WHAT TO COLLECT #124. Pablo Thecuadro

Born in 1992. From Zaragoza but he lives and works in Madrid. There’s only one thing he loves the most: to create images.

Essential but powerful collages, in which Pablo Thecuadro mixes different techniques: from the cut by hand to digital techniques.

Pablo Thecuadro collages go beyond the simply combination of beautiful images; they include the concept of duality in the human being.

His work is a deep, elegant and abstract exploration that brings back to reality, to the human essence.

Copyright @ by Pablo Thecuadro

Read the interview with Artist on https://www.thefashionatlas.com/en/atlas_en/photography_en/the-abstract-collages-by-spanish-artist-pablo-thecuadro.php#prettyPhoto

***All rights to artwork remain with the artist and can be removed from the website on request at any time. Please, contact us by email

email@artcuratoronline.com

WHAT TO COLLECT #122. JOAN JONAS

Born in 1936 in New York, Joan Jonas is a pioneer of performance and video art, and a titan of the American avant-garde.

She is known for blending performance and film in exciting and challenging ways. She rose to artistic fame in the late 1960s for her compelling Mirror Pieces, which featured performers carrying mirrors on stage and slowly, deliberately rotating them, transforming the audience into an image on glass.

Please, watch YouTube movie:

https://youtu.be/rzp6Ehnxq34

#art #installation #exhibition #animals #artcollecting #artcollector #artcurator #artadvisor #collection #artcollection #artmuseum #artgallery #contrmporaryart #contemporary #modernart #design #artlovers #inspiration #artcollecting #artsignificator #melnikblog

***All rights to artwork remain with the artist and can be removed from the website on request at any time. Please, contact us by email

email@artcuratoronline.com

WHAT TO COLLECT # 121. ANDY WARHOL

Andy Warhol

American, 1928–1987

Inspired by the portraits that Man Ray photographed of Marcel Duchamp’s alter ego, Rrose Sélavy, Andy Warhol created a series of drag self-portraits. Always questioning the conventions of constructed identity, Warhol donned a wig and bold makeup, subverting traditional gender expectations and paying homage to the artists before him.

Self-Portrait in Drag, 1981

Gelatin silver print

Image: 3.5 x 2.25 in. (8.89 x 5.72 cm.)

Sheet: 4.25 x 3.4 in. (10.8 x 8.64 cm.)

American Pop Art icon Andy Warhol (1928–1987) was known for taking photographic portraits of his many friends in and outside of the art world. The photographic medium was critical to Warhol’s artistic production, and he brought his camera with him wherever he went. His photographic oeuvre reads like today’s ubiquitous social media photo streams and provides a fascinating look into the life of an enigmatic figure whose influence on the art world, and society as a whole, is unparalleled. Playing with the notions of identity, perception, and one’s public versus private self, Warhol also took many poignant self-portraits, often in drag, as seen here.

Originally it was published on

https://www.artnet.com/auctions/artists/andy-warhol/self-portrait-in-drag-8

***All rights to the artwork or any material remain with the author and can be removed from the website on request at any time. Please, contact us by email

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Why art exhibitions are returning to domestic settings

A show in the new Kettle’s Yard space highlights why the traditional gallery aesthetic is falling out of favour

Jul 12th 2018

by A.C. CAMBRIDGE

In dining room at Kettle’s Yard, a lemon sits on a pewter dish. Replaced every week, it directs viewers’ eyes to the adjacent wall, where the yellow spot in a painting by Joan Miró gleams a little brighter. Illuminated by an everyday object, “Tic Tic” is one of the many artworks in Kettle’s Yard which proves that intimate and domestic spaces are the best places to appreciate art.

The Cambridge home of the late Jim Ede—a former curator at the Tate—and his wife Helen, Kettle’s Yard is filled with work by the likes of Ben Nicholson and Barbara Hepworth, Naum Gabo and Henry Moore, Constantin Brancusi and Elisabeth Vellacott. When the Edes donated their home and its collection to Cambridge University, their caveat was that it be left without labels or plaques; visitors view artworks as equals to the domestic collage of furniture, flowers and ornamental objects. The relationship between viewer and subject is solely personal: where one person is drawn to a glass sculpture by Gregorio Vardanega, another is pulled to the sprawling pot plants reflected inside it.

In the newly opened extension to the house, an exhibition of work by Antony Gormley (pictured, below) also seeks to emphasise the importance of perception. Normally installed in outdoor spaces, Mr Gormley’s recognisable rust-red figures explore the relationship between art, architecture and the earth. The show at Kettle’s Yard claims that “the ‘subject’ of this exhibition is as much our own bodies, their relationship to the sculptures in the galleries and to the architecture of the spaces, as the works themselves.” Above head height, Mr Gormley has struck two steel bars through the gallery’s main space. Casting vertical shadows down the walls, from certain perspectives the shadows conjure up an illusion of glass walls. Viewers walk uneasily around the gallery, not only looking at Mr Gormley’s sculptures but also interacting with the setting itself.

But while Mr Gormley’s wider oeuvre and the placement of his work in natural settings fits with the Edes’ vision, this new exhibition does not quite work. With their concrete floors and plain white walls, the new galleries at Kettle’s Yard contradict the Edes’ desire that the site be “a living place where works of art could be enjoyed…unhampered by the greater austerity of the museum or public art gallery”. Compared with an enormous bronze figure of Mr Gormley’s which stands on the riverbank at nearby Trinity College, or the hundreds of iron men placed on Liverpool’s coastline, in the new galleries his sculptures feel flat and uninspiring. Mr Gormley’s attempt to subvert the space with steel bars and shadows only highlights its shortcomings.

Indeed, the decision to open another “white cube” is not only misguided, but well behind the times. Art in isolation is fast falling out of fashion, which may well be a testament to the attraction of Kettle’s Yard itself. Led by Chatsworth House, Britain’s historic attractions have made a virtue of the combined experience of subject and setting; Damien Hirst’s spot paintings recently brightened up the panelled walls of Houghton Hall, while Jenny Holzer projected text onto the stonework of Blenheim Palace. Opera and contemporary art might once have seemed unlikely bedfellows, but the recent “White Cube at Glyndebourne” partnership was accepted without question. These relationships aren’t just marketing ploys to double the attractions’ potential audiences. In the stately setting of Houghton Hall, “Charity”, Mr Hirst’s 22-foot-tall sculpture of a disabled girl with a broken collection box, becomes particularly poignant.

The trend isn’t limited to old venues and new art: contemporary artists, galleries and audiences are increasingly breaking away from the plain wall, too. In 2014 Hauser and Wirth opened a new space on a farm in Somerset, currently host to the sculptures of Alexander Calder. Dynamic galleries such as Cecelia Brunson Projects and Eleven Spitalfields, both in London, are not just former houses, but current homes.

This return to the domestic setting is fitting, given that the art gallery was born in the home. Joaquín Sorolla’s house in Madrid and Sir John Soane’s house cum museum in London (pictured, top) both retain this dualism, a legacy of the Renaissance period, to great effect. Hans Ulrich Obrist, the director of the Serpentine Gallery, says that a show he held in the 1980s in his own kitchen still informs his work today. It did so particularly in an exhibition he curated in 1999 in the Soane’s museum, where “there were no didactic panels or sound guides, and visitors moved where they wished through the rooms, encountering unexpected works of art in unexpected places.”

As Mr Obrist observes, there is an appealing accessibility in these intimate, lived-in spaces. A spartan room and a security guard can make viewers feel like they’re also on display: trying to engage with the art is like trying to have an intimate conversation in a starkly lit restaurant while an overbearing waiter hovers by your shoulder. Removed from the sacrosanct gallery, art creates a more lasting impression: viewed alongside other objects and in familiar frameworks, artworks are not left behind at the gallery’s door, but carried imaginatively into our everyday lives. Later, when life hands out lemons, the viewer might recall a Miró.

This article is published on https://www.economist.com/prospero/2018/07/12/why-art-exhibitions-are-returning-to-domestic-settings

***All rights to the artwork or any material remain with the author and can be removed from the website on request at any time. Please, contact us by email

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Christie’s Elliot Safra speaks on the Artelligence Podcast ahead of next week’s Art + Tech Summit.

Christie’s Elliot Safra speaks on the Artelligence Podcast ahead of next week’s Art + Tech Summit.

soundcloud.com/artelligence/christies-art-tech-conference

***All rights to the artwork or any material remain with the author and can be removed from the website on request at any time. Please, contact us by email

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ART OBSERVATION. PHOTO BASEL & SCOOP. BASEL. 2018

Today I am observing around the Photo Basel and SCOPE in Basel:)!

***All rights to the artwork or any material remain with the author and can be removed from the website on request at any time. Please, contact us by email

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#ARTBASEL2018 #Basel #photobasel #scope ♥️ #artcollecting #artdealer #artcollectors #art #artist #artbasel #artsignificator #contemporaryart #Contemporary #artfair #artcurator #artsy #artadvisor #mashamelnik #melnikblog #арт #современныйарт #искусство #современноеискусство #арткуратор #машамельник #мельникмаша #коллекционер #галлерея #музей #оценкаарта #артблог #блоггер #артбазель #photo credit Masha Melnik

HOW TO BE INSPIRED BY OTHER ARTISTS WITHOUT COPYING THEM

How to be inspired by other artists without copying them 5: composition

Apr 17, 2017 | Inspiration

This is the fifth and final post in the series, focused on helping you become ever clearer about what’s unique to you, even while being inspired by other artists. Part 1 | Part 2 | Part 3 | Part 4 Each week we’ll look at a single aspect of painting and how…

How to be inspired by other artists without copying them 4: perspective

Apr 10, 2017 | Inspiration

This post is the fourth in a series of five, focused on helping you become ever clearer about what’s unique to you, even while being inspired by other artists. Continuing our series, today we’re looking at viewpoints, or perspective. Part 1 | Part 2 | Part…

How to be inspired by other artists without copying them 3: subject matter

Apr 3, 2017 | Inspiration

This post is the third in a series of five, focused on helping you become ever clearer about what’s unique to you, even while being inspired by other artists. Continuing our series, today we’re looking at subject matter. Part 1 | Part 2 Each week…

How to be inspired by other artists without copying them 2: colour palettes

Mar 27, 2017 | Inspiration

This post is the second in a series of five, in which we’re exploring ways to be inspired by the artists whose work you love, while keeping you focused on developing your own art. Continuing our series, today we’re looking at colour palettes. Part 1 Each…

How to be inspired by other artists without copying them: Part 1

Mar 13, 2017 | Inspiration

Something a bit different this week! This post is the first in a series of five, focused on helping you become ever clearer about what’s unique to you, even while being inspired by other artists. {Which might be handy as we’re all being inspired all the…

a gallery of abstractified art : a selection of works by Abstractify students

Feb 27, 2017 | Inspiration

Last year I put together a virtual exhibition of work from previous Abstractify students to share with you. It was such a great way to showcase their beautiful creations and the possibilities the course offers, I decided to do another this year! As before, I’ve…

This series of articles was originally published on http://taraleaver.com/category/inspiration-2/

***All rights to the artwork or any material remain with the author and can be removed from the website on request at any time. Please, contact us by email

email@artcuratoronline.com