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Friday, December 24, 2010
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What Curtains Match Dark Green Carpet
Arts in Turkey. The challenge of modernity
The art scene in Istanbul has seen a boom in the decade just passed, from a handful of private galleries in over 200. But there is a price to pay for this rapid growth
The Tophane district in Istanbul is characterized by its bohemian character, yet ultra-modern. Tophane represents very well the cliché of Istanbul, with one foot in the West secular, liberal and one conservative Islam. In the '80s through the narrow streets and crumbling buildings of the late nineteenth century were occupied by immigrants of the Bosphorus. The area also attracted many artists - as Gülsün Karamustafa - particularly for economic rents.
About a decade ago Istanbul - and with it Tophane - began to change dramatically. The economy has grown and with it the art scene, the old buildings have been purchased and renovated. Some of them have been converted into art galleries and among these are the 10 most important galleries in Turkey on the international stage.
Gülsün, in his sixties, is now a star among the Turkish artists and exhibitions have been devoted throughout the world. He made his debut as a painter but now works mainly with video and short films.
But the development of Turkish art scene also has other implications. Last September, thirty armed extremists raided bars and knives in a convivial meeting organized some galleries Tophane. Some windows were destroyed and five people ended up in hospital. No one was arrested and police are still investigating the incident. A few steps from
Tophane is the Museum of Modern Art in Istanbul, built five years ago by one of the richest Turkish famigie Eczacibasis. He lives in private funding, like most of the arts in the country. Bankers and businessmen are the main sponsors, along with the collectors, the real protagonists of the art boom. Their main target is in fact buy their own contemporary art in Turkey. Istanbul Modern find a video of Gülsün, 'Memory of a Square'. The screen is divided into two parts on the one hand shows us scenes family life and secondly the contrasts of modern Turkey. Gülsün is working on a project for the British Council, funded by the European Community. He spends half his time abroad and love to travel. Several years ago, during a period of political instability has been arrested and his passport was withdrawn for 16 years. But everything started to change since the 90s with the Biennale of Contemporary Art in Istanbul, one of the most important international art events - sponsored by the greatest art patron of the country, the industrial group Koc. Gülsün was asked to exhibit at the Biennale of Turkey three times.
The auction house Sotheby's climbed on the bandwagon of art Contemporary Turkish dedicadogli last year its first auction. In this year-Fahr El Nissa Zeid has become the artist turkish by higher quotations, with sales of over $ 1 million. But what is the level ad
of contemporary Turkey? The editor supports Necsmi Sonmez but critical. Today the problem is not censorship but a character of "identity" in his opinion still too strong, which often slips into folklore. Sonmez also wonders what could be the independent contemporary art production, so bound up with private funding. "I do not know what are the salient features of contemporary Turkey. I am interested in rather an art that is global" - says the curator. Maybe Turkey now needs this, not an 'art' of identity ", but an 'art that deal with issues like the empowerment of women and homosexuality. Topics brave. Maybe too challenging for some.
- Adapted from "Modern art boom exposes Turkey's Tensions," By Rosie Goldsmith, BBC News, 30 October 2010 
The art scene in Istanbul has seen a boom in the decade just passed, from a handful of private galleries in over 200. But there is a price to pay for this rapid growth
The Tophane district in Istanbul is characterized by its bohemian character, yet ultra-modern. Tophane represents very well the cliché of Istanbul, with one foot in the West secular, liberal and one conservative Islam. In the '80s through the narrow streets and crumbling buildings of the late nineteenth century were occupied by immigrants of the Bosphorus. The area also attracted many artists - as Gülsün Karamustafa - particularly for economic rents.
About a decade ago Istanbul - and with it Tophane - began to change dramatically. The economy has grown and with it the art scene, the old buildings have been purchased and renovated. Some of them have been converted into art galleries and among these are the 10 most important galleries in Turkey on the international stage.
Gülsün, in his sixties, is now a star among the Turkish artists and exhibitions have been devoted throughout the world. He made his debut as a painter but now works mainly with video and short films.
But the development of Turkish art scene also has other implications. Last September, thirty armed extremists raided bars and knives in a convivial meeting organized some galleries Tophane. Some windows were destroyed and five people ended up in hospital. No one was arrested and police are still investigating the incident. A few steps from
Tophane is the Museum of Modern Art in Istanbul, built five years ago by one of the richest Turkish famigie Eczacibasis. He lives in private funding, like most of the arts in the country. Bankers and businessmen are the main sponsors, along with the collectors, the real protagonists of the art boom. Their main target is in fact buy their own contemporary art in Turkey. Istanbul Modern find a video of Gülsün, 'Memory of a Square'. The screen is divided into two parts on the one hand shows us scenes family life and secondly the contrasts of modern Turkey. Gülsün is working on a project for the British Council, funded by the European Community. He spends half his time abroad and love to travel. Several years ago, during a period of political instability has been arrested and his passport was withdrawn for 16 years. But everything started to change since the 90s with the Biennale of Contemporary Art in Istanbul, one of the most important international art events - sponsored by the greatest art patron of the country, the industrial group Koc. Gülsün was asked to exhibit at the Biennale of Turkey three times.
The auction house Sotheby's climbed on the bandwagon of art Contemporary Turkish dedicadogli last year its first auction. In this year-Fahr El Nissa Zeid has become the artist turkish by higher quotations, with sales of over $ 1 million. But what is the level ad
of contemporary Turkey? The editor supports Necsmi Sonmez but critical. Today the problem is not censorship but a character of "identity" in his opinion still too strong, which often slips into folklore. Sonmez also wonders what could be the independent contemporary art production, so bound up with private funding. "I do not know what are the salient features of contemporary Turkey. I am interested in rather an art that is global" - says the curator. Maybe Turkey now needs this, not an 'art' of identity ", but an 'art that deal with issues like the empowerment of women and homosexuality. Topics brave. Maybe too challenging for some.
- Adapted from "Modern art boom exposes Turkey's Tensions," By Rosie Goldsmith, BBC News, 30 October 2010
Catch Phrase For Birthday Invites
dum tempus rerum Edax loquor, hora fugit tempus fugit
at dusk
watercolor 
at dusk watercolor
Saturday, December 11, 2010
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Brent Corrigan Movies Onlines
Cranach. Reformation and Renaissance art scene
Called Frederick the Wise, Elector of Saxony, to work at his court, Cranach painter of the voters will be three consecutive from 1504 until his death in 1553. An intensive activity that involves him in realizzaione boards and wall paintings, but also ephemeral decorations for parties and tournaments, commemorative medals, clothing, furniture and stained glass. Cranach marks the passage by the artist-craftsman medieval - whose personality was often mortified by the corporations - the new role played by the creative genius in the Renaissance courts. He is a pride and a conception of the artist's being characteristic of the modern age. Significant is his elevation to the rank of nobility by Frederick III, who gave him the coat of arms with the winged dragon, a distinctive signature of his work below. The size of the craft becomes creativity in medieval European courts of the sixteenth century search for a refined beauty that can inform himself of every aspect of daily life. An ideal that will live in the twentieth century with the movement Arts and Crafts , alternative "workshop" to the industrial production system. 
Called Frederick the Wise, Elector of Saxony, to work at his court, Cranach painter of the voters will be three consecutive from 1504 until his death in 1553. An intensive activity that involves him in realizzaione boards and wall paintings, but also ephemeral decorations for parties and tournaments, commemorative medals, clothing, furniture and stained glass. Cranach marks the passage by the artist-craftsman medieval - whose personality was often mortified by the corporations - the new role played by the creative genius in the Renaissance courts. He is a pride and a conception of the artist's being characteristic of the modern age. Significant is his elevation to the rank of nobility by Frederick III, who gave him the coat of arms with the winged dragon, a distinctive signature of his work below. The size of the craft becomes creativity in medieval European courts of the sixteenth century search for a refined beauty that can inform himself of every aspect of daily life. An ideal that will live in the twentieth century with the movement Arts and Crafts , alternative "workshop" to the industrial production system. Cranach is also the sixteenth-century painter who has most enhanced the female body. His sharp and sinuous beauty, always pervaded by a suggestive eroticism, allowed the painter to win a 'major customers in a time when Protestant churches were not interested (in some cases even hostile) to the visual arts. E ', however, that these subjects can hide an uplifting message or allegorical content highlighting examples of moral or ethical strength and warning to the contrary exempla . Phyllis, Judith, Salome, are called to be the power to enchant ( Weiberlist ) of women and of course on all outstanding Eve, the primordial creator of deception.
The depiction of the power of women ( Weibermacht ) based its success on the paradoxical reversal of the hierarchical relationship between the genders and in a sense reaffirming the warning behaviors represented by the viewer. Of course we must not overlook the ironic intentions of these individuals, much in vogue at the time and offered not only magnificent paintings, but also on several panels and other utensils for daily use.
Cranach spent most of his life in the town of Luther, Wittenberg. From here contributed to the spread of the new creed of the Reformation by creating altars, portraits, illustrations of the Bible translated into German.
Through the use of half-figures and the dark background, in its depiction of evangelical Cranach makes the viewer participates in the subject illustrated and seems to recall the fundamental principle of the Reformation of a direct relationship between man and God through faith.
The portraits of Luther helped to confirm and disseminate the role of religious leader. Even the wife of the reformer, Katharina von Bora, was devoted to a painting, highlighting that the questioning of celibacy is indirectly a complaint clerical organization of the Church of Rome. Through the choice of episodes and key themes of the New Testament - Christ Bless the children, the comparison of the Mosaic Law and the Gospel, the Crucifixion - and stressing the primacy of faith and grace on human works. In the same year in which he was more committed to producing a large quantity of works inspired by Cranach Lutheran accepted commissions from various churches and Catholic princes. These works were undoubtedly made with the consent of Frederick the Wise. Perhaps the voters considered them as a diplomatic tool against Catholic principles. Once again, the great quall'artista iconologist Erwin Panofsky called "provincial" shows the protagonist of one of the key moments in the history of Europe.
Luca Vona - article published reform of 19 November 2010
BORGHESE GALLERY
Piazzale Scipione Borghese 5 (00,197)
+39 068413979, +39 068840756 (fax)
www.galleriaborghese.it
hours: Monday Closed Tuesday to Sunday
, from 9 am to 19
Tickets: 11.50 for entire show and the Borghese Gallery, most booking fee € 2 booking essential
catalog 24 HOURS CULTURE
press office: MondoMostre
Editors: Bernard Aikema, Anna Coliva
Public sponsors: Ministry of Heritage and Culture
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Kinder Ferrero
web: www.mostracranach.it
Sunday, October 24, 2010
Buzzing And Blocked Ears
The Lebanese
study Pascal Hachem is located east of Beirut, in the district Gemmayzeh. Constantly threatened by demolition, the area is a picturesque mix, developed under the Ottoman Empire, during the French mandate (1920-1943) and subsequently influenced by modern architecture. A maze of trendy bars, boutiques and restaurants. Hachem explains that Beirut is a noisy city "The sounds of war have been replaced by the noise of building sites. The city of the past is completely gone." His study, by contrast, is a haven of peace and order. One wall is covered by a series of traps for mice. Ancient hammers purchased in Cairo are on a work table. On his computer there are projects in Zurich, Bern, Rome and London, a city where it is going to inaugurate its first solo exhibition in the gallery of the Tunisian Feriani Selma has always been attentive to the North African and Middle Eastern art scene.
Designer by training, his work includes the construction of machines bizarre, performance and photography, public space interventions. Last July in Rome in 2000 has exhibited an installation composed of brackets arranged in concentric circles, oriented towards a central pot, at the pyramid Gaius Cestius. The disturbing swing del'installazione - explains the artist - gets a perverse reality: who is responsible for world hunger is often the same that feeds the war.
the question "What gives you Beirut?" Hachem has a ready answer: "voltage. It 's the main source of inspiration for my work."
The contradictions experienced by Hachem are the same as an entire generation of artists, grew up in a city halfway between the total collapse and a wild rebirth. The daily war against the urban chaos - a city in constant transformation, permanentemenre congested traffic and the constant political instability - is measured with a fear of long-term tensions with Israel South on the border
Over the past 20 years, despite a total absence of state support of public galleries or exhibition spaces non-profit organization, has developed a viable alternative infrastructure for those who want to make and exhibit art in Beirut. A small number of artists and curators, in fact, subsidized by private funds, are able to create a creative vanguard capable of attracting attention to international attention. The renowned art collective
Shkal Alwan, the Arab Image Foundation , Irtijal are just some of the institutions that have helped to encourage critical debate with other leading independents in the Middle East and North African region. Also some galleries Private encouraged ambitious artistic projects bringing them to international fairs. Sandra Dagher and Lamia Joreige direct the Beirut Art Center, a non-profit public space opened in 2009. Saleh Barakat Gallery of Agial , Dagher has edited together the first Lebanese pavilion at the Venice Biennale in 2007. Andrée Sfeir-Semler in Berlin since 1985, opened in 2004 a large exhibition space in the old industrial district of Beirut.
When the international art community has begun to turn its attention to the Middle East a decade ago found in Lebanon a reality already mature and rapidly evolving ready to deal with artists with fairs, festivals, exhibitions and residencies abroad. And 'the last generation of artists who Selma Feriani is promoting in his London gallery, where the staff Hachem will follow two other exhibitions respectively Ninar Esber and Ziad Antar .
Until 1975, Beirut was an important center of tourism, finance and trade, a vital link in the Mediterranean to the Arab intellectual world. The varied cultural heritage of Lebanon gathers influences of various Christian and Muslim denominations and has spread worldwide through a rich diaspora. A social and cultural life makes so sophisticated Lebanon Middle Eastern countries a more "accessible" to the West.
Paradoxically, it was especially the 15 years of violent civil war - between 1975 and 1990 - to stimulate the development of visual arts in Lebanon. Before that time, three generations of artists have grown up under siege. For the first generation of artists, offer a witness the tragedy was a reason for creative survival. The second generation, which came out in the open in 1990, but the conflict has grown both inside and in exile has built its identity in a country that was recovering from the trauma of civil war. Promoted by curator Christine Tohme - one of the founders of Ashkal Alwan - it is strongly dall'approccio conceptual artists who prefer the video photography, public installations. Among the artists of this generation one of the best known internationally is Walid Raad, who has been a dedicated staff from Whitechapel Gallery.
The third generation, that of Hachem and other emerging artists born in the late seventies or later, is distinguished by a Cast in a more optimistic spirit. These are the artists who in 2006 saw the fragile infrastructure of their country destroyed again by a clash with Israel that lasted 34 days. The challenge of these artists has been and continues to be to escape the war, not only as a nightmare but as a "cage" set to work from their preconceived expectations of an international audience. Nina Esber, a video artist and performer grew up in Paris, but returned to Beirut in January insisted that "The war in Lebanon has nothing to do with my work, which follows a rather universal feelings such as fear, anxiety, the sense of loss. " Ziad Antar, an artist working with photography and video, also formed partly in Paris and partly in Lebanon also eschews the easy classification, which is the only concession to those who want to see a link between the political situation his country and his art is on humor that pervades the latter, to be understood as moment of hope: "Sadness is easier, the irony is a much tougher challenge."
- Adapted from "Lebanon's art scene", by Emma Crichton-Miller, Financial Times, October 8, 2010
Read the original article on The Art Reader
study Pascal Hachem is located east of Beirut, in the district Gemmayzeh. Constantly threatened by demolition, the area is a picturesque mix, developed under the Ottoman Empire, during the French mandate (1920-1943) and subsequently influenced by modern architecture. A maze of trendy bars, boutiques and restaurants. Hachem explains that Beirut is a noisy city "The sounds of war have been replaced by the noise of building sites. The city of the past is completely gone." His study, by contrast, is a haven of peace and order. One wall is covered by a series of traps for mice. Ancient hammers purchased in Cairo are on a work table. On his computer there are projects in Zurich, Bern, Rome and London, a city where it is going to inaugurate its first solo exhibition in the gallery of the Tunisian Feriani Selma has always been attentive to the North African and Middle Eastern art scene.
Designer by training, his work includes the construction of machines bizarre, performance and photography, public space interventions. Last July in Rome in 2000 has exhibited an installation composed of brackets arranged in concentric circles, oriented towards a central pot, at the pyramid Gaius Cestius. The disturbing swing del'installazione - explains the artist - gets a perverse reality: who is responsible for world hunger is often the same that feeds the war.
the question "What gives you Beirut?" Hachem has a ready answer: "voltage. It 's the main source of inspiration for my work."
The contradictions experienced by Hachem are the same as an entire generation of artists, grew up in a city halfway between the total collapse and a wild rebirth. The daily war against the urban chaos - a city in constant transformation, permanentemenre congested traffic and the constant political instability - is measured with a fear of long-term tensions with Israel South on the border
Over the past 20 years, despite a total absence of state support of public galleries or exhibition spaces non-profit organization, has developed a viable alternative infrastructure for those who want to make and exhibit art in Beirut. A small number of artists and curators, in fact, subsidized by private funds, are able to create a creative vanguard capable of attracting attention to international attention. The renowned art collective
Shkal Alwan, the Arab Image Foundation , Irtijal are just some of the institutions that have helped to encourage critical debate with other leading independents in the Middle East and North African region. Also some galleries Private encouraged ambitious artistic projects bringing them to international fairs. Sandra Dagher and Lamia Joreige direct the Beirut Art Center, a non-profit public space opened in 2009. Saleh Barakat Gallery of Agial , Dagher has edited together the first Lebanese pavilion at the Venice Biennale in 2007. Andrée Sfeir-Semler in Berlin since 1985, opened in 2004 a large exhibition space in the old industrial district of Beirut.
When the international art community has begun to turn its attention to the Middle East a decade ago found in Lebanon a reality already mature and rapidly evolving ready to deal with artists with fairs, festivals, exhibitions and residencies abroad. And 'the last generation of artists who Selma Feriani is promoting in his London gallery, where the staff Hachem will follow two other exhibitions respectively Ninar Esber and Ziad Antar .
Until 1975, Beirut was an important center of tourism, finance and trade, a vital link in the Mediterranean to the Arab intellectual world. The varied cultural heritage of Lebanon gathers influences of various Christian and Muslim denominations and has spread worldwide through a rich diaspora. A social and cultural life makes so sophisticated Lebanon Middle Eastern countries a more "accessible" to the West.
Paradoxically, it was especially the 15 years of violent civil war - between 1975 and 1990 - to stimulate the development of visual arts in Lebanon. Before that time, three generations of artists have grown up under siege. For the first generation of artists, offer a witness the tragedy was a reason for creative survival. The second generation, which came out in the open in 1990, but the conflict has grown both inside and in exile has built its identity in a country that was recovering from the trauma of civil war. Promoted by curator Christine Tohme - one of the founders of Ashkal Alwan - it is strongly dall'approccio conceptual artists who prefer the video photography, public installations. Among the artists of this generation one of the best known internationally is Walid Raad, who has been a dedicated staff from Whitechapel Gallery.
The third generation, that of Hachem and other emerging artists born in the late seventies or later, is distinguished by a Cast in a more optimistic spirit. These are the artists who in 2006 saw the fragile infrastructure of their country destroyed again by a clash with Israel that lasted 34 days. The challenge of these artists has been and continues to be to escape the war, not only as a nightmare but as a "cage" set to work from their preconceived expectations of an international audience. Nina Esber, a video artist and performer grew up in Paris, but returned to Beirut in January insisted that "The war in Lebanon has nothing to do with my work, which follows a rather universal feelings such as fear, anxiety, the sense of loss. " Ziad Antar, an artist working with photography and video, also formed partly in Paris and partly in Lebanon also eschews the easy classification, which is the only concession to those who want to see a link between the political situation his country and his art is on humor that pervades the latter, to be understood as moment of hope: "Sadness is easier, the irony is a much tougher challenge."
- Adapted from "Lebanon's art scene", by Emma Crichton-Miller, Financial Times, October 8, 2010
Read the original article on The Art Reader
Friday, October 1, 2010
Punta Cana Quotes Or Sayings
art as a refuge from inflation
Art like it because it is a tangible investment, can be exchanged with any currency and provides an 'aura of prestige to those who collect (stocks and bonds can not be hung in the living room to show them to friends). Art today is particularly attractive because of the uncertainty in equity markets and the floating of currencies, the spectrum inflation, which stretches on certain countries and that of the deflation that threatens others.
On average, investment in art annnuo offered a yield of 7% between 2001 and 2004. Art can therefore be a refuge from inflation, provided that collectors be "aware" and prepared sufficiently to know the system and its mechanisms, to identify the names and works to bet on.
But there are also some pitfalls for investors. The artistic heritage are quite illiquid and prices are influenced by many variables: tight supply specification, change of taste and fashion, new directions of research, how often a given work is put on the market, and provenance - the most unpredictable factor - the behavior of collectors. Do not forget the time when the investment is made. The works of Damien Hirst, for example, have made more than 400% for those who bought in the late 90s.
- From "The Art Newspaper, September 2010, article by Charlotte Burnes
Read the original article (in English) on The Art Reader 
Art like it because it is a tangible investment, can be exchanged with any currency and provides an 'aura of prestige to those who collect (stocks and bonds can not be hung in the living room to show them to friends). Art today is particularly attractive because of the uncertainty in equity markets and the floating of currencies, the spectrum inflation, which stretches on certain countries and that of the deflation that threatens others.
On average, investment in art annnuo offered a yield of 7% between 2001 and 2004. Art can therefore be a refuge from inflation, provided that collectors be "aware" and prepared sufficiently to know the system and its mechanisms, to identify the names and works to bet on.
But there are also some pitfalls for investors. The artistic heritage are quite illiquid and prices are influenced by many variables: tight supply specification, change of taste and fashion, new directions of research, how often a given work is put on the market, and provenance - the most unpredictable factor - the behavior of collectors. Do not forget the time when the investment is made. The works of Damien Hirst, for example, have made more than 400% for those who bought in the late 90s.
- From "The Art Newspaper, September 2010, article by Charlotte Burnes
Read the original article (in English) on The Art Reader
Tuesday, September 14, 2010
Oily Scalp By Diagram
Just cathedrals of culture
Not long ago, museums were proudly called" cathedrals culture "by their managers, who attributed the main role to collect, preserve and display the best art. Today, this museum is designed considered the most simplistic and elitist. In response to the demographic and social trends of museum directors hour chase new audiences and seek to interact with the community.
The dividing line between generations of museum directors, however, not clear and often the attention the company has resulted in simple populism. For years we have been served up exhibitions on the guitars of the rock star, or Star Wars on sull'hip hop.
thought today goes deeper. Many young directors see the museum as a modern square in cross-cultural and social exchanges where community members can share their ideas through art, but also where they can just talk or listen music. They believe that future museum visitors will not be satisfied simply by looking at works of art, but rather prefer to interact with them. One example is Marina Abramovic's exhibition "The Artist is Present" at the MOMA, where the audience is offered a meeting face to face with the artists.
New technologies and social media from blogs to Facebook to YouTube, are fueling this trend. The art is becoming increasingly global and interdisciplinary.
- Judith Dobrzinski, The Wall Street Journal, August 24 2010
Read the original article 
Not long ago, museums were proudly called" cathedrals culture "by their managers, who attributed the main role to collect, preserve and display the best art. Today, this museum is designed considered the most simplistic and elitist. In response to the demographic and social trends of museum directors hour chase new audiences and seek to interact with the community.
The dividing line between generations of museum directors, however, not clear and often the attention the company has resulted in simple populism. For years we have been served up exhibitions on the guitars of the rock star, or Star Wars on sull'hip hop.
thought today goes deeper. Many young directors see the museum as a modern square in cross-cultural and social exchanges where community members can share their ideas through art, but also where they can just talk or listen music. They believe that future museum visitors will not be satisfied simply by looking at works of art, but rather prefer to interact with them. One example is Marina Abramovic's exhibition "The Artist is Present" at the MOMA, where the audience is offered a meeting face to face with the artists.
New technologies and social media from blogs to Facebook to YouTube, are fueling this trend. The art is becoming increasingly global and interdisciplinary.
- Judith Dobrzinski, The Wall Street Journal, August 24 2010
Read the original article
Monday, August 30, 2010
How To Get Rid Of Broken Veins On Stomach
The uniqueness of the sign
"Simplicity and purity," as defined Winckelmann became actually the battle cry of the new currents of the centuries yet exalted innocence uncorrupted by them as "primitive", a term that means not only "undeveloped" but also "original", such as in the term "primitive Christianity ". And once again, Winckelmann was the one who taught these young artists and art lovers to recognize clear and sharp in outline the distinguishing mark of this spirit uncorrupted. Winckelmann had learned to appreciate this type of design by studying the ancient vase painting. In the painting on ceramics, he says, "the contours [...] must be marked quickly, at one stroke", also in the brush are nothing more than clay. In this technique does not changes or corrections are possible, but "the boundaries should remain as they are once set out." The safety of these ancient ceramists recalls Winckelmann Raphael, who was able to draw "entire shapes with a single continuous stroke of a pen." This feature allows us to distinguish the works of Raphael those students closest to him. But while these students, who are placed on the descending branch of the artistic evolution, they were no longer capable of such an undertaking, according to Winckelmann does not apply to the artists of the ascending line.
- Ernst H. Gombrich, Art and Progress, Laterza
www.lucavona.com 
"Simplicity and purity," as defined Winckelmann became actually the battle cry of the new currents of the centuries yet exalted innocence uncorrupted by them as "primitive", a term that means not only "undeveloped" but also "original", such as in the term "primitive Christianity ". And once again, Winckelmann was the one who taught these young artists and art lovers to recognize clear and sharp in outline the distinguishing mark of this spirit uncorrupted. Winckelmann had learned to appreciate this type of design by studying the ancient vase painting. In the painting on ceramics, he says, "the contours [...] must be marked quickly, at one stroke", also in the brush are nothing more than clay. In this technique does not changes or corrections are possible, but "the boundaries should remain as they are once set out." The safety of these ancient ceramists recalls Winckelmann Raphael, who was able to draw "entire shapes with a single continuous stroke of a pen." This feature allows us to distinguish the works of Raphael those students closest to him. But while these students, who are placed on the descending branch of the artistic evolution, they were no longer capable of such an undertaking, according to Winckelmann does not apply to the artists of the ascending line.
- Ernst H. Gombrich, Art and Progress, Laterza
www.lucavona.com
Saturday, August 28, 2010
Jalapeno Cheese Cornbread Recipe Best
The value of a name in art
Why work of art worth millions of dollars if the author is a name of "success" and almost nothing if it was created by an eminent stranger? After all the inherent characteristics of the object are the same. The question could be extended to the relationship between the artwork and its copy.
The definition of primary market is perfectly logical: a 'work worth as much as someone is willing to pay for it. An amount often determined by the ratio between the "desirability", "shortage" and the expectation that there is someone willing to pay over the line "something more". But art is not always considered as an asset with its inherent value?
yet to draw an original Picasso and now a university professor of art contemporaea not be given the same value. This is because only the original announced that the revolutionary character, originality and challenge that academic work can not possess.
But if Van Gogh had died in the shadows, and his works retrieved a century after his death, we are sure that today would enjoy the fame of "masterpieces"?
It is unreasonable to lay too much confidence in the reputation of an artist to assess his work, to recognize the value of an artist and his work should invest time and attention. Should we
cultivate a more open-minded and allow us to appreciate a work for its intrinsic qualities rather than its allocation. Who knows, maybe even a copy would have something to say ...
- Eric Felten, The Wall Street Journal, August 13, 2010
Read the full article in original language 
Why work of art worth millions of dollars if the author is a name of "success" and almost nothing if it was created by an eminent stranger? After all the inherent characteristics of the object are the same. The question could be extended to the relationship between the artwork and its copy.
The definition of primary market is perfectly logical: a 'work worth as much as someone is willing to pay for it. An amount often determined by the ratio between the "desirability", "shortage" and the expectation that there is someone willing to pay over the line "something more". But art is not always considered as an asset with its inherent value?
yet to draw an original Picasso and now a university professor of art contemporaea not be given the same value. This is because only the original announced that the revolutionary character, originality and challenge that academic work can not possess.
But if Van Gogh had died in the shadows, and his works retrieved a century after his death, we are sure that today would enjoy the fame of "masterpieces"?
It is unreasonable to lay too much confidence in the reputation of an artist to assess his work, to recognize the value of an artist and his work should invest time and attention. Should we
cultivate a more open-minded and allow us to appreciate a work for its intrinsic qualities rather than its allocation. Who knows, maybe even a copy would have something to say ...
- Eric Felten, The Wall Street Journal, August 13, 2010
Read the full article in original language
Monday, March 15, 2010
Brent Corrigan Movies
Why Maxxi
Nothing here says "Rome" so trivial. There are classic arches, columns and pediments. But the light characteristic of this city, ever changing in tone and brilliance, is a constant presence.
The absence of a reference point perspective is understood by Hadid as a gesture of generosity and respect for the works of art The museum will host.
- Francis X. Rocca, The Wall Street Journal, March 2 2010
Read the full article in the original language, on The Art Reader
Nothing here says "Rome" so trivial. There are classic arches, columns and pediments. But the light characteristic of this city, ever changing in tone and brilliance, is a constant presence.
The absence of a reference point perspective is understood by Hadid as a gesture of generosity and respect for the works of art The museum will host.
- Francis X. Rocca, The Wall Street Journal, March 2 2010
Read the full article in the original language, on The Art Reader
Thursday, February 25, 2010
Family Resort Northeast Us
John Schiavo Campo
E 'born June 22, 1960 in Milan, where he lives and works today as an independent contributor to various periodicals and art critic. As a poet, after the fold "The herds of the Sun" (Monza 1988), began with "The gold and the fire" (Under the gold fish in Vanni Scheiwiller, Milan 1995). There has, however, between the scattered references to published anthologies and magazines: "Year 2", Supplement No. 2 "Finisterre", "Row" (1993) "World Youth / poetry world," retrospective exhibition of the City of Milan by Biagio Cepollaro and Giancarlo Majorino (1993), "Anterem - Scriptures of the end Twentieth Century" (Verona 1998). Individual poems have appeared in exhibition catalogs and other publications in collaboration with artists from several printed volumes Alberto Casiraghi for editions of The Pulcinoelefante Osnago interventions with the same visual Casiraghi, Paolo Schiavocampo, his father a sculptor, and Lamberto Correggiari; a folder of graphics sculptor Giancarlo Bulli (Persezioni "1991)," And the blackbird? "poetry with its translation in French accompanied by an etching and aquatint by Gino Gini (The books of the Blackbird, The Laboratory, Nola 2005); LAMINETTE engraved and other unique examples of the artist's wife, Jelica typical '. Major theoretical interpretation of a fragment Heraclitus' ("What does not hide the oracle," Manocomete 3 December 1995) and, from a drawing poetic intervention "Timepieces: fragments on the sign as a guide" published in the proceedings of the conference "Scripture and reality - comparing languages \u200b\u200band disciplines "by MilanoCosa (Milan 2000). It forms part of a complex theoretical path, at least in part known, also conducted through the translation from the ancient greek: fragments of Heraclitus, and Empedocles, in whole, the book of Parmenides, whose version is available online *. The result of a search-graph visual undertaken in recent years, guided by the hexagrams of the I Ching, the Chinese millennial prophecy, and aimed at the graphics of the book is rather "Ausa" (2006), experiment in self-publishing with a score of more recent texts to be reproduced by electronic means, both now in version made with the technique of engraving zinc plates (photo-engraving and etching) in 30 copies, signed and numbered, printed and bound by hand by the author.
* http://cerchioazzurro.blogspot.com/ 
E 'born June 22, 1960 in Milan, where he lives and works today as an independent contributor to various periodicals and art critic. As a poet, after the fold "The herds of the Sun" (Monza 1988), began with "The gold and the fire" (Under the gold fish in Vanni Scheiwiller, Milan 1995). There has, however, between the scattered references to published anthologies and magazines: "Year 2", Supplement No. 2 "Finisterre", "Row" (1993) "World Youth / poetry world," retrospective exhibition of the City of Milan by Biagio Cepollaro and Giancarlo Majorino (1993), "Anterem - Scriptures of the end Twentieth Century" (Verona 1998). Individual poems have appeared in exhibition catalogs and other publications in collaboration with artists from several printed volumes Alberto Casiraghi for editions of The Pulcinoelefante Osnago interventions with the same visual Casiraghi, Paolo Schiavocampo, his father a sculptor, and Lamberto Correggiari; a folder of graphics sculptor Giancarlo Bulli (Persezioni "1991)," And the blackbird? "poetry with its translation in French accompanied by an etching and aquatint by Gino Gini (The books of the Blackbird, The Laboratory, Nola 2005); LAMINETTE engraved and other unique examples of the artist's wife, Jelica typical '. Major theoretical interpretation of a fragment Heraclitus' ("What does not hide the oracle," Manocomete 3 December 1995) and, from a drawing poetic intervention "Timepieces: fragments on the sign as a guide" published in the proceedings of the conference "Scripture and reality - comparing languages \u200b\u200band disciplines "by MilanoCosa (Milan 2000). It forms part of a complex theoretical path, at least in part known, also conducted through the translation from the ancient greek: fragments of Heraclitus, and Empedocles, in whole, the book of Parmenides, whose version is available online *. The result of a search-graph visual undertaken in recent years, guided by the hexagrams of the I Ching, the Chinese millennial prophecy, and aimed at the graphics of the book is rather "Ausa" (2006), experiment in self-publishing with a score of more recent texts to be reproduced by electronic means, both now in version made with the technique of engraving zinc plates (photo-engraving and etching) in 30 copies, signed and numbered, printed and bound by hand by the author.
* http://cerchioazzurro.blogspot.com/
Tuesday, February 23, 2010
Lg Cookie Delivery Reports
Investments like art. Back to the confidence on the contemporary. More
According to the analysis of the responses from 134 members a prominent international contemporary art market, confidence would rise slightly above the levels recorded in November 2007 , immediately after the emergence of the first signs of financial crisis. Since the last reading of indicators (June 2009) 's Economic Indicator increased from 28 to 58, signaling increased confidence in the process financial recovery, although there are reservations about its strength and sustainability . The
confidence indicators relating to primary and secondary markets are both on the rise (increased from 23 to 58 and 33 to 58), supported by the significant results of the first fairs as Frieze, Art Basel Miami and FIAC, the the second remarkable auctions winter (the Contemporary Art Evening Sale at Sotheby's New York in November has in fact accounted for $ 134,438,000, net of fees, against an estimate of pre-enchantment of $ 68.78000000 to 98.9000000) . Sergey Skaterschikov - author of "Skate's Art Investment Handbook" - in an interview at Art Tactic, it was said very optimistic. The analyst expects for 2010 a general recovery in all segments of the market and "some very interesting developments in infrastructure, with particular reference to the fair. "We expect that the fairs will continue to have good results. As the number of those who participate actively in the market grew, trade fairs play a major role in collecting and updating collectors than new supply."
- Alessandro Lorenzetti, Il Sole 24 ore, Plus24, February 13, 2010 
According to the analysis of the responses from 134 members a prominent international contemporary art market, confidence would rise slightly above the levels recorded in November 2007 , immediately after the emergence of the first signs of financial crisis. Since the last reading of indicators (June 2009) 's Economic Indicator increased from 28 to 58, signaling increased confidence in the process financial recovery, although there are reservations about its strength and sustainability . The
confidence indicators relating to primary and secondary markets are both on the rise (increased from 23 to 58 and 33 to 58), supported by the significant results of the first fairs as Frieze, Art Basel Miami and FIAC, the the second remarkable auctions winter (the Contemporary Art Evening Sale at Sotheby's New York in November has in fact accounted for $ 134,438,000, net of fees, against an estimate of pre-enchantment of $ 68.78000000 to 98.9000000) . Sergey Skaterschikov - author of "Skate's Art Investment Handbook" - in an interview at Art Tactic, it was said very optimistic. The analyst expects for 2010 a general recovery in all segments of the market and "some very interesting developments in infrastructure, with particular reference to the fair. "We expect that the fairs will continue to have good results. As the number of those who participate actively in the market grew, trade fairs play a major role in collecting and updating collectors than new supply."
- Alessandro Lorenzetti, Il Sole 24 ore, Plus24, February 13, 2010
Tuesday, February 9, 2010
Minolta Camera Batteries 1.5 Volt
design to business value
The role of designers has always been to translate and communicate the value a 'business idea to consumers. The best designers can do much more. can help companies to establish a dialogue with consumers that allows you to innovate more efficiently .
Designers must not merely synthesize aesthetics and functionality. E ' their task to understand the emotional and thought processes of consumers in order to justify the change .
It is no coincidence that many of the world's top brands are also a leader in the design field. The design is a key aspect in the creation of a and in ' experience of luxury, of' exclusivity , of \u200b\u200b'belonging Tribal . Consumers who purchase these products often choose them because they represent a part of themselves (or what would be).
say that design is critical to the success of a business' enterprise does not mean that every penny invested in the design is well spent. Its presence should permeate all business functions .
The great designers are visionaries who create value knows no limits in the minds of consumers . They represent a group of individuals capable of see the world through different eyes.
- Deepa Ravi Sawhney and Prahalad, Business Week, February 1, 2010
Read the article integral in the original language on The Art Reader 
The role of designers has always been to translate and communicate the value a 'business idea to consumers. The best designers can do much more. can help companies to establish a dialogue with consumers that allows you to innovate more efficiently .
Designers must not merely synthesize aesthetics and functionality. E ' their task to understand the emotional and thought processes of consumers in order to justify the change .
It is no coincidence that many of the world's top brands are also a leader in the design field. The design is a key aspect in the creation of a and in ' experience of luxury, of' exclusivity , of \u200b\u200b'belonging Tribal . Consumers who purchase these products often choose them because they represent a part of themselves (or what would be).
say that design is critical to the success of a business' enterprise does not mean that every penny invested in the design is well spent. Its presence should permeate all business functions .
The great designers are visionaries who create value knows no limits in the minds of consumers . They represent a group of individuals capable of see the world through different eyes.
- Deepa Ravi Sawhney and Prahalad, Business Week, February 1, 2010
Read the article integral in the original language on The Art Reader
Sunday, January 31, 2010
2008 Scion Tc Tail Lights
The crisis has been fighting with Muse and brick
Nomisma Report 2010. In 15 years contemporary art has made more than gold, shares and brick
With the crisis there was a reduction of trade and a focus on providing the highest quality art for painting, sculpture and ethnic art. Tips for the future? Buy art and artists at the top and keep it for 5-7 years, in addition to protecting against inflation, it beats the cost share. In the period 1995-2009 contemporary art show that investment in higher-yielding average annual rate of 4.04% compared to other assets such as gold (3.67%) shares (2.50% S & P 500) and house (real estate Nomisma 2.06%), while modern art is the only segment that regardless of the reference price, is always able to protect themselves from inflation with an average annual return of 2.62%. The analysis is contained in the 2010 report Nomisma . In general in 2009 volumes traded fell to Italian art 1.080000000000 euro, almost half (-45%) compared to 2008 (1.964 billion).
The drop in demand since the third quarter of 2008, after Lehman default, with a harder impact on volumes (-40%) than on prices. The new Centre
Nomisma on the market of the arts, revived in collaboration with Professor of Political Economy, University of Bologna Guido Candela and Antonello Eugenio Scorcu clear from the first analysis of database on the resale right (Dds ), based on statements made to the SIAE by professional intermediaries since 2006. The values \u200b\u200bthat emerged were then increased with the estimated sales of the artists are not subject to DDS and sales below € 3 thousand, then add a market share of undeclared parameters on Istat.
"As for the property 20 years ago, the art market is opaque and exchanges goods only, we believe a independent analytical work based on prices and volumes will help the sector to develop its economic potential, "explains Gualtiero Tamburini, president Nomisma.
In pre-crisis (...) gave the segment of the contemporary , However, by its very nature, the more unstable it collects less well-established artists from the Modern, offering at times of rising higher returns - to evaluate the report - as in Italy over the past decade has enjoyed unprecedented attention. L 'interest of critics, art dealers and museums has been reflected in increased demand and a more dynamic accedntuata prices (starting at prices relatively lower) than the Modern. While the effect of the notification of a possible settlement has led the market for some modern artists who anticipated the possible introduction of constraints, increasing trade in view of its author "historicizing". Result? Price increase for modern contemporary at the expense of the segment.
In time of crisis, on the contrary, there was a stabilization of the segment compared to Modern Contemporary: the uncertainty with increasing resistance to the fall in prices was stronger for modern artists. Sellers have defended their value is particularly high while stock prices, is reducing the supply on the market.
- From Marilena Pirrelli, Arteconomy24, Il Sole 24 Ore, 30 January 2010 
Nomisma Report 2010. In 15 years contemporary art has made more than gold, shares and brick
With the crisis there was a reduction of trade and a focus on providing the highest quality art for painting, sculpture and ethnic art. Tips for the future? Buy art and artists at the top and keep it for 5-7 years, in addition to protecting against inflation, it beats the cost share. In the period 1995-2009 contemporary art show that investment in higher-yielding average annual rate of 4.04% compared to other assets such as gold (3.67%) shares (2.50% S & P 500) and house (real estate Nomisma 2.06%), while modern art is the only segment that regardless of the reference price, is always able to protect themselves from inflation with an average annual return of 2.62%. The analysis is contained in the 2010 report Nomisma . In general in 2009 volumes traded fell to Italian art 1.080000000000 euro, almost half (-45%) compared to 2008 (1.964 billion).
The drop in demand since the third quarter of 2008, after Lehman default, with a harder impact on volumes (-40%) than on prices. The new Centre
Nomisma on the market of the arts, revived in collaboration with Professor of Political Economy, University of Bologna Guido Candela and Antonello Eugenio Scorcu clear from the first analysis of database on the resale right (Dds ), based on statements made to the SIAE by professional intermediaries since 2006. The values \u200b\u200bthat emerged were then increased with the estimated sales of the artists are not subject to DDS and sales below € 3 thousand, then add a market share of undeclared parameters on Istat.
"As for the property 20 years ago, the art market is opaque and exchanges goods only, we believe a independent analytical work based on prices and volumes will help the sector to develop its economic potential, "explains Gualtiero Tamburini, president Nomisma.
In pre-crisis (...) gave the segment of the contemporary , However, by its very nature, the more unstable it collects less well-established artists from the Modern, offering at times of rising higher returns - to evaluate the report - as in Italy over the past decade has enjoyed unprecedented attention. L 'interest of critics, art dealers and museums has been reflected in increased demand and a more dynamic accedntuata prices (starting at prices relatively lower) than the Modern. While the effect of the notification of a possible settlement has led the market for some modern artists who anticipated the possible introduction of constraints, increasing trade in view of its author "historicizing". Result? Price increase for modern contemporary at the expense of the segment.
In time of crisis, on the contrary, there was a stabilization of the segment compared to Modern Contemporary: the uncertainty with increasing resistance to the fall in prices was stronger for modern artists. Sellers have defended their value is particularly high while stock prices, is reducing the supply on the market.
- From Marilena Pirrelli, Arteconomy24, Il Sole 24 Ore, 30 January 2010
Thursday, January 21, 2010
How Do I Tie Arabian Scarf
Transforming a building into an art gallery for one night. It 's a new trend in the United States where more and more curators are building a bridge between creativity and capitalism.
Ryan Hackett is the owner of two companies, organization of events - one in Chicago, the other in New York. Last December, presented in a new residential district of Washington "Bauble" an event at the crossroads between the art show and open house. have benefited manufacturers, increasing enormously the visibility of their properties, artists who have achieved record-breaking sales and even a 'charity that raises funds for art to educate children at risk socially.
unconventional artistic events are also a specialty of Art Registry, whose statement is "liven up the world of transferring real estate in exclusive". An event presented last April in Providence has produced about $ 30,000 in sales of artworks. The artists always receive at least 50% of the proceeds. Some fear that this
commistinione between creativity and business real estate can reinforce the concept of surface "art as decoration." But this is life. Artists need to eat and builders need to sell.
- From "Jessica Dawson, The Washington Post, January 15, 2010
Read the original article on The Art Reader
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