Richard Taylor notably used fractal analysis to differentiate authentic Jackson Pollock paintings from forgeries by identifying the artist’s singular fractal fingerprint.

In her study, Forsythe traced the complexity of fractal patterns revealed in each artist’s work to gauge whether the fractal density increased or decreased over time. For Monet, Picasso and Chagall ― none of whom suffered from neurodegenerative disorders ― the fractal complexity of their works increased over time. In the works of Dalí and Morrisseau ― who were both believed to have had Parkinson’s ― Forsythe found that the fractal complexity first increased, then declined.

Finally, for de Kooning and Brooks ― the subjects diagnosed with Alzheimer’s ― Forsythe discovered that fractal complexity plummeted as they grew older, beginning around age 40. The study revealed signs of shifting brain function in de Kooning’s paintings over 40 years before he was diagnosed by doctors. 

The information seems to be like a footprint that artists leave in their art,” Forsythe explained to The Guardian. “They paint within a normal range, but when something is happening the brain, it starts to change quite radically.”

There are surely aspects of Forsythe’s study that complicate her astounding results. First, the study’s small sample size of only seven artists raises concerns about the larger accuracy of its findings. And of course, there are still scientists like Hamilton College’s Kate Brown, who believe fractal analysis to be “utter nonsense.”

Nevertheless, there is something profoundly beautiful about the possibility of brushstrokes depicting the inner workings of the brain in complex yet perceptible ways. Each painting, then, not only depicts its subject matter but also the interior world of its maker, in ways he or she might not even be aware of. 

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Why Does The World Need Artists?

Art exists as way to know ourselves.
Sometimes we feel alone, trapped in our own minds.

There is a need in all human beings to ease this loneliness by creating bonds with other people, by sharing our life experiences and beliefs.
One of the ways in which we do this is through the performing arts.

We have to realize that, despite physical appearances, we are all -fundamentally the same in our desires to be loved, understood and accepted. That is why art transcends all race, gender, language, religion and culture. Through art, we share our fears, our desires, our needs, our hopes, our perversions, our fantasies and lust.

When we watch a film, see a play or listen to a singer that resonates in our soul, we feel as though someone understands us. Compassion and a deeper understanding of others can heal the world. This, in my opinion, is the greatest gift we can give each other.

Compassion and Understanding.

If you can bring a character to life, that could inspire others to feel less afraid and help them reconnect to the world, then this is what you MUST do! To hold back would be a tragedy.

The performing arts are a living tradition, a legacy that must be guarded and maintained with absolute ferocity. I am so grateful that I’ve been given the gift to be an artist. I feel fortunate to be in this industry.

If you’ve been given the gift to be an artist, consider yourself lucky!
Art has the power to transform, illuminate, educate, inspire and motivate.

Be the Artist, and make your soul visible to the world.
Excerpt from Bernard’s book – Stop Acting – Start Living

Bernard Hiller is the Premier Acting and Success Coach in Hollywood. He teaches artists and business people in over 16 countries.
http://www.bernardhiller.com

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Their Words to Live By: Artists We Lost in 2016

Remembering outsize cultural figures who died in 2016 through a sampling of their bon mots, song lyrics and more.
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Artists Really, Really Don’t Want Their Work On Ivanka Trump’s Walls

Shimmying my way into the weekend! #TGIF

A video posted by Ivanka Trump (@ivankatrump) on

Artists are well aware that Ivanka Trump, daughter and sort-of, kind-of future First Lady to the president-elect, is an avid collector of contemporary art. A cursory glance through her Instagram feed shows Ivanka, her kids, and her handbags posing around her upscale home among pieces by blue chip artists including Christopher Wool, Dan Colen, Alex Israel and Alex Da Corte. 

There was a time when Ivanka was just an affluent businesswoman and socialite with decent taste. Now, however, she is poised to play an influential role in the upcoming Trump administration, and artists want nothing to do with her nor her father. The rapid shift has been something of a wake-up call for artists and dealers who have in the past worked with or sold to Ivanka’s family, and now feel complicit in the apparent bigotry and ignorance embodied in Trump’s rhetoric and cabinet picks. 

Bloomberg published a piece yesterday compiling some of the artists who have publicly condemned Ivanka and demanded she remove their work from her property. Philadelphia-based artist Da Corte called her out in an Instagram post reading:

“Dear @Ivankatrump please get my work off of your walls. I am embarrassed to be seen with you.”

Da Corte also participated in a protest last month in front of Manhattan’s Puck Building, owned by Ivanka’s husband’s family. He marched with a crowd of artists including Marilyn Minter, Jonathan Horowitz and Rob Pruitt as part of a campaign called “Dear Ivanka” ― which hopes to address Ivanka directly on behalf of her father’s words, Tweets, appointments, and impending plans.

For some coastal liberals, it feels impossible to ever logically level with Donald Trump himself. Ivanka, however, feels a bit more accessible and thus, potentially, more receptive. 

She frequents the art world, what’s sometimes called ‘the New York liberal bubble,’” curator Alison Gingeras, a leader of the movement, explained to The New Yorker. “So we already know we can speak with her, and we want to appeal to her personal stakes.” 

Thus far, however, Ivanka has not responded to the “Dear Ivanka” protestors, nor to the many fears and anxieties they’ve disclosed. And until she does, the art world must continue to take a stand.

There has long been an economic divide between the people who make art and the people who buy it, but now more than ever artists working to resist the normalization of hate and protect the rights of marginalized communities are realizing the art marketplace is no longer an apolitical business. 

As dealer Bill Powers, who sold Ivanka a Louis Eisner piece in 2013, put it, “I think there are a lot of artists that are uncomfortable now being incorporated, or leveraged, as part of the Ivanka Trump brand.” 

❤️❤️

A photo posted by Ivanka Trump (@ivankatrump) on

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How Outsider Artists Are Advancing the Luxury Watch World

Brands are teaming up with tattoers, graffiti artists, and more.

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361 Full-Color Allover Patterns for Artists and Craftspeople

361 Full-Color Allover Patterns for Artists and Craftspeople


This excellent volume presents a dazzling assortment of copyright-free, full-color allover patterns. Carefully selected for their eye-catching appeal and suitability for practical use, the 361 patterns in this volume offer artists, designers, and craftspeople an extensive and convenient archive of colorful patterns for use in a virtually unlimited number of projects. Ranging from 15th- through 20th-century sources, the collection encompasses a rich variety of subjects and styles: geometrics, florals and foliates, animal and nature motifs, and other attractive repeat patterns. Ideally suited for reproduction with a color copier, these patterns are also perfect for scanning into a computer, where the images can be reduced or enlarged and altered in color as well.A splendid resource for use in designing catalogs, book covers and jackets, stationery and greeting cards, packaging, wallpaper, textiles, and many other art and craft projects, this volume will prove invaluable to anyone in need of a quick and easy archive of outstanding designs for permission-free use.

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‘The Artist’s Compass’: Making a Life in the Performing Arts

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He was a self-taught musician who fought epic battles with music industry giants to gain control of his work. He championed the rights of artists at a time of great upheaval in the entertainment business, when the ability of artists to earn a living plummeted. If you are an artist who is less inclined to brandish a middle finger at the industry — as Prince did — or are not yet in a position to do so, then Rachel Moore’s new book, The Artist’s Compass, may be an invigorating read.

In years past, there were many large companies willing to invest in the development of young artists with talent, but those are fast disappearing, and it is becoming more and more important for emerging artists to become self-starters and create their own opportunities. The incubators for developing artists may be largely gone, but so are the gatekeepers, which means that anyone can create their own opportunities if they’re clever enough, determined enough, and talented enough to assess the marketplace and take advantage of what’s out there.

This sober, graceful “guide to building a life and a living in the performing arts” — remarkably compact for such a sweeping purpose — packs much useful information into its 180 pages. Perhaps its greatest value lies in its consolidation of nitty-gritty advice and broader, philosophical food for thought. Aimed at young people who aspire to a career in the arts, as well as those who are reinventing themselves in the arts, The Artist’s Compass tackles practical matters of self-marketing, auditions, employment contracts, personal budgeting and finance; it also steers the reader through critical career decisions, girding them to face the more common challenges, while smartly avoiding a “one size fits all” approach.

Most newly trained artists will find themselves operating as freelancers, working intermittently, figuring out where their next gig will come from and how to pay the rent until then. They will have been trained by experts but, as Moore sagely points out, “most teachers who are expert in their respective artistic disciplines are not necessarily expert in the business of the performing arts.”

That business has been profoundly altered — for better and for worse — by changes in demand and by advances in technology. Moore advises emerging artists on how to assemble their ‘personal board of directors,’ and how to harness tech not only to help them build their brand but also to streamline the logistics of their daily lives.

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Rachel Moore, President and CEO of The Music Center, at The Music Center’s Ahmanson Theatre. Photo: John McCoy for The Music Center.

A leading arts administrator, Moore is impeccably positioned to deliver this wide-ranging advice. Once a struggling artist herself, she saw her career in the corps de ballet of American Ballet Theatre cut short by injury at age 24, went to university, then rose to become the CEO of American Ballet Theatre. She is now President and CEO of The Music Center in Los Angeles. The thoughtful insights in The Artist’s Compass reflect not just her own personal experience, but also that of an array of talents including Sigourney Weaver, Renée Fleming, Lang Lang, Misty Copeland, Natalia Makarova, and Daniil Simkin.

Simkin, who has a massive social media following, shares his thoughts on social media do’s and don’ts.

Copeland understands that fame often fuels a backlash, and has employed an admirable strategy for dealing with online vitriol.

Moore’s own comical experience being interviewed for Vogue magazine offers a valuable lesson in handling the press.

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Rachel Moore, ballet dancer. Photo courtesy Rachel Moore.

A vital chapter entitled ‘When things go wrong’ tackles nettlesome matters like workplace harassment sensibly and spiritedly. However, some of the space devoted to the perils of apartment subletting and traffic violations could more profitably have been diverted to navigating the increasingly common minefields in the music and arts world, such as breaches of intellectual property. Where penalties can be crippling, it is wise to be forearmed.

A list of books by experts in finance and other fields can be found under ‘Further reading.’ But a few topics such as IP, partnerships, and situations that call for the creation of separate business entities, bear touching upon in this bird’s eye view.

Another area that merits exploration is fundraising, the cause of much angst among freelance artists. How can an artist chase grants if she can’t afford a professional grant writer? Is crowd-funding all it’s cracked up to be?

Among the many pearls of wisdom in The Artist’s Compass, one finds exhortations to explore other art forms, to engage with the world, to prioritize a formal education, and to consider making a home outside the major art capitals. Moore makes a compelling case for each practice she advocates. She also has advice on eating and sleeping. I vaguely remember my mother saying something along those lines, but, as is often the case, a parent’s authority wanes in those late teen years. The Artist’s Compass packs a lot more power than one parent’s voice. Frank and engagingly written, it is likely to become a trusted resource for many an artist, even for those who are further along in their careers.

Many artists become fearful when they hear the words “negotiate a contract.” Visions of used-car dealers and fast-talking salesmen dance in their heads. Don’t be afraid… It isn’t about winning or losing, it is about finding common ground.

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Conversations With Artists From the Past. Edvard Munch

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The galleries of the Thyssen-Bornemisza Museum have recently opened an exhibition by artist Edvard Munch (1863-1944), successfully curated by Paloma Alarcó, that enables us to “listen to the dead with our eyes.” Paintings and writings come together in the museum’s galleries, divided into emotional Archetypes to communicate this artist’s obsessions from throughout his intense life.

People think that you can have a few friends, forgetting that the best, most authentic and above all, most numerous, are the dead. I intend to engage in a series of conversations with the afterlife. As the tormented spirit of the Norwegian artist has circumstantially settled in Madrid, I enthusiastically headed there to learn more.

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Elena Cué: Let’s start with your childhood.

Edvard Munch: I always felt like I was treated unfairly during my childhood. I inherited two of the worst enemies of mankind: tuberculosis and mental illness. Disease, insanity and death were black angels beside my crib. A mother who died early, planting me with the seed of tuberculosis. A hyper-nervous, pietistic father, religious to the point of being crazy, from an ancient lineage, planting me with the seeds of insanity.

When you think about those years, how did you feel?

The angels of fear, pain and death were beside me right from birth, going out to play with me, following me under the spring sun, in the splendor of summer. They were with me at night when I closed my eyes, threatening me with death, hell and eternal punishment. And I often woke at night and looked around the room with panicked eyes thinking “Am I in hell?”

The fear of death tormented me, and this fear harassed me through all of my youth.

Heaven and hell, how do you envisage eternity?

Flowers will emerge from my rotting body, and I will be part of them. That is eternity.

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And where is God?

With fanatic faith in any religion, such as Christianity, came atheism, came fanatic faith in the existence of no God. And with this non-faith in God there was content, becoming a faith itself in the end. It is generally foolish to assert anything about what comes after death.

But what is it that gives strength to the Christian faith. There are many who have difficulty in believing it. Although one cannot believe that God is a man with a big beard, that Christ is the Son of God who became a man, or in the Holy Spirit formed by a dove, there is much truth in this idea. A God as the power that must be at the origin of all, a God that governs everything. We can say that he directs the light waves, the movement of the tides, the center of energy itself. The Son, the part of this energy that is in man, the immense energy that filled Christ. Divine energy, genius energy and the Holy Spirit. The most sublime thoughts sent by the sources of divine energy to the human radio stations. In the very depths of beings. That which is provided to every human being.

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But what do you think death is?

Dying is as if the eyes have been switched off and cannot see anything else. Perhaps it’s like being locked in a basement. You are abandoned by all, they closed the door and left. You see nothing and only notice the humid smell of putrefaction.

And what about life?

I have been given a unique role to play on this earth that has given me a life of illness and also my profession as an artist. It is a life that does not contain anything resembling happiness, or even the desire for happiness.

Not even love?

Human destinies are like planets. Like a star that appears in the dark and meets another star, glistening in a moment, to then return, fading into obscurity. So as well, a man and a woman meet, they slide towards each other, shining in love, blazing, and then disappear, each one for himself. Only a few end up in a great blaze in which both can fully join.

The ancient were right when they said that love was a flame, as the flame leaves behind only a pile of ashes. Love can turn to hate, compassion to cruelty.

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Jealously is closely linked with love, how would you describe it?

Jealous people have a mysterious look, many reflections focus in those two sharp eyes, like in a crystal. The look is exploratory, interested, full of love and hate, an essence of what we all have in common.

Jealousy says to its rival: go away, defective; you’re going to heat up in the fire that I have lit; you’ll breathe my breath in your mouth; you’ll soak up my blood and you will be my servant because my spirit will govern you through this woman who has become your heart.

Now let’s talk about art… where does it come from?

Art generally comes from the need of one human being to communicate with another. I do not believe that art has not been inflicted by the need for a person to open his heart. All art, literature as well as music, has to be generated with the deepest feelings. The deepest feelings are art.

What is the purpose of your art?

I have tried to explain life and the meaning of life through my art. I have also tried to help others clarify life. Art is the heart of blood.

We must no longer paint people reading or women knitting. In the future we must paint people who breathe, feel, suffer or love. As Leonardo da Vinci dissected corpses and studied the internal organs of the human body, I try to dissect the soul.

Conclusion.

My art is based on one single thought: why am I not like the others?

How do you think the audience should approach art?

The audience must become aware that the painting is sacred, so that it unfolds before them like in church.

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One of your iconic paintings is The Scream, could you explain the origin of such a radical emotional expression?

I was walking along the road with two friends, the sun was setting. Suddenly the sky turned a bloody red. I stood, leaned on the fence feeling deathly tired. Over the blue-black fjord and city hung blood and tongues of fire. My friends walked on and I remained behind, shivering with anxiety. And I felt the immense infinite Scream in Nature.

Your love of photography is known, what do you think of photography as another mode of artistic expression?

The camera cannot compete with the brush and palette as long as it cannot be used in heaven and hell.

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Where is the beauty in your art?

The emphasis on harmony and beauty in art is a waiver to be honest. It would be false to only look on the bright side of life.

Your writing has a strong aphoristic style. We’ll finish there…

Thought kills emotion and reinforces sensitivity. Wine kills sensitivity and reinforces emotion.

Spanish version: Conversaciones con artistas del pasado. Edvard Munch

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Artists Need to Make Peace With the Academic Life

It is said that when the Italian Renaissance artist Verrocchio saw the work of his student, Leonardo da Vinci, he decided to quit painting since he knew that his work had certainly been surpassed. The story is probably apocryphal — it is also told of Ghirlandaio when he first saw the work of Michelangelo, of the father of Pablo Picasso and of a few other pairings of artists — but the idea of a teacher selflessly stepping aside for the superior work of a pupil makes one’s jaw drop.

More likely, many artists who teach today would tend to agree with Henri Matisse who complained during his teaching years (1907-09), “When I had 60 students there were one or two that one could push and hold out hope for. From Monday to Saturday I would set about trying to change these lambs into lions. The following Monday one had to begin all over again, which meant I had to put a lot of energy into it. So I asked myself: Should I be a teacher or a painter? And I closed the studio.”

Many, if not most, of the world’s greatest artists have also been teachers. However, between the years that Verrocchio and Matisse were both working and teaching, the concept of what a teaching artist is and does changed radically. Verrocchio was a highly touted fifteenth century painter and sculptor, backed up with commissions, who needed “pupils” to be trained in order to help him complete his work. Lorenzo di Credi, Perugino and Leonardo all worked directly on his paintings as the final lessons of their education. It would never have occurred to Matisse to let his students touch his canvases. In the more modern style, Matisse taught basic figure drawing rather than how to work in the same style as himself.

Teaching now obliges an artist to instruct others in techniques and styles that, at times, may be wholly opposed to his or her own work. Even when the teaching and creating are related in method and style, instruction requires that activity be labeled with words, whereas the artist tries to work outside of fixed descriptions — that’s the difference between teaching, which is an externalized activity, and creating, which is inherently private and personal.

“The experience of teaching can be very detrimental to some artists,” said Leonard Baskin, the sculptor and graphic artist who taught at Smith College in Massachusetts between 1953 and 1974. “The overwhelming phenomenon is that these people quit being artists and only teach, but that’s the overwhelming phenomenon anyway. Most artists quit sooner or later for something else. You have to make peace with being an artist in a larger society.”

Artists make peace with teaching in a variety of ways. Baskin noted that teaching had no real negative effect on his art — it “didn’t impinge on my work. It didn’t affect it or relate to it. It merely existed coincidentally” — and did provide a few positive benefits. “You have to rearticulate what you’ve long taken for granted,” he said, “and you stay young being around people who are always questioning things.”

A number of artists note that teaching helps clarify their own ideas simply by forcing them to put feelings into words. Some who began to feel a sense of teaching burn-out have chosen to leave the academy altogether in order to pursue their own work while others bunch up their classes on two full days so as to free up the remainder of the week. Still others have developed strategies for not letting their classroom work take over their lives.

Painter Alex Katz, for instance, who taught at Yale in the early 1960s and at New York University in the mid-1980s, noted that he tried not to think about his teaching when he was out of the class – “out of sight, out of mind,” he said.

Others found their teaching had so little to do with the kind of work they did that forgetting the classroom was easy. Painter Philip Pearlstein, who has taught at both Pratt Institute and Brooklyn College, stated that his secret was to keep a distance from his students.

“I never wanted to be someone’s guru,” he said. “I never wanted to have any psychological or spiritual involvement with my students, getting all tangled up in a student’s personality or helping anyone launch a career. I call that using teaching as therapy and, when you get into that, you’re in trouble.”

However, Pearlstein claimed that “having a job has led to an intensification of my work. I had to use the little time I had to paint, and it made me work all that much harder. Something had to give, so I cut down on my social life. I decided it was more important to stay home and paint.”

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Sargent: Portraits of Artists and Friends

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“Sargent: Portraits of Artists and Friends,” currently showing at the Met, is a virtual vade mecum of l9th European culture, as seen from the perspective of the great and often quirky transatlantic portraitist. There is Ellen Terry as Lady Macbeth (1889) and a sketch of Yeats (1908). The impressionist style of “Claude Monet Painting by the Edge of a Wood”(1885) shows Sargent’s mirror neurons at work. Henry James, whose novels provided a similar, albeit fictionalized portrait of European cultural life, is pictured with his thumb in his coat. Edmund Booth (1890) is the subject of a characteristically “dramatic” portrait. Rodin, who he painted, called him “the Vandyke of our times.” The curators point to the fact that his portrait of Madame X (the expatriate Madame Pierre Gautreau), shown bare shouldered in a sensual black gown with silver straps, was deemed scandalous and resulted in Sargent’s departure for England. “Dr. Pozzi at Home” (1881) evinces a similar swagger in its use of an ecclesiastical red to capture the estheticism of a renowned gynecologist. But it’s the poses that really distinguish these portraits. The current exhibit underscores the connection to Frans Hals’ “The Banquet of the Officers of the St. George Civic Guard,” (1616) in Sargent’s painting of the artists Francois Flameng and Paul Helleu, with Flameng staring straight out and Helleu in profile. Sargent takes a similar tact in the painting of the children of the playwright Edouard Pailleron with Marie-Louise facing out with a look of self-possession that verges on possession and her brother Edouard staring away in distraction. In a “A Dinner Table at Night” (1884) his subject Edith Vickers commands our attention while her husband Alfred’s profile is cut short, drifting into oblivion at the edge of the frame. James and Sargent may have admired each other greatly, but looking at the current exhibit one begins to ask who was the novelist and who the painter? They both had similar themes but James painted with words and Sargent wrote novels in oil.

Madame X by John Singer Sargent

{This was originally posted to The Screaming Pope, Francis Levy’s blog of rants and reactions to contemporary politics, art and culture}

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The Unseen Work of Preparing an Exhibit: An Artist’s Perspective

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Fibonacci’s Workshop, watercolor 32″ x 40″

Two exhibits of my work, Oil and Water and Re/Viewing the American Landscape are currently on view at Blue Water Fine Arts in Port Clyde, Maine. I’ve been spending summers painting in Maine for close to forty years and exhibiting there for over thirty. Last summer Down East Magazine selected me, along with artists Alex Katz and William Wegman as cover artists for their 60th Anniversary issue. I continue to be amazed at the work which goes into putting together an exhibit.

As many of the works are watercolors, much thought goes into how to mat the artwork and how best it should be framed — what type/color of frame, type of mat (I am very fortunate to have an excellent craftsperson who makes my mats, and am in close proximity to a Frame Shop, owned by a delightful and knowledgeable Englishman whose family has a frame shop in England). I personally like to place the mat on the painting and secure it because, for me, even the smallest centimeter changes the entire intended design of the painting. One might think a gold frame is a gold frame but there are different types of gold frames — red gold, yellow gold, antique, water gilded- and one gold might not support the painting as well as another. When I hang an exhibit such as my current Reviewing the American Landscape I think of the exhibit as a whole and the framing more as a backdrop so as not to distract from the art.

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Sanctum, watercolor 32″ x 40″

I learned from working with National Gallery of Art Curator Sarah Cash who curated my Paris Exhibit Barbara Ernst Prey: An American View at the Mona Bismarck Foundation in Paris the importance of a good installation and thoughtful dialogue of the artwork. Before the exhibit goes up I work with the curator and think about which paintings compliment each other. In this current exhibit the gallery is the former Village Inn once owned by Architectural Digest Editor Paige Rense and artist Kenneth Noland. It’s charm is in the connection to the authenticity of the area and a reflection of what I have been documenting for many years.
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An American View: Barbara Ernst Prey on exhibit at the Mona Bismarck Foundation, Paris

As I am a native New Yorker (my mother was the Head of the Design Department at Pratt Art Institute and a great artist herself) people often ask me who comes to this exhibit. People come from all over the country to see the exhibit and it has become a sort of destination. Just this year the Chairman of the Board of a major museum flew in private for two hours, purchased some of the new paintings and then left. Another well known collector came up on their yacht and spent the night in the harbor. Some well known American Curators as well as Directors and collectors have walked though the exhibit.

My paintings are in the collections of The White House, the Brooklyn Museum and the Smithsonian American Art Museum but also the Farnsworth Museum, which has an early painting of mine, here in Maine. My paintings from Maine are in collections worldwide, one currently on view at the U.S. Embassy Residence in Hong Kong. In between exhibition installation, I was able to accompany the Chairman of the National Endowment for the Arts (I was appointed by the President of the United States to the National Council on the Arts, the advisory Board to The National Endowment for the Arts) on a part of her visit to Maine and then returned to finish the installation.

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Quadricentennial Nocturne, watercolor 32″ x 40″

Something new for this year is an exhibit of a series of never before seen oil paintings. I’ve been secretly painting the area in oils and for the first time have exhibited them. I haven’t painted in oils since I was 17 and Governor Hugh Carey of New York purchased my first oil painting so it is a return with a more intimate series. This, of course, poses a whole new conundrum of how to hang an exhibit.

Hope you’ll stop in if you’re in Maine at Blue Water Fine Arts in Port Clyde, Maine.
www.bluewaterfinearts.com www.barbaraprey.com
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Blue Water Fine Arts Gallery

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Art Consultants Help Advance Artists’ Careers

Some artists are great at promoting themselves, finding buyers and generating attention to their careers. Hats off to them. For many other artists, however, having a middleman speak on behalf of their work is vital to their careers.

That middleman can be an agent or dealer (or gallery). That person might also be an art consultant. At times, art consultants are gallery owners and even museum curators who advise individuals and companies in the area of decorating or building a collection on the side. Those who are free agents, only serving the interests of their clients, generally don’t have galleries and or represent particular artworks or artists; rather, they tend to work from their offices or homes, maintaining information (bios, slides, press clippings) on a variety of different artists whose work may be of interest to particular clients. Most focus exclusively on contemporary art — works created by living artists — while others will hunt through all styles and periods, depending upon the interests and budgets of their clients. “Our criteria for selection revolves around our clients’ tastes,” said Josetta Sbeglia, an art consultant in St. Louis, Missouri. “We hope we like it, too.”
These clients are a mix of private collectors, corporations, law firms and health care facilities. “The healthcare industry is growing, and hospitals see the value of art and creating spaces that are more pleasant,” said Talley Fischer, a sculptor in Bellefonte, Pennsylvania, who has been commissioned to create large installations for a variety of health care facilities through art consultants hired by these institutions, who usually are brought in to help these institutions find artworks when in the process of building new or renovating existing spaces. Fischer noted that she promotes herself directly to art consultants.

Many companies prefer using outside consultants — finding expertise through people who are members of the Association of Professional Art Advisors (www.artadvisors.org), for instance, although quite a few advisors who are not APAA members or work as gallery owners also offer their assistance to private and corporate clients – to hiring their own in-house curators as a cost-savings move. These companies look to acquire artwork, because “art in offices enriches the lives of the people who work there,” said Laura Solomon, an art advisor in New York City, who not only helps her clients purchase artwork, but will take charge of framing or installing pieces in the offices, rotating existing artworks around the offices from the collection and even putting together special exhibitions from it.

Consultants learn of artists in a variety of ways: They attend exhibitions at galleries, as well as at art fairs and juried competitions; they receive recommendations from other artists; they go to open studio events; and they are contacted directly by the artists, through the postal service, telephone or e-mail. Some consultants encourage artists sending them material, while others do not — it makes sense to inquire by telephone or letter what, if anything, a particular consultant is interested in seeing before mailing a portfolio. Lorinda Ash, a New York City art dealer and consultant, said that “I get phone calls, FAXes and emails from artists all the time, but that’s not how I ever become interested in an artist. I find artists through going to galleries.”

On the other hand, Jennifer Wood-Patrick, an art consultant at the firm of Art Advisory Boston in Massachusetts, welcomes receiving material from artists but noted that “we have a limited amount of time for telephone conversations and sorting through packages sent by artists.” She prefers emails from artists that describe who they are and include images.

“Tom is very busy, so I try not to bother him with things he won’t be interested in.” The Tom in question is Tom James, executive chairman of Raymond James Financial, an investment and wealth management company, and he and his wife Mary select all of the artwork – 2,400 pieces and growing – that adorn the one million square feet of office space at its St. Petersburg, Florida headquarters. The person trying not to bother him too much is Emily Kapes, curator of the art collection, who identifies the type of artwork (80 percent two-dimensional and the rest sculptural works in bronze, glass and stone) that often represent images of the American West and wildlife. She receives telephone calls, postal mail and email from artists and galleries around the country, all offering their artwork for purchase. “I can filter out the artists that usually wouldn’t be collected,” she said, “and, otherwise, pass things along to Tom. Tom is known for supporting living artists.”

Emily Nixon, a Chicago-based art advisor, too, receives numerous communications from artists, but she tends to rely less on submissions from people she has never heard of (“I find that artists may not know what corporations want, and many are unfamiliar with contracts and pricing,” she said) and more through visiting art gallery exhibitions, art fairs, auctions and receiving recommendations from people (artists, dealers, auctioneers) with whom she has had a long-time association. The artists who are of greatest interest to her “should be in a gallery and have had numerous sales.” It doesn’t hurt if these artists have sold work in the past to other corporations, although that is less significant than the fact that they are represented in a gallery.

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New Artists Review: no:carrier

2015-08-28-1440727547-5939939-nocarrier5.jpg

The West Coast of the United States has always emanated a romantic vision of rainbow sherbet sunsets, velvety golden hills, healthy living, and progressive thinking. The psychedelic Renaissance of the 1960s played a large role in this imagery as Ken Kesey and his Merry Pranksters roamed around the country, sharing their California sensibilities (and LSD) with those who were willing to be “turned on.” Though California is undoubtedly one of the most geologically diverse and beautiful places to live, like everything bright, it also has a dark side.

Hailing from Germany but transplanted to San Francisco, songwriter and producer Chris Wirsig of the electro-noir-pop duo no:carrier, depicts a more obscure vision of California. The other half of the duo, Cynthia Wechselberger who is the singer, still remains in Germany which does not impede on their musical partnership. Released in May of this year, their four track EP Ghosts Of The West Coast, is a haunting collection of cover songs that they describe as “the American dream gone wrong.”

The album begins with a rendition of Don Henley’s “The Boys Of Summer” which tells the story of a lurking ex-boyfriend who is woefully looking for his lost love at the end of summer. Next comes Belinda Carlisle’s tragic track, “California,” which warns the listener of the perils of fame and show business, referencing the late River Phoenix as a victim of this peril. Following “California” is Tony Carey’s “Room With a View,” an unfolding tale of broken dreams and misfortune which eventually lead to homelessness and anguish. The final track, “She Moved Through The Fair,” is a traditional Irish song about lost love and a strange choice to put on an EP titled Ghosts Of The West Coast as it breaks the thematic cohesiveness of the album.

Each track is sung by a different singer which creates a unique feel to each song. The only track performed by Wechselberger is “She Moved Through The Fair”; Melissa Harding sings “California,” Kalib Duarte sings “The Boys of Summer,” and Lauralee Brown sings “Room With a View.” Though the entire EP is cover songs, the haunting and somber vibe of Ghosts Of The West Coast possesses an inimitable sound that reinvents old tunes.

“We can’t be compared easily. We have our very own sound that includes elements from several styles – from dark wave to synthpop, from acoustic to electro,” says Wirsig. “We’re not going on the trodden paths, we stay true to our ideals and write and record exactly the songs we want.” Founded in 1995 in Germany, no:carrier was unafraid of sound experimentation and emotive tracks.

After releasing their critically acclaimed third album Wisdom & Failure in 2014, no:carrier has been experiencing a momentous pinnacle in their career in 2015. Later this year, the duo plans to release a remix collection of new original material that promises the same melancholic and bittersweet tones that they have spent the last few years building and establishing.

Soundcloud: www.soundcloud.com/nocarriermusic
Website: www.nocarriermusic.com
Facebook: www.facebook.com/NoCarrierMusic

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Folk Rock Albums by American Artists (Music Guide): Arrogance Albums, Blackmore’s Night Albums, Bob Dylan Albums, Broadside Electric Albums

Folk Rock Albums by American Artists (Music Guide): Arrogance Albums, Blackmore’s Night Albums, Bob Dylan Albums, Broadside Electric Albums


New – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Commentary (music and lyrics not included). Pages: 295. Chapters: Arrogance albums, Blackmore’s Night albums, Bob Dylan albums, Broadside Electric albums, Buffalo Springfield albums, Carole King albums, Crosby & Nash albums, Daniel Johnston albums, Don McLean albums, Edie Brickell albums, Fred Neil albums, Gene Clark albums, Grateful Dead albums, Harry Chapin albu

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Besides the Sales Pitch, Artists Should Offer Care Instructions

The conversation that artists are most likely to enjoy having with buyers concerns what inspired them to create this or that and the ideas they seek to express in their work. Less enjoyable are negotiations over price (how much it costs, if any discounts are available, how they will be paid), and less enjoyable still is a discussion of the type of care that their artwork may require over time. Too often, artists shy away from questions of care, because they themselves may not know much about the materials they are using and how their pieces weather over time (and what, if anything, to do about it) and because they worry that such talk might cause prospective buyers to back out of a purchase.

Phoebe Dent Weil, a retired sculpture conservator at the St. Louis Art Museum who continues to work for private and institutional clients, claims that artists need to look beyond the initial sale to the long-term maintenance of their work. And, they need to talk to buyers about how to keep artworks looking good. “Collectors may get very upset if the sculpture they buy starts to look very different and starts to lose its value,” she said.

Weil herself was called in by the Houston Museum of Fine Arts when a polished carbon steel sculpture in its collection by the Italian artist Pietro Consagra rusted all over. Should the museum sand off the rust and polish the piece, knowing that the rust would recur? She spoke with the artist, who was still alive, recommending that the work be painted, which might make the piece look a bit different but would provide lasting protection. The artist was happy with the recommendation and began incorporating paint into his other steel works. He also was lucky that the conservator the museum chose to contact had an idea about how to keep his work from looking good. That helps the artist’s reputation and keeps the museum interested in his work.

Light, heat, humidity, dirt, dust and especially water are all potentially harmful to works of art, and the damage is dependent upon the materials used and where the objects are located. Artworks placed outdoors are most likely to experience changes through cold, heat, moisture and pollutants, and some materials are better able to weather these changes or be treated than others. Stone sculpture, for instance, is porous and can absorb water vapor up to four inches deep, taking airborne pollutants into its interior. Eventually, when it dries out, the stone will “sweat” out these particles, which creates an erosion on its surface, slowly eliminating some of the detailing.

Bronze, too, reacts badly to humidity, turning green. Weil stated that chlorides in the patina — the surface sheen of an object — occasionally reacts with high humidity to cause “bronze disease,” which is green mold-like spots that start appearing on the surface. She noted that there is not much one can do to permanently stop this condition, although regular cleaning and waxing of the work does provide some protection from the humidity. Wood is most severely affected by moisture in the air, expanding in high humidity and contracting in a dry environment. Two adjoining wooden pieces in an object may expand against each other and knock themselves out of line, and the glue holding pieces together may dry up and cease to bind the parts together. The ideal relative humidity levels are 55 percent for wood, 50 percent for stone and 40 percent for bronze.

Unlike paintings and drawings, wooden sculpture cannot be placed under glass to protect them from strong light. She noted that these pieces should be kept away from windows where direct sunlight would hit them, since their veneer absorbs heat which can lead to cracking.

Certain types of antiques or sculpture are born trouble, no matter what anyone does, Weil claimed. Claes Oldenburg’s outdoor pieces, for instance, are cast in Everdur bronze that has the distinction of tarnishing and discoloring very rapidly. If one touches a piece made in Everdur bronze, the mark must be immediately cleaned off or else the fingerprints may be permanently etched into the metal within a matter of days.

Other problems may have been found with Cor-ten steel, which has been used for works by Alexander Calder, Louise Nevelson, Pablo Picasso and many other artists. Cor-ten was thought to be an answer to outdoor environmental conditions as it formed a tight oxidation layer that stabilizes and acts as a buffer against further corrosion. Weil stated that there have been serious problems when conservators seek to clean graffiti off works made of this metal. “To clean it, you have to remove the entire rust layer. Then, another rust layer has to develop.” The result is the removal of actual metal, which may change the proportions and appearance of the entire work.

Artists, of course, choose the materials they use often for other reasons than longevity. Picasso would not have pasted newsprint onto some of his late Cubist canvases had his concerns been the problems conservators would face decades later. As a result, artists should provide guidance to their buyers in the maintenance of their work. Here are some Don’ts that Weil has to offer:

Don’t use Pledge on a wood sculpture. It may leave residue, cause discoloration and provide moisture that enters the wood.

Don’t use Brasso metal polish on metal sculptures. It has a mild abrasive and leaves a residue of white powder that collects in corners.

Don’t use a rag to remove dirt and dust. The rag may catch on sharp points and abrade the surface. Feather dusters are better but are more difficult to control. Instead, use a soft bristle paint brush, taping the metal ferule to guard against scrapes.

Don’t put a waterproof coating on stone sculpture. Rainwater will get underneath the coating through cracks and cause the coating to chip off, distorting the overall look of the piece.

And, of course, what one might expect from a conservator: If a buyer has questions about how to protect a work from damage or restore a piece after damage has occurred, contact a qualified conservator.

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Various Artists – Bikini Machines – Oldies Rockabilly Jams For A Hot Summer Part

Various Artists – Bikini Machines – Oldies Rockabilly Jams For A Hot Summer Part


Track Listing: Rebel Rouser; R

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A Caring Bridge Site for Artists?

So I’m at my friend Tom’s birthday party, hoping to steer the conversation toward what I’m going to be doing for the next few weeks. I’ll be performing Macaroni on a Hotdog, the one woman show I’ve written, at the 2015 Edinburgh Fringe Festival. Maureen takes the bait and asks me what I’m doing the rest of the summer, and I explain.

Me: And also… I’ll be blogging about the whole adventure on the Huffington Post.
Maureen: Is that like a Caring Bridge thing, but for artists?

Luckily there was a festive birthday napkin available to wipe off the Pinot Grigio I snorted through my nose from laughing. I thought about Maureen’s analogy. Although there are similarities, this endeavor is less about a death, and more about a birth. The birth of a new play.

Part of the job of being an actor, is being asked (frequently asked) “What are you doing now?”
If you’re not working, people might think that you’re either lazy, or unemployable. For seven months now, I’ve joyously had an answer to the question “What are you doing now?”

This is not my first time to the Edinburgh Fringe. My husband and I brought the brilliantly constructed Billy VanZandt play The Property Known as Garland to the 2012 Edinburgh Fringe. This time around I’ll be performing a play I’ve written myself. If things go well, I’ll be taking a lot of the credit, if things go. . . you know what? Let’s change the subject.

This time around, we’ve arrived a few days before the Fringe kicks in to high gear. The venue we’re performing has just begun to be transformed. It’s usually a lecture hall for the Surgeon’s College, but during the Fringe, it becomes Theatre 3 of theSpace@SurgeonsHall.

It’s nice to see the calm before the storm.

For anyone considering bringing a show to the Fringe, you should try and be realistic. There are 3,000 shows here this month. In addition to the Fringe, there’s also a book festival, a jazz festival, International Festival and don’t even get me started on the tattoo at the Castle. Besides the plethora of festivals, Edinburgh has museums, parks and fantastic pubs. Competition for an audience is fierce. Some of the venues will require you to fill a certain amount of seats for each performance. If you don’t fill those seats, you have to pay for them yourself. This is a bad deal and do not even think of signing that contract.

I kind of feel like, if you bring a show to the Fringe, it’s like the Universe’s way of hazing you, and whatever the outcome, just by surviving the month, you are in the club.

Last night we sat in the Auld Hoose Pub, had a pint of Hobgoblin and I wrote my first post. Which disappeared because I clicked the wrong button. Tragedy? Hardly. Frustrating? Definitely. The Auld Hoose hadn’t changed much since 2012. Comfortable seats, excellent taps. I did notice their cigarette machine has left, and some posters advertising current exhibitions are on display. I would love to see the M.C. Escher and the Roy Lichtenstein at the Scottish National Gallery of Modern Art and also there’s a Lee Miller and Picasso at the Scottish National Portrait Gallery. I’m pretty much a kid in a candy store. Edinburgh is going to explode with culture, fun and mayhem and I have a front row seat.

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12 Pieces Of Advice For Artists More Practical Than ‘Follow Your Heart’

 ”Follow your heart.” “Trust your gut.” “Find your voice.” “Stay true to your vision.”

It’s not that there isn’t merit to these oft-touted nuggets of wisdom for aspiring artists, it’s just that, sometimes, following your heart won’t help you pay rent on time. 

If you’re looking for the kind of advice that, while it may not look as great on an inspirational postcard, will help you actually sustain yourself as a working artist, we highly suggest Alix Sloan‘s Launching Your Art Career: A Practical Guide for Artists.

Sloan, a curator and consultant, enlists the help of 40 artists and dealers to compile a bullshit-free guide to making art, making connections, making sales and making money. We’ve compiled some of our favorite parts below, to give you a taste. 

Behold, 12 pieces of actually practical advice for a struggling, emerging or really any sort of artist.

1. Take the job. “Don’t be one of those cliché art school kids who considers himself above the idea of art as commodity. Take the commercial work. Take the design work. Do the band’s poster for $ 20 and a six-pack. Do whatever it takes to be able to call yourself a working artist. It’s a noble title, regardless of the particulars.” Noah Antieau, art dealer

2. Make nice! “Your best connections are your peers. Stay in contact with them. Be curious. Visit other artist’s studios and add like-minded people to your mailing list.” -Cara Enteles, artist

3. Do you. “Aim to have people recognize your work in a crowded room … to know immediately that it’s undeniably yours.” -Lori Field, artist 

 4. Get some perspective. “Gaining perspective by observing your practice amongst a field of others, and the culture and time in which it is done, is a career goal that follows a wide arc … It is not the sole responsibility of your art dealer, for example, to place your work in cultural context, nor should you allow this without your input.” -Martin Kruck, artist 

5. It’s just another job. “When I’m talking with younger artists I stress that making, exhibiting and selling art in a commercial gallery is just like any other job one hopes to be successful at. It means working hard, honoring deadlines and trusting your co-workers to do their jobs well too.” -William Baczek, art dealer

6. Don’t go crazy with the zeros. “Don’t raise your prices too fast because once they are up, you should not lower them.” -Jayme McLellan, art dealer 

7. More, more, more! “Feed your output with as much input (books, lectures, films, leisure, rest) as you can handle, and in some cases, more than you can manage.” -Didier William, artist 

8. Keep your friends close and your inspiration closer. “Now there are endless images at your fingertips, but you need to find the ones that awaken your creativity and keep them near to you. Sometimes it can be something blurry and vague … I have this one little scrap of paper with a very low-res image of a kitten’s face on it, and something about it makes me come back to it again and again, trying to capture something elusive about it. When you find an image like that, hold onto it like it was gold.” -Marion Peck, artist 

9. Get that domain name stat. “You don’t need business cards. You do need a website.” -Zach Feuer, art dealer

10. Don’t get comfortable. “You may have to work at a real job while you are making this happen. DO NOT get a creative job. Get a job you won’t get comfortable in. Save all your creative juices for your own art practice!” -Martha Rich, artist  

11. Embrace the tribe. “It’s good to remember (not when you are making new work as it might be better to forget) that there are armies of manically mono-focused people (I almost said monsters) out there who want something close to what you want. They are your tribe, not your enemy.” -David Humphrey, artist 

12. Go outside. “Stay deeply connected to what’s going on in your own art world. Under no circumstances isolate yourself in the studio with a solitary practice, thinking you’re some kind of lone wolf or Van Gogh.” -Mark Wolfe, art dealer

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This Makeup Artist’s Monster Transformations Are The Scariest Things You’ll See Today

Special effects and makeup artist Emily Anderson’s Instagram page is one you won’t be able to unsee. But we’re not sure whether that’s a good or bad thing.

The 23-year-old’s account is filled with hauntingly awesome makeup transformations turning Anderson into monsters, gremlins and villains. Armed with lots of water-based paints, highly-pigmented shadow palettes and patience, she’s morphed her upper body into three-dimensional versions of Doomsday, Medusa and Gizmo.

emily anderson makeup

Anderson honed her makeup artistry skills at the Cinema Makeup School in Los Angeles and on the sets of film, TV shows and music videos, including “Lizzie Borden’s Revenge,” “American Horror Story” and David Guetta and Nicki Minaj’s “Hey Mama.”

She began dabbling with monster transformations back in 2014, and picked it up again in March. “I was inspired originally by body paint that pro wrestler Finn Balor had worn actually,” she told The Huffington Post. “I ended up having the chance to do his body paint for a match in San Jose for Wrestle Mania Weekend.”

To help seamlessly blend the makeup out into the crevices and folds of her skin, Anderson uses a total of four makeup brushes and sometimes the BeautyBlender. For more heavy duty long-wear makeup looks, she reaches for airbrush paints.

All of Anderson’s monster transformations seem incredibly complex to achieve. “The raptor was pretty complicated because of the angles involved, but some of the Disney scenes or Gizmo took more detail,” she said. “I try to challenge myself each time so they are all a little difficult or complicated for me to work out in some way!”

emily anderson makeup

When it’s time to take it all off, she swears by soap and water for the water-based paints, 99-percent alcohol to remove the airbrush and alcohol colors, and Neutrogena makeup remover wipes for anything that’s left over.

See some of Emily Anderson’s most gruesome transformations below and head over to her Instagram page for more looks.

H/T Bustle


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Anonymous Artists Smuggle Mysterious Treehouse Into An LA Park, Hearts Explode Accordingly

If you head to Los Angeles’ Griffith Park, start on the Charlie Turner Trailhead for the Mt. Hollywood Hiking Trail, across the parking lot from the entrance to the Griffith Observatory. Keep walking through the Berlin Forest until you cross a bridge spanning the Mt. Hollywood Drive Canyon Road tunnel. Keep on weaving up the narrow trail, which will take you up to the unofficially named Taco Peak. When you arrive, you’ll see an 80-square-foot teahouse, plopped into the middle of mother nature.

You’ve reached your destination. Relax, have some tea, and enjoy the view.

Overnight on Monday, June 30, a group of anonymous artists smuggled the diminutive yet sturdy teahouse onto the premises. The structure is made from reclaimed wood from 2007’s Griffith Park fire, along with felled redwoods on the verge of being mulched. The structure resembles a traditional Japanese teahouse, with a sleek slat roof and windows that frame a breathtaking view. “It reminds me of some of the ones used by ancient Japanese tea masters,” tea expert Tiffany Williams explained to Carolina Miranda. “They liked to keep things very simple, very rustic.”

A dangling sign invites visitors to inscribe their dreams and thoughts on the wood. “Write a wish for the city. Maybe a love letter. Or a memory, an observation, a constructive criticism. Ring the bell to seal your wish.” If Yoko Ono had a guerrilla art phase, she’d definitely pull a move like this.

Since the installation earlier this week, many Angelenos have flocked to this mysterious sanctuary. However, according to the artist collective, the L.A. Department of Recreation and Parks is threatening to remove the gift to the city from the premises. There’s a petition circulating online to protect the teahouse, and as of now, it already has over 1,500 signatures. The petition is addressed to the L.A. Department of Recreation and Parks, City Councilman David Ryu, who represents Griffith Park in his district, Mayor Eric Garcetti, and former Councilman Tom LaBonge.

Art should not be destroyed and the tea house is a gift to the city,” the petition states, “a ‘love letter’ celebrating LA. It’s a place for reflection and wishes. It breathes life back into things destroyed, made from reclaimed wood from the Griffith Park Fire. It’s a gesture of peace and a celebration of the artists’ love for Griffith Park. There should be tea houses this meaningful in every park in the world.”

However, there is hope! According to Modern Hiker, the Griffith Park employees encountered seemed smitten by the tiny tea den. “I expected them to be gearing up to take the whole thing down, but they actually seemed fairly charmed by it,” Casey Schreiner explained. “They noted the construction was good, was limited to the already existing concrete, and seemed to be an improvement.”

It’s hard to say how long the enchanting space will be in existence, so visit while you have the chance. And definitely visit before the zen art project sells out.

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Various Artists – Runnin Wild: The Everest Records Story -1959-1962 (2 CD) (Music CD)

Various Artists – Runnin Wild: The Everest Records Story -1959-1962 (2 CD) (Music CD)


Founded by ambitious ex-Hollywood sound man Harry Belock, Everest’s flagship recordings were of the Jazz and Classical variety however the label also had substantial and distinguished pop and county singles amongst its offerings. This compilation explores those cuts which include such stars as Patsy Cline, King Curtis and Jimmy Isle. The 50 tracks typify US Pop of the Pre-British invasion era. CD1 1. Runnin’ Wild – Dolly Dawn 2. Billy Boy – Jimmy Isle 3. You Say! – Ronny Douglas 4. No One But You – The Lions 5. Jay Walk – King Curtis 6. Heartbroken – Clyde Pitts 7. All Summer Long – Billy Bryan 8. Chop, Chop Hole In The Wall – The Boulevards 9. Passion Flower – Cecile Devile 10. Does My Heartache Show – Jimmy Byron 11. Rick-A-Chick – Joe Seneca 12. I Said Goodbye To My Love – Ketty Lester 13. Foolish – The Danleers 14. My Mind’s Made Up – The Renowns 15. I Can’t Forget – Patsy Cline 16. Billy Goat – The Baker Brothers 17. Independence Day Hora – Wild Bill Davis & Charlie Shavers 18. Carole – Billy Scott 19. Slippin’ And Sloppin’ (Part 1) – The Supertones 20. Yella Shoes – The “4” Deuces 21. Big Big Dream – Billy Grammer 22. You Don’t Have To Be A Tower Of Strength – Gloria Lynne 23. Trees – The Baysiders 24. Like A Waterfall – The Curls 25. I Found My Baby – The Lexingtons CD2 1. I Don’t Wanta – Patsy Cline 2. It Figures – Jimmy Isle 3. The Lone Prairie – King Curtis 4. What A Wonderful Lover – Doris Payne 5. Wild One – The Renowns 6. Open Up Your Arms – Randy Lee 7. Delores – The Boulevards 8. Slippin’ And Sloppin’ (Part 2) – The Supertones 9. Take A Dream – Jackie Walker 10. Blue Moon – The Bel-Aire Girls 11. She’s My Date – Pepe La Staza 12. Bonnie – Billy Bryan 13. Mississippi – Jimmy Byron 14. Forty Days And Forty Nights – Joe Seneca 15. Queen For A Day – Ketty Lester 16. When My Baby Went Away – The Lexingtons 17. Sheila – The Baker Brothers 18. You’ll Come Back – Ronny Douglas 19. Did You Ever See A Dream Walking – Randy Lee 20. I Know Love – Gloria Lynne 21. How High The Moon – The Raymond Scott Orchestra

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Various Artists – 100 Hits (New Years Eve Party) (Music CD)

Various Artists – 100 Hits (New Years Eve Party) (Music CD)


Disk 1 1. Don’t You Want Me – Human League 2. Gold – Spandau Ballet 3. Karma Chameleon – Culture Club 4. Geno – Dexys Midnight Runners 5. Walking on Sunshine – Katrina & the Waves 6. The One and Only – Hawkes, Chesney 7. We Close Our Eyes – Go West 8. Rebel Yell – Idol, Billy 9. Heaven Is a Place on Earth – Carlisle, Belinda 10. Morning Train (Nine to Five) – Easton, Sheena 11. Wired for Sound – Richard, Cliff 12. It Ain’t What You Do, It’s the Way That You Do It – Fun Boy Three & Bananarama 13. Hit Me with Your Rhythm Stick – Dury, Ian & the Blockheads 14. Enjoy Yourself (It’s Later Than You Think) – Specials 15. The Wanderer – Dion & The Belmonts 16. Do Wah Diddy Diddy – Manfred Mann 17. Little Green Bag – Baker, George Selection 18. Mony Mony – James, Tommy & the Shondells 19. I’m into Something Good – Herman’s Hermits 20. The Loco-Motion – Little Eva Disk 2 1. Don’t You (Forget About Me) – Simple Minds 2. Rio – Duran Duran 3. Lifeline – Spandau Ballet 4. The Power of Love – Lewis, Huey & the News 5. Hanging on the Telephone – Blondie 6. Unbelieveable – EMF 7. Bohemian Like You – Dandy Warhols 8. Jerk It Out – Caesars 9. Smile – Supernaturals 10. Alright – Supergrass 11. Trick Me – Kelis 12. Not Fair – Allen, Lilly 13. Whole Again – Atomic Kitten 14. Tubthumping – Chumbawamba 15. Boombastic – Shaggy 16. Superstar – Jamelia 17. Thunder in My Heart – Sayer, Leo 18. Mandian to Bach Ke – Panjabi MC 19. Make Luv – Room 5 20. You Sexy Thing – Hot Chocolate Disk 3 1. Ice Ice Baby – Vanilla Ice 2. U Can’t Touch This – MC Hammer 3. We Don’t Have to Take Our Clothes Off – Stewart, Jermaine 4. It’s a Shame (My Sister) – Love, Monie 5. Back to Life (However Do You Want Me) – Soul II Soul 6. Respectable – Mel & Kim 7. Toca’s Miracle – Fragma 8. Got to Have Your Love – Mantronix 9. I Wanna Be the Only One – Eternal 10. All Rise – Blue 11. Every 1’s a Winner – Hot Chocolate 12. Solid – Ashford & Simpson 13. Would I Lie to You? – Charles & Eddie 14. Rock Your Baby – McCrae, George 15. You Make Me Feel Like Dancing – Sayer, Le

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The Plains Indians: Artists Of Earth And Sky

The Plains Indians: Artists Of Earth And Sky


Accompanying a groundbreaking exhibition, this is the first comprehensive survey of the magnificent artistic traditions of the Plains Indians. The Plains Indians: Artists of Earth and Sky celebrates the extraordinary beauty, power, and spiritual resonance of Plains Indian art throughout time. Richly illustrated, this monumental volume includes a wealth of masterworks from European and North American collections, ranging from a 2,000-year-old Human Effigy stone pipe to a 2011 beaded adaptation of designer shoes. Works of art collected centuries ago by French traders and travelers are presented together with those acquired by Lewis and Clark on their famous expedition of 1804–6, along with objects from the early reservation era and contemporary works based in traditional forms and ideas. The distinct Plains aesthetic—intertwined with the natural world, ephemeral, and materially rich—is revealed through an array of forms and mediums: painting and drawing; sculptural works in stone, wood, antler, and shell; porcupine quill and glass bead embroidery; feather work; painted robes depicting figures and geometric shapes; and richly ornamented clothing and ceremonial objects. Many nations are represented—Osage, Quapaw, Omaha, Crow, Cheyenne, Arapaho, Lakota, Blackfeet, Pawnee, Kiowa, Comanche, Mesquakie, Kansa, and others. With newly researched texts by leading scholars, this important book charts the continuum of centuries of artistic tradition and reflects the significant place that Plains Indian culture holds in European history and in the heritage of North America.
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8 Dead White Male Artists You Should Know

men

Throughout the history of art, many brave and creative spirits have exposed their souls, their imaginations and their ideas about the world through the power of visual expression. Today, we’re honoring eight individuals whose artistic expression has transformed the conversation surrounding representation, the role of the artist, the relationship between figuration and abstraction, and the power of art. The most inspirational part is, they managed to explore these issues and more, as white men.

Behold, eight dead, white, male artists who blow us away with their talent as well as their modesty.***

1. Claude Monet (1840-1926)
“My life has been nothing but a failure.”

monet

The work of French painter Claude Monet (pronounced Mo-Nay) isknown for his paintings of water lilies in the idyllic gardens of Giverny. Sadly, his work remains confined to institutions like the Metropolitan Museum of Art and Musée d’Orsay, and sells for millions of dollars. IMHO, those canvases are whimsical enough to warrant billion dollar price tags.

2. Leonardo da Vinci (1452-1519)
“I have offended God and mankind because my work didn’t reach the quality it should have.”

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Leonardo has been dubbed a “genius,” as well as the “Renaissance humanist ideal.” There are forums dedicated to whether or not he was the most talented person that has ever lived. One of his most celebrated paintings, the “Mona Lisa,” is likely the most famous portrait of all time, but it’s also the most parodied, and sometimes that stuff gets mean spirited.

3. Henri Matisse (1869-1954)
“It has bothered me all my life that I do not paint like everybody else.”

henri matisse

Matisse (pronounced Muh-Tees) is known as one of the most influential artists of the 20th century, as well as the leader of the Fauvists, French for “wild beasts,” a group of artists who privileged intense and unnatural color, sometimes straight from the tube. In 2005 one of his pieces sold for $ 25 million to the Museum of Modern Art. It’s not even one of the super famous ones.

4. Édouard Manet (1832-1883)
“This woman’s work is exceptional. Too bad she’s not a man.”

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In the mid-19th century, Manet (pronounced Man-ehh?) painted provocative artworks such as “The Luncheon on the Grass,” and “Olympia,” both radical for their use of a nude subject staring straight at the viewer without shame. Some say his career sparked the beginning of modern art. Also, his name sounds a lot like Monet (see #1 on list) who is slightly more famous, which, we can only imagine, must have been frustrating.

5. Michelangelo (1475-1564)
“If people knew how hard I worked to get my mastery, it wouldn’t seem so wonderful at all.”

portrait

The Encyclopedia Britannica subtly states: “Michelangelo was considered the greatest living artist in his lifetime, and ever since then he has been held to be one of the greatest artists of all time.” He’s responsible for works like the ceiling of the Sistine Chapel and the “Pietà,” and yet we’re still left wondering: but who is Michelangelo?

6. Pablo Picasso (1881–1973)
“My mother said to me, ‘If you are a soldier, you will become a general. If you are a monk, you will become the Pope.’ Instead, I was a painter, and became Picasso.”

picasso photo

As Norman Mailer once put it: “By general consensus, Pablo Picasso is the most brilliant and influential artist of this century.” Among other things, he co-founded Cubism, invented constructed sculpture and helped popularize collage. Sadly, however, many individuals still hurl disparaging comments at him, like “my five-year-old could do that.”

7. Paul Gauguin (1848-1903)
“We never really know what stupidity is until we have experimented on ourselves.”

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Gauguin (pronounced Go-gan) is a key figure in Symbolist, Post-Impressionist and Primitivist art. He’s also, perhaps less widely, known as the former stockbroker who left his wife and five children to embark on a hunt to “discover the primitive.” In other words, he moved to Tahiti and took adolescent girls for wives. Get this guy a reality show!

8. Edgar Degas (1834-1917)
“Painting is easy when you don’t know how, but very difficult when you do.”

degas

Degas (pronounced Day-gah) is known for his weightless depictions of ballerinas in motion, combining on-stage performances with awkward behind-the-scenes moments. He’s also known as one of the founders of Impressionism. His bronze sculpture creepily titled “Little Dancer of Fourteen Years” was estimated to draw between $ 25 million and $ 35 million during a Christie’s auction in 2009. There were no bids. It did not sell.

***This is a satirical post. For coverage on the art world outside of dead white European males (DWEM), check out our site on a daily basis.
Comedy – The Huffington Post
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Can artists Procreate Without Going Bankrupt?

I’m a member of two different Facebook groups that have frequent postings; one of them is a group for moms, many of whom also happen to be artists. The other one is a forum for classical singers, a few of whom happen to be parents. There isn’t a lot of crossover topics between the two groups — but this week, unrelated to one another, I read a post on my classical singer group asking whether people who had kids felt that it affected their careers as singers, and another post on my mom’s page asking whether any artists that were also parents were managing to keep their artistic careers going while still staying afloat financially. Where the crossover between these two queries occurred was mostly in the comments section, where people who were artists and parents explained how they managed to keep from moving their families into cardboard boxes, and what sacrifices they had made in order to add children to their lives. Everyone said that whatever sacrifices they had made were worth it, and they wouldn’t change a thing. But almost all of the commenters with kids mentioned that either they or their spouses had moved into some sort of academia or other work in order to pay the bills and remain at least somewhat financially stable. The number of people who had moved in different directions than their original artistic intentions was almost everybody. Most people said they were content with where their choices had led them, but it lead my mom’s group to start a discussion about why it’s next to impossible to be an artist — and especially a couple in which both people are artists and self employed — and make a go of having a family.

For opera singing parents, the challenges are quite extraordinary. Because not only are there all the challenges of being a self-employed artist, whose income is sporadic and difficult to predict, and who has no health or retirement benefits from their job, but we must factor in the concern that our jobs require constant travel, which makes adding a child into the mix pretty insane. Not only do we have to arrange extra plane tickets and different accommodations than may be provided by the company for whom we are working — usually at our own expense — but we have to arrange childcare in a strange place, ahead of time, without even having a chance to meet with the candidates. So a mother must bring her child with her to a strange place, and the very next day leave them with a strange person while they go to rehearsal. Or we leave our child with someone back home for a long period of time. The fees of opera singers have notoriously dwindled in recent years, and the competition has made jobs less available and less frequent. After a singer pays a coach to help them learn their role, and lives in a strange city for several weeks without pay, they then get a lump sum for their performances, of which 10-20 percent gets paid to an agent, and another 15-30 percent should be set aside for taxes. After deducting the costs of monthly health insurance (probably at least $ 700-1000 per month for the singer and child) and any retirement that could be set aside (ha ha — we wish) that doesn’t leave the singer a lot to work with. And I’m not only talking about struggling singers, I’m talking about singers who sing in the major opera houses around the world. And if you’re adding onto that the extra expense of travel, accommodations and possibly childcare, you are left wondering why you bothered to leave your house in the first place. And while other types of artists have different challenges, almost all of them face rising expenses and dwindling profits, and share similar concerns to we opera singing parents.

Which leads me to the question; should artists even bother to procreate? Is it fair to our children that we lead such financially itinerant lifestyles? If someone wants to have a family, shouldn’t they just do the responsible thing and get a “real” job?

The problem with this line of questioning (which so many artists face from friends, family and strangers sitting next to us on airplanes and in coffee shops on a daily basis) is that it really does question whether being an artist is of value to a society at all. Because if having children is so impossible for someone who works as an artist — and I’m not even talking about a struggling “wannabe” artist, but someone who actually makes a living as one — then it suggests that it is not a career worth being compensated for, but merely an avocation for a young and untethered person who doesn’t mind living la vie boheme, using old chairs for firewood and eating sardine sandwiches.

I bring this up because there are other countries who consider these problems. There are countries who provide health care and education to all their citizens (Sweden, Denmark, Norway — most of Europe actually), who provide paid maternity leave to expecting mothers (and fathers) even if their jobs don’t (Canada), who give stipends to every family for each child they have (Germany), and who even have government sponsored excellent childcare as well as insurance for artists who are between jobs (France). Many of these countries also have state sponsored arts funding, coincidentally. So artists are paid pretty well, and don’t have to go around worrying all the time about how they are going to make ends meet. Artists are acknowledged as being participating, contributing members of society, and their worth isn’t taken for granted. Yes, the citizens of these countries also pay higher taxes — but not that much higher considering all the benefits they are offered.

So we’re back to the same question I ask so often in my blog posts — why doesn’t America value artists more and allow for them to continue to contribute without constantly worrying about financial collapse? I’m not talking about handouts — I’m talking about extensive tax breaks for childcare, and access to truly affordable health care, and community support to the organizations that create art so that they can pay artists fair wages. I’m talking about wage earning that is commensurate with education, and acknowledgement that arts organizations enrich communities both fiscally and socially.

Coming full circle back to my Facebook forums and where they intersect — parents all over this country are struggling to make ends meet because of things like childcare and healthcare. Artists all over this country are struggling because of lack of income, lack of jobs and lack of government support. In a way, artists are prepared to make excellent parents because they are used to finding creative solutions to financial hurdles, something most parents have to do many times in their child’s lives, regardless of their occupation. But this isn’t the only thing that can make artists great parents. Artistic parents can’t help but encourage artistically minded children, whether that means artists or merely arts supporters. And we desperately need more people who believe that creativity is a vital arm to our society. So we need artists to keep procreating so we can make a new generation of people who are willing to think creatively and who think of artists as necessary members of their community.

So I say to all artists; go forth and procreate. You are creative. You will figure out a way around the financial and logistical hurdles which you will encounter. And you will hopefully become part of the village so essential to other artists in your community also raising families.

And also; nothing inspires creativity quite like trying to have a conversation with a toddler.
Arts – The Huffington Post
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Mad World: An Oral History of New Wave Artists and Songs That Defined the 1980s

Mad World: An Oral History of New Wave Artists and Songs That Defined the 1980s


Mad World” is a highly entertaining oral history that celebrates the New Wave music phenomenon of the 1980s via new interviews with 35 of the most notable artists of the period. Each chapter begins with a discussion of their most popular song but leads to stories of their history and place in the scene, ultimately painting a vivid picture of this colorful, idiosyncratic time. Mixtape suggestions, fashion sidebars, and quotes from famous contemporary admirers help fill out the fun. Participants include members of Duran Duran, New Order, The Smiths, Tears for Fears, Adam Ant, Echo and the Bunnymen, Devo, ABC, Spandau Ballet, A Flock of Seagulls, Thompson Twins, and INXS.

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These Eco-Friendly Artists Are Dreaming Of A Plastic Free Christmas

White Christmases are so 2013.

This year we’re taking a hint from our favorite artistic-activist collective Luzinterruptus and dreaming of a plastic-free Christmas, just like the ones we used to know — you know, prior to industrialization and everything. In lieu of traditional greenery, we’re ogling their Consumerist Christmas Tree, a symbolic challenge to our plastic-dominated society as well as the unbridled consumerism that takes hold during the holiday season. As ideologically commanding as the unorthodox Christmas decor may be, it’s just as visually captivating.

dream

This year Luzinterruptus created the installation in an industrial town in Staffordshire, England called Stoke on Trent. The artists enlisted the neighborhood to donate their plastic bags for the piece. About 2,000 bags and 11 days later, the luminescent tree was born, as was some illuminating commentary on the contagious consumerism that comes along this time of year.

“The installation’s idea was the same as last year’s,” Luzinterruptus explained in a statement — last year’s was installed in Durham. “On one hand, to represent, in a symbolic and universally recognizable way, the overconsumption of plastic bags; and, on the other hand, the squandering that typically takes place during these holidays which have set aside the religious and traditional meaning of these holidays to turn them into a real invitation to uncontrolled consumption.”

There you have it, folks. If you don’t feel like trekking all the way to the Christmas tree lot, dig into your recycling bin and have an environmentally conscious holiday season. Happy holidays and have yourselves a green little Christmas!


Arts – The Huffington Post
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Why Do We Like Having Sex with Artists?

Art is having a strange moment right now. The market today is a business, pure and simple — a depraved scramble for big money; it’s as much about the businessmen, financiers, and lawyers as it is about the artists and their work. I’m not the only one who’s noticed that. There seem to be a lot of young people in New York today making “art,” simply because being an artist is cool, and because of the title’s apparent link to money, power, and, well, … sex. But just because you have blue hair and an experimental Instagram doesn’t mean I want to fuck you — quite the opposite, in fact, especially if it means getting on the J train to deep Bushwick.
Arts – The Huffington Post
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In the New York Film Fest the Outsize Egos of Artists Rule

There’s sometimes a common theme or recurring character that threads through a film festival. This can be especially striking in a fest as tightly curated as the New York Film Festival. Such convergences usually happen by accident, according to Kent Jones, director of programming at the NYFF.

Often… what it has to do with is the time. Obviously, when people are all making movies at the same time, it’s inevitable that some of them are going to be responding to similar events, occurrences… what’s happening on the horizon… you get movies that talk to each other and that’s always great.

I’m not sure how it’s related to the times, but the 52nd New York Film Fest abounds in characters who make art — on the page, in a concert hall, in movies and theater, or on a canvas. Why so many artists inhabit the fest lineup in this supremely materialistic age I’m not sure. Like most everything, it’s likely connected with the modern plague of economic inequity. Yes, the folks who increasingly own much of the planet can “buy” an artist. But no one can buy talent. Thus the artist’s become a sort of unlikely hero for our times.

Top ranked among these artist-centric films is the not-to-be-missed Mr. Turner by Mike Leigh. It resurrects JMW Turner, the English Romantic landscape painter (late 1700’s to the mid 1800s) known as “the painter of light,” along with a supporting cast of eccentrics to delight Dickens. Awarded Best Actor at Cannes, the superb Timothy Spall captures Turner in his last 25 years in all his curmudgeonly glory. The film departs from Leigh’s trademark loosey goosey accounts of Britain’s working and underclass, harking back to the meticulous period recreation of Topsy Turvy and Gilbert and Sullivan’s creation of The Mikado.

Some will find Turner plotless — but in fact, Turner offers a deep-in plot, as Leigh traces an artist’s inner journey to push his gift to its farthest limits. And going the distance means, for Turner, to hell with everyone else! Leigh’s portrait is unsparing in its revelations of Turner’s odious treatment of a cast-off wife and daughters, as well as a devoted woman servant he occasionally humps like a beast.

This sorry business is leavened by an interlude depicting Turner’s rather charming romance with his landlady at the seaside town of Margate, the inspirational site of much of his work. Leigh drenches the screen in images that arguably make Turner the most gorgeous film of the year. On display are not just the glorious landscapes — Leigh and his brilliant production designer and DP Dick Pope have bottled and put up on the screen nothing less than the palette and light of Turner’s paintings ; the viewer is literally bathed in them.

There are brief, throwaway images — Turner sitting in a boat on a shadowed pond amidst shafts of light, anyone? — that will make you sit up and gasp. Timothy Spall’s ingenious arsenal of grunts seems the perfect “language” to convey his unique style of courtship, dismissal of critics, struggle to surpass his own art — and the sheer difficulty of living.

Featuring Jason Schwartzman as a Philip Rothian-type novelist, Listen Up, Philip offers a way less illuminating portrait of the artist’s swollen ego. Much of Alex Ross Perry’s film tracks the interaction of the writer as self-centered shit with his live-in girlfriend Elizabeth Moss (miscast and misused). Jonathan Pryce, an older, once-eminent writer who has equally alienated most everyone, invites Philip to his upstate country house to write and regroup. This leads to a college teaching gig that gives Philip a fresh opportunity to play toxic boyfriend.

The film’s fearless display of metastatic ego and satire of things literary is, I suppose, good for a few hollow laughs. And a drunken bacchanal involving Schwartzman, Pryce, and two game women they’ve picked up at a singles event is shot in lurching, tipsy verite. But the treatment of the women as mere furniture in a male escapade — they literally get tossed out into the night — leaves a sour taste. And if I never see a woman tearing up over some asshole behaving badly, even if he is a literary genius, it won’t be too soon. Perry’s quirky, off-balance style offers a welcome antidote to canned studio fare. Even so, how did his minor effort make the fest’s main slate?

Musical artists take center stage in Damien Chazelle’s Whiplash. Anchored by Miles Teller and his awards-fodder turn as a jazz drummer, this may just be the feelgood film of the year. This despite the suffering the artist-musician undergoes in his drive for perfection. I have nothing to add to the glowing reviews, except: great screenplay, great acting, jazz to die for — what’s not to love? It’s in theaters. Go see it.

Then there’s the curious case of NYFF closer Birdman. A departure in style for gloom mongering Alejandro Gonzalez Inarritu, it’s an antic, literally high-flying account of a former iconic film star’s attempt to make a comeback by mounting a Broadway play. Given all the buzz and plaudits from the Venice Film Fest, I came with high expectations. Just think: Michael Keaton in a barn burning role that parallels his own Batmanic past as a movie franchise star; Edward Norton as a loose cannon of an actor intent on screwing up Keaton’s production of a play based on a story by Raymond Carver; and presiding over it all, the genius of D.P. Emmanuel Lubezki (Gravity, The Tree of Life).

The seamless sweep of the camera tunneling through the backstage corridors and planing over the great old theaters of Broadway — not to mention Keaton taking to the sky, birdman style, in cunning CG segments — gives the illusion of a film created in a single take. But will the average moviegoer get that? I doubt it. They’ll get the adrenalin rush, but not the technical leger-de-main. Sometimes programmers paint themselves into a vacuum.

As Keaton’s strung-out daughter, Emma Stone uncorks an impassioned monologue about how the viral world has made old dad obsolete (a highlight, though her features are so harsh they belong on Mount Rushmore). Stone’s tirade echos and “talks to” a similar one by Kristen Stewart giving Juliette Binoche the news that she and her ilk are old school, over.

Less riveting is the ego battle between Keaton and Edward Norton, the latter scampering about in his skivvies, displaying a gut in need of gym time. Birdman unwittingly betrays a disgust with human bodies; Norton’s come-on line, “play with my balls,” stands in for witty repartee. The women revolving around the two alpha males, including an ex wife, abandoned gf, and hot-to-trot daughter, are too carelessly drawn to engage us. Given the many challenges of life in 21st century America, it’s no wonder that Birdman takes to the skies.
Entertainment – The Huffington Post
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Artists Take on the Subject of Geometry in Jeddah

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Adrian Esparza, Untitled (No. 01), 2014, Felt pen, pencil on paper, 38 x 46 cm. Courtesy of the artist and Taubert Contemporary Gallery.


As we’ve written about elsewhere on ARTPHAIRE, many of the most interesting developments in the art world are currently coming from Arab countries.

In some ways this shouldn’t be surprising, as most of these countries are currently experiencing the same conditions which kickstarted the electrical storm of creativity that the West experienced in the second half of the 20th century — youthful populations, entrenched social structures to rebel against creatively, war, social upheaval, an opening up to globalization and booming economies.

However, the scope and scale of a new show in Jeddah, “The Language of Human Consciousness” will still pleasantly surprise many western visitors. Billed as “the biggest art exhibition in the Kingdom,” it includes the work of 39 artists from all over the world, responding to the theme of geometry. “Accepting its heritage as a symbol of purity, intelligence and perfection and bringing it towards a more contemporary interpretation as a language for exploring the atypical, the imperfect and the alternative.”

In Saudi itself, Jeddah has an interesting relationship with contemporary art. In the 1970s, its mayor, Dr. Mohammed Said Farsi, undertook the Jeddah Beautification Project in which a large collection of sculpture, including work by Henry Moore and Ottmar Hollmann, was created for public display. Farsi is also one of the most notable collectors of 20th Century Egyptian art, with Christie’s offering his unrivaled collection back in 2010 in a major sale.

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Sol Lewitt. “Untitled Drawing (Ref 03),” 1988, Gouache on paper, 54 x 86 cm. Courtesy of Lisson Gallery.

This new show works at a smaller scale than Dr. Farsi’s grand project, but is no less creatively ambitious. Reaching back to the statement of Plato about geometry — that even the most uneducated Greek slave’s soul “must have always possessed this knowledge” — a range of western artists including Josef Albers, Richard Deacon and Sol Lewitt have created geometric work alongside the likes of Rasheed Araeen and Dana Awartani.

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Monir Shahroudy Farmanfarmaian, “Drawing 02, 2009,” Felt marker, color pencil and mirror on paper, 62 x 95 cm. Courtesy of the artist and the Third Line Gallery.

There are several fascinating aspects to this show. Firstly, how a potentially cold, clinical subject can produce work as wide ranging as Sahand Hesmayan‘s brutal, metallic “Nail” (2012) and the delicate, technical surfaces of Monir Farmanfarmaian‘s “Drawing 2.” (2009). And secondly, how geometry has proven significant to such different cultures in different ways — cropping up in everything from psychedelia to op-art in the west, while reaching back into the history of mathematics, astronomy and science as a crucial part of Islam’s intellectual culture. Throughout the show, patterns and links emerge between the artists, with the works unconsciously echoing each other and shapes replicating in unexpected ways.

The Language of Human Consciousness” is on view at Athr Gallery through October 10, 2014.

–Justin Quirk is contributor to ARTPHAIRE. He is a journalist and editor based in London, England. He is editorial director of House, the Soho House Group’s quarterly culture journal, and also of Victor, Hasselblad’s photographic biannual. He writes features for The Guardian and Sunday Times newspapers, Wallpaper* magazine and Phaidon’s Agenda site. When not working he mentors young creatives at The Cut, he writes graphic novels and curates exhibitions for the Canadian artist Nathan James.
Arts – The Huffington Post
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This Is What Happens When Artists Take On Ninja Turtles In An Epic Rap Battle

We didn’t think there would be much beef between artists and green, weapon-wielding toy reptiles — but apparently, there is.

And it is awesome.

In this video from Epic Rap Battles of History, the four Teenage Mutant Ninja Turtles — Donatello, Michelangelo, Leonardo, and Raphael — take on the iconic artists they were named for in a truly epic and hilarious rap battle.

Who wins? You decide.

Entertainment – The Huffington Post
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Artist’s Statements of the Old Masters

To be successful as an artist in this day and age it is crucial that you justify your work as being contemporary. To be “contemporary” your work needs to be explained and justified in the language of postmodern theory. As works of art have evolved to require less skill in their making, artists have been become increasingly reliant on intellectual pedigrees substantiated by theory. Five hundred years ago, this wasn’t a concern.

In fact, it strikes me that without the right kind of theoretical writing to validate their work many of the great artists of the past would be in real trouble in today’s art world: can you get into an MFA program or a decent gallery without an artist’s statement? I doubt it.

An Old Master working today would definitely need some strong postmodern language to support his/her “artistic practice.” Here are some samples of the kinds of “Artist’s Statements” that I think would be required of European Old Masters if they tried to get a show in New York or Los Angeles today.

Artist’s Statements of the Old Masters

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Juan Sánchez Cotán, Quince, Cabbage, Melon and Cucumber, 1602

The San Diego Museum of Art

“My work explores the temporal duality of objects/non-objects in a hegemonic space/non-space. Indeed, my fruit and vegetable simulacra juxtaposes pre-Marxist male/female homo/heterosocial redactions of materiality through recurring formal concerns.”

-Juan Sánchez Cotán

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Jean-Honore Fragonard, The Bathers, c. 1765, The Louvre

“By disrupting the implied heteronormative discourse of antediluvian mythology, my paintings imply a personal mythopoeic narrative that both transcends and embodies the male gaze. By investigating the callipygian forms of a complex homosocial nexus in an anti-Lacanian context I depict a multitude of redundant, overlapping and coded tasks and roles.”

– Jean-Honore Fragonard

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Michelangelo Buonarroti, The Rebellious Slave, The Louvre, 1513

“The pre-homoeroticized body forms both my field of action and the basis of my conceptual taxonomy. My sculptures explore both the flux of transfixable signifiers and their complimentary anecdotal formations. My choice of Carrara marble as a medium creates a dialectic between proto-Classical conceptions of idealized form and later Humanistic naturalism. Each figure’s physical struggle is simultaneously inoperative and adjectival.”

-Michelangelo Buonarroti

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Hieronymus Bosch, detail of The Garden of Earthly Delights, c.1500, The Prado

“An implied quasi-theatrical sublimity in my work creates a tension between modes of engagement with internal and external realities. While attempting to bridge a rift in the continuum between metaphysics and narrativity I investigate a lexicon of parafictional erotic proclivities.”

– Hieronymus Bosch

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Titian, The Venus of Urbino, 1538, The Uffizi Gallery

“Woman, goddess, subject, object and signifier: Venus activates both the Utopian and Dystopian spaces of the Venetian Palazzo. By inducing an affirmative valence of feminine/objective lucidity Venus poses a question: has our tendency to privatize desire further affirmed or disenfranchised her archetypal significance?”

– Tiziano Vecellio

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Diego Velázquez, Las Meninas, 1639, The Prado

“In addressing the collapse of personal autonomy and identity in an authoritarian/monarchist space I imply a multiplicity of didactic constructions and formations. By investigating the formal and informal withdrawal of the central and objective role of the “subject” I address and investigate the role of signifiers and their ontological suggestions. I also reverse and subjugate the traditional symbol of the dog (“Fido”) into a subject/object reflection of the hierarchical and appropriated role of the artist in a Catholic/Baroque social construct.”

– Diego Rodríguez de Silva y Velázquez

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Rembrandt Van Rijn, Self-portrait with Beret and Turned-up Collar, 1659

The National Gallery of Art, Washington, D.C.

“Life etches itself onto our faces as we grow older, showing our violence, excesses or kindnesses.”

– Rembrandt Van Rijn

OK: I had to slip that in there.

That is what an actual artist’s statement sounds like…
Arts – The Huffington Post
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I Respect Music: Artists’ Pay for Radio Play

Inspired by the over 40,000 “likes” that Blake Morgan received last December on his Huffington Post article, “Art and Music Are Professions Worth Fighting For,” Morgan decided the time was right to launch a petition, I Respect Music, supporting a musician’s right to receive pay for radio airplay.

The idea for I Respect Music was born in an op-ed I wrote for The Huffington Post in mid-December. Once the article went viral and passed 40,000 ‘likes,’ it was clear that the idea — and those three words — had resonated far more deeply than anyone could have expected.

It turns out that United States is the only democratic country in the world that doesn’t pay artists for airplay and shares that distinction with a handful of other nations including Iran, China, North Korea, Vietnam and Rwanda.

So far, with little fanfare, the petition has received nearly 10,000 signatures and brought much-needed attention to one of many inequalities facing artists today.

On Tuesday, February 25, the newly formed NYC Chapter of the Content Creators Coalition will be staging a free concert and rally, Artists’ Pay for Radio Play, featuring David Byrne from Talking Heads, Marilyn Carino, Mike Mills from REM, John McCrea from Cake and other guests.

The timing couldn’t be better. Congress, for the first time since 1976, is reviewing and rewriting copyright law and doing so within the context of the Internet and the digital distribution of creative works. The stakes couldn’t be higher, as the creative community and Silicon Valley struggle to find a middle ground that will serve both sides.

To say the creative community is overmatched in power, money and influence would be a serious understatement. But the situation is not hopeless. After all, artists are gifted communicators. If they choose to step forward, unite and share their concerns about their survival in the digital economy, artists can move the needle of public opinion.

Fortunately for artists, after over a decade of standing in the shadows of the Internet, the darkness is finally lifting and musicians, filmmakers, authors, photographers and all artists are finally speaking out about their future. A future that is unravelling right before their very eyes.

The value of copyrights is being quickly depreciated, a crisis that hits hardest not best-selling authors like me, who have benefited from most of the recent changes in bookselling, but new and so-called midlist writers. — Scott Turow, president of The Authors Guild.

Because of artists reluctance to speak out in the past, the serious struggle that mid-level artists are experiencing is something only the artist community is really aware of. People who aren’t working artists have no idea how devastating ad-supported piracy has been; let alone how difficult it has become for artists to receive reasonable compensation for their work on the Internet through legal sites.

Fortunately, last year was a breakout year for musicians speaking out. In addition to Blake Morgan, Lou Reed, Don Henley, David Byrne, The Black Keys, Thom Yorke, Zoe Keating and others have stepped up, joining artists like David Lowery, who has been on the front line of this debate for years.

In a recent interview in the L.A. Times, Don Henley had this to say:

“….my musical brethren and I are no longer artists; we’re not creators — we are merely “content providers.” Copyright and intellectual property mean nothing to the technocracy. They’ve built multi-billion dollar global empires on the backs of creative, working people who are uncompensated.”

For many, music is simply the prize in a box of Cracker Jacks.

People, especially those who grew up with the Internet, don’t see art as work and believe that unlimited exposure is the best thing that ever happened to artists. Tragically, after being available for free for so long on thousands of ad-supported pirate sites, music is now perceived by many as valueless.

But if artists can’t earn a living from their work, how can they continue to focus and commit to creating?  And as a society how much do we value music, film, literature and all art forms in our lives? These are important questions that need to be addressed before it is too late.

There is no question that those who represent technology will aggressively move their agenda forward in Congress on Copyright reform. Reform that will favor their business interests over the future of art in America.

Could I Respect Music be a beginning, where more artists join together and start a loud, public conversation about fair compensation and greater control over the distribution of their work?

Blake Morgan is opening the door with this petition; it’s a numbers game. If you’re a musician or a fan and you haven’t signed the petition you need to ask yourself, why not?
Entertainment – The Huffington Post
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Flash MX Games: ActionScript for Artists

Flash MX Games: ActionScript for Artists


Learn the professional skills you need to make the best use of Flash for creating interactive animation and producing exciting, dynamic Internet content. Nik Lever, writing as an artist for artists, takes you through the entire process from creating the art and animation for games in Flash, to adding the interactivity using Flash’s ActionScripting language. He also provides valuable extra coverage of how Flash integrates with Director 8.5 Shockwave studio and C++.As a designer using Flash you will see how you can apply your creative skills to the many stages of game production and produce your own interactive games with this versatile package. As an animator you will be able to add interactive functionality to your own animation and produce a game. As a web developer you will see how to make the best use of the sophisticated development environment Flash offers for the production of both artwork and code to create low bandwidth, animated web content that sells!The free CD-Rom includes all the code and files you need to try out each tutorial from the book so you can see exactly how each game was created. Learn from the many different types of games provided as examples, from simple quizzes to platform-based games. High score tables and multi-player games using sockets, vital to higher level online games, are also covered in detail to ensure you have the complete skill set needed to succeed in this competitive arena.

Price: $
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