#artist at work: tolouse

[marithlizard]

What you’re making isn’t just a transient thing for people to kill time scrolling on their phones, though!  Kidd Commander is an actual Work of Art with the capitals, on the scale of a novel, with themes and doohickies, and you’re telling your story in a medium that seems a fuck of a lot harder than writing a book (which is in no way easy).

I have zero marketing skill and no ideas, alas.  What made Gunnerkrigg Court and OOTS take off while so many other equally worthy webcomics struggle?  There’s a thousand gorgeous pieces of short fiction on Tumblr, why is it the god of Arepo we think of first? Is it mostly a matter of hanging in there and being lucky enough to acquire a fan who can influence others?  That’s the success story I hear most often.

I heard about your comic though unpretty, fwiw, she suggests a lot of good stuff. And while I was charmed from the start, the “why is this weirdo I just tried to kill treating me like a friend, stop that, I have villainous dignity to uphold here” scene hooked me and then the “supervillain calls their ex out of the blue to hear their voice one more time before shit goes down” scene hooked me more. And Dusk has the kind of charismatic evil you just don’t see very often, and THAT scene definitely had me taking notes as a writer.

(Also, wow your art has gotten so much better)

One of my favorite musicals is about an artist who never sold a painting in his lifetime. What kind of enormous nerd spends years painting little dots of color on a canvas ten feet long? Hardcore dedication, total failure, one of the most recognizable paintings in the Western art world.  Which is not to say I think an expo is going to hang your posters over the refreshment stand, just that I’m certain decades from now people will find your print volumes here and there and read about Phin and Ulrich and Agatha and Tolouse and go “What is this, this slaps, is there more?”

So I hope you make more. :)

man i got my computer hooked up in the new place and i'm SUPER psyched about my new setup but i logged in to check messages for the first time in a few weeks and instantly portaled back to career despair it was like a lightswitch. glad i've set up the box that causes psychic damage again

[wxking-thelions-inme]

Tag Dump

[morethcnpaint]

TOLOUSE BONFAMILLE  is a 32 year old from ECHO CREEK ; works as an ART CRITIC , tolouse is BISEXUAL. his favorite song is WHAT ONCE WAS , HER’S. born on APRIL 15TH , 1989 , he is a ARIES SUN , AQARIUS MOON , CANCER RISING !

SUMMARIZED;

As a kid Tolouse masked his feelings behind a tough exterior. His parents split had affected him more than he was willing to admit to his family. So he hid behind his hurt and always took things in stride. Acting as if he was untouchable from the uncontrollable spiral called life.

Tolouse is probably the most laid-back out of all his siblings despite his headstrong tendencies. Which is to be expected from an older sibling. He’s loyal to his family even if he doesn’t see them that often. After the incident with Edgar it seemed to shake the whole family dynamic. Tolouse yearns to be close to his siblings again especially Berlioz--but he holds so much guilt for what happened to them. He was supposed to be their protector and he had failed.

HEADCANONS;

Being the Eldest Bonfamille child meant most of the family’s burdens weighed on Toulouse. His mother had high expectations out of the boy. Leaving Toulouse to feel that he had to be outstanding at anything he tried. His mother got him into the arts, dance, music and even had tutors teach the children other languages. Looking back he’s grateful for everything his mother did for him but he still wished he had a ‘normal’ childhood. He couldn’t ever remember playing with toys, only memories of playing Beethoven on the piano until his fingers ached. That talent was more suited for Berlioz anyway. Taking dancing classes with Marie as she stepped on all of his toes. Their childhood was by no means perfect but he cherished those moments with his siblings.

Toulouse enjoyed art more, but even then he never indulged too much due to his moms excessive need to butt into everything. So he found himself taking track and field instead, at least that way he didn’t have to talk to anyone whilst doing it. Tolouse yearns for control over his own life, while at the same time has a hard time getting over the trauma of what happened to him and his siblings.

While his parents spilt had caused him a lot of heartache he never really envisioned his family as a ‘broken home’. That was until the accident with Edgar happened. How was he supposed to protect his siblings when he couldn’t even protect himself? He felt like he failed his family post-edgar. Feeling guilt even at the sight of his siblings. He just felt like a massive failure in their eyes. He wants to be able to talk about it with them but he’s afraid to re-open that wound.

After trying ever talent known to man he stuck with his art and the gym. Those were the only two things that kept his anxiety at bay. Which is what ultimately drove him to take that passion to college. After he graduated he quickly was offered a job as an art critic. Judging art competitions. writing articles about new pieces and artists. It wasn’t the most exciting thing, but he loved doing it.

Most days he’s hiding behind a mask of anxiety with a charming smile. The incident is something he still hasn’t come to terms with. He’s considered therapy but also isn’t quite ready to delve into his own emotions yet either.

He has a major crush on Celine Potts. He admires her strength and complete empathetic nature. She’s always been sweet and he can’t help that feelings began to form for her, though he’s yet to tell her.

[dykedteach]

Melody, joy, 1975 x

melody; favorite artists?

I’ve always loved Van Gogh ever since I was little, I love Tolouse Lautrec’s style and the aspects of hidden lives he captured, and I’m obsessed with Aivazovsky’s sea scapes (and very sad I’ve never seen one)

but I’m always hoping to learn more about artists and art history, it’s one thing I’d love to learn more about if given loads of spare time to do so (like, gee, if I had been sent to work from home at a point where it was sensible to start doing so)

joy; best feeling you’ve ever experienced? 

there’s so many strange little moments of happiness and no one that outshines them all? without getting myself down by thinking about any one in particular, I could go with...the way you feel when you’re heading towards a coast and then you finally see a break in the horizon as the sea comes up and the air feels different and the vibes hit you

1975; if you could time travel to any time period, what would it be and why?

honestly? so that I don’t have to land on just one historical time period, I’m going to say maybe six or so months ago. generally, I’ve been so happy since moving down to London, and there’s been so many incredible things that I’ve experienced because of it, and I really hope that when everything has calmed down I can return to that feeling

thanks lovely 💛

[designresearch123456789]

Tolouse Lautrec Research

Prior Knowledge

Tolouse Lautrec was affected as a child by polio (?), which stunted his growth

He was influenced by Japanese printmaking styles

Perhaps due to his childhood experience, he was very empathic toward society’s outcasts, and hence depicted scenes such as brothels/nightlife that other artist weren’t in this era

He had a particular favourite Model Jane Avril

General Internet Research

https://www.nationalgalleries.org/art-and-artists/85480/jane-avril

Lithography works on the principle of oil and water dispersion. Limestone plates are etched with a greasy utensil, and then fixed with a gum and acid solution to burn the image into the plate. When printing, the plate is washed with water and then an oil based ink is applied. The ink clings to the etched image, filling the groves but is repulsed by the water. 

3 plates of colour - yellow, blue and red - the blue and yellow av

sinks blended together to create a gradient

Tolouse Laurec was among the first artists to experiment with colour lithography

This is one Lautrec’s final works and is particularly rare as the design was rejected by Avril and her manager.

https://www.tate.org.uk/art/art-terms/j/japonisme

Tolouse Lautrec was very influenced by Japan - there is a term for this: ‘Japonisme’ - is this early weeabo?

“The term is generally said to have been coined by the French critic Philippe Burty in the early 1870s. It described the craze for Japanese art and design that swept France and elsewhere after trade with Japan resumed in the 1850s, the country having been closed to the West since about 1600.”

More scholarly research is needed into this one!

[still-single]

a new HEATHEN DISCO for you (ep. #227, Sept. 27th 2020)

New show. Bunch of house and disco records came in at the 11th hour, which changed things. The show is good, you should really listen to it more often.

Link to play it in Mixcloud.

Tracklist below:

Bataille – We Who Seek Vengeance / Corpses (Bataille, Army of Bad Luck, 2017) Wax Chattels – Spanner & Implements (Clot, Flying Nun/Captured Tracks, 2020) Rema-Rema – Feedback Song/Rema-Rema (live) (Wheel in Small Doses Extended Versions, Le Coq Musique, 2020) Gray – Dan Asher (Shades of…, Ubiquity, 2019) MJ Guider – Quiet Time (Sour Cherry Bell, Kranky, 2020)

Mac Blackout – Wandering Shapes (Love Profess, Trouble in Mind, 2020)

Cheater Slicks – Crackin’ Up (Walk into the Sea, Dead Canary, 2011) The Archaeas – Witch (The Archaeas, Goner, 2020) Melenas – Los Alemanos (Dias Raros, Trouble in Mind, 2020) Mick Trouble – He’s Frank (It’s the Mick Trouble LP, Emotional Response, 2019) En Attendant Ana – Enter My Body (Lilith) (Juillet, Trouble in Mind, 2020) Come Holy Spirit – Gracias a la Vida (Undiscovered Land, Water Wing, 2020)

DOTS – Amel (Dust on the Stylus, Eargasmic, 2020)

Alastair Galbraith – I’m Brave, I’m Scared (Seconds Mark III, A Colourful Storm, 2020) Evelyn King – Love Come Down (Get Loose, RCA, 1983) Montel Palmer – This Fkn Machine (QUA?, Planet Rescue, 2018) Bad Boy Bill – Jack it All Night Long (12” single, DJ International, 1986) Sleep D – Central (Rebel Force, Incienso, 2019) Dexter Wansel – You Can Be What You Wanna Be (Life on Mars, Philadelphia International, 1976) Mark Imperial and Dennis Ramirez – Rock This House (House Cult Drums Mix) (12” single, House Nation, 1987) Sault – I Just Wanna Dance (Untitled [Rise Up], Forever Living Originals, 2020)

Kelly Lee Owens – Arpeggi (Inner Song, Smalltown Supersound, 2020)

Socrates Drank the Conium – Flying and Dreaming (7” single, Anazitisi, 1971) Parish Hall – My Eyes Are Getting Heavy (Fantasy/Craft, 1970/2020) Clear Blue Sky – Tool of My Trade (Clear Blue Sky, Vertigo, 1970) Chris Darrow – Beware of Time (Artist Proof, Fantasy, 1972) Chris Harwood – Never Knew What Love Was (Nice to Meet Miss Christine, Birth, 1970) Badfinger – No Matter What (No Dice, Apple, 1970)

Renegade Connection – Karate Kicking Superstars (Renegade Connection EP, The Sound of Silence, 2020)

Fairport Convention – Chelsea Morning (Fairport Convention, Cotillion, 1968) The Shifters – Australia (7” single, Captured Tracks, 2020) Tolouse Low Tracks – Local Vers (Asimiad EP, SD, 2011) 2 Tuff Team – Get Rugged (Don’t Mind If I Dance EP, Checker Board, 1989) Book of Love – Boy (extended mix) (Boy EP, Sire, 1985) Harold Melvin and the Blue Notes – Where Are All My Friends (To Be True, Philadelphia International, 1975) Assagai – Irin Ajolawa (Assagai, Vertigo, 1970) Gordon Haskell – Sitting by the Fire (It Is and It Isn’t, ATCO, 1971)

Musica Transonic – Unseen (Musica Transonic, Black Editions, 2020)

Adulkt Life – Stevie K (Book of Curses, What’s Your Rupture?, 2020) La Flavour – Mandolay (12” single, Sweet City, 1979) Stereolab – Jenny Ondioline (Transient Random-Noise Bursts with Announcements, Duophonic, 1993) Whirlywirld – Moto (Complete Studio Works 1978-80, Hozac, 2020)

[geracaoalpha]

Collector’s Picks: Elisangela Valadares

A journalist specialized in art history, architecture and museum management, Elisangela Valadares has been working in the arts since 1998 when she took over the position as a diretor at Galeria Toulouse, in Rio de Janeiro. During the 12 years she was working there, Elisangela was ahead of a large range of projects, including international art fairs. The exposure to a more global Market made her realiza that there was a great opportunity to bring such players into the Brazilian art scene too but, in order to achieve that, there had to be a change on the country’s import and export taxation laws. . In 2010, Elisangela founded Art-Rio, the biggest art fair in Latin America, and received a tax break from ICMS and, eventually, some other too. That achievement allowed for a record number of sales and visitors at na art event in the country, having importante galleries such as Gagosian, White Cube, Marian Goodman, Victoria Miro and David Zwiner as some of the participants, establishing the brand as one of the leaders on the Latin American art Market. As a true innovator and lover of the arts, Elisangela started more intimate Project named Casa 70, using her own home in Gávea, as a space for exhibitions, performances and other art related events. Now entering the international arena, Casa 70 is attempting to go back to a larger yet very personalized format, remaining democratic on its essence and connected to a younger demographic, the opinion formers who visit LX Factory. At the core of the business are up and coming artists who engage on na open and interdisciplinary dialogue, morning design, fashion and film with the visual arts. All of that becomes possible due to the cross cultural Exchange that happens in with other countries in Europe and the resto of the world. 

Artwork by Daniel Moraes 

How did you start working in the art Market? In 1998  I visited FIAC, Paris, and the experience of attending na art fair for the first time changed my understanding about this Market forever. Up until that moment I considered myself as just na art enthusiast, starting to ‘deep my toe’ into collecting. When I took over the management of Galeria Tolouse, Rio de Janeiro, my involvement with the arts started to grow very quickly and I started going to more international art fairs, seeing a great opportunity to develop something similar in Rio, promoting the work of not only artists my gallery represented and engaging on other business aspects of this Market. In 2009, the concept for ARTRIO was created, reaching the status of the biggest art fair in Latin América. 

What do you look for in an artist when you are trying to find a new talent to bring onborad at Casa70? I’m always looking for new things, someone who can bring freshness into the space and awaken the desire inside or viewers and collectors. When trying to find a new talent, I also try to think about the person’s career as a whole and how our work at the gallery can influence it. Casa 70’s presence in both Brazil and Portugal allows for a even broader range of possibilities when shaping the future for such collaborators.

Artwork by Rodrigo Oliveira 

What are some of your favorite artists? Due to my extensive experience with the Brazilian art market – during the years I worked at galleries and ARTRIO – there are many artists I admire, each of them having a different impact in my life. The list of name is very extensive but I would start with Rubens Gerchman, who was a part of the inicial stages of my life as a professional in the arts, and also Carlos Vergara, Tunga, Waltercio Caldas, Zerbini, Vik Muniz, Henrique Oliveira, Adriana Varejão, Beatriz Milhazes, Lucia Laguna, Carlito Carvalhosa, Anna Bella Geiger, to name a few.  

You started Casa 70 in Rio de Janeiro and now relocated to Lisbon. What has changed and what is still the same for the project? Casa 70 is a platform for artistic creations of all sorts, ranging from the visual arts to film, music, fashion, performance and cuisine. At the new space in Portugal our events will reach a brother audience and our contact with the public will be more direct since we are no longer established at a private property which will increase the outreach of the work we are developing inside of the gallery space. 

Artwork by Jeffrey Fitzgerald 

What advice would you give to someone who is starting an art collection? Follow your intuition and buy the things which you believe in, which will spark a desire on you.

[jordanlouiscarter-blog]

Midnight in Paris

Nostalgic, stunning, sentimental this film was truly captivating. This film deserves so much credit for being a great film. I’d only seen Allens Radio Days film before this but this was truly a great piece of work like a Parisian masterpiece of art. As a fellow nostalgic man i feel this touched me personally as i yearn to go back to a simpler time like the Twenties in Paris.

Visually the film was perfect in every way, showing how all forms of creators be they artists, writers, Jazz singers, or cubists like Picasso Paris is a haven for all creators. Again i love how Allen represented the twenties in Paris and what everyone was like back then in which people loved going to Jazz clubs drinking and going to shows like the famous can can that Tolouse Lautrec painted. But it also showed visually the magic of Paris and how it is truly a city for the ages.

The plot was very interesting, dealing with mostly nostalgia and the struggles of the main character to come to grips with the modern world. He also had to put up with his fiancés annoying parents and her ex boyfriends couple who were very loquacious. I loved the idea that someone who yearned to go back to a simpler time could and you met the most famous people around at that era in Paris. The plot was very well written and i adored the ending as i feel everything meshed together for the main character at the end.

Acting wise i feel everyone was brilliant, Owen Wilson was good and i couldn’t find a flaw in his role. Rachel McAdams was brilliant and her character really was vile, the people who portrayed the famous celebrities around Paris were excellent as well. Tom Hiddleston played F Scott Fitzgerald amazingly, Corey Stall was great as Hemingway and really portrayed his manliness. Kathy Bates played Gertrude Stein brilliantly and i loved Marion Cotillards performance as Adriana a Bordeaux woman who similarly to Wilson longed to go back to a simpler time. 

Overall i’d say everything was done well, i loved the feeling Allen portrayed in the film that not everyone understands Paris but those who do see her majestic beauty. My overall rating for the film is Five Stars ***** as i feel in general i’d love to watch it again and again and i think everyone should watch this film even once.

[micaramel]

Artists: Inga Danysz, Ron Ewert, Amy Garofano, Matt Siegle

Venue: Midland Warehouses, Chicago

Exhibition Title: Desolation Row

Organized By: Good Weather, North Little Rock

Date: September 15 – November 10, 2019

Note: Inga Danysz’s, Crawler, 03:48, 2019, can be heard here.

Click here to view slideshow

Full gallery of images, press release, and link available after the jump.

  Images:

Images courtesy of Good Weather, North Little Rock

Press Release:

Good Weather is pleased to present Desolation Row—an exhibition dealing with the subjectivity of visibility with work by Inga Danysz, Ron Ewert, Amy Garofano, and Matt Siegle, sited in two abandoned offices (#122A and #114A) at opposite ends of the hallway in Chicago’s Midland Warehouses (1524 S. Western Ave.). The show is on view from September 15, 2019 until November 10, 2019 with gallery hours on Thursdays, Fridays, and Saturdays from 11 am–6 pm, or by appointment.

That which cannot be seen—either intrinsically, extraneously by societal biases, or by self volition, for whatever reason—creates a disguised state where the collective mind perceives an absence. The tool of observation is warped when the observed is invisible, but the work in Desolation Row contains a material layer, a facade that serves as a tangible link to this absence. Furthermore, the crisp facture of each of these artworks gives contour to their subjective furl: layers and recesses that orchestrate a dramatization of the contemporary drive.

In Siegle’s work, imagery is sourced from advertisements that use coded language to point to concealed spaces and “alternative” communities from the 1980s and 90s. The corporeality of these calling cards (their texture and slight misregistration) is adroitly recreated with a tactile treatment of paint, each detail precisely enlarged to emphasize a necessary indirectness.

Garofano’s upholstered velvet paintings draw their imagery from the architectural designs of gates, with subtle material shifts that rely on light and shadow to reveal their image. This fluctuating space creates an unstable positioning experienced literally in passing: only through the physical movement of the viewer can every detail of the image be apprehended in relation to the ambient light direction.

Ewert’s paintings use a variety of indexical makeshift printing processes that fix objects and actions into a graphic visual language, opening up and confusing the pathology of painting. Like Dylan’s lyrical folk-Dada mashup (from which this exhibition co-opts its title), these works speak to an accelerated pace of physical and psychic change, finding emptiness in a surplus of cultural noise.

Danysz’s glass sculptures are transparent demarcations, barely visible and easily broken, citing the fragility and conditionality of visual experience. These inadequacies are highlighted through the multiplied, anachronistic forms, shifting the transience of the physical object into the false objectivity of language. Down the hallway, Danysz’s sound piece rattles through the empty chambers of the building, revealing an uncanny link to the physicality of her other work and the current body (building) in which it resides.

Ultimately, what inhabits these spaces wants to be disguised—or rather left alone, found only by the key holder. Desolation Row conjures the tension between conditions of passive observation (scrolling) and active sociality (strolling), wherein the flaneur is invited to take a garden-path, a rambling detour in lieu of a direct route, towards the abyss. (Ron Ewert and Haynes Riley)

Inga Danysz (b. 1990 Warsaw, Poland) lives and works in Frankfurt am Main, Germany. Recent solo exhibitions include Impostures at VIS (Hamburg) and Insufficient Funds at Kunstverein Reutlingen. She has presented her work at Fondazione Antonio Ratti (Como), Skaftfell Center for Visual Arts (Seydisfjoerdur), Museum für Moderne Kunst MMK (Frankfurt am Main), and Staatliche Kunsthalle Baden-Baden. In 2016, she received the Columbus Award for Contemporary Art. Danysz studied at Städelschule (Frankfurt am Main) and afterwards took part in the De Ateliers (Amsterdam) from 2015–2017. She was a participant in The Mountain School of Arts (MSA^) (Los Angeles) in 2019. Recent publications include The End Is Always At The Beginning—a vinyl with Tolouse Low Trax (2019), the catalogue Insufficient Funds (2018), and artist books Metamorphosis of the 21st Century Minotaur (2018) and Rootless Rocks and Drifting Stones (2017, together with Ani Schulze)

Ron Ewert (b. 1982 Glendale Heights, Illinois) lives and works in New York. Ewert received his MFA from the Painting and Drawing Department of the School of the Art Institute of Chicago in 2012. Solo exhibitions include I’m getting too old for this shirt at Atlanta Contemporary, I would like to see what happens at Good Weather (North Little Rock), I need a new hot water heater at Mild Climate (Nashville), and I wish lunch could last forever at S1 (Portland). He has presented work in group exhibitons at La Kaje (Brooklyn), Johannes Vogt (New York), Andrew Rafacz (Chicago), Roots and Culture (Chicago), Monya Rowe Gallery (New York), Launch F18 (New York), 356 Mission (Los Angeles), The Green Gallery (Milwaukee), American Fantasy Classics (Milwaukee), Urban Institute for Contemporary Art (Grand Rapids), and at Printed Matter, Inc.’s NY Art Book Fair and LA Art Book Fair, among others. This past June, he presented a solo booth at LISTE with Good Weather. He was a founder and co-director of The Hills Esthetic Center (Chicago) from 2010–2015.

Amy Garofano (b. 1980 Syracuse, New York) lives and works in Los Angeles. Solo exhibitions include Citrus on Pico at Good Weather (North Little Rock) and in the Martel Window at Richard Telles Fine Art (Los Angeles). Her work has been included in group exhibitions at Rainbow in Spanish (Los Angeles), Arturo Bandini (Los Angeles), Plug Projects (Kansas City), VACANCY (Los Angeles), Egyptian Art & Antiques (Los Angeles), BBQLA (Los Angeles), Loudhailer (Los Angeles), Syndicate at Aspect/Ratio (Chicago), and Haute École d’Art et de Design (Geneva, Switzerland). Her work has been published on Contemporary Art Daily, Title Magazine, and in GRAPHITE Journal Issue VI. She was a 2016 nominee for the Rema Hort Mann Foundation Emerging Artist Grant in Los Angeles. She received her MFA from Cranbrook Academy of Art in 2012 and received a MacDowell Fellowship in 2013.

Matt Siegle (b. 1980) is a Los Angeles-based mixed-media artist. Exhibitions and performances include: Hamtramck Ceramck (Hamtramck) organized by Good Weather, Park View / Paul Soto (Los Angeles), YEARS (Copenhagen), Artists Space (New York), Vernon Gardens (Los Angeles) organized by Good Weather, Anthony Greaney (Boston), Kunsthal 44 Møen (Denmark), Night Club (Chicago), Pacific Standard Time (Los Angeles), Et al. (San Francisco), Arturo Bandini (Los Angeles), Holiday Forever (Jackson, Wyoming), The Luminary (St. Louis), Vermilion Sands (Copenhagen), and PACT Zollverein (Essen). Siegle’s practice includes critical and creative writing, and in 2017 he co-published If The Head Fits, Wear It, an anthology on contemporary art and the Grateful Dead distributed by D.A.P. From 2013–16 he co-ran metro pcs, an artist-project gallery in Chinatown, Los Angeles. He received his MFA from California Institute of the Arts in 2009.

Link: “Desolation Row” at Midland Warehouses

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/35zgDbR

[thelacunastudios]

Larroque Art Festival - France 2018

Over the last few weeks Sarah-Jane has been working on some new paintings ready to exhibit at the Larroque Art Festival 2018 (LAF18) in the South of France, North of Tolouse. LAF18 is an International Contemporary Art Festival in an idyllic rural setting. It is directed by Professor Emeritus Kenneth G Hay of the University of Leeds from the base of a renovated traditional village house, now the Galerie La Vielle Poste. The festival is held annually to coincide with the week long village fete and Sardinard at the end of July. This year marks the tenth anniversary of LAF which is a ‘Not for Profit’ event that receives no public funding; The Art Festival is entirely run by and for artists. Each year a theme is announced with an open call for artists to submit up to three pieces of work. Pieces are selected by the panel from all submissions with the only criteria being which pieces best communicate the theme. The festival attracts exhibiting artists from all around the world often with more than fifty countries represented. Generally participants are contemporary practising artists occasionally however, pieces from modern masters can be seen. The festival boasts exhibits in previous years from the likes of Eduardo Paolozzi currently exhibiting at The Yorkshire Sculpture Park and street sensation TIMO from the Czech Republic. Sarah is proud to have been an active participant at LAF for the last six years. Her pieces for this years festival responding to the theme ‘Harmony’ are shown above. They are titled ‘El Jardin de los Canarios’ which depicts a number of indigenous plants often used to represent the seven Canary Islands. ‘Planta El Cielo y Yo’ which captures a moment of harmony and tranquility from recent personal experience whilst based on Lanzarote. This years Larroque Art Festival runs from 27th July through until the 3rd August with the Vernissage on 27th July 6-8pm

En las últimas semanas, Sarah-Jane ha estado trabajando en algunas pinturas nuevas listas para exhibir en el Larroque Art Festival 2018 (LAF18) en el sur de Francia, al norte de Tolouse.

LAF18 es un Festival Internacional de Arte Contemporáneo en un entorno rural idílico. Está dirigido por el Profesor Emérito Kenneth G Hay de la Universidad de Leeds desde la base de una casa de pueblo tradicional renovada, ahora la Galería La Vielle Poste. El festival se celebra anualmente para coincidir con la fiesta de la aldea de una semana y Sardinard a finales de julio. Este año se cumple el décimo aniversario de LAF, que es un evento "sin fines de lucro" que no recibe fondos públicos; El Festival de Arte está completamente dirigido por y para artistas. Cada año se anuncia un tema con una convocatoria abierta para que los artistas envíen hasta tres trabajos. El panel selecciona las piezas de todas las presentaciones, con el único criterio de qué piezas comunican mejor el tema. El festival atrae a artistas expositores de todo el mundo, a menudo con más de cincuenta países representados. En general, los participantes son artistas contemporáneos que practican ocasionalmente; sin embargo, se pueden ver piezas de maestros modernos. El festival cuenta con exhibiciones en años anteriores de artistas como Eduardo Paolozzi que actualmente exhibe en el Yorkshire Sculpture Park y la sensación callejera TIMO de la República Checa. Sarah se enorgullece de haber sido una participante activa en LAF durante los últimos seis años. Sus piezas para el festival de este año respondiendo al tema "Armonía" se muestran arriba. Se titulan 'El Jardín de los Canarios', que representa una serie de plantas autóctonas utilizadas a menudo para representar a las siete Islas Canarias. 'Planta El Cielo y Yo' que captura un momento de armonía y tranquilidad a partir de la experiencia personal reciente, mientras que se basa en Lanzarote. Este año, el Larroque Art Festival se celebra del 27 de Julio al 3 de Agosto con el Vernissage el 27 de julio, de 6 a 8pm.

[arthisour-blog]

The Museo Nacional de Bellas Artes is an Argentine art museum in Buenos Aires, located in the Recoleta section of the city. The MNBA inaugurated a branch in Neuquén in 2004.

The National Museum of Fine Arts

The Building

The National Museum of Fine Arts (MNBA) of Argentina is located on Avenida del Libertador 1473, Buenos Aires.

It was inaugurated on 25 December 1896 and the opening was attended by numerous personalities. Among them was Nicaraguan writer, Rubén Darío, a referent of modernity. Its first Director was Eduardo Schiaffino.

The Bon Marché on the Calle Florida, was the precursory site for Argentina’s first art museum and had been built to house a department store. The absence of public buildings undoubtedly led to the MNBA setting out in this commercial mall, built in the style of its namesake in Paris.

In 1910 MNBA moved to its second premises in the Plaza San Martin, a palace made of iron and glass that had served as the Argentine Pavilion at the 1889 Universal Exhibition in Paris and was shipped to Buenos Aires afterwards.

Since 1932, the MNBA has had premises of its own in the old pump building of Obras Sanitarias in Recoleta. Though not originally built to house a museum, it was adapted for its new role by the architect Alejandro Bustillo. The building currently consists of thirty rooms distributed over three floors.

The Museum & its Permanent Rooms

International Art:

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The permanent rooms on the first floor are entirely devoted to international art dating from the Middle Ages to the 20th century. The MNBA’s collection is considered to be the most important of European art in South America, and includes works by Tintoretto, El Greco, Rembrandt, Zurbarán, Tiepolo and medieval masters. The amount of space dedicated to the 19th century in our collections denounces its relevance. It withholds paintings of Goya, the landscapes of Courbet, Millet, Troyon and Daubigny of the Barbizon School, as well as of their academic contemporaries such as Bouguereau and Lefebvre, the dawn of impressionism in Manet’s emblematic Nymph Surprised, the vibrant colour in the views of Pissarro, Monet and Sisley, the post-impressionist search in Van Gogh, Gauguin, Tolouse-Lautrec and Degas. It can be seen the valuable local contributions , as well as Italian painting, the Macchiaioli, the Spanish version of impressionism, and a thematic core devoted to various different manifestations of late 19th century European symbolism.

The last part of the tour through the permanent exhibition brings together various early 20th century avant-garde masters such as Klee, Kandinsky, De Chirico, Carrà, Modigliani, Picasso and Léger. Post-war trends are represented by European artists like Nicholson, Fontana, Vasarely, Dubuffet, Fautrier, Saura, Alechinsky and Henry Moore, while US section includes paintings by Rothko, Pollock and Nevelson.

19th and 20th Century Argentine Art: The first floor is devoted to Argentine and Latin American art. Next to the room of pre-Columbian Andean art, is a room displaying the Panels of the Conquest of Mexico, an emblematic example of colonial art in the crossing of cultures. Also on this floor María Luisa Bemberg’s former collection incorporates the River Plate avant-gardes.

Exhibited as an extensive and comprehensive overview, the permanent exhibition of Argentine art offers a sequence ranging from the foreign painters who visited Argentina in the early 19th century to the latest artistic trends of the 20th century.

Useful Information

Museum opening times Tuesday to Friday 11:00 a.m – 8:00 p.m. Saturday and Sunday 10:00 a.m. – 8:00 p.m. Monday closed

General information: 54 11 5288- 9900 Free admission

Museo Nacional de Bellas Artes de Argentina Buenos Aires, Argentina was originally published on HiSoUR Art Collection

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Artwork Selection

Narrowing the images down... Making sure to choose only designs that I can see influence of in my own work and the finalists are

Methods

- Psychadelic Faces (by Me, influenced by Gaudi architecture, toulouse lautrec)

- Sharon Portrait (by Me, influenced by impressionism, Guerilla Girls, playful illsutration)

- Eric Carle Tolouse Lautrec

- Playful Illustration a little empty of meaning?

- Santa Fe Architecture (replace this screenshot of a house with a photo I took?)

- Waiheke Vase (ecology, Indigenous art)

Contexts

- Gaudi Architecture (organic forms and ecoogical design a huge influence)

- Guerilla Girls (feminist art a big impact in my own work)

- Barbara Kruger (Or can switch out with a more environmental artist?)

- Hanna Hoch (more feminist art + DaDa/Gen Z link)

- Cowboy Cards (by Me, influenced by Santa Fe Architecture, psychadellic faces and Guerilla Girls, Toulouse Lautrec)

- Sarah Risograph (By Me, inlfuenced by Guerilla Girls, Hoch and Kruger)