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BLOGS FROM ARTSLANT'S OWN

ROMANOVA SVETLANA-ART  
by
3/31/20 Posted 3/5/09

         Hello frends! I am an artist. My roots take place in St.Petersburg, which has great architecture, culture and history that influenced me once and forever. Today, in the times of technical progress, mass production and new artificial materials I search for inspiration in the foundation of the Arts - old Russian Orthodox icons, Renaissance and folk cultures. I seek out look for new shapes and images within my themes using different materials, but my favorite is glass for its plasticity and abi... [more]

STAINED-GLASS WINDOWS  
by
3/5/19 Posted 3/5/09

http://svetlana-romano.livejournal.com/ http://svetlana-romano.livejournal.com/ http://svetlana-romano.livejournal.com/ [more]

FINDING MAGDA  
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3/28/15 Posted 3/28/15

Shireen Sabavala looks at a portrait of her late husband, artist Jehangir Sabavala painted by Magda Nachman in 1942 How US professor Dr Lina Bernstein's three-year research on little-known Russian artist Magda Nachman, led her into drawing rooms of Mumbai's elite. In 2011, when a colleague researching Russian poet Marina Tsvetaeva, casually inquired about Russian artist Magda Nachman, Dr Lina Bernstein had little to say. However, three years later, the professor of comparative literature at Franklin & Marshall College found herself travelling more than 7,000 miles to Mumbai in search of the artist's story. Bernstein was intrigued by the legacy of Nachman, who painted a famous portrait of Tsvetaeva and another of Vladimir Nabokov, author of Lolita. "Yet, almost nothing was known about her aside from her association with a circle of writers and artists around Tsvetaeva," says the 64-year-old on her first visit to the city last week. "My colleague, through the course of her research, had discovered some letters from Magda to friends within this circle." It's this correspondence that led Bernstein on a journey from America to Russia, Germany, and finally to India, where she arrived in January this year. In the six weeks that Bernstein spent in Mumbai, Pune, and Baroda, she discovered 13 original portraits by Nachman, and their owners. "At the Asiatic Society of Bombay, I found old newspapers and journals with articles on Magda and her time. Homi Bhabha's archive at the Tata Institute of Fundamental Research offered more insights into her life and the history of art in Bombay," she says. This material, says Bernstein, will prove crucial in her quest to reconstruct Nachman's biography that we hear will culminate in an exhibition at the Chhatrapati Shivaji Vastu Sanghralaya (CSMVS), next year. Journey to Bombay Born in 1889 in St Petersburg, Nachman studied art under famous Russian artist Leon Bakst. But like most people of her generation, her life was driven around the world by the cataclysmic events of the 20th century — the Revolution of 1905, World War I, the Russian Revolution of 1917, and the Civil War. "In the letters I read, she complained about not finding kerosene, paint or brushes to work with. She used pencil and charcoal to create portraits in exchange for food," says Bernstein. In 1921, Nachman met MPT Acharya in Moscow. The Indian nationalist, who was one of the founders of the Communist Party of India, fled Chennai for London after threat of persecution by the British government. "He was part of an Indo-German conspiracy. But Germany lost the war, and the delegation moved to Moscow to convince the Bolsheviks to join them in the fight against the British," says Bernstein. Nachman and he married in 1922 and left for Germany. A little more than a decade later, Adolf Hitler was in power, and the South Indian revolutionary, along with his half-Jewish wife had to flee to Switzerland. "Magda left her paintings behind," points out Bernstein. "Almost all her work from those years has vanished. They visited Paris next, to say their goodbyes to Madam Cama (who Acharya worked with) before they sailed to Bombay in 1935." Artist to the elite The city became Nachman's home, a place where she lived, worked, made friends, and died in 1951. "Whatever art Magda created during that period, it's likely to be in Bombay," says Bernstein of the woman who became the go-to portrait artist among the elite. One of her portraits is of late artist Jehangir Sabavala, which still hangs at his Altamount Road home. As his wife Shireen fondly looks at the oil-on-board painted in 1942, she says it was the norm for families to get their portraits done, "usually by foreigners". She recalls sitting hours before Nachman for her own portrait, too. "Magda went on and on, I was bored and didn't care much about it," she smiles. "I was 18 and remember wearing a red sari with a sleeveless blouse. I was slightly plump, and she said I have the eyes of a cow. I thought that was a bit harsh." Aside from painting Dinsha Paday, Rati Petit, and Shanta Rao, Nachman showed her work at the Bombay Art Society exhibitions. She lived and worked at a house opposite artist K H Ara's Walkeshwar studio, in House No. 63. Artist Akbar Padamsee told Bernstein about a visit to Ara's studio. "All of a sudden, Akbar tells me, an angry Russian lady, whom he described as 'shortish, fattish and not beautiful' barged into the studio shouting, 'They rejected me, who are they to reject me? They don't know anything about art'." Nachman's rage was sparked by the news that she wasn't allowed to participate in an Indian art exhibition organised in 1948 in London. "She was rejected because she was considered not sufficiently Indian," smiles Bernstein. Original link: http://www.mumbaimirror.com/others/sunday-read/Finding-Magda/articleshow/32095748.cms?prtpage=1 ... [more]

ART IN PROTEST  
by
3/28/15 Posted 3/28/15

From top: Guggenheim Abu Dhabi will be 12 times the size of the original NY outpost; Artist Ashok Sukumaran (at the centre) presenting at last week’s panel discussion; Workers on a bus to get to their shift Artists from Mumbai join a global creative boycott to fight migrant labour exploitation in the making of the Guggenheim Abu Dhabi - the mother of all museums. In many senses, the invitation to Gulf Labor - an artist advocacy group that is leading a boycott of Guggenheim Abu Dhabi - by the much-feted Venice Biennale, to participate in its 56th iteration, can be perceived as sending out a strong message to the art world at large. Gulf Labor has been striving to highlight the coercive recruitment and deplorable living and working conditions of migrant labour - a majority of them are from India, Bangladesh, Pakistan, Nepal and Sri Lanka - in Abu Dhabi's Saadiyat Island (Island of Happiness). Saadiyat was launched in 2009 by Abu Dhabi's government as a luxury property development project where buyers could live in villas that would allow them to access world-class museums and education. A satellite campus of New York University has been operational since last year, and outposts of the Louvre, the Sheikh Zayed Museum (in partnership with the British Museum) and Guggenheim are in various stages of construction. Guggenheim Abu Dhabi, estimated to cost, according to previous news reports, $800 million to build, will span 4,50,000 square feet (nearly 12 times the size of the NY landmark), in a design created by 'starchitect' Frank Gehry and overseen by the Tourism Development & Investment Company. Mumbai artists Shaina Anand and Ashok Sukumaran were among the signatories to back a petition urging Guggenheim to improve living standards of migrant labourers, which had been documented in a Human Rights Watch report. Among other signatories to the petition are Mariam Ghani, Walid Raad, Andrew Ross, Hans Haacke, Naeem Mohaiemen, and Tania Bruguera. In 2011, sensing a lack of commitment from the museum, artists decided to collectively boycott the leading contemporary art museum. Gulf Labor currently has over 1,800 signatories and is led by a 35-person central organising committee. The issue came home last week, when Anand and Sukumaran of CAMP, Kadambari Baxi of Who Builds Your Architecture (WBYA), Rajeev Thakker of the open space for experimental design and research, Studio X, Sharit Bhowmik, who is national fellow of the Indian Council of Social Science Research (ICSSR), Rupali Gupte and Prasad Shetty of Collective Research Initiatives Trust (CRIT) met to discuss conditions of labour in architecture including in India and the UAE, while also addressing the problems at Saadiyat. NYU Abu Dhabi's assistant professor of theatre, Debra Levine, along with 10 students - belonging to various disciplines ranging from visual art to theatre and political science - pursuing the art, performance and social practice class at the University, were also invited to attend the panel discussion and presentation, as part of an art workshop in Mumbai. With the Guggenheim museum hoping its permanent collection will celebrate international art from the 1960s to present day - a period that reflects the world from the point of the UAE achieving nationhood - Sukumaran thinks "it's a perfect opportunity to build their multi-billion-dollar project right; use their resources justly without defaulting to a status quo of exploited labour". Andrew Ross, professor of social and cultural analysis and faculty member at NYU New York, specialising in labour issues, has been a critic of underpaid migrant labour in the UAE, writing columns on the exploitation of migrant workers building projects on Saadiyaat Island, including the NYU campus there. In an op-ed piece High Culture, Hard Labor, published in The New York Times in March 2014, he said, "Bound to an employer by the kafala sponsorship system, they (workers) arrive heavily indebted from recruitment and transit fees, only to find that their gulf dream has been a mirage. Typically, in the United Arab Emirates, the sponsoring employer takes their passports, houses the workers in substandard labour camps, pays much less than they were promised and enforces a punishing regimen under the desert sun." Last Saturday, Ross was barred from flying into the UAE. "But, what's different about my case," argues Ross over an email interview to Mirror, "is that I am an NYU professor, and since NYU has a campus there, we are supposed to enjoy protection of academic freedoms and safe passage into the UAE. They can't be in a position to decide which NYU professors they will admit and not. That is unsustainable. Could the same fate befall artists asked to participate at a museum show? Quite possibly." Parimal Sudhakar, senior project manager at the Society for Labour and Development, Delhi, defines this as a systematic problem. Most countries have a poor record of treating migrant labour, but in the Gulf states, close to 80 per cent residents are migrants with no rights. "Unfortunately, the host government, and the government of source countries have chosen to ignore the problem," he says. "Authorities in states that make up a large chunk of this labour force, including Bihar and Uttar Pradesh, often maintain no data on international migration of workers from their state." Cheated by sub-agents of recruitment firms and exploited by employers in destination countries, the workers are caught in a debt trap, making a return to home impossible. "According to the Emigration Act, 1983, a worker should be charged no more than Rs 20,000 for emigration procedure. But most end up paying over a lakh to sub-agents," says Sudhakar. Ross, who has spent a reasonable time during his scholarly research on low-wage labour, mostly in China, moved his attention to the Gulf region after NYU announced plans of a satellite campus in 2007. "My position was that the presence of the campus was an opportunity to leverage labour reforms," he explains. The average worker on Saadiyat Island makes a base (monthly) pay of only Rs 10,000 to Rs 13,000. Over time, this can go up to between Rs 15,000 and Rs 18,000. Basic math suggests that a 25 per cent increase in the wages of the 7,500 workers estimated to be involved in the Guggenheim's construction, amounts to about five million USD, "which, given the scale of an institution like the Guggenheim Abu Dhabi is nothing," insists Anand. Sudhakar takes the focus away from funds to the struggle for power. "There's plenty of money in Abu Dhabi. The issue concerns power. Elites from the Emirates crave a vast servant class, 24/7. This army of workers needs to be heavily indebted and exceptionally vulnerable, in order to work under the circumstances," he says. "The second reason for hesitating to make a change has to do with setting a precedent regarding migrant worker rights. The UAE doesn't want to be the first in the region to do it." Meanwhile, the Solomon R Guggenheim Foundation has distanced itself from the debate with the claim that Guggenheim Abu Dhabi "will be an independent museum owned by the government of Abu Dhabi which is in charge of and overseeing all aspects of construction. The Guggenheim's role will be to provide access to its global network of curatorial and educational resources." The TDIC is in charge of developing Saadiyat, building a 'model' worker village and drafting policies that sound noble but aren't necessarily enforced. Their claim to have built a beautiful workers' accommodation in Saadiyat - albeit five kilometres away in a far corner of the site - with a cricket field, billiards room and basketball court, is contested by Gulf Labor. Sukumaran says, "Saadiyat's village is a showcase but not a long term solution that benefits workers. Wages remain poor, and recruitment debt is rampant. Contractors have to rent these rooms, and the monthly rent here is higher than the average worker's pay." The collective has held negotiation meetings with both the Guggenheim Museum in New York and TDIC in Abu Dhabi. Turning into independent researchers, the artists provided TDIC and the Guggenheim with a report in March 2014 to support their theory, with statistics as well as site visits to labour camps for research. "A lot of malam-patti, and public relations efforts were carried out by them but the core issues remain unresolved. The museum needs to push harder for what they say they want. We do believe they have the leverage," she says. TDIC did not reply to Mirror's repeated requests for a response. The question, artists are then reiterating is; why isn't an exemplary museum built on exemplary standards? "If Guggenheim says they are lending their name and expertise to bringing global art and global educational standards to the UAE, why can't they bring basic global democratic principles? Why should that not be part of their ethos? " Anand asks. Original link: http://www.mumbaimirror.com/others/sunday-read/Art-in-protest/articleshow/46648168.cms ... [more]

The Canetti Reading Group - Script  
by
3/28/15 Posted 3/28/15

THE CANETTI READING GROUP By Adam Knight An essay in Elias Canetti's seminal work 'Crowds and Power' becomes the point of focus for a fictional reading group. Each character in the group inhabits six typologies of the crowd identified by Canetti. The work presented takes the form of a script; where moments of awareness and a strengthening relationship to the artwork reveal themselves. THE CANETTI READING GROUP Characters and classifications A – The Chair (the crystal c... [more]

Review from Patimat Guseynova Sharuhanova artist. Russia, Dagestan 21-3-2015  
by
3/28/15 Posted 3/28/15

This review is translate with google Is not the creator who is able to give life .... Acrylic painting on cnvas Size: 116 x 200 Year: 2013 Acrylic painting on cnvas Size: 60 x 80 Year: 2012 Strolling through the expanses of the Internet, I came across a magnificent Dutch expressionist Shefqet Avdush Emini. Later, I was fortunate to get to know him and work for international ART-symposia. Expression in color, line, and at the same time, a sense of proportion and harmony - it... [more]

Excerpts from book manuscript Studies in Enchantment  
by
3/27/15 Posted 3/27/15

On Everyday Enchantment Enchantment. A spell wrapped in a noun. Three syllables. One state of being. To live with Enchantment is to see beyond the brick and mortar that make up your home and into the magic infused within its frame. It is to peel back the layers of your day to day and search for that elusive energy that winds its way up your spine and outward into your life. To learn from Enchantment is to listen to Coyote's call when he plays his tricks. He is a messenger really—t... [more]

美国艺术场馆建设5年投入160亿美元,中国呢?  
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3/27/15 Posted 3/27/15

美国艺术场馆建设5年投入160亿美元,中国呢? 近年来,美国境内一大批艺术机构纷纷新建、扩建其场馆建筑,从博物馆、演艺中心到乡村艺术俱乐部,盲目跟风的现象不在少数,另外,野心勃勃的信托商、自私的建筑师、不切实际的财务预算也对新建、扩建场馆起到了推波助澜的作用。据芝加哥大学文化政策研究中心最近一项调研报告显示,在2004年至2008年期间,各类艺术机构用于艺术场馆建设的资金高达约160亿美元。该报告针对全美500多家艺术机构的700多个艺术场馆建设项目进行调查后发现,这些场馆建设项目的经费从400万美元到3亿美元不等,费用排名前三的地区是纽约、洛杉矶、芝加哥。芝加哥艺术学院的投资项目是此次调研中经费最高的项目。调研报告指出,该学院投资3亿美元新建展馆,每年需要为展馆支出400万美元的运营费,为扩大募款规模,还将耗费870万美元用于募款基金的筹办和运营。巨额的建设和运营成本使得工程进展一直不顺利。2009年3月,展馆配楼建设完工时,参与此项目的工作人员人数一度达到顶峰。然而,由于该学院的财政预算无法满足高额的支出,随后不得不推出停工放假、拖欠工资、两轮裁员等资金削减政策。芝加哥大学文化政策研究中心的一名研究员提到,出现此类问题是因为这些机构分不清楚“想要”和“需要”的区别。很多项目建设的必要性和可行性受到报告专家组质疑:是否真的需要建设这个场馆?能否支付得起巨额的建设费用?庞大的后续运营开支如何解决?长期担任艺术管理顾问、该报告的顾问之一的杜肯·韦伯一针见血地指出:“应停止启动那些不具备资金可持续性的项目。” 报告同时指出,建筑师对泛滥的艺术场馆项目也难辞其咎,因为他们可以从中获利。他们会说:“项目是为你而建。”但其实,项目是为他们自己而建。每一个建成的场馆,都会成为建筑师个人事业成就的见证,可以拍照入册宣传并写入个人简历。此外,研究报告根据成功经验提出建议,供艺术机构、政府机构和赞助方参考。那些运营成功的艺术场馆往往具备以下特征:艺术定位清晰明确、监管严格、建设费用有节制、建成后有收入进账。目前,由于前车之鉴和经济衰退等原因,盲目新建场馆的趋势得到初步遏制,很多艺术机构开始倾向于改造已有的旧建筑。 在中国,从上个世纪90年代中期地产商介入美 术馆建设开始,诸多地产商投入到创办美术馆的大潮中来,其中不乏泰达、万达等地产巨头。在某种程度上,民营美术馆是伴随着地产行业的兴盛而逐渐兴起,并在 近几年形成一个新兴词汇“艺术地产”。据不完全统计,中国的民营美术馆中,有近七成为地产商出资。一场民营美术馆运动正在兴起,富有的地产企业及地产商本人成为这场运动背后最大的推手。不过伴随着兴盛,地产介入美术馆运动也充满争议。一个不争的事实是,迄今为止,在中国三线城市建造大型美术馆和艺术主题公园,几乎没有成功的先例,这些项目多是昙花一现,而借艺术... [more]

Chapter from Part I of a Novel  
by
3/27/15 Posted 3/27/15

What follows is the first chapter of a novel I've been working on for over several months. Many of my novel's chapters have been submitted to MFA fiction workshops at The New School in New York City. The story of my novel takes place nearly 75 years past our present time. The chapter below is about one of my main characters, a painter from post apocalyptic Paris in the year 2101. It is important to note that this character lives in an asylum, which is located in the country of Aurora (post apo... [more]

nikkitamorgan.wordpress.com  
by
3/26/15 Posted 3/26/15

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Business Portrait (2015) by Guillaume Wolf and Jessica Morgan Amos  
by
3/26/15 Posted 3/26/15

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TEXture (2015) by Jessica Morgan Amos & Guillaume Wolf  
by
3/26/15 Posted 3/26/15

TEXture is a project that explores landscape, painting, genre and gender relationships. This video is a single component of a mulitmedia project executed during a 2015 residency at The Process Space (Los Angeles) [more]

For Sale  
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3/26/15 Posted 3/26/15

Amaru El Toro, 2010 Acrylic on Canvas 86 X 65 Centimeters © Amaru Original $1625 Amaru Tamborero , 2013 Acrylic and Oil on Canvas 100 X 90 Centimeters © Amaru Fine Art Print from $62 Original $2125 Amaru Calavera 18, 2012 Ink on Paper 11 X 8.5 Inches © Amaru Original $62 Amaru Pez en rodilla, 2013 Ink Pens on Paper 8.7 X 13 Inches © Amaru Original $62 [more]

自然界令人激动稍纵即逝瞬息万变的震撼时刻  
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3/25/15 Posted 3/25/15

自然界令人激动稍纵即逝瞬息万变的震撼时刻 瞬息万变的世界总是无时无刻的在给我们惊喜,这些稍纵即逝的时刻令人激动,却难以抓住。国外网站500px为我们评选了21幅震撼的瞬间作品。这是一个我们见过却来不及记录下来的世界,但它那么美令人无法遗忘。 [more]

世界近代艺术史85 陈源初著  
by
3/25/15 Posted 3/25/15

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艺术创作成为商品生产!  
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3/25/15 Posted 3/25/15

艺术创作成为商品生产! 艺术品是艺术家才华的自我展示,是一种对艺术坚忍不拔的执着追求,是一份热爱、一份责任。当然在今天一切以金钱为中心的社会里,如果艺术不能成为商品,不能换取货币,其创作者的命运就是十分悲惨的。荷兰画家凡·高,生前画作没有没有被商品化,死后名声大噪的凡·高画作价值连城。凡·高生前生活十分悲惨,经常吃不上饭,饿昏了过去,严重地摧残了他的身心健康,凡·高当过店员、教师、矿区传教士,受矿区贫困生活的触动,开始画工人和农村生活,如《吃马铃薯的人》、《向日葵》、《农民》、《囚徒放风》,深刻揭露了那个社会的罪恶,尽管他的艺术成就极其辉煌,却不能为社会所容,最后被逼成精神病自杀。仅是绘画艺术就遭到这样的厄运,更何况反映人民悲惨生活的其他艺术呢? 艺术作品作为社会生活现实的反映离不开社会生活的客观条件,同时受社会制度和历史环境的影响。因此,艺术的商品化问题,必然与社会制度和社会生活紧密地联系在一起,随着社会制度的变化而变化,随着社会生活的发展而发展。艺术商品化是历史发展过程中的一种社会现象,社会要严肃认真地考虑艺术作品的社会效果。社会存在决定社会意识,艺术作为反映客观事物的表现形式之一,当然源于物质,源于社会生活实践,只能是社会生活的更集中、更典型的反映。艺术的商品化也是如此。在原始社会、奴隶社会,在生产力极为落后,生活资料、生产资料的交换只是停留在以物换物的简单的状态中,商品生产几乎处于没有任何影响力的地位。在这种情况下,艺术基本上不存在商品化。艺术的创作基于对生活的朴素的客观的反映,是对生活的直观描摩的艺术表现,或记述人类的生活现实,或美化生活内容,或图腾崇拜,满足当时人类的审美享受和心理需求。并不属于商品的艺术,是与当时的经济发展水平相适应的,艺术创作者的创作是社会生活的需要,是自娱自乐的需要,是创作主体主观意志对社会现实的自然表达,是一种展示创作者的艺术才华的纯艺术的精神追求。表达当时人们的一种审美需要,一种社会生活的精神享受和自发的艺术需求。这时的艺术不是为金钱而是为了艺术而艺术,既使在封建社会里,社会生活商品交换已经有了一定程度的发展,艺术仍然没有商品化。 今天,美国知名艺术家杰夫·孔斯绝对称得上“高产”。他每年出品10幅画作外加10座雕塑。在过去4年间,他有6件作品登堂拍卖,成交价在1100万至2500万美元(约合713.3万至1621.3万元人民币)之间。可是按常理说,一位娴熟的艺术家可能1年也画不完1幅画,孔斯是怎样取得如此丰硕的成果的?有知情者透露,秘诀就藏在他的工作室中。2011年5月的一个午后,记者走进孔斯位于美国纽约的巨大的工作室,亲眼目睹了令人震惊的一幕:房间的一面墙被一大块油布满满覆盖,十多名年轻的助手围着它忙碌。有人一手拿“作品创意”一手握刷子,蹲在油布的一角上色;有人正把几种不同的颜料混合在一起,调出想要的颜色;还有人登上脚手架,舒展开油布靠近房顶的部分……整个工作室,就像是一个大作坊,助手们就像一台台机器,在“作坊主”孔斯的监督下制造产品。一个年轻人告诉我:“这里有明确的等级和分工。我们只是最低等的助手,上面还有数名助理经理,再上面是一名主管,最高的是一名总监。每个人都分配有不同的任务,彼此之间没有什么合作。”孔斯对自己的角色也毫不掩饰:“我雇了150个助手帮我干活,自己无须动手,只要将创意跟他们说清楚,让他们照办就行。”“我全身心地监管每件作品的出产过程,周一到周五都在工作室,尽量不外出旅游。因此买家不用顾虑,你看,这些画跟我自己亲手画的没什么两样。”“那在您众多的作品中,哪一部分是自己亲手做的?”记者问道。孔斯狡黠地笑了:“哪部分?……我想是签名吧。 在美国艺术家圈子中,像孔斯这样高调承认靠工作室创作的不多,但聘请助手协助创作已经成了圈中默许的“... [more]


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