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Mexican art critic shatters $20,000 piece by resting pop can on it – Global News

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Mexican art columnist Avelina Lésper is facing harsh backlash for taking her destructive criticism a little too far after she accidentally destroyed a glass sculpture she hated by resting a pop can on it.

Lésper has admitted to accidentally destroying the sculpture by artist Gabriel Rico on Saturday during Zona Maco, Mexico’s premier art fair held in Mexico City. The glass-and-stone sculpture featured several items suspended inside it and was worth an estimated US$20,000.


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Lésper says she left a pop can on top of the installation to show her disdain for it.

“The work shattered into pieces and collapsed and fell on the floor,” Lésper said in a video released by Milenio, the Mexican media group that publishes her art columns.

“It was like the work heard my comment and felt what I thought of it.”

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Rico’s work often proves divisive among critics, because he likes to suspend human-made and naturally occurring objects in glass for his installations.

The OMR Gallery, which hosted the show, condemned Lésper for her “enormous lack of professionalism and respect,” in a statement posted to Instagram.


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“Lésper coming too close to the work to place a soda can on it and taking a picture as criticism without a doubt caused the destruction,” the gallery wrote. It added that Rico’s work is in high demand right now.

Artist Giovanni Emmanuel posted a video on Twitter showing people reacting to the piece’s destruction. The video shows several individuals staring at the shattered sculpture. A woman in the foreground swears and covers her face in shock.

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WARNING: The following clip contains language some readers may find offensive. Discretion is advised.

Lésper says she offered the gallery a novel solution: leave the ruined piece as-is, to show its evolution.

The OMR Gallery didn’t buy that idea, so Lésper says she offered to replace the sculpture instead.

The incident triggered divisive reactions on social media. Some mourned the destruction of Rico’s art, while others applauded Lésper for tearing down something they felt didn’t belong in a gallery.

“Avelina Lesper hates postmodern art,” one Twitter user wrote in Spanish. “Avelina Lesper breaks a piece by Gabriel Rico … and ends up unintentionally becoming a postmodern performance artist herself.”

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The gallery says it will consult with Rico before announcing next steps.

With files from The Associated Press

© 2020 Global News, a division of Corus Entertainment Inc.

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Surrey Art Gallery talks return with wildlife artist – Surrey Now Leader

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Surrey Art Gallery Association resumes its monthly Thursday Artist Talk series Sept. 8 with wildlife artist Leo Recilla.

The free talk at the gallery (13750 – 88 Ave.), titled Simplicity Meets Complexity, will run from 7:30 p.m. to 9 p.m.

A freelance graphic designer by trade, Recilla said he is always ready to work with his hands – and away from a screen – creating artwork based on ideas he’s compiled through the years.

Using techniques adapted from his studies in graphic design, the artist delights in combining realistic details with simple abstract or geometric forms.

The illustrated talk will highlight Spirit Animals, his ongoing portrait series, depicting the intricate relationship between wild animals and humans.

“The main subjects of the portraits, each inspired by the wildlife of British Columbia, are hand-drawn in realism with a lot of detail and interlocked within simple abstract or geometric forms that represent man-made interactions,” he said.

For these works, his predominant media are graphite and charcoal – occasionally mixing in inks or acrylic paint sparingly, to accentuate specific areas and achieve an intended effect.

Born and raised in the Philippines, Recilla emigrated to Canada in 2003, settling in Burnaby, B.C., where he’s currently based.

Aside from art, he said, he strives to broaden his creative horizons by designing logos and branding for small to mid-size businesses, taking and self-developing film photography at home, and occasionally doing woodworking.

For more information on his work, visit leorecilla.com

For more information on the Surrey Art Gallery Association, visit sagabc.com



alex.browne@peacearchnews.com

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What Should We Expect of Art? – The New York Times

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What Should We Expect of Art?  The New York Times



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Concordia's Art Volt Collection aims to help launch the careers of fine art grads — University Affairs – University Affairs

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The initiative includes a ‘bootcamp’ in art marketing and sales skills.

A newly launched art collection aims to support graduating students and recent alumni of Concordia University’s faculty of fine arts as they launch their careers in the competitive commercial market, while simultaneously giving the general public an opportunity to buy or rent artworks.

The Art Volt Collection (AVC) is the latest initiative of Art Volt, a platform launched in March 2020 with a variety of programs helping to help Concordia’s fine arts alumni as they transition out of school.

The new collection features about 140 artworks from 25 artists working in a variety of media, including print, painting, photography, video, ceramics and textile installations. The collection officially launched with an event at Maison du Conseil des arts de Montréal on May 17.

“It’s very important for artists to have support in the years after they graduate,” said Camille Bédard, head of AVC. “The three to five years that follow graduation are the most critical ones, because this is when artists decide if they will continue or not in their artistic path. Art Volt is there, at this pivotal moment for them.”

The not-for-profit service is supported by the Peter N. Thomson Family Innovation Fund. In 2019, the Peter N. Thomson Family Trust gave a $5.6 million gift to Concordia’s faculty of fine arts. That donation supports three areas, including the innovation fund. Each year, the AVC will make a call for submissions to acquire new art, from artists who have graduated in the past five years. Graduating students and alumni submit their work to be reviewed by a professional jury, made up of faculty, artists and curators.

Twenty-five artists were selected for the first collection, a number that could grow in the future, Ms. Bédard said. The artists’ work is showcased online, providing exposure and connections to patrons interested in renting or buying pieces, and there’s are also plans for future in-person exhibitions.

Another major component of AVC is professional development. Prior to the collection’s launch, the first group of artists attended a day and a half of “bootcamp” training, covering topics including how to properly package artwork, price pieces, and how to write a bio and artistic statement. “All the workshops that we give at the bootcamp are skills that they don’t necessarily learn at school, but they need,” Ms. Bédard said.

That focus on professional development, alongside the jury process for selection, sets the collection apart from other university initiatives that rent or sell student art. “It’s really about supporting their careers as they enter their professional life. We’re covering a wide range of skills that are part of the artistic life, but that you don’t learn while you’re at school,” Ms. Bédard said. “Art Volt is somewhat of a transition between university and real life.”

One of the artists in the first collection is Alexey Lazarev, a Montreal-based multidisciplinary visual artist who graduated from Concordia in 2019. He first participated in the Art Volt platform’s workshops and presentations before successfully submitting his work to the collection. A few of his pieces sold at the launch event, and a few more have sold through the collection’s website.

“Participating in a program like this has helped me understand the realities of the business, what it takes to be an artist, and to have some sales and make some money. It’s also good for visibility and to make new connections,” Mr. Lazarev said. “I think more universities should do a program like this; it really adds value.”

While the program’s model is unique to Concordia, Ms. Bédard sees opportunity for other universities to adapt it to meet their own needs. “I would suggest thinking, what do your artists and students need, in terms of making it into the art world? What can you offer them to help them? Maybe it’s providing them with skills and certain tools, or maybe it’s exposure,” she said.

Already, the collection has helped showcase student artists to the broader university community by providing opportunities to buy or rent original art. “There are lots of offices in universities but there was previously no way to have artworks by students in those offices,” Ms. Bédard said. “With the collection, we’ll bring artworks of Concordia students into Concordia offices, instead of having just random artworks.”

Anyone can purchase or rent artwork from the collection, but first they have to become a member of the AVC. Annual memberships start at $25, and philanthropic donations of $250 or more include automatic membership in the collection, alongside other perks. Artists set their own prices for their pieces, and the AVC takes a 30 per cent commission on sales, which Ms. Bédard said is lower than the industry standard of 50 per cent.

Already, plans are underway to expand what is available through the AVC so that graduating students and alumni from all nine departments in Concordia’s faculty of fine arts are eligible for transitional support. Acquiring a theatre play is not the same as acquiring a painting, Ms. Bédard said, so the focus will be less on buying and selling and more on providing artists with increased visibility and connections in their fields.

One way to do that is through partnerships. For example, performances will take place this August and September featuring the work of Concordia students in dance, visual arts and theatre at Art POP, the visual arts segment of the POP Montreal International Music Festival.

“The collection has just started, and already there are so many more ideas that we have in mind to develop,” Ms. Bédard said. “Having access to that visibility and exposure is really key.”

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