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Venice Poetry meets Ceramic-Tile Art on Ocean Front Walk!

By | art news, The Venice Art Crawl, Venice Poetry | No Comments

As some of you may know, the Venice Beach Poet’s Monument was restored early January, installing 63 new visual poetry ceramic tiles  at 17th street and Ocean Front Park.

Take a sneak-peak Preview of The poetry fragments that are currently engraved on the 17th Street / Ocean Front Walk location!

Venice Beach Poet’s MonumentVenice Beach Poet’s Monument

I am a man
who stands against the mountain
and thinks of pebbles – Frank T. Rios

Feel of rain in the face moonjuice/
partial to poets
the lady’s tears – Tony Scibella

the madmen can find other holes
to crawl into.
I used to walk that pier when I was 8 years old – Charles Bukowski

my mind is a radio
once I could sing
the play by play of Blonde on Blonde like it was Eddie Doucette weaving basketball free throw averages
with a handful of scars – Ellyn Maybe

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 Story : MX Farina : A Venice Artist

By | art, art news, interview, New Artists, The Venice Art Crawl, venice videos | No Comments

‘Venice Story’ is a new storytelling project dedicated to finding, capturing and sharing the stories and thoughts of every day Venetians.

Check out this video of our previously interviewed artist, Mark ‘MX’ Farina, as he talks a little about being an artist in Venice!

                                                                                                                     

What makes Venice special to you? Do you have an interesting, funny or poignant story about your time living, working or visiting Venice? Please email : story@venicestory.org

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

 

 

VAC Artist Interview: Matt Warren

By | art, art news, interview, New Artists, The Venice Art Crawl | No Comments

 VAC  Board Member, Nicole Muyingo, interviews Venice Based artist Matt Warren! Find out what real life experience inspired Matt to become a dedicated artist.

 

3913920_orig1. Who are you and what do you do?

Matt Warren. Artist.

2. In your words how would you define art?

I see art as being the expression of an idea. Something that inspires people and makes them think. Good art should raise questions and create a dialogue about the subject matter.

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

I’ve always been interested in art and creating things. As long as I can remember, I would be drawing or making something. I guess I got seriously into art when I was in High School, and was lucky to get accepted onto a Fine Arts course at University without an interview whilst traveling on my Gap Year – and from there I’ve never really looked back.

1085053_orig4. What’s your background?

I was born in Guernsey, an Island of the coast of England.  I studied my Undergraduate degree at UWE in Bristol, UK, and followed that by studying my Masters at OTIS College in Los Angeles. I’ve worked in the film industry between traveling and lived in Beijing for a few months while on an Artist Residency Program. I’m currently living and producing art in Los Angeles.

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

I work with whatever the project entails – the materials that best help convey what I’m trying to say in the work. I’m a bit of an all rounder, but currently I’m working a lot in pencil.

2136755_orig6. What art do you most identify with?

 Anything that has more to it than to just look pretty.

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

The story of Christopher McCandless, on which the film ‘Into the Wild’ was based, was the catalyst for a project of mine. I was looking at the myth of the cowboy, and how the idea we have of this character doesn’t really exist, but is just a representation we have forced on us through the movies. 

For the project I rented a horse, borrowed a rifle and a .44 Magnum from a friend and headed out into the Montana wilderness for 2 weeks in an earnest gesture of reliving this stereotype while critiquing the representation of the cowboy we observe in American Pop Culture. I’d been toying with the idea for a while, but
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McCandless’s story encouraged me to go ahead with the project, despite the risks, and make it a reality rather than an idea.

 8. What is an artistic outlook on life?

It’s such a big part of my daily process that it’s hard to sum up.

It is a way of life, an action rather than a thing. It is a form of freedom and individuality, and a way of thinking. It’s a commitment to make time to create – you get out of it what you put in.  It’s a great form of expression and provides the ability to show people literally what you think, allowing a glimpse of what is in your mind. I feel fortunate to have a focus, which directs my career, something I am passionate about that allows me to travel and explore, meet people, and evolve doing what I enjoy.

3713772_orig9. What superpower would you have and why?

My first trip to A &E as a child was due to falling and smacking my eye on an exposed floor beam whilst exploring a house that was under construction. My second was falling through my neighbors’ roof whilst jumping on the skylight. As I’ve grown up my thirst for adventure hasn’t diminished, so I think having Spiderman’s superpowers would be a good thing for me.

10. Name three artists you’d like to be compared to.

Bas Jan Ader is an artistic hero of mine. He was a Danish artist living in Los Angeles, who, in a romantic gesture, attempted to sail single –handed cross the Atlantic in a 13ft sailing boat.  What was supposed to be a performance piece, ended when his boat was found off the coast of Ireland, and his body was never recovered.  477065_origHis romantic take on conceptualism really inspires me, as well as how he saw art as a literal and metaphorical journey – a process of discovery. Other artists that I can’t really compare myself to but look to for inspiration are Chris Burden and Allan Kaprow.

11. WHAT is your ‘method’? 

I work with many different mediums – pencil, paint, video, installation, or whatever is at hand depending on the best way to explore the subject matter. I start with the idea, and then decide what is the best-suited method and material to use to convey that. This contrast can be seen from project to project – a series of painstakingly rendered pencil drawings, compared to a Saloon Bar made out of cardboard and duck tape.

12. What is your preferred subject and why?

As an English citizen living in Los Angeles, my art practice explores methods of representation stemming from 5729124_origAmerican popular culture, which I express through drawing, sculpture and performative strategies. Los Angeles is fitting as I explore subjects and themes related to film, Hollywood and celebrity culture. My perspective on America is enhanced through living in the environment of my investigation and production.

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

Having the opportunity to experience life as much as I can, using art as a means of production to enable myself to do that. Being able to do something I love, and building a career out of it, the freedom it offers, and getting to know and interact with other artists and creative souls.

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

7178187_origNot having a steady income.

15. What advice do you have for aspiring artists?

Keep on trekking. Like anything, you have to want to do it. If you’re interested in art, there is always an opportunity – you just have to find it, and be willing to try. My motto is ‘Quitters never win. Winners never quit’, which I have to remind myself often. It’s black or white. You do or you don’t.  There is always an opportunity if you want something badly enough, it’s just a matter of finding it. It might take a while to succeed, but it’s when you stop trying that you fail. You have to just do it.

 

All art work on this page is done my Matt Warren. Prints also available online.

Interviewed and compiled by Nicole Muyingo.

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www.matt-warren.org
www.theexiledelite.com
www.facebook.com/theexiledelite
instragram – theexiledelite
twitter – theexiledelite

 


 

 

 

 

 

Screen Shot 2014-01-15 at 3.03.47 AMNicole Muyingo is originally from London, England and currently resides in Venice Beach, California. Nicole has curated and successfully produced many events and exhibitions in Europe and Los Angeles. Her focus is to get people networking and to deliver fun and impactful events in the world of art, fashion and music. Working with the VAC she believes that it is important to keep the history and magic of art and Venice alive.

 

Artist Interview: Mark X Farina!

By | art, art news, interview, The Venice Art Crawl | No 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.

MXF I dont do Interviews

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.

60897_10151677949671179_2067332126_n

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 Crawl | No 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.

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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 Crawl | No 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 Crawl | No 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 Crawl | No 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 Crawl | No 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.