Art is Everywhere

2011-02-13T16:37:00.002+13:00

The blog is now integrated to my website.
See you there.

Palette

2010-11-04T12:14:00.003+13:00

Delacroix

Degas

Gauguin

Moreau

Van Gogh

Famous Painter's palette

The Vader project

2010-11-04T12:05:00.001+13:00

The vader project

Star Wars

2010-11-04T12:01:00.002+13:00

If Star Wars was real

Fake Science

2010-11-04T11:57:00.001+13:00

Fake Science

Kodak 1922 Kodachrome Film Test

2010-11-04T11:28:00.000+13:00

Kodak

2010-07-13T16:12:00.002+12:00

Golden Axe

Michael Stevenson

2010-06-27T14:48:00.001+12:00

MICHAEL STEVENSON

Gorillaz & Steve Zissou

2010-06-27T14:39:00.001+12:00

Jeremy Geddes

2010-06-27T14:17:00.001+12:00

JEREMY GEDDES

Kris Knight

2010-06-27T14:03:00.001+12:00

KRIS KNIGHT

Yuta Onoda

2010-06-27T13:09:00.001+12:00

YUTA ONODA

Wesley Burt

2010-05-27T13:23:00.000+12:00

WESLEY BURT

Erica Steiner

2010-05-27T13:15:00.000+12:00

ERICA STEINER

Matt Hendon

2010-04-27T12:59:00.001+12:00

MATT HENDON

Nathalie Derouet

2010-03-27T12:52:00.000+13:00

NATHALIE DEROUET

Audrey Kawasaki

2010-03-27T12:45:00.001+13:00

AUDREY KAWASAKI

Tom Shannon

2010-02-25T18:48:00.001+13:00

Tom Shannon

Saez

2010-02-07T17:52:00.005+13:00

Saez

Birds

2010-02-07T17:45:00.001+13:00

Birds on the Wires from Jarbas Agnelli on Vimeo.

Birds are secretly composers

Fallen Princesses

2010-02-07T17:24:00.003+13:00

Dina Goldstein's Fallen Princesses

American History

2010-02-07T17:09:00.003+13:00

American soldiers posing as symbols of American history.

Fabienne Verdier

2010-02-07T16:53:00.002+13:00

FABIENNE VERDIER

Flipbook Parkour

2010-02-07T00:45:00.000+13:00

parkour motion reel
Uploaded by yom_. - Discover more animation and arts videos.

SUCHABLOG

Sliimy - Womanizer

2009-12-02T22:57:00.004+13:00

Sliimy

People are Strange

2009-11-30T22:39:00.001+13:00

Benzer videolar için tıklayın

People Are Strange - Doors - Harikaa

Agan Arahap

2009-11-30T22:32:00.002+13:00

Agan Arahap

Alyssa Monks

2009-11-30T22:26:00.001+13:00

Alyssa Monks

CBGB Virtual Tour

2009-11-30T22:21:00.003+13:00

CBGB Virtual Tour
CBGB main

Judy Millar

2009-11-17T20:33:00.002+13:00

JUDY MILLAR

Wendy Wagner

2009-11-08T10:17:00.003+13:00

WENDY WAGNER

Elizabeth McGrath

2009-10-31T18:53:00.005+13:00

ELIZABETH MCGRATH

Kiel Johnson

2009-10-31T18:43:00.000+13:00

Kiel Johnson's Cardboard Twin Lens Reflex Camera Time Lapse from Theo Jemison on Vimeo.

KIEL JOHNSON

Robert Mars

2009-10-30T23:14:00.003+13:00

ROBERT MARS

Kiyoshi Awazu

2009-10-30T22:58:00.001+13:00

KIYOSHI AWAZU

Milton Glaser

2009-10-13T17:41:00.000+13:00

MILTON GLASER

Zach Johnsen

2009-10-06T22:49:00.006+13:00

ZACH JOHNSEN

Shepard Fairey [Alias Obey Giant]

2009-10-05T14:14:00.003+13:00

Shepard Fairey from Arkitip on Vimeo.

Shepard Fairey [on Wikipedia] and website Obey Giant

Shawn Barber

2009-10-04T14:55:00.005+13:00

SHAWN BARBER

Daniel Martin Diaz

2009-10-04T14:12:00.003+13:00

DANIEL MARTIN DIAZ and at YVES LAROCHE GALERIE

Jayson Norris

2009-10-04T13:57:00.005+13:00

JAYSON NORRIS and on myspace

Emilie Bronsard

2009-10-04T13:41:00.001+13:00

EMILIE BRONSARD

Souther Salazar

2009-09-10T20:15:00.005+12:00

SOUTHER SALAZAR

Boe Busch

2009-09-10T19:03:00.003+12:00

BOE BUSCH

KELLY VIVANCO

2009-08-06T20:41:00.002+12:00

KELLY VIVANCO

JAMES NARES

2009-07-30T21:39:00.003+12:00

JAMES NARES

JAMES KING

2009-07-27T19:08:00.001+12:00

JAMES KING

ERIN

2009-07-27T18:53:00.002+12:00

ERIN Photography

Man on the Moon

2009-07-22T11:43:00.003+12:00

Boston.com: remebering Apollo 11

We choose the moon [replaying every moment from take off to landing, using original radio transmission, map and photos]

Sylvia Ji

2009-07-16T20:45:00.004+12:00

Sylvia Ji

GigPosters.com

2009-07-16T20:34:00.005+12:00

GigPosters

MISAKO INAOKA

2009-07-03T23:15:00.002+12:00

MISAKO INAOKA

UTA BARTH

2009-06-30T22:48:00.003+12:00

UTA BARTH

NATHALIE VOGEL

2009-06-28T13:21:00.002+12:00

NATHALIE VOGEL

PHIL NOTO

2009-06-28T13:05:00.001+12:00

PHIL NOTO

LITTLE DRAGON & DREAMS FROM THE WOODS

2009-06-26T13:26:00.000+12:00

LITTLE DRAGON
'DREAMS FROM THE WOODS'

ERIC ZENER

2009-06-25T21:01:00.001+12:00

ERIC ZENER

LORETTA LUX

2009-06-21T12:29:00.001+12:00

LORETTA LUX

LEAH GIBERSON

2009-06-21T12:19:00.003+12:00

LEAH GIBERSON

2 1/2 months to New Year

2009-06-21T12:00:00.001+12:00

2 1/2 months to New Year

Where the Wild Things Are

2009-06-21T11:40:00.001+12:00

"Where The Wild Things Are"

ANDREW BLYTH

2009-06-01T00:04:00.001+12:00

ANDREW BLYTH

ZOOMORAMA

2009-05-22T12:15:00.002+12:00

ZOOMORAMA ART IN HD

PORAS CHAUDHARY

2009-05-19T21:17:00.002+12:00

PORAS CHAUDHARY

PATRICK REYNOLDS

2009-05-19T21:00:00.002+12:00

PATRICK REYNOLDS

Yann Arthus Bertrand

2009-05-05T09:33:00.005+12:00

YANN ARTHUS BERTRAND ON YOU TUBE

HOME THE MOVIE

Seen at the Auckland ArtFair 2009

2009-05-01T16:34:00.012+12:00

+ Best Gallery display + Best Artist Choice + Best Artists Rep:

3 Winners this year:

Whitespace Gallery with Jim Cooper's Installation

Photo: Jim Cooper Installation "Sgt P." April 2008. Whitespace

Bath Street Gallery with Mark Braunias' Artwork

Bartley + Company with Andre Hemer's Paintings and Anne Noble's Photographs

+ Most Obnoxious display:

1 winner this year:

Neon Parc Gallery

+ Most Over-priced and over-rated:

1 winner this year:

Paul Nache Gallery

+ Worst Attitude + Poorest Customer Service:

2 Winners this year:

Bowen Gallery
Jensen Gallery

+ Most Expensive + Outstanding Art Display:

1 Winner:

Peter McLeavey Gallery with Bill Hamond's Painting

It was also the opportunity to stand in front of "real" Artwork [not a 3x4 cm Internet photo!] from Fantastic Artists such as:

Jude Rae
Patricia Piccinini
Dennis O'connor
Don Driver
Pamela Wolfe
Tim Maguire
Scott Gardiner
James Morrison
Imants Tillers
Rosalie Gascoigne
Tim Johnson
Shane Cotton
Peter James Smith

Lhassa De Sala

2009-05-01T08:33:00.002+12:00

LHASSA DE SALA

COCA Board Art Competition

2009-04-30T22:10:00.001+12:00

COCA

Manuel Wagner

2009-04-30T11:01:00.001+12:00

MANUEL WAGNER

Shinichi Maruyama

2009-04-30T10:56:00.003+12:00

SHINICHI MARUYAMA

Fabien Barral & Fabien Pouzerat

2009-04-24T16:05:00.005+12:00

FABIEN BARRAL

Unkle

2009-04-24T00:12:00.006+12:00

"Heaven"

UNKLE

Joe Fig

2009-04-15T20:10:00.003+12:00

JOE FIG

Anwen Keeling

2009-04-08T17:00:00.002+12:00

ANWEN KEELING

Adelys

2009-04-08T16:32:00.003+12:00

ANNE-SOPHIE ADELYS

Ettore Sottsass [Design Observer]

2009-04-02T23:57:00.002+13:00

"Ettore Sottsass: Work in Progress," photo by Luca Fregoso

When I was very small, a little boy of five or six years old, I was certainly no infant prodigy, but I did do drawings with houses, with vases and flowers, with gypsy caravans, merry-to-rounds and cemeteries (perhaps because the first world war had only just ended) and then, when I was a bit older, I built beautiful, sharp-pointed sailing-boats, carved with a penknife out of the tender bark of pine-trees from Mount Bondone and together with Giorgio and Paolo Graffer we constructed cableways that were even two hundred metres long, that ran from the houses on the river Adige up to the top of Doss Trent, since we had found some balls of paper string that had been abandoned in the cellar by retreating Austrians (or maybe stolen by grandfather Graffer), and later when I was even bigger, aged eight or nine, I made barometers and wooden telescopes in my uncle Max the carpenter’s workshop to measure the passing of the stars, but naturally neither the barometer nor the telescope ever worked despite the drawings I did, of an astronomy as I imagined it and so on. It has always seemed to me the most natural thing in the world to draw and make things.

I don’t think I have ever made any great difference between drawing a thing, making it and using it or even between making things by myself or with others. If I felt like making a boat, it was I who drew it, I who built it: and I was the captain in command of it on the Pacific Ocean, defending it from mortal atolli, bringing it alongside coral beaches; when we were together, if we felt like doing a cable-way, it was we who drew it, we who made it and we the “people” that used it. And even when we did things it didn’t occur to us to deliver models to anyone, we had absolutely no conceit, no sense of power derived from the knowledge of what we were perhaps capable of doing. I didn’t feel and we did not feel like designers, or artists, or engineers for an audience and still and still less in front of an audience: we did not look either for consumers, or for observers, nor did we look for agreement or disagreement or anything that wasn’t all inside ourselves.

Everything we did was entirely absorbed in the act of doing it, in wanting to do it, and everything we did stayed ultimately inside a single extraordinary sphere of life. The design was life itself, it was the day from dawn till dusk, it was the waiting during the night, it was an awareness of the world around us, of materials and lights, distances and weights, resistance, fragilities, use and consumption, birth and death…

Now that I’m old they let me design electronic machines and other machines in iron, with flashing phosphorescent lights and sounds and no one knows whether they are cynical or ironical: now they only let me design furniture that ought to be sold, furniture they say, that is useful to society, they say, and other things that are sold “at low prices” they say, and in this way they can sell more of them, for society they say, and now I design things of this kind. Now they pay me to design them. Not much, but they pay me. Now they look for me and wait for models from me, as they say, ideas and solutions which end up heaven knows where.

Now everything seems to have changed. The things I do (by myself or with my companions) seem to have changed and the way they are done also seems to have changed because, goodbye bright blue Planet, goodbye melodious seasons, goodbye stones, dust, leaves, ponds, and dragon flies, goodbye boiling-hot days, dead dogs by the roadside, shadows in the wood like prehistoric dragons, goodbye Planet, by now I feel as if I do the things I do sitting in a bunker of damp artificial light and conditioned air, sitting at this white laminate table, sitting in this silver plastic chair, captain of a spaceship traveling at thousands of miles an hour, squashed against this seat — immobile in the sky.

By now I have to think of things from an artificial space, with neither place nor time; a space only of words, phone-calls, meetings, timetables, politics, waiting, failures. By now I’m a professional acrobat, actor and tightrope walker, for an audience that I invent, that I describe to myself, a remote audience with whom I have no contact, stifled echoes of whose talking, clapping and disapproval reach me, whose wars, catastrophes, famines, suicides, escapes, poverty or anxious restings along crowded beaches or inside smoky stadiums I read about in papers; how can I know who are the ones expecting something from me?

I would like to break this strange mechanism I’ve been driven into. I would like to break it for myself and for others, for me and with others. I would like not to have to play the role of the artist only because this way I get paid, and I wish it wouldn’t even occur to others that there’s anyone who gets paid for being an artist. I would like all of us or none of us to be artists, as we were when we did drawings, boats, ships and windmills, cableways and telescopes. I would like to think that the old happy state that I once knew could somehow be brought back: that happy state in which “design” or art — so called art — was life, in which life was art, I mean creativity, I mean it was the awareness of belonging to the Planet and to the pulsing history of the people that are with us.

I’d like to find somewhere to try out things, together, things to do with our hands or machines, in any way, not like boy scouts or even like craftsmen and not even like workers and still less like artists, but like men with arms, legs, hands, feet, hairs, sex, saliva, eyes and breath, and to do them, certainly not to possess things and to keep them for ourselves and not even to give them to others, but just feel what it’s like to do things by trying to do them, trying to find out whether everyone can do things, other things, with their hands or machines — or whatever — etcetera etcetera. Can it be tried?

My friends say it can.

Perhaps best known for designing Olivetti's iconic red plastic typewriter, Ettore Sottsass was born in Innsbruck, Austria, and grew up in Milan. An Italian architect and designer of the late 20th century, he was a leading member of the Memphis Group, which revolutionized product design in the 1980s. Ettore Sottsass died on December 31, 2007.

"When I was a Very Small Boy" ("Quando ero Piccolissimo") was written in 1973 by Ettore Sottsass and published in Terrazzo, Number 5, Fall 1990. It is published here in a shortened form with the permission of Barbara Radice and Archivio Ettore Sottsass.

DESIGN OBSERVER

Andrew Loomis

2009-04-02T23:50:00.001+13:00

CREATIVE ILLUSTRATION BY ANDREW LOOMIS

Playing for a change

2009-04-02T23:34:00.001+13:00

PLAYING FOR A CHANGE

Notebook

2009-04-02T23:19:00.002+13:00

Notes from: Gaitskell, Charles D., Al Hurwitz, Maryland Institute College of Art, and Michael Day, Univ. of Minnesota, eds. Children and Their Art, Methods for The Elementary School, Fourth Edition, Harcourt Brace Jovanovich, Inc., 1982.

Some Basic Beliefs in
Contemporary Art Education

Art education today is still very much a composite of what has gone before . . . . Development of strong professional associations, publication of impressive body of literature in the field, including a burgeoning research literature; and the emergence of well-founded teacher-education programs in colleges and universities have resulted in an enlightened group of art educators. Increased level of professional communication . . . .

Some of the Basic Beliefs
On which Many Current Art Education Programs are Founded:

l. Both through the production of works of art and through our contemplation of them, we use the arts to help us understand ourselves and the world around us. One of the traditional and unique functions of the arts has been to emphasize individual interpretation and expression. The visual arts today continue to be a means whereby we attempt to give form to our ideas and feelings and to gain personal satisfaction through individual accomplishment. The growing complexity of our contemporary culture, including its visual aspects, also requires of every individual a capacity for visual discrimination and judgment.

2. Through the ages we have used the arts to build and enrich our personal and shared environment. Art experiences should help us understand the visual qualities of these environments and should lead to the desire and the ability to improve them. An art education program which consistently emphasizes the ability to make qualitative visual judgments can help citizens to assume their share of responsibility for improvement of the aesthetic dimension of personal and community living. Acceptance of this responsibility is particularly important during periods of rapid technological development and social change.

3. The visual arts contain a record of the achievement of humanity since the values and beliefs of a people are uniquely manifested in the art forms they produce. A critical examination of these forms can lead to a better understanding of both past and present cultures.

4. Art has four aspects: seeing and feeling visual relationships, producing works of art, knowing and understanding about art objects, and evaluating art products. A meaningful school art program will include experiences in all of these areas. A planned program in art should be provided at all educational levels from kindergarten through high school At each grade level, art experiences should be selected and organized with different emphases and different degrees of intensity and complexity so as to result in a broadened understanding in all four aspects of the art subjects: perceiving, performing, appreciating, and criticizing.

. . . . Art expression in its purest form is an expression of the individual's interaction with life. In order to create this personal statement, an artist requires significant freedom of thought, feeling, and mode of expression. Although many aspects of life allow for creative behavior, the arts are especially appropriate for creative development because of the value placed on divergency, uniqueness, and individuality

There are, of course, many other beliefs held by people engaged in art education . . . . Nevertheless, a review of literature in the field will verify that the beliefs and assumptions stated above are quite pervasive. Awareness of them will assist teachers in accepting or rejecting them as experience suggests or developing and testing new ideas about art education.

NOTEBOOK