miercuri, 16 aprilie 2014

50 Shades of Black - Shepard Fairey



Subliminal Gallery transforms into a listening party for its new exhibition, "Shepard Fairey: 50 Shades of Black," the third in an ongoing obsession — er, project — in which the artist imagines his work in the context of old-school, 12-inch record album covers. Fairey has created an all-new series of 50 such images, channeling, honoring and reimagining the design aesthetics that make for both great covers and successful visual art, because it's all about a gift for immediate, visceral communication. Parts one and two — "Revolutions" and "Sound & Vision" — happened in 2011 and 2012, respectively; now Fairey is ready to bring the experience closer to home. In addition to an opening-night performance from "Sound & Vision" collaborator Z-Trip, the gallery installation features vintage record players and selections from the Fairey household's own music collection, all free to play and jam out to. Fairey is, of course, best known for his striking visual style, but even from an early age, it's been all about the vinyl. "Music has been one of my biggest influences because it's democratic, visceral, and can be intellectual as well," he says. "There's a lot of great art that has been created for music, by artists like Raymond Pettibon, Jamie Reid, Winston Smith, Storm Thorgerson, John Van Hamersveld and so on. My favorite is Smell the Glove by Spinal Tap, but Rock 'n' Roll Over by KISS is still the best!" Keep the show in mind as you celebrate Record Store Day on April 19. Subliminal Projects, 1331 W. Sunset Blvd., Echo Park. Wed., April 16, 8-11 p.m.; free with RSVP: rsvp@subliminalprojects.com. Exhibition runs through May 17, Wed.-Sat., noon-6 p.m. (213) 213-0078, subliminalprojects.com.
— By Shana Nys Dambrot for LA Weekly

New Banksy Art Explores the Role of Technology in Our Lives

Rollin Bishop for laughingsquid
 

One new confirmed piece by graffiti artist Banksy, as well as one new suspected piece, in the United Kingdom has been revealed. The confirmed piece — currently featured on Banksy’s website — is a stencil of two lovers embracing with mobile phones behind each other’s backs. The specific location of this piece is currently unknown.
The second piece, which is suspected to be but not confirmed as a Banksy piece, features three men in coats with sunglasses and old reel-to-reel spy gear outside a phone booth. The suspected Banksy is located in Cheltenham, a borough of Gloucestershire, England.



joi, 10 aprilie 2014

Slash din nou pe scena cu Aerosmith @ The Whiskey pe Sunset

Aerosmith kicked off a national tour with a secret show at The Whiskey A Go Go on the Sunset Strip Tuesday afternoon.
 Guests and select fans screamed and howled as guitarist Joe Perry announced Aerosmith "hadn't played the Whiskey since 1973." Steven Tyler brought out Slash mid-set, who along with Myles Kennedy, will be touring with these infamous Rock n Roll renegades. Photos by Michele McManmon.



duminică, 30 martie 2014

Petre Anghel - Portretul unui inocent

Text de Ana Mizil

 
Veni, vidi, vici, am zis la rându-mi ca o adevărată cezară. Din modestie, am dat coroana de dafini pe-o bască ceva mai pitorească. N-a durat mult până am renunțat și la ea, nu de alta, dar vorbeau Eugene Al Pann, Ilie Bădescu și Petre Anghel. Le-aș enumera fără rezerve titlurile și distincțiile, însă sunt înzestrați cu o calitate care îi recomandă mai presus ...de toate acestea: sunt oameni. Au inima bună, mâinile curate și-un tremur al vocii care mă face să le râd în nas tuturor considerabililor care țin cursuri de public speaking. Emoția autentică a acestor oameni, doi aflați în fața unui prieten, al treilea aflat în fața lui însuși, zdrobește umilitor și fără efort, întocmai ca pe-un gândac ce se zbate sub un papuc mitic, șiretlicurile oratorice și gesturile studiate ani de-a rândul pe la cursuri universitare de toate soiurile. Rememorând această scenă, nu pot să nu mă întreb dacă nu cumva am ajuns să ne batem capul cu atâtea strategii de comunicare și de influențare ca să falsificăm cât mai eficient o capacitate ce ne este dată de la natură, dar care sună jenant de simplu pentru nazurile academice, și anume că marii oratori sunt, de fapt, adevărații inocenți. Ei nu vin la pachet cu vreo mantie de supererou, n-au aripi la sandale și coboară din mașini modeste, nu dintre nori și fulgere, nici măcar dintr-un car alegoric. Căci ei sunt carul alegoric însuși.
De altfel, dacă aruncai un ochi critic împrejur, la galeria ArtXpert, aveai plăcerea să vezi multe dintre figurile alegorice ale urbei bucureștene și nu numai, făuritori și tâlcuitori de sensuri deopotrivă: sociologul Dorel Abraham, fotograful Lazăr Dinu, poetul Aurel Sibiceanu, fotograful Lucian Olteanu, jurnalistul Cornel Dărvășan sau poetul Ion Toma Ionescu. E o bucurie stranie aceea de a-i întâlni în carne și oase pe oamenii aceștia, care ți-au populat ani de-a rândul universul interior cu poemele lor, cu fotografiile lor, cu cărțile lor. Cu o viziune asupra vieții și lumii care se îmbibă în chiar substanța ta și îi face în timp să pară niște alter ego-uri de-a dreptul eminente ale tale, asta când nu te întrebi dacă nu cumva se întâmplă ca existența ta să se reducă la o simplă emanație a geniului lor. La un pas depărtare de ei, îngheți ca și când ai vedea umblând în plină zi pe stradă vreo făptură fantastică ce și-a găsit drumul către realitate tocmai din visul tău de azi-noapte. Ai vrea să îi îmbrățișezi și să plângi ca un copil uriaș într-o pictură suprarealistă, dar te-ncearcă o senzație stânjenitoare de expunere ca și cum toată exaltarea aceea ți-ar țâșni prin pori și ar înroși nu numai obrajii, dar și podelele. Abia când își ating aripile de umărul tău ca de-al unui străin adăpostit sub aceeași streașină de-o furtună sălbatică de vară, răsufli ușurat de povara mărturisirii, reevaluând voluptatea anonimatului.
Dar seara asta era despre mărturisire și mă uitam cu o curiozitate fără scrupule la Petre Anghel să văd dacă se cască din pământ două buze enorme, fierbinți și roșii ca o noapte de vară, gata să-l înghită fiindcă se mărturisea neîntrerupt cu fiecare fereastră care se deschidea în perete. M-am frecat la ochi să fiu sigură că nu visez. Era într-o joi de martie și mă aflam la vernisajul expoziției lui Petre Anghel, „Ierusalimul etern”, dar în loc de tablouri, vedeam numai ferestre care se cască în pereți. Și un eu-copil care își vâră capul printre ramele dreptunghiulare, uitându-se către lumea noastră ca spre cea mai curioasă dintre fantezii.
Deloc întâmplător, Petre Anghel se îndeletnicește cu peisagistica. Zic deloc întâmplător pentru că înțeleg opțiunea lui pentru peisaj ca pe-o necesitate de întoarcere la origini. Pictura este o artă prin care scriitorul găsește drumul înapoi la liniștea dinaintea cuvântului așa cum peisajul este o formă prin care pictorul caută să se întoarcă la liniștea dinaintea oamenilor. Pictura lui Petre Anghel simbolizează un regressus ad uterum. Dar el nu alege mijloacele recluziunii în bezna premergătoare creației, nici nu uzează de prezența mitică a vreunui monstru sacru pentru a își orchestra nașterea din nou, ci străpunge țesătura lumii pentru a pătrunde înapoi în mediul matricial, care nu este altceva decât pântecul mamei-pământ. Deși transpar pe alocuri semnele cromatice ale unui compromis cu orânduirea umană asupra lumii, renașterea este posibilă printr-un act de voință și curaj.
Când te uiți pe fereastra lui Petre Anghel, cerul e încă departe. Dar nu fiindcă el irumpe deasupra noastră ca o instanță a intangibilului, ci pentru că “Ierusalimul etern” este o metaforă a drumului către cer. În pictura lui Anghel, nu răzbate nevoia de a reface drumul către Golgota. El nu își cultivă o vocație a izbăvirii prin suferință, ci întruchipează inocentul prin excelență. El contemplă lumea de la firul ierbii și își îngăduie voluptatea de-a se juca în glod. Pictura lui Petre Anghel este un elogiu al simplității ca stare originară. Paradoxal, omul poate învinge doar atunci când renunță la luptă.

Fotografie: Lazăr Dinu

 

joi, 20 martie 2014

10 Reasons To Support The Art

1. Arts promote true prosperity. The arts are fundamental to our humanity. They ennoble and inspire us—fostering creativity, goodness, and beauty. The arts help us express our values, build bridges between cultures, and bring us together regardless of ethnicity, religion, or age. When times are tough, art is salve for the ache.

2. Arts improve academic performance. Students with an education rich in the arts have higher GPAs and standardized test scores, and lower drop-out rates—benefits reaped by students regardless of socio-economic status. Students with 4 years of arts or music in high school average 100 points better on their SAT scores than students with just one-half year of arts or music.

3. Arts strengthen the economy. The U.S. Bureau of Economic Analysis reports that the arts and culture sector represents 3.25 percent of the nation’s GDP—a larger share of the economy than tourism and agriculture. The nonprofit arts industry alone generates $135 billion in economic activity annually (spending by organizations and their audiences) that supports 4.1 million jobs and generates $22.3 billion in government revenue.

 4. Arts are good for local merchants. Attendees at nonprofit arts events spend $24.60 per person, per event, beyond the cost of admission on items such as meals, parking, and babysitters. Attendees who live outside the county in which the arts event takes place spend twice as much as their local counterparts ($39.96 vs. $17.42)—valuable revenue for local businesses and the community.

 5. Arts drive tourism. Arts travelers are ideal tourists, staying longer and spending more to seek out authentic cultural experiences. The U.S. Department of Commerce reports that the percentage of international travelers including museum visits on their trip has grown steadily since 2003 (18 to 24 percent). The share attending concerts and theater performances has grown from 14 to 17 percent since 2003.

 6. Arts are an export industry. U.S. exports of arts goods (e.g., movies, paintings, jewelry) grew to $72 billion in 2011, while imports were just $25 billion—a $47 billion arts trade surplus.

 7. Arts spark creativity and innovation. The Conference Board reports that creativity is among the top 5 applied skills sought by business leaders—with 72 percent saying creativity is of high importance when hiring. The biggest creativity indicator? A college arts degree. Their Ready to Innovate report concludes, “The arts—music, creative writing, drawing, dance—provide skills sought by employers of the 3rd millennium.” Nobel laureates in the sciences are 17 times more likely to be actively engaged in the arts than average scientists.

8. Arts have social impact. University of Pennsylvania researchers have demonstrated that a high concentration of the arts in a city leads to higher civic engagement, more social cohesion, higher child welfare, and lower poverty rates. A vibrant arts community ensures that young people are not left to be raised solely in a pop culture and tabloid marketplace.

 9. Arts improve healthcare. Nearly one-half of the nation’s healthcare institutions provide arts programming for patients, families, and even staff. 78 percent deliver these programs because of their healing benefits to patients—shorter hospital stays, better pain management, and less medication.

 10. Arts mean business. The Creative Industries are arts businesses that range from nonprofit museums, symphonies, and theaters to for-profit film, architecture, and design companies. A 2014 analysis of Dun & Bradstreet data counts 750,453 businesses in the U.S. involved in the creation or distribution of the arts that employ 3.1 million people—representing 4.2 percent of all businesses and 2.2 percent of all employees, respectively. (Download a free Creative Industry report for your local community.)
Source : Americans For The Arts

marți, 18 martie 2014

Marina Obradovic - Balkan Expressionism

http://www.marina-obradovic.com/photographies/

A propos des photographies de Marina Obradovic

Une jeunesse rock'nroll, un appareil photo offert par son père, des amis musiciens qui ont besoin de photos, voilà comment Marina Obradovic commence à photographier. Ses études aux beaux-arts de Paris en photographie et en peinture lui ouvriront la voie dans les deux domaines. A la fois assistante de photographes ou photographe de plateau, elle devient également restauratrice de peinture murale, puis peintre et décoratrice.

« Je fais de la photographie depuis longtemps. Parce que c’est une forme d’expression artistique qui me plait, et aussi parce qu’à travers la photographie, je fais des rencontres.
J’ai fait mes études aux Beaux-arts de Paris, en section peinture et photographie pendant cinq ans. À l’époque j’étais déjà très influencée par des photographes tels que Diane Arbus, Richard Avedon, Joseph Koudelka et August Sander, mais aussi par la peinture : les portraits du Fayoum, les fresques égyptiennes, orthodoxes.
Je suis d’origine Yougoslave. La photographie, dans les pays de l’Est, a une valeur de portrait avant toute chose. Elle n’est pas encore aussi courante et banalisée qu’ici. Et si les gens que je photographie posent, ils sourient rarement. Je n’utilise jamais de zoom et ne photographie personne à son insu. Ce qui m’intéresse c’est la rencontre, prendre le temps avant même de savoir si j’ai envie d’appuyer sur le déclencheur. Je travaille en argentique, parce que j’aime le résultat, le papier, le grain, la chimie et le hasard qui intervient parfois.
Sont présentés ici différentes étapes de ce travail. Photos de Roms, de paysans, de voyageurs, expériences avec d'autres artistes...







 

miercuri, 12 martie 2014

The Balkan Expressionism Manifesto

Bucharest, March 2014.

General overview


The Balkan Region is a melting pot of bright colors, ethnic patterns, bed time stories and legends ready to explode across Central and Eastern Europe. The Balkans is virtually unknown to the Western world, rooted in an aura of mysticism, misunderstood ethnic traditions and threatening people. In reality, the Balkan culture, ethnicity and peoples are as culturally unique and rich as in any other part of Europe. Balkan artists are traditionally ignored by the world in part due to geographical separation as well as cultural and prior political barriers imposed on them by past communist and socialist leaders. In many cases aspiring Balkan artists were simply not able to travel to the west to exhibit their work and limiting the spread and influence of Balkan artists. Conversely, the few western artists whose art was influenced by their travels through the Balkans were able to make some splashes in the hermetic, corporate western art world. It is more obvious than ever that Western Europe treats Balkan artists like second class citizens. 

Definition in The  Socio- Political Context

The Balkan Expressionism Movement is a response to this situation with a goal to be an umbrella and unifying voice for painters, writers, sculptors, architects, musicians, and poets from a society with a low level of international respect, but with a great deal of genuine talent.

Collecting centuries of ethnic, aesthetic tradition flowing throughout South-Eastern Europe, this new artistic movement is slowly making its way to the surface of popular western culture, entertaining the masses, the new proletarians. Movies like “Black Cat, White Cat”, bands like Gogol Bordello, or simply gypsies playing music in numerous city streets, piazzas, parks and squares demonstrate the public interest in this culture. Many creative people have recently begun to share the same aesthetics, building a strong audience for this type of artistic manifestation.

At the moment Balkan Expressionism gathers musicians (Taraf de Haidouks, Rona Hartner to name few), painters (Paul Hitter, Marina Obradovic), cinematographers (Kusturica) as well as anonymous traveling artists who uninhibitedly express themselves in a loud, colorful, joyful manner.

However, the brutal reality is that, quarter century after the fall of the Iron Curtain, Europe as much as the rest of the world, remains ignorant to the art and artists from the Balkans. This is why many artists sharing this Balkan aesthetic are now challenging the world to accept artistic values that are ethnographically and sociologically different than typically accepted in the West.

Many of us agree that art is not limited to business, money and corruption as it has lately been made. The general public has realized that true art does not fit the pattern established by corporate museums, compromised curators and meaningless brand name artists. In fact most people are searching for an alternative to this state of affairs, and no longer trust the „underground art” that has become a household name itself! We believe that the Balkan Expressionism Movement is a vehicle for a change to this paradigm and therefore a good reason for everyone in the art business to fear. In order to become a strong voice in the art world, the Balkan Expressionist artists must become united and willing to shake up a system that ignores them!

Facts prove that there are tons of creative, artistic ideas, and many of the artists who possess these ideas would join this “ship of fools” here in the Balkans. In reality, there is so much substance in the Balkan folklore, in the urban stories, in popular design; enough to feed creative from all over the world.
Who Are We!

Despite the attitude of the West, we, the Balkan Expressionists, welcome outsiders in our pool of genes.  We know there are artists dreaming of being involved in an art movement that might shake up the world as we know it. We offer them an opportunity to take issues in their own hands and spit on false rules of the so called “art market”.

Many of us have been cheated by the EU policy on arts that helps Eastern European artists in name only, but actually serves to block the development of regional art. EU funds for art are provided only through local governmental and non-governmental organizations, not to the artists themselves. This means that the local established art organizations control the requesting and distribution of art funds and routinely direct these funds to artists who meet their preferences and objectives. The funds are not provided to artists who possess the best aesthetics or to encourage new art movements or to under-represented segments of the local art community. Unfortunately, the art business is not immune to the ‘good old boys’ network, where those who have connections end up with the bulk of the art funding and artists who do not know someone in the local art, establishment, regardless of their abilities, end up with nothing. Without the support of the establishment, their work receives no exposure, no significant exhibits and therefore is likely to remain obscure and short lived.

The time of „art hooliganism” has come!  As long as we’ve been pushed to become the outlaws of European art, we are ready to take to the fight with nothing to lose. Every artist who joins The Balkan Expressionist Movement, results in the ”established art” and so called „post modern" art losing its breath. The good news is that a breath of fresh air is coming that smells like freedom – The Balkan Expressionism. Let’s not forget that our countries are the only ones capable of Revolutions and wars, so our artists can do the same!

 
The Principles of Balkan Expressionists
Balkan Expressionisms open to anyone who accepts its simple principles:

  • Many of us in The Balkans are restricted, as artists, from travelling due to visa requirements. We consider that freedom of expression should be based also on freedom of travel and performing anywhere in public places. Romanian and Bulgarian artists experienced the inconvenience of travel restrictions prior to becoming a member of the EU. Now artists from Macedonia, Bosnia, Serbia, and Albania suffer from this same problem. Either they want to study, create art, document or simply visit art establishments worldwide, but they simply cannot do it! The legal procedures and the bureacracy to obtain visas should not apply to artists!

 

·         If you're not brainwashed, don't wait for success to catch you, pursue your success and make it happen. Do not waste time waiting for State or EU funds to support your work, as the funds are dedicated to a pre-set artistic “elite”.

The method and complicated mechanism of European funds distribution as well as the insufficiency of these art funds creates a situation where these funds are very difficult to obtain. It is well known that artists do not deal with bureaucracy very well. Applying for these funds requires more than common sense when it comes to paper work. On top of this, most of the state and EU funds are designed for NGO or Foundations, and are distributed only to artists who are “part of the system”, so those without the right connections will not have access to funds.

 
     ·         Freedom of public expression.

 

Generally speaking, anything that is too loud or too much in your face should actually be accepted and nomadic artists should be allowed to perform in public places without city permits.

 

Yes, people like you, that truly have to make a living out of their art should go out and perform, play, paint and exhibit their work in public places all over the world. As a matter of fact, no authority should treat a free artist badly! An artist should not be required to obtain permits to show their art, because they are a service to their communities, educating and stimulating the masses, without doing anything wrong. Even selling your art on the streets should not be an issue for taxation as far as we are concerned. No artist selling its original work on the street is creating fiscal distress to the society.

 

·         That surviving through art does not necessary mean selling your art in „proper” artistic venues as much as showing and selling it on the streets to the people that truly appreciates it and do not consider it merchandise.

Take in consideration that today, fewer and fewer people enter galleries and museums around the world. Most of the population is busy working to bring bread to the table so fewer are in the mood to visit galleries. True artists should be proactive and show their art to the working class, the ones that truly appreciate it and do not see it as an investment or merchandise. If you, as an artist of any medium, feel the need to set you artistic spirit free and revolted against the artistic embargo set by governments and corporations, go out and show your art to the world.

·         Personal development and the rising of the awareness of the public should be the main purpose.

 

Believing in yourself and struggling continuously for your beliefs is the number one condition on the path of success no matter what your background is. The truth is that an artist obsessed by success loses his creativity. For most of the people in the Balkans success has a different meaning than in the West. Success is more just a form of appreciation that does not necessarily require financial gain. Success sometimes means just the fact that an audience gathers around you and tries to understand your art. It is sometimes enough that people participate and share your joy and do not hesitate to show it to you.

 

·          Art should not be just a way of fun for the elites!

 

If you feel that there are too many unwanted compromises on the path leading to success, if you feel that you stand alone in the jungle of the art world; then just get together, finding roots in the simple facts of life- the low life, the poor, the folklore, the urban legends should be the inspiration.

 

 

·         Individuality and spirit of brotherhood.

 

Balkan Expressionist artists should help fellow artists from immigrants to refugees, from renegades to rebels. As all artist fight on the same ground an struggle with the same basic needs, why not thinking of the poor, most unfortunate. What about the artists that had to leave their families, their countries due to war or religious persecution? The Balkans offer many examples of refugee artists seeking shelter in other countries because of these issues. Who’s helping them? These are people with less than us, having no one to ask for help.

 

 
Join Us!

Balkan Expressionist movement invites artists to be part of new history (part of new art history), to join a life time experience, exclusively based upon freedom of their souls. You can subscribe to this statement by simply sharing it on your social media outlets and by calling yourself a Balkan Expressionist Artist
 
Note: This Manifesto is the result of a thinking process of visual artist Paul Hitter, art curator and gallery owner Eugene Al Pann and art collector and art critique Steven Thompson.