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Monthly Archives

January 2014

VAC Video: Garry Winogrand

By art, photography, The Venice Art Crawl, venice videosNo Comments

Get a little slice of history this Thursday afternoon with with this weeks VAC Video! 

Gary Winogrand, once coined, “the central photographer of his generation” by John Szarkowski, the former director of photography of New York’s Museum of Modern Art, was a Jewish Bronx-born photographer and one of the pioneers of what is now known as street photography.

Winogrand is mostly known for his portrayal of the diversity of American life, from shooting the Bronx zoo and Coney Island in the sixties to the bohemian lifestyle of our own Venice Beach in the eighties.

Garry Winogrand Venice Beach 1982

Garry Winogrand: “Venice Beach, 1982″

Check out this seven minute “mini documentary” on Winogrand shot on Ocean Front walk and learn why he hated the term “street photography.”

Blogged by: Gabrielle Wooden

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Gabrielle Wooden is a writer currently residing in Southern California. Currently she is a blogger for the Venice Art Crawl and is working on her first novel entitled Blue Barcelona at UCLA’S Extension Writers Program. 

Artist Interview: Mark X Farina!

By art, art news, interview, The Venice Art CrawlNo Comments

As we continue with our new year, we will be launching the VAC with a big bang– that means, more artist interviews, more events to look forward to, and of course, MORE VENICE ART!

Check out this interview that VAC board member Nicole Muyingo conducted with Venice Based Artist, Mark X Farina!

1. Who are you and what do you do?

 Mark X Farina- Pop Artist, Reverse Engineer, Roma Gypsy.

2. In your words how would you define art? 

Anything that sparks a reaction.

3. At what age did you realize that you were creatively talented? 

I’m still not convinced I have any real talent, but I received a lot of art training, and I know I’m creative.

4. What’s your background? 

Studied advertising and the media’s effects on people, but I love art and sports.

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5. What materials/paints do you generally work with? 

Anything available.

6. What art do you most identify with? 

The conceptual scene that formed from the 1960’s – that’s a big area, but I really sync with that era/ movement.

7. Describe a real-life situation that inspired you?  

Took a phone shot of the beach sunset one night, then tried to paint it.

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8. What is an artistic outlook on life? 

Observe (often through dark sunglasses) and report.

9. What superpower would you have and why? 

Wow that’s a great question with so many possible answers for me, but I still dream I can fly, not very well, which sometimes abruptly wakes me up.

10. If you could live anywhere in the world where would it be? 

Not sure, I’m still exploring.

11. Name three artists you’d like to be compared to: 

Moe, Larry and Curly.

12. WHAT is your ‘method’?  

Work fast, cure slow, destroy before collecting dust.

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13. What is your preferred subject and why? 

I like gradations and innuendo.

14. What’s the best thing about being an artist? 

Freedom of expression.

15. What’s the worst thing about being an artist? 

Self-criticism.

16. What advice do you have for aspiring artists? 

Do the work, open the door- if you make it, someone will check it out and let you know.

Check out more of Mark X Farina’s work on his website and tumblr!

www.mxfarina.com / http://www.mxfarina.tumblr.com

Photo Credit: Mark X Farina

 Compiled by: Gabrielle Wooden and Nicole Muyingo.

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Gabrielle Wooden is a writer currently residing in Southern California. Currently she is a blogger for the Venice Art Crawl and is working on her first novel entitled Blue Barcelona at UCLA’S Extension Writers Program. .

Banksy Graffiti Defaced Near Sundance Festival!

By art news, Mural, The Venice Art CrawlNo Comments
Photo: Chris Detrick/The Salt Lake Tribune, via Associated PressA Banksy work in Park City, Utah, in 2011.

 

It may be time for Banksy, the anonymous British graffiti artist, to consider television. A sitcom, perhaps, or a detective show, or maybe reality TV. His politically pointed satirical stencil works seem to be everywhere in Britain and the United States, after all, and things are always happening to them.

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Banksy graffiti

When they appear, their social message is quickly decoded and discussed, and if the authorities do not immediately paint over them, the works seem likely to disappear under mysterious circumstances, only to turn up at auctions (which may be challenged by the neighborhoods where Banksy created the works, or people who object on other grounds), or bought by celebrity art collectors. Justin Bieber could make a guest appearance as a Banksy wannabe.

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Banksy graffiti

In this week’s episode, a pair of Banksy pieces that turned up in Park City, Utah, during the Sundance Film Festival in 2010 – the year the festival screened “Exit Through the Gift Shop,” a documentary about the artist – were attacked by a vandal.

Banksy-Graffiti-3In one case, a stencil of a young boy kneeling in prayer, with a halo and angel’s wings added in pink, a clear protective covering was shattered and the image was painted over with brown spray paint. The second piece, which shows a cameraman filming a flower, escaped damage, but its protective cover was also broken.

A security camera outside the Java Cow Cafe and Bakery recorded a man trying to break the covering of the cameraman piece at about 2 a.m. on Tuesday, The Deseret News, a Salt Lake City newspaper, reported. The angel painting, on a wall near a parking garage on the same street, was not within range of a video camera.

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Banksy graffiti

“It is such a shame, heartbreaking even,” Robin Marrouche, executive director for the Kimball Art Center in Park City, told the Deseret News. “Banksy’s voice and importance in our culture today is significant, and the vandalism against his street art is just as upsetting as vandalism you read about against works by important artists of earlier times.”

 This post was originally posted by The New York Times.

Original Post: http://nyti.ms/1axbJ1y

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Gabrielle Wooden is a writer currently residing in Southern California. Currently she is a blogger for the Venice Art Crawl and is working on her first novel entitled Blue Barcelona at UCLA’S Extension Writers Program. 

 

 

 

NO PICTURES ALLOWED!- Why We Can’t Snap Pic’s in Museums.

By art newsNo Comments

 Museumgoers snapping photos of Vincent van Gogh’sStarry Night, 1889, at MoMA. ©2013 REBECCA ROBERTSON

Why Can’t We Take Pictures in Art Museums?

In an attempt to balance copyright restrictions and ever-present camera phones, some museums are loosening their ‘no photography’ policies.

 It’s a scene that plays itself out hundreds of times a day in American museums: a mother and her fidgety teenage daughter stand before a famous painting—in this case, Caravaggio’s The Toothpuller, from the early 17th century. The mom pulls out a cell phone and poses her daughter in front of the work, a funny-grotesque image of a smirking dentist performing an extraction. As she frames the shot, a guard steps forward. “No photos,” he says. The woman apologizes. She and her daughter slip out of the room and continue on to the next gallery.

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Lacma Museum: Source: pictify.com

This particular episode took place at the Los Angeles County Museum of Art (LACMA), at a traveling exhibition devoted to Caravaggio’s influence on European painting. But it could have happened anywhere. We’re in an age when people take pictures just about everywhere, an act that photography critic Jörg M. Colberg describes as “compulsive looking.” The phenomenon has created a unique set of challenges for art museums, many of which have historically had strict limitations on photography—either for the purpose of protecting light-sensitive works or because of copyright issues.

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 Annie Lin taking a photo at the Wikimedia Foundation office, 2010-10 Source: commons.wikimedia.org 

But the ubiquity of digital cameras, along with the irrepressible urge to take pictures, has led many museums to revise their policies in recent years. Institutions such as the Metropolitan Museum of Art, the Art Institute of Chicago, the National Gallery of Art, the Indianapolis Museum of Art, and theGetty Museum—to name a few—all allow photography in some or all of their permanent-collection spaces.

“You are fighting an uphill battle if you restrict,” says Nina Simon, director of the Santa Cruz Museum of Art & History and author of The Participatory Museum. “Even in the most locked-down spaces, people will still take pictures and you’ll still find a million of these images online. So why not support it in an open way that’s constructive and embraces the public?”

Certainly, there are practical reasons for doing so. No-photo policies can be difficult to enforce. “Guards are spending so much time focusing on someone holding a device that they might not see the person next to them touching the art,” says Alisa Martin, senior manager of brand management and visitor services at the Brooklyn Museum, an institution that has allowed photography in the majority of its galleries for roughly half a dozen years. “As the devices get smaller, it gets harder to manage. We have to ask ourselves, are we using our guards appropriately?”

Social media also complicates the issue. This past January, the Pew Research Center’s Internet & American Life Project reported that 97 percent of the more than 1,200 arts organizations it polled had a presence on platforms like Twitter, YouTube, and Flickr. New York’s Museum of Modern Art, for example, posts photos of artworks and installation processes on Facebook (where it has around 1.3 million followers), the Massachusetts Museum of Contemporary Art has photos of its Sol LeWitt wall drawings on Instagram, and various other institutions—from the San Francisco Museum of Modern Art to the Albright-Knox Art Gallery in Buffalo—can be found on the picture-sharing and blogging service Tumblr. Moreover, places like the Brooklyn Museum and LACMA have high-resolution images from their collections available for free on their websites.

With museums sharing so much imagery themselves, it can be difficult for visitors to understand that they can’t necessarily do the same. “If a museum is really active on social media, they’re putting forward the idea that they represent a venue that is all about being conversational,” says Simon. “For the visitor, it can be disturbing to then go to the physical space and be confronted with a policy that isn’t.” (For the record, both MoMA and MASS MoCA allow photography in most of their spaces. And while there’s no way to quantify which artwork gets the most photographic attention, a staff member at MoMA suspects it’s Vincent van Gogh’s 1889 painting Starry Night for that museum.)

The biggest hurdle to wide-open photo policies is the issue of copyright. Museums often do not hold the copyrights to the works they display, which creates legal problems when visitors start snapping away. According to Julie Ahrens, a lawyer who specializes in issues of copyright and fair use at theCenter for Internet and Society at Stanford University, a photograph of an artwork could be considered a “derivative work,” which is “potentially a violation of the copyright holder.” But the deluge of cameras, along with the fact that the vast majority of visitors simply want to snap a pic for a Facebook album, has led some institutions—such as MoMA, the Indianapolis Museum, and the Brooklyn Museum—to ask lenders for permission to shoot, with the stipulation that pictures are for noncommercial use.

“There’s an undeniable benefit to having visitors tweet about their visit or share photos,” says Brooke Fruchtman, associate vice president of public engagement at LACMA. “We’ve had great success with our Stanley Kubrick exhibition because people could take pictures of anything.” For more than a year, the museum has allowed photography in its permanent-collection galleries. Still, for temporary shows, permission ultimately rests in the hands of the lender, as in the case of Caravaggio’s Toothpuller, which is owned by the Galleria Palatina at the Pallazzo Pitti in Florence.

Naturally, there are museumgoers who will occasionally break the rules: a visitor to the Indianapolis Museum recently took pictures all over the building—including galleries that were off limits to photography—and then offered them for sale online. “We had to intervene,” says Anne Young, who oversees rights and reproduction for the museum. This type of behavior, however, is an extreme exception.

For years, advocates of open-source culture and a growing chorus of art bloggers have lobbied for less restrictive photo policies on the grounds that our shared artistic legacy is intended to be, well, shared. Not to mention that there is no small irony in being forbidden to take pictures in cultural establishments that celebrate the work of artists like Andy WarholSherrie Levine, and Richard Prince, figures whose work is based, to a large degree, on the photographs of others.

As a culture, we increasingly communicate in images. Twenty years ago, a museumgoer might have discussed an interesting work of art with friends over dinner. Today, that person is more likely to take a picture of it and upload it to Facebook—such as New York magazine critic Jerry Saltz, who, earlier this year, posted a photo of himself hamming it up in front of a Marcel Duchamp at the Philadelphia Museum of Art. Or perhaps that museumgoer might remix his or her photo with other visual elements and transform it into something new. Every day, users on image-sharing sites such as Tumblr create their own diptychs, collages, and themed galleries devoted to everything from ugly Renaissance babies to Brutalist architecture.

This transformation in the way in which people digest visual stimuli—not to mention the rest of the world around them—is something that Harvard theoretician Lawrence Lessig has described as a shift from “read-only” culture (in which a passive viewer looks upon a work of art) to “read-write” culture (in which the viewer actively participates in a recreation of it). The first step toward recreating a work of art, for most people, is to photograph it, which, ultimately, isn’t all that different from the time-honored tradition of sketching.

Words OriginallyPosted by ARTnews.com on 5/13/13

Original Post:http://www.artnews.com/2013/05/13/photography-in-art-museums/

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 Reblogged by: Gabrielle Wooden

Gabrielle Wooden is a writer currently residing in Southern California.  Currently she is a blogger for the Venice Art Crawl and is working on her first novel entitled Blue Barcelona at UCLA’S Extension Writers Program. 

 

Cat Art: It Gets Serious

By abstract art, art, art news, The Venice Art CrawlNo Comments

From a provocative upcoming Metropolitan Museum show to adoption-ready “purr-formers,” the art world is exploring the shock of the meow!

Balthus: Cats and Girls, the exhibition opening September 25th at the Metropolitan Museum of Art, was originally called just that.

The title is accurate: Felines and females abound in the work of the French-born, classically inspired, figurative painter, who was a familiar art-world name at the time of his death, at 92, in 2001. In this country, though, he hasn’t had a big show in three decades.

So the general public might not be aware that these cats aren’t cute or grumpy at all. Rather they are sinister voyeurs of pensive adolescent girls, rendered in enigmatic and erotically charged poses.

Balthus, The King of Cats, 1935. oil on canvas. COURTESY FONDATION BALTHUS. ©BALTHUS.

Suggestive and disturbing, to our contemporary sensibility they may well seem even more provocative than they did the last time the Met did a big Balthus show, in 1984. To acknowledge that some viewers might find some content offensive, the museum added a subtitle: “Paintings and Provocations.”

Balthus, Thérèse Dreaming, 1938. oil on canvas. COURTESY METROPOLITAN MUSEUM OF ART, JACQUES AND NATASHA GELMAN COLLECTION 1998. © BALTHUS.

Focusing on work from the mid-’30s to the ’50s, the exhibition coincides with the publication by Rizzoli of Balthus and Cats, which traces the cat motif throughout the artist’s career. The Met will show–for the first time in public–the charming ink drawings Balthus made at the age of 11 for Mitsou, his story about a stray tomcat; the book was published in 1921 by Rainer Maria Rilke, a close family friend.

Later Balthus began to pair these felines with tweens or teens poised in what curator Sabine Rewald describes as “self-absorbed languor,” draped over chairs, lost in a dream state, unself-consciously (or not) lifting their skirts to reveal their white panties. His models grew up and moved on, but Balthus stayed fixated on his nymphets. The cats beside them—sometimes rubbing suggestively, sometimes lapping at milk, sometimes staring amused (the way the models never do) at the viewer–play off the idea of budding female sexuality. Even more so, they act as stand-ins for the artist himself.

The Met show will make two cat-themed museum offerings in New York this season: It opens on the tails of the Brooklyn Museum’s inauguration of “Divine Felines: Cats of Ancient Egypt,” a long-term installation exploring the role of cats, lions, and other feline creatures in Egyptian society, religion, and everyday life.

Figure of a Cat, Provenance unknown. Ptolemaic Period-Roman Period, 305 B.C.E.-1st century C.E.

So cat art, in one form or another, has been around as long as cats have—over the centuries, the creatures have been imagined as goddess, hunter, consort and thief, as Sarah Hanson wrote in our pages in 2007, when Abrams brought out a massive cat-art tome. In recent years, especially with the rise of internet cat memes, the kitty has become associated with kitsch. But cats are also marking their territory in the avant-garde.

A landmark in the annals of cutting-edge cat art was the 1994 book Why Cats Paint: A History of Feline Aesthetics. Using copious photos and fluent artspeak, it revealed the achievements of Minnie, the Abstract Expressionist; Bootsie, the Trans-Expressionist; Princess, the Elemental Fragmentist, and other nascent art stars. Several readers believed this amazing story of painting cats, which included references to the “Scraatchi Collection” and an author named R. MuttWhy Cats Paint, of course, was an elaborate, hilarious hoax.

Or maybe just ahead of its time.

While the two New York museums were planning their cat-art history, two local alternative spaces were pushing cats into the realm of performance and social practice. Last spring Flux Factory in Long Island City staged Kitty City, an environment created by artists, kids, and city planners that culminated in a kitty adoption drive.

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Currently White Columns, in the West Village, is housing “The Cat Show,” an exhibition organized by Rhonda Lieberman that features cat art by figures from Andy Warhol to Matthew Barney, Olaf Breuning, Mike Kelley, Nina Katchadourian, Barbara Kruger, Elizabeth Peyton, and many, many others. The paintings, sculptures, videos, and more are there to spotlight the inspiration for the show, “The Cats-in-Residence Program.”

Installation view of "The Cat Show," 2013, White Columns, New York City. PHOTO: JONATHAN GRASSI. COURTESY WHITE COLUMNS.

For various days during the run of the show (which ends July 27), on a playground designed by architects Gia Wolff and Freecell, cats from Social Tees Animal Rescue adoption—“purr-formers,” in Lieberman lingo—will lounge, play, and hopefully find permanent homes.

“Cats rule the internet, but they are really underdogs in the city shelters,” says Lieberman, describing the artistic ambience as a strategy to “show strays as the gorgeous creatures that they are.” In keeping with the art theme, though, she has given her kitties art-world monikers: Frida Kahlico is “into indigenous calico culture”; Kitty Sherman  “questions the representation of cats in society.” Bruce Meowman  “believes art is an activity, not a product”; Claws Oldenburg is “fascinated by everyday objects.” Then there’s Richard Paw Prints. “Don’t call him a copycat,” says Lieberman. “He’s an appropriator!”

The personal ceramic cat collection of T. Cole Rachel. COURTESY OF WHITE COLUMNS. PHOTO: JONATHAN GRASSI.

Other cat stars–particularly Henri, Le Chat Noir–have emerged from the Internet Cat Video Film Festival, which started as a summer lark at the Walker Art Center and became a worldwidephenomenon, inside the art world and beyond. Currently underway in Jerusalem, it has future stops planned at sites ranging from the Minnesota State Fair to the Honolulu Art Museum and theMikwaukee Art Museum.

Meanwhile, another feline with a big role in art history is basking in the spotlight at the Ducal Palace in Venice, where Manet’s Olympia shares a wall with her predecessor and inspiration, Titian’s Venus of Urbino. The feline consort to Manet’s courtesan, sinister and suggestive, started a meme of its own back in the day (that continues to the present).

Édouard Manet, Olympia, 1863, oil on canvas. Ducal Palace. PARIS, MUSÉE D'ORSAY. COURTESY MUSÉE D'ORSAY, DIST. RMN-GRAND PALAIS / PATRICE SCHMIDT.

His descendants still turn up in contemporary art.

In David Humphrey’s show at Fredericks & Freiser last year, the rambunctious kitty was getting out of control. Or maybe the cat’s just learning to paint.

David Humphrey, Scratcher, 2012, acrylic on canvas. COURTESY FREDERICKS & FREISER.

And in a work by Mattia Biagi at Anna Kustera, Olympia’s cat jumped out of the picture and sped around the gallery on a Roomba.

Mattia Biagi, Black Cat, 2012, stuffed black cat toy, robotic vacuum cleaner. Edition of 5. COURTESY ANNA KUSTERA GALLERY, NY.

At Anton KernDavid Shrigley’s cats came with mixed messages.

David Shrigley, (from left) Cat (Enjoy Your Hell); Cat (Kill Your Pets); Cat (Kiss My Ass), 2012, acrylic on canvas stuffed with foam. COURTESY ANTON KERN GALLERY, NEW YORK.

If you want to throw a cat, or at least cat art, Barney’s offers an option, in the form of a Roy Lichtenstein laughing-kitty frisbee. Priced at $28, it’s part of a limited edition of summer-themed products created with the Art Production Fund.

Roy Lichtenstein, Laughing Cat, 1961, flying disc. COURTESY BARNEYS NEW YORK.

Just don’t let a dog do the fetching.

Copyright 2014, ARTnews LLC, 48 West 38th Street, New York, N.Y. 10018. All rights reserved.

Words Originally Posted by ARTnews.com

Original post: http://www.artnews.com/2013/07/11/taking-cat-art-seriously/

Reposted by: Gabrielle Wooden

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Gabrielle Wooden is a writer currently residing in Southern California. Currently she is a blogger for the Venice Art Crawl and is working on her first novel entitled Blue Barcelona at UCLA’S Extension Writers Program. 

Movie Review! The Monuments Men: The greatest Art Heist in History

By art news, Movie Review, The Venice Art CrawlNo Comments
Joseph Goebbels at the opening of the 'Degenerate Art' exhibition in Berlin, 1938 / © SZ Photo / Scherl / The Bridgeman Art Library

Joseph Goebbels at the opening of the ‘Degenerate Art’ exhibition in Berlin, 1938 / © SZ Photo / Scherl / The Bridgeman Art Library

Based on the true story of the greatest treasure hunt in history, The Monuments Men is an action drama focusing on an unlikely World War II platoon, tasked by FDR with going into Germany to rescue artistic masterpieces from Nazi thieves and returning them to their rightful owners. It would be an impossible mission: with the art trapped behind enemy lines, and with the German army under orders to destroy everything as the Reich fell, how could these guys – seven museum directors, curators, and art historians, all more familiar with Michelangelo than the M-1 – possibly hope to succeed?

Detective Sergeant Jack Ion, Detective Inspector John Morrison and Chief Detective Inspector Wallace Virgo with the recovered Goya portrait at Birmingham New Street railway station, 22nd May 1965 / © Mirrorpix / The Bridgeman Art Library

Detective Sergeant Jack Ion, Detective Inspector John Morrison and Chief Detective Inspector Wallace Virgo with the recovered Goya portrait at Birmingham New Street railway station, 22nd May 1965 / © Mirrorpix / The Bridgeman Art Library

But as the Monuments Men, as they were called, found themselves in a race against time to avoid the destruction of 1000 years of culture, they would risk their lives to protect and defend mankind’s greatest achievements. From director George Clooney, the film stars George Clooney, Matt Damon, Bill Murray, John Goodman, Jean Dujardin, Bob Balaban, Hugh Bonneville, and Cate Blanchett. The screenplay is by George Clooney & Grant Heslov, based on the book by Robert M. Edsel with Bret Witter. Produced by Grant Heslov and George Clooney. 

Words Borrowed from RottenTomatoes.com

Movie Link: http://www.rottentomatoes.com/m/the_monuments_men/

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Blogged: Gabrielle Wooden

Gabrielle Wooden is a writer living in So Cal. She is currently working on her first book, entitled Blue Barcelona. 

Artists To Follow On Instagram

By abstract art, art, art news, Instagram, New Artists, The Venice Art CrawlNo Comments

Helllooooo fellow art fanatics and crawlers!

Do you feel your instagram is shrouded with selfies, inspirational workout quotes, baby pictures, women crush wednesdays, and pictures of IN-N-OUT?

Well, check out these artists to follow on instagram spice up your dashboard!! 

(As reccomended by ARTnews!)

1. Toyin Odutola posts portraits of herself, her family, and her friends.

2. Ryan McGinness took advantage of the Instagram format to create a new body of work. His feed consists of “grams”: phrases or ideas culled from his sketchbooks and matched with an appropriate typeface. These are rendered in knockout type inside circles. At this writing he had posted 135; he’s going for 2,000.

3. Art and family in the feed of Laurie Simmons: images of daughter Lena Dunham, husband Carroll Dunham, and her own work from her 2001-4 “Instant Decorator” series.

 4. The writing on the wall: José Parlá chronicles his recent project with JR in Cuba.

 5. Hank Willis Thomas makes you wonder what the meaning of is is.

 6. Faile in the studio (working on their New York City Ballet collaboration) and beyond.

 7. The passions of Shinique Smith.

 8. Body of Work: Daniel Arsham.

 9. Olek, the artist whose medium is crochet.

 10. Nikki S. Lee, whose medium is self-portraits.

 11. Gary Baseman posts photos, paintings, drawings, and other pictures that can “have the viewer learn something personal about me during the course of my day.”

 12. Face time with Kenny Scharf.

 13. Using the app Draw Something (and another of her own design called Draw ArtPaige Dansinger uses her finger to recreate famous artworks.

Copyright 2014, ARTnews LLC, 48 West 38th Street, New York, N.Y. 10018. All rights reserved.

Post Originally posted by ARTnews.

Orignial Post: http://www.artnews.com/2013/01/17/artists-to-follow-on-instagram/

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Reblogged by: Gabrielle

Gabrielle Wooden is a writer currently residing in Southern California. Currently she is a blogger for the Venice Art Crawl and is working on her first novel entitled Blue Barcelona at UCLA’S Extension Writers Program.