#Repost @googleartsculture with @repostapp When art meets cute: meet JJ, the hero of our latest #NameThatArt video 📽! He has the difficult task of helping our art experts guess contemporary works. 🖼 (link in out bio) #video #namethatart #douglascoupland #lol #art #contemporary #cute #kid #portrait #clap #shooting #google
#Repost @neuegalerieny with @repostapp ・・・ Gustav Klimt's second full-length portrait of his Viennese patron Adele Bloch-Bauer, an oil canvas that will be on view beginning September 22 as a part of "Klimt and the Women of Vienna's Golden Age, 1900-1918." This exhibition will include approximately 12 paintings, 40 drawings, 40 works of decorative art, and vintage photographs of Klimt, drawn from public and private collections worldwide. Central to the display will be the display of "Portrait of Adele Bloch-Bauer I" (1907) and "Portrait of Adele Bloch-Bauer II" (1912), which will be shown side-by-side for the first time since 2006. #klimtswomen #adeleblochbauer #oilpainting #portrait
Artist Marina Moevs, whose work is now on view along with portraits by Jon Swihart in a dual show curated by Ruth Weisberg at the Cathedral of Our Lady of the Angels in Los Angeles, has been thinking hard about humankind’s impact on the natural environment. Counter-balancing her fears about future natural disasters against her own serene inner nature, Moevs creates images that manage to serve as warnings while also remaining guardedly optimistic.
Exhibition curator Ruth Weisberg offers the following comments and observations about Moevs’ works:
Marina Moevs’ paintings from the last ten years are constructed in such a way as to involve the viewer in completing a story. These images while beautifully painted, are a kind of projective test. You are asked to imagine the beginning and end of a story and Moevs achieves this without even including human figures. Instead the presence of people either previously or at some future time, is implied.In addition, Moevs paintings often suggest the strange quietude after a terrible catastrophe. The destructive force of a tsunami or a hurricane is revealed by the chaotic forms of wreckage and debris. Her ability to paint in a very calm and assured way is a great carrier for such effects
I recently interviewed Marina Moevs and learned more about her work, her ideas, and her current exhibition.
John Seed Interviews Marina Moevs
Marina, when did the theme of global warming first emerge in your work?
In the mid-nineties I started to become seriously concerned about climate change. At that time few people were talking about it. I would encounter a one or two inch Associated Press brief at the back of the newspaper saying that the current year was the hottest on record. I believe that climate change is the defining issue or problem for our times. It demands a global solution so if we intend to solve it we are going to have to learn to think and act globally.
Around that time, I started painting floods, fires, hurricanes, in short, natural disasters. The natural disaster is almost a symbol for climate change - as we destabilize the planet’s ecosystem, we get more extreme weather events resulting in more frequent natural disasters.
Can you tell me about one of your paintings in some depth?
The image of the natural disaster carries additional layers of meaning for me. Clearly if we want to address climate change we will need to think differently about ourselves and our place in our ecosystem. We are going to have to let go of some ancient and by now very comfortable ideas about who we are and how we relate to each other, to nature and the planet, and we have to be willing to try an alternative approach.
Ocean II is a good example of how I am using the imagery. It depicts a beach scene after a hurricane, with a fractured house in the foreground and a serene ocean in the distance. The house is a metaphorical image of our current understanding of our identity - our self. The fractured house refers to the catastrophic internal and personal “natural disaster” that frequently accompanies any effort to relinquish, let go of, or destroy our current cherished notions of our identity and place in the world.
Yet the scene is peaceful and serene. It is very important for me that my paintings walk the line between the catastrophic and the serene. The serenity is an important part of the meaning of the paintings.
Tell me how you balance disaster and serenity in your images.
The thesis of the paintings is that there is a better way of understanding ourselves, one that promotes peaceful coexistence and a greater harmony amongst ourselves and with the natural world and the planet. The peacefulness and serenity in the paintings refers to this alternative view. This place of serenity is both the focal point of the painting and the framework for all the narrative events within the painting.
When I am making the paintings, my focus is on the encompassing serenity. I hold onto it as the dominant mood and feeling. Images of disaster or catastrophe find their place within the serenity without being able to create any ripples in it. Experience, including the experience of the catastrophic, can be a step along the way towards a greater awareness of this serenity.
How do you develop the ideas for your images?
Most of the scenes in my paintings are fictional. Sometimes a scene refers to a real place in the world, but by and large they are invented. Because they are fictional I need to make fairly finished preparatory drawings, all to scale, before I start on the painting. The paintings develop over an extended period of time. I apply many layers of paint, mostly with my hands. I use brushes in the final layers when I start introducing details smaller than my finger.
What is it like to see your work in concert with Jon Swihart’s portraits?
I have been a great admirer of Jon Swihart’s paintings for a very long time. So it is a rare and particular pleasure and privilege to be showing alongside him. I am very grateful to Ruth Weisberg who curated this show for pairing us. I see his nine exquisite portraits in the show as homages to the human spirit and its beauty.
While my paintings are nominally landscapes, I think of them as portraits: metaphorical, generic portraits of each and every one of us. So this is one of the links between our work. We are both addressing the deeply human but with different visual vocabularies.
Do you see your own work differently in the setting of the Cathedral?
Showing in the Cathedral has been an extraordinary experience and again I am grateful to Ruth Weisberg for this opportunity.
My paintings are personal meditation pieces - that is the function they have in my life. I like to think that they can function as meditation pieces for others too. The environment of the Cathedral underscores the meditative aspect of the work, making it more accessible and evident. As we know, context and environment can heavily determine how we read a piece of artwork. The environment of the Cathedral reinforces the reading I would like the paintings to have.
Evocations of People and Places:
Marina Moevs and Jon Swihart
Cuated by Ruth Weisberg
Through August 7th, 2016
On view in the Art Chapel and Chapel 8
555 West Temple Street
Los Angeles, CA 90012-2707
The process began in January of this year (2016) when bloggers were notified that a new blogging platform called "Athena" was being tested and were urged to try it out. At first glance, this seemed like a good thing: the Athena platform is part of a new "content management platform" approach that will allow bloggers to post directly from their smartphones and also add videos. The platform also allows blogs to be posted without editorial approval. Before Athena, it was estimated that some 60,000 of the HuffingtonPost's estimated 100,000 bloggers had the ability to post instantly without approval. Now, any blogger with an Athena contributor profile can do so.
This is where it gets interesting.
Before Athena, if a blogger to the HuffingtonPost submitted a blog, it was nearly always featured on one or more pages. For example, blogs for the Arts and Culture page would appear either in the left column--which was a blogroll--or sometimes would show up in one of the two wide news columns. Bloggers even saw their works promoted and "featured" at the top of the arts page: it always felt great.
Last week the Arts and Culture page appeared in a re-designed format without a blogroll: it is the first time in more than six years that this feature hasn't appeared. On the new page, there were 102 blogs listed in two columns. Of these blogs, 99 were by paid HuffingtonPost staff writers, and only three were by bloggers (contributors) like myself. Many of the blogs I found on the Arts and Culture page had been cross-posted from other sections including Health, Politics and Books. For years bloggers set the tone for the arts page: now the tone is being set by professionally written content which conforms to in-house expectations.
In other words, it is clear that HuffingtonPost Arts bloggers will have much less of a presence. Their blogs will only be featured at the discretion of HuffingtonPost editors and are less likely to be shared by the HuffingtonPost on social media. This is a change of enormous significance.
This marks the end of era for the many arts bloggers who built up significant followings since the opening of the HuffingtonPost Arts and Culture page in June, 2010, under the direction of founding editor Kimberly Brooks. For the bloggers who decide to keep contributing under the new scenario, the blogs you submit will still have the header and the "look" of a HuffingtonPost blog, but will far less likely to be actually published and/or featured on the HuffingtonPost. The fate of every blog post is now at the discretion of the publication's editors, sequestered at AOL/HuffingtonPost headquarters in New York.
When I contacted Katherine Brooks, the Senior Arts and Culture Editor for the HuffingtonPost, here is what she had to say about the changes:
We're very grateful for your blogging efforts over the course of the years, and especially to Kimberly's efforts to keep our blog community alive. And we're glad the opportunity has given you a springboard, as you mentioned. We are not eliminating or relegating blogs -- less may appear on the page, but this has to do with a site-wide move away from landing pages toward external platforms and social media, which many contemporary media outlets are embracing.
There will be a more visible distinction between full-time staff writers and editors who write articles on a daily basis and bloggers who write blogs on a voluntary basis, a move I think encourages greater transparency as to how HuffPost works.Although I appreciate Katherine's reply, I don't feel entirely re-assured. It remains clear to me that the "visible distinction" Katherine refers to corresponds with less visibility for blogs.
Part of what has been so great about blogging for the Huffpost Arts has been the flexibility and spontaneity that was permitted. Now, with bloggers having to be more conscious of writing content that will be appealing to editors they will rarely interact with, the content and style of blog-writing will inevitably begin to change. I know that I am personally looking over my shoulder and seeing a lost golden era of blogging falling away.
A post on smartmomblogger.com, for example, advises bloggers on the Athena contributor platform to do the following:
3. Format your post to be easily scanned: People don’t read articles anymore; they scan. Make your article scannable by writing shorter paragraphs, using line breaks, and adding bullet-points and numbered lists. This makes your article more shareable, which in turn makes it more attractive to the HuffPo editors.All of these changes—for better and for worse—are going to be accompanied by another ongoing development. Arianna Huffington, who is guiding the very successful HuffPost into the "cross-post" business has set a goal of recruiting a million "contributors."
What does this mean for arts bloggers, artists, and those who have been reading the wonderful and varied blogs posted on the HuffingtonPost Arts Page since it was founder? It means that the power of blogs and bloggers is being diluted, at least on the HuffingtonPost. The HuffingtonPost used to reward my blogging by promoting my blog: now I can no longer depend on that.
Personally, I'm sad about this, but will keep blogging. The HuffingtonPost Arts Page has been an amazing platform for bloggers, and I'm glad I got there early. I am fortunate in having many readers who will continue to read my blog and follow me on social media, but reaching new readers is going to be much more difficult now. Each time I write a blog, I will have to do so thinking:
"If I write just the kind of content an editor might want, maybe this will be posted."
For anyone who wants to make sure to keep up with my blog if some of my posts don't appear on the Arts and Culture page, you can bookmark my HuffingtonPost Author Page:
#Repost @googleartsculture with @repostapp ・・・ Rembrandt Harmenszoon van Rijn, better known simply as 'Rembrandt' 🎨 , was born #onthisday in 1606. Rembrandt could be seen as an early advocate of the selfie as he painted many self-portraits over his lifetime. This one is from the @rijksmuseum collection.
#Repost @jon.swihart.art with @repostapp ・・・ This is my portrait of Greg Escalante @greg.escalante currently on view at The Cathedral of Our Lady of the Angels in downtown Los Angeles until August 7th. Greg's titles include gallery owner, entrepreneur and co-founder and curator of Juxtapoz magazine. Oil on panel, 12" x 8.5". #jonswihart #gregescalante #gregorioescalantegallery #juxtapoz #coprogallery #portraitpainting
Nan Liu, a classically trained artist who received his rigorous education in China, is delighted by the landscape and people of Florida. In contrast to the place where he grew up and was educated—in a heavily populated and smoggy region of Northern China—Nan Liu sees the “Sunshine State” as a place of creative energy and natural beauty.
His current exhibition at The LeMoyne Center for the Visual Arts, Nan Liu’s Cross-Cultural Perspective, displays the artist’s works in a wide variety of media—including drawings, watercolors, oils and brush-painted Chinese scrolls—and also features his recent group portraits of Florida A&M students. Interested in capturing the energy and vitality of his subjects, who are predominantly African-American, Nan Liu’s goal is to portray their essential activities and poses. He has already completed ten of these paintings and hopes to have completed ten more by the end of 2018.
I recently interviewed Nan Liu, and leaned a great deal about his life, his education, and his cross-cultural experiences.
John Seed Interviews Nan Liu
Tell me about your early life and art experiences
When I was 6 years old, I saw several Chinese brush paintings by the famous painter Qi Baishi on the wall of my grandmother’s house. Qi Baishi had been a neighbor of my grandmother’s father in Beijing and in the 1940s and he had given several Chinese ink paintings as gifts to my great grandfather. So, I began copying those paintings over and over, and in that sense Qi Baishi became my first teacher. Then, when I was nine years old, my mother began sending me to a local children’s palace to study Chinese brush painting on weekends.
In middle school I met my first important teacher and mentor, Mr. Zheng Wen Zhong. His painting studio was next to the classroom and it was filled with many realistic oil paintings and drawings, hung on the walls salon style. Several friends and I took lessons from him after school, learning drawing and tempera painting and copying traditional plaster casts of Greco-Roman sculptures. So, this introduced me to Western academic methods, and it became the golden period of my art education. I never worried about grades, and my friends and I competed in a good way: we always wanted to be the best. Mr. Zheng would come and critique our paintings and drawings. He also encouraged us to consider studying art in college.
When I was 16 years old, one of my drawings won the first place in an international art exhibition. As a result I was honored with the prestigious title, “Young Artist of Tianjin” by the Cultural Committee of Tianjin City. Then, in 1992, I applied to the Oriental Art Department of Nan Kai University where I hoped to study Chinese brush painting. The program had been established by the master artist Fan Zeng who donated his own money to build the art department. Fan Zeng, who had just returned from three years in Paris, is famous for his historical figurative ink paintings and as an advocate of new literati painting. In Japan, there is a museum dedicated to him.
It was the first art department in a comprehensive university in China and emphasis on traditional Chinese brush painting. Over 400 students applied that year and only 10 students were ultimately admitted. I was one of the 10, and one of only two from Tianjin City.
How did the admissions process work?
There was a three-day long, on-site art exam taken in April. On the first day, applicants did 20-minute sketches of live, clothed models. At the end of that day a committee reviewed each applicant’s portfolio: about half the students were eliminated in this first round.
The next morning there was a two-hour portrait drawing exam—done in pencil or charcoal—from a live model, followed by an afternoon ink drawing exam done from a live model using a Chinese brush on xuan paper. The next morning there was a Chinese brush painting exam. You could choose your own subject matter, which might be—for example—a landscape, a figure, flowers or birds.
Then there was a calligraphy exam: you were given four sentences of a Tang poem to illustrate in an hour, plus you had another hour to create a calligraphy in your preferred style. On the final morning there was a two-hour painting exam on a given theme, then an oral interview on art history and theory.
Because this entrance exam was so competitive, only 40 students received permission for the final round exam on other subjects: Chinese literature, English, History, etc. After the other subject exams in June, the top ten students were admitted: I was the top one for other subjects that year and was admitted into the program. I was the youngest in my class. Most of my classmates were older than me because they had been taking the admissions exams for many years.
Tell me about the curriculum and courses
I participated in a four year curriculum that was divided by subjects and credits (120 credit hours). The studio classes were held each morning from 8AM to Noon and were divided by subject into multi-week sessions.
For example, during my freshman year, we had a four week long drawing class—plaster casts and portrait drawing—then six weeks of ink painting with a live model, three weeks of BaiMiao line drawing , four weeks of landscape painting, three weeks of flowers and bird paintings, two weeks of calligraphy, two weeks of GongBi painting, etc.
The painting program emphasized traditional Chinese brush painting techniques and concepts. Each course was taught by a different professor. During my freshman and sophomore years, the painting courses focused on foundational skills. The teaching methods were focused on the imitation of our teacher’s works or copying masterpieces from the past: there was a strong emphasis on copying.
In GongBi painting class, we copied paintings created by Professor Yang Shutao, which were in turn copies of Tang Dynasty masterpieces she had made in a museum. We learned how to hold brush to achieve certain line qualities, how to mix certain pigments to achieve certain tones, and how to dye color through layers to achieve the transparency of the color effect.
Among my many teachers, I was most influenced by professor Fan Zeng, especially by his use of simple and vigorous brush strokes and dynamic delineation of form. Professor Fan Zeng painted life-sized figurative paintings right in front of us. He started with eyes, then noses, then the face, then the hands, and so on...
During my Junior and Senior years, art concepts and ideas were emphasized. Students were expected to create artworks based on their own ideas and concepts, applying the techniques they learned from previous years. In 1994, we had a field trip on the Silk Road from Tianjin to Beijing to Xi’an, then Dun Huang during 6 weeks period of time. We visited most famous museums and grottos on the Silk Road. In Senior year we each created a series of paintings, using an assigned studio space, and working with a professor who served as thesis advisor.
What did you do after completing the program?
After four years of undergraduate study, I asked myself: “What was the teaching method adopted by most of my professors?” The answer was, that most often it was the copying or imitation of old masters or professors’ work. I began to wonder if there were different or better strategies or methods for cultivating art students.
I continued to study art education at Capital Normal University (CNU) in Beijing in 1997. During my study in Beijing, in 1998, I assisted with translation work for an international art education symposium held at CNU. I met an American delegation of five art educators. They presented Discipline-based Art Education (DBAE) to Chinese art teachers.
I was interested in learning the DBAE theory in teaching and learning through art. I decided to apply graduate school in the United States to continue my graduate study in art and art education. I wanted to know: what are the teaching methods adopted by American professors teaching art in higher education? How artists were trained in the United States? In 1999 I was admitted by University of Arkansas at Little Rock and given a graduate assistantship.
What was it like to come to the United States? How did you adapt to American culture?
I arrived in Little Rock on August 14, 1999. The next morning was a Sunday morning, a sunny day. My roommate and I took a walk on campus and there were no people on campus: we saw only squirrels around us under the tall pine trees. In Tianjin I was always surrounded by people and could not see squirrels.
In my apartment, there was no furniture. With my roommate Yang Yulong, an engineering student from Shanghai, I ate my first breakfast: ramen noodles eaten on an upside-down laundry box. When my advisor, Dr. Bonnie Black, asked me what did I needed I told her, “I have no furniture in my apartment.” The next day she and her husband drove a Ford truck full of all kinds of furniture to my apartment: a single mattress with boxes and frames. A dining table with four chairs. My first American professor was like a mother to me.
Another cultural shock was that there were cars everywhere on campus. As a college student I was on the bike for many years in China. After I arrived in Little Rock, I saw most students drive their own cars on campus. I made up my mind to buy my own car. Two semesters later, I bought my first car, a second hand 1989 two-door Nissan Sentra for $1200. I felt a sense of freedom after I learned how to drive.
What was it like to receive an American education?
Most of my graduate courses were seminars. So, the professors encouraged students to speak openly and express own opinions. It was difficult for me to do that at the beginning. In China I had been accustomed to listening to the lecture delivered by the professor rather than asking questions or presenting personal opinions. Gradually, I started to raise more questions or express my own ideas in class.
During the first two years, I was also struggling with my English. For the first semester, I could only understand 40 percent of the lecture in art history and my other classes. I used a Walkman to record the lectures, and then borrowed notes from my classmates so I could continue studying into the evening. During my first two semesters I never went to sleep before 1AM.
American professors encourage their students to cultivate more individual ideas and to insert their own thoughts and concepts into works of art. In China, my art classes had emphasized techniques at beginning followed by the development of concepts later on. In one American painting class, my professor did not teach students how to paint but rather what to paint. After each student developed his or her concept, then the professor helped with techniques.
When did you become serious about painting with oil paint and how quickly did you progress?
In China I had only taken seven weeks of oil painting classes as electives. After I came to the U.S. I started to do more oil painting. At the University of Arkansas at Little Rock I worked as a graduate assistant in the painting studio, assisting students. As a result, I was able access to the painting studio 24 hours a day, and I had my own studio space. There were lots of tools for making canvases and I began to stretch my own canvases and paint more oil paintings.
I had my first solo show after the second semester of my MA program. Most of the faculty members and students loved my oil paintings of the TaiHang series and I gained more confidence in my oil painting.
During my second year, there was an annual student art competition. I entered four pieces oil paintings of my TaiHang series and all of them received awards. One piece was purchased by Dean’s office, another by art department and the rest by a private collector. After I finished my M.A at UALR. In 2002, I was admitted by Florida State University and continued my Ph.D in art education.
After I finished my core courses for my Ph.D program in art education at Florida State University, I pursued a dual degree in M.F.A in painting. I did not want to stop my painting practice. I want to create more. So, I spent another 2 1/2 years working in oil paint. I attempted to learn more of the traditional Western oil painting techniques and concepts. However, the MFA program at FSU was oriented towards more contemporary art and practice. It did open my eyes for modern and postmodern art. On my own time I continued to search for what I needed: the techniques and methods of traditional oil painting.
It sounds like you have needed to do a lot of learning on your own.
Yes. I have borrowed books on Old Master techniques from the library, talked to different professors and artists, visited museums and galleries and absorbed as much as possible. In 2004-05, during a summer visit to Metropolitan Museum in New York, I saw an exhibition Manet/Velazquez: The French Taste for Spanish Painting. This exhibition changed my life. I was shocked by those old masters’ pieces. Works from that show, including paintings by Bastien-Lepage, Zurbaran, Bonnat and John Singer Sargent inspired and influenced me.
In past 10 years I have become much more serious about painting with oil. Understanding the oil medium is a life long journey and I still constantly try new techniques in my paintings: it might lead to success, it might lead to failure. I learn from every mistake.
I once I bought a bottle of sun-thickened linseed oil on sale for $5 at an art supply store: I used it to varnish the background of a painting. Then, that painting was bought by a friend. She hung the piece on the wall at her house where sunlight always shined on the painting. Two months later, the background started to melt and reveal the paint underneath. I have had to fix it twice...
When and how did you decide to begin painting your students?
Robert Henri once advised his American art students to paint the people in their daily lives, searching, drifting in any direction among people. Following his idea, I decided to paint FAMU students in my daily life. I teach them and see them every day. The colors and shapes appearing on their outfits are vibrant and attractive. They are full of energy and emotion.
My chosen subjects are the students I walk amongst every day on the Florida A&M University campus. Teaching at a historically black college, most of my students are African Americans. Surrounded by them, I feel the restless energy and barely contained exuberance of youth.
I try to capture the moments that make up their lives on campus, especially the activities they use to fill the idle minutes between classes. I am inspired by the effortless creativity and bold assertion of self these young men and women demonstrate and also the vivid colors and shapes of their clothing. Even the variety of accessories they carry with them—like headphones, backpacks, and skateboards—serve to communicate a simultaneous messages of belonging and individualism. I use sketches, photos, and my own memories as I paint them.
Did attending the TRAC (Representational Art) conferences in Ventura enhance and influence your art?
Yes, I attended all three TRAC conferences and presented three papers.
Attending the TRAC conferences did influence my art. For example, at the first conference I learned Flemish techniques while attending Sadie Valerie’s workshop. After that I started to make my own rabbit skin glue gesso. I have also started combining glazing techniques and wet on wet technique in my recent figure paintings so that I can work on a smoother and more refined surface.
Is there anything else you would like to say about your recent work or current exhibition?
My current exhibition focuses on a cross-cultural perspective. It includes over 60 paintings I that I have created during the past 10 years. The subject matter includes traditional Western still life, landscape, and figurative paintings and also traditional Oriental Chinese ink painting and calligraphy. It reflects my many influences and artistic experiences, both from China and the United States.
I would like to thank the LeMoyne Art Center for providing this opportunity to showcase my paintings. Special thanks goes to the director of LeMoyne, Ann Kozeliski, who has supported my art career as a friend for over a decade. We are members of “Swamp Buddha,” a Sumi-e painting group in Tallahassee. We have painted together every Saturday from 10:30AM to1:00PM for almost 14 years.
Nan Liu’s Cross Cultural Perspective
125 North Gadsden Street
Tallahassee, Florida 32301
Exhibition Dates: July 1-30, 2016
Gallery Hours: Tuesday – Saturday: 10AM to 5PM
Sunday & Monday: CLOSED
Artist Gallery Talk, July 23rd, 1 to 3 PM