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.css-14iz86j-BoldTextfont-weight:bold;If this 2021 art preview stirs within you a strange feeling of déjà vu, do not be alarmed. You are not having an extra-sensory experience, merely proving yourself to be a loyal reader.
This time last year I was enthusiastically recommending you look forward to the opening of the Academy Museum in Los Angeles, the ninth edition of Artes Mundi in Cardiff, and the long-awaited launch of the Grand Egyptian Museum in Giza near Cairo.
I made no mention of the imminent pandemic, which caused the postponement of all three events. And so, once again, I enthusiastically recommend…
The opening of the Academy Museum of Motion Pictures is due to happen at the end of September in LA. It is a funky-looking institution dedicated to the art and science of movie-making that is finally becoming a reality in Tinsel Town, the spiritual home of the art form.
Artes Mundi has established itself as the pre-eminent art prize in the UK, bringing an international rigour and scope that is missing from the ageing Turner Prize – a one-time guide to the zeitgeist, which now feels like Lewis Hamilton’s tyres at the end of a hard race: worn out and off the pace.
Not so Artes Mundi 2021, which opens across three venues in Cardiff in February, with a stellar list of artists from across the globe vying for a prize that has been won in the past by Theaster Gates and Teresa Margolles.
The Grand Egyptian Museum is another project that’s been waiting in the wings for ages before making its long-heralded appearance on the public stage. All being well, that will happen at some point in the second half of the year, when the self-proclaimed home of “the world’s greatest ancient treasures” – including Tutankhamun’s world-famous burial artefacts – will finally open having been delayed more times than the 7:21am train to Reading.
London has its usual array of eye-catching openings and exhibitions, not least the return of a fully refurbished Courtauld gallery late in 2021. It was close to perfect before the makeover, so expectations will be high to see what more it could do with its exquisite collection of Impressionist, post-impressionist and Barque paintings.
It’ll be a very warm welcome back to Édouard Manet’s Un Bar Aux Folies-Bergère, Vincent Van Gogh’s Self-Portrait with a Bandaged Ear, and the most wonderful collection of Cézanne paintings in the UK.
Meanwhile, on the south side of the Thames at Tate Modern, crowds will be forming a socially-distanced queue to step into one of Yayoi Kusama’s Infinity Mirror Rooms.
I know things are a little uncertain at the moment, but my tip would be to book your spot sooner rather than later for a show that is due to open 29 March.
Staying with the world’s most popular museum of modern art, it is worth noting Lubaina Himid, the Turner Prize-winning artist, is the subject of a monographic show from 25 November. Expect theatre and politics.
Over at the National Gallery – which has been on excellent form of late – you can embark on Dürer’s Journeys: Travels of a Renaissance Artist from 6 March to 13 June, taking in his inspirational visits to the Alps, Venice and the Netherlands.
If the master of the northern renaissance is a bit old school for you, why not give the Liverpool Biennial (20 March to 6 June) a try? It is the largest contemporary art festival in the UK and always has unexpected treats to discover and enjoy.
And while we’re on the subject of contemporary art, hop across the water from Liverpool to visit the splendid Ulster Museum, which nestles in Belfast’s beautiful Botanic Gardens. From 30 April it will be presenting a career retrospective of Willie Doherty, the two-time Turner Prize-nominee who remains one of the most thought-provoking artists of his generation.
The V&A presents two shows that look unmissable. The first is at the fabulous V&A Dundee (worth a visit for Kengo Kuma’s building alone), which brings us, Night Fever: Designing Club Culture (27 March to 5 September).
The show is described as the first large-scale examination of the relationship between club culture and design, charting the evolution of nightclubs from the 1960s to today. The wearing of a Travolta-esque white suit with flared trousers is purely voluntary.
Meanwhile the V&A in London has what might well be the show of the year. Epic Iran opens on 13 February with more than 300 objects spanning 5,000 years, from the country’s pre-Persian roots to today’s Islamic Republic. The British Museum is loaning its circa-2,500-year-old Cyrus Cylinder, a vessel on which an ancient proclamation of human rights was written in Babylonian cuneiform.
Meanwhile, National Museums Scotland (NMS) is dusting off its stellar collection of typewriters for an exhibition called The Typewriter Revolution (28 May to 26 September), which will explore the creative, social and political impact of the communications machine.
There will be starring roles for Olivetti’s famous red Valentine (1969) designed by Ettore Sottsass, alongside an 1875 Scholes & Glidden typewriter, the first to have a QWERTY keyboard, which is a gorgeous thing to behold.
It came over 40 years too late for Sir Walter Scott, whose 250th birthday NMS will be celebrating with a free exhibition of the objects and books that inspired the great author. Alternatively, take a trip to his old home in Abbotsford, which is a jewel among the nation’s many visitor attractions.
Last, but definitely not least, is Coventry City of Culture, a year-long celebration of arts and creativity that kicks off in May with Coventry Moves, a city-wide event being made with local people on an impressive scale.
Other highlights include a three-day musical festival in July curated by Terry Hall, the Coventry-born lead singer of The Specials, and Faith – a 24-hour theatrical event co-produced with the Royal Shakespeare Company in September.
Given the pandemic, it is essential to double-check dates on the exhibitions and art events mentioned above. They are but a handful of the thousands taking place in 2021, in what promises to be a flowering of creativity and beauty celebrating human ingenuity and optimism.
I can’t wait!
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Art for art’s sake
(Content warning: some videos [especially Understanding Contemporary Art 8.1] show artworks with unsettling themes or images of blood.)
With our winter break coming to a close and lockdown forging on, we could all use some lighthearted entertainment. As the winter term starts and students gain excitement for a new beginning (and new year), there is an opportunity to learn and expand our art education. Abbozzo Gallery is helping make art education easier and more accessible with a new educational project. This unique, video-based project is broken down into eight chapters: chapter 1: introduction to modern and contemporary art, chapter 2: understanding an artwork, chapter 3: starting an art collection, chapter 4: the art market, chapter 5: investing in art, chapter 6: the role of commercial art galleries, chapter 7: conceptual art, and chapter 8: photography.
This organizational method allows for easier access and absorption. The videos are collected through YouTube, which provides captions for those who are deaf or hard-of-hearing, and the descriptive nature of the videos allows for the visually impaired to participate. There is a concern regarding some of the videos that rely heavily on images, however, meaning that visually impaired individuals cannot utilize them in their learning. Each section provides a series of videos presented as lessons, interviews, documentaries, and panel discussions to help us consume the material while teaching us about art.
Although the videos differ in length and in publication date, this does not dictate the amount of information given. Some shorter videos focus on one subject and look at it in depth, while longer ones provide overviews of modern and contemporary art and vice versa. The amount learned from each video simply depends on how much time or interest you have to give; one can still gain a good basis of understanding by picking and choosing videos with the presentation format that best works for them. I will not be discussing each video in length but will highlight some key points or ideas.
chapter 1 starts with a video about abstract art. It discusses the lack of understanding that existed when abstract art first emerged. As with anything that is new and that challenges traditional ways of thinking, people initially lacked mechanisms for understanding abstract art. Artists like J.M.W. Turner, James Abbott McNeill Whistler, and Victor Hugo demonstrated that abstract style is not necessarily abrupt through their depictions of real things, like landscapes, to show that such subjects can look abstract, too. In other words, abstraction does not entail a total disregard for realism, a style that was highly regarded at the time. Abstraction was not widely accepted, as many were not used to taking on the perspective that this art form provides. This style shifted the lens by which people considered and looked at art. The change in art that abstraction demanded occurred in parallel with the changes brought on by the Industrial Revolution in the nineteenth century and the development of photography, which contributed to the emergence of abstract art.
The development of photography allowed artists to pursue their interests in depicting natural things in non-naturalistic ways, as seen in the works of Matisse and Andre Derain at the turn of the twentieth century. Before photography, people wanted to depict and have things depicted as accurately as possible, which allowed art to act as a form of record. With the development of photography, a medium that takes a snapshot of the scene or subject in front of the lens at a given moment, artists were allowed to begin experimenting with the abstract and non-realistic. As a result, new art movements occurred such as Fauvism, Cubism, Futurism, Expressionism, etc.
Art was used to portray new thoughts, feelings, levels of consciousness, and processes while calling on works from many different cultures. This widespread art movement allowed for subjectivity, and it has a timeless quality of critically analyzing art and our world. Although many saw abstract art as a drastic change, abstract forms had already existed in the traditional world (e.g. religion, currency).
Some of these educational videos use sophisticated terminology (which is usually defined or explained), while others use pop-culture references relevant to the time of publication to help viewers gain an understanding of the material. For example, the second video gives basic information—like the fact that modern art embodied an era of experimentation spanning approximately from the 1860s to the 1970s—to the analysis of such information, as is seen with the statement that art mirrors society, thus allowing viewers to analyze themselves and the world. Given that the video was produced in 2014 and was intended for junior/senior high students, it provides a good starting point for those new to art history while solidifying the knowledge of those previously acquainted with it. The second video, like many others, provides a general overview of art history leading up to the birth of modern art and modernism itself. Since these videos were produced earlier in time, some of the beliefs or theories purported about art reflect the scholarship at that time. It is important to note that art continues to grow and change.
The next few video chapters are a series of contemporary and modern art classes from Open Online Academy, New York. The instructor uses his own literature to teach and provides a more thorough account of art compared to the previous video. By using and explaining relevant terminology, the instructor allows viewers to become familiar with such terms and learn how to apply them to art. He importantly points out a helpful tool for understanding new art forms: by juxtaposing them with the prior style(s). The instructor pinpoints Manet’s Music in the Tuileries, 1862 as the hallmark of the turn to modernist art, regarding the lack of both a vanishing point and the traditional use of depth. This series has specific videos on particular artists to better contextualize one’s understanding of modern art, and concludes with contemporary art. The use of well-known artists grabs the attention of newcomers while adding some lesser-known paintings for comparison. Artists such as Duchamp, Kiefer, Pollock, and Rothko are discussed in terms of their contributions to modern art and the beginnings of contemporary art, which started around 1960.
An analysis of these art movements allows one to identify the questions that such movements raised about art, like with ready-made art. The focus on meaning and challenging the definitive was new to people who were used to looking at realistic artistic compositions. Many people disliked and continue to dislike modern and contemporary art but fail to recognize its meaning and significance. Understanding contemporary art first requires learning more about it, which, in a way, makes this art less intellectually accessible. Like abstract art, ready-made works use the familiar (i.e., recognizable forms) and change or challenge their meaning in an engaging, philosophical discourse.
Ready-made art or paintings like Whistler’s challenge the definition of art (is art really even definitive?). A video from The Guardian also questions art, in an honest way, by asking and suggesting answers to the question, “What is art for?” Important ideas are called into question regarding who gets to define art. In Whistler’s case, he was central to debates and underwent lawsuits that called these exact ideas into question.Although these videos focus on the most popular or important pieces of these artistic movements, one should note that there were many contributions to these movements from all over the globe. Europe, especially Italy and France, was seen as the birthplace of or leading contributor to many art styles, but one should still consider art coming from all areas during these times.
The TEDx Cornell Tech chapter addresses common issues and challenges faced when considering modern and contemporary art in order to help viewers understand the role and social impact of these movements. The video argues for an increasing inaccessibility to art, which is ironic if you think about it. In the age of technology, art is more physically available, yet to many is considered more intellectually out-of-reach. Overall, this video suggests some reasons for this and how we can ameliorate them.
Although technology is quite impressive, it is not seamless, as exemplified in the next video’s play-back issue (which may be dependent on the specifics of location or network connection—another downfall of technology that I am sure many of us are familiar with).
I hope that the discussion of Abbozzo Gallery’s educational project has sparked your interest. As aforementioned, this is not a comprehensive summary of the entire chapter but highlights some important and interesting ideas that are cohesive throughout the chapter. with art, it is best to be your own critic and go and judge for yourself. I hope you enjoy the project and take this opportunity to learn more about art!
Source: – Strand
Fantasy just one spot on young local artist's exploration of art – Yorkton This Week
The great thing about art is its diversity.
There are different styles and mediums to satisfy the tastes of varied artists and of those viewing the results.
For artist Jewel Reynolds, the variety is one of the things which has inspired her creativity.
Obviously fantasy is a preferred theme for you. Why? What is about fantasy you like?
“Iactually started out with realism and a passion for wild cats, like Iwas obsessed,”said Reynolds. “Ididn’t like house cats I only liked wild cats, me and my dad actually painted one of my rooms with all the wild cats you could think of on one wall. It was amazing and Iloved it.
“Meand my siblings would bike ride all the way to the Guzoo which was five miles out of town (she grew up at Three Hills, AB.), and feed the animals, this way we would get a free pass in.
“I would bring my sketch book and just have a day of drawing the animals until it was two then we would bike back.”
But as an artist Reynolds’ focus evolved.
“I also went througha phaseof drawing people,” she said.
“Then Ifound it got borderline boring so I started experimenting.
“Iwould make crazy alien creatures and I found it more fun to come up with stories about places that creature would live, why they needed wings or pale blue eyes, why they looked they way they did.
“Or, just in general coming up with an environment that’s out of this world.
“They just became art pieces Icould explain and share.”
Today, fantastic permeates much of Reynolds’ work, although at only age 30 Reynolds, who has lived in Yorkton since 2016, may yet evolve her work.
Whether she does change her focus, it will just be another step on a path started when she was just a youngster.
“I was interested in art at a really young age because my father, (Robert Sieben), is an artist so I would always draw and colourwith him,” she said.
The passion grew from there.
“Art was always my favouritething to do in school,” said Reynolds.“I used to do lots of crafts and was even encouraged to enter colouring contest and events at a young age.”
Reynolds’ interest in varied mediums started at a young age too.
“My first wood burning was of a lynx drinking water at a watering hole,” she said. “My dad came into my room one day and said ‘Jewel I can trust you right?’, then proceeded to hand me a old school wood burning kit. He just wanted to ensure I didn’t tell my mother and that I didn’t burn the house down or hurt myself. That was in grade eight I do believe.
“I used the back of the original burning kit wood sheets provided, needless to say it snapped in half and I ended up just getting rid of it.”
But the journey had begun.
“My earliest art piece that was recognized in my school was in Grade 5,” said Reynolds. “We ended up painting it on a piece of paper to hang in the gymnasium for a performance, I actually still have a picture of the original art piece, My teacher Miss Wiebe laminated it for me and put a boarder around it.
“I just remember being proud and kinda upset since the paper that the art work was painted on had fallen the night before, and they hung it back up up-side-down.
“I was also recognized for art in Grade 6 and Grade 7 and received medals.”
Gaining some in-school recognition fired Reynolds’s interest farther.
“It wasn’t actually the piece that spurred me it was the people that encouraged me,” she said.“Myfamily was always saying ‘Jewel that’s cool you should sell it and make something of it’.
“Sometimes friends or classmates would say ‘wow that’sgreat. Can you draw me something?’
“I always had a great support from my family, my friends my teacher Miss Wiebe.”
And the encouragement continues to help.
“Finally I created my first painting collection due to my great partner Caleb Campbell,” said Reynolds. “So many times Ihave asked him his thoughts or advice about things.
“He also encourages me to finish projects and art pieces before Iwould just give up and walk away.”
But, where does Reynolds gain her inspiration, especially as her work takes on a fantastical focus?
“Sometimes Ihave dreams that are so wacky and random, but some of my art has come from those dreams,” she said.
“Some art Ihave painted is inspired by photos or just little cute things Irun across via social media.
“But most is just from my imagination.
“Some of my art work coming out now Ihave actually done while super young but held onto because Iwanted to make its day-view into the world as wondrous as Ienvisioned, and wanted to work out all the kinks and mishaps before Iput it out there.”
So does Reynolds have a favourite among her works?
“Honestly this is impossible to answer,” she said. “Ihave done art my entire life and Idon’t think I can pick a favourite.
“A lot of my older stuff was not as good as where I am today with my own style and likes, so more current work is more my favourite.
“Honestly, I cant tell you which one I like more because Ilike each one for their own reasons.
“And, Ifind them all beautiful in their own way.”
It’s much the same when it comes to what medium she likes best.
“I have tried tons of mediums,Isew, draw with markers, pencil crayons, carve, resin, paint with acrylic, oil or watercolour,” said Reynolds. “Ieven recently started trying upholstery and tattooing.
“Ijust like learning new things, and Idon’t think Iwill ever stop trying new things. All of the mediums I’veused so far Ilove. Ican’tpick one over the other.”
Now Reynolds is taking another step, putting her creations out there for the public to purchase. It was not an easy step to take.
“Honestly yes I’mhorrible at advertising myself and not much confidence when meeting new people,” she said. “I just recently was encouraged by Caleb to try and he gives me the confidence to even just put it out their. I’m kinda a recluse when it comes to going out; it’sonly to replenish my stash of crafts or tools and Istruggle with talking about my art work.
“More or less I hoping my art speaks for itself.”
Anyone interested in her works can contact hervia Facebook or email at firstname.lastname@example.org
Will Online Art Auctions Be 2021's Hot New Trend in the Art World? – Yahoo Finance
Park West Gallery, the world’s largest art dealer, is thriving and breaking records with their new live-streaming online auctions.
SOUTHFIELD, Mich., Jan. 19, 2021 /PRNewswire/ — Has the global pandemic changed how people are buying art? There is growing evidence to show that art collectors are enthusiastically embracing online auctions as an appealing and safe alternative to purchasing art in-person.
Park West Gallery was one of the first art dealers to pivot to online auctions during the earliest days of the COVID-19 outbreak. Founded in 1969, Park West is the largest art dealer in the world and they have been holding live-streaming online auctions for their collectors over the past nine months.
“We knew collectors would love our new online experience,” said Park West Gallery Founder and CEO Albert Scaglione. “But what we didn’t anticipate is how quickly that segment of our business would grow.”
Since the start of 2021, Park West has seen record sales and attendance at their online auctions. In fact, over the January 15-17 weekend, the gallery sold 1,559 works of art, the largest number of works that Park West has ever sold during an online auction weekend—breaking their previous record set only two weeks ago on New Year’s weekend when a special three-year-old guest auctioneer brought down the hammer on the record-breaking sale.
“There are many benefits of auctioning art online,” said Scaglione. “One of the biggest benefits is the selection you can offer. When we’re auctioning at an event or on a cruise ship, there is a finite amount of art we can fit into the space. But, when we’re online, the variety of art that we can offer to our clients is simply incredible. And we’re taking advantage of that every week.”
One of the highlights of this past weekend was record-breaking sales from two of Park West’s hottest new artists, Ashton Howard and Jon Rattenbury. Howard is a Florida native who has won critical acclaim for his works of “Fluid Realism”—a technique he invented that captures the light and movement of water in a truly unique fashion. Jon Rattenbury, a popular contemporary artist, is well-known for his “dimensional acrylic” paintings, which give his landscapes an otherworldly level of texture and depth.
The January 15-17 weekend also saw record sales for works by the late great Jean-Claude Picot, the renowned Post-Impressionist who passed away in August 2020.
“We’ve really seen a huge uptick in our online art auctions in 2021,” said Park West Principal Auctioneer Jordan Sitter. “I had a client last weekend who knew us from our cruise auctions who had never attended one of our online auctions before. She saw some of our recent press coverage and decided to attend her first one. She ended up spending over $100,000! Art collectors are really responding to this new format.”
This new surge in online art collecting aligns with 2020 research from Barron’s, the Dow Jones & Company magazine, which noted that the COVID-19 crisis could fundamentally boost online art sales and predicted that the shift to online platforms for art collecting could be “both permanent and transformative.”
About Park West Gallery
Park West Gallery is the world’s largest art dealer, bringing the experience of collecting fine art to more than 3 million customers since 1969. Whether it’s masterpieces from history’s greatest artists or the latest artwork from leading contemporary icons, Park West offers something for everyone through its accessible art exhibitions and auctions all over the world. You can learn more about Park West Gallery and its over 50-year history at http://www.parkwestgallery.com
Park West also hosts live-streaming online art auctions every weekend. To learn more about Park West’s online collecting events, visit https://www.parkwestgallery.com/online/
CONTACT: Tom Burns
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SOURCE Park West Gallery
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