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Zimmerman calls for an end to the ART bus driver strike - Washington Post (blog)

Chris Zimmerman, chairman of the Arlington County Board, called on its transit contractor, Forsythe Transportation, and the bus drivers’ union, the American Federation of State, County and Municipal Employees Local 3001, to come to an agreement immediately.

In a statement Wednesday, Zimmerman called the situation that has led to a driver walk-out and multiple delays on Arlington Transit’s 13 bus routes since Monday “simply unacceptable.”

“It is critical to move expeditiously to resolve these issues and restore bus service at normal levels,” Zimmerman said. “We call for an immediate agreement between management and labor that will provide for the prompt restoration of service and an impartial investigation of workers’ concerns and a fair mediation of the matters in dispute.”

The county has no authority to intervene in a labor dispute between one of its contractors and its employees.

“Drivers have expressed concerns that need to be taken seriously, including allegations of sexual harassment and the improper disciplining of a union representative,” Zimmerman said.

About 9,000 people use ART buses each day, totaling more than 2 million a year.

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Students, lawmakers question value of for-profit colleges - Kansas City Star

Taryn Zychal thought she'd be working as an industrial designer after graduating from the Art Institute of Philadelphia. Instead, it's the debt collection agencies that are working overtime, calling her nearly 30 times a day from 8:30 in the morning to 9:30 at night.

The 27-year-old says she has around $150,000 due in loan payments from attending the private, for-profit university, but Zychal said she couldn't get a job in her chosen field, and not one of her credits would transfer when she tried to switch to another school.

With what she says is a useless degree, she can't pay her loans, which cost $1,500 a month.

"I don't think I learned anything at the Art Institute other than how to get scammed by somebody. I don't think I learned anything to go into an entry-level job in my field," Zychal said.

The Art Institute's parent company, Education Management Corp., declined to comment.

There are about 2,000 colleges operating in the U.S. as profit-seeking businesses eligible for federal student aid. They offer various degrees, both online and on campus, from certificates and two-year associates degrees to MBAs. Some for-profits - such as Kaplan, owned by The Washington Post Co.; Bridgepoint Education; and the Apollo Group, which owns the University of Phoenix - are publicly traded corporations.

Because Zychal's story is similar to thousands of other students who've attended certain for-profit colleges, the Obama administration in early June approved new regulations requiring for-profit schools to make sure their students are able to pay back federal loans, and a Senate committee is poised to begin drafting legislation. In addition, 17 state attorneys general are reviewing the industry for possible violations of consumer protection statutes. The aim is to protect both students and taxpayers.

Not all for-profit schools are implicated in wrongdoing, but various investigations have found problems, particularly with those that derive most of their revenues from federal student aid.

A government investigation from last year found practices such as overly aggressive recruiting, where school representatives barraged potential students with phone calls, gave false information about a college's accreditation, potential salary and job opportunities after graduation, and doctored federal aid forms. Investigations have also noted that tuition at for-profits can cost thousands of dollars more, even as much as 30 times the price of comparable programs at community colleges.

Other investigations found that for-profit recruiters heavily target low-income and minority students, veterans and people whose parents have never gone to college. Enrollment at for-profits has increased fivefold in the past decade to nearly 2 million.

Students often choose to attend these colleges for a variety of reasons, including the hope of getting a degree faster, a perception that the classes may be easier, and the availability of night and weekend classes.

However, degrees from for-profit institutions often don't lead to good careers. Data from several investigations at the federal and state level suggest that the public investment in educating students at some for-profits isn't a good deal for taxpayers, or for many students. Thousands of students have taken out federal loans to attend a for-profit college, only to default on them.

According to the U.S. Department of Education, for-profit colleges educated around one in 10 students in 2008, but these students took out nearly a fourth of all federal student financial aid dollars - around $24 billion of taxpayer money. They also account for almost half of loan defaulters. In many of the larger for-profit schools, federal dollars account for around 90 percent of revenues.

Harris Miller, the chief executive officer and president of the Association of Private Sector Colleges and Universities, said for-profits aren't at fault.

"The default rate among students is not based on whether a school is profit or not-for-profit. It's based on the demographics of the student population," Miller said in an interview.

"We accept and try to educate students that the traditional higher education system is not interested in educating or is not willing to educate," he said.

An investigation by the Senate Committee on Health, Education, Labor and Pensions Committee found that one for-profit college, Bridgepoint, enrolled about 8,000 students in associate degree programs for the 2008 school year. By 2010, 85 percent had withdrawn, and only about 1 percent had received a degree. Dropout rates at most of the other schools investigated hover around two-thirds.

If the numbers are right, however, they clearly show that taxpayers aren't getting a good return on their investment.

The new regulations include a three-strikes-and-you're-out rule. Schools must demonstrate that their educational services lead to "gainful employment" and show that 35 percent of their students are paying down their loans by at least $1 a year. If schools don't meet the requirements three years in a row, they'll lose eligibility for federal funding.

Many lawmakers oppose the regulations.

On Wednesday, the House Education Committee approved a measure, sponsored by Rep. Virginia Foxx, R-N.C., the chairman of the committee's Higher Education panel, aimed at weakening certain aspects of the new regulations.

Other Republicans, including Sen. Richard Burr of North Carolina, boycotted Senate hearings and called them partisan shows.

"The fact is that more employment is achieved through for-profit institutions than not-for-profit institutions," Burr said in an interview. "For-profit institutions are providing a great service, or they wouldn't have a clientele."

The new regulations also went up against a multimillion-dollar lobbying campaign by the industry, according to OpenSecrets.org, a website maintained by the Center for Responsive Politics.

The Senate Education Committee hopes to add legislation, which is generally stronger and longer-lasting than regulatory protections. At its fifth hearing on the subject last week, Sen. Tom Harkin, D-Iowa, said the regulations were "modest" and "better than nothing," adding that for-profit college companies' stocks boomed when the regulations came out.

However, any bill that passed the Democratic-controlled Senate increasing regulation of the for-profit college sector is unlikely to advance in the GOP-controlled House of Representatives, whose Education Committee has shown little interest in toughening laws governing the sector.

Education Department spokesman Justin Hamilton called the regulations a common-sense approach to give career colleges the opportunity to improve, but not let them off the hook, as students are being hurt. The proposal already has led to voluntary efforts by the industry to improve practices, and parts of the regulations will increase transparency about graduation rates, job placement and student debt levels.

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Art Basel's twin set swings into motion - GenevaLunch (blog)

Basel Art runs to 19 June (photo: Michael Werner Gallery, New York)

BASEL, SWITZERLAND – Sales at Art Basel are widely expected to be good this year, with the total value of the artwork estimated at $1.75 billion by an expert interviewed by Reuters.

It is the world’s largest contemporary art show, dedicated to the business of selling art, and it will attract 60,000 people in four days, but not everyone is there to buy.

The show is more akin to a modern art museum for many Swiss residents, with the best in contemporary art on display. Some 300 galleries, selected from 1,000 that applied, are showing the work of 2,500 artists, 20th and 21st century works from around the world. American galleries, as usual predominate, with 73 of the places, but German, Swiss and UK galleries are well represented.

Galleria Christian Stein, Milan, at Basel Art 2011

Basel Art opened Wednesday, following a day of celebrity and official guests and parties, and it closes Sunday evening 19 June. There are five basic elements: the galleries, Art Feature, Art Unlimited with 62 large-scale works, Art Statements and Art Edition.

Money matters at Basel Art, so while the casual visitor is admiring the art, hot sales are going on.

Art Investment Russia writes Thursday that Wednesday already saw a number of hot deals: “the gallery Amy Gold sold to [an] American collector work Mark Rothko “Untitled” for nearly $5 million; gallerist Amman Doris (Doris Ammann) helped out on $1.1 million for two of Warhol’s series with the banks sauce Campbell; New York gallery Acquavella has found a buyer for the work “Untitled” Sigmar Polke (sold [for] approximately $1.3 million dollars) and the Madrid gallery Elvira Gonzalez rescued about two million for the work of Richard Serra, wrought iron.”

Galerie M Bochum, Basel Art 2011

Basel Conversations was started in 2002 and it offers visitors a pause in the viewing to reflect on the state of contemporary art, with a series of panel presentations. Wednesday’s premiere featured Allen Ruppersberg, a New York/Los Angeles artist in conversation with Jay Sanders, curator and writer, New York.

Thursday’s panelists address the question “How will museums collect”, with Chris Dercon, director, Tate Modern, London; Martin Roth, director general, Dresden State Art Collections at the Staatliche Kunstsammlungen Dresden and incoming director, Victoria and Albert Museum, London; Nancy Spector, deputy director and chief curator, Solomon R Guggenheim Museum, New York with András Szántó, author and consultant to arts and philanthropic organizations, New York, as moderator.

Other topics: patronage and politics with a focus on the Middle East, the artist as urbanist and what is alternative – alternative to what?

The panel discussions are from 10:00-11:00 every day, with an opportunity to meet the panelists afterwards.

Art Basel is open daily from 11:00-19:00 and takes place in two halls at Messe Basel, Messeplatz. Public transport is easy; allow 15 minutes from the city’s main train station.

Entry price: CHF39 for one day or CHF70 for two, with children up to age 16 free when accompanied by a parent. Tickets are sold at the halls.

The show’s web site is well organized and offers a wealth of practical information in English, including an online catalogue.

Smart phone, iPod Touch and iPad users will find a collection of apps, useful for navigating through the maze of displays.

Artinfo’s reviewer offers a highly personal selection of what to see and what to miss.

News story, GenevaLunch, 16 June 2011.

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Seoul turning ex-army command into art museum - The Associated Press

Seoul turning ex-army command into art museumBy ESTHER HONG, Associated Press – 1 day ago

SEOUL, South Korea (AP) — For many, the stark structure built by the Japanese and then taken over by South Korea's military is a reminder of a painful colonial past and the torture allegedly overseen there later during decades of authoritarian governments.

But rather than bulldozing the Defense Security Command building, South Korea's capital is trying to make peace with its difficult history by transforming the building into a branch of the National Museum of Contemporary Art.

On Wednesday, the culture minister, Choung Byoung-gug, cut the tape at a groundbreaking ceremony for the museum just east of Gyeongbok Palace. Construction is slated to finish by the end of 2012.

Not everyone is happy.

Kim Byung-jin, 56, says turning the building known as Kimusa into a museum makes light of its violent past. He recalled how in 1983, South Korean interrogators in the building stripped off his clothes, beat him to near-unconsciousness and left him on the cold concrete floor as punishment for fainting after four days of sleep deprivation.

"The site was the epicenter of human rights violations after our country's independence," he told The Associated Press, his voice shaking with rage. "Transforming the building into an art museum is an act of appeasement. I am completely against it."

Some want city officials to demolish the building, as they did in the mid-1990s with the neoclassical colonial headquarters the Japanese built in front of Gyeongbok Palace during their 1910-1945 occupation of Korea.

But after years of debate, officials named the Kimusa building a national cultural property in 2008. President Lee Myung-bak announced plans to transform it into a museum the following year.

In a city with breakneck development, where old neighborhoods routinely are demolished and replaced with glass and steel high rises, there's been a recent push to preserve Seoul's remaining pockets of history.

In 2002, a courthouse built by the Japanese in 1928 and then used by the South Koreans to house the Supreme Court reopened after extensive restoration as the Seoul Museum of Art.

Crumbling old Seoul Station has also been restored for art exhibitions and performances, following in the footsteps of cities like Berlin and London that have turned empty historical buildings into art spaces.

"It's not just a train station, but the face and gate of Seoul," said Chung Jae-jeong, president of the Northeast Asian History Foundation.

The station, built by the Japanese in 1925, had been closed since Seoul built a new high-speed rail station in 2004.

The Japanese built the three-story Kimusa building in 1928 to serve as an Imperial Army hospital. It occupies a prime location in Seoul, across from the largest of its royal palaces and along a stretch in the trendy Samcheong-dong area that houses some of the city's top art galleries.

The South Korean military took the building over in the 1970s, allegedly torturing scores of people, including students and activists, within its walls during the years of authoritarian rule.

Kim said he was a literature student at Yonsei University when officials accused him of being a communist spy. Detained, interrogated and tortured for three months, he said he confessed to the "nonsensical" charges after agents threatened to send his infant son to an orphanage and his wife into prostitution.

Military interrogators strapped him into a chair, bound his arms and legs and tied electric wires around his fingers, he said.

"The guards then began shooting continuous bolts of electric shock through my entire body," Kim said by telephone from his home in Osaka, Japan. "The electricity pelted through my brain."

South Korea's Defense Ministry denies accusations of brutality, saying torture never took place in the Kimusa building, without elaborating.

There were only hints of the building's alleged violent past during Wednesday's ceremony. Dignitaries spoke of creating a world-class museum and a new Seoul landmark — but also of the building's spiritual transformation.

"I would like to express my gratitude and joy as an artist and a citizen in seeing that this site is not being forgotten and buried away with historical traces and scars, but is being reborn as a space of culture and communication," artist Moon Kyung-won said.

Architects plan to preserve part of the building while creating an entirely new complex.

Barry Bergdoll, chief curator of architecture and design at the Museum of Modern Art in New York and a member of the panel that chose the winning bid for the building's design, called it a brave decision to use a place "contaminated with the memory of political experiences from a period of dictatorship as a museum of contemporary art."

At least one professor of architectural history objects to the plans.

Prof. Kim Jeong-dong of Mokwon University in Daejeon said a modern art museum will clash with Gyeongbok Palace and bring congestion and noise "to an area that should be treated with respect, as it once housed our royal family."

Relics found during the excavation will be kept on the museum grounds, officials said.

"It is a place of terrible tragedy," said museum chief Bae Soon-hoon. "However, to transform the pain and turn it into a place where people can come and enjoy — that's a wonderful thing."

Associated Press writer So Yeon Kwon contributed to this report.

Copyright © 2011 The Associated Press. All rights reserved.

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PopCap Games auctioning game art - Siliconrepublic.com

PopCap Games is auctioning 34 pieces of art related to its games with proceeds going to the charities SpecialEffect and Starlight Children?s Foundation.

The auction will run on eBay from 8pm 14 June until 12 July. Each wave of auctions will last seven days and will consist of up to nine items.

Pieces on offer include original illustrations of PopCap’s games, such as Bejeweled, Plants vs Zombies and Peggle, and exclusive commissions.

Two of the commissioned pieces come from Irish freelance artist Mick Minogue, who has worked on a range of projects, including book illustrations.

'Bjorn' is inspired by Peggle, a take on how playing games helps gamers lose track of time. 'Final Wave' is inspired by Plants vs Zombies and consists of a DIY box to represent a computer or phone screen and contains a recreated scene from the game.

These pieces, along with other original pieces from PopCap’s Seattle studio, will be displayed in the Filmbase Centre in Temple Bar, Dublin, from today.

PopCap will donate 100pc of the proceeds to UK charity SpecialEffect, and the US charity Starlight Children’s Foundation, both targeting those who are either seriously ill or are disabled.

"SpecialEffect has long been a fan of PopCap and their dedicated outreach to helping children in need,” said Dr Mick Donegan, director and founder of SpecialEffect, and associate senior researcher fellow at SMARTlab, University College Dublin.

“We’ve used several of their games for the disabled young people we work with - a particular favourite being Peggle, because with our specialist support, it can even be played by young people who are paralysed – just by moving just their eyes.

“An auction of this magnitude is sure to not only raise the spirits of those winning the items, but also the spirits of those who'll be helped by the proceeds. With our sister research facilities in Dublin, the research that this will fund could have major benefits for physically challenged people,” said Donegan.

Laura O'Brien

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A Billionaire's Eye for Art Shapes Her Singular Museum - New York Times

Yet her mission is unlike those of her predecessors, or of more recent art patrons like Ronald S. Lauder and his Neue Galerie. They set out to put great works on display in cultural capitals like New York and Boston. Instead, Ms. Walton’s Crystal Bridges Museum of American Art — the first major institution dedicated to American artists in 50 years, to be housed in a building more than twice the size of the current Whitney Museum of American Art — seeks to bring high art to middle America here in this town of 35,000 that is best known as the home of Wal-Mart. 

Ms. Walton, the daughter of Wal-Mart’s founder, Sam Walton, has worked on the museum for nearly a decade, but has said little about it in public until now. In a recent interview at Town Branch, her family home here, she said she wanted to turn Bentonville into an international destination for art lovers when the museum opens on Nov. 11. At the moment the most significant nearby cultural attractions are two hours away: a museum of Western and American Indian art in Tulsa, Okla., and, in the other direction, the country-music magnet of Branson, Mo.

“For years I’ve been thinking about what we could do as a family that could really make a difference in this part of the world,” said Ms. Walton, who is 61. “I thought this is something we desperately need, and what a difference it would have made were it here when I was growing up.”

The 201,000-square-foot museum was designed by the Boston architect Moshe Safdie for a site around two ponds on 120 acres of former Walton family land. Named for the nearby Crystal Spring, the museum will display top-flight works by American masters from the colonial era to the present, with the largest concentrations coming from the 19th and 20th centuries. Although the collection — currently about 600 paintings and sculptures — is still small by the standards of big museums, it is growing at a steady clip.

“She has not just been concentrating on what could be perceived as the greatest hits in American art,” said John Wilmerding, an art historian and professor at Princeton University, who has been advising Ms. Walton for seven years and is now on the Crystal Bridges board. “She has collected the work of some of these artists in depth,” quietly amassing substantial bodies of work by figures like Martin Johnson Heade, Stuart Davis, George Bellows and John Singer Sargent.

Ms. Walton, who has been an art collector most of her life, turned to buying art specifically for the museum in 2005, resulting in a years-long spending spree that has made her a recognized force in the art market. She has been one of those mysterious anonymous buyers at auctions and at galleries who often pay top dollar and has spent many tens of millions of dollars on works like Gilbert Stuart’s portrait of George Washington from 1797 ($8.1 million), Asher B. Durand’s “Kindred Spirits” from 1849 ($35 million) and Norman Rockwell’s 1943 “Rosie the Riveter” ($4.9 million).

She has also bought more recent works, including a Jasper Johns “Alphabets” painting from 1960-62 (priced at $11 million) and a 1985 Warhol silkscreen of Dolly Parton and a 2009 Chuck Close triptych depicting Bill Clinton (prices unknown). (She is hoping that both Ms. Parton and Mr. Clinton, a friend, will attend the opening.)

Her museum has commissioned several major site-specific works, including a giant silver tree by Roxy Paine that sits at the entrance and a hypnotic large-scale light installation by James Turrell. (The museum’s director, Don Bacigalupi, recruited nearly two years ago from the Toledo Museum of Art, is a specialist in contemporary art and has been encouraging Ms. Walton to expand the museum’s holdings by living artists.)

Museum officials said they were planning for about 250,000 visitors in their first year and expect an annual operating budget of $16 million to $20 million. In addition to the 120 full-time jobs the institution is creating, they said, it will pump millions of tourist dollars into northwest Arkansas.

Ms. Walton first started thinking seriously about building an art museum on family land in the late 1990s and brought it up a few times at the meetings the family holds three times a year. She felt she needed the backing of her nieces and nephews, she said, because the land would have eventually become theirs. (Ms. Walton, who is divorced, has no children.)

“That decision brewed for a year and a half,” she said in her Arkansas drawl, before there was unanimous agreement.

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RISD names new director of Museum of Art - Providence Business News

PROVIDENCE - John W. Smith will be the new director of the Rhode Island School of Design’s Museum of Art, beginning in September.

Smith, currently director of the Smithsonian Institution's Archives of American Art, will take over for Ann Woolsey. Woolsey has served as interim director of the RISD Museum of Art since August 2009, following the resignation of former museum director Hope Alswang.

"John is an admired leader, a skilled fundraiser, and passionate about connecting people with art in meaningful ways,” said William Tsiaras, incoming chair of the museum board of governors, in a June 16 release.

While at the Smithsonian, Smith raised nearly $15 million private and foundation philanthropic support, oversaw the "landmark" acquisition of the Leo Castelli Gallery archive, and led the project to digitize the Archives' collections and redesign its website.

Smith said the strength of the museum’s collections, its “gifted staff, and connection to one of the world's leading schools of art and design provide limitless opportunities for fresh and innovative programming.”

Prior to joining the Archives of American Art, Smith served for 11 years at The Andy Warhol Museum in Pittsburgh, Pa. As assistant director for collections, exhibitions, and research from 2000 to 2006, Smith raised funds, organized exhibitions, published books and oversaw all aspects of the permanent collection.

Smith also served as chief archivist at the Art Institute of Chicago from 1990 to 1994, visiting archivist at the Royal Opera House in Covent Garden, London, in 1991, and as founding curator of special collections and archives at the Chicago Park District from 1988 to 1990.

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China's art-market boom threatens Europe - MarketWatch

By Virginia Harrison, MarketWatch

SYDNEY (MarketWatch) — Forty years ago, it was illegal to own a piece of art in China. These days, it’s the second-largest art market in the world.

A new wealthy class, along with a lack of investment options, has propelled China’s ascendancy in the global art trade, which last year was worth around $63 billion. The United States dominates at about $21 billion.

As China’s slice of the international market has grown steadily, Europe’s has declined. As a whole, the development of Asia’s art trade poses a real threat to Europe, where taxes are rising along with a perception that it’s a tough place to do business.


Sotheby’s Zhang Xiaogang’s “Forever Lasting Love (Triptych)” sold in April for approximately $10.2 million — a world record for contemporary Chinese art.

“The same thing happened to Paris, the center of the art trade in the 1950s. The taxes and regulations became just too onerous on buyers and sellers,” according to economist Dr. Clare McAndrew, founder of Arts Economics. “The whole market shifted from Paris to the U.S. and the U.K.“

Sales already are drifting east. The value of China’s art market — which includes mainland China, Hong Kong, Macau and Taiwan — has more than doubled since 2009.

In March, a report by the European Fine Art Foundation found China was behind only the United States as the world’s biggest art market by value, coming in ahead of the United Kingdom for the first time.

But as Europe grapples with its business challenges, China confronts a serious image problem: The Chinese art market is saturated with tales of fakes, fraud and underhand practices — a barrier to international buyers and longer-term success.

A flood of works and the money to buy them have supported the rapid domestic expansion of China’s art market. “There’s a rich history of thousands of years of art in China, so there’s a huge amount of supply coming onto the market for the first time,” McAndrew said. See a slide show of recent auctions in Asian art breaking price records.

The number of billionaires in China nearly doubled this year to 115, while the United States added just 10 in the Forbes list of the world’s richest people.

Anthony Lin, the former chairman of Christie’s Asia, as well as chairman of Christie’s Hong Kong and Taiwan, is a now a fine art dealer based in Hong Kong. He said a lack of investment options — including an overheated housing market — is steering the Chinese to art.

“In China, they don’t have open money markets or commodity markets. For the amount of wealth that has been generated, there’s not many options for investment. The art market is one of the few areas where there is quite a strong investment position being taken,” Lin commented.

McAndrew notes China is “quite undeveloped for the amount of cash floating around,” and believes that local buyers have embraced the money-making potential of art more quickly than other societies.

“Chinese are more interested in the investment angle of buying and selling art than other countries,” she said. “Especially in Europe, people sort of look at you with disdain. The Chinese are taking it on straight away.”

The year 2006 “was the first time we really saw China coming into the global marketplace in any big way — at about 5% of the global value of sales,” elaborated McAndrew, who prepared the March report for the European Fine Art Foundation, known as TEFAF.

“Last year it took a huge jump into second place, and pushed out the U.K. It’s a big deal in Europe, because there are a lot of fears that the art trade is shifting out of Europe anyway and going more to the U.S. and China,” she said.

China was the fastest growing market for contemporary art, according to the TEFAF report. Traditional sectors including porcelain, ceramics and Chinese painting and calligraphy also saw record auction prices, more than tripling year over year.

“Chairman Mao was in power until the end of the 1970s, and it was illegal to own a piece of art or to exchange or inherit it. It was a closed shop to the rest of the world. China has come from virtually nothing to be a huge global power in a short space of time,” McAndrew added.

The detention of Chinese artist Ai Weiwei and a crackdown on political dissent on the mainland is pushing Hong Kong's artists to creatively express their concerns. Video courtesy of AFP.

In the southeast Australian city of Melbourne, Marjorie Ho founded the East & West Art gallery 38 years ago, exhibiting Asian art and antiques. “The sorts of paintings that I bought in the 1970s when China first opened didn’t sell. Not even to the big boys,” she said.

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Is Modern <b>Art</b> Intentionally Obscure

While browsing this morning I stumbled on an interesting take on the obscurity of modern art as some kind of conspiracy theory of the art elite. Yeah, it does sound exaggerated and I beg to disagree with it. But it's a nice starting point for a discussion I'd like you to join as well. Is the modern art really hat obscure? Is it made that way by intention of an elite that tries to protect its position?

But let's start from the beginning, by the question the mentioned article tries to answer: What is art?

In our time, the answer to this question is under the control of the art elite. The answer to the question is simple:

Art” is x,

where x is a variable. The value of x is approximately “something that an ordinary person could never understand.”

The reason that x is a variable, and not a constant, is because its value must continually change. If ordinary people begin to understand what x is, then the value must change, so that they do not understand what x is. The reason for this is simple also: If people understood what x was, then they could answer the question “What is Art?” themselves, and there would be no need for the art elite. Thus, the art elite must continually change x, as a matter of survival.

I told you it sounds like a conspiracy theory. While I am usually fond of conspiracy theories, this one doesn't stand.

During the history, art is changing because everything around it is changing. Art doesn't live on its own, disconnected from us and our world. As the world, our civilization and culture are changing, so does the art. Those are inseparable. Most of the time, those changes are slow and subtle, but sometimes things turn a bit more drastic as the case was as we were approaching the 20th century.

I'm not even sure if we can safely say that every change in art was towards something that "ordinary person could never understand". European art in the middle ages was primarily intended to depict and clarify biblical themes to a common person who couldn't read. Renaissance turned to more earthly themes and contexts – another step towards the common person.

The only time when art seemed to go against easy understanding starts somewhere in the second half of the photo by Jeff Tabaco19th century with the shy beginnings of what we call the modern art. But if you look closely at the history of that time, you'll see that it wasn't only the art that was changing. Great empires collapsed just recently, Second Industrial Revolution did its part in creating the whole new world, sciences and medicine started their mind-blowing development. World of that time was nothing like it was just a couple of decades before.

If you'd like more colorful details, that's the time when blue jeans, basketball, volleyball and first record players were invented. Freud was making the first notions about psychoanalysis. Red Cross was formed and Olympic Games revived. Which all opened the door for the start of the 20th century and everything that came with it. Cubism and other "hard to understand" art movements included.

So it's hard to defend the assertion that movements of the modern art were invented by the art elite to obscure the art and secure their positions. Everything was turning upside down. Not o mention that the art elite of the time was strongly against those movements – impressionism, fauvism and cubism were all derogatory terms at those times and most of those artists were ridiculed and starving.

It's also hard to assert that those artists tried to obscure the art themselves. They were just offering new perceptions and depictions of the world just as the theories of relativity and quantum mechanics did in physics. Just as jazz did in music. And while one can say that those are obscure and impossible to understand as well, it's not that they were invented with that intention. Thing is that we still have to get on terms with the changes that early 20th century brought, but that's a whole new topic to explore.


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<b>Art</b> History Toys! Andy Warhol � <b>Art</b> History Ramblings


Another plushie I bought from Little Thinkers.  They seem to love dressing their artists in red.  By the way, the hair on its head?  Just as wildly messy when I purchased it.  Which puzzles me because his hair always looked relatively neat.  I do love his snooty pout.  Also, your eyes do not deceive you, they dressed him in dark jeans.


But why red glasses?  Seems an odd choice.

Categories: Andy Warhol, Art History Toys, Artists . Tags: Andy Warhol, plushies, toy . Author: Catherine Be the first to like this post.

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Fine <b>Art</b> Instruction School Uses MySpace to Increase Online <b>...</b>

Fine Art Instruction School Uses MySpace to Increase Online Presence and SEO


Mission Renaissance, the world’s largest fine art instruction program, has launched their official MySpace page.


Mission Renaissance will be using the social media power of MySpace to promote their students art work, give drawing and painting tips to the public, and to provide a platform for special announcements regarding their fine art drawing and painting instruction programs.


According to Mission Renaissance CEO – Ted Prescott – creating a professional MySpace profile is all part of the plan of increasing Mission Renaissance’s online presence, which fits into the larger plan of the schools overall expansion.


“This year we will be aggressively increasing our online presence as part of our expansion strategy. There are over 100 million MySpace users, eBay moves 40 billion dollars in merchandise every year, and RSS feeds send news and communication all throughout the world. We will ensure that our company is taking advantage of all the internet has to offer. Our online campaign will include mostl aspects of social media, commercial outlets such as eBay, and professional RSS news outlets to increase our online presence. As well as to further strengthen our companies branding identity and to promote both our in-house fine art drawing and painting courses as well as our ‘Art of Drawing’ home instruction DVDs and online drawing instruction courses.”


Mission Renaissance has hired full time web developer and internet marketing professional Eric Hines to help implement their online marketing strategy. This strategy also includes a professional eBay store promoting their art supplies and drawing instruction DVDs, an Amazon store, a Yahoo shopping store, a MySpace and Facebook profile, videos on YouTube sharing drawing and painting tips, rss press releases, and a complete search engine optimization overhaul of their website, http://www.thegluckmethod.com


Eric Hines – the new Mission Renaissance web developer – has this to say regarding the Mission Renaissance MySpace profile.


‘I am very excited to be working with Mission Renaissance. The last SEO project I completed was for a large Los Angeles based home improvement company. With the help of fellow web development specialist Bjorn Enki we were able to secure a #1 position for them in both Google and Yahoo for their specific keywords. The results in the increase of estimates and resulting sales was quite impressive. I am looking forward to creating the same level of traffic and internet buzz with Mission Renaissance.


We are opening a Mission Renaissance MySpace profile for many reasons. The first reason is to provide a social media network where we can make announcements and keep in communication with our students. We have over 3,000 students in our 20 drawing and painting instruction studios every week and untold thousands using our ‘Art of Drawing’ home instruction DVDs.


Second, using press releases, a link strategy, and developing buzz about our MySpace profile we intend to have Google index it quickly into their search engines and get it to a Google page rank of 4 or 5 within a few months. Thus providing our MySpace profile with outside traffic. Unfortunately a high page rank on MySpace won’t be of any use in regards to outbound links to our main website.


MySpace recently has added a function called msplinks. It uses a 302 redirect function to handle unwanted spam links. However it completely wipes out any ranking power any legitimate links have as well. The traffic still arrives to your site though and we are confident that our website is interesting and useful enough that this new flow of traffic will still result in people linking to our site.


Third, most of our students are of the younger demographic. Social media tools such as MySpace and Facebook are THE way that these kids, teens and young adults are communicating with each other. Some of their friends will of course see our logo in their friends list, and thus pay a visit to our profile and hopefully our website, where they too can learn how to draw and paint like their friend is.


Fourth, to create a useful and fun-to-visit MySpace profile. We intend to do this by posting our student’s art work, providing drawing and painting tips, and announcing exciting news, such as our students selling their artwork to help raise money for favorite charity or donation of art classes to private and public schools.


Of course making the profile attractive is important too. The students are work is gorgeous and completely compliments the layout. Even the tempo of the profile music in the background matches the same tempo of our slide show showing off our student’s art work.


Making our profile beautiful and fun to visit will inevitably help get links to both our MySpace.com profile as well as our main website. Which of course raises the Google page rank and position in the search engines.


I am also excited about releasing our eBay store later this month. There is a wealth of potential to sell our drawing and paint supplies as well as our fine art drawing instruction DVDs worldwide.


When it comes down to it it’s all part of getting our company into a viral marketing run.’


You can visit their MySpace profile at http://www.myspace.com/missionrenaissance. Send them an invite, they will be glad to call you friend.


Mission Renaissance was founded by renowned Fine Artist and educator Larry Gluck in 1975. Mr. Gluck and continues to expand teaching more students how to draw and paint via the patented Gluck Method every year.


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Tags: Amazon Store, Art Instruction, Art Supplies, Art Work, Billion Dollars, Commercial Outlets, Ebay, Ebay News, Ebay Store, Eric Hines, Expansion Strategy, Fine, Increase, Instruction, Myspace, Myspace Profile, Online, Online Marketing Strategy, Painting Courses, Painting Tips, Presence, Prweb, School, Special Announcements, Students Art, Time Web, Uses, Web Developer

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Midtown the <b>Art</b> Lover's Paradise : Coffee for me

Article by Larry Austin

New York is definitely an art lover’s paradise. From Theatre District to Chelsea the art freak is treated with the best of Broadway and modern art. The thriving art scene of Midtown Manhattan brags a range of art galleries, unusual art exhibitions,Broadway theatres as well as a range of other theatres guaranteed to complete your hunt for arty skill and craft.

For a modern experience try the downtown Chelsea neighborhood where in every nook and corner you will find illustrations of modern art. This popular art heaven brags more than 200 art galleries featuring both the upcoming and established artists. To make sure you navigate through this labyrinth of Galleries successfully its best to visit their individual websites as you plan you trip so that you can map out a plan to include the best exhibitions in your agenda.

For a less modern encounter try the world famous Museum of Modern Arthome to a sweeping collection of contemporary and historical art collections. And while you are at it explore the painting and sculpture galleries, photo exhibitions and if time permits treat yourself to one of the daily film programs at the museum’s theatres.

The Theatre District of the Midtown area caters particularly to the theatre buffs, as it is home to most of the Broadway theatres as well as a range of other theatres including movie theatres and other places of entertainment. The area extends from the 40th Street to 54th Street and from west of Sixth Avenue to East of Eighth Avenue including the famous Time Square which features some of the popular Broadway theatres. And this particular section of Broadway in the Midtown section of the New York City borough of Manhattan is labeled the ‘Great White Way’ – a stretch of Broadway well known as the height of the great American theatre industry.

If your trip to the Broadway is without much prior plans, simply step in to the New York City Theatre to sample some of the finest theatre in the world. Home to the most popular shows, concerts, comedies and operas, from award winning productions to all time favorites and the most enjoyable musicals, the New York City Theatre can certainly add glam to your visit to Midtown.

About the Author

arry Austin is a freelance journalist who writes on travel related topics such as pennsylvania_hotel-H0471.html”>hotel and destination reviews etc.He is currently working for roomsnet.com which offers visitors the option of world wide hotel bookings. roomsnet.com offers many last minute hotels_in_midtown-s0015.html”>hotels in midtown Manhattan hotel deals for holidaymakers.

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Tech Teach: The Double Space is Dead � The <b>Art</b> of Education

Because writing is a part of everyone’s life (especially a blogger), I found this new tidbit of information to be kind of funny and strange and interesting all at the same time.

Did you know? You should only put once space after a period in a sentence!

Do you put one or two spaces after a period in a sentence? We were taught in school to put in two. Apparently these are the “old typewriter rules” and they no longer apply? Check out this article that explains the WHY behind this new thinking.

In addition to that, Grammar Girl (isn’t she cute?) puts her two cents in about this topic as well. Click on the image below to read the full article.  Her verdict – She agree’s the double space is dead. So break your old habits, folks!

Am I the only one who didn’t know this or is this news to everyone? And just for fun, I tried to write this entire post with only one space after periods. Who knew!

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Sunny Avocado: DPW Friendly <b>Art</b> Auctions

I am a member of Daily Paintworks. Yesterday I listed my art on DPW Art Auctions. All auctions are for art, simple and smart. It was started by Carol Marine and her husband David. Please check it out.

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<b>Art</b> Meets Fashion in the Designs of Natasha Ulyanov at New York's <b>...</b>

Designer Natasha Ulyanov’s fashion collection will be presented on Sunday, March 26, 2006 at the Champagne Fashion Brunch to be held at La Prima Donna restaurant, 163 West 47th Street, in New York City’s famous theater district. Doors open at 12:30 p.m. and the show starts at 1:00 p.m.

The timeless elegance of Natasha Ulyanov’s fashion designs springs from her juxtaposition of  European heritage and American confidence. Born in London and raised in Moscow and New York, Natasha has a cosmopolitan perspective on the philosophies of various cultures on beauty and sophistication. Natasha took her cue for fashion design from her experience in visual arts and oil painting, having studied at the Greenwich Academy and having her work published in Art World magazine. Taking art to the next level of turning it into a living expression, Natasha immersed herself into the world of fashion design, graduating from New York’s acclaimed Parsons School of Design and later working with designers Alice Roi, Carolina Herrera, Badgley Mischka, J Mendel and Valentino. Motivated to launch her own line, her first signature collection was inspired by the ever-stylish Audrey Hepburn and was shown at New York’s Guggenheim Museum as part of the most-visited exhibit in the history of the museum entitled “Russia”.

Natasha Ulyanov continues working to become an influential force in the fashion industry, giving those who wear her designs a new form of expression. Her ageless sophistication and attention to detail and shape bring out the wearer’s inner beauty.

“With the participation of Ms. Ulyanov in the upcoming Champagne Fashion Brunch it all comes together in one place,” says producer Andres Aquino, “Flavor, taste, ambiance, culture and couture. You have delicious Tuscan cuisine, fine champagne, fashion from a Russian designer and a Dominican designer, jewelry from South African and Austrian designers, beautiful models, exquisite makeup and hair styling and an audience from three continents as well as press and stylish music. This is a unique forum where designers connect directly with high-end consumers in an elegant relaxed atmosphere in the Times Square area right in heart of New York City.”

With the upcoming web casting of the fashion shows and launch of the company’s own magazine as well as ongoing advertising in the New York Times, Playbill and many other publications, there are many opportunities available to sponsors and advertisers looking to reach an affluent fashion-conscious audience at both the national and international levels. Tickets to the shows are becoming hot commodities as appreciation gifts and corporate incentives for Fortune 500 corporations as well as special family and social gatherings. Other guests include celebrities out for an unusual afternoon or evening activity and buyers looking for unique fashions for their boutiques. Attendees come from around the USA, the Far East, Europe, Canada and South America. People are buying tickets up to six months in advance. Tickets are available through the company website  – www.usafashionshows.com – as well as through various ticket outlets worldwide.

Participating designers present some of the best wearable couture and exquisite accessories. Recent shows have featured collections by designers from a host of countries including Austria, South Africa, Colombia, Dominican Republic, Switzerland, Germany, Canada, Russia, Israel, Bulgaria, England, India, and the USA. Some already have their lines carried in exclusive stores like Bergdorf Goodman and chic boutiques on Madison Avenue as well as in other fashion capitals.

Portions of Champagne Fashion Brunch proceeds support children’s charity providing food, clean water, medical care and other assistance in poverty stricken countries around the world.

Producer Andres Aquino is CEO of USA International Fashion Shows and founder of Fashion Syndicate Press. He also produces Couture Fashion Week, Bridal Fashion Week and the Martini Fashion Dinner series.

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Diary of an <b>Arts</b> Pastor: Church & <b>Art</b>: 2 Recommended Websites

2004 Compline service at Hope Chapel, Austin, Texas
1. Visual Arts and the Church I've yet to find a print or digital product as useful as this one for thinking through the practical considerations of marshaling the visual arts on behalf of corporate worship: "Hope and the Visual Arts." Yes, I've read the "large cathedral" books. Yes, I've employed the booklet that CIVA (along with Sandra Bowden) produced a few years back.

Yes, I own Catherine Kapikian's Art in Service of the Sacred, Bill Dyrness' Senses of the Soul: Art and the Visual in Christian Worship, Mark Torgerson's An Architecture of Immanence, and I've seen CICW's "Visuals for Worship." (No, I haven't yet bought Nancy Chin's Spaces for Spirit: Adorning the Church because it's a really expensive book for 72 pages of material.)

And, yes, I'm sort of biased.

Still, I think Kate Van Dyke has produced an immensely helpful resource for churches interested in the visual arts. It will be most useful to churches looking to integrate visual art in a substantial, thoughtful fashion. The site includes essays related to the curating and exhibiting of visual art, jurying, displaying the work, writing artist statements, matting and framing, and presenting artist's talks.

It will not of course answer your every question and that's why you may wish to acquire the resources I mention above. If you have any questions, feel free to contact Kate. She'll be more than happy to respond to your questions and to take feedback on the site, as she looks for ways to make it even more helpful.

2. Church and Art Network

I met Luann Jennings for the first time two years ago at the Laity Lodge. Since then we've corresponded at length and shared a mean tea on the Lower East Side in New York City. Having spent the better part of six years overseeing Redeemer Presbyterian's arts ministry in NYC, she now divides her time between teaching at St. John's University and leading the Church and Art Network.

I hopefully pay her a compliment by saying that I'm envious of this work. It's an incredibly important one and I pray many take advantage of her wisdom and savvy, as together we all seek to serve the church with excellent and compelling works of art as well as with artists who both live well and love well.

What exactly is the C&A Network? "Church and Art Network is a gathering of arts leaders who are extending our capacity to serve God in our creative work, by sharing resources, making connections, and advocating together for the importance of our work to the church and the world."

I'm glad to know Luann as a friend and I'm the beneficiary of her hard labors. I highly commend this effort to you. And I hope that both of these websites serve ultimately to edify the church and to bless the world, as I imagine they surely will.

The "Art & Church" track at the CIVA conference
Lastly, you will find here a description of the three sessions that I'll be leading at this week's CIVA conference. If you're going to the conference, I hope to see you and I'm sure we'll have a fantastic time together in breezy, shiny, lively Los Angeles.

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A Glance At The Enjoyable Field of <b>Art</b> History | <b>Arts</b> and <b>...</b>

Art history is really a appealing subject matter that visually and viscerally points the viewer through the eras and ethnicities worldwide. From ancient times to the current human beings have been painting, drawing and sculpting works of art that endure the test of time. Traditionally, art history has been based on the study of objects of art as they relate with the constraints of their era and genre. The most important arts are viewed as to be painting, sculpture and architecture, as the minor arts are considered to be ceramics, furniture and decorative arts. Art history is usually a fascinating subject that one can create a life long objective and still not manage to study every single work of art ever created. Art is pervasive in everyday life, and also by studying art from days gone by, we get a concept of the kinds of cultures and arenas the artist moved in.

Art history included the close understanding of individual art objects in an attempt to reply to traditional queries such as: What were the targets of the artist and were they met? What is its function visually? What significance does this painting/sculpture/etc communicate? What is the significance involved? And so on. Through this studying, art historians look to rebuild a part of the past through the eyes of any artist that lived hundreds, possibly even many thousands of years ago. Art historians also look to place current context on works of art. They seek a remedy to the object’s significance today and extended significance into the future. All things considered, what makes one piece of art superior to another? What makes gives one artist a Picasso level of fame while another has unsold canvasses every bit as ground breaking and revolutionary lining the walls of their garage?

Important to art history is an inquisitive nature. One must ask what led the artist to create the piece, was it born of imagination or commissioned by a wealthy patron. Hand in hand with the study of the history of art goes a solid understanding of the history of the cultures worldwide and the key movements in style and art and society through the years. After all, Andy Warhol is as specific to his 20th century Pop Art era as Leonardo DaVinci was to his turn of the sixteenth century Renaissance art era. Now, draw a line that connects DaVinci to Warhol. Does that seem ridiculous? With a solid comprehension of the history of art and the major movements and theories, it is not a ridiculous task at all.

The whole reasons for art history lies in the celebratory nature of lovely objects and their importance to not only the time period in which they were created -but also to the eras and periods both preceding and following it. The history of the world can be told through the timeline of significant art movements – a stroll through the superbly laid out Musee de Louvre in Paris takes the informal art fan through a history of art through the ages in the most fascinating of ways. Art history is a discipline with great breadth and depth that seeks to define culture through the art it has produced.

Tags: Enjoyable, Field, Glance, History

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Kev F comic <b>art</b>: Captain Clevedon is underway

I'm enjoying working on a comic with other artists for the first time in ages. I've allocated pages of the new Captain Clevedon comic to 4 artists who have volunteered to work on a profit share basis (which, we all realise, may mean nobody ever making any money from this) and have started drawing pages myself. It is, to all intents and purposes, a hobby comic and great fun it is too. Obviously I far prefer getting paid to write and draw stuff, but since my Match and Doctor Who work has got thinner on the ground, and the Comic Art Masterclasses and Scottish Falsetto Sock shows are filling up my work schedule, this is as good a way as any of keeping my comic creating side alive. And, you never know, people might actually like this comic when it comes out. Here's a sketch by me from the front cover (background still in production).


Any artists who fancy drawing a slice of his bit of comic book history, email me links to your artwork (don't send attachments).



 


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Napoleon Hill Think and Grow Rich-Pt seven <b>...</b> - <b>art</b> motivation

Napoleon Hill Think and Grow Rich-Pt seven Positive Mental Attitude Buy Napoleon Hill: (9) CD audio set read by the author-and Three Feet from Gold (a modern day “Think and Grow Rich Novel” www.videoproductionprimeau.com www.PrimeauProductions.com – Website http – Blog, This is the part where Napoleon Hill reveals one of the most brilliant quotes of all time; “What the mind believes and conceives it will achieve”.

Napoleon Hill Think and Grow Rich-Pt seven Positive Mental Attitude

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Annual <b>Art</b> Battle set for June 25 in Vail | cam-ra productions

Eagle Valley Artists Alliance (EVAA) and The Eagle Valley Humane Society invite the public to join in Art Battle 2011. This year the art battle will be held at Solaris in Vail, on June 25. The event brings artists together for a three-hour competition, starting at 7 p.m. and ending with a public vote at 10 p.m. to determine first, second, and third place winners. The location of EVAA’s Art Battle changes each year.

“Spectators enjoy the opportunity to watch art being created,” said Tracy Gordon, EVAA Board Member. “They gather to enjoy the art, entertainment, and to cheer on their favorite artists. It’s a cultural opportunity you don’t often get in mountain towns.”


This year’s space will allow for approximately 12 to 15 artists to compete. Past year’s winners Dustin Zentz (2010) and Fernando Palomo (2009), will be back to defend their titles.


“It is incredible working alongside so many artists and feeling the creative energy in the room,” said Fernando Palomo. “By the end of the night, an amazing art show has been created filled with unique pieces. As an artist, I was filled with creative energy for quite some time after the competition. It was the topic of conversation for months after the event.”


Artists will be working in a medium of their choice, such as painting, mixed-media, sculpture and even tattoo art. The cash bar will be staffed by animal-loving bartenders from the Eagle Valley Humane Society. A live DJ will entertain guests. Appetizers and one beverage included with admission. Admission to the Art Battle is $25 at the door for adults and $5 for children. (Cash only; no credit cards accepted). All money raised through the Art Battle will go directly to the Humane Society and the Eagle Valley Artists Alliance.


For more information about Art Battle and EVAA go to www.eaglevalleyartists.com, email eaglevalleyartists@gmail.com or call 970-926-2732.



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The <b>Art</b> Of The Rural: The Farmers and Freaks of Greg Brown's Iowa


This weekend I had the pleasure of spending a few days in Riverside, Iowa, a small town located about twenty minutes south of Iowa City. My experiences in Riverside will undoubtedly lead to a few articles here and a few shared links on our Facebook page; though I've spent most of my life in the cities and small towns of the Midwest, my time in rural southeastern Iowa clarified how the organizational term "The Midwest" simply doesn't do justice to the varied cultures and approaches to place within these states.

One of the pleasures of my time in Iowa was having the chance to read The Des Moines Register, and the writing of Kyle Munson, a columnist who covers Iowa arts and culture with both clarity and personality. Mr. Munson is from Silver City (a proud fifth-generation Iowan); his columns draw from his family connections across the state and from his years as a music reviewer and a freelance feature writer. His goal is to report from as many communities as possible in the state, a mission that can be followed via the Register's interactive map.

Sunday morning I settled in with the physical copy of the Des Moines Register and found Mr. Munson's latest work, a review of the album release party for Greg Brown's Freak Flag:

Folk singer Brown, 61, has served as the unofficial voice of Iowa for decades. Dropping the words "rumbling" and "baritone" into the same sentence is almost a requirement when describing the powerful growl with which he has dispensed love songs as well as odes to the prairie. Yet Thursday night in Iowa City, he also showcased a playful falsetto during his party for "Freak Flag" at the Mill, the restaurant/bar that is one of his favorite old haunts.
At first glance, isn't Brown singing about freaks sort of like Lady Gaga singing about canning tomatoes?
Hardly. "Freak Flag," if anything, brings his career into sharper focus - putting a finer point on the rural hippie persona he has crafted through his rich, celebrated song catalog. It's almost a bookend to the more straightforward nostalgia of the title track to his album "The Iowa Waltz" 30 years ago (not performed Thursday). Back then he paid tribute to his "home in the midst of the corn" - more of an anthem for farmers.
Folks unfamiliar with Greg Brown's music may already know his sensibility, as he was the musical director A Prairie Home Companion for a number of years and the co-founder of the Red House roots record label. As Mr. Munson writes, "Iowa's recent history almost [could] be charted" across the songs in his recent set. Below I'll share a few of the tracks Mr. Munson suggests:

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Centennial Vase and Forbes Botanicals Lead $1+ <b>...</b> - Dallas <b>Art</b> News

An American Union Porcelain Works Centinnial Vast, crica 1876-1885 (photo courtesy Heritage Auctions)An American Union Porcelain Works Centinnial Vast, crica 1876-1885 (photo courtesy Heritage Auctions)


One of a pair that brought $76,480 total in Dallas public auction


A Karl Müller-designed and signed Union Porcelain Works Centennial Vase, manufactured in Greenpoint, NY, circa 1876-1885, sold for $47,800 on Wednesday, June 1, 2011 to lead Heritage Auctions’ Signature® Decorative Arts & Design and Gentleman Collector Auctions at the company’s Design District Annex in Dallas. All prices include 19.5% Buyer’s Premium.


The auction realized a total of $1,018,813 on 586 lots, with 741 bidders vying for offerings, including strong international online buying contingents.


“The result on this vase is spectacular by any account,” said Tim Rigdon, Director of Decorative Arts at Heritage. “There are likely only about 16 of these vases known and we’ve seen none in better condition. Add impeccable provenance and history and it’s easy to see why an advanced collector thought enough of this piece to pay $47,800.”


The baluster-form Centennial Vase with sculpted North American bison head handles, portrait medallion of George Washington to either side, and a series of relief plaques at the base depicting scenes of America’s history during its first century, was created for the 1876 Centennial Exposition in Philadelphia.


“The design of this vase is based on a pair of earlier vases and measures 10 inches shorter than the original design,” added Rigdon. “This vase is one of a pair – the other example of which sold for $28,680 in Heritage’s May 21 Grand Format Americana & Political Memorabilia Auction – but is of particular significance as it’s incised with the designer’s signature under the shoulder of the relief of Washington.”


The only other known signed example is in the collection of the Metropolitan Museum of Art, and it has been suggested that the inscription, combined with hand detailing seen in this example and its mate, indicates Muller’s personal hand.


Selections from the Malcolm S. Forbes Collection also performed admirably in the auction, several gem, mineral and precious metal floral studies by Cartier leading the bidding. Two separate studies led the way with a lot of two hardstone, gold and rock crystal floral studies of Raspberry and Blackberry plants bringing $3,107, a mark that was matched by a trio of three hardstone, gold and rock crystal studies of  Strawberry, Jacob’s Ladder and Dutchman’s Breeches plants. A single hardstone, gold and rock crystal floral study of a Lily plant provided significant bidding fireworks as it rose to finish the day at $2,629.


Further highlights include, but are not limited to:


A pair of Diego Giacometti Bronze Chien et Faucon Lamps: Paris, France, circa 1965. Unmarked. The lamps, purchased in the early 1970s from a Palm Beach estate, are accompanied by a certificate of authentication issued by Denis Vincenot on January 21, 2011. Realized: $38,850.


A French Gilt Wood and marble Pier Table with Gilt Bronze Mounts: Unknown maker, probably Paris, France, circa 1840. Unmarked. Realized: $38,838.


Tiffany Studios Leaded Glass and Gilt Bronze Lamp: Tiffany Studios, Corona, NY, circa 1915. Realized: $15,535.


A Patinated Bronze and Stained Glass Pendent Lamp from a fixture from the National Farmer’s Bank, Owatonna, by Louis H. Sullivan and George Grant Elmslie, circa 1908: Manufactured by Winslow Brothers Company, Chicago, Illinois. This piece was originally one of four pendents hanging from a series of fixtures mounted above the teller’s station of Louis Sullivan’s acclaimed masterpiece, the National Farmer’s Bank of Owatonna, MN. The pendent was removed from the bank in the 1940 renovation. Realized: $13,145.


George Nakashima Cherry Credenza with burlap cloth lined doors: Manufactured at the Nakashima workshop in New Hope, PA, circa 1970. Marks: in pencil to back MCFADDEN, #3179. Realized: $11,353.


Heritage Auctions


Heritage Auctions, headed by Steve Ivy, Jim Halperin and Greg Rohan, is the world’s third largest auction house, with annual sales more than $700 million, and 600,000+ online bidder members. For more information about Heritage Auctions, and to join and gain access to a complete record of prices realized, along with full-color, enlargeable photos of each lot, please visit HA.com.

An American Union Porcelain Works Centinnial Vast, crica 1876-1885 (photo courtesy Heritage Auctions)An American Union Porcelain Works Centinnial Vast, crica 1876-1885 (photo courtesy Heritage Auctions)

Art news posts by Press Release are items that come directly from museums, galleries and other sources. These posts have been formatted but not re-written.

Filed under: Auctions, News by Press Release

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PremierLife.ca | Events | NXNE 2011: The <b>Art</b>-infused Takeover of TO



650 bands, 50 panels and 40 films in 7 days. What sounds more wicked than that?! The 17th NXNE Festival in Toronto is boasting all of the above in an effort to attract you—the pop-culture-inclined, festival-loving, kind-of-looking-for-something-to-do-because-summer-makes-you-adventurous twenty-something. NXNE started Wedensday, June 13 and is ongoing until Saturday, June 19 and it may be hard to believe, but there are over 700 attractions taking place non-stop until then.

You can hop on over to the website and peep the schedule or make your own, here: http://nxne.com/schedule#. Tickets are available here: http://nxne.com/tickets.

If you still need further convincing, take these publications’ word that NXNE is worth the trip:

“The best in new music and film from the indie scene.” BBC Radio 2 (UK)

“…simply too much cool stuff going on…” the Toronto Star

“ …(a) bar-hopping bonanza!” the Toronto Sun (who, apparently, knows just how to attract Western students…)

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Macrame Can Be A Kind Of <b>Art</b> Made By Knotting Cords | Abstract Shadows

Macrame is actually a kind of art created by knotting cords in endless combinations. Derived from the Arabic language, Macrame stands for fringe referred to an old practice of knotting a fringe to solid fabric and then continuing to make a pattern of knots. The technique has grown in popularity over the centuries with American and British Sailors attempting them out on long shipping hours. There is testimony that a competition was held between ships where sailors would decorate the rails, bells and wheels in macram© along with the ship that pulled into the port with the most effective decoration was awarded a winner. Despite its decline inside the late 50s and 60s, macrame projects have gained in popularity and are now utilised to manufacture a wide range of decorative and helpful products.

Macrame projects consist of several types of products ranging from jewelry to hammocks to decorations and plant hangers. Materials for example cotton twine, hemp, leather and yarn are utilised in manufacturing these macram© projects. Macrame projects for example jewelry are created through a combination of knows and different beads employing extremely thin wire like cords. Macrame projects for example earrings are lighter and are created both in clip-on and pierced ear styles.

Hammocks are one more kind of macrame projects created employing fundamental knots with a thick braided cord. They’re considered to be extremely powerful and may be created swiftly because of their open net look style. The hammocks are held together by brass rings while thick dowels are created to hang them in between trees.

Decorations for example wall hangings use a slightly more complex scheme of knotting in macrame projects. The wall hangings vary in sizes between narrow and wide and are put together employing medium sized cords and wooden beads. 1 of one of the most popular decorative macrame projects are animals. By employing a cord for example jute, animals may be given a extremely natural look in decorative macrame projects.

1 of one of the most popular macrame projects are plant hangers. Macrame project plant hangers consist of three sorts; single, double and numerous tiers. The single tier plant hanger holds only one plant, while the double tier holds up to two medium sized plants. The numerous tier plant hangers hold three or more little plants. These plant hangers are created employing medium sized cords and wooden beads.

The finest efforts in macrame projects aren’t bound by complex structures and nor do the selection of knots play a part inside the beauty of the end product. It is often great to continue with one kind of knot and a maximum of two. Simplicity, smooth transition of colors and textures and adequate spacing are the hallmarks of a satisfied macrame project.

Article by Desmond Bucciero who’s a personal financial expert. Check out his other contribution on financial services planning and financial planning advice today.

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SMU <b>Art</b> History Professor Gregory Warden Receives Award from <b>...</b>

Dr. P. Gregory Warden, University Distinguished Professor of Art History and associate dean for academic affairs at SMU’s Meadows School of the Arts (photo courtesy SMU)Dr. P. Gregory Warden, University Distinguished Professor of Art History and associate dean for academic affairs at SMU’s Meadows School of the Arts (photo courtesy SMU)


Dr. P. Gregory Warden, University Distinguished Professor of Art History and associate dean for academic affairs at Southern Methodist University’s Meadows School of the Arts, received the Order of the Star of Italian Solidarity and the title of Cavaliere (knight) in the name of the President of the Italian Republic on June 4. The award was presented by Fabrizio Nava, the Consul General of Italy in Houston, at the Italian Club of Dallas as part of a ceremony celebrating the 65th anniversary of the Italian Republic on June 2 and the 150th anniversary of the Unity of Italy that was proclaimed on March 17, 1861.


The Order of the Star of Italian Solidarity was instituted in 1947 to recognize the achievements of those Italians and foreigners who had played a distinguished role in the reconstruction of Italy after World War II. It is now bestowed upon Italians and foreign nationals who have provided a meaningful contribution to the prestige of Italy while promoting friendly relations and cooperation between Italy and other countries.


In presenting the award on behalf of the President of the Italian Republic, Consul General Nava said, “Dr. Warden’s work in promoting the studies of Italian culture at Southern Methodist University contributed greatly to the success of the program ‘SMU-in-Italy.’ His projects of excavation in Italy have served greatly to advance the knowledge of the Etruscan people in the United States. He is indeed a great scholar in this field and an important ambassador of the Italian culture in this country.”


Dr. Warden, a native of Italy, is co-director of the Mugello Valley Archaelogical Project, an SMU-sponsored archaeological excavation at the Etruscan site of Poggio Colla, about 20 miles northeast of Florence. The site, first excavated from 1968 to 1972 by an Italian archaeology official, was reopened by Dr. Warden in 1995. He also established and oversees the Poggio Colla Field School, which brings university students from around the world to the site for six weeks each summer to conduct research. In 2009, Dr. Warden helped organize an exhibition of Etruscan art at SMU’s Meadows Museum, including findings from the Poggio Colla dig. It was the most comprehensive exhibition of Etruscan art ever undertaken in the U.S.


Dr. Warden joined the art history faculty at SMU in 1982 and teaches undergraduate and graduate courses on Etruscan and Roman art and archaeology, as well as introductory courses on the history of architecture. He was director of the SMU-in-Italy summer program in Florence, Orvieto and Rome from 1987 to 1998. He also chaired the Art History Division for six years, and has served as associate dean for academic affairs at the Meadows School since 1998. He has received multiple teaching awards, including a Rotunda Award for outstanding teaching from the SMU student body in 1985-6. He was named the 1996-97 Meadows Foundation Distinguished Teaching Professor and, in 2008, he was honored with the title University Distinguished Professor of Art History.

Dr. P. Gregory Warden, University Distinguished Professor of Art History and associate dean for academic affairs at SMU’s Meadows School of the Arts (photo courtesy SMU)Dr. P. Gregory Warden, University Distinguished Professor of Art History and associate dean for academic affairs at SMU’s Meadows School of the Arts (photo courtesy SMU)

Art news posts by Press Release are items that come directly from museums, galleries and other sources. These posts have been formatted but not re-written.

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Gallery of the Barnes Foundation in the last days before moving to Philadelphia - Allentown Morning Call

Je suis à peu près de l'école de chiens jouer au Poker/Mugs de l'art, mais même, je savais que nous devrions visiter la Fondation Barnes avant il déménage son incroyable collection de chefs-d'œuvre de l'art de son origine, Merion.


La Galerie Merion, une fois ouvert uniquement aux invités, les étudiants et les auditoires encore être limité par réservation, fermera le 3 juillet, alors que la Fondation se prépare pour la transition à un environnement plus spacieux et plus accessible à Philadelphie. Ma femme et son cousin nous ont les billets pour mardi dernier et aucun trop tôt. Il y maintenant ne sont aucune réservation disponibles pour les non-membres avant la fermeture, bien qu'on me dit que vous toujours pouvez obtenir un billet si vous achetez une adhésion.


C'est une bonne chose, que mon cousin-in-law avait été là une fois avant, parce que j'aurais jamais conclu il. Nous avons ne vu aucun signe de la place sur l'Avenue de la ligne de la ville où elle a tourné et a commencé à patte à travers un quartier résidentiel. Soudain, il c'est, une île culturelle euphorbe entourée de maisons.


Nous sommes allés au moyen de deux points de contrôle de sécurité, payés $15 au parc dans le petit lot — l'alternative est rue quelques pâtés de stationnement — et à pied à l'entrée de la galerie pour notre réservation de 4 heures. À l'intérieur, nous avons été chargés de vérifier les sacs à main et toute autre chose que nous étions transportant, ne pas de prendre des photos et de rester derrière les lignes noires. Une fois tout ce qui a été terminé, nous marchions dans la première et la plus grande galerie — et ont été emportés.


La fin Dr Albert C. Barnes appartenant à une des collections plus importantes au monde de tableaux impressionnistes, postimpressionnistes et début moderne, et nous avons vu une gamme incroyable de Renoirs, Cezannes, Matisse, Picasso, Seurats, Van Gogh et bien plus encore que nous avons parcouru les 11 chambres ouvertes. Même si la Galerie étage est fermée alors que le Musée se prépare pour son déménagement, le volume de grandes peintures, meubles folk, céramiques et travaux de métal forgé à la main était écrasant. Nous aurions à visiter plusieurs fois plus vraiment apprécier tout ce qui est exposé.


Heureusement, nous avons loué un casque et les joueurs pour une visite autoguidée. Elles nous adressent aux peintures spécifiques, des salles et des murs, avec un aperçu des qualités particulières des peintures, comment Barnes a acquis les et les façons dont il organisée à contraste et à compléter les travaux il placés ensemble et d'expliquer comment artistes ont été influencés par un de l'autre. Ses choix — et son insistance que le placement ne soit jamais changé — a parlé des volumes de ses opinions fortes et souci du détail.


Après que nous avions terminé la visite autoguidée, nous sommes retournés, écouter les histoires de plusieurs autres peintures pour lesquels des descriptions avaient été enregistrée et envisagé d'autres favoris sur notre propre.


Plus tard, nous marchions le magnifique Arboretum 12 acres, qui restera après le déplacement de l'art. Laura Barnes, épouse d'Albert, a fondé une école d'Arboretum en 1940.


J'ai été familiarisé avec la Barnes principalement en raison de la controverse et snarls juridiques qui ont entouré il pendant de nombreuses années. Le déménagement à Benjamin Franklin Parkway de Philadelphie a été interprété par certains comme un complot pour ignorer la volonté expresse de Barnes.


Les administrateurs de la Fondation Barnes ont fait valoir qu'il n'a pas pu survivre financièrement sans bouger et que la nouvelle installation non seulement rendu possible une campagne de collecte de fonds de 150 millions de dollars dirigée par trois fondations caritatives mais améliorera accès du public à ces peintures et fournir une galerie d'exposition changeantes et plus d'espace en classe pour poursuivre les objectifs pédagogiques de Barnes. Ils disent que le nouveau bâtiment est identiques à l'échelle, la proportion et la configuration des salles dans la galerie originale, qui a ouvert en 1925. Un juge de comté de Montgomery a approuvé le déménagement en 2004 après une bataille juridique de deux ans.


Opposants affirme que c'est une trahison de la volonté expresse de Barnes — le dernier d'une série de cas dans lequel les dirigeants de la Fondation se rend à la Cour de modifier les conditions il avait énoncés dans son acte de fiducie — et pas nécessaire à la survie de la Fondation. Un documentaire controversé, « L'Art de la vole » a fait un arrêt populaire pour ces vues.


Je ne soutiennent que tout cela ici, sauf pour dire que, à mon avis, il sera impossible pour la Fondation de déplacer la collection dans un nouveau bâtiment à ce qui sera équivaut à une ligne de musée de Philadelphie et dupliquer l'expérience de voir ces peintures dans le contexte actuel.


C'est ne pas pour autant dire qu'ils ne sera pas capables de faire fonctionner ou de même que les avantages de l'accès public et de la stabilité financière de Barnes Foundation ne font pas une preuve solide pour le déménagement. Je dis juste qu'il ne peut être éventuellement la même — qui me rend doublement heureux que j'ai pu faire l'expérience de comme Albert Barnes prévu avant elle a disparu.


Bill.White@MCALL.com 610-820-6105


Commentaire de Bill White apparaît les mardis, jeudis et samedis


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Holbein
Holbein (Hardcover)
By Hans Holbein

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