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I read in a well known Art News Paper ( on-line) version that 'FACEBOOK'
was the latest 'IN' place to be if you were an Artist or Art Collector, Dealer or Gallery.

In the few weeks I have been ON 'facebook' I have noticed a lot of action in these areas and groups and noticed all the established artists chatting so openly about their daily lives and contacts.

The Artists don't even say things in private, just so openly so it lets others know who 'HAVE' been on the phone and showing interest in their works.

I find it very open and it is like 'THESE' well known artists are using 'FACEBOOK to bragg about their lives and contacts.

These people are so open and after sending them friends request they accept me like I'm their long lost friend.

How strange, but it is a place not to ignore and if you 'ARE' a serious artist, you should be here on facebook.

It could be a passing Fad until the next best thing comes along, but for now, I am staying with it and watching.

These days 'ART' is about networking and looking at the great raw talent that is out there.

The Art World is changing and so are buyers and sellers, where it was a buyers market, places like 'FACEBOOK' will now make the art world realise and realise soon that the 'SELLER' has the power now, like where 'ART' should be.

Auctions and Galleries will lose the power and it will become up to the artist to place their price again on the work, finding the true artists and finding the true art with the true value.

I have created some great groups on 'FACEBOOK' with links to all my networks, feel 'FREE to join in, and it is 'Free' to join my networks'.

Discussion Forum

Wild9 - The Wild Foundation World Wilderness Congress 2009

Started by Melissa Ayr, Artist Nov 10, 2009.

ArtReview on Facebook

Started by artreview.com Sep 14, 2009.

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Comment by Rupert Cheek on November 21, 2011 at 0:21
Comment by Alexander Sutulov on August 1, 2011 at 23:09

After revising a series of museums and art galleries in the past decades throughout the world of which not only I have been an advocated spectator but also in some cases participated as an exhibiting artist, the same unequivocal question raises about the destiny and true meaning of art:
In spite of magnificent art collections and exuberant exhibitions, can it be possible to make the correct translation through the format of formal exhibiting entities at the moment of conceiving the genesis of each and every artistic manifestation?


Mirando en forma retrospectiva y haciendo una reflexión de las últimas décadas sobre museos y galerías de arte en el mundo, donde no solamente he abogado por ello como espectador, sino además en algunos casos, he participado como artista expositor; la misma interrogante surge inequívocamente sobre el destino y verdadero sentido del arte.


Tomando en cuenta colecciones de arte magníficas y exhibiciones exuberantes, ¿es posible hacer la traslación adecuada frente entidades expositivas formales al momento de concebir el génesis de cada una de las manifestaciones artísticas?



One can be mesmerized by an extraordinary recollection of Oceanic masks or by rich iconography assigned to burial ornamentation, and yet were they meant to be exhibited in museums? Obviously not, or else they would be capable of exercising a tangible meaning where public respond is to that sole intend.

Depth and context can be held as the ultimate frontier of containment before any work of art may be capable of transcending. Otherwise its manifestation is limited to a physical dimension where the observer departures from the possibility of being observed. This reciprocal relationship which empowers any artwork of transcendence is completely diffused at the moment of being catalogued for museological or commercial purposes.


Sin lugar a dudas, uno puede sentirse deslumbrado por una recolección de mascaras de Oceanía, como también la rica iconografía asociada a la ornamentación de arte fúnebre, sin embargo, ¿tuvo como propósito su concepción exhibirlo en museos? Obviamente que no, de lo contrario sería capaz de afectar un público cautivo para ese solo propósito por el cual fue originalmente concebido.

Frente lo anterior, fondo y contenido pueden ser vistos como la última frontera de contención antes de que una obra de arte pueda ser percibida como trascendente. En caso contrario, su manifestación puede ser limitada a una dimensión física donde el observador se imposibilita de poder ser observado. Relación recíproca que empodera cualquier obra de arte que tiene un sentido de trascendencia y que es completamente difuminada al momento de ser catalogada para fines museológicos o comerciales.


From archaic history, from the dawn of civilization, the construction of the city implied in each of its manifestations a reason of being. In this respect, artistic manifestation was to endure and exacerbate such meaning. A continuous frieze was not meant to be observed segmented behind a museum’s glass encasement, neither to be isolated from its pediment. The overall relationship of each component impersonating the temple was also a reflection of a greater part being its immediate surrounding and in return, it extended towards the border lines of an inside world that represented the city.

Today we are confronted with the same dilemma in how we can actually preserve a city’s inside world without jeopardizing its identity. Various pretensions may arise in an effort to represent something which is desirable but not necessarily true to its essence. Public and private institutions may go to the extent of acquiring or commissioning works of art defined by foreign stereotypes, momentarily satisfying by mere association to a desirable mainstream status. Nevertheless, to stay true to one’s existence may be a harsher road to take and yet, experience indicates how relentless its path can be in proving its life purpose.

Desde nuestra historia arcaica, desde los albores de la civilización, la construcción de una ciudad implicaba en cada una de sus manifestaciones una razón de ser. En este sentido, manifestaciones artísticas debían perdurar y exacerbar dicho significado. Un friso continuo no fue concebido para ser observado en forma segmentada detrás de una vitrina en un museo, como tampoco desprovisto de su frontón. La relación en su conjunto de cada parte que comprende un templo era el reflejo de una parte mayor siendo aquello su entorno inmediato, como también, era una extensión hacia las líneas fronterizas de un mundo interno de dicha ciudad.

Hoy día estamos enfrentados al mismo dilema en cómo podemos efectivamente preservar el mundo interno de una ciudad sin poner en riesgo su identidad. Diversas pretensiones pueden surgir en un esfuerzo de representar algo deseable pero no necesariamente fiel a su esencia. Incluso entidades tanto públicas como privadas pueden llegar al extremo de adquirir o comisionar obras de artes que se identifican por estereotipos ajenos, satisfaciendo momentáneamente una mera asociación de status convencional. Sin embargo, permanecer fiel a la existencia de uno puede ser el camino más azaroso y así todo, la experiencia nos indica que tan implacable puede ser aquel camino en demostrar su sentido de vida o existencia.


All in all we have grown into a renovated landscape who has managed to cross not only geographical border lines, but also cultural and sociological ones. A form of seal or trademark has permeated in many global urban communities addressing an international dynamics which curiously seems to satisfy only the fewer. A clientele whose ultimate desire is a homogenized world out of personal reasons and immediate gratification, in other words a departure from any collective consciousness. The same historical impulsivity which ripped-off friezes from its original façades in order to be admired as a new form of trophy resembling the “conquerors might”.

To pretend immunity or absolved of any consequences in view of such predicament is only self-deceiving, time will take care in how the “new city” reveals itself through meaningless generic shapes since they have been originally expropriated from their genuine context. In short, a standard of modernity complying with a nomenclature of services and ultimately a predominant business oriented activity whose main focus is granting a return investment in favor of what usually ends up being a purely foreign interest to local communal up-growth.

Pese a todo hemos aprendido a crecer al interior de un paisaje renovado que no solamente ha logrado cruzar fronteras geográficas, sino además, culturales y sociológicas. Un sello, una marca que se ha hecho permeable en muchas comunidades urbanas a nivel global apuntando a una dinámica internacional que curiosamente pareciera satisfacer unos pocos. Una clientela cuyo motivo ulterior es homogenizar un mundo para fines personales con un sentido de gratificación inmediata. En otras palabras, lo que se traduce en un distanciamiento de una conciencia colectiva. Es la misma impulsividad histórica que motivó arrancar el friso de su fachada original para ser admirado como una especie de trofeo haciendo alarde del “empoderamiento del conquistador”.

Pretender inmunidad o absolución de cualquier índole en vista de semejante predicamento, puede ser auto disuasivo, solamente el tiempo se encargará en como la “ciudad nueva” vaya revelándose por medio de formas genéricas ausentes de significado desde el momento que fueron expropiadas de su contexto original. En resumidas cuentas, un estándar de la modernidad que responde ante una nomenclatura de servicios, una actividad predominantemente orientada al mundo de los negocios, cuyo objetivo es garantizar el retorno de una inversión; siendo esto último normalmente un interés ajeno a un impacto comunal más local.

In reaction we discover small niches within the hegemony of the new city, striving to survive out of mere generic memory. A past lingered to a meaningful self-appropriated narrative where all elements bring forward a level of conclusive coherence. A coherence which gives structure and form to a body which acts independently, divorced from any current stereotype, thus allowing its existence under a new light.

When all possibilities have been extinguished and the few isolated historical reminiscences still withstand a devastating modern outgrowth, one may discover the same rationale when certain organic relationships are been established within open and closed urban spaces. Something one is caught by surprise since in most cases “modern development” implies filling in every space available in order to sustain a much appreciated added value…

Frente lo anterior, descubrimos pequeños nichos en medio de la hegemonía de la ciudad que se inventa, luchando por sobrevivir a partir de una frágil memoria genética. Un pasado vinculado a una narrativa significativa que en algún momento fue auto-apropiada donde todos sus elementos permiten darle una coherencia conclusiva. Una coherencia que da estructura y forma a un cuerpo que actúa en forma independiente, divorciado de cualquier estereotipo vigente, por lo tanto permitiendo su existencia bajo una nueva luz.

Cuando todas las posibilidades han sido prácticamente extinguidas y unas cuantas reminiscencias históricas subsisten en el medio un crecimiento moderno desaforado, uno puede sorprenderse con ciertas relaciones orgánicas que han sido establecidas entre espacios urbanos abiertos y cerrados. Algo que a uno lo toma por sorpresa ya que en la mayoría de los casos el “desarrollo moderno” implica el uso óptimo de todos los espacios disponibles en función de una plus valía…

Not in all cases, but in some site-specific urban centers the mentioned characteristics have miraculously prevailed. In the case of Santiago, Chile, a new financial district is coming to birth under the name of Nueva Las Condes whose denomination was inherited by Santiago’s East side district Las Condes, name which was originally attribute to Peruvian Countesses who lived nearby “La Sierra Bella” Spanish colonial style villa.

Far from a pretentious high rise business center, a sense of scale and proportion captivates the idea of an urban space generously opened to human dwelling. A central axis defined by a pedestrian boulevard creates a common thread amongst a conjunction of green areas and outdoor terraces which circumnavigate the premises of each building. A sense of rhythm and harmony repeats itself in a defiant architecture being its propensity, a juxtaposition of negative and positive space, thus creating a third volume in open space.

No en todos los casos, pero en algunos ejes urbanos específicos, las características mencionadas anteriormente han milagrosamente sobrevivido. En el caso de una ciudad como Santiago, Chile, un nuevo distrito financiero está emergiendo bajo el nombre de Nueva Las Condes adoptado del nombre de la comuna donde se encuentra, cuyo designio fue heredado a raíz de unas condesas peruanas que vivían originalmente en el fundo “La Sierra Bella”.

Lejos de ser los centros de negocios pretensiosos con edificaciones en altura, un sentido de escala y proporción cautiva la idea de un espacio urbano generosamente abierto a la coexistencia humana. Un eje central definido por un paseo peatonal crea una ilación común en un conjunto de áreas verdes y despliegue de terrazas que circundan gran parte de los edificios. Un sentido de ritmo y armonía se repite en una desafiante arquitectura propensa a la yuxtaposición de espacios positivos y negativos, de esta manera creando un tercer volumen en el espacio abierto.

In spite of immediate references to what has been an international trend to contemporary office buildings, turns out to be unique as I mentioned before, a carefully laid out urban planning where the sense of proportions and equilibrium of volumes begins to speak of a new identity.

One may think as an act of generosity lending itself to take a step further in the realm of public art with a tempting invitation to explore a greater sense of value identity and purpose of being. Possibly as many aspire, under the umbrella of conceiving Santiago as one of the future financial capitals in Latin-America, nevertheless an additional component comes to mind regarding the uniqueness of its emplacement which brings us back to our original prerogative about depth and context.

Pese a las referencias inmediatas comúnmente asociadas a una arquitectura contemporánea destinada generalmente para edificios de oficinas, resulta bastante único como lo menciono anteriormente, una planificación urbana cuidadosamente planteada donde el sentido de proporciones y equilibrio de volúmenes empieza hablar sobre una nueva identidad.

Uno puede pensarlo como un acto de generosidad que permite llevarlo a un paso siguiente en el ámbito de arte público con una invitación tentadora de explorar un mayor sentido de identidad y razón de ser. Posiblemente como muchos aspiran bajo el paraguas de concebir a Santiago como una de las futuras capitales financieras de Latinoamérica, sin embargo, un tercer aspecto viene a la mente sobre la unicidad del lugar lo cual nos lleva al comienzo de nuestra prerrogativa sobre el fondo y contenido que exige una obra de arte.



Tierra Pacífica Mural / The Andes: Vertical Column of America Series (2.40 x 8.00 mt)

A neuralgic urban point flanked from the East by the vertebral column of America, the Andes Mountains and from the West by the Pacific Ocean’s abysmal Humboldt Current domain. These two geophysical characteristics allow in a long stretch of latitudes, the best climate in the world inundating its central valley with a rich Mediterranean environment germinating earthly noble virtues for outstanding wine production.

At the moment of combining both realities, geographical and urbanistic, presents the possibility of conceiving artistic creations of a new gender detached from conventional corporate art commonly characterized by outdoor sculpture associated to corporate logos or in some cases, what appears to be like oversize key holders! A public image completely depersonalized and irreflexive to the place and history it represents.

Es decir, un punto neurálgico flanqueado desde el oriente por la columna vertebral de América que es la Cordillera de los Andes y por el poniente la dimensión abismal del Océano Pacífico bajo el dominio de la Corriente de Humboldt. Dos características geofísicas que permite en un largo estrecho de latitudes, el mejor clima del mundo inundando un valle central con una rica atmósfera Mediterránea que germina virtudes nobles del terruño en su sobresaliente calidad de vinos.

Al momento de combinar ambas realidades tanto la geográfica como urbanística, se crean las condiciones necesarias para la creación de un nuevo género distanciado de un arte corporativo convencional cuyas esculturas parecieran ser reminiscencia de logos corporativos o en algunos casos, ¡instalaciones que se asemejan a llaveros sobre dimensionados! En buenas palabras una imagen completamente despersonalizada e irreflexiva sobre el lugar e historia que la representa.


Tierra Mural / The Andes: Vertical Column of America Series (2.40 x 8.00 mt)

In exchange, a new form of more ephemeral installations is proposed in how to conceive free hanging mural art unstrapped from surrounding walls. A floating double face rigid panel modular system begins to echo the building’s lighter structure where open-plan concrete slabs come together with crystal clear glass curtains. All elements create an ample variety of entry ways where river stone settings are integrated to water mirrors which bring radiant sun light into playful indoor luminescence.

The proposed iconography is part of recent exhibition “The Andes: Vertical Column of America” where Chilean artist Alexander Sutulov and Hugo Marín recreate a morphological revision of Chilean landscape pondered by a volcanic culture which stretches all along from the archipelago in Southern Chile cold rain forest region to the high altitudes of Northern Chile Andean world.

A cambio, se propone una nueva forma de instalación más efímera en como concebir murales suspendidos libres de toda muralla circundante. Un sistema de paneles modulares que de alguna manera hacen eco con la estructura más transparente y liviana de los edificios como es el caso de losas sobrevoladas que se encuentran con cortinas de cristal. Todos los elementos crean una variedad de ambientaciones en los accesos principales de los edificios donde piedras de lecho de río son armonizadas con espejos de aguas cuya característica reflectante permite una luminiscencia lúdica al interior del edificio.

La iconografía propuesta es parte de una reciente exhibición de los artistas chilenos Alexander Sutulov y Hugo Marín, titulada “Los Andes: columna vertebral de América” haciendo de ella una revisión morfológica del paisaje chileno ponderado por una cultura volcánica que se extiende desde el archipiélago y la selva fría en el sur de Chile hasta el norte altiplánico en lo que se entiende como el mundo Andino.

Certainty can be expected when assertive permanent public art installations are combined with sound urban planning. In this respect, the chosen directionality of returning value identity to site-specific artistic manifestation in response to human scale architectural solutions is in no doubt a stronghold of sustainable regional development.

Certeza se puede esperar cuando una instalación de arte público única es combinada con una visión y planificación urbana coherente. En este sentido el direccionamiento elegido en darle un valor de identidad a una manifestación artística en respuesta a una solución arquitectónica a escala humana es sin lugar a dudas, una buena señal de un desarrollo sustentable a nivel regional.
Comment by Silvia Krupinska Organic Art on July 7, 2011 at 21:59
Comment by Shaktima Brien on June 19, 2011 at 19:08

Salut artists, colleagues and collectors!

Shaktima Brien - Facebook

Comment by Christina Phillips on June 13, 2011 at 12:44
New work is up and being appreciated :) http://www.facebook.com/blackcutwitch
Comment by ARTStap International on June 6, 2011 at 15:53

studentsZINE

Issue 2 will be released on Thursday 9 June 2011

Contributors include: Yann Novak, Salome Voegelin, Lars Lundehave Hansen, Damien Flood, Niall De Buitlear, Annette Molone, Seamus Nolan, Luce De Tetis, Tracy Costello, Noel Cullen, Ken Omom, Katerina Bodrunova.

CREATE YOU FREE ACCOUNTS TODAY & BE THE FIRST TO RECEIVE ISSUE 2


WWW.STUDENTSZINE.COM


studentsZINE is Ireland's Leading publication for the International Contemporary Arts. studentsZINE was founded to readdress the current lack of representation focusing primarily on the development of students, emerging and under represented artists within their creative and research practices and is dedicated to create a platform for discussion and collaboration for the emerging artist. It aims to be at the forefront of art criticism and theory and to engage and represent the work of committed emerging practitioners within the field of ‘Art’, to promote their work and related interests to a wider appreciating audience and to create a discursive network between national and international colleges and universities. studentsZINE is a multi-media & inter-disciplinary zine that caters for the ever evolving and dynamic creative practices that continues to emerge as sonic, video and performance works can be experienced alongside images and text directly from the zine.

www.studentspad.com / www.studentszine.com

Comment by International ArtExpo on May 25, 2011 at 14:46

Call for Artists: Next Identities  .  Canada – Poland
Deadline: July 01, 2011

International ArtExpo is selecting all interesting video/short.films to include in the next 2011 Exhibitions:

- Next Identities at Studio Beluga in Montreal, Canada (August 16 – 21, 2011)

- Next Identities at Kobro Gallery in Lodz, Poland (September 26 – 29, 2011).

The deadline for applications is July 01, 2011.

The selections will be based on the main concept of “Next Identities”. This project is about temporary roles in changing rules, thinking about liquid borders in new evolving worlds.

The number of works with you can participate is unlimited. All works must be on DVD (PAL or NTSC), no matter what the original source medium. The maximum length of videos should be 10 minutes. Send your video submissions (Name/Surname, City/Country, Film title, Running time, Brief film synopsis) with a CV/biography, videography and an introduction about the piece to:

Luca Curci Architects
Corso Vittorio Emanuele II, 33
70122 Bari, Italy

The participation in International ArtExpo events requires an entry fee for every artwork submitted and selected in every exhibition. Participation open to: professional artists, architects and designers, associate groups and studios.

International ArtExpo is a not for profit organization that provides a significant forum for cultural dialogue between all artists from different cultures and countries. We depend on the support of you. ArtExpo is grateful to all of the institutions, corporations, and individuals who support our efforts. We work with a number of national and international galleries as well as publishers, museums, curators and writers from all over the world. We help artists through solo and group exhibitions, gallery representation, magazine reviews and advertisements, press releases, internet promotion, as well as various curatorial projects.

Thanks for all,
Luca Curci
Director

International ArtExpo
Corso Vittorio Emanuele II, 33
70122 Bari (Italy)
+39.0805234018
+39.3387574098

lucacurci@lucacurci.com
www.lucacurci.com/artexpo

Comment by International ArtExpo on May 10, 2011 at 16:56
Call for Artists: Next Identities  -  Poland
Deadline: July 01, 2011

International ArtExpo is selecting all interesting video/short.films to include in the next 2011 Exhibitions:

- Next Identities at Kobro Gallery in Lodz, Poland (September 26 - 29, 2011).

The deadline for applications is July 01, 2011.

The selections will be based on the main concept of “Next Identities”. This project is about temporary roles in changing rules, thinking about liquid borders in new evolving worlds.

The number of works with you can participate is unlimited. All works must be on DVD (PAL or NTSC), no matter what the original source medium. The maximum length of videos should be 10 minutes. Send your video submissions (Name/Surname, City/Country, Film title, Running time, Brief film synopsis) with a CV/biography, videography and an introduction about the piece to:

Luca Curci Architects
Corso Vittorio Emanuele II, 33
70122 Bari, Italy

The participation in International ArtExpo events requires an entry fee for every artwork submitted and selected in every exhibition. Participation open to: professional artists, architects and designers, associate groups and studios.

International ArtExpo is a not for profit organization that provides a significant forum for cultural dialogue between all artists from different cultures and countries. We depend on the support of you. ArtExpo is grateful to all of the institutions, corporations, and individuals who support our efforts. We work with a number of national and international galleries as well as publishers, museums, curators and writers from all over the world. We help artists through solo and group exhibitions, gallery representation, magazine reviews and advertisements, press releases, internet promotion, as well as various curatorial projects.

Thanks for all,
Luca Curci
Director

International ArtExpo
Corso Vittorio Emanuele II, 33
70122 Bari (Italy)
+39.0805234018
+39.3387574098
lucacurci@lucacurci.com
www.lucacurci.com/artexpo
Comment by aylin menekşe on April 18, 2011 at 13:54

 

 

Dear Sir / Madam
After graduating from the Academy of Fine Arts, many inside and outside the country
so I opened the exhibition. On five years of my experience as you develop a clear picture
hope will attract the attention of the institution. Young and qualified artists
think it can support.

This year, two years in Florence Biennale, the artist and the International
10-person jury consisting of curators and 10 voted in favor of the Scientific Committee
I was invited by artworks.
Florence Biennale 2500 artists 650 countries, 84 pieces of art contemporary art
an event play an important role in the world. Florence Biennale in Italy the national
CNN channels, especially in the international press and media self-
found a significant activity. Florence Biennial catalog of
This important event was created to represent your organization on behalf of Turkey my artworks
I would like to join too.
More recognition in the international arena by contributing to your organization
I hope you to be sponsored by Florence Biennale. Attending one of my work
shall state the name of your organization will be launched.
Sincerely,
Aylin Menekşe
CONTACT: menekseaylin@yahoo.com
Comment by aylin menekşe on March 22, 2011 at 14:14
To occur before the start of the art market over the inter net but it actually looks attractive in the world of art a good-quality jobs and delaying the discovery.
 

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