Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts

Thursday, February 4, 2010

Giacometti Sculpture Becomes Most Expensive Work Ever to Sell at Auction

A rare life-size and life-time bronze cast, from 1961, of Alberto Giacometti's L'Homme Qui Marche I, better known as "Walking Man," improbably became the most expensive work of art ever to sell at auction today, selling for £65,001,250 ($104,327,006).

The price barely edged out the previous record, set in 2004 by Pablo Picasso's Garcon a la Pipe, 1905, which went for $104.1 million (£58,052,830) at the time. But Giacometti's personal previous record, achieved when Grand Femme Debout II, 1959-60, earned $27,481,000 at Christie's New York in May 2008, was vanquished in seconds.

The £65,001,250 ($104,327,006) result also pulverized the previous record for any modern sculpture sold at auction, achieved last February at the Yves Saint Laurent sale in Paris when Constantin Brancusi's Madame L.R. (Portrait de Mme L.R.) from circa 1914-17 sold for $37.7 million.

Estimated to sell for £12-18 million, the much-talked-about Giacometti figure of a spindly man, who resembles a survivor of a cataclysmic event, frozen in mid-stride, took off like a Roman candle, with multiple bids erupting in the packed salesroom.

At least four phone bidders tangled for the prize, as did several seasoned dealers, including New York private dealer Nancy Whyte, who went up to £23 million before dropping out, connected via cell phone to her anonymous client.

"That was peanuts," said Whyte shortly afterwards, alluding to her bidding, and expressing surprise at just how much higher the bronze traveled.

Pre-sale buzz that the Giacometti might hit $50 million was greeted with considerable skepticism by even seasoned players. No one even fantasized it would exceed $100 million.

There are two versions of "Walking Man," I and II, each in an edition of six plus artist proofs. It is believed that example of the first walking man, which was consigned by the Frankfurt-based Commerzbank, is the only life-time cast still in private hands.

Sotheby's senior specialist Philip Hook, who took the winning phone bid at a hammer price of £58 million, said that one of the unidentified underbidders told him before the sale that he had been waiting 40 years for the sculpture to come on the market. It turned out to be that kind of generational event. Hook declined to divulge any information about his phone client.

The six-foot-high bronze has an American heritage as well. It was first acquired in December 1961 by legendary New York dealer Sidney Janis, who bought it from Galerie Maeght in Paris and debuted it in New York at the Sidney Janis Gallery in 1968, according to the auction catalogue.

The catalogue also showed a vintage photograph of Giacometti covered in white plaster and working on the spindly legs of the figure in his Paris studio before it was cast in bronze. The image added to the iconic status of the astonishing sculpture, believed by some to be his greatest work. There's no question it's his most expensive

Thursday, January 7, 2010

MoMA gives Modern a Makeover


The modern design section of the Museum of Modern Art (MoMA) recently received a facelift. Running from December 23, 2009 to July of 2010, the museum’s third floor Philip Johnson Architecture and Design Galleries showcases “Shaping Modernity: Design 1880–1980.” The exhibit houses a selection of visionary objects, graphics, architectural fragments, and textiles from the Museum’s collection that reveal the attempts of successive generations to shape their experience of living in the modern world. Curator Juliet Kinchin and curatorial assistant Aidan O’Connor organized some 300 works into the following five sections:


The International New Art 1890–1914

The International New Art flourished in urban centers around the world taking on many localized forms and names (among them Art Nouveau, Jugendstil, Arte Modernista, Sezession, and Glasgow Style). The pieces in this installation were used in the office of the MoMA’s founding director, Alfred H. Barr, Jr. Other examples in the exhibition include a side chair by Charles Rennie Mackintosh, a side table by Mackay Hugh Baillie Scott, and a plaster cast of Antoni Gaudí’s original finial sculpture for the Church of the Sagrada Familia in Barcelona.

New Typography 1927–37

In the 1920s and 1930s, the movement known as the New Typography brought graphics and information design to the forefront of artistic avant-gardes in Europe. Rejecting traditional arrangement of type in symmetrical columns, modernist designers organized the printed page or poster as a blank field in which blocks of type and illustration (frequently photomontage) could be arranged in harmonious, strikingly asymmetrical compositions. Included in the exhibition are 14 works by Jan Tschichold, Ladislav Sutnar, Johannes Molzahn, Theo H. Ballmer, Herbert Bayer, Frantisek Kalivoda, Zdenek Rossmann, Joost Schmidt, and Aleksandr Rodchenko.

Mind, Body, Machine 1925–40
The tone of this section is set by a giant railroad-car spring and a boat propeller first shown in MoMA’s landmark Machine Art exhibition in 1934, which celebrated such items of anonymous industrial design as symbols of social improvement and technological progress. The theme is further explored in utilitarian objects such as a streamlined meat-slicer (given in memory of the Yippie leader Abbie Hoffman), and the Vipp trash can, designed for a Danish hair salon.

What Was Good Design? MoMA’s Message 1944–56

This section,which opened in May of 2009, presents over 100 selections from the museum’s collection—ranging from domestic furnishings and appliances to textiles, sporting goods, and graphics—to illuminate the primary values of Good Design as promoted by MoMA within an international debate conducted by museums, design councils, and department stores.

Continuity and Critique 1960–80
The clean and elegant forms of classic modernism continued to appear in the domestic appliances of Dieter Rams for Braun, and the Vignelli Associates’ stacking plastic dinnerware. For many however, the emphasis on pop music, youth, and counterculture opened up new possibilities in materials, colors, and forms, as well as more humorous, expendable design.

Thursday, September 17, 2009


The BMW Art Car was conceived in 1975, the year that French auctioneer and racecar driver Herve Poulain first entered 24 Hours of Le Mans. Searching for a link between art and motorsport, Poulain asked his friend, noted artist Alexander Calder, to commission a rolling canvas on the BMW 3.0 CSL that he would race. In the years that followed, this unique combination of motorsport and BMW design fascinated the famous artists of our time. Frank Stella, Roy Lichtenstein and Andy Warhol have all turned BMW racing cars into Art Cars.

Since 1975, outstanding artists from all over the world have been designing the BMW automobiles of their era. The BMW Art Car Collection include works by well-known artists such as Frank Stella, Roy Lichtenstein, Andy Warhol, A.R. Penck, David Hockney and Jenny Holzer. The Art Cars reflect the developments in art history with regard to fine art, design and technology and are displayed worldwide in major museums such as the Paris Louvre, the Royal Academy in London, the New York Whitney Museum of Modern Art, Venice's Palazzo Grassi, Sydney's Powerhouse Museum and the Guggenheim Museums of New York and Bilbao. In the future, too, Art Cars will document the fascinating link between art and technology in international exhibitions.

Chronological list of all BMW Art Cars.

Alexander Calder (USA) 1975 BMW 3.0 CSL

Frank Stella (USA) 1976 BMW 3.0 CSL

Roy Lichtenstein (USA) 1977 BMW 320i Group 5 Race Version

Andy Warhol (USA) 1979 BMW M1 Group 4 Race Version

Ernst Fuchs (Austria) 1982 BMW 635 CSi

Robert Rauschenberg (USA) 1986 BMW 635 CSi

Michael Jagamara Nelson (Australia) 1989 BMW 635 CSi

Ken Done (Australia) 1989 BMW M3 Group A Race Version

Matazo Kayama (Japan) 1990 BMW 535i

César Manrique (Spain) 1990 BMW 730i

A.R. Penck (Germany) 1991 BMW Z1

Esther Mahlangu (South Africa) 1991 BMW 525i

Sandro Chia (Italy) 1992 BMW 3 Series Racing Prototype

David Hockney (Great Britain) 1995 BMW 850CSi

Jenny Holzer (USA) 1999 BMW V12 LMR


Monday, July 6, 2009

Mood, Memory Affected by Your Home

(OPRAH.com) -- Anyone fond of coming home to a chilled glass of Chardonnay to help wind down may soon be dreaming of the front door keys rather than a corkscrew. The pleasure is due to a hot new field of design called neuroarchitecture.

Big windows that allow in lots of natural light can provide a mood boost.

Emerging research on how factors like light, space and room layout affect physical and psychological well-being are driving the buzz behind this new intersection of art and science.

"The premise is to consider how each feature of the architectural environment influences certain brain processes such as those involved in stress, emotion and memory," says Eve Edelstein, Ph.D., adjunct professor at the NewSchool of Architecture & Design in San Diego and a research consultant to the Academy of Neuroscience for Architecture (ANFA).

For example, light is already a well-known mood modulator -- candles, artificial sources controlled with dimmers, lots of natural sunshine. Beyond that, neuroarchitecture experts have a few suggestions about how to make the kind of home improvements that also might renovate your mood:

Decor

Surprisingly, sleek minimalist interiors may not feed the brain as much as a home or apartment that's a little cluttered, says John Zeisel, Ph.D., who serves on ANFA's board of directors and designs therapeutic environments for dementia sufferers through his company, Hearthstone Alzheimer Care, in Woburn, Massachusetts.

"Alzheimer's patients wander. However, if you provide good visual cues -- pictures and objects they're familiar with, destinations at the ends of hallways, such as kitchens, activity spaces and doors that lead out into safe and inviting healing gardens -- they stop wandering and begin to walk with purpose."

Similarly, when you look around your own place and see the evidence of who you are (the books you've read, the projects you're working on), you feel grounded. Oprah.com: 7 decorating essentials

The hearth should always be the center of the home, according to Zeisel and British kitchen designer Johnny Grey, who have collaborated since Daniel Goleman, author of "Emotional Intelligence," introduced them three years ago.

"Being in the kitchen links you to hardwired feelings of comfort -- beyond getting food, there's a sense of protection, warmth, sociability, sharing stories," says Zeisel, which is why, ideally, it's both a functional and a social space where friends and family can gather, do homework, and relax.

Grey says the "sweet spot" is a location where you can cook with your back facing a wall while looking others in the eyes.

Zeisel explains why: "After a busy day, if your kitchen design makes you face away from family or company, wondering what the noises and bustle going on behind you mean your brain is more likely to continue to produce adrenaline and cortisol, the hormones associated with anxiety, fear, and stress.

"But when you face into the room and can see what's going on, you feel safer and more in control; then oxytocin, the bonding hormone, and serotonin, associated with relaxation and enjoyment, have a greater chance of being released."

Better yet is a kitchen in which you have a view of the door where people enter, a window onto a landscape and a fireplace. Oprah.com: Go inside this dream kitchen

Windows

A yard is nice, but if you don't have one, big windows or a balcony also offer an emotional lift. "Just being able to see how the weather is and knowing what's out there relaxes people and makes them feel more in control," says Zeisel.

'Soft geometry'

Grey suggests the use of curves instead of hard edges on counters, furniture, and cabinets to help nurture contentment and well-being.

"The reason has to do with your peripheral vision and is linked to a primitive part of the brain called the amygdala," he says. "If you were to walk down a dark, narrow tunnel lined with sharp rocks, you wouldn't be able to think about anything except avoiding getting hurt. But if the same tunnel were lined with linen upholstery, you'd feel safe to daydream."

Everything need not be rounded --"that gets very tedious," Grey says. "But if the key pieces and places are curved, that makes the body relax."

Original art

Decorating with a signed painting or one-of-a-kind sculpture not only puts your unique fingerprint on your place, it transmits a sense of authenticity and trust, says David Lewis, PhD, research director of Neuroco, a British neuromarketing company that uses EEGs (which measure electrical activity in the brain) and other techniques to understand consumer behavior.

A room of one's own

Lack of privacy is stressful, Zeisel says. Even if you can't have your own room, it's important to find ways to guarantee yourself solitude (make a time when the bathroom is yours so you can put on makeup alone, find a corner away from the family traffic to read).

Rearranging

"One of the keys to a home that elicits a lot of happiness and positive emotion is that it changes to some extent," says the University of Wisconsin's Richard J. Davidson, PhD.

Even an environment that makes our spirits soar -- an incredible view, for example -- tends, over time, to grow stale. We get used to it. Davidson isn't suggesting turning your place upside down, but if you get the bug to move things around a bit or play with the lighting, you might find your own interior gets a lift toward the sunnier.

By Tim Jarvis from O, The Oprah Magazine © 2008

Tuesday, August 5, 2008

NEW TECHNOLOGY IN ACRYLIC PAINTS! SLOW DRYING!





A WHOLE NEW LINE OF GOLDEN ACRYLICS!
GOLDEN OPEN Acrylics are a true departure from all other acrylics on the market.
Designed with a unique and relaxed set of working characteristics, OPEN Acrylics dramatically expand the range of techniques that are available to artists who prefer to use acrylics.

GOLDEN OPEN Acrylics remain wet far longer than other acrylics and resist skinning on the palette during long painting sessions. Working time varies according to how thickly the material is applied. Thin applications “tack up,” allowing additional layers to be applied and blended. Thicker applications may be worked for hours. Films over 1/16” will dry EXTREMELY slow. For impasto techniques, blend with faster-drying GOLDEN Acrylics and Gel Mediums.

GOLDEN OPEN Acrylics feature a unique and remarkably relaxed set of working properties that facilitate blending, softening, shading, glazing and fine detail. The unique properties of OPEN Acrylics allow them to be used with natural fiber brushes and for a range of techniques including portraiture, plein air painting, monoprinting, and screenprinting.

TWO NEW MEDIUMS & 1 ADDITIVE for ultimate control...

Use OPEN Mediums and Thinner to maintain the maximum working time of
OPEN Acrylics. OPEN Acrylic Gel (Gloss) is recommended to adjust color strength and translucency while maintaining consistency. OPEN Acrylic Medium (Gloss) is formulated to a lower viscosity for a more fluid mixture with increased flow. OPEN Thinner contains no binder and is used to maintain and adjust the workability of colors on the palette without the use of water mist and moisturizing palettes.

COMPATIBLE WITH OTHER GOLDEN PRODUCTS...
For an unparalleled range of working options, OPEN Acrylics may be blended with GOLDEN Acrylics and Gel Mediums to change opacity or alter consistency, while proportionately speeding up drying and shortening working time. However, it is not recommended to apply fast-drying products over wet layers of OPEN Acrylics.

Monday, August 4, 2008

3 Amazing 3D Graffiti Artists: Street Painting and Sidewalk Chalk Art



Most people tend to think of graffiti as subversive art spraypainted in the dead of night on urban walls. Some artists, however, including Edgar Mueller, Julian Beever and Kurt Wenner, defy that stereotype, painting and chalking openly on city streets and sidewalks. Beyond merely entertaining crowds, their work has at times even broken world records. These street art images and biographies merely scratch the surface and begin to convey their amazing artistic talents.



Edgar Mueller is a world-famous street painter, perhaps best known for the above work: The Riverstreet River. At nearly 1000 square feet, this graffiti mural took up an entire city block. His other works often exhibit similar life-like qualities and take on renaissance themes.



Julian Beever is a sidewalk chalk artist whose work has appeared all across Europe. He skillfully and humorously plays up his illusions in a variety of ways, from interacting with the finished piece to making his street art’s evolution part of the work itself. Clearly, his artworks are as much intended to entertain himself as it is to dazzle the crowds that gather around them. His other street graffiti includes renderings of master artworks and pastel portraits.



Kurt Wenner’s amazingly detailed street artworks conjure images of both Baroque religious murals and a Salvor Daliesque surrealism. They are somehow less tame than Mueller’s work, and far less playful than the art of Beever. Wenner is also an architectural designer in the US and Europe, fascinated with classical ornament tied to allegories and myths as well as literature and theater.









Thursday, May 29, 2008

Mikel Robinson- New Work

Love HG's new artist
Mikel Robinson!!!!!

Charles & Ray Eames Postage Stamps

In recognition of their groundbreaking contributions to architecture, furniture design, manufacturing and photographic arts, designers Charles and Ray Eames will be honored next summer with a pane of 16 stamps designed by Derry Noyes of Washington, DC. If you’ve ever sat in a stackable molded chair, you’ve experienced their creativity. Perhaps best known for their furniture, the Eameses were husband and wife as well as design partners. Their extraordinary body of creative work — which reflected the nation’s youthful and inventive outlook after World War II — also included architecture, films and exhibits. Without abandoning tradition, Charles and Ray Eames used new materials and technology to create high-quality products that addressed everyday problems and made modern design available to the American public. Visit the USPS website for more information.