Wednesday, March 30, 2011
Liverpool Street station is one of the three major tube stations in London with around 3 million visitors each week.
To enter this competition, after reading its terms, simply upload your work to BodyOfArt.com by Friday 1st April (11.59pm GMT) for your chance to be selected and enjoy the benefits BOA's new Virtual Gallery. Upload at least 5 images to instantly create your very own virtual gallery.
Twenty artists will be selected and their art will be showcased on BOA's Virtual Gallery Digital Tour which will occupy the 3 metre screen from April 18th to April 25th with a 5 minute clip showing 1500 times.
Plus, each winning artist will be interviewed for the weekly feature The Canvas. Artists’ interviews will run for 20 weeks from 11th April onwards. Individual publication dates to be confirmed.
Art Below is celebrating their 5th anniversary next month with the Art In Motion initiative.
Studious and introducer of Minimalism in Portugal during the 60's, Ângelo César Cardoso de Sousa was born in the former Lourenço Marques, now Maputo, Mozambique, on February 2, 1938.
In 1955 Ângelo the Sousa travels to Oporto where he enrolls in the School of Fine Arts and graduates with a 20, the maximum grade, leading him to make part of the group entitled «Os Quatro Vintes» (The Four Twenties), together with Armando Alves, Jorge Pinheiro and José Rodrigues.
He held a scholarship from Calouste Gulbenkian Foundation and from the British Council in the Slate School of Art and in the Saint Martin's School of Art during the years of 1967 and 1968.
Having worked and lived in Oporto, he was a teacher in the former Escola Superior de Belas-Artes (Fine Arts School), now Faculdade de Belas-Artes da Universidade do Porto, where he retired as Catedratic Professar in 2000.
Ângelo de Sousa had his first individual exhibition in 1959 in Oporto, in 1975 he was awarded the International Prize of the 13th International Arts Biennial of Sao Paulo and in 2007 he was attributed the Gulbenkian Award in Arts by the Calouste Gulbenkian Foundation.
His drawings illustrate the books of renowned authors like Eugénio de Andrade, Maria Alzira Seixo, Mário Cláudio and Fiama Hasse Pais Brandão.
Ângelo de Sousa passed away on March 29, 2011 at his home after a prolonged disease. Photo by Nelson Garrido, in Público newspaper.
Tuesday, March 29, 2011
The Institut Néerlandais presents Netherlandish Masters 1500-1700: the hundred most beautiful drawings of the Hamburger Kunsthalle
The Hamburger Kunsthalle conserves one of the most important and beautiful collections of Dutch and Flemish drawings from the 16th and 17th centuries. At the occasion of the publication of a fully descriptive catalogue of these drawings comprising circa 1337 plates , which took Annemarie Stefes near ten years to complete, the Fondation Custodia was invited to select one hundred of the most beautiful works, which is being exhibited at the Institut Néerlandais in Paris.
The exhibition is divided in halls.
The first hall is dedicated to the 16th century, showcasing the works of masters such as Gerard David, one of the last Flemish Primitives, Pieter Bruegel the Elder (ca. 1525/30 – 1569), Maerten van Heemskerck (1498 – 1574) , as well as by others turning the century like the lanscape painters Roelant Savery (1576/78 – 1639) et David Vinckboons (1576 – 1629).
The second one, dedicated to the 17th century and containing the higher number of works, features three drawings by Rembrandt (1606 – 1669), and works by Nicolaes Moeyaert (1592/1593 – 1655), Adriaen van Ostade (1610 – 1685) and Hendrik Avercamp (1585 – 1636). This hall also includes a section dedicated to landscapes, exhibiting drawings by renowned Dutch landscape painters Barent Fabritius (1624 – 1673), Ferdinand Bol (1616 – 1680), Govert Flinck (1615 – 1660), the last two distinguished Rembrandt's pupils, and another section containing Dutch scenes represented by Janvan Goyen (1596 – 1656), Anthonie Waterloo (1609 – 1690), Allart van Everdingen (1621 – 1675) and Aert van der Neer (1603/1604 – 1677).
In the third hall, dedicated to the 17th Flemish century, visitors can explore some major works of important Flemish masters such as d’Antony van Dyck (1599 – 1641), Jacob Jordaens (1593 – 1678), Jan Brueghel the Elder (1568 – 1625) and Adrian Brouwer (1605/06 – 1638).
The fourth hall exhibits figure studies by Dutch artists such as Rembrandt's master Pieter Lastman (1583 – 1633) and works by followers of Italian compositions like Nicolaes Berchem (1621/22 – 1683). Also represented in this all are Paul Bril (1554 – 1626), Jan-Baptist Weenix (1621 – 1659/1661) and Jan Asselijn (1610 – 1652).
When visiting the fifth hall, one can explore three sections: portraits, villages and marine views. The Dutch portraiyed through drawings of Jan Lievens (1607 –1674) and Leendert van der Cooghen (1632 - 1681). Village views are represented in the works of Jan van der Heyden (1637 – 1712), Jacob van Ruisdael (1628/29 – 1682) and Pieter Saenredam (1597 – 1665), regarded as the best artist of the century of this representative subject of the Dutch art. To represent a theme where Dutch artists have excelled, the marinescapes, Ludolf Bakhuyzen (1630 – 1708) and Willem van de Velde le Jeune (1633 – 1707) are the selected artists. The exhibition will be accompanied by a free leaflet (in French), which describes the drawings on display. Possibility to buy the catalogue written by Annemarie Stefes (3 volumes, in German). In collaboration with the Hamburger Kunsthalle.
"Netherlandish Masters 1500-1700: the hundred most beautiful drawings of the Hamburger Kunsthalle" (Maîtres des Pays-Bas 1500-1700: Les cent plus belles feuilles de la Kunsthalle de Hambourg) can be visited from March 24 through May 22, 2011 at the l’Institut Néerlandais, 121 rue de Lille, 75007 Paris.
Monday, March 28, 2011
On a similar basis was created a service that intends to make easier to find arts sources and resources on a geographical basis, providing an interface which will benefit artists, galleries, collectors, museums, art schools and services, in short everyone related to art who wishes to connect. When joining the service, users can specify the search terms for their presence within the map, add an image, make the necessary changes in the future, etc.
Because many artists are not gallery represented and only show their work via a website or blog, this service is a tool that can bring more confidence to potential buyers buy stating that the artist has a physical adress; of course that misleading information can be provide by its users, but is up to artists, galleries and collectors to take the usual precautions when doing business.
Created a couple of years ago, The Arts Map is a free (exceptions may apply), straightforward and useful service.
Sunday, March 27, 2011
Saturday, March 26, 2011
The Cordoaria Nacional is located at Avenida da Índia - Rua da Junqueira, 342 in Lisbon (N 38º 41' 51,52'' , W 9º 11' 24,58'').
Download the catalogue of the IX Antiques Biennial.
APA is a member of CINOA since 1996.
Thursday, March 24, 2011
Artists who have video material displaying their creative process have the opportunity to have it showcased on 3 meter wide digital projection screens on the Liverpool Street tube station Central line (westbound platform) during 2 weeks from mid April.
Curated by Art Below, 'Art in Motion' will be a series of 1 minute clips featuring a scope of different artists actually in the process of creating their own work.
Although the versions that will be screened in the London Underground will be silent and no longer than one minute, these restriction do not apply in the online gallery.
The finished works will also be featured as a billboard poster in a major London station.
Artists can submit their videos to be considered for the 'Art in Motion' series to email@example.com with a link to the video online (ie youtube, vimeo, facebook).
Deadline is 28th March 2011.
Monday, March 21, 2011
Among several requests, candidates will hold a degree in the field from an Austrian university, equivalent foreign university or a qualification that may be considered equivalent, possess excellent academic qualification in the field of research and teaching of art as mode of knowledge-production and discursive practice, have coordination skills concerning the organisation of events and publications, be able to set up a long-term programme for innovative fundamental research within the field of epistemology and methodology of art (comprising the following fields of activity: artistic knowledge, artistic research, art/science-intersections amongst others).
The successful apllicant will hold the chair of the field of research "Kunst-Wissen", design, development and coordination of research projects within the field of epistemology and methodology of art, raise third-party funds for the field of research, teaching at least 6 units a week, among other activities.
Written applications, enclosing a full CV and the reference number 03/2011, should be sent to the stated address by March 31st, 2011 (date of postmark):
Academy of Fine Arts Vienna
Human Resource DepartmentSchillerplatz 3
A - 1010 Wien
You can also contact their recruiting department.
Saturday, March 19, 2011
Audiovisual (22); Design (17); Writing and Editing (8); Management, Creative Industries and
Marketing (15); New Media (12); Heritage (8); Educational Services (12);
Friday, March 18, 2011
From a series of animations created by Alicia 7777777, The Art Inquirer has chosen this creative 2.5D animation of famous paintings from the Dutch Golden Age.
Click here to watch a 3D animation of Picasso's Guernica.
Wednesday, March 16, 2011
The proceeds will go in full to the Salvation Army's Japan Disaster Fund.
This auction will be active until April 5th, which I believe will be enough time for you to decide how much you want to help.
If you are an artist and are conducting an initiative to help the Japanese people in these troublesome times, you are welcome to leave a link in the comments.
The Art Inquirer and its author cannot be held responsible for other people's integrity regarding this subject.
Monday, March 14, 2011
After being exhibited from North to South of Portugal, the exhibition will include soundpainting for the first time, where music, poetry and sound effects will transmit subjective messages to the visitors. Walter Marcos, responsible for the sound area, has come up with specific sounds, while using an original theme by a former Sting's group keyboard player for one of the works.
Friday, March 11, 2011
Scott Nelles grew up in SE lower Michigan, where his father, a manufacturers representative in the steel business, would take him on tours to visit steel mills and foundries.
His mother was a bit of an artist and his great grandfather was a professional wood carver from Bern, Switzerland.
At an early age, he would build things out of clay and wood and whatever he could get his hands on.
In 1974 Scott began his career in the foundry at the Fraser bronze of Seattle, there he started making patterns for buckles influenced by his experience in the leather business where bought and sold a lot of belt buckles. The buckles were then cast by John Fraser who also helped him to improve his methods.
With some years of practice and observation Scott moved to Michigan and opened his own foundry where between the years of 1978 and 2000 he built and grew the business to the point of employing four full time people and selling his sculptures nationwide. In 2000 he placed a small classified add in a foundry trade magazine to sell the patterns and the rights to make his line of products. A large foundry owner purchased the line and began producing it under the name Nelles Bronze Sculpture, up to our days.
The Art Inquirer contacted Scott Nelles who promptly agreed to dedicate part of his valuable time to answer some questions about his art and provide this blog's readers with an insightful interview.
TAI What part of your historical background led you to pursue an artistic career ?
SN As a boy growing up in SE lower Michigan I was exposed to industry through my father, a manufacturers rep in the steel business. He would sometimes take me on tours of steel mills and foundries and I believe the heat and flame got into my blood. As a kid I was always making things out of clay and wood and whatever I could get my hands on. My mother was a bit of an artist and my great grandfather was a professional wood carver from Bern Switzerland. I ,in fact still use many of his hand tools when I am working with wood to make patterns for castings.
TAI When did you decided that bronze would be your medium of election for you to pass your message and demonstrate your creativity ?
SN Early on I realized that clay was just not rugged enough to do the things I wanted to do. So I knew that cast metal was the way to go. However it's no small thing to set up a bronze foundry and I had no training anyway. It has taken many years to develop my skills through observation, trial and error and working with other foundries.
TAI What are your favourite themes and subjects, and why ?
SN Currently I have been concentrating on a line of cast toys. I love the art deco period and I believe my toy cars and such reflect that love. Like most artists my interests change and evolve.
TAI Please resume to us the development of a sculpture, from its conception to its finish.
SN I generally develop my works with some rough paper sketches or create them directly in three dimensions. Though I have utilized different techniques of casting such as the ,“lost was method”, I generally work in the ,“sand casting method”, which I believe has advantages in some areas. It is the sand casting method which I will describe here. To be a sculptor and founder of bronze entails many skills and the use of many materials. Some people work only in wood, others, clay or glass. I work in a variety of materials to develop a pattern or model of my sculpture to be. I might make this model with water based or oil based clays, some very soft and some very hard. I work in a variety of waxes to sculpt and cast. Other materials important in, "the pattern making stage", are wood, plastics and resins of all kinds, sheet metal and fabrication, welding and forging all come into play. When a concept is created in one of my materials or combination of materials I then need to make a series of molds of the original model. These molds can be made in plaster, various poured resin materials, or sand. Eventually I will have a final pattern made in a rigid material like polyurethane plastic or cast aluminum. Using this pattern which represents my original form ,I can make rammed sand molds in the foundry. It is these sand molds into which I cast the bronze or other metal. When the metal cools I shake the sand away and a rough casting of my original sculpture emerges. Many types of finishing operations follow including, cutting, belt sanding, die grinding, sand blasting, tumbling, oxidizing, polishing and lacquering.
TAI Which are the most commmon technical pitfalls that a beginner working in the same art is more likely to commit ?
SN Where could I start to answer other than to say, do not enter into this craft lightly. The foundry process is without question the most technically demanding craft there is. This is not like throwing a pot and sticking it into a kiln while you drink cappuccino. It involve a multiplicity of disciplines and it could be a very long time before you succeed. Having said all this though I would never discourage a truly ambitious person from actually doing it. I have devoted my life to this thing and I have met and been mentored by many very interesting and talented people. Our community of foundry folk is very small and I would be glad to help anyone I could in there quest. I would say start small, visit some foundries read some books get some equipment together and give it a go.
TAI You accept custom orders. Which themes are most the requested ?
SN I will accept custom orders but usually when they hear the price for a one of a kind bronze the phone goes dead. Where my process shines is in making multiple pieces ,where the development costs can be amortized over the whole job. So if we can make you a hundred sculptures I might be your man.
TAI Can you be contacted to provide workshops or personal instruction ?
SN I would be happy to provide instruction but, I am a full time working artist trying to make a living at my craft. I have no interest in wasting my valuable time with dilettantes or prima donnas.
TAI What kind of major work would you like to embrace and what are your projects for the near future ?
SN I would love to do large wall installation of my cityscape work, either cast aluminum or resin. I will also continue to create my cast metal toys for the near future.
TAI Are you artworks available for personal viewing ?
SN My art works are available for personal viewing in my studio gallery, art shows, or by viewing my web-site.
TAI What advices can you give to owners of bronze objects to maintain them in good conditions ?
SN Dust them, wax them, enjoy them.
Scott Nelles keeps developing an entirely new line of pieces showcased by the toy cars, boats, candlesticks and small animals that he now makes in his studio. This line of works as well as those created over the years are available for purchase from him and in galleries nationwide, and can be viewed at the Nelles Studios website.
Wednesday, March 9, 2011
The chosen theme is The Great British Landscape and the entrants are invited to submit jpegs of their works by e-mail (image files must be 300 dpi and be between 1MB and 2MB) or send photographs by post, in both cases accompanied by a brief description.
Only one photograph per entry and one entry per person will be accepted.
Paintings that have won any previous competitions are not eligible.
A selection of ten finalists will be contacted on April 6, 2011 and asked to submit their original work for the final round of judging.
The winner will be announced and their work published in The Sunday Telegraph on Sunday, April 24, 2011.
A beautifully crafted mahogany box of Winsor & Newton art materials worth £445, courtesy of Cass Art will be attributed to the winner and the other runners-up will receive each £10 Cass gift vouchers.
Deadline for entries to the Sunday Telegraph Watercolour Competition is midnight Wednesday March 23 2011.
Tuesday, March 8, 2011
Dedicated to the art of panoramic photography, the Epson International Pano Awards is the largest and most important competition of its kind showcasing the works of panoramic photographers worldwide.
The second edition of the Epson International Pano Awards is open to all professional and amateur photographers worldwide and will offer a total of US$25,000 in cash and prizes.
Each overall winner will receive $1000 in cash and other great prizes.
Category winners and runer-ups will also receive cash awards and other prizes.
Entrants can participate is three categories: Open Awards, Amateurs Awards and VR/360 awards, each being divided in specific sub-categories, with the exception of the VR/360 which free. Fees are applicable and there is no limit for the number of entries.
Regular entries are open until Friday 15th of April 2011, with a late entry period between the 16th of April and 30th of April. Late entry fees will apply. Before submiting their entries, participants are advised to read the competition rules.
The previous edition received 2740 images submitted from 945 photographers in 79 countries. View the galleries of the 2010 winners and the top 50 of each category.
Monday, March 7, 2011
Wednesday, March 2, 2011
"French Window" at the Mori Art Museum - Looking at Contemporary Art through the Marcel Duchamp Prize
ADIAF has hosted the Marcel Duchamp Prize (Prix Marcel Duchamp) since its foundation, but now to celebrate the first decade of existance, the exhibition will take place at the Mori Art Museum in Tokyo, Japan.
The exhibition, entitled "French Window" will show a selection of paintings, sculptures, installations, photographs and videos by 28 artists, including all of the winners of the prize, selected finalists, as well as relevant works by Duchamp.
The exhibition can be visited between March 18 and July 3, 2011.
Learn more about Marcel Duchamp's works, including "Fresh Widow"(pun) created in 1920.