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When Street art meets Abstraction
Read the full article: https://bit.ly/45drpEt
Graffitism is a social and cultural form of wall painting that takes the form of tags, graffiti, murals, stencils, etc. It is different from other forms of wall painting because the style of its art is only spread in cities, where such creative acts are mostly seen as acts of vandalism. People who do this "dangerous" art are called writers and graffiti artists. They do things like tagging, which is the first modern form of graffiti. It started in New York in the 1960s and is the creator's signature. It's meant to go on walls and next to the writer's more complicated murals. The main goal of this process is to get the graffiti artist's name out there by using thin, fast lines that are easy to read and flow well. They also take into account how fast they can be drawn so that they can do something that is illegal in and of itself. Tags and graffiti are often mistaken for each other, but tags are just the older form of graffiti that we talked about above. Graffiti, on the other hand, refers to more elaborate and larger writings that use different calligraphic styles and colors to decorate whole walls, subway cars, abandoned places, etc.
Why have we been talking about graffiti and not Street art up until now? We often and wrongly use these terms interchangeably, possibly because they both come from the same place: the street! Graffiti art has been around since prehistoric times, but it didn't become an official art form until the 1970s. At that time, it was used as a way to protest against abuses of power, government, or the law in general. Graffiti artists try to show what they think in a personal and rebellious way by writing on public places without permission. Street art, on the other hand, focuses on topics that are more popular with the general public. It usually happens during urban rebuilding, when artists who are no longer writers make plans with the city to work. There are also big differences in how writers and street artists are trained and how they make their art. If writers are born on the street, street artists are perfected in the safe environment of studios, where they can make more complicated pieces that would take too long for those who have to run from the police.
As was hinted at above, we're used to seeing mostly black and white graffiti and tags on the walls of streets, abandoned buildings, factories, and other places. When we talk about "Street art," similar styles can be seen in museums, art galleries, cultural venues, more or less authorized walls, collectors' homes, etc. Most people agree with this point of view and think that the subjects and techniques of urban art are outside of the general story of art history, with the exception of some allusions to the closest Pop art. To me, some of the things that the Pop art movement took from abstraction stand out, especially when geometric forms, art techniques, spatial dimensions, and textures are used. When said, this will be shown by analyzing some case studies, which, in a more or less creative way, will link the abstract story with the "urban" one, using the work of some Artmajeur artists like Monker, Kesa Graffiti, Vincent Bardou, Saname, and Pierre Lamblin.
...
https://www.youtube.com/watch?v=Lr-dMcjQitk
Graffitism is a social and cultural form of wall painting that takes the form of tags, graffiti, murals, stencils, etc. It is different from other forms of wall painting because the style of its art is only spread in cities, where such creative acts are mostly seen as acts of vandalism. People who do this "dangerous" art are called writers and graffiti artists. They do things like tagging, which is the first modern form of graffiti. It started in New York in the 1960s and is the creator's signature. It's meant to go on walls and next to the writer's more complicated murals. The main goal of this process is to get the graffiti artist's name out there by using thin, fast lines that are easy to read and flow well. They also take into account how fast they can be drawn so that they can do something that is illegal in and of itself. Tags and graffiti are often mistaken for each other, but tags are just the older form of graffiti that we talked about above. Graffiti, on the other hand, refers to more elaborate and larger writings that use different calligraphic styles and colors to decorate whole walls, subway cars, abandoned places, etc.
Why have we been talking about graffiti and not Street art up until now? We often and wrongly use these terms interchangeably, possibly because they both come from the same place: the street! Graffiti art has been around since prehistoric times, but it didn't become an official art form until the 1970s. At that time, it was used as a way to protest against abuses of power, government, or the law in general. Graffiti artists try to show what they think in a personal and rebellious way by writing on public places without permission. Street art, on the other hand, focuses on topics that are more popular with the general public. It usually happens during urban rebuilding, when artists who are no longer writers make plans with the city to work. There are also big differences in how writers and street artists are trained and how they make their art. If writers are born on the street, street artists are perfected in the safe environment of studios, where they can make more complicated pieces that would take too long for those who have to run from the police.
As was hinted at above, we're used to seeing mostly black and white graffiti and tags on the walls of streets, abandoned buildings, factories, and other places. When we talk about "Street art," similar styles can be seen in museums, art galleries, cultural venues, more or less authorized walls, collectors' homes, etc. Most people agree with this point of view and think that the subjects and techniques of urban art are outside of the general story of art history, with the exception of some allusions to the closest Pop art. To me, some of the things that the Pop art movement took from abstraction stand out, especially when geometric forms, art techniques, spatial dimensions, and textures are used. When said, this will be shown by analyzing some case studies, which, in a more or less creative way, will link the abstract story with the "urban" one, using the work of some Artmajeur artists like Monker, Kesa Graffiti, Vincent Bardou, Saname, and Pierre Lamblin.
...
https://www.youtube.com/watch?v=Lr-dMcjQitk
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Photographer Nan Goldin has canceled her project with the New York Times Magazine, accusing the newspaper of having a pro-Israel bias in its coverage of Gaza. She criticized the Times for what it reports and doesn't report, and for questioning the veracity of Palestinian statements. Goldin also expressed solidarity with the Palestinian people and the need to amplify their voices amid the ongoing conflict.
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Jens Haaning, the Danish artist, is gearing up to contest a recent legal battle involving a museum, as highlighted in a Huffington Post report. This legal dispute revolves around the financial support Haaning received to recreate an artwork at Denmark's Kunsten Museum in Aalborg.
The museum provided Haaning with a substantial sum of 532,549 krone, which is roughly equivalent to $49,749, in addition to an artist fee of 40,000 krone, approximately $3,738, with the explicit purpose of reimagining the artwork known as "An Average Danish Annual Income (2007)." This piece originally featured krone affixed to a canvas within a frame. The project was meant to be an integral part of the "Work it Out" exhibition (2021–22), focused on labor conditions. However, instead of delivering the anticipated artwork, Haaning submitted two empty canvases bearing the titles "Take the Money" and "Run" (2021).
In a previous ruling rendered on September 18, the District Court of Copenhagen determined that Haaning could retain the artist fee, as the museum had indeed showcased his work during the exhibition.
Recently, another Danish court mandated that Haaning reimburse Kunsten Museum with the sum of 492,549 krone, equivalent to $46,012, citing a violation of the terms outlined in his contract. The contract explicitly stipulated that the funds allocated for the artwork were to be returned to the museum shortly after the conclusion of the exhibition. Consequently, the museum initiated legal proceedings against Haaning. It has been reported that Haaning, represented by his lawyer Peter Schønning, plans to challenge this ruling by filing an appeal.
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The Isra and Mi'raj represent two of the most mystical and profound occurrences in Islamic tradition, marking the Prophet Muhammad's miraculous overnight journey and heavenly ascent. These events are divided into two segments: the Isra and the Mi'raj.
The Isra details Muhammad's nocturnal journey from the Sacred Mosque in Mecca to the Farthest Mosque (Al-Aqsa Mosque) in Jerusalem. Islamic tradition holds that this journey occurred in a single night around the year 621 and is documented in the Quran in Surah Al-Isra (17:1). It describes how Allah transported His servant from the Sacred Mosque to the Farthest Mosque. During this journey, Muhammad is believed to have ridden a Buraq, a celestial creature slightly larger than a donkey but smaller than a mule, capable of reaching the horizon in a single stride.
The Mi'raj describes Muhammad's ascent from Jerusalem into the heavens, where he encountered various prophets, including Adam, John the Baptist, Jesus, Joseph, Idris, Aaron, Moses, and Abraham, across different levels of heaven. This journey culminated with Muhammad's meeting with Allah, from whom he received divine commands for his community. The Mi'raj signifies not only Muhammad's physical elevation but also his spiritual upliftment, emphasizing its significance in religious and mystical contexts.
Muslims worldwide celebrate these pivotal events on the 27th night of the Islamic month of Rajab, known as Lailat al-Mi'raj. This occasion is a time for prayer, reflection, and remembrance, highlighting the deep connection between the divine and the Prophet Muhammad, as well as between the earthly and the heavenly. The Isra and Mi'raj underscore Muhammad's essential place in Islam, his divine support, and the pivotal role of Jerusalem in the Islamic faith.
Thus, the Isra and Mi'raj are integral to Islamic history and spirituality, revered and celebrated as they embody the profound spiritual journey of the Prophet Muhammad and highlight crucial theological and mystical elements of Islam.
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Read the full interview: http://tinyurl.com/bdeuwzb2
What inspired you to create art and become an artist? (events, feelings, experiences...)
What is painting for me? Painting for me is a natural occurrence. Painting for me is a preconceived ability. I started drawing from the age of 2-3, so drawing for me is a natural thing, and creating art is a seventh sense. I went to an official art school at 12, was quite a bright student there, dreaming to proceed with art studies for the whole of my life, but by the time to enter the art academy – the country I lived was ruined, not only the regime, but the system, economics, establishments, modus vivendi. So, I did international economics and marketing diploma and then had my post graduate masters in psychology. And completely forgot that I was an artist once.
One fine day my father was turning 75, and for his birthday present he asked me to create a painting, but not just splash abstract, but realistic marine paisage. I haven’t had brushes in my hands for 25 years! I bought art materials and then… magic started to happen! Every day I tried to paint, and I did well, as if my fingers had the memory… So now my dream could come true and I had a chance to enter art academic studies. I received the master academic art education quite late, at the age of 47, I was right away accepted in the Union of Artists and right after (literally in a week ) I moved to Europe ( via UK to to the south of Spain).
As a result of personal experience of moving from Easten to Western Europe, from Northern pearly colour pallets to southern bold screaming exuberant colours, my identity as well as my artistic language was exposed to a huge transformation. Contemporary culture, contemporary art language and rich art heritage of Andalucia is now absorbed in my culture code, and I continue studying it.
What is your artistic background, the techniques and subjects you have experimented with so far?
My artistic background is academic realism with the note of impressionism. Perceptions are different from country to country. We were taught to use greyish-blue-silver light palette, as the light of the skies was moderate, pearly. We were taught to avoid screaming out with colors. Here in Spain the sky is vibrant blue, the greenery is bald, the flowers have energetic pink, red, orange strokes. The brightness is quotidian and, hence, justified. So now I use only bright colors, so my paintings make you feel alive and energized. Before I was mostly figurative, now I add a lot of decorative and wish to go to abstract.
What are the 3 aspects that differentiate you from other artists, making your work unique?
As an artist, I explore the connection between figurative and decorative art.
A figure is usually called a closed, protruding, attention-grabbing part of the phenomenological field, and everything that surrounds the figure is a background. But the ratio of the subject and the background is a dynamic ratio. What is currently related to the background may become the subject after a while, and what was the subject may become the background. Ornamental decorative elements become part of the composition, part of the plot, of the subject.
What interests me is the dialogue between realistically depicted figures and forms and dynamic, abstract or decorative backgrounds.
Thick energetical passionate strokes of bright exuberant colors.
Trembling and vivant lines of my silhouettes.
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"Pop art is industrial painting. I think the significance of my work is that it is industrial, that's what the whole world will become soon. Europe will be the same way, soon, it will no longer be American, it will be universal."
The above quote by Roy Lichtenstein definitely predicted the globalized society we live in today. This is a phenomenon in which capitalism has spread by removing barriers between states to impose a global economic and cultural model, in which multiple luxury brands have become the main subjects of modern Pop art. But where did this trend come from and how has it changed over time? First, it's important to quickly explain the "ideology" of the above-mentioned art movement in order to show how it changed over time, with the goal of bringing attention to supermarket brands at first and then to brands that were clearly more high-end over time. Starting with the basic ideas of Pop art, it was set apart by its use of easily recognizable images from the media and popular culture. Along with Neo-Dada and other movements, it has challenged the very definition of art, changing it into a way of celebrating and elevating the everyday. Andy Warhol, the undisputed leader of the movement, created images in the 1960s that blurred the lines between "high" and "low" culture. For example, he tried to give a new meaning to the Coca-Cola brand, and with the well-known Campbell's Soup Cans, he wanted to show the products that were a part of his life. In the late 1980s, these democratic goods, which were available to most people, were put next to more elitist lithographs like Chanel's from 1985. These were part of the Ads portfolio and were meant to highlight not only the French brand but also some of the most powerful American companies, like Mobilgas, Paramount Pictures, Disney, and Apple Macintosh, along with the foreign brands Volkswagen and Blackglama. Back to Chanel, the lithograph was inspired by an ad from the 1960s for a perfume that was, to say the least, famous and a favorite of Marilyn Monroe. It came in a simple, clear bottle and had a simple, timeless design, which was surely the reason for its success over time. At this point, it's easy to see how, in the second case, the worship of everyday objects, like Coca-Cola, is replaced by the "idolatry" of luxury goods, which are presented as a mere allusion, exaltation, and ostentation of a state of well-being that most people want. The success of luxury brands in modern Pop art, a movement that speaks for the peak of modern ostentation and is fueled by the spread of mounted and constructed social media pictures, is directly related to this constant desire to own things.
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https://www.youtube.com/watch?v=RcebezbDTYk
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Read the full article: https://tinyurl.com/2ad8dyyw
Examining human anatomy in pieces, we utilize both the flesh-toned brush and the "cooler" lens of the camera to dissect the body. This approach moves away from the traditional holistic portrayal of nudes that dominate art history, emphasizing intricate details instead. By focusing on isolated parts like a foot, hand, or leg, we gain insights into the emotional states and contexts of individuals depicted. The narrative progresses from depictions of feet, legs, and hands, culminating in faces marked by the communicative power of the eyes, which guide us deeper into the subject's psyche—a shift from the more superficial allusions of limbs.
This exploration begins with the works of Jean Ponomarevsky, a photographer, and Oleksandra Padushyna, a painter. By presenting their pieces side by side without textual interruptions, I aim to highlight their similarities, allowing viewers to seamlessly switch their gaze between the two. This setup suggests both artists might have captured the same subject. Despite this similarity in framing, their perspectives differ: Ponomarevsky’s shot is from above, possibly over a bed, whereas Padushyna’s view descends to the seashore. Lighting also diverges; the photograph features light that seems to pour through a window, focusing on the feet and their backdrop, while Padushyna’s painting glows with sunlight reflecting off the ocean, creating dialogues between intimate interiors and exposed exteriors.
Regarding the artists from Artmajeur, Ivan Ponomarevsky, a Georgian-born photographer since 1974, first used a camera at age eight. Oleksandra Padushyna, a watercolorist residing in Germany, prefers painting en plein air, often depicting the dynamic waters of rivers, seas, and lakes. Let us now turn to the legs!
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Over 1,000 artists, including prominent figures like Ben Rivers and Brian Eno, have boycotted Bristol's Arnolfini Centre, accusing it of censoring Palestinian culture by cancelling events from the Palestine Film Festival. The artists demand a commitment to freedom of expression from Arnolfini's leadership and have pledged not to engage with the Centre until changes are made.
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The "biggest art fraud in history" was uncovered by Canadian authorities.
More than a thousand paintings by Ojibwe artist Norval Morrisseau were seized and eight persons were arrested after an inquiry into forgeries began.
The Ontario Provincial Police said on March 3 that they had uncovered "the largest art scam in world history" while investigating a network that faked works by the famous Ojibwe artist Norval Morrisseau.
More than a thousand paintings were confiscated, and eight persons, including a relative of the deceased artist, were accused in connection with the case. The counterfeit ring took advantage of young Indigenous artists and employed them as slave labor in sweatshops. This highlights Canada's larger issues in its treatment of First Nations people.
Morrisseau, a pioneering Canadian artist, overcame adversity, including the country's controversial residential school system and a near-fatal illness in his youth. Jack Pollock, a Canadian gallery owner who had worked with Morrisseau for many years, is credited for "discovering" him, and he went on to achieve international renown as a result. Morrisseau discovered the sale of counterfeits of his work in the years leading up to his death in 2007. Canadian filmmaker Jamie Kastner's 2019 documentary There Are No Fakes raised awareness of the problem.
The Canadian musician Kevin Hearn of the band Barenaked Ladies sued the Toronto-based Maslak McLeod Gallery for selling him a painting he claimed was a fake by Morrisseau, and the ensuing legal battle provided the inspiration for the film. The article goes on to describe the art-fraud network headquartered in Thunder Bay, where the artist lived and worked for decades, and hints that there are as many as 10 times as many counterfeit Morrisseau artworks available for sale as there are authentic ones.
Supposedly, Hearn's lawsuit, which had previously been dismissed because he couldn't establish that his painting was a fake, was revived with the help of the film. When the initial ruling became public, the Ontario Court of Appeal reversed it, awarding Hearn C$60,000 (about $44,000). The movie was cited by Ontario police as a major factor in their decision to launch an inquiry.
Kastner claims that the "spike" in internet viewing of the video began on March 3rd. He claims he is currently engaged in a court dispute with the police in Ontario over their want to utilize excerpts from his video as evidence.
The "at least 3,000 additional forgeries out there," as Kastner puts it, are "easy to identify—they have a signature on the reverse in English." This is especially true for works in the vein of his black dry brush series. The artist always signed his Ojibwe name, which he pronounced as "Copper Thunderbird," on the front of his pieces.
Cory Dingle, Morrisseau's estate administrator, has stated that the damage done to Morrisseau's art legacy has a ripple effect throughout the Canadian art market. Some argue that the fake ring scandal could actually increase interest in the artist's work and the price paid for it.
Morrisseau is widely credited with founding the Native American-inspired Woodlands School of Art. The cultural and political tensions between Indigenous and settler traditions were portrayed in his work, which earned him the nickname "the Picasso of the North" from the artist Marc Chagall. It was also a celebration of the adaptability of both culture and sexuality. (Morrisseau painted several sexually explicit works; he was bisexual.) Many contemporary artists, such as Lawrence Paul Yuxweluptun, who fused Indigenous cosmology with Surrealism, were influenced by the artist's later, more phrase-based works.
Morrisseau's work Indian Jesus Christ, which combined Indigenous religious motifs with stained-glass imagery, gained a lot of attention after the 1974 National Film Board documentary The Paradox of Norval Morrisseau.
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Centre Pompidou Agrees to Construct a New Museum in AlUla, Saudi Arabia
Saudi Arabia's cultural aspirations will soon be realized in the sandstone valleys and mountains of AlUla.
This past Sunday, the president of the Centre Pompidou in Paris, Laurent Le Bon, signed an agreement with the Royal Commission for AlUla (RCU) to construct a massive museum for regional and international contemporary art in the country's northwestern desert. The building is scheduled to debut between 2028 and 2029.
Artwork from both institutions' collections will be exchanged, and museum staff in Saudi Arabia will receive technical training, according to Iwona Blazwick, an advisor to RCU on contemporary arts programming.
Construction on the museum reportedly began in 2021, during a visit by French President Emmanuel Macron to Riyadh. Art from Southwest Asia, North Africa, and South Asia will be heavily featured. It will feature many different art styles, with an emphasis on land art and cutting-edge digital techniques. In addition, the RCU will commission Arab and other artists to create enveloping public installations.
Since the Paris museum houses the nation's modern art collection, it makes logical for the RCU to collaborate with it. The Pompidou has made significant efforts in recent years to increase its global visibility, with mixed results. The Spanish outpost of the Centre Pompidou, which opened in 2015, has failed to attract the expected number of visitors, and its Shanghai outpost struggled to maintain operations during the Covid-19 lockdown.
The Centre Pompidou is negotiating a donation from the Hanwha Foundation, the philanthropic arm of a South Korean commercial behemoth. In exchange for 20 million euros spread out over four years, the Hanwha Foundation would be granted the right to use the "Centre Pompidou" moniker. If the transaction goes through, the museum will have a significant influx of funds just before it closes for three years to undertake massive repairs beginning at the end of this year.
This is the most recent joint cultural initiative between AlUla and Saudi Arabia. The Louvre, the Misk Art Institute in Riyadh, the German Archaeological Institute, and the Desert X outdoor biennial in California are just few of the institutions that AlUla has collaborated with in the past. More than 200 cultural sites are planned to be opened by the Saudi royal by the year 2030. The goal is to improve the Kingdom's economic and international reputation. King Salman's son and heir apparent, Mohammed bin Salman, has invested heavily in this scheme. Commissioning artwork for Wadi Al-Fann, an AlUla location that was long off-limits to visitors but is now known as "the world's largest living museum," has cost tens of millions of dollars.
The Saudi government predicts that by 2035, the area would receive 2 million annual visitors, of whom 40% will be from outside the country.
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https://www.youtube.com/watch?v=1wkp7hNt30c
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