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WHAT TO COLLECT # 133. Danielle Cohen

ARTIST’S STATEMENT

I am trying to test the body and fuzziness as they appear in my private life, I deal with gender, pain, relationship or entity.
I Especially enjoyed testing the limits of suffering, the border between Erotica pornography and documentary as well as the line between the
personal and intimate private and public spheres. I test my conflict with myself many times in feminine and seductive that is far away from my own self-image and gender when I ascribe to a new image that I create diverse deflections that are associated with such dissemblance.

I disguise myself a lot, but always in order to reveal, sometimes up to the  stem cells and nerves, and the friction with the viewer is
somewhere between pleasure and pain, exciting and delightful.
My occupation with boundaries is almost obsessive , I can say decisively that there is an interface between art and my personal life, and I can hardly separate the two. I place myself in situations that are discomforting to me  and even threaten me, and the discomfort I feel brings out of me something that I feel  Satisfied with.

Images from collection: FASHION & FINE ART

Find more on https://www.daniellecohendinar.com/

Copyright © Danielle Cohen Dinar

***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

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WHAT TO COLLECT # 132. Teruko Nimura

Teruko Nimura is a visual artist based in Austin with a diverse multi-media practice. She received her BFA from San Francisco Art Institute and her MFA from UT Austin. Teruko has exhibited in the U.S. and Mexico, and has completed three temporary public art installations in the last year.  She is currently a member of ICOSA art collective, a participant in the City of Austin’s Launchpad program for public art, and one of three Austin artists featured in the 2017 TX Biennial.

More information on https://www.terukonimura.net/

https://pin.it/yxkjxalfuul4ck

Copyright @ Teruco Nimura

***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

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WHAT TO COLLECT # 131. JOHN BROOKS

His work is playful, creepy, energising and anthropomorphic. Stare at these fuzzy wonders long enough and you would swear you saw a heart beat or a leg twitch. This small body of work packs a lot of punch both visually and conceptually. The work stands as a kind of strange timeline not just from one year of fashion to the next but a sort of endless amount of time in between.Brooks fuses weaving techniques into his textile based art pieces bridging that invisible gap between craft and conceptual art.

Please, find more information http://www.johnbrooks.com.au/new-page/

Copyright @ John Brooks

***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

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WHAT TO COLLECT # 130. Anish Kapoor

Mirroring its surroundings to reflect a rose-tinted microcosm of ambient space, UntitledANISH KAPOOR - UNTITLED, stainless steel and paint, 120 by 120 by 27.5cm., Executed in 2010 is an exquisite example of Anish Kapoor’s inimitable investigation into the possibilities of interior and exterior space. Seeming to float effortlessly in suspense above the ground, Kapoor’s dish appears to simultaneously curve outwards and inwards, distorting perception and awareness as our gaze passes across it. The luminous reflectivity of the surface radiates light, and emits a sense of meditative calm and repose. Untitledinvites contemplation: by circumnavigating the work we become an integral part of the whole, thus making every viewer’s experience of the piece subtly different.
Untitled forms part of Kapoor’s iconic corpus of mirrored sculptures, in which the possibilities of the circular format in a range of reflective materials and colors are explored. The seductive red of the present work, however, is of particular significance. Kapoor has always considered red to be a highly symbolic color, and many of his most important large-scale works – such as Marsyas, My Red Homeland (both 2003) Past, Present, Future (2006) and Svayambh (2007) – have been executed in varying shades of red. Kapoor has spoken of the importance of red in his work: “I use red a lot… It’s true that in Indian culture red is a powerful thing; it is the color a bride wears; it is associated with the matriarchal, which is central to Indian psychology. So I can see what leads me there culturally, but there’s more to it. One of the ways color has been used in art since the Eighteenth Century is to move, as in Turner, from color to light. I tend to go from color to darkness. Red has a very powerful blackness. This overt color, this open and visually beckoning color, also associates itself with a dark interior world. And that’s the real reason I’m interested in it” (Anish Kapoor in conversation with Nicholas Baume in Exhibition Catalogue, Boston, Institute of Contemporary Art, Anish Kapoor: Past, Present, Future, 2008, p. 31).

Untitled also invites connections with the idea of the Sublime, in particular, the post-modern version of the concept as posited by Jean-François Lyotard. Lyotard argued that certain examples of contemporary art sought to represent ideas or themes which were impossible to truly delineate in physical form, thus arousing sensations of awe and bewilderment in the viewer as we are forced to confront concepts our mind is unable to truly comprehend. Lyotard viewed the work of Barnett Newman – with its walls of pure color undisturbed by figural or objective concerns – as being the ultimate exponent of the post-modern Sublime; yet, Kapoor’s mirrored works arguably also fulfill the conditions of post-modern Sublimity in their profound exploration of complex theory and philosophy through a totally abstract dialectic. The shimmering surfaces and the curved space of the series of wall mounted mirror installations induce a corresponding sense of disorienting arrest, not only cognitively but also physically and spatially. Indeed, the Sublime has been of abiding fascination for Kapoor throughout his career, and he has frequently spoken of the idea about his mirrored works: “It seemed it was not a mirrored object but an object full of mirroredness. The spatial questions it seemed to ask were not about deep space but about present space, which I began to think about as a new sublime. If the traditional sublime is in deep space, then this is proposing that the contemporary sublime is in front of the picture plane, not beyond it. I continue to make these works because I feel this is a whole new spatial adventure” (Anish Kapoor quoted in ibid., p. 52). As an object of immense beauty and commanding authority, Untitled is a masterful encapsulation of Kapoor’s highly assured manipulation of spatial territory.

Originally published on Sotheby’s

Copyright © Anish Kapoor http://anishkapoor.com/

Another works by Artist

18d3fa1b69a429534f0f41199221c8685602b544bd99a03d651edba96931a7202470965488_194031df91b2abd7f15473e95f104338673328c28cef6ec9b762f0e7d16ac35e9c4a401421kapoor_inbetween04-Kapoor_Key-004_Yellow

***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

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WHAT TO COLLECT #129. Yves Klein

Born: April 28, 1928 – Nice, France

Died: June 6, 1962 – Paris, France

Yves Klein was the most influential, prominent, and controversial French artist to emerge in the 1950s. He is remembered above all for his use of a single color, the rich shade of ultramarine that he made his own: International Klein Blue. But the success of his sadly short-lived career lay in attacking many of the ideas that underpinned the abstract painting that had been dominant in France since the end of the Second World War. For some critics he is a descendent of Marcel Duchamp, a prankster who lampooned settled understandings of painting and opened art up to new media. Others consider him as a descendant of earlier avant-garde artists such as Kazimir Malevich and Aleksander Rodchenko, who were also attracted to the monochrome. And even in the ways he used performance later on in his career, he is like many artists who rediscovered some of the tactics of earlier avant-gardes in the 1950s and ’60s. Klein might also be compared to his contemporary Joseph Beuys, for, like Beuys, he embraced aspects of Romanticism and mysticism – Klein was intrigued by Eastern religion and Rosicrucianism, and was even influenced by judo. Also like Beuys, many have condemned him as an obscurantist and a charlatan: yet the brevity, wit, and seductive beauty of much of his work continues to inspire.

Yves Klein, Anthropometry series Tate Shots interview with one of Klein’s models and performers

***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

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WHAT TO COLLECT # 128. Cristina Coral

Educated in Italy where she lives and works as a photographer.
Her approach to photography and its development was almost entirely self-taught.
She has lived her childhood in an artistic environment.
Her father was a composer, music and art have always been a very important part of her life. She has chosen the camera as my main artistic expression since 2012.

If you would like to know something more or for info about art purchases you can write to : cristinacoral@yahoo.it

Artworks by Cristina Coral are available as limited edition prints, professionally printed on museum quality archival paper.
I guarantee max. 20 or 10 copies of 1 artwork in different sizes as a limited edition.
Each artwork is signed and numbered on the reverse of the photograph and certificate.

Originally published here

Copyright © Cristina Coral

Cristina-Coral-2Cristina-Coral-10curtain_8_670DSC_0195_1340_cDSC_0984-copia_800

***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

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10 Secrets for Promoting Your Art on Instagram

by Madelaine Buttini December 07, 2017

Using social media platforms, like Instagram and Facebook, to share your art is a great way to promote your creations online. We now have the opportunity to share our artworks at to millions of people in real time!

You never know where a post will lead your career and what opportunities you may receive in return. I have had great benefits from using Instagram and really wanted to share with you my top ten secrets for promoting your art on this much loved platform.

Connect Your Instagram with Your Facebook Page

You get some awesome insight features when you connect your Instagram to your Facebook page. Once you have done the integration you will have a much better understanding of your Instagram page!

This can be helpful when you are trying to work out what time is best to post and on what days. You can also see other useful information such as the amount of impressions, reach, profile views, website clicks and email clicks your page has generated in the past seven days. If you wanted to dig a little deeper you can also see this for individual posts to get a grasp of what people are liking most — this can be done over a 2 year period.

I also love how it tells in depth information about your followers, such as the percentage of men to women, the top locations and age range. This can be particularly great when you are starting out with your online store or website. You know what your main demographic and audience is and where they may come from!

Read Instagram’s advice on integrating your pages together here.

Use Popular & Relevant Hashtags

I think this is a really important part of promotion no matter how large or small your brand is. Hashtags have become an integral way that we share our photos to other people we may not necessarily cross paths with online.

On my collage posts I use the terms #collageart #collage_art #contemporarycollage #australianartist, this way when people go to these hashtags they are more likely to come across my art.

Research other artists like yourself and find what terms they use, incorporate some of the hashtags they use into your posts and see what works best. This could have the potential to increase your reach and impressions for you Instagram page! But of course, like anything it is really trial and error, so switch it up.

Post High Quality Images of Your Art

Nobody likes to see low quality anything, it can be difficult to interpret and hard to vibe off. The same is for Instagram, no one wants to view low quality photographs or videos of your art. Always make sure to take photos at the highest resolution!

Pssst… if you are using an iPhone turn on HDR.

If you are making digital collages, always make sure the images you use are at the highest resolution and the size of your “canvas” is at it’s highest dimensions. I recommend using the dimensions: 1080 x 1080 px and at 200 dpi.

A little note for posting images: People seem to prefer square images over rectangular!

What will happen if you hound your followers to buy your art!

Don’t Always Try To Sell To Your Followers

I know that it’s awesome when you make a sale from a follower on Instagram, but that’s not what they are there for! Yeah, you have beautiful art to offer but you don’t always have to shove it in their faces. It can be really tempting to push for sales (everyday) but it will only hinder them from wanting to purchase and they may unfollow you.

If you are lacking in sales maybe they don’t know about your online store yet. So definitely do a post here and there about your products but not all the time! Limit it to once a week and make sure your website is easily visible in your about me section of your Instagram.

Give Your Followers Love

Your followers are those you should be nurturing, they are not only potential customers but they give your art the love it needs online.

I always recommend giving love to new followers, those who comment and like your posts. Simply give them a like on a few of their photos so that they will feel like the love is reciprocated!

Start Your Own Hashtag

I highly recommend this one! If you haven’t already started using your own hashtag, what a perfect time to start doing so. It’s an easy way for people to view your work and to start a “trend”.

I have my own hashtag, #madbutt which I put on every collage post and check daily. It’s great when you see people sharing your work and using that hashtag – it means you’re really getting your work out there!

Post Frequently Throughout The Week

This is really up to your own discretion and if you have the amount of work to share. I recommending post at least three times a week, minimum. I know of artists who post three things a day, seven days a week and for me I think that could be a little overbearing for some people who follow me. It’s definitely up to what you feel comfortable doing!

Posting is all about consistency too. For example you could post on Monday, Tuesday and Friday. You can always double check if that works well with the stats you collected from your Instagram Insights!

If you don’t have a lot of work to post, don’t worry — use this as motivation to get your body of work at a larger size and start posting!

Write Interesting & Captivating Captions

People will be drawn into your beautiful creations and would like to hear a little bit about what it means to you and how you relate back to it. Sometimes you don’t even have to write about anything!

It could always be a cool title of your work, what music you are digging that day or an inspirational quote. But either way, think of something just as creative as the work you made and don’t forget to use your hashtags!

Tag Your Favourite Art Relevant Pages

I think this a great way of getting Instagram art blogs and profiles to view your art and hopefully reposted (yay, free promotion)! Find some of your favourite pages on Instagram and go through who they are following to see what other pages you might like.

If you need inspiration I recommend pages like @taxcollection, @ratedmodernart and @love.watts.

Now you don’t want to tag them in your caption, you want to tag them in the image itself so it’s viewable on their profile under the tagged section. You can do this while you are posting the image (just hit edit and tag people).

Be Authentic & Don’t Hesitate

The best thing to do in the end is just be yourself, some people will love you and some people might not. You can’t control their feelings and it’s inevitable that people might disagree with what you say or what you create.

That is the beauty in being an artist — you get to express yourself! Don’t hesitate to express yourself and be who you are. As long as it’s positive there is nothing to worry about!

So, that’s my ten secrets for promoting your art on Instagram. I hope you find them useful and helpful for your own Instagram! Happy posting everyone.

x Madbutt

Originally published on

https://madbutt.com.au/blogs/madbutt/tips-on-promoting-your-art

***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

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Is the Art Market Ready to Embrace Work Made by Artificial Intelligence?

Is the Art Market Ready to Embrace Work Made by Artificial Intelligence? Christie’s Will Test the Waters This Fall

The auction house is selling an AI-produced work of art for the first time this fall.

• Naomi Rea 3 days ago

Obvious Art’s 𝒎𝒊𝒏 𝑮 𝒎𝒂𝒙 𝑫 𝔼𝒙 [𝒍𝒐𝒈 𝑫 (𝒙))] + 𝔼𝒛 [𝒍𝒐𝒈(𝟏 − 𝑫(𝑮(𝒛)))], Portrait of Edmond de Belamy, Generative Adversarial Network print on canvas (2018).

Christie’s New York will make history this fall when it becomes the first auction house to sell a work of art made by artificial intelligence. The print on canvas, a product of an algorithm developed by the French art collective Obvious, will be included in the auction house’s prints and multiples sale October 23-25.

Hugo Caselles-Dupré, a member of the Paris-based collective, told artnet News that they were “interested in the philosophical approach behind this,” he said. “Can an algorithm be creative? If so, this algorithm is the closest to the human mind’s creativity.”

The work was created using a model called a Generative Adversarial Network. The artists first fed a generator a dataset of 15,000 portraits done between the 14th and 20th centuries. It then created new works based on the training set until it was able to fool a test designed to distinguish whether an image was made by human or machine.

The resulting work, titled Portrait of Edmond de Belamy, depicts a man in a dark coat and white collar with indecipherable facial features that reside somewhere in the uncanny valley. The unique piece, a gold-framed canvas print that is currently on view in Christie’s London showroom, is estimated at $7,000-10,000. The collective says it will use the proceeds from the sale to further train its algorithm, finance the computational power needed to make such works, and experiment with 3D modeling.

Obvious Art’s 𝒎𝒊𝒏 𝑮 𝒎𝒂𝒙 𝑫 𝔼𝒙 [𝒍𝒐𝒈 𝑫 (𝒙))] + 𝔼𝒛 [𝒍𝒐𝒈(𝟏 − 𝑫(𝑮(𝒛)))], Portrait of Edmond de Belamy, Generative Adversarial Network print on canvas (2018).

The Christie’s sale constitutes an important validation in the realm of AI art. Although there are many so-called “creative coders” who use similar technologies to improve web experience, few are considered contemporary artists. The members of Obvious see themselves as conceptual artists whose main goal is to democratize Generative Adversarial Networks and legitimize AI-produced art.

“We wanted to propose this new approach to a more traditional market rather than the tech area,” Caselles-Dupré said. “At the beginning it was difficult to be understood by the traditional art market because they were looking at us like, ‘Who are those guys? What is this new weird stuff?’ But the more we’ve explained what we’re doing, what we want to share, and what we want to say, the more the art world is paying attention to our work.”

Following the Christie’s sale, Obvious plans to work with brands and galleries to expand the movement. “We really believe that AI can be a new tool for art,” Caselles-Dupré said. “In 1850, when the camera showed up, it was only used by highly qualified engineers and so it was not considered for its artistic potential. We think we are in the same situation, because people view us as engineers but we really think this type of technology will be used more and more in art.”

Installation view of Obvious Art’s 𝒎𝒊𝒏 𝑮 𝒎𝒂𝒙 𝑫 𝔼𝒙 [𝒍𝒐𝒈 𝑫 (𝒙))] + 𝔼𝒛 [𝒍𝒐𝒈(𝟏 − 𝑫(𝑮(𝒛)))], Portrait of Edmond de Belamy (2018).

The collective began a conversation with Christie’s following a London symposium on the implications of blockchain for the art world. “Christie’s continually stays attuned to changes in the art market and how technology can impact the creation and consumption of art,” said the auction house’s head of prints and multiples, Richard Lloyd, in a statement. “AI has already been incorporated as a tool by contemporary artists and as this technology further develops, we are excited to participate in these continued conversations.”

Edmond de Belamy is one of 11 portraits of the fictional Belamy family, which is named after Ian Goodfellow, the AI researcher who invented the Generative Adversarial Network method in 2014. (“Goodfellow” roughly translates to the French bel ami.) Another portrait from the family, Le Comte de Belamy, sold to Parisian collector Nicolas Laugero-Lassere earlier this year.

Originally published on the artnet News

https://news-artnet-com.cdn.ampproject.org/c/s/news.artnet.com/market/artificial-intelligence-christies-1335170/amp-page

***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

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WHAT TO COLLECT # 127. KAWS

Born in 1974 in Jersey City, NJ, USA

Lives and works in New York, USA

Considered one of the most relevant artists of his generation, KAWS engages audiences beyond the museums and galleries in which he regularly exhibits. His prolific body of influential work straddles the worlds of art and design to include paintings, murals, large-scale sculptures, street art, and graphic and product design. Over the last two decades KAWS has built a successful career with work that consistently shows his formal agility as an artist, as well as his underlying wit, irreverence, and affection for our times. He often draws inspiration and appropriates from pop culture animations to form a unique artistic vocabulary for his works across various mediums.

Now admired for his larger-than-life sculptures and hardedge paintings that emphasize line and color, KAWS’ cast of hybrid cartoon and human characters are perhaps the strongest examples of his exploration of humanity. His refined graphic language revitalizes figuration with big, bold gestures and keen, playful intricacy. As seen in his collaborations with global brands, KAWS’ imagery possesses a sophisticated humor and reveals a thoughtful interplay with consumer products. Highly sought-after by collectors inside and outside of the art world, KAWS’ artworks, with their broad appeal, establishes him as one of the most prominent artists in today’s culture.

KAWS (b. 1974, Jersey City, New Jersey; lives and works in Brooklyn, New York) has exhibited internationally in major museums. His recent solo exhibitions include KAWS: WHERE THE END STARTS, Modern Art Museum of Fort Worth, Texas (2016) which traveled to the Yuz Museum, Shanghai (2017); KAWS, Yorkshire Sculpture Park and Longside Gallery, West Yorkshire, United Kingdom (2016). His work has also been the subject of solo exhibitions at the Contemporary Art Museum St. Louis, Missouri (2017); Brooklyn Museum, New York (2015); Centro de Arte Contemporáneo, Málaga, Spain (2014); Nerman Museum of Contemporary Art, Overland Park, Kansas (2013); Pennsylvania Academy of Fine Arts, Philadelphia (2013); and the High Art Museum, Atlanta, Georgia (2011).

His monumental sculptures have been shown in prestigious locations including the Rijksmuseum, Amsterdam, the Yorkshire Sculpture Park, United Kingdom and the Brooklyn Museum, New York.

KAWS Is Bringing a Giant Floating Figure to Seoul’s Seokchon… https://hypebeast.com/2018/6/kaws-holiday-seokchon-lake-seoul-korea

COPYRIGHT @ by KAWS

Originally published on https://www.perrotin.com/artists/Kaws/55/view-of-the-exhibition-where-the-end-starts-curated-by-andrea-karnes-at-modern-art-museum-of-fort-worth-fort-worth-usa-2016/10000012698

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

***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

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WHAT TO COLLECT # 126. Wassily Kandinsky

Wassily Kandinsky – “A Late Bloomer”

Considered to be the father of abstract art, Wassily Kandinsky was what might be considered  “a late bloomer” concerning his art. Born to a family of musicians, he learned to play the piano and cello. When he was 20 years old he chose to study law and economics and attended the University of Moscow where he lectured and also wrote about spirituality. At the age of 30, Kandinsky left Moscow and went to Munich to study life-drawing, sketching and anatomy. At the age of 37 (which was at one time considered “middle aged”) he had his first exhibition. The artist’s unrelenting quest for new forms fueled his passion for painting almost until his death in 1944, at the age of 78.

Kandinsky once remarked, “The spirit, like the body, can be strengthened and developed by frequent exercise. Just as the body, if neglected, grows weaker and finally impotent, so the spirit perishes if untended.”

As these artists remind us, it is important to follow our hearts, know what we are born to do, and nourish our creative spirit. Even when we encounter periods of withdrawal we must find the way to reclaim it.

Article originally published on

“Famous Artists Who Reclaimed Their Artistic Passion” By Renee Phillips https://www.healing-power-of-art.org/?p=1387

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Millennials are shaping the art market’s future

The “2018 Insights on Wealth and Worth — Art Collectors” survey by U.S. Trust revealed that millennials are now the fastest growing segment of art collectors. Growing up with technology by their side, millennials—born between 1982 and 1998—have different values and buying habits than generations before them. Faced with these shifting demographics, what is your gallery doing to reach millennial collectors?

UBS’s 2017 “Millennials — the global guardians of capital” report explained that millennials, who currently account for roughly $17 trillion of global wealth, consistently prioritize “convenience, multi-channel delivery, and transparency.” So, how does this behavior translate to the art world?

To begin, millennials are “more transactional” than their predecessors, the boomers. Many view art as a capital asset, and are likely to sell and trade with more frequency. And not surprisingly—since millennials are also adapting to the online art market at an unparalleled velocity—78% of millennials bought art online in 2018.

This suggests a positive trajectory for the online art market, which is estimated to reach $8.37 billion by 2023. A recent ArtTactic report revealed that “63% of Gen Y (millennials) intend to buy more art online than last year,” and 57% of millennial buyers either prefer buying online or have no preference at all between a website and a brick-and-mortar space.

The article also made note of the increase in using platforms like Instagram to discover artists, as well as the surge in buying art on a mobile device—up to 20% from 4% in 2015.

From financial institutions to luxury brands, businesses around the world have had to adapt to millennial consumer behavior. Market forces are beginning to demand that galleries, dealers, and auction houses do the same. Do you feel the need to cultivate a network of millennial collectors?

Kind Regards,

Saskia Clifford-Mobley

Head of Gallery Partnerships, Europe, Middle East, and Africa

Originally published on Artsy.net

Also read, 2018 Insights on Wealth and Worth – Art Collectors | U.S. Trust

Photo credit by Masha Melnik, 2018

***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

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WHAT TO COLLECT # 125. SOFIA BONATI

Sofia Bonati

What I enjoy most is playing with textures and color combinations.

Sofia Bonati is an Argentinian artist currently living in Surrey, United Kingdom. She was born in Buenos Aires in 1982 into a family of artists, and started her artistic career when she moved to the UK in 2013. In addition to her studio practice, she has also developed a career as an illustrator, with clients such as Iberia (Spain), Vanity Fair (France) and Mondadori (Italy). Working mostly in pencil and wet media on paper, Bonati imbues her female gures and portraits with surrealistic elements, seemingly granting them the powers of the animals, plants, and objects that adorn them. Smooth, focused pencil drawing of realistic portraiture grounds each subject in the midst of flowing, dream-like surroundings, creating stunningly beautiful, imagined tableaus.

Copyright @ SOFIA BONATI

https://www.behance.net/Soffronia

***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

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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

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WHAT TO COLLECT #123. ALEX GARANT

Internationally renown as the Queen of Double Eyes, Alex Garant studied visual arts at Notre-Dame–De-Foy College just outside Quebec City. After graduating in 2001, she ultimately settled in Toronto, Canada.

She decided to indeed commit to her passion for Arts after suffering from a heart attack in 2012, changing forever how she would see the world.

As a pioneer of Contemporary Figurative Op Art, her oil paintings offer a graphic quality combined with traditional portrait techniques. Garant establishes herself as one of the leaders of analog Glitch Art by using patterns, duplication of elements,  symmetry and image superposition as crucial elements of her imagery.  Alex Garant’s paintings are indeed conversation pieces as they are meant to engage the observers in an image investigation process and hopefully enlist their senses differently while doing so.

Alex has shown works in Art Galleries all over Canada and the U.S., Los Angeles, San Francisco, New York as well as Australia and Portugal. Her works have also been shown at The Fullerton Museum and The Lancaster Museum of Art and History (MOAH) in California. She has been featured on CB;  her works have been seen in Magazines including hi-fructose, Juxtapoz, BAZAAR, Le Petit Voyeur, Tattoo Fest Magazine, The Art Education Journal, Beautiful Bizarre Magazine and on multiple online platforms including VICE, The Huffington Post, Buzznet, ViralNova, Tory Burch Trends and many more.

Copyright @ Alex Garant

Find out more about the Artist on https://www.alexgarant.com

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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

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***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