Among the works seen in whole or in part are
• Minutiae (1954);
• Interview (1955);
• Monogram (1955-59);
• Canyon (1959);
• Gift for Apollo (1959);
• Black Market (1961);
• Empire II (1961);
• Pantomime (1961);
• Ace (1962); and
• Gold Standard (1964).

The video is set to music composed by Earle Brown who, along with Rauschenberg, was a member of a small group of friends in the 1950s that included John Cage, Merce Cunningham, Morton Feldman, Jasper Johns, and Christian Wolff, among others. In the spirit of that long-ago friendship, and in the collaborative spirit of that time and group, excerpts from the following works by Brown have been selected and collaged, with permission of The Earle Brown Music Foundation, for this video: Music for Violin, Cello, & Piano (1952); Octet I (1953); Folio and 4 Systems (1954); String Quartet (1965); New Piece (1971); and Special Events (1999).

VIDEO | Producer: Susan Sollins. Camera: Bob Elfstrom. Sound: Ray Day. Editor: Lizzie Donahue. Special thanks to Robert Rauschenberg’s Studio and David White; Paul Schimmel and The Museum of Contemporary Art, Los Angeles; The Earle Brown Music Foundation and Thomas Fichter.

Can you get a decent art education on the web? The answer is a qualified ‘yes’, …. if you do your homework, and if you select a reputable art school.

The internet is actually a good way to find out about various art programs around the country, around the world. First you have to select an art school which has a good reputation.

Many of the benefits to online education have to do with added flexibility:
1. Ability to stay home and study with a college or school whose base is at a different location.
2. Ability to study when it suits you. You can work around your day job or the busy routine of a family life with children.

Challenges of online education for art schools are generally:

1. student interaction with other students, teachers and tutors.
2. student interaction with teachers and tutors
An online art school should contain just about the same as a “live” education, depending on how long and intense it is. you should be able to learn different techniques, take idea and concept based courses, at least one course in art theory and history. Personal tutoring from teachers is important as well. You have to be able to get response and feedback on your progress, otherwise it’s hard to develop your skills and ideas.

Challenges of online education for art students are generally:
1. the required discipline to ‘keep going’ when the going gets tough’ and to see coursework through to the end. Some people simply need a physical teacher around, who could frown to you if you’d tell her you didn’t complete your art project.
2. certain students need to hear or see things to be able to learn, while others are brilliant at learning through books.

What you’d get in the end

Some educations offer a degree and some just diplomas. It depends on the level on it, and how much time and money you are able to put in. if you are aiming on a degree in fine arts on a professional level, you have to take a college course and that will cost more for you in time and money investment. If you want to take some courses to learn new techniques or just for a hobby, you can take shorter single theme courses. It all depends on your needs.

The one thing to keep in mind is to fulfill your dreams. A fine or graphic art education can be something many people would advice against, but I’m of the opposite opinion. You have to try out your dreams how else would you know what your purpose in life is?

As an aid in this process:

Fine Art, Contemporary Art ::: Art News, Art Reviews, Art Fairs, Art Exhibitions ::: FINE ART MAGAZINE . Copyright 2008, e ART FAIR .com, All Rights Reserved.

A few basic, descriptive words can define a person’s reputation in a mere brush stroke. Naïve, childlike, primitive - words like these have lived on long after the renowned French painter Henri Rousseau has left this world. Yet time and time again they are the tidbits of vocabulary, or the glaring labels that people give to Rousseau.

One has only to stare intently at his works with their bright shades, seemingly simple forms and fantasy like scenarios to see that they do have an unmistakable childlike aura about them, yet surely they show us more upon second glance.

The man Picasso would one day go on to befriend after seeing one of Rousseau’s canvases being sold for reuse, was born in Laval France on the 21st of May, 1844. Never a rich man by any means, Rousseau entered the army as a youngster and later became a toll clerk in Paris. At the somewhat early age of forty nine Henri Rousseau retired from his life in the civil service so he could devote night and day to his dearest passion, painting.

Rousseau belonged to an elite class of artists, though many of his peers and critics were not so quick to see Henri’s career as such. Rousseau was a self-taught artist through and through. Though he obtained the needed permit to sketch inside of the national French museums in 1884, Henri never so much as took a formal art class or apprenticed under any master of the day. Like so many with great loves, he simply had a burning passion for painting embedded in his soul.

The art world was alive in new and fantastic ways in the late nineteenth century; thousands of would-be artists clambered either in the shadows or in the limelight for recognition. This was the era that would produce such legends as Paul Gauguin, Edgar Degas and Henri de Toulouse-Lautrec to name but three. So in this time of artistic explosion Rousseau worked – whether intentionally or not – in a style and manner that was delightfully unique and captivating. Though often grouped under the heading post-impressionism, Henri’s work somehow stands out from the crowd.

It is innovative and subtly provocative, surrealist and dreamy. He favoured animals, real life subject matter (including paintings of many of the people closest to him) and vivid, well-saturated colours. His passion for painting jungle scenery and wild beasts is thought to come from time spent in the Jardin des Plantes in Paris, a lush botanical garden that housed a well stocked zoo of exotic creatures.

In his work we do see a sense of childlike innocence, but it may be because that is what Rousseau was attempting to do, rather than a by-product of his creativity. In an epoch of so many social, political, religious and technological – not to mention artistic – changes, living a lower class life (Henri and his wife Clémence had nine children to support on his meagre salary), and without formal training to sway him towards other more traditional or “in vogue” forms of art, perhaps Henri was trying to carve out the sort of life he secretly wished for through his work.

And so, like a child who daydreams incessantly in the face of reality, Henri Rousseau painted the world in a way that showed both its colourful simplicity and its mysterious secrets; a place of ambiguity, a fascinating jungle of fantasy amidst the harsh backdrop of late nineteenth century Paris.

Born is Vancouver, BC Jessica Cander is a professional freelance writer who currently calls the Southern tip of Ireland home. She intensely enjoys writing on all aspects of culture and the arts, and is a fan of Henri Rousseau’s painting.

Article Source: http://EzineArticles.com/?expert=Jessica_Cander

Fine Art, Contemporary Art ::: Art News, Art Reviews, Art Fairs, Art Exhibitions ::: FINE ART MAGAZINE . Copyright 2008, e ART FAIR .com, All Rights Reserved.

EUROPEAN CONTEMPORARY ART MUSEUMS

1. Institute of Contemporary Arts (ICA), London (England)
   
2. Baltic Centre for Contemporary Art, Gateshead (England)
   
3. Nykytaiteen museo Kiasma (Museum of Contemporary Art), Helsinki (Finland)
   
4. Rooseum Center for Contemporary Art, Malmö (Sweden)
   
5. Malmö Konsthall (Sweden)
   
6. Bildmuseet, Umeå (museum of contemporary art and visual culture) (Sweden)
   
7. Museet for Samtidskunst (Museum of Contemporary Art), Roskilde (Denmark)
   
8. Centre for Contemporary Art, Warsaw (Poland)
   
9. 218ac Galleria d’Arte Contemporanea, Piacenza (Italy)
   
10. Castello di Rivoli: Museo d’Arte Contemporanea, Turin (Italy)
    
11. Galleria Comunale d’Arte Moderna e Contemporanea, Rome (Italy)
    
12. The Foundation and the Center for Contemporary Art, Prague (Czech Republic)
    
13. De Pont Stichting voor Hedendaagse Kunst (Foundation for Contemporary Art), Tilburg (Netherlands)
    
14. Musée des Arts Contemporains (MAC), Hornu (Belgium)
    
15. Museu d’Art Contemporani de Barcelona (Spain)
    
16. The Rodriquez-Amat Foundation for Contemporary Art and Culture, Les Olives, Catalonia (Spain)
    

AMERICAN CONTEMPORARY ART MUSEUMS

1. New Museum of Contemporary Art, New York (USA)
   
2. P.S.1 Contemporary Art Center, New York (USA)
   
3. Museum of Contemporary Art, Chicago (USA)
   
4. Museum of Contemporary Photography, Chicago (USA)
   
5. Museum of Contemporary Art, Los Angeles (USA)
   
6. Museum of Contemporary Art, San Diego (USA)
   
7. The Institute of Contemporary Art, Boston (USA)
   
8. Mass MOCA (Massachusetts Museum of Contemporary Art), North Adams (USA)
   
9. The Contemporary Arts Center, Cincinnati (USA)
   
10. Museum of Contemporary Art, Cleveland (USA)
    
11. Kemper Museum of Contemporary Art, Kansas City (USA)
    
12. Center of Contemporary Arts (COCA), St. Louis (USA)
    
13. Contemporary Arts Museum, Houston (USA)
    
14. ArtPace: A Foundation for Contemporary Art, San Antonio (USA)
    
15. The Chinati Foundation, a contemporary art museum near Marfa, Texas, based upon the ideas of its founder, Donald Judd (USA)
    
16. Boulder Museum of Contemporary Art (USA)
    
17. Contemporary Arts Center, New Orleans (USA)
    
18. Museum of Contemporary Art, North Miami (USA)
    
19. Center for Contemporary Art, Seattle (USA)
    
20. Institute for Contemporary Art, University of Pennsylvania (USA)
    
21. The Aldrich Museum of Contemporary Art, Ridgefield (USA)
    
22. Real Art Ways: a center for contemporary culture, Hartford (USA)
    
23. Contemporary Art museum, Raleigh (USA)
    
24. Centre for Maine Contemporary Art, Rockport (USA)
    
25. The Mattress Factory, Museum of Contemporary Art, Pittsburgh (USA)
    
26. Pirate: A Contemporary Art Oasis, Denver (USA)
    
27. Portland Institute for Contemporary Art (USA)
    
28. Contemporary Art of Center of Virginia, Virginia Beach (USA)
    
29. The Contemporary: Atlanta Contemporary Art Center (USA)
    
30. Urban Institute for Contemporary Arts, Grand Rapids (USA)
    
31. Southeastern Center for Contemporary Art, Winston-Salem (USA)
    
32. Palm Beach Institute of Contemporary Art (PBICA) (USA)
    

CONTEMPORARY ART MUSEUMS IN OTHER PARTS OF THE WORLD

1. Musée d’art contemporain de Montréal (Canada)
   
2. The Power Plant: Contemporary Art Gallery, Toronto (Canada)
   
3. Museo de Arte y Diseño Contemporáneo, Costa Rica
   
4. Museu de Arte Contemporânea da Universidade de São Paulo (Brazil)
   

5. Museu de Arte Contemporânea de Niterói, (Brazil)
   
6. Museo de Arte Contemporáneo (MAC), Universidad de Chile, Santiago (Chile)
   
7. Museum of Contemporary Art, Sydney (Australia)
   
8. Australian Centre for Contemporary Art, (Australia)
   
9. Judith Wright Centre for Contemporary Arts, Brisbane (Australia)
   
10. Centre for Contemporary Photography, Fitzroy, Victoria (Australia)
    
11. Centre of Contemporary Art, Christchurch (New Zealand)
    
12. Tehran Museum of Contemporary Art (Iran)
    
13. The Contemporary Art Centre, Skopje (Macedonia)
    
14. National Museum of Contemporary Art, Seoul (Korea)
    
15. Museum of Contemporary Art, Tokyo (Japan)
    
16. Hara Museum of Contemporary Art, Tokyo (Japan)
    

Fine Art, Contemporary Art ::: Art News, Art Reviews, Art Fairs, Art Exhibitions ::: FINE ART MAGAZINE . Copyright 2008, e ART FAIR .com, All Rights Reserved.

ARCHITECTURE
1900 In the design of the Ward W. Willitts House in Highland Park, Illinois, Frank Lloyd Wright (1867–1959) creates the “Prairie Style,” a modernist aesthetic for architecture and design that complements the Midwestern landscape.

DANCE
1903 San Francisco–born expatriate Isadora Duncan (1878–1927) delivers a lecture in Berlin entitled “The Dance of the Future” and is soon hailed in the U.S. and Europe as the founder of modern dance.

ART PHOTOGRAPHY
1908 Lewis Hine (1874–1940) becomes staff photographer for the National Child Labor Committee (NCLC), traveling through the United States documenting child labor in various industries. Designed to evoke the sympathy of viewers and mobilize activism, Hine’s images are circulated by the NCLC via exhibitions and pamphlets. His last large-scale documentary project will be a record of the construction of the Empire State Building in New York (1930–31), in which workers and labor itself share the spotlight with the awe-inspiring structure.

FINE ART PAINTING
1908 A group of eight realist painters of urban life, later known as the Ashcan School or “The Eight,” including William Glackens (1870–1938), Robert Henri (1865–1929), George Luks (1867–1933), and John Sloan (1871–1951), organize an exhibition at Macbeth Gallery in New York.

WRITING
1909 Gertrude Stein (1874–1946) publishes Three Lives, a character study of three women. A native of Pennsylvania, Stein is for many years a prominent member of avant-garde artistic and expatriate circles in Paris.

ART ENVIRONMENT
1910s Greenwich Village in lower Manhattan emerges as an enclave of bohemian and radical culture, home to irreverent small presses, avant-garde art galleries and studios, and experimental theater groups.

ART ENVIRONMENT
1912 New Mexico and Arizona become the forty-seventh and forty-eighth states of the U.S. The unique landscape and culture of the American Southwest will attract many artists, including Georgia O’Keeffe (1887–1986), who will travel to New Mexico for the first time in 1929 and reside there permanently from 1949.

ART MOVEMENT
1913 The International Exposition of Modern Art (the “Armory Show”) is held at the 69th Regiment Armory in New York and introduces Americans to the modernist work of Matisse, Kandinsky, Brancusi, Picasso, Braque, and others on a large scale. Nude Descending a Staircase, a Cubist canvas by Marcel Duchamp (1887–1968), creates a public sensation. Theodore Roosevelt labels the Futurist and Cubist artists in the exhibition “the lunatic fringe.” Smaller versions of the show subsequently travel to Chicago and Boston.

CONTROVERSIONAL ART
1917 Marcel Duchamp (1887–1968) exhibits his first readymade, Fountain, an upturned and signed urinal, at the Society of Independent Artists in New York. This work questions what it means to be an artist and what constitutes a work of art.

ART MOVEMENT
1920s–early 1930s Literary, visual, and performing arts flourish in Harlem, the African-American enclave of New York City, spurred by the mass migration of blacks from rural areas to northern cities. Poets, novelists, painters, and musicians of the “New Negro Movement“—later called the Harlem Renaissance—search for new forms of expression to convey their racial experiences and celebrate African-American cultural identity. Major figures of the Harlem Renaissance include poets Langston Hughes (1902–1967) and Countee Cullen (1903–1946), novelist and anthropologist Zora Neale Hurston (1891–1960), jazz composer Duke Ellington (1899–1974), political activists W. E. B. Du Bois (1868–1963) and Marcus Garvey (1887–1940), photographer James Van Der Zee (1886–1983), and artists Aaron Douglas (1899–1979) and Archibald Motley (1891–1981).

ART SCHOOL
1928–41 The Cranbrook Academy of Art is designed and constructed in Bloomfield Hills, Michigan, by Finnish-American modernist Eliel Saarinen (1873–1950), who also serves as president of the Academy.

ART MUSEUM
1929 The Museum of Modern Art, New York, opens.

ART MOVEMENT
1930s The Regionalist movement is embodied in the paintings of Grant Wood (1892–1942), John Steuart Curry (1897–1946), and Thomas Hart Benton (1889–1975). Rejecting the tenets of modernist art and theory, the Regionalists depict indigenous American subjects in a realist mode, often in murals commissioned for post offices, schools, libraries, and other public buildings under the auspices of the Federal Art Project, a Depression-era government program.

ART MOVEMENT
1932 The International Style exhibition opens at the Museum of Modern Art, New York. Curated by architect Philip Johnson (born 1906) and art historian Henry-Russell Hitchcock (1903–1987), it introduces an American audience to recent developments in European modernist architecture.

ART PHOTOGRAPHY / ART MOVEMENT
1932 Eleven West Coast photographers, including Ansel Adams (1902–1984), Imogen Cunningham (1883–1976), and Edward Weston (1886–1958), hold an exhibition in San Francisco at which they announce the formation of Group f/64, dedicated to a “pure” photography that captures the world “as it is,” and opposed to the aesthetic manipulations of Pictorialism.

ART SCHOOL
1933 A liberal arts college is founded in Black Mountain, North Carolina, and becomes a locus for the dissemination of Bauhaus ideas through its European émigré teaching staff, including the German Josef Albers (1888–1976). Black Mountain College remains a site for the production of experimental multimedia work until it closes in 1957.

CONTROVERSIAL ART
1933 Mexican muralist Diego Rivera (1886–1957) is commissioned by Nelson Rockefeller (1908–1979) to create a mural for the RCA Building in New York’s Rockefeller Center. Because the painting, entitled Man at the Crossroads, contains a portrait of Lenin, Rivera is prevented from completing it, and Rockefeller later has it destroyed. The leftist politics and social content of Rivera’s work, along with that of his compatriots José Clemente Orozco (1883–1949) and David Alfaro Siqueiros (1896–1975), who also spend time in the U.S. during the 1930s executing various public commissions, influence many American artists employed in government-sponsored New Deal projects during the Depression.

ART SUPPORT
1935 The federal government launches the Works Progress Administration (WPA), which, like other New Deal programs, provides employment for artists. Ben Shahn (1898–1969), Stuart Davis (1892–1964), and Jackson Pollock (1912–1956), among thousands of other artists, produce murals, sculptures, posters, and other graphic materials for public buildings and for exhibitions held in dozens of community art centers established across the country by the Federal Art Project. Photographers document the living and working conditions of Americans during the Depression with the support of the Resettlement Administration (later called the Farm Security Administration). Among the photographers is Dorothea Lange (1895–1965), whose images of the Dust Bowl exodus become symbols of the migrant experience.

CONTROVERSIAL ART - ART PHOTOGRAPHY
1936 The Photo League, committed to a documentary photography allied to progressive political and social movements, establishes a school in New York under the directorship of Sid Grossman (1913–1955) and begins publication of its provocative journal Photo Notes. Among the League’s projects is Harlem Document, supervised by Aaron Siskind (1903–1991), which records life in New York’s African-American community. In the late 1940s, the League is declared a “subversive” organization by the U.S. Attorney General and many of its members are blacklisted.

LANDMARK ART
1942 Edward Hopper (1882–1967) paints Nighthawks (Art Institute, Chicago), an iconic depiction of loneliness and isolation in contemporary American life. Hopper maintains allegiance to a harsh realist mode throughout his life, creating stark urban and rural scenes scored by bright artificial light and deep shadows.

ART MUSEUM
1942 Peggy Guggenheim (1898–1979) opens the gallery Art of This Century in New York. Romanian-Austrian architect Frederick Kiesler (1890–1965) designed the interiors that were intended to complement the Surrealist and abstract art on display.

ART & DESIGN
1944 The American Society of Industrial Designers is founded to advocate high-quality design of industrial products, a larger concern at mid-century. Among the most advanced designers of the period is Norman Bel Geddes (1893–1958), whose work encompasses the practical design of everyday commodities such as typewriters and radios, and large-scale visionary projects such as the Futurama exhibit at the 1939 New York World’s Fair.

ART MOVEMENT/ ART GENRES
1945 The conclusion of World War II begins a prolonged period of economic expansion in the U.S. Among the postwar American art movements that receive popular and critical attention worldwide is Abstract Expressionism, which includes two subgenres: action or gesture painting, associated with the work of Jackson Pollock (1912–1956), Lee Krasner (1908–1984), Willem de Kooning (1904–1997), Franz Kline (1910–1962), and others, and color field painting, represented by the work of Mark Rothko (1903–1970), Barnett Newman (1905–1970), and Ad Reinhardt (1913–1967). Although Abstract Expressionism is mostly thought of as a movement in painting, it has some correlation to the sculpture of David Smith (1906–1965).

PRINT MAKING
1957 Tatyana Grosman (1904–1982) establishes Universal Limited Art Editions (ULAE), a printmaking workshop, in West Islip, New York. ULAE sets the standards for a postwar printmaking renaissance in the United States.

ART MUSEUM
1958 The Solomon R. Guggenheim Museum, designed by Frank Lloyd Wright (1867–1959), opens in New York. Wright had begun working on the commission for a building to house the Guggenheim’s collection of modernist art in 1943. The museum represents a sculpturally and spatially rich use of concrete.

ART HAPPENING
1959 The first public “happening” is produced by Allan Kaprow (born 1927) at the Reuben Gallery in New York. Jasper Johns and Robert Rauschenberg are among the performers. Influenced by Jackson Pollock’s process of action painting, the teachings of John Cage on chance and indeterminacy in art, and ultimately Dadaism, Kaprow defines a happening as a choreographed event that facilitates spontaneous interactions between objects—which include performers—and visitors.

ART MOVEMENT
1960 The Minimalist movement begins and maintains an important place in the art world for about a decade. Practitioners include Carl Andre (born 1935), Robert Morris (born 1931), Dan Flavin (1933–1996), Brice Marden (born 1938), Robert Ryman (born 1930), and others.

ART MOVEMENT
1961 The phrase “concept art” is first used by Henry Flynt (born 1940). It comes to have a more general application to the work of artists Sol LeWitt (born 1928), Joseph Kosuth (born 1945), and others. During the following decade, Conceptual and performance art demonstrate the possibilities of making art without producing saleable objects.

ART MOVEMENT
1962 Andy Warhol (1928–1987) paints Campbell’s Soup Cans, a key work of the Pop Art movement. Warhol and other artists associated with the movement, including Claes Oldenburg (born 1929) and Roy Lichtenstein (1923–1997), satirize Americans’ voracious consumption of manufactured products in the postwar period.

ART STYLE / MOVEMENT
1962 Yale University’s Art and Architecture Building, designed by Paul Rudolph (1918–1997), opens. It is an important monument of New Brutalism, a style that—in contrast to the trim and sleek aesthetic of 1920s modernism—emphasizes the tactility and roughness of its materials, often poured-in-place concrete.

ART MOVEMENT
1964 The term “optical art” is coined in Time magazine to describe painting and sculpture that makes use of optical effects to evoke physiological responses in the viewer. Proponents of Op Art include Bridget Riley (born 1931), Larry Poons (born 1937), and long-time practitioner Victor Vasarely (1908–1997).

ART MOVEMENT
1969 A group exhibition devoted to Conceptual art, entitled January 1–31: 0 Objects, 0 Paintings, 0 Sculptures, is mounted by New York dealer Seth Siegelaub and features the work of four artists: Joseph Kosuth (born 1945), Lawrence Weiner (born 1940), Robert Barry (born 1936), and Douglas Huebler (1924–1997). As a movement, Conceptualism critiques the political and economic structures that sustain Western art forms, and Conceptual artists produce works intended to convey ideas—often through the use of text alone—rather than to be appreciated as precious commodities.

ART MOVEMENT
1970 Environmental awareness spawns earthworks, sculptural projects on the scale of the landscape itself. Perhaps the best-known example is Robert Smithson’s (1938–1973) large-scale Spiral Jetty, built out of rock and earth in the Great Salt Lake in Utah.

ART MOVEMENT
1971 The term “Post-Minimalism” is used by critic Robert Pincus-Witten (born 1935) to describe the contemporary work of Richard Serra (born 1939) and Eva Hesse (1936–1970).

LANDMARK ART
1976 The avant-garde opera Einstein on the Beach, by Robert Wilson (born 1941) and composer Philip Glass (born 1937), premieres.

ART INSTALLATION
1977 Walter De Maria (born 1935) installs The Lightning Field near Quemada, New Mexico. In the same year, he re-creates his 1968 Earth Room, a gallery filled with dirt, at the Heiner Friedrich Gallery in New York. With the latter work, De Maria becomes prominently associated with the earthworks movement.

CONTROVERSIAL ART
1979 Artist Sherrie Levine (born 1947) rephotographs images by Walker Evans as a means of making art that questions the notion of originality. Over the next decade, Levine, Dana Birnbaum (born 1946), Barbara Kruger (born 1945), and others will become prominent in the Appropriation Art movement.

ART MUSEUM
1985 The Los Angeles County Museum of Art organizes an exhibition of works by Barbara Kruger (born 1945), which combine found photography and succinct, humorous slogans deconstructing the representations of power inherent in mass-media imagery. Kruger is one of many artists of the 1980s, sometimes dubbed the “pictures generation,” who explore the coercive and seductive dynamics of the media.

ART MOVEMENT
1991 The “grunge” style, originating in Seattle, Washington, becomes nationally fashionable and has an impact on popular music and clothing.

source:
http://www.metmuseum.org/toah/ht/11/na/ht11na.htm

Fine Art, Contemporary Art ::: Art News, Art Reviews, Art Fairs, Art Exhibitions ::: FINE ART MAGAZINE . Copyright 2008, e ART FAIR .com, All Rights Reserved.

The exhibition documents the variety of his interests as a patron of the arts, collector, publisher and gallerist. He opened his Galleria del Cavallino opened in Venice in 1942.

In the contemporary art world following the Second World War, few personalities matched the enterprise and volcanic curiosity of the Venetian Carlo Cardazzo.

Cardazzo’s career de?nes him as a precursor, like Peggy Guggenheim, in the promotion of contemporary art. Thanks to new archival research coordinated by the curator, unpublished materials and unknown facts have emerged which locate him in a surprisingly international context. Curator: Luca Massimo Barbero.

Carlo Cardazzo in his Galleria del Cavallino, Venice, 1960s

Fine Art, Contemporary Art ::: Art News, Art Reviews, Art Fairs, Art Exhibitions ::: FINE ART MAGAZINE . Copyright 2008, e ART FAIR .com, All Rights Reserved.

What the musician says:

“The crossover of different aspects of media is a frequent media within itself that we see frequently, sometimes without noticing it. My project was to create music to three paintings by Salvador Dali. Within my music, I tried to portray my initial feelings created when I first looked at the paintings.

Painting 1: “The persistence of memory” (1931). To me, this picture made me think of the aspect of time being twisted.

I recreated this feeling within my music by writing this section in 5 4. By adding the extra beat, this is an aspect of surprise to the listener. This contrast is created because the instrumentation of harp, strings, oboe and bass clarinet is quite Romantic and traditional. The harmonies within this piece are also quite traditional, apart from an augmented chord introduced. This technique, I find, also adds a twist to the traditional sound that this piece could have evoked. So, much like Dali’s paintings, this music has taken a traditional form and twisted it to create something new and unexpected.

Painting 2: “The Face of War”, immediately conjured up dissonant chords and echoing sounds of distant screams and hissing snakes, but I thought that would be too expected. As the picture has such a central image (unlike the previous, and, subsequently, the following one), I felt the music could illustrate the surrounding images as opposed to the central one. The surrounding image reminded me of Africa as the central image reminded me of an African mask, so I used a marimba to play my opening rhythm. This rhythm is, again, very sporadic in its timing and beats to illustrate the surrealist nature of Dali’s work. The main melody, played by a Cor Anglais, is playing music of a Middle Eastern nature because the other “surrounding” image is that of snakes; so I illuminated those creatures by portraying a snake charmer feel. The other two instruments, a harpsichord and a double bass, add to the vastness of painting.

Painting 3: an image of “The Church to me”, and … an image of support. Lots of things within the painting that are being supported. The architecture in the painting also reminded me a lot of traditional church designs. Within the music,

I did a very traditional organ piece, accompanied by strings. The central image, within the painting, is a woman holding out grapes. Again, this arouses up the image of help, support and friendship. The music to accompany the picture is very distant — as if it were coming from a distant church. From the perspective of the painting, “we” are far away from all the buildings, so I decided to make the music somewhat solemn, as if the support and help is fading away.

All these musical pieces can be looped if the images were displayed separately, but I don’t feel the music can work as a separate entity to the pictures, because the music is part of the emotions created by the pictures.”

Fine Art, Contemporary Art ::: Art News, Art Reviews, Art Fairs, Art Exhibitions ::: FINE ART MAGAZINE . Copyright 2008, e ART FAIR .com, All Rights Reserved.

Starry Night Exhibition

This exhibition will present new insight into Van Gogh’s depictions of night landscapes, interior scenes, and the effects of both gaslight and natural light on their surroundings. Representing all periods of the artist’s career, the exhibition will comprise over two dozen works of superlative quality—several of which have never been seen together, even though they were very clearly conceived with each other in mind.

The artwork was acquired by MoMA through the Lillie P. Bliss Bequest.

Vincent van Gogh. The Starry Night. 1889.
Oil on canvas, 29 x 36 1/4″ (73.7 x 92.1 cm).

About Van Gogh

Throughout his career, Vincent van Gogh (Dutch, 1853–1890) attempted the paradoxical task of representing night by light. His procedure followed the trend set by the Impressionists of “translating” visual light effects with various color combinations, informs MoMA.

At the same time, this concern was grafted onto Van Gogh’s desire to interweave the visual and the metaphorical in order to produce fresh and deeply original works of art. These different artistic concerns found themselves powerfully bound together in Van Gogh’s nocturnal and twilight paintings and drawings.

About the Exhibition

This exhibition was organized by an international curating team, comprised of Joachim Pissarro, Adjunct Curator, Department of Painting and Sculpture, The Museum of Modern Art, and the Bershad Professor of Art History and Director of the Hunter College Galleries; and Sjraar van Heugten, Head of Collections, the Van Gogh Museum, Amsterdam.

The MoMA exhibition will end January 5, 2009. Subsequently, it will be shown at the Van Gogh Museum in Amsterdam, The Netherlands, from February 13 till June 7, 2009.

Fine Art, Contemporary Art ::: Art News, Art Reviews, Art Fairs, Art Exhibitions ::: FINE ART MAGAZINE . Copyright 2008, e ART FAIR .com, All Rights Reserved.

Basquiat Fine Prints For Sale

Untitled, 1981 Jean-Michel Basquiat

Mona Lisa Jean-Michel Basquiat

Untitled, 1981 Jean-Michel Basquiat

Florence, 1983 Jean-Michel Basquiat

Fine Art, Contemporary Art ::: Art News, Art Reviews, Art Fairs, Art Exhibitions ::: FINE ART MAGAZINE . Copyright 2008, e ART FAIR .com, All Rights Reserved.

From 1775-92 Goya was to work for the Royal Tapestry Factory in Madrid helping to paint the designs. The work served as an excellent means of broadening Goya’s horizons and developing him as an artist – his studies of the work of Velasquez also influenced his style, giving Goya a slightly freer hand in his paintings with a greater imagination. In 1786 Goya was appointed as painter to the King and just three years later, he was made the court painter. During this period, Goya painted Charles IV and Ferdinand VII and also gained a lot of respect as a portrait painter to the aristocracy.

Dona Leocadia Zorrilla, G… Francisco Goya

Tragedy was to befall Goya in 1792 when he contracted a serious illness that resulted in the loss of his hearing. Modern scientists believe it may have had something to do with the large amount of lead in the paints available at the time. A fairly paranoid individual anyway, Goya’s deafness caused him to withdraw even more from the world. In 1799 he completed some of his most famous works, a collection of 80 prints entitled “Los Caprichos”. The works were a stark collection, satirising human weakness and Goya’s own mental struggle is captured within them. Amongst his other great works of the period are “The Nude Maja” and “The Clothed Maja”. The first painting was received with general outrage by the Spanish court so Goya did another painting of the same scene but without the nudity. Both are now viewed as seminal works.

Goya became more and more recluse and retired to his villa in Madrid, “Quinto del Sordo” (House of the deaf man), as the Napoleonic wars raged. When Bonaparte’s troops seized power in Spain, Goya produced some of his frankest and most challenging work on the subject of war; the most famous painting from the time being the brutal “The Disasters of War”. It lays bear the atrocities of some of the French soldiers and also shows the spirit and resistance of the Spanish people. Goya had seen the devastation of Saragossa first hand; he was also in Madrid when 20,000 were claimed by famine so he’d seen these atrocities taking place in front of him.

However Goya’s most disturbing work was still to come, between 1819 and 1923 he produced 14 works that are now known as the “Black Paintings”. Insanity, madness and fantasy are all recurrent themes throughout the series in which Goya used a lot less colour and a much darker palette in general. The most brutal painting of the period is undoubtedly “Saturn devouring his son”, a depiction of the God eating his offspring in bloody fashion. Other telling paintings from the series are “The great he-goat” and “Fight with clubs”, all tell of Goya’s haunted mental state at the time, he’d been lucky enough to survive two near-fatal illnesses and he lived in fear of a relapse. Goya eventually died aged 82 in self-imposed exile in Bordeaux.

Today the best place to see his work is the Prado Museum in Madrid. Today the best place to see his work is the Prado Museum in Madrid. Goya’s work earned him the title of “the father of the moderns” and his influence on painters of the contemporary era can be traced to his sharp observational style and his tendencies to paint as he saw, with little regard for conventional beauty.

By Mike McDougall

Mike McDougall has five years experience working as a travel writer and marketeer. He is currently working to provide additional content for Babylon-idiomas, a Spanish language school with an excellent presence in Spain and Latin America.

Fine Art, Contemporary Art ::: Art News, Art Reviews, Art Fairs, Art Exhibitions ::: FINE ART MAGAZINE . Copyright 2008, e ART FAIR .com, All Rights Reserved.