myth fortuna by marc quinnoutside of mandarin gallery on orchard rd
13.10.10
12.10.10
art beyond limits: marc quinn and more
From YourSingapore.comART BEYOND LIMITS
Date & Time: From 17 Sep 2010, Fri To 24 Oct 2010, Sun
Opening Hours: 11am to 8 pm (weekdays), 10 am to 8 pm (weekends)
Additional Information:
17 September – 24 October 2010 (Outdoor in Orchard Road Underground)
24 September – 24 October 2010 (Indoor exhibition in The Opera Gallery at ION Orchard)
"The exhibition, supported by Singapore Tourism Board, will showcase several monumental sculptures by Marc Quinn, Manolo Valdés and Mr. Brainwash in premier public spaces in the heart of the Republic. These pieces seek to display how artists are breaking new ground. How art is neither limited by social expectation nor conventionality. These big names are on display on Orchard Road. Five monumental sculptures by Marc Quinn, Manolo Valdés, Mr. Brainwash and Laurence Jenkell propped up in front of the Mandarin Gallery from Sep 17 until Oct 18 2010, while more of their works will be on display at Opera Gallery in ION, along with works by Picasso, Matisse, Warhol and Damien Hirst, as part of the Art Beyond Limits exhibition. The sculptures displayed are “The Merlion” by Mr. Brainwash, “Delos” by Georges Braque, “Myth Fortuna” by Marc Quinn, “Archaeology Of Desire” by Marc Quinn and “Meninas En Desierto De Arizona” by Manolo Valdés. Up Close With the Masters Art Beyond Limits What is the event about From mid-September till 24 October, you’ll get a rare opportunity to see the paintings and sculptures of the art world’s finest contemporary giants in Singapore for the first time. From 17 September, sculptures of modern masters like Marc Quinn, Manolo Valdez and Mr Brainwash will dot the Orchard Road shopping belt bringing yet another dimension to this great shopping …" From Damien Hirst Art
22.7.10
anish kapoor for the israel museum
Rina Castelnuovo for The New York TimesMore Inside the Renovated Israel Museum
15.7.10
night festival: new world 2010
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Chicago has Looptopia, Paris has Nuit Blanche, Amsterdam has Museumnacht.. Singapore has Night Festival!
"Dream of the past, be in the present and fantasise the future at Night Festival 2010! Explore and have fun at the reinvented magical playground in the pulsating arts and heritage district. Taking its inspiration from the amusement park of the 1960s, a dazzling spectacle of street theatre extravaganza, magical lights and carnivalesque play will retell the story of this era. Teaming contemporary art and video installations with an exciting outdoor performance that connects us and the Universe, Night Festival 2010 will also reveal a surprising insight to our New World 2010!"
FREE ADMISSION TO ALL GALLERIES at the National Museum of Singapore, Singapore Art Museum, SAM at 8Q and Peranakan Museum till 2am.
Find the program highlights and booklet here.
14.7.10
the cure for creative blocks
The Cure for Creative Blocks? Leave Your Desk.
by, Jocelyn K. Glei for Behance
Everyday between 8:00 and 8:30am writer Stephen King arrives at his desk with a cup of tea. He turns on some music, takes his daily vitamin, and begins to work – exactly as he began the day before. Using this routine, King has produced well over 50 books, averaging 1-2 novels a year since 1974 when he published Carrie. Clearly, daily routines can be incredibly valuable. That is, until they’re not.
While familiarity, organization, and discipline can be powerful agents of productive creativity, there is a “tipping point” – when these same once-fruitful qualities transform into creativity killers. In his great TED talk on time off, graphic designer Stefan Sagmeister recounts the feeling of stuckness that prompted a massive change for him:
“I originally had opened the studio in New York to combine my two loves, music and design. And we created videos and packaging for many musicians that you know… [But] I realized, just like with many things in my life that I actually love, I adapt to it. And I get, over time, bored by them. And, in our case, our work started to look the same.”
But how to battle this stagnation that ultimately sets in with most any creative endeavor? Sagmeister decided to take a yearlong sabbatical every seven years – for the first he stayed in New York, for the second he went to Bali. Of course, there are smaller, more accessible ways to spark new creativity. But they all have one thing in common with Sagmeister’s sabbatical: It’s all about putting some distance between you and your desk.
Read the rest here
6.7.10
you thought we wouldn't notice: plagarized or inspired?
you thought we wouldn't notice: a fascinating site on art law. It's "dedicated to pointing out those things that give you that feeling of ‘haven’t I seen that somewhere before?'"
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original
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Also watch this TEDtalk on copyright laws in the fashion world: "Copyright law's grip on film, music and software barely touches the fashion industry ... and fashion benefits in both innovation and sales, says Johanna Blakley. At TEDxUSC 2010, she talks about what all creative industries can learn from fashion's free culture."
1.7.10
damien hirst audi a1 sells for $524,000
It's like a spin painting... but on a car...
"The 2011 Audi A1 hatchback, with its accessible curves and viral-video associations with Justin Timberlake, does not scream “enfant terrible,” nor does it inspire debate on the limits of abstract expressionism.
A visit to the Gloucestershire, England, studios of the art-world provocateur Damien Hirst, however, can rectify that.
Mr. Hirst is best known for his mixed-media piece “The Physical Impossibility of Death in the Mind of Someone Living,” for which a tiger shark was suspended in formaldehyde within a glass vitrine.
He was asked to paint an A1 for the annual charity fund-raiser of the singer and activist Elton John and his partner, David Furnish. The event, the White Tie and Tiara Ball, was held June 24 in England, and it raised nearly $8.5 million for AIDS research and treatment, with the Hirst A1 bringing $524,000..."
26.5.10
picasso at tate liverpool
A member of the public looks at The Charnel House as part of the Picasso: Peace And Freedom exhibition Photo: PA
Picasso: Peace and Freedom at Tate Liverpool, review
by Richard Dorment
Telegraph.co.uk
Picasso’s post-war political activity is the subject of an intermittently gripping exhibition at Tate Liverpool entitled (apparently, without irony) “Peace and Freedom”. If you come out of it as confused as I was, it is because the show refuses to oversimplify a messy topic fraught with contradictions at every twist and turn.
What is certain is that Picasso was never an ideological Marxist. His naïve support of a monstrous ideology was motivated by genuine humanitarian concerns – he also contributed generously to much worthier causes, including the American civil rights movement.
Yet the fact remains that for 30 years the artist whose name is synonymous with freedom of expression placed his genius in the service of tyrants dedicated to its ruthless suppression.
The precise nature of Picasso’s political affiliations has always been a contentious issue. Some art historians have detected evidence of anarchist sympathies in the early work executed in Barcelona and Madrid. But his dealer, Daniel Henry Kahnweiler, was adamant that the young Picasso was “the most apolitical man I ever met”.
The second half of Picasso’s life, however, was largely shaped by the vagaries of European politics. His passionate support of the Republican cause during the Spanish civil war resulted in life-long exile from the country of his birth.
And yet for all his immersion in Left-wing politics, with one glaring exception (Guernica – the monumental canvas expressing his outrage at the Fascist bombing of the Basque village in 1937), Picasso was never conspicuously successful as a painter of political propaganda. That is because effective agitprop requires the simplification of complex issues. Picasso was a poet, not a politician. His is an art of allusion, symbol and metaphor.
Agree? Disagree?
See the whole review here: Picasso: Peace and Freedom at Tate Liverpool, review
25.5.10
can art be priceless?
Left to right: Estate of Pablo Picasso/Artists Rights Society, New York, via Christie’s;Sotheby’s/European Pressphoto Agency
What explains the quick return to confidence in the art market?
This month, a painting by Picasso, “Nude, Green Leaves and Bust,” became the most expensive painting ever sold at an auction when it exceeded expectations to fetch $106.5 million at Christie’s. In February, a sculpture by Giacometti, “Walking Man I," sold for $104.3 million at Sotheby's, setting the previous world record auction price.
What accounts for these auction prices? Are investments in trophy art any different from investments made in an office park or a sports team?
- Denis Dutton, professor of philosophy of art
- Eileen Kinsella, editor of ARTnewsletter
- Donald Kuspit, art historian
- Kathryn Graddy, economist
24.5.10
studio visit @ p.s.1
Welcome to Studio Visit, P.S.1’s new web initiative that offers virtual presentations of artists’ studios. Emerging artists working in the five boroughs and greater New York area are invited to upload video or still images of their studios and work. Artists’ submissions will be present on the website for at least one month.
Studio Visit will serve as an online artistic hub and provide viewers a look at the varied artistic practices located within one city.
1038 studio visits and counting...
19.5.10
hopper at the national gallery of art
A great interactive site from an elapsed Hopper exhibit at the National Gallery of Art in 2007-2008. Full of good resources.
18.5.10
don't judge a book by it's cover
The covers of Jonathan Safran Foer's Everything is Illuminated in the UK and in France.Photograph: Observer
Albums are sold across the world inside a universal sleeve, blockbuster films branded in a singular style. But novels, by a convention that nobody in the publishing industry seems fully able to explain, must be re-jacketed from territory to territory. It inspires all kinds of illustrative madness, and makes browsing foreign bookshelves a fascinating – often bewildering – experience...
By Tom Lamont for Guardian.co.uk
See the rest of the article: Design: Don't judge a book by it's Cover, particularly in France
13.5.10
this is where we live
This Is Where We Live from 4th Estate on Vimeo.
A film for 4th Estate Publishers' 25th Anniversary. Produced by Apt Studio and Asylum Films.
The film was produced in stop-motion over 3 weeks in Autumn 2008. Each scene was shot on a home-made dolly by an insane bunch of animators; you can see time-lapse films of each sequence being prepared and shot in our other films.
11.5.10
bring the noise: responding to ofili
Virgin Mary 1996
INSA shoes"TATE Britain is hosting a side event entitled Bring the Noise that respond and resonate with the exhibition of Chris Ofili...
London’s writer and artist INSA was invited amongst many others to partake in the event and have produced an one of pair of Heels that is unusual to say the least. The piece is entitled “Anything goes when it comes to (s)hoes…”, a play on the lyrics from classic Big Daddy Kane track Pimpin’ Ain’t Easy which is referenced by Chris Ofili several times in his paintings. The highlight of the heels are the elephant dung that is used as the platform of the heels. INSA retraced the footsteps Chris Ofili made over 15 years ago and sourced dung from the same family of elephants that produced the dung used in Ofili’s infamous paintings of the nineties."
From Freshness Mag
6.5.10
picasso sells for $106.5 million
"A painting that Picasso created in a single day in March 1932, “Nu au Plateau de Sculpteur (Nude, Green Leaves and Bust),” sold for $106.5 million, a world record auction price for a work of art, at Christie’s Tuesday night. The painting, more than 5 feet by 4 feet, shows Picasso’s mistress Marie-Thérèse Walter, both reclining and as a bust. Picasso’s profile can be discerned in the blue background."
By Carol Vogel for the New York Times
19.4.10
bravo's work of art
"WITH VERY FEW EXCEPTIONS—PBS’s Art:21 and the occasional British import—contemporary art is conspicuous by its absence from mainstream American TV. To some this might seem a rank injustice, but given the obvious pitfalls, it may equally represent a lucky escape. Arriving at the Paley Center for Media for a Wednesday evening preview of Bravo’s new reality series Work of Art: The Next Great Artist, I felt more trepidation than would have accompanied any insider event. How would the art world fare at the hands of producers who aimed to do for it, in the words of the cable channel’s Frances Berwick, “what we’ve done for fashion and food”? Would the featured artists (who are, of course, pitted against one another in the bankable manner of Project Runway, Top Chef, and RuPaul’s Drag Race) survive the presumed emphasis on pizzazz? And would the judges shed all credibility by association with this demotic form?"Art created within the mass-marketed framework of a reality show... not sure what to think. Brilliant or ludicrous?
See full article here on Artforum: Alternate Reality
14.4.10
graffiti in caracas: government sponsored political promotion
See the rest of the slide show here: Political Graffiti"CARACAS, Venezuela — Of all the murals and graffiti that adorn this anarchic city’s trash-strewn center, one creation by the street artist Carlos Zerpa fills him with special pride: a stenciled reinterpretation of Caravaggio’s “David with the Head of Goliath,” in which a warrior grasps the severed head of Secretary of State Hillary Rodham Clinton.
The more overtly political images tend to glamorize President Hugo Chávez’s Bolivarian revolution, and his demonization of Washington is a favorite subject.
Mr. Zerpa, 26, a slightly built painter sporting a few days of stubble, shrugged at the possibility that American visitors to Caracas — or Mrs. Clinton for that matter — might find the mural offensive. “It’s a metaphor for an empire that is being defeated,” he said nonchalantly in an interview. “My critics can take it or leave it, but I remain loyal to my ideas.”
So does the government, which supports Mr. Zerpa’s creations and the work of many other street artists, and is increasingly making them a central element of its promotion of a state ideology. Government-financed brigades of graffiti artists and muralists are blanketing this city’s walls with politicized images, ranging from crude, graffiti-tagged slogans to bold, colorful works of graphic art."
By Simon Romero for the NYTimes
12.4.10
albers color relativity studies
Is the purple same or different?Taken from Marilyn Fenn Studio.
For more exercises testing your eye for color, go here: Color Theory Exercises
8.4.10
24.3.10
young curators speak
New curators with eclectic backgrounds are helping to define how art is viewed by the next generation of museumgoers. All still in their 30s, four from top New York City institutions talk about their jobs.
From the NYTimes
twombly decorates the louvre
"The Louvre's ceilings already abound with decorative paintings: There are plenty of frolicking maidens, epic battles and racing chariots, not to mention cherubs holding cornucopias.
American contemporary artist Cy Twombly had something different in mind — something simple.
Twombly, the first artist given the honor of decorating a Louvre ceiling since Georges Braque in the 1950s, came up with a geometric design — a deep blue background punctuated with floating disks and emblazoned with the names of sculptors from ancient Greece.
The 400-square-meter (4,300-square-foot) ceiling, inaugurated Tuesday, floats over a gallery of antique bronzes like a deep blue sky. It opens up the long gallery but doesn't overpower it, as was Twombly's intent."
Angela Doland for the Associated Press
See the rest of the article: US artist Cy Twombly creates ceiling for Louvre
See more of Twombly's work here
11.3.10
mona hatoum wins
"Sophie Calle and Mona Hatoum have been recognized for their work with awards. As the Süddeutsche Zeitung reports, Calle has won the Swedish Hasselblad Prize for Photography for 2010 from the Hasselblad Foundation in Gothenburg, while Hatoum was awarded the German Käthe-Kollwitz-Preis for 2010 from Berlin’s Akademie der Künste...
In Hatoum’s case, the jurors lauded the centrality of the “human body caught between violence, power, and fragility” in her work. Hatoum, who was born in Lebanon in 1952, moved to London in 1975 and now divides her time between London and Berlin. The Käthe-Kollwitz-Preis is endowed with $16,800."
From Artforum
In Hatoum’s case, the jurors lauded the centrality of the “human body caught between violence, power, and fragility” in her work. Hatoum, who was born in Lebanon in 1952, moved to London in 1975 and now divides her time between London and Berlin. The Käthe-Kollwitz-Preis is endowed with $16,800."
From Artforum
4.3.10
philagrafika 2010
Oscar Munoz
Gunilla Klingberg
Art HazelwoodPhilagrafika 2010 is the first presentation of what will become a recurring event in Philadelphia, celebrating the role of print in contemporary artistic practice.
The Philagrafika 2010 festival contends that the printed image lies at the heart of contemporary art. Concepts of imprinting, multiplicity, reproduction, and seriality, as well as physically printed forms are frequently used by artists who do not think of themselves as printmakers. As artistic vocabularies have expanded and mixing media has become commonplace, artists have increasingly drawn from inherent characteristics of the print to achieve specific aesthetic and expressive goals.
See more here:
Philagrafika 2010
26.2.10
what is a print?
A good interactive site if you're interested in learning about the history and processes of lithography, woodcut, etching, and screenprinting. Gotta love MOMA.
biennial on a budget: the whitney biennial
At a Biennial on a Budget, Tweaking and Provoking
by, Holland Cotter, New York Times
"In what felt like a pre-emptive effort at damage control, the Whitney Museum of American Art
did everything to underpitch its 2010 Biennial. With 55 artists, we were advised, it would be half the size of the 2006 show. Unlike the 2008 version, which spilled over into the Park Avenue Armory, this one would be confined to the museum’s premises. No frills. Tight belts. We’re doing our best. Don’t shoot.
The show lives up — or down — to its billing.
It has no theme; its catalog is slight; its installation, spartan.
Spectacle is out. Much of what’s in is quiet and hermetic to the point of initially looking blank. The prevailing aesthetic is the art of the tweak, minute variations on conventional forms and historical styles: abstract paintings stitched like quilts, performance pieces channeling the 1960s, and so on.
But if the museum gets full points for truth in advertising, it can also claim credit for a solid and considered product. The show has dead spots, mainly where it reflects the retrenched art-about-art spirit of the day. But it also has strong work (particularly in video) that speaks of life beyond the art factory."
See the rest of the article here: At a Biennial on a Budget, Tweaking and Provoking
See more photos of the Whitney Biennial here: Whitney Biennial 2010
19.2.10
reimagining the guggenheim
Saunders Architecture for "Contemplating the Void"Contemplating the Void: An Exhibition Re-Imagines the Guggenheim Museum
By, Roberta Smith, New York Times
"The Solomon R. Guggenheim Museum is capping the 50th birthday festivities for its Frank Lloyd Wright building with some navel gazing. Still, there are worse navels to consider. Wright’s spiral rotunda, in fact, could be thought of as the greatest belly button in modern architecture: an innie and an outie all in one.
The rotunda is the inspiration for a frolicking, mostly feel-good show called “Contemplating the Void: Interventions in the Guggenheim Museum,” for which more than 200 artists, architects and designers were invited to redesign or repurpose the space."
Read the rest of the article here: Contemplating the Void
See what heavy hitters such as Zaha Hadid and Anish Kapoor imagined for the void a.k.a. the Guggenheim's belly button here: The Void
12.2.10
remembering alexander mcqueen
{Freshness Mag}
Fall '08{Style.com}
Fall/Winter '08 Ad Campaign{Frillr}
Finally, forever immortalized at the Met:
Oyster Dress, Spring/Summer 2003{Metropolitan Museum of Art}
11.2.10
slander or censorship?
Officials See Slander in Uzbek Photos, but Artists See Censorship
By, Ellen Barry
New York Times
MOSCOW — How can a photographer defame her country?
At what point is it acceptable to censor work for state interest or at what point does it violate artistic liberties?
By, Ellen Barry
New York Times
MOSCOW — How can a photographer defame her country?
Uzbekistan tried to answer that question this week in a slander trial that harked back to the days of Soviet censorship. The answer, in part: by showing people with sour expressions or bowed heads, children in ragged clothing, old people begging for change or other images so dreary that, according to a panel of experts convened by the prosecutors, “a foreigner unfamiliar with Uzbekistan will conclude that this is a country where people live in the Middle Ages.”
Umida Akhmedova, a photographer and documentary filmmaker, was found guilty on Wednesday of slandering and insulting the Uzbek people, in a case that has stirred outrage in artistic circles throughout the region. Though the charges carried a prison sentence of up to three years, the judge waived the penalties, saying that Ms. Akhmedova had been granted an amnesty in honor of the 18th anniversary of Uzbek independence.
After the verdict, Ms. Akhmedova said she had been so deeply shaken by the prosecution that, even as she walked away free, it was difficult to feel relief.
“I can’t say my anxiety has subsided, I can’t say I’m suddenly O.K.,” she said. “There was a fear of going to prison. But to tell you the truth, I feel insulted, that’s the main thing. I still don’t understand how my creative work could have brought me to this courtroom.”
....
“The authorities want to show a rosy-cheeked face, a beautiful face, as if the wise rulers rule so well that nothing will ever happen,” he said. “And 99 percent of artists are afraid to get involved in anything problematic.”
See the whole article here.At what point is it acceptable to censor work for state interest or at what point does it violate artistic liberties?
10.2.10
the decent drapery of life
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Dear Reader,
The nation's political contests are (finally) entering the home stretch.
That means the candidates who are out of office - Democrats in some races, Republicans in others - are raising the age-old question, "Are you better off now than you were four years ago?" When politicians pose this question, we know they are asking us to do a quick economic calculation. Is your salary higher? Is your home worth more? Is your 401(k) rising in value? Given the bruised condition of the
You may not be earning more than you were four years ago. Your home or your stock portfolio may be worth less. But is that really how we determine whether we are better off?
Maybe you fell in love over the last four years. Maybe you took up fly-fishing. Maybe you moved to an exciting
As President Calvin Coolidge said, "No person was ever honored for what he received. Honor has been the reward for what he gave."
Peggy Noonan agrees. "In a way, the world is a great liar," she writes. "It shows you it worships and admires money, but at the end of the day it doesn't, not really. The world admires, and wants to hold on to, and not lose, goodness. It admires virtue. At the end it gives its greatest tributes to generosity, honesty, courage, mercy, talents well used, talents that, brought into the world, make it better. That's what it really admires. That's what we talk about in eulogies, because that's what's important. We don't say, 'The thing about Joe was that he was rich.' We say, if we can, 'The thing about Joe was he took care of people.'"
It doesn't hurt to remember this. Because the one undeniable fact about the last four years is that you now have four less of them left. So maybe the important thing is not to make more, have more, or spend more. Maybe the important thing is to slow down and appreciate small things, ordinary things: The first frost. The town clock. The curl on your grandson's forehead.
At 79, my Dad has suddenly become an avid birder. What a surprise. When I was growing up, his free time was all about golfing, coaching Little League games or watching major league sports. He didn't own a pair of binoculars. And he certainly couldn't tell you the difference between a tufted titmouse and a yellow-bellied sapsucker.
When we're young, of course, we're going to live forever. There isn't time to notice things. We have places to go. Things to do. "We get to think of life as an inexhaustible well," wrote Paul Bowles near the end of his life. "Yet everything happens only a certain number of times, and a very small number, really. How many more times will you remember a certain afternoon of your childhood, some afternoon that's so deeply a part of your being that you can't even conceive of your life without it? Perhaps four or five times more, perhaps not even that. How many more times will you watch the full moon rise? Perhaps twenty."
Rushing from one appointment to the next, we use up our time, putting off the non-urgent, the unessential. But in the second half - and no one knows when we reach that point exactly - life takes on a special poignancy precisely because our time is limited. It becomes richer and more meaningful because of it. It becomes more important than ever to spend time with the people and family we love. We need to create those opportunities - and to savor them.
"Enjoy life, it's ungrateful not to," Ronald Reagan once remarked. They understand this in
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From The Secret of Shelter Island - Money and What Matters by, Alexander Green
9.2.10
tim burton at moma
Untitled (Cartoons). 1980–86Pencil on paper, 13 x 16” (33 x 40.6 cm)
Currently, there is an amazing retrospective at the NY MOMA (Museum of Modern Art) featuring Tim Burton. While I know it' s halfway across the globe, I think that the exhibition site is quite interesting. And Tim Burton is so inspiring anyway, so why not? :)
"Taking inspiration from popular culture, Tim Burton (American, b. 1958) has reinvented Hollywood genre filmmaking as an expression of personal vision, garnering for himself an international audience of fans and influencing a generation of young artists working in film, video, and graphics. This exhibition explores the full range of his creative work, tracing the current of his visual imagination from early childhood drawings through his mature work in film. It brings together over seven hundred examples of rarely or never-before-seen drawings, paintings, photographs, moving image works, concept art, storyboards, puppets, maquettes, costumes, and cinematic ephemera from such films as Edward Scissorhands, The Nightmare Before Christmas, Batman, Mars Attacks!, Ed Wood, and Beetlejuice, and from unrealized and little-known personal projects that reveal his talent as an artist, illustrator, photographer, and writer working in the spirit of Pop Surrealism. The gallery exhibition is accompanied by a complete retrospective of Burton’s theatrical features and shorts, as well as a lavishly illustrated publication."See the exhibition site: Tim Burton at the New York MOMA
See the trailer for Tim Burton's newest movie: Alice in Wonderland
2.2.10
1.2.10
"going west" for the new zealand book council
Amazing stop-motion animation by Andersen M Studio for the New Zealand Book Council
29.1.10
lace in translation
"Welcome to Lace in Translation, an exploration by three contemporary international art/design studios, whose works are often inspired by traditional lace imagery. These European and Canadian art/design teams explored the historic Quaker Lace Company collection of The Design Center at Philadelphia University for inspiration, and were commissioned to create new, site-specific works for installation in the Center’s galleries and on its adjoining grounds."
Lace Galvanized Fence, 2009
PVC-coated wire, Demakersvan
See more: Lace in Translation
Lace Galvanized Fence, 2009PVC-coated wire, Demakersvan
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