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Jeff Widener holds his photo of Tank Man in Tienanmen Square from 1989.Photo: Tim Mantoani Steve McCurry holds his 1984 photo of a young woman from Peshawar, Pakistan. "I looked for this girl for 17 years and finally found her in 2002. Her name is Sharbat Gula."Photo: Tim Mantoani Neil Leifer holds his photo, Ali vs. Liston, which he took on May 25, 1965 in Lewiston, Maine.Photo: Tim Mantoani Bill Eppridge stands with his photo of Robert F. Kennedy after his assassination on June 5, 1968.Photo: Tim Mantoani Elliot Erwitt: "The picture I am holding was snapped in 1974 just across the street from my apartment in New York's Central Park. Mark Seliger: "Originally an inside opener for Rolling Stone cover story of Nirvana in conjunction with the release of In Utero, my first Polaroid (with Negative) was by far the most emotional and revealing of his spirit. The Tank Man of Tienanmen Square. “I felt like there was kind of this void,” says Mantoani. Famous Photogs Pose With Their Most Iconic Images | Raw File Famous Photogs Pose With Their Most Iconic Images | Raw File
contemporary art & artists

This French compound, which literally translates to “placing on stage,” or “putting on stage,” is one of the most misunderstood of all art terms. First used in theater around the year 1833, the phrase originally referred to all of the visual effects overseen by a theater director—including compositional design, lighting, and the placement of actors. In other words, the mise-en-scène encompassed all of the visual features on the stage that gave a performance its look and feel. Nowadays, mise-en-scène is a term used by art critics and historians to describe the setting of a film, performance, or photograph, especially those with cinematic qualities. For example, in her “Kitchen Table” series of photographs, Carrie Mae Weems takes as her mise-en-scène a family kitchen table, staging scenes of everyday life that examine racial and gender stereotypes and calling attention to the constructed nature of photography. —Sarah Gottesman 8 French Art Terms You Should Know 8 French Art Terms You Should Know
William Wegman, Inside Outside, 2014, oil and postcard on wood panel. William Wegman bought his first dog in California after responding to an ad in a Long Beach, California newspaper that said, “Weimaraners $35.” He called the new pet Man Ray. Wegman had trained as a painter, but as a graduate student at the University of Illinois Champagne-Urbana in the mid-1960s, he abandoned the medium, he says, due to the popular notion at the time that painting was dead. He turned his attention to photography and video, and the dog kept wandering into his shots. “He’d get in the way, but he looked really amazing,” Wegman told me recently. A different view of Wegman’s career is on display through this weekend at two galleries in New York: Sperone Westwater, exhibiting the artist’s so-called postcard paintings, and Magenta Plains, which has a selection of his drawings, mostly from the 1970s. The paintings at Sperone Westwater all have postcards as their focal point. ‘The Dog Really Confused Things’: Another Side of William Wegman ‘The Dog Really Confused Things’: Another Side of William Wegman
The Brooklyn Rail - JUL-AUG 2016 - Art The Brooklyn Rail - JUL-AUG 2016 - Art Art Over the last two decades Wolfgang Tillmans has redefined what photography can look like within a fine art context, with his deceptively casual images of everyday human scenes and objects. His photos from the early 1990s of friends and rave culture catapulted him to fame, embodying the exciting and pioneering nature of his work. For decades, Luc Tuymans’s paintings have plumbed the nature of images—charting the limits of their personal and political functions. For Thomas Roma and Leo Rubinfien, two photographers who came of age when American giants like Lee Friedlander, Diane Arbus, and Garry Winogrand were redefining the black-and-white medium, conversations around the practice of photography are fist-shaking discussions of life, tears, vulnerability, and ethics. For years, Rashaad Newsome has engaged with Vogue as a dance form and a community. Harmony Hammond made her start as an artist in the feminist milieu of 1970s New York, co-founding A.I.R.
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Bleu de Ciel le tableau le plus incompris de la peinture contemporaine Bleu de Ciel le tableau le plus incompris de la peinture contemporaine répertoire, cette composition était utilisée dans Rayé, Trente et Quinze ; le quadrillage qui servait à une mise à distance du monde a disparu ici, le référencement subsiste, le fond de la toile sur lequel le titre insiste devient le sujet réel du tableau. L'analyse du tableauBleu de Ciel présente un fond vaporeux où le monde des formes semble avoir été totalement intégré à l'ensemble. Les figures à caractère iconique, sont libérées, détachées de toute contrainte. La liberté de leur configuration même est encore plus convaincante. La redondance des motifs, interminables échos du même signe, malgré de légères différences, en assure leur lisibilité. L'œuvre a été analysée par des critiques d'art, détail par détail, au microscope s'il le fallait, pour essayer d'y retrouver une quelconque ressemblance avec des formes connues. Cette étude du détail isolé, indépendant de la structure d'ensemble et de la pensée métaphysique de Kandinsky fait perdre à Bleu de ciel tout son sens.
Dossier Kandinsky ( 1866 - 1944 ) De 1923 a 1924, il s'engage dans plusieurs associations dont la Fondation "Blaue Vier" qui regroupe Jawlensky, Kandinsky, Klee, Feininger. Il expose a New York et au "Bauhaus" de Weimar, au Musee de Wiesbaden, d'Erfurt, d'Iena, et de Dusseldorf. Il publie un autres livre intitule " Point - Ligne - Plan" en 1926, dans lequel il indique que le point tout autant que la ligne, sont employes dans d'autres arts que ceux de la peinture. La ligne en particulier s'exprime dans l'univers de l'expression musicale, au travers les lignes melodiques et instrumentales. Elle prend de l'epaisseur, de la couleur, du mouvement selon les instruments tels que le violon, la flute, la viole, ou la clarinette. Le point s'exprime par exemple sur des instruments tels que le piano et les instruments a percussion Le point et le ligne s'expriment aussi en peinture par leur epaisseur, leur couleur, leur mouvement, et sont par la tributaires de l'espace temps dans la notion de duree et de plan d'espace. Dossier Kandinsky ( 1866 - 1944 )
Le Cavalier bleu Un article de Wikipédia, l'encyclopédie libre. La tour de chevaux bleus (Turm der blauen Pferde), Franz Marc, 1913 Der Blaue Reiter (le cavalier bleu) est un groupe d'artistes d’inspiration expressionniste, qui s'est formé à Munich. Ce groupe organise deux expositions (en 1911 et en 1912) et publie un almanach en 1912. Ses acteurs principaux sont Vassily Kandinsky, Franz Marc et August Macke. D'autres artistes comme Gabriele Münter, Heinrich Campendonk, David Burljuk, Alexej von Jawlensky, Paul Klee y ont également participé. Ce groupe est, de peu, postérieur à l'autre grand groupe expressionniste allemand, né à Dresde en 1905 : Die Brücke (le pont). Historique[modifier | modifier le code] La Nouvelle association des artistes munichois (Neue Künstlervereinigung München, abrégé couramment en NKVM) est fondée en janvier 1909, avec Kandinsky comme président[1]. Pendant l'été 1911, Kandinsky a l'idée de constituer un recueil de textes sur l'art moderne rédigé par des artistes[2]. Le Cavalier bleu

Henri Matisse Henri-Émile-Benoît Matisse (French: [ɑ̃ʁi emil bənwɑ matis]; 31 December 1869 – 3 November 1954) was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter.[1] Matisse is commonly regarded, along with Pablo Picasso and Marcel Duchamp, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.[2][3][4][5] Although he was initially labelled a Fauve (wild beast), by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting.[6] His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.[7] Early life and education[edit] Henri and Amélie Matisse, 1898 Fauvism[edit] Henri Matisse
Frida Kahlo and Diego Rivera Some sessions sold out - book timed tickets online to avoid disappointment Slide 1 Slide 2 Slide 3 Slide 4 Extended by popular demand! Last day now 23 October This is a rare chance to see masterpieces by the two leading figures of Mexican 20th-century art. The exhibition presents 33 artworks from the renowned collection of Jacques and Natasha Gelman, including outstanding self-portrait paintings and drawings by Frida Kahlo, and major examples of Diego Rivera’s canvas paintings. Alongside these works are over 50 photographs by figures such as Edward Weston, Lola Alvarez Bravo and Frida’s father, Guillermo Kahlo, which provide insights into the artists’ worlds and their intriguing relationship. Images: Frida Kahlo Self-portrait with necklace 1933 (detail); Self-portrait with monkeys 1943 (detail); Portrait of Diego Rivera 1937 (detail); Diego on my mind (Self portrait as Tehuana) 1943 (detail). Frida Kahlo and Diego Rivera
Getting here :: Plan your visit :: Visit us Getting here :: Plan your visit :: Visit us Use two fingers to move the map Map Data Map data ©2016 Google Map Satellite Address Art Gallery Road, The Domain, Sydney NSW 2000, Australia Where to find us On the eastern side of Sydney’s CBD, next to the Royal Botanic Gardens and the Domain, just down the road from St Mary’s Cathedral. Getting here on foot About 5 minutes walk from Macquarie Street, across the Domain, or from Hyde Park. Getting here by public transport Bus 441: departs from the York Street side of Queen Victoria Building and drops off near the Gallery. City Sightseeing (red route): nearest stop is #12 (outside the Department of Lands) Train: St James and Martin Place stations are both about 10 minutes walk. For more information about public transport options and times, contact the Transport Infoline on 131 500 or Courtesy bus On nights when the Gallery is open, a courtesy bus departs from the Gallery entrance every 15 minutes from 7pm until closing for the Domain Car Park, Martin Place, Wynyard and Town Hall.
Vulnerable, confronted with the camera. The girl knows this is her moment. This is her time to show the world what she is. I first saw Dijkstra’s work in the New York Times last year. Printed very large, life sized. Contemporary temperatures contrast with a classical composition – the figure almost exactly mirrors Botticelli’s iconic Venus. The girl holds herself to Venus’ imaginary standards while we revel in her awkward phase. – Margaret Image Information: Rineke Dijkstra, Hilton Head Island, South Carolina, 1992 chromogenic print, 117 x 94 cm Rineke Dijkstra’s Hilton Head Island, South Carolina | Art for Breakfast
NMH2 shinobu close up by semsei on DeviantArt
theartofanimation: Paul Lasaine - By That Sin Fell The Angels

Peredvizhniki – Wikimedia Commons
Nikolai Sverchkov (1817-1898) was a Russian painter who focused on outdoor scenes, mostly in winter. A Troika in a Blizzard (1881) At the Winter Hunting Lodge (1891) Bear Hunt Bear Hunters in the Blizzard (1886) Caught in a Storm Hunting the Wolf (1873) In the Storm The Herdsman The Hunter (1881) Troika in Winter (1849) [a troika was the traditional Russian sled drawn by three horses side-by-side] Tsar Nicholas I on a Winter Outing (1853) Winter Sleigh Ride (1859) The Glory of Russian Painting: Nikolai Sverchkov
Tretyakov State Gallery
Russian Artists

Marianne Design -
Festa de Candomblé em Itaparica, fotografia de Diana Blok, 2013 Alliance of Artists Apoia programas de residências artísticas e defende ambientes criativos Grantmakers in the Otimiza a utilização de recursos filantrópicos em benefício da arte e cultura Pasadena Arts Uma voz independente a estimular a vibrante comunidade cultural de Pasadena, articulando, fortalecendo e defendendo as artes Res A rede mundial de residências artísticas e centros de arte residenciais Residencias en Rede Ibero-Americana de residências autônomas Foundation Brazil » Filiações Institucionais
Performance criada por Pat Oleszko (EUA, 2008) com Adriana Rojas Pretel (Colombia), Andrea Wurzer (Alemanha), Be Ward (Australia), David Poznanter (EUA) e Isis Gledhill (Brasil) na Ilha de Itaparica O Instituto Sacatar patrocina residências para indivíduos altamente qualificados em todas as áreas criativas. Apesar de usarmos às vezes a palavra “artista”, consideramos a criatividade no mais amplo sentido possível. Nós procuramos indivíduos criativos de quaisquer orígens, sem levar em consideração raça, credo, nacionalidade, gênero, idade, orientação sexual, estado civil, ancestralidade, necessidades especiais ou soropositividade para HIV. Se você procura uma residência somente pela paz e quietude, nós lhe recomendamos a candidatar-se a um outro lugar. Ainda que a propriedade seja muito tranquila e propícia ao trabalho concentrado, temos ao nosso redor a cultura instigante e vigorosa da Bahia. Foundation Brazil » INSCREVER
ENCLAVE la residencia Artística de Land Art, comisariada por Miguel Mallol | Brit Es Magazine Coordinadores del proyecto ENCLAVE, Andrea Abbatangelo y Miguel Mallol Sólo el arte hace posible estas cosas, un entrañable pueblo, Vistabella del Maestrat, con no más de 150 habitantes, en la antesala de una maravilla natural, el Parque Natural Penyagolosa, diez artistas internacionales y una residencia de Land Art como propuesta inteligente, ambiciosa y sensible para entablar un diálogo con quien es el yugo y el tesoro al mismo tiempo de este pequeño pueblo. Como en las historias de las leyendas, existe un pueblo en lo alto de una montaña que vive encerrado en su propia “bendición”, un pueblo que se gasta por su tránsito, un lugar de paso para los amantes de la naturaleza que visitan el parque y dejan atrás un pueblo marcado por la transhumancia en el pasado, y condicionado por ser un tramo de paso en la actualidad para los numerosos visitantes del parque. Con la sensibilidad de un sastre, la iniciativa genera nuevos vínculos para conectar; territorio, comunidad y belleza.
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Illustrator / Cinemagrapher - Paolo Zagreb
Artist - Dave Devries: The Monster Engine
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