Showing posts with label Global Art News. Show all posts
Showing posts with label Global Art News. Show all posts

World Art Day to be celebrated April 15

World Art Day to be celebrated April 15

ISTANBUL - Hürriyet Daily News


The International Association of Arts has declared April 15, 2012 the first World Art Day, and the event will be celebrated worldwide.

At last year’s world general assembly meeting of the International Association of Arts (IAA) in Guadalajara, Mexico Turkey’s national committee president Bedri Baykam presented a proposal suggesting that Leonardo da Vinci’s birthday, April 15, be declared World Art Day. The proposition was co-signed and presented by Rosa Maria Burillo Velasco of Mexico, Anne Pourny of France, Liu Dawei of China, Christos Symeonides of Greek Cyprus, Anders Liden of Sweden, Kan Irie of Japan, Pavel Kral of Slovakia, Dev Chooramun of Mauritius, and Hilde Rognskog of Norway. It was voted on and unanimously accepted by the IAA’s General Assembly.

Given Leonardo’s multi-faceted personality as a painter, sculptor, thinker, writer, innovator, mathematician and philosopher, his birthday was seen as a perfect choice for a day to commemorate the role of art in the contemporary world, with its complex artistic, social and political layers.
All the national committees of the IAA will be contributing to World Art Day through festivities, exhibitions, panel discussions, posters, banners and parties, emphasizing the role of art in achieving peace and freedom. From Mexico to Japan, from France to Sweden, from Slovakia to South Africa, from Cyprus to Venezuela, countries on all continents are preparing to celebrate World Art Day in different ways.

Day for artists

The IAA designated April 15 as World Art Day with the intention that it will be a day for all artists and art lovers in the world to celebrate, not only members of IAA. The idea is to create a day to emphasize the importance of art in the lives of everyone, of all ages and races. Every gallery, museum, art center, university and artist are free to organize their own activities.

The President of IAA World, Mexican Rosa Maria Burillo Velasco said, “Art is the most genuine expression of the human soul, shaped in images words, sounds and movements enduring reflections that describe us the story of humanity. World Art Day will permit to all the artists and art lovers of the world, to feel the power and the preciousness of art simultaneously and let all of us breathe its importance for all nations of the World

AUDI e-bike worthersee


the AUDI e-bike wörthersee


at the wörthersee tour in austria, AUDI unveiled its 'wörthersee' performance electric bike for sports and trick cycling.
designed incorporating technology from AUDI cars, with testing and feedback from competitive cyclist julien dupont.
the bicycle also offers smartphone connectivity for the recording of stunts, and optional automatic stabilization
when performing wheelies and other tricks.

completely designed and manufactured at AUDI, the 'wörthersee' offers the highest output of any production electric model
at 2.3kW (a power-to-weight ratio of 9kg (19.8lb) per kilowatt). riders can use one of five travel programs, including the
human-powered only 'pure' mode; 'pedelec' mixed-use, with a top speed of 50 mph (80 km/hr) and range of 31-44 miles (50 - 70 km)
per charge; or 'eGrip' electric-only mode, with a top speed of 31mph (50km/hr). the e-bike's nine-speed, hydraulically actuated
gear shift is modeled after the quick response of the R-tronic transmission of AUDI R8s.

the lithium-ion battery pack of the 'wörthersee' is easily removable, charging completely in 2.5 hours.

continue reading for more about the production model of the e-bike, or see the concept sketches, early renders,
and design notes at designboom's exclusive feature, 'designing the AUDI e-bike wörthersee'.



full profile view


the frame of the bike is composed of lightweight carbon-fiber-reinforced polymer (CFRP) and weighs 3.53 pounds (1.6 kg);
the wheels feature 2-inch CFRP rims and blade-pattern spokes, the flat design of which increase the transmission of pedal power.
including the battery and motor, the bike weighs 46.3 pounds (21 kg).

LED lighting is integrated into the handlebar and seat. the seat's height can be adjusted through controls on the handlebar;
for example, for trick cycling, the bike's seat can be lowered to run flush with the frame, returnable to normal riding position
with the touch of a button. a multimode electronic control system also supports the rider when performing backwheeling,
wheelies, and other tricks.



julien dupont demos the production version of the AUDI e-bike wörthersee


an on-bike touchscreen computer interfaces with smartphone via WLAN, and video can be recorded via the in-helmet camera
and uploaded via the mobile device to the web. an online portal lets trick cyclists compete against one another, earning points
for successful tricks that have been videotaped and uploaded.



the AUDI pavilion at the wörthersee tour where the e-bike was debuted



trick cyclist julien dupont performs tricks with the 'wörthersee' on the rings of the AUDI logo at the wörthersee pavilion



via smartphone app or handlebar control, the bike can be set to automatically stabilize for the performing of wheelies and other tricks



additional view



3/4 rear view



3/4 top view



detail, handlebar controls



detail, nine-speed hydraulically actuated gear shift of the bike


http://www.youtube.com/watch?v=wdShjFWgh9E&feature=player_embedded

take a behind-the-scenes look at the design of the bike in designboom's exclusive preview 'designing the AUDI e-bike wörthersee'.

Lee Sandstead's Dirty Little Secret





Art historian Lee Sandstead has a dirty little secret:  many of the paintings he had been taught to admire when a student, were disappointments when he saw them in person.  This is by no means a condemnation of the artists who painted the works, nor of Sandstead's teachers for lavishing praise upon these paintings.  It is just that whenever Sandstead encountered these pieces in museums, he noticed that the elements which had originally made the paintings special were missing or obscured.  The problem he found was that many artworks are in need of a good bath.




“This might sound rather incredible,” says Sandstead, “but most classic paintings in a museum need some kind of conservation, such as replacing the varnish. And even more incredible, in all of my art history classes that I have ever taken, no professor had ever mentioned this very basic—yet crucial—fact.”
Sandstead's quest to see paintings as they were "intended to be seen" began with Leonardo daVinci's La Giaconda (the Mona Lisa).  When he first saw it in its current state, he was . . . underwhelmed.  “I sat there looking at this very small and dark painting behind three inches of bullet-proof glass scratching my head in puzzlement. Where were her eyebrows? Why is she so yellow?”
He knew from the account of Giorgio Vasari, who described La Giaconda in 1547, that there was once something more to the painting:

In this head, whoever wished to see how closely art could imitate nature, was able to comprehend it with ease; for in it were counterfeited all the minutenesses that with subtlety are able to be painted, seeing that the eyes had that lustre and watery sheen which are always seen in life, and around them were all those rosy and pearly tints, as well as the lashes, which cannot be represented without the greatest subtlety. The eyebrows, through his having shown the manner in which the hairs spring from the flesh, here more close and here more scanty, and curve according to the pores of the skin, could not be more natural. The nose, with its beautiful nostrils, rosy and tender, appeared to be alive. The mouth, with its opening, and with its ends united by the red of the lips to the flesh-tints of the face, seemed, in truth, to be not colours but flesh. In the pit of the throat, if one gazed upon it intently, could be seen the beating of the pulse. And, indeed, it may be said that it was painted in such a manner as to make every valiant craftsman, be he who he may, tremble and lose heart.¹

What then was Sandstead missing?  Though he had not been taught the fact in school, he soon realized that for paintings, classical paintings, to be understood, several items were needed:  the removal of centuries of dirt and grime, the removal of yellowed and aged varnish, the addition of a new varnish to bring out the colors and increase the depth of the darks, and some good, controlled lighting in which to view the works.
As Sandstead says, ". . . before you can understand an artwork. . . (its) characters, symbols, messages, themes, etc., you first have to know what you are looking at."
Searching out works in museum's throughout the world, Sandstead, a talented a photographer in his own right, began taking pictures of paintings in need of cleaning, and correcting them digitally so he could appreciate the works as they were intended to be viewed.




Now, Sandstead, whose TV show on The Travel Channel, Art Attack with Lee Sandstead, revealed the man to be "the world's most fired-up art historian," is trying to educate the public about what they should be seeing, at least superficially, when they look at a painting.  Using new technology built upon Apple's iBook Author, Sandstead teamed up with app company Tapity to release a new, interactive book, Cleaning Mona Lisa, available today at the iTunes store.  In it, Sandstead describes his disappointment with certain works which were not being presented at their best in museums, and shows examples of how some works would look if they were restored and lighted properly.





His audience is not intended to be artists, but the general public– most artists should already know that many paintings in museums have been damaged by age.  As such, though, it is very encouraging.  Sandstead's presentation is clear and simple, and his energy has the chance to encourage more people into museums.  More importantly for contemporary realists, Sandstead has a sympathy for indirect painting methods, and is eager to educate his readers in the differences between classical and modernist technique, and why they should be appreciated differently.





Cleaning Mona Lisa is available for iBooks2 on the iPad.  It can be purchased on iTunes for $2.99.  For more information, visit Sanstead's website.




¹Vasari, Giorgio, "Life of Leonardo da Vinci", in Lives of the Most Eminent Painters, Sculptors, and Architects, translated by Gaston DeC. De Vere, (London: Philip Lee Warner, 1912-1914).

courtesy:underpaintings/ 

david beckham plays beethoven with soccer balls


in an ad for the samsung 'galaxy note', david beckham sounds out 'ode to joy' on a 15-foot wall by kicking soccer balls at specific drums


in a web-only ad for the galaxy note smartphone by samsung, soccer player david beckham plays beethoven's
'ode to joy' by kicking soccer balls against a 15-foot wall of differently sized and toned drums and gongs.

shot in under two hours, the ad was directed by creative agency cheil USA. in addition to highlighting the large screen size
and S-pen stylus functionality of samsung's galaxy note, it celebrates the upcoming olympic games of which samsung is sponsor,
as 'ode to joy' has been used in several opening ceremonies and olympic commercials of years past.



the 'galaxy note' ad



in the advertisment, the director uses a 'galaxy note' and S-pen to show beckham the 'strategy' for this play

Italian museum burns artworks in protest at cuts

Antonio Manfredi torches a painting by French artist Severine Bourguignon in front of the Casoria Contemporary Art Museum 
 Museum director Antonio Manfredi set fire to the first painting on Tuesday.
A museum in Italy has started burning its artworks in protest at budget cuts which it says have left cultural institutions out of pocket.
Antonio Manfredi, of the Casoria Contemporary Art Museum in Naples, set fire to the first painting on Tuesday.
"Our 1,000 artworks are headed for destruction anyway because of the government's indifference," he said.
The work was by French artist Severine Bourguignon, who was in favour of the protest and watched it online.
"The survival of the museum is such an important cause that it justifies the despicable, and painful, act of destroying a work of art," she told the BBC.
"My work burned slowly, with a sinister crackle. It cost me a lot, but I have no other means of protesting against the loss of this institution."
Mr Manfredi plans to burn three paintings a week from now on, in a protest he has dubbed "Art War".
Artists from across Europe have lent their support, including Welsh sculptor John Brown, who torched one of his works, Manifesto, on Monday.
Welsh sculptor John Brown sets fire to one of his works in support of the Italian protest
Mr Brown told the BBC that his organisation, the Documented Art Space in Harlech, North Wales, had exhibited at the Casoria museum in the past.
He said the loss of his artwork had not been particularly upsetting.
"We work in a fairly contemporary manner so the process of making art, and the interaction with people, is more important than keeping it as a precious object."
He called the burning "a symbolic act" to "protest against the way the economic crisis is being dealt with".
"These cuts reach beyond the confines of the visual arts and affect the cohesive well-being of millions of people all over the world."
Italy's debt crisis led to the resignation of Prime Minister Silvio Berlusconi last year. Since his departure, the government has passed a tough package of austerity measures and other reforms.
Art institutions says they have been particularly affected by the country's economic woes, with state subsidies and charitable donations drying up.
House of the Gladiators after collapse Unesco criticised the "lack of maintenance" at Pompeii earlier this year
One of Italy's leading galleries, the Maxxi Museum of Contemporary Art, said its funding had been cut by 43% in 2011.
When its board of directors failed to approve the 2012 budget last week, the Culture Ministry took steps to replace them with a government-appointed administrator.
International concern was also raised last year over the neglect of Pompeii, one of the world's most precious archaeological sites.
A number of structures in the ancient city have fully or partially collapsed, including the "House of Gladiators" which fell down 18 months ago.
However, Prime Minister Mario Monti announced a 105m euros (£87m) project to reconstruct the ruins earlier this month.
'Adverse circumstances' Mr Manfredi is known as an outspoken and radical museum director.
He opened the Casoria gallery in his hometown, just outside Naples, in 2005 and several of his exhibitions have drawn the ire of the local mafia.
In 2009, a lifesize effigy of an African figure was left impaled over the museum gates following an exhibition of art that dealt with prostitution - a trade occupied locally almost entirely by African immigrants and controlled by organised criminals.
Antonio Manfredi torches a painting by French artist Severine Bourguignon in front of the Casoria Contemporary Art Museum Bourguignon's painting was completely destroyed
Manfredi has also blamed the theft of security cameras and several attempted break-ins on the mafia.
His attempts to focus attention on his museum's funding crisis have been crafted with a keen eye for publicity.
Last year, he announced he had written a letter to German Chancellor Angela Merkel asking for asylum, saying he was fed up with the government's failure to protect Italy's rich cultural heritage.
He said he would take his entire museum with him if the asylum was granted, but never received a reply.
He said the latest protest will continue unless the funding situation improves.
A statement from the museum described the first burning as "political, necessary, and compelling in the face of these adverse circumstances"
courtesy:http://www.bbc.co.uk/ 

benetton unhate campaign features kissing world leaders




united colors of benetton advertisement featuring hu jintao, paramount leader of the people's republic of china, with barack obama, president of the USA


united colors of benetton has just unveiled its new 'unhate' advertising campaign in a handful,
of cities, featuring manipulated images that show unlikely pairings of international religious and
political leaders kissing one another.

the ad campaign supports the company's 'unhate foundation' think tank and arts research center,
designed to organize events and promote acts of intervention towards a more tolerant world.
as its first series of actions, benetton organized the hoisting of large posters and projection of digital
images of the controversial advertisements in public spaces in new york, milan, rome, tel aviv, and paris.

online, the organization's 'kiss wall' invites users from around the world to upload diptyched images
that mimic kissing duos, alongside a message of tolerance and 'unhate'.

'what does 'unhate' mean? 'un-hate. stop hating, if you were hating. unhate is a message that invites us
to consider that hate and love are not as far away from each other as we think. actually, the two opposing
sentiments are often in a delicate and unstable balance. our campaign promotes a shift in the balance
.'
- alessandro benetton, executive vice president



ad featuring pope bendetto XVI with ahmed el tayyeb, imam of al-azhar mosque in cairo



north korea's kim jong-ii and lee myung-bak, president of south korea



israel prime minister benjamin netanyahu and palestinian president mahmoud abbas



german chancellor angela merkel and french president nicholas sarkozy



US president barack obama with venezuelan president hugo chavez



'guerrilla intervention' in milan, piazza duomo



'guerrilla intervention' in milan's piazza affari (milan stock exchange)



'guerrilla intervention' in new york's times square

Courtesy:DesignBoom

Bernhard Heiliger Award for sculpture goes to Argentina-born artist Fabián Marcaccio

Bernhard Heiliger Award for sculpture goes to Argentina-born artist Fabián Marcaccio

Fabián Marcaccio, CNN-Paintant, 2009. Pigmentierte Tinte auf Leinwand, Aluminium, Silikon, Alkydfarbe,

20 x 183 x 127 cm.
Courtesy: Galerie Thomas Schulte, Berlin.
  
BERLIN.- In 2011, the fourth Bernhard Heiliger Award for Sculpture honors the Argentina-born artist Fabián Marcaccio.
The award ceremony will be held on September 10, 2011, at the Berlin Academy of Arts at Pariser Platz.
The solo exhibition on that occasion at Berlin Georg Kolbe Museum opens September
11 and runs until November 20, 2011. The exhibition will also be shown at LehmbruckMuseum
Duisburg from March 15 to June 10, 2012.

Created in 1999, the Bernhard Heiliger Award for Sculpture is endowed with 15,000 EUR and is awarded by an
 independent jury. Jurors of this year's jury were Udo Kittelmann, director of the National Gallery in Berlin,
Prof. Dr. Raimund Stecker, director of the LehmbruckMuseum in Duisburg, and Dr. Anda Rottenberg,
independent curator and former director of the National Gallery Zachęta for Contemporary Art in Warsaw.
The intention of this prize is the appreciation of a sculptural oeuvre with intrinsic significance irrespective of
  art-market fashions, which has contributed considerably to sculpture or to the perception of sculpture as
an art form. Previous winners were Bertrand Lavier (1999), Fritz Schwegler (2003) and Antony Gormley (2007).

Fabián Marcaccio, born in 1963 in Rosario de Santa Fe in Argentina, has lived and worked in New York for more
 than 20 years. Since the early 1990s, Fabián Marcaccio occupies himself with the examination and extension of the
classical concept of painting. His "Paintants"—a neologism of the words "mutant" and "paintings"—merge the concepts
of painting, sculpture and object art. In Germany, his renown is based mainly on individual exhibitions at the
Württembergischer Kunstverein Stuttgart (2000) and the Kölnischer Kunstverein (2001) as well as on his participation
in Documenta XI (2002). In recent times, the ever-increasing plasticity apparent in his works coalesced into large-scale
  figurative tableaus, "The Structural Canvas Paintants", whose sculptural quality was highlighted by the jury thoroughly.
 In this new series, Marcaccio takes on contemporary issues in politics, economy and society. These include globalization,
 the banking crisis, trans-sexuality, genetic engineering and terrorism as well as the role of the media. Akin to a three
dimensional modern history painting, Marcaccio narrates current events or recent historical moments, prompting
 his viewers to question their truthfulness at the same time.

The award ceremony and the exhibition at Georg Kolbe Museum is accompanied by a bilingual (German/English)
 publication with texts be Raimund Stecker and Marc Wellmann, edited by the Bernhard Heiliger Foundation.
The entire project is made possible through the generous support of the Stiftung Deutsche Klassenlotterie Berlin.
 
Courtesy: ArtDaily

Iraq's holiest Shiite city, Najaf, will become an Islamic Capital of Culture next year

Thursday, March 17, 2011
PRASHANT RAO
NAJAF - Agence France-Presse
Iraq's holiest Shiite city, Najaf, will become an Islamic Capital of Culture next year. The Najaf celebrations are part of broad efforts by Iraqi authorities to put the country back on the cultural map after the US-led invasion of 2003 to oust Saddam Hussein led to years of brutal sectarian war. Preparations, however, are running well-behind schedule
In 2009 the culture ministers of Muslim countries chose Najaf as one of three Islamic cultural capitals in 2012 along with Dhaka for Asia and Niamey for Africa.

In 2009 the culture ministers of Muslim countries chose Najaf as one of three Islamic cultural capitals in 2012 along with Dhaka for Asia and Niamey for Africa.





















A half-billion-dollar effort to showcase Iraq's holiest Shiite city to the world is coming down to the wire as many contracts remain unsigned and funds are hastily being reallocated.
Preparations for Najaf to become the Arab world's Islamic Capital of Culture next year are under way, but officials involved in its planning admit that time is short and much remains to be done.
"We don't have enough time, we need more time," said Nizar Hussein al-Naffakh, a Najaf provincial council member and one of the event's organizers.
"We only started work at the end of last year and Najaf will become the Islamic capital of culture from Jan. 1, 2012. There are real obstacles but we hope to overcome them in order to show our city in the most positive light," he said.
The Najaf celebrations are part of broad efforts by Iraqi authorities to put the country back on the cultural map, after the U.S.-led invasion of 2003 to oust Saddam Hussein led to years of brutal sectarian war.
Iraq is due to host an Arab League summit, initially scheduled for March 29 but now delayed until the end of May due to regional unrest.
Football's Gulf Cup is also to be held in the southern port of Basra in 2013, the same year that Baghdad becomes the Arab capital of culture.
"These kinds of events, they are like the Olympic Games," said Amman-based UNESCO cultural expert Tamara Teneishvili.
"They always contribute to the development of infrastructure and they provide wide international exposure. This is very important," she said.
In 2009 the culture ministers of Muslim countries chose Najaf as one of three Islamic cultural capitals in 2012 along with Dhaka for Asia and Niamey for Africa.
The year-long festivities include conferences covering topics ranging from the legacy of Imam Ali, to whom a major shrine is dedicated in the city, to modern-day Islamophobia.
Imam Ali, a seventh-century Islamic leader who was a cousin and son-in-law of the Prophet Mohammed, is revered among Shiite Muslims as the first imam of the Shiite order, as well as being a military leader and writer.
Authorities are also planning to translate 200 works of Islamic literature into English and French, as well as host recitals of traditional Islamic music, though there will be no dance performances.
The overall budget for the Najaf ceremonies, including capital investment and cultural activities, is 537 billion Iraqi dinars ($455 million).
But of more than 70 projects that have been planned to get Najaf ready – ranging from a $100-million cultural complex to new waste treatment facilities – a fifth have not yet been assigned to contractors.
The cultural complex, comprised of a 44,000-square meter building and 115,000 square meters (1.24 million square feet) of landscape, is on time, said Turkish site supervisor Oğuz Düzen.

Its roof is due to be completed by mid-May, when the number of workers on the project will quadruple to 600 and operations run around the clock to complete the "cultural city," a single building that includes a 1,500-seat conference hall and a 750-seat theater as well as a library and a museum.
According to Aqeel al-Mindalawi, an Iraqi Culture Ministry official who is part of the 10-member committee responsible for organizing the Najaf 2012 celebrations, the complex will be handed over at the end of the year.
But he admits that a contingency planning is under way in case it is not.
"If the cultural city is not ready by the end of the year, we will set up a temporary site in the Sea of Najaf," he says, referring to a swathe of agricultural land that abuts the holy city.
"We have alternative plans, but we are still optimistic."

Several other projects designed to upgrade Najaf's infrastructure and that of twin city Kufa, however, will either not be ready for the start of next year or are slated to be completed just before the ceremonies begin.
Of two major highways being constructed, one will be finished at the end of this year while the other will be ready in early 2012. Plans to upgrade Najaf's roads have been slowed by delayed improvements to the city's sewage system, according to Mindalawi.

He blames a combination of Saddam-era administrative regulations and new rules that require a public call for bids for projects, both of which he said took too much time.

Further complicating matters is the sudden prospect of local elections this year, with delays to the formation of a national government following March 2010 elections having already set back the Najaf planning.
In response to massive nationwide protests railing against corruption, poor public services and unemployment, Prime Minister Nuri al-Maliki has backed early provincial polls for this year.

An ambitious $170 million cultural program has also been scaled back as money has had to be diverted to capital investment to upgrade the city's infrastructure and hotels.
In particular, funds have been redirected to build a five-star hotel after private investors pulled out of plans to build two such facilities in the city.
Indeed, one of the mooted benefits of the Najaf festivities – increased tourism – is limited by the lack of spare hotel capacity.

Among Najaf's 170-odd hotels and hostels is just one four-star facility, with overall city-wide capacity barely able to accommodate the thousands of Shiite pilgrims, mostly Iranian, visiting on a daily basis, principally to see the Imam Ali shrine.

The Najaf Chamber of Commerce expects 100,000 more tourists to visit the city for the 2012 ceremonies and notes few new hotels will be ready in time to accommodate the flow.
Officials are drawing up contingency plans, including one to ferry VIPs from up-scale hotels in Baghdad on day trips to Najaf, 150 kilometers south.
"There are several back-up plans," Mindalawi said, chuckling. "We have to – in Iraq, we have to."

Oprah as Muse: Five Unexpected Ways That the Talk Show Legend Impacted Art


Courtesy Getty Images
The final episode of Oprah's 25-year run aired on Tuesday.

By Julia Halperin




Courtesy YouTube
A brick wall welcoming Oprah to Australia



Courtesy Leo Kesting Gallery
Daniel Edwards's "Memories of Sophie and Gracie: A Puppies’ Memorial," 2005

On the penultimate episode of Oprah Winfrey's beloved television show, aired today, actor Tom Hanks tells the TV icon in a video tribute: "Your show has turned surprise into an art form." Over the course of her 25-year-old show, Oprah — who will depart on May 25 to run her new cable network OWN full-time — has gifted cars to her entire studio audience, introduced stars to their biggest fans, and reunited Rwandan refugees. She likes surprising her celebrity guests, too: her no-holds-barred interview with James Frey contributed, in its own way, to establishing the author's rebel-artist persona. 
But even Oprah's most avid followers may not know that while she herself is an artist of surprise, she is also the occasional muse for visual artists and a frequent patron of art institutions. In 2010, she served alongside Vogue's Anna Wintour as co-chair of the Metropolitan Museum's Costume Institute gala, while the stage door she donated to the Museum of Broadcast Communications in Chicago is currently on view through July 15. From her own deeply personal donation to a Wisconsin museum to a West Village gallery show memorializing her late dogs, Oprah's adventures with art are best described as eclectic. To honor Oprah's final show, ARTINFO has compiled a list of the top five moments in Oprah-inspired art, from the positively uplifting to the downright creepy.

1. "OPRAH WE LOVE YOU" COMMEMORATIVE PRINT
Art students at Lafayette University teamed up with visiting painter and feminist art great Faith Ringgold to create a limited-edition print in honor of Oprah's final show. The students at the school's Experimental Printmaking Institute worked with Ringgold to produce 25 silkscreen prints, a reference to Oprah's 25 years as talk show host. The exercise isn't quite as random as it sounds: Ringgold has been a guest on the show, and her work is represented in Oprah's personal art collection. The artist will present the prints — colorful, geometric renderings of the phrase "Oprah We Love You" — along with photos of the students, at the final taping.

2. AUSTRALIAN ARTISTS CLAMOR FOR OPRAH
When Oprah took her show to Australia for a week in December 2010, she certainly made her mark on the local art community. The Sydney Opera House was temporarily renamed the Sydney "Oprah" House in honor of her arrival, and her guests were granted access to the remote Aboriginal rock art formations in Australia's Northern Territory. But Oprah was also welcomed by a group of devoted local contemporary artists and artisans. For what appears to be no reason at all, a brick company spent four days and over 7,000 bricks building a wall emblazoned with a portrait of the talk show host. (The multicolor bricks create a close-up of Oprah, wearing gold earrings and some kind of brimmed hat; the Australian flag waves behind her.) Even creepier, Sydney body painter and make-up artist Eva Rinaldi started an international campaign to convince Oprah to pose for her in a bikini at various iconic Australian locations. "I have always wanted to body paint her," Rinaldi told an Australian newspaper. To promote her futile quest and presumably come as close as possible to living out her twisted and very unrealistic fantasy, Rinaldi ultimately found a Winfrey look-a-like and painted her as a lifeguard at Sydney's Bondi Beach.

3. "25 YEARS OF OPRAH" AT THE AFRICAN AMERICAN HISTORICAL SOCIETY
In honor of her final season, the New York African American Historical Society curated a retrospective of Oprah's career, compiling fan letters and props from her films alongside five original artworks by local artists. The exhibit, which opened in Harlem in October 2010, included such treasures as the original box LP album from "The Color Purple" as well as painter Cynthia Burgos's acrylic, black-and-while painting of Oprah as a child and Musa Keita's photo collage of Oprah and the many guests she's hosted on her talk show. "I wanted to represent Oprah from a Harlem prospective," Musa told the NY Daily News.


4. OPRAH'S ANGEL DONATION
In what may be the loveliest Oprah-and-art story, the television mogul donated 700 black angel figurines to the Angel Museum in Beloit, Wisconsin 10 years ago. Oprah's collection began accidentally: during an on-air interview with singer Cher in 1998, the host mentioned offhandedly that she loved angel statuettes but was unable to find Black ones. "I wonder if Black angels exist?" she asked. Her question inspired viewers to send Black angel figurines by the hundreds, until Oprah had to ask them to stop. (Awkward.) Once the flood began to subside, Oprah donated her collection to the small Wisconsin Angel Museum.
 
5. OPRAH PUPPY ART
What constitutes the all-time best Oprah-inspired artwork? Without question, weirdo sculptor Daniel Edwards's show "Memories of Sophie and Gracie: A Puppies' Memorial" at New York's Leo Kesting Gallery a few years ago (Edwards, of course, first came to fame with his sculpture of Britney Spears giving birth on a bear rug, seen at the gallery's previous incarnation, Capla Kesting Fine Arts, in 2006). Edwards also created an Egyptian-style gold Oprah sarcophagus, and a queenly Oprah burial mask as "a tribute to her inner beauty," but his most inspired Oprah work was a response to the TV host's announcement of the passing of her dogs. Her golden Labrador Gracie fatally choked on a ball in 2008, and her cocker spaniel Sophie died of liver failure only a few months later. "To represent Sophie and Gracie together, joined in Oprah's memory as they were in life and in Oprah's heart, the artist depicted them as conjoined at the hip and sharing a common tail," explained co-director John Leo of Edwards's sculpture. The golden sculpture depicts the dogs standing atop Oprah's head, a design, Leo explained, that suggests the extent to which the deaths may have been weighing on Oprah's mind. Yet the exhibition was not merely a memorial to pets lost — like so many episodes of Oprah's own show, it also aimed to teach viewers an important lesson: "Sophie's kidney failure may have resulted from natural causes, but we hope the Puppies' Memorial will remind everyone that Gracie's choking could have been prevented," Kesting said.
To see a video of Australia's brick-art tribute to Oprah, click on the video below:
 
courtesy:artinfo




Dutch Envoy Calls for Increased Art Cooperation with Iran


TEHRAN (FNA)- The Netherland's Ambassador to Tehran, Cees J. Kole, asked for the further expansion and bolstering of cooperation between Tehran and Amsterdam in various areas of art, and appreciated the Tehran Museum of Contemporary Art (TMCA) for its efforts in this regard.


"There are many museums in the Netherlands which are eager to cooperate with the TMCA," Kole said during a visit to an art exhibition in Tehran on Sunday.

He also promised to launch consultations with the Dutch museums in a bid to explore proper avenues for the expansion of artistic cooperation and exchanges with the TMCA in particular, and with Iran in general.

During the visit, the TMCA caretaker Mahmoud Shalouee referred to the current cooperation between his museum and Rotterdam's Museum Boijmans Van Beuningen in displaying the masterpieces of the Dutch painter, Kees van Dongen (1877-1968), and expressed the hope that such art cooperation between the two countries would further develop and consolidate in future.

"Undoubtedly, this would help to the further development of cultural and art relations between the two countries," he added.

In September, the Tehran Museum of Contemporary Art shipped 'The timely forwarding of the Trinidad Fernandez' for an exhibition in Rotterdam.

Masterpieces of the Dutch painter went on display at Rotterdam's Museum Boijmans Van Beuningen in an exhibition named 'All Eyes on Kees van Dongen'.

Arts world reacts angrily to ‘ministerial meddling’ in Belfast Festival

By Lesley-Anne Henry
Friday, 25 March 2011
Nelson McCausland
Nelson McCausland
Artists have lambasted Culture Minister Nelson McCausland for what they see as his attempts to influence the programming of one of Northern Ireland’s most popular arts festivals.
The DUP man has called for pro-Israeli views and Christian music to be included as part of the programme.
The request was made in an email to Belfast Festival at Queen’s director Graeme Farrow, which has been made public following a Freedom of Information request.
Yesterday Mr Farrow declined to comment publicly on the controversy. However, other artists, actors and directors have rounded on the minister and slammed his intervention.
“You couldn’t write it,” said Peter Quigley, a director of the Belfast Fringe Festival.
“He’s not an artist, he’s a politician. It highlights the provinciality that exists here with our Assembly.
“You would not get that statement coming from the minister for culture in Britain. But here they seem to think that they know better. There is a small-mindedness.”
The Belfast Festival at Queen’s is supported by a number of funders including the Ulster Bank which announced a three-year sponsorship deal of £1m in 2008.
It has also received £300,000 in funding from DCAL over the past three years.
Last year Mr McCausland criticised a Belfast Festival debate on the Middle East for not being balanced because pro-Israeli academic Professor Geoffrey Alderman had his invitation to the event withdrawn.
And the minister also criticised what he described as excessive swearing in the play Black Watch.
Will Chamberlain, artistic director of Belfast Festival of Fools, said: “The minister has a right to express what he would like to see on a programme, but to demand from an independent organisation that they start channelling funding is, in my view, an abuse of power.”
Belfast Telegraph arts critic Grania McFadden said: “Festival organisers are very skilled in the programming of their events and it is always worrying if any other side parties try to influence them.”
The minister was unavailable for interview yesterday.

However a spokesman said: “The minister wrote to the Belfast Festival organisers in order to try and encourage more openness and inclusiveness.

“In relation to the issue of Israel, Mr McCausland wrote to the festival organisers after they cancelled the invitation of a Jewish academic to participate in a panel discussion and apologised for inviting him in the first place.

“With regard to the issue of music, it is a fact that gospel singers have taken part in the festival before and met with enthusiastic support.
“Mr McCausland merely expressed a view that the festival should build on that success with more of a popular musical genre.”
”Only through wilful misinterpretation of his comments could anyone justify the claims that have been made.”
Background
Last year Professor Geoffrey Alderman, the lead columnist on the Jewish Chronicle, was invited to join a panel of speakers to discuss the Middle East conflict at the Belfast Festival at Queen’s. However, the invitation was withdrawn days before the academic was due to fly in to the province. Professor Alderman was invited to join the planned discussion after the Northern Ireland Friends of Israel group complained that the speakers on the panel, Avi Shlaim and QUB professor Beverly Milton-Edwards, were both critics of Israel, so the event would be unbalanced.

All about the subject, and not the artist.

by

This morning the National Portrait Gallery launched a campaign to raise money from the public to go towards the total cost of £554,937.50 to buy a portrait of Ayuba Suleiman Diallo. He's hardly a household name, but he is important.
Portrait of Ayuba Suleiman DialloThe painting according to the National Portrait Gallery (NPG) is the first known portrait that honours a named African subject as an individual and an equal, and thereby gives a useful insight into Britain in the 18th Century.
This statement tells you all you need to know about what makes the NPG different from and, from the perspective of social history, more interesting than other art galleries. It makes clear that the sitter is more important than the artist. The NPG doesn't want this painting because it's an exquisite example of 18th Century British art, but because the story of the sitter and its significance is so compelling.
Ayuba Suleiman Diallo, or Job ben Solomon as his English friends liked to call him, was a west African slave trader. The phrase "what goes around comes around" probably wasn't in much use in those days but, had it been, perhaps the wealthy Ayuba might have been more on his guard.
One day on a business trip to sell some slaves down the River Gambia, he suffered the indignity of being captured and enslaved himself. He was put onto a British ship bound for Maryland where he was sold to work on a tobacco plantation. An English lawyer and missionary called Thomas Bluett met him and decided he was "no common slave", so in the early 1730s he whisked him off to London and introduced him to high society.
Black, Muslim, highly-educated individuals were not common in those days, leading to Ayuba becoming something of a celebrity. His friends arranged for a portrait to be painted of him and chose the artist William Hoare of Bath, a founding member of the Royal Academy.
Ayuba was a religious man and didn't really go for the idea of a portrait, worrying that people would worship the picture. Or, as Thomas Bluett put it in his memoirs:
"Job's aversion to pictures of all sorts, was exceeding great; insomuch, that it was with great difficulty that he could be brought to sit for his own. We assured him that we never worshipped any picture, and that we wanted his for no other end but to jeep us in mind of him. He at last consented to have it drawn; which was done by Mr Hoare."
In fact it is the earliest known painting by the artist. The picture was painted in 1733 and, apparently at the sitter's request, has him in traditional dress and carrying a copy of the Qur'an around his neck.
And since then, till now, it has not been seen in public. It was thought to be lost and was only known about though Bluett's memoir, but then it turned up at auction in 2009 where it was bought by a private collector who wants to take it abroad. The exports committee stepped in and now it is on show, for all to see at the National Portrait Gallery, while they attempt to raise the funds to secure it for the nation.
It seems likely they will, as they have already raised over £500,000 with contributions from the Heritage Lottery Fund, the Art Fund and the NPG's own contribution.
Back in the mid-1700s the money was raised for Ayuba Suleiman Diallo to be released from slavery and sent back to Africa. Whereupon he started up in business again. As a slave trader.

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