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  1. Peter Demetz, 1969 | Figurative wood sculptor Peter Demetz was born in Bolzano-Italy and lives and works in Ortisei (BZ); 1983-84 - Art school in Ortisei; 1984-90 - Apprenticeship at Heinrich Demetz’s workshop; 1993 - Achievement of the diploma "Maestro scultore"; 1993-09 - Participation at collective exhibitions in Ortisei (UNIKA), Milan, Vail/Colorado, Leipzig, Lichtenstein/Germany, Gent, Vienna, Florence, Lecce, Bolzano, Istanbul, Palma de Mallorca and Roma. Orders in Italy, Austria, Germany, USA and Iceland: 1995-02 - Teacher at the vocational school in Ortisei and Selva Gardena. Subjects: drawing, history of art and sculpture. 1997-00 - Chairman of the association "Artigianato Artistico Gardenese" and of the UNIKA group; 1999-02 - Courses in pedagogy, didactics, educational and developmental psychology; 2001 - Lectures and seminars on wood sculpture as well as courses on working with wood and clay, drawing, design and anatomy; among others, for the design centre of the company Swarovski in Wattens (A), the LKJ-Sachsen in Leipzig, the Daetz-Centrum in Lichtenstein (Ger) and the Academy of Fine Arts in Carrara; 2002-06 - Leading teacher of the course on wood sculpture of the Westsächsische Hochschule Zwickau, Department of Applied Arts Schneeberg, at the Daetz-Centrum in Lichtenstein, Germany; 2007 - Collaboration with the Artforum Gallery of contemporary art, Bologna, Italy; 2011 - Collaboration with the White Room Art System Gallery of contemporary art, Capri/Positano, Italy. FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  2. Daily Quotes

    One bad chapter doesn't mean your story is over. Hustle harder. You will grow from this. Your time will come. And one day it will be worth it
  3. Venice Biennale 2019 Takes the Title ‘May You Live in Interesting Times’ Venice Biennale curator Ralph Rugoff, left, and Venice Biennale president Paolo Baratta. The 58th edition of the Venice Biennale, which will open in May 2019, will carry the title “May You Live in Interesting Times,” an allusion to periods of uncertainty, crisis, and turmoil. The name comes from a speech given in the late 1930s by Austen Chamberlain, a member of British Parliament, in which he cited what had wrongly been understood as an ancient Chinese curse. In a statement, the curator of the 2019 Venice Biennale, Ralph Rugoff, said, “At a moment when the digital dissemination of fake news and ‘alternative facts’ is corroding political discourse and the trust on which it depends, it is worth pausing whenever possible to reassess our terms of reference.” About the title’s provenance as an aged curse with a note of wryness in it, Rugoff said, “In this case it turns out that there never was any such ‘ancient Chinese curse,’ despite the fact that Western politicians have made reference to it in speeches for over a hundred years. It is an ersatz cultural relic, another Occidental ‘Orientalism,’ and yet for all its fictional status it has had real rhetorical effects in significant public exchanges.” Rugoff hinted at a change to the exhibition structure of the upcoming Biennale to deemphasize the art object and feature forms of playfulness in the interest of “deep involvement, absorption, and creative learning that art makes possible.” The show will also focus, he said, on that which “may be off-limits, under-the-radar, or otherwise inaccessible for various reasons.” “Artists who think in this manner offer alternatives to the meaning of so-called facts by suggesting other ways of connecting and contextualizing them,”Rugoff said. “An exhibition should open people’s eyes to previously unconsidered ways of being in the world and thus change their view of that world.” In his statement, Rugoff said art all on its own cannot stop the rise of nationalism, end authoritarian governments, or help those who have been displaced. “But in an indirect fashion,” he said, “perhaps art can be a kind of guide for how to live and think in ‘interesting times.’ The 58th International Art Exhibition will not have a theme per se, but will highlight a general approach to making art and a view of art’s social function as embracing both pleasure and critical thinking.” “Ultimately, Biennale Arte 2019 aspires to the ideal that what is most important about an exhibition is not what it puts on display, but how audiences can use their experience of the exhibition afterwards, to confront everyday realities from expanded viewpoints and with new energies,” he added.
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  5. Well Intentioned copies that went wrong The only thing more memorable than a great work of art is a truly awful one. Every so often a painting or sculpture comes to light that is such an odd likeness, the world’s toes collectively curl. Gathered together, these misfires of imagination and skill would fill a curiously compelling museum of fumbled face and form – one capable of proving, paradoxically, the miracle of any artist ever actually seizing a sitter’s elusive essence or capturing the mysterious music of being in the world. Among the highlights, or lowlights, of any such collection would surely be the so-called ‘Monkey Christ’ of Mercy Church, which reared its hairy head near the town of Zaragoza, Spain in 2012. It was then that a well-intentioned parishioner tried her hand at tidying up a fading fresco of Christ by the early 20th-Century artist Elías García Martínez. After an elderly parishioner attempted to restore Ecce Homo by Elías García Martínez in Borja, Spain, the town became a tourist hotspot (Credit: Alamy) Endeavouring to reverse decades of damage caused by damp, the elderly volunteer accidentally obliterated the subtle brushstrokes with which Martinez had captured the features of Christ’s face – burying them under layers of artlessly applied paint. The resulting portrait, which provoked gasps across the globe when photos of it went viral, appears more simian than sacred: like “a crayon sketch”, so BBC Europe correspondent Christian Fraser described it, “of a very hairy monkey in an ill-fitting tunic”. Plaster surgery Memories of that unfortunate restoration have been swinging their way through popular imagination recently with news of another mangled makeover, this time of a medieval statue in the Romanesque church of San Miguel de Estella in northern Spain. The defenceless victim on this occasion is a 16th-Century wood carving of the legendary warrior, St George, depicted on horseback trampling a defeated dragon under hoof. Though the priceless relic has survived relatively intact for five centuries, St George’s countenance has suddenly slipped from fierce to farce with the flick of an amateur conservator’s wrist. Recently released images show a sculpture of St George at a church in Navarra, Spain – before and after its botched restoration (Credit: EPA) In an effort to return the object to its former lustre, a local art teacher took it upon herself to freshen up the carving’s crumbling complexion with layers of modern plaster and hobby-shop paint. The perky pinkish hue with which St George’s over-polished cheeks are now permanently pinched seems more day-spa facial than dauntless old master. More Botox than Bernini. The carving’s cartoonish appearance has provoked the outrage and concern of experts who fear the defacement may be irreversible. Commenting on the bungled operation, social media users have drawn unflattering comparisons with Pee Wee Herman’s simpering pout. Others have detected a resemblance to Sheriff Woody, the lanky cowboy doll in Toy Story, as St George is left to wander clumsily into eternity and beyond. When it comes to flubbing the human face, amateur restorers with too much time on their hands are not of course the only culprits. Artists themselves routinely miss the mark from the very start. Just ask Portuguese footballer Cristiano Ronaldo, who unveiled a bronze bust of himself by a local sculptor to a chorus of titters last year at Madeira airport. After a new bust of Cristiano Ronaldo (right) was unveiled at Madeira airport, a petition was launched to bring back the derided bust it had replaced (left) (Credit: EPA) The contorted countenance, with its weirdly warped expression and stare so wild-eyed it doesn’t so much follow you around the room as haunt your nightmares, was replaced last month by a fresh attempt by the same artist. Still awkward and unconvincing as an actual likeness of the Real Madrid forward, the do-over is less-obviously ludicrous in its fumbling of Ronaldo’s famously chiselled physiognomy. It’s bad, but in the way that many portraits are bad. No imaginary museum of mismanaged miens would be complete without an entire wing devoted to Louis Tussaud’s notorious collection of frightfully unconvincing wax works. After half a century of inviting visitors to scratch their heads in wonder at who is being portrayed by its misshapen subjects, Tussauds House of Wax closed its doors in Great Yarmouth, Norfolk, in 2014. Since then, the bungled effigies of everyone from a pudgy Sean Connery to a sun-kissed Adolf Hitler have slipped mercifully from public view as if into an artistic protection programme. The House of Wax Museum in Norfolk, UK closed in 2014 – after acquiring cult status for ‘the world’s worst waxworks’, including one of Adolf Hitler (Credit: Rex Features) Tussaud’s slapstick grotesqueries, which attracted a kind of cult following of fans, relied for their “success” on visitors knowing precisely how hilariously wide the gap was between flesh-and-blood subject and waxen send-up. When it comes to assessing the achievement of likenesses of bygone historical figures for whom we have no filmic or photographic record documenting their appearance, it is much more difficult to know how far any given effort has gone astray. Peter Isselburg’s etching of King Henry VIII (after a portrait by Cornelis Metsys) is unflattering – but we can’t be sure how lifelike it was (Credit: Alamy) Take, for instance, Peter Isselburg’s unflinchingly unflattering etching of King Henry VIII (after a portrait by Cornelis Metsys), whose eyes squint sinisterly above a neckless cascade of facial flab. That Henry VIII was never Tudor eye candy is clear enough from the preponderance of contemporary portraiture. But is Isselburg’s unlikeable likeness evidence of artistic malpractice or a subversive assault on the monarch, intended to suggest that it is the sitter’s abrasive spirit that defies palatable representation, not the artist’s skill? If we really undertook to shift into an institute of ineptitude every dubious depiction from art history, what would be left? Is it possible that the rubbish portraits that occasionally stop the world in its tracks are merely exaggerated examples of the rule rather than egregious exceptions to it? Perhaps rather than being outraged by the occasional catastrophe that makes it onto the front page, we ought to awe a little louder at the masterpieces.
  6. Xiao Song Jiang, 1955 | En plein air /Palette Knife painter Chinese-born Canadian painter Xiao Song Jiang (姜小松) was born in 1955, in Wuhan, China. In 1978 he studied fine arts at the China Academy of Art, formerly the Zhejiang Art Academy, where he graduated with a Bachelor’s degree in 1982, then began lecturing watercolor at the City of Wuhan Construction College. Four years after, Song was selected to further develop his skill at the provincial Hubei Art Academy. During his time there, he accumulated years of experience, painting, sketching, and working for a refined grasp of color and technique. Throughout his early career, Song has received numerous awards as one of the representatives of Chinese paintings with works displayed at international art exhibitions in the United States, Japan, Hong Kong, Turkey, and Singapore. He also had the honor of having four representative works collected and preserved at the National Art Museum of China (NAMOC) and three works at the Jiangsu Provincial Art Museum. In 1988, Song immigrated to Canada and invested a passion for its vivid scenes of the broad North American landscape. While there, he travelled widely from coast to coast and gained some 20 years of experience forming his unique style of a mixture of brush and knife with attention to the unique natural detail, richer handling of light, shadow and depth in each piece, which has won him numerous awards in North American exhibitions and art festivals. He now lives by the lake in Toronto, Canada with his wife and son. He is influenced by the beautiful land and friendly people. Through his paintings, he wishes to express his love to the North American landscape and all its people. FOR MORE SUCH ARTISTS' & ARTWORKS FOLLOW SUJITH PUTHRAN
  7. Daily Quotes

    Sometimes, you just need to take that leap of faith Believe in yourself, Be brave and just go for it

    Thank you very much.... @Donatella9, @hj27, @Frank & @benres This gives me motivation to make more such artworks
  9. Daily Quotes

    No matter how good you are, you will never be good enough for some people!
  10. No matter how good you are, you will never be good enough for some people!

    hhhahaha...my...sketches..are sometimes confusing
  12. Daily Quotes

    Seek respect, not attention. It lasts longer
  13. Seek respect, not attention. It lasts longer

  14. Alain Picard, 1974

    Alain Picard, 1974 | Portrait /Figurative /Landscape painter Alain Picard earned a BA in illustration from Western CT State University and went on to study at the Art Student's League in New York City. Picard cites Sargent, Degas, and Sorolla among his artistic influences. A love of light and beauty are immediately apparent in his pastel and oil paintings. Alain's work has been featured in such publications as The Artist's Magazine and The Pastel Journal. He has garnered top awards* throughout the Northeast in esteemed exhibitions including the Portrait Society of America, the Hudson Valley Art Association, the Connecticut Society of Portrait Artists, the Connecticut Pastel Society and the Pastel Society of America. Alain is a Signature Member of the Pastel Society of America as well as the Connecticut Pastel Society where he serves as President. In 2004, The Artist's Magazine highlighted Alain as one of 20 contemporary artists "On the Rise". He later won the Best Portfolio Award* at the 2009 Portrait Society of America Conference in Washington, DC. A frequent workshop instructor and demonstrator for art associations, schools, galleries and museums, Alain was recently invited to demonstrate a portrait in pastel at The Metropolitan Museum of Art in New York City. He lives with his wife and two sons in Southbury, Connecticut. FOR MORE SUCH ARTISTS' & ARTWORKS FOLLOW SUJITH PUTHRAN
  15. Fonvizinskaya Station, designed by Nikolai Shumakov and built in 2016. Alexey Narodizkiy/Blue Crow Media Understanding the Architecture of the Moscow Metro Generations of Russian leaders have imposed their visions on the city's vast subway network. The vast Moscow Metro, one of the largest and busiest subway systems in the world, is in the middle of a rapid expansion: Between 2015 and 2020, the system is adding dozens of stations. For the historians of the 83-year-old transit network, it’s a lot to keep track of. Thankfully, Nikolai Vassiliev has it covered. The recently released Moscow Metro Architecture & Design Map (Blue Crow Media) is curated by Vassiliev, an architecture historian; it provides descriptions and photos of a little more than 40 of the system’s most architecturally notable stations. The history of Moscow’s Metro is layered with political and architectural meaning, as succeeding generations impose their own visions on the system; the ornate stations of the Stalin era have more recently given way to more utilitarian facilities. To find out more about how the Moscow Metro gets designed, and where the system’s new stations will fit into this story, CityLab asked Vassiliev a few questions via email; our interview has been condensed and edited. For much of the world, Moscow’s Metro conjures up images of very palatial, neoclassical stations. What percentage of the system actually looks like that? The first order of construction was primarily designed in a Soviet version of Art Deco, with some remains of avant-garde forms. Parts of the second and third orders, which opened in 1938 and 1943, are like this as well. Stations built from that point until the end of the 1950s can be described as Neoclassical with Empire-style motifs , usually for post-war projects treated as war memorials. These make up a little less than a quarter of the total stations in the system, but they are the most visited ones in the center and main line interchanges. Only 44 of total 214 stations are listed as historical monuments, including a few from the ‘50s and nothing since. Aviamotornaya Station, designed by A.Strelkovatal and built in 1969. (Alexey Narodizkiy/Blue Crow Media) Politically, who’s in the room when it’s decided where Metro is going to expand and what it will look like? Throughout Metro’s history that has always been a complicated process, with very high-level authorities involved. In the middle of the 1930s, roughly a quarter of the city’s budget was spent on Metro construction needs. One of Stalin’s closest fellows, Lazar Kaganovich—who was Moscow head at this time, as well as Party Secretary—curated Metro construction in its advent. After receiving a promotion as People’s Commissar for Transport, he was succeeded by Nikita Khrushchev, who had previously served as First Secretary of the Moscow Regional Committee. Since the 1960s, Metro construction has been nearly as important for the economy and for transit planning, but it’s not nearly as ideological. Decisions are made in the Moscow City Department of Urban Planning and Architecture. Some technical questions, like integration with other transit systems, are done through the Department of Transport. Each period of the system’s growth seems to be attributed to whoever was running the country at the time. So what are the defining design features of a Putin-era Metro station? We can’t organize Metro’s post-Soviet architecture so simply. From 1992 to 2010, it was all “Luzhkov Style”—named after longtime mayor Yuri Luzhkov. These stations were late-Postmodern and rather silly. The current mayor Sergei Sobyanin and Metro director Dmitry Gayev envision a more pragmatic style focused on improving transit efficiency and making construction profitable for their affiliated contractors. The stations that have opened in the last year or two and the ones opening later this year are built in the traditional paradigm, mostly by Metrogiprotrans Institute. But a new approach contains two main aspects: to spend less on architecture and invite more young architects via competitions. They cut costs and add to the positive public image of a new urban policy by doing this, but they lose out on the expertise of older architecture and engineering professionals. Contrary to the Sochi Olympics and World Cup, this architecture has no significant political meaning, except to present a general approach to funding public infrastructure and to “calm down” Moscow’s opposition electorate. It seems impossible to get the generation that is now between 40 and 55 years old to switch to public transportation. The Putin-era style started not when he took office in 2000, but in 2010 and through 2014, with a new Moscow mayor taking office and the construction for the Sochi Olympics. A contemporary style was introduced during this period by State contracts, not private developers. For the most part, these designs are pretty neutral—even boring. But on average they show significantly improved technical quality. How much of the attention to Metro design and planning is for convincing wealthier people to ditch their cars? Personal car usage became such a strong marker of social success in the 1990s and 2000s in Moscow and the city [is known for its]many many Maybachs and Porsches. It seems impossible to get the generation that is now between 40 and 55 years old to switch to public transportation. Who are some of the younger architecture firms behind these new stations? Some of the younger offices that won recent competitions specialize in above-ground projects like shopping malls and apartment towers but I can’t say these works are distinct. The same goes for Russia’s new airports, a few of which were built in time for the World Cup. We’re seeing a slow decline in Soviet-origin institutions and the rise of new architecture firms. What does Metro and its architecture symbolize to the typical Muscovite today, and how has that meaning changed over the years? For today’s typical Metro user, the modern stations prevail as the standard image of the system. But except for few recent ones made with monumental mosaics or clever forms, these stations aren’t perceived as architecture at all. The historical stations, however, still play a very special role in the city’s image, like its Stalin-era skyscrapers and pre-Revolution tenements, churches, and mansions.