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

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 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. 

We Are The Golden Age of Abstract Art

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

It’s tempting to see the years 1912–25 and 1947–70 as the two golden ages of abstract art, and to feel that the present revival of abstraction is no more than a silver age. But the present is always deceptive: it was not evident to their contemporaries that Malevich, Mondrian, and Pollock were the towering giants they seem to us in retrospect. The fact is, there is a vast amount of good abstract art being made today, and the best of it is every bit as good as the best abstract art of the past. The golden age of abstraction is right now!

How do we make sense of all this activity in a type of art that was declared dead 40 years ago? I believe the most useful way to understand abstraction is not in terms of its formal evolution (which does not, in any case, fit the linear models beloved of theoreticians) but in terms of thematic content. The formal qualities of an abstract painting or sculpture are significant not in themselves but as part of the work’s expressive message. Artists work by reviving and transforming archetypes from the unconscious of modern culture. Therefore, the most useful questions to ask about contemporary abstract painting or sculpture are: What themes and forms does it retrieve from the tradition of modern art? How have they been changed? And how has the artist used them to express the social, political, and spiritual experience of our own time?

We might view abstract art as falling into six basic categories. Three respond to nature: cosmologies, landscapes, and anatomies. And three respond to culture: fabrics, architecture, and signs. These categories are not mutually exclusive. It often happens, for instance, that cosmological images include anatomical imagery or that images inspired by fabric patterns include drawn or written signs.

1. Cosmologies

Chris Martin’s Seven Pointed Star for Isaac Hayes, 2009, touches on cosmology and technology.

Cosmological imagery in modern art assumes three main forms: orbs, orbits, and constellations. The orbs and orbits in the work of pioneering abstract artists like Alexander Rodchenko and Liubov’ Popova reflected the Russian avant-garde’s obsession with space travel as an allegory of revolution: the cosmonaut left behind the corrupt old world to build a rational utopia in outer space.

 2.  Landscapes

 Anish Kapoor’s Cloud Gate, 2004, in Chicago’s Millennium Park, reflects and distorts the surrounding landscape.

The huge popularity of Anish Kapoor’s monumental Cloud Gate may be due to the hallucinatory impression it gives of having brought the heavens down to Earth. At the same time, the sculpture’s mirrorlike skin, recalling Brancusi’s polished bronzes, places it in the avant-garde tradition of art that actively interacts with its viewers and its environment. In the setting of downtown Chicago, Kapoor’s silvered sculpture seems to absorb, concentrate, and reemit the essence of a great American metropolis.

 3. Anatomies

However, the abstract anatomies of contemporary artists rarely correspond to the image of the human body as a whole. Instead, their work tends to hint at individual body parts, internal organs, or the “abject” substances excreted by the body.

4. Fabrics

Turning from natural to man-made models for abstraction, fabric has figured prominently as a source of inspiration. Throughout much of the 20th century, male abstract artists rejected comparisons between their paintings and decorative fabrics. In the 1970s, however, women artists, such as Miriam Schapiro and Joyce Kozloff, set out to revindicate decoration and to use it as the point of departure for a new, feminist mode of abstraction. The artists (both male and female) of the Pattern and Decoration movement often incorporated representational and architectural elements into their brilliantly colored compositions.

Valerie Jaudon, who emerged from the Pattern and Decoration movement,has remained highly abstract but alludes to the repeat patterns of fabric or wallpaper, as in Circa, 2012.

 5. Architectures

Peter Halley’s paintings, which launched the Neo-Geo movement of the 1980s, focus obsessively on the motif of a rectangular cell, reminiscent of a house, a prison, a computer chip, or a piece of machinery. Resting on a narrow band of earth or flooring, the structure is plugged into its environment by conduits that run through the ground or take to the sky, connecting it into an invisible urban grid. Instead of a place of refuge, the cell becomes a symbol of the postmodern self: isolated, immobilized, and under surveillance. The pure optical quality of 1960s modernism gives way in Halley’s work to a purgatory of Day-Glo colors and motel-room textures: garish, menacing, and weirdly seductive. Another painter, Sarah Morris, uses tilted grids and pulsing colors to suggest the dazed confusion found in the mirrored facades of corporate modernism.

 6. Signs

Signs have been an important element of modern art ever since 1911 and 1912, when Picasso and Braque put stenciled letters and scraps of newspaper into their Cubist pictures. But Jasper Johns’s flag, map, and number pictures of the 1950s and early 1960s initiated a revolutionary transformation in the character of sign painting. His stenciled letters and regular grids came to convey meaninglessness instead of meaning. They didn’t express emotion; they repressed it.

 Ultimately, the evolution of abstract art—like the evolution of modern art more broadly—has been a series of responses to the experience of life in the 20th and 21st centuries. As Halley argues in a brilliant 1991 essay, abstraction before World War II was largely inspired by the utopian belief that rational technocracy (i.e., socialism) would create a better world. The technocratic ideal found its most powerful symbol not in the rosy-cheeked workers of Socialist Realism but in geometric abstraction. After the devastation of World War II and the revelation of the horrors of Stalinist Russia, geometry could no longer function as an image of utopia. Changing polarity, it became instead a symbol of alienation.

Much contemporary art—not to mention fiction, film, and television—reflects a Blade Runner vision of a world, in which the individual is rendered powerless by anonymous government agencies, giant corporations, and deafening mass culture. It’s useful to remember that this nightmare vision is itself a romantic stereotype, ignoring the positive aspects of postmodern society. In 2013, as in 1913, abstraction is how we think about the future.

 

 Words Borrowed and Reblogged from ARTnews

http://www.artnews.com/2013/04/24/contemporary-abstraction/

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 Reblogged by: Gabrielle Wooden

 Gabrielle Wooden is a writer residing in So Cal.  She is torn between having cinnamon toast or a milkshake for breakfast.

 

December 19th VENICE ART CRAWL RECAP!!

By abstract art, art, Art Events, art news, photography, The Venice Art Crawl, VAC EventsNo Comments

SO! For those of you who missed out on our Art Crawl two weeks ago, its okay. We forgive you. But next time, well… well we just hope there is no next time.  Well we hope there is a next time, obviously, we just mean that…we basically we just really want you to come.

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The day  of the crawl on December 19th, started out a little scary, with grey clouds looming over Venice with weather reports threatening rain and low temperatures.  All of us thought, this is VENICE BEACH, it NEVER RAINS!

BUT! Thankfully the rain threats turned into a slight afternoon drizzle leaving the venice streets all shiny and sweet and the air dewy for us art crawlers who started rolling in as early as five pm.

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The crawlers were greeted by volunteers at tables outside of restaurants who were handing out maps and other goodies.  The maps showed you what areas around you were participating in the Venice Art Crawl, and all of them were within walking distance of each other.  I know a lot of my friends were concerned about “thewalking part” but they quickly found out that there really wasn’t much walking and when your partying and buzzed with a big group of friends and people in the street walking around, the walking around became one of the highlights of the crawl.

IMG_4541First we had a drink and some pizza, and then we weaved through the crawl, seeing artwork and even a live art wall “reclaiming,” where a few artists reclaimed a previous wall of art that they painted that had later been repainted over.

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Check out some of the photos of this winter’s Venice Art Crawl, and TRY AND TELL ME you don’t want to come to next one!

Photo Credits: Maria O’bry

 

 

 

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Blogged by: Gabrielle Wooden

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Gabrielle lives in SUNNY CALIFORNIA.  She only loves cheese. No one else.

 

The Daily Dose!

By art, art news, photography, Picture of the day, The Daily Dose, The Venice Art CrawlNo Comments

light-painting-by-techblogstop-1Light Painting Photography is one of the modern forms of digital photography. It’s really amazing photographic technique in which mind-blowing drawings are made using light. To capture such beautiful artwork all you need to have a digital camera which has the ability of capturing photos with lower shutter speed. The smart work by Light Painters make this art look so brilliant that the photos involve you in deep thinking that how they have been captured.

Words borrowed from: Techblogstop!

http://www.techblogstop.com/spectacular-and-dazzling-light-painting-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

Venice Artist Interview: Kelcey Fisher!

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

So Venice Based artist and muralist Kelcey Fisher and I got together (on facebook) and I was lucky enough to get ten questions out of the guy about his inspirational artwork that was such a hit at this past Art Crawl!

And it goes a little somethin’ like this:  HIT IT!

 1. So Kelcey…your favorite artist (living or dead) invites you to their house for dinner. You want to bring them a gift. Who is it, and what would you bring them?

Kelsey Brookes, who is alive. Ironic we have the same name but huge fan of his work and his story behind it. I would bring him one of my paintings..hopefully we would work out a triad : ) Would be super pumped to own one of his pieces.

2. How old were you when you first discovered you where an artist? What was the “lightbulb moment” when you knew you wanted to pursue art as a career?

My mom was my art teacher when I was a youngen in preschool and always pushed me in that direction.. I think that definitely played a part in my art career..I never took art seriously however until I sold my first piece junior year of college. A lightbulb definitely went off when I got that first check haha. Thank you Debby Boyd for believing in me..I will always remember you as my first true fan and friend!

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3.Describe your personal Hell.

L.A. traffic combined with LAX airport security line. End me!

4. Your latest art work involves larger than life playing cards with dimensional color schemes. What was the motive behind these pieces? Are you a gambling man?

You can catch me on the wheel of fortune slot machines every once and while but definitely not a gambling man. Those pieces were actually created for a wedding in Vegas however. I worked with a good friend and amazing wedding coordinator Courtney Stone to come up with that concept. They were some of the biggest pieces I’ve created. They were 5’x8′ wood panels. We titled them, “The Royal Romantics”. One of my favorite projects by far. Thanks for getting me involved Court!

5. Define what art means to you in five words.

Passion, Commitment, Life, Love, Escape

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6. There is a lot of Hoopla going about with Performance Artist Marina Abramovic and Lady Gaga collaborating. It all started when Marina asked her: Who creates limits? How would you answer this question?

You create your own limits.

7.Morning or Night?

Night

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8. Its Friday night in Venice Beach, Where can our readers expect to be able to stalk you?

First stop- James Beach> Then off to Nikkis Beach> End with some shinanigens at TownHouse> Pizza at Santinos> Pillow to the face

9. Whats your Fantasy? We like details.

Simma down now

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10. Alright, Last question. I say a word and you name the first word that comes to your mind:

Refrigerator: Beer

Country: Ireland

Culture: Important

Destiny: Who Knows

Venice Beach: Thank you

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Thanks Kelcey Fisher for all that jazz.  Peep more of his work HERE!

 Interviewed and Written 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. 

Venice Art Crawl Events Part 4/4

By Art Events, The Venice Art CrawlNo Comments

Continuing on with PART FOUR of FIVE of the Venice Art Crawl Events.

THE VAC IS JUST TWO DAYS AWAY!! 

HERE WE GO:

1. Venice Suites  Continued…

Where: 417 Ocean Front Walk and Dudley. 6 – 10pm
Happy to announce a newly added venue with another amazing rooftop!!
We will be having 2 ROOFTOP ART PARTIES AT THE SAME TIME!!
Grand Opening of newly added ROOFTOP will be blocks away at the sister hotel –

That means double art, music, food and drinks!! Weewhoo…..!!!

Good times are planned ahead on the Rooftop’s at the Venice Breeze – VB and Venice Suite – VS Hotels.

We have a great line up with great artists, music vibes, live art painting, creative vendors, massages, food and drinks!

Venice Breeze & Venice Suites
VB – 2 Breeze Ave (between Speedway (alley) and boardwalk)
VS – 417 Ocean Front Walk (off Speedway adn Dudley)

Check out past events:
www.facebook.com/veniceroof

VB ARTISTS line-up:
2 Breeze Ave (between Speedway (alley) and boardwalk)
Outi Outi Harma – Website – Facebook Page

Cayla P. – Website – Instagram: @CaylaPersimmon
Ross Dyer
Oshiri Hakak- Living Ink Flow – Website – Facebook  – Instagram: Living Foil

LIVE BODY PAINTING ART BY:
Daniel Galindo – Website – Facebook

Ricardo Garcia – Website 

Music Energy by Venice Art Crawls Favorite –
Dj Pistolpete – Website

Amazing Chair Massages by Cara
Cara – Facebook

VENICE SUITES ~ 417 Ocean Front Walk & Dudley
Venice Suites – VS ARTISTS Line-up:

Dana Troy & Pete
Excited to have back Dana Troy and Pete with their amazing Black light art …they will be setting up an amazing art light installation at both rooftop locations!!
Facebook – Vimeo

Yori Hatakeyama – Website
Bernadette Rodriguez – Facebook
Sonji Mariposa – Facebook
Neal – Website
Amber Jamgirl – Delicious Homemade Jam – Website

PROUD TO ANNOUNCE SPONSORS
World Famous Tacos – Website

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2. Small World Books Pop Up Gallery presents New Work
Where: 1407 Ocean Front Walk, Venice, CA 90291

When: 6 – 9 pm
New Work by a local artist!!
Facebook Event page: Coming soon!

3. Birds of A Feather
Where: 1501 Main Street, Suite 103

When: 6 pm-10 pm
What: 3-D Mixed Media of Musicians Incorporated with Feathers…thats right, MUSIC AND FEATHERS PEOPLE. MUSIC AND FEATHERS. 3
Artists involved; Richard Glass 
Facebook event page: 

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4. Gravitational Autonomy 
Where:1510 Main St Venice CA 90291

When: 6-9PM
what: Insight Presents Gravitational Autonomy, a show by Brandon Lomax. Will include FREE DRINKS, multiple art pieces and a VIDEO of the artists painting process.
Artists involved; Art by Brandon Lomax
Facebook event page

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5. Venice West Salon
Where: 1501 Main Street.

What: Come to view collage, drawings, and photographs by various venice based female artists. Girl power!!

Artists involved: Christine Fulbright (mono print collages). Marcia Gross Miller(Drawings) and Felice Willat (Photographs)
Website:

images-2Blogged 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.