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| The Andrei Rublev Museum of Ancient Russian Art http://www.moscow.info/museums/andrei-rublev-museu This unique museum is the resting place for some of the most precious examples of Russian Orthodox art. This incomparable and unusual museum lies in the ground of the Andronikov Monastery, which was founded in the 14th century and long considered one of Russia's most important religious centres, involved in many of the country's defining historical and cultural events. Within the walls of the monastery is the... |
| The State Tretyakov Gallery http://www.tretyakovgallery.ru/ The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея), in Moscow, Russia, is the national treasury of Russian fine art and one of the greatest museums in the world. It is located in one of the oldest directs of Moscow – Zamoskvorechye, not far from the Kremlin. The gallery's history starts in 1856 when the Moscow merchant Pavel... |
| Framed-arts custom framed prints online http://www.framed-arts.com Online custom framed art prints and posters including Andy Warhol prints, custom framed impressionist art, framed Picasso prints, unique decorative matting options and online art framing tool. |
| THE NAKED IN THE ART http://desnudoart.blogspot.com/ Representation of Naked in art throughout history and its painters |
| Art by Marianne Mathiasen http://www.marianne-mathiasen.dk I am an Danish artist. I work in pencil, watercolor, and mixed media. In my gallery you will find botanical art, fantasy art, and dream art. I also keep an oneline sketchbook. |
| Paris Art Center celebrates 54th year
- The Bicentennial Art Center is celebrating its 54th year showcasing the Annual Fall Show.
The Art Center, located at 132 S. Central Ave., Paris, is hosting the show in its main floor galleries now through Nov. 14. The long tradition of the Annual Fall Show brings forth the works of artists residing within a 100-mile radius of Paris. Because the show is open to all art media, except photography, the exhibit is diverse in content, and this year 120 works were submitted by 46 artists. Joan Stolz, associate professor of art and design at Parkland College, was the juror for this show and selected 63 works of art for inclusion in the exhibit. The judge awarded the following awards: Judge's Choice Award: J. Anna Roberts, Brownsburg, Ind., for her watercolor painting, "Got Milk?". The five merit awards were given to John Gabb, Effingham, for his oil painting "The Faces of Aids: Alone"; Mary Ann Lipousky-Butikas, Westville, for her pencil drawing, "Boattail Speedster"; Betty Lusk Hughes, Champaign, for her oil painting, "Antique Plate with Pomegranates"; Deborah Anderson, Carbon, Ind., for her wood piece "Fall Colors"; and Tom David, Mattoon, for his acrylic and oil painting "Cathy." Honorable mention awards were given to Tom Swopes, Dennison; Kari Rajkumar, Paris; Louis Ballard, Seymour; Martha Seif, Urbana; and Louise Hansen, Terre Haute. Local businesses and individuals sponsored the awards for the Annual Fall Show. The art center is handicapped accessible. Hours are 10 a.m. to 4 p.m. Tuesday through Friday, or by appointment. For more information contact the art center at 466-8130. 1 Vote(s) Wed, 29 Oct 2008 08:45:28 CET |
| Art gallery effigy up in flames
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An effigy of an art gallery has been burnt in Hastings in protest against plans for the multi-million pound Jerwood project in the town.
Under the plans, the Jerwood Foundation would build a gallery on the East Sussex seafront and invest up to £4m. But in a protest over local democracy, Hastings Bonfire Society said people would not be driven into accepting it. Hastings Borough Council has approved the plans. The Jerwood Foundation said it had "consulted widely". Bonfire societies across Sussex stage processions and fireworks in the autumn and traditionally burn effigies. Keith Leech, from Hastings Bonfire Society, said members were "not against this particular project as such". He said: "This is just another one in a long string of things that people are trying to foist upon us." But Hastings Borough Council spokesman Kevin Boorman said: "Hastings Old Town is unique in lots and lots of ways and I think it's good that people have strong local opinions. "I absolutely believe that this is right for Hastings Old Town. "Clearly, not everyone agrees with me, but let's have a proper debate." Alan Grieve, chairman of the Jerwood Foundation, said the plans had been "welcomed and supported" by the majority of Hastings residents and the council. He said the project would "make a major and unique contribution to regenerating an historic and important site close to the Old Town and the Fishermen's Heritage site". He added: "We have consulted widely and continue to meet representatives of local groups and the community. A public exhibition was held in May which was widely publicised. "We can listen but cannot please everybody." He said the gallery would offer an "outstanding collection" and the town would "benefit enormously". 1 Vote(s) Wed, 29 Oct 2008 08:43:37 CET |
| Making secular art out of religious imagery
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Somewhere between Pollock and Pop, new art developed an allergy to the word spiritual unless it was attached to ethnicity. It was O.K. to make altars in galleries if you were Mexican-American - in fact, you were sort of required to - but if you were plain old American, no.
Yet on the fringes, where the most together thinking tends to take place, there was resistance to this bias. In the late 1960s the American poet Ishmael Reed coined the term Neo-HooDoo to describe an aesthetic that was devotional without being dogmatically religious, ritual-related without having prescribed forms, and rooted both outside and inside the Western mainstream. Reed's concept, which riffed on African religious practices transmitted to the New World, embraced incantatory poetry, hypnotic popular music and art that was activist in an emotional, political and formal sense. Now it lends its name to a quiet, meditative, spare-to-the-point-of-thin-looking exhibition, "NeoHooDoo: Art for a Forgotten Faith," at the P.S. 1 Contemporary Art Center in New York. The 30 artists in the show cover three generations and a wide swath of the Americas, from Brazil to Canada. Most are familiar from other shows on similar themes; more fresh faces would have been welcome. And although all the work is secular, some of it draws heavily on religious imagery. Amalia Mesa-Bains, a Chicana artist living in California, has assembled a room-size altar adorned with family photographs, fragrant herbs, bottled elixirs and images of the Virgin of Guadalupe, on an art-as-healing model that she has been developing for years. José Bedia, a practitioner of the Afro-Cuban religion Palo Monte, contributes a different kind of altar, "Things That Drag Me Along." An elaborated version of a piece he first created years ago, it has two parts. A painting of a double-headed deity fills a wall. Iron chains extend from its chest to a wooden boat sitting on the gallery floor and packed with symbolic objects - African, Christian and American Indian - as if for a journey. Michael Tracy's "Cross of the Sacred Peace" (1980) is also a carrier of spiritual matter. A bulky wooden cruciform on a gilded base, it is encrusted with Mexican votive charms and pierced, like an African power figure, with energy-releasing spikes and swords. Tracy, who lives in Texas near the Mexican border and whose work comes straight from a Roman Catholic upbringing, had a retrospective at P.S. 1 in the late 1980s. A lot of pe 1 Vote(s) Wed, 29 Oct 2008 08:42:08 CET |
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