art.spaces

Artd4

Dan Obana’s Art World of Today

04 Jul 2020 – 30 Jul 2020

Dan Obana’s Art World of Today -Inspired into Tomorrow-

Natasha Okoth

The Balance Of Things

02 Jul 2020 – 30 Aug 2020

Wir sind stetig von einer Diversität an ­Objekten umgeben, die sich in ihrer Relevanz für uns unterscheiden. Die Vielfalt ihrer Bedeutungen kann sich von einer Verknüpfung an Erinne­rungen, über ein Statussymbol bis hin zum funk­tionalen Hilfsmittel erstrecken. Mit der wachsenden Präsenz virtueller Um­gebungen entstehen neuartige Erweiterungen, die unsere bisherige Realität imitieren, partiell verfremden und ausdehnen. Diese Elemente sind nicht unbedingt an bestehende Dimensionen und natürliche Gegebenheiten gebunden. Jedoch entwickeln sich durch ihre Nutzung ebenfalls diverse Beziehun­gsformen zu den Akteur*innen. Die dadurch entstandene Serie an Illustrationen the­ma­ti­siert den persönlichen Bezug zu digitalen Ob­jek­ten und Symbolen, behandelt die pro­gressive ­Definition der Körperlichkeit im ­virtuellen Raum und spiegelt das Wechselspiel ­zwischen der physischen Rea­lität und der Virtualität wider, deren Grenzen verschwimmen.

CORTADE ART

Pfalzgraf Heidrun

02 Jul 2020 – 25 Jul 2020

Des réseaux et des interdépendances labyrinthiques émergent, les formes et les couleurs se découpent comme des kaléidoscopes jusqu’à créer un ensemble esthétique, une condensation et une cohésion. Les images vous invitent à déchiffrer et à énigmer sans révéler le secret. De cette façon, la confrontation avec l’œuvre crée une abondance d’images et d’associations intérieures.

Peter Mrasek

2 arts 1 theme

01 Jun 2020 – 31 Dec 2020

Diese Austellung kombiniert Fotografie und Schmuckdesign. Themen und Inhale der Fotografie werden interpretiert und im Schmuckdesign aufgenommen. Die Vernissage der "realen" Ausstellung ist am 4. Oktober 2020 im Passmanns, Kirchhellenerst. 57 in Bottrop. Momentan zeigt die virtuelle Ausstellung die Fotografien, die Schmuckausstellung ist in Arbeit.

2020 RMIT ID Semester Exhibition

Design Exhibition

RMIT Design Exhibiton

Roland Seichter Fotografie

My Best

Präsentation der 'Best of the Best'. Fotografien, die in internationalen Fotowettbewerben erfolgreich waren und immer noch sind. Einige der Fotografien sind in manchen Fotowettbewereben sogar als Sieger der Kategorie hervorgegangen.

Kunstverein ART Baden-Baden e.V.

ECKERLE RUDI - ABSTRACT ART

05 Jul 2020 – 15 Aug 2020

ABSTRACT PAINTINGS

Tribal Art London

Merging Cultures: The impact of trade and travel on Tribal Art

25 Jun 2020 – 29 Aug 2020

This exhibition explores the development of trade routes used to move items such as gold and salt through Africa and to the rest of the world, and in contrast the impact of European imports into tribal communities. The exhibition will not only explore trade though physical goods but the movement and exchange of ideas, artistic inspiration and religious doctrines. Please click on objects and text for a clearer view. Additionally information including links to exhibitor's websites can be found by clicking the information button. The exhibition catalogue includes high resolution images.

Villa del Arte

Tomas Sunyol

01 Jul 2020 – 01 Jul 2021

oil painting by Tomas Sunyol

Stephen Romano

Wolfgang Grasse 1930 - 2008

Wolfgang Grasse 1930 - 2008

Jan C Schlegel Photography

Jan C Schlegel / selected works

22 Jun 2020 – 24 Dec 2020

The ocean has always been one of the most mysterious places on earth. In the past many legends and myths have evolved around monsters living in the deep sea. As a child many of us used to fantasize about underwater monsters like giant colossal squids having so much power that they were able to take down ships. By looking at Jan C. Schlegel his pictures, you can get a small glimpse of the rich- ness and diversity of our oceans. When we think of fish, we usually perceive them as food and think of salmon or tuna. The photographs reveal much more than what could be imagined and are truly a special tribute to all the different kind of species living underneath the surface. There are sea horses that look like dragons with galaxies on their skin, flounders with their perfect flat form and their ability to turn invisible or even squids that will remind you of aliens from another planet. Using platinum printing as a process allows Jan C. Schlegel to create a deepness in his pictures that makes every small detail and structure visible for the human eye. It gives you the impression of being able to feel the animal just by looking at the pictures. This series celebrates the art of nature. Every single creature is unique in its appearance, but they have all one thing in common: The ocean as their home. Just like the animals living in the deep sea, we need the ocean for our existence, helping us to breathe and regulate our climate. The series “Creatures of the Seven Seas” shouldn’t only show us all the beauty and the fascinating side of the ocean, it also should serve as a reminder to create awareness of what we will loose if we don’t take care of our earth. For people who collect photographs, platinum prints are known for their beauty, archival stability and unique, one-of-a-kind print statement. Made from the salts of platinum, these prints are also called “platinotypes” or “platinum” prints. Platinum is a noble metal on the Periodic Table and are resistant to oxidation. The platinum salt emulsion is imbedded into the fiber of the paper during the printing process. As with most historical photographic processes, a platinum print is made by placing the negative and emulsion-coated paper in direct contact. Therefore, the size of the photographic print is equal to the size of the negative. Platinum prints have a different “look” from silver gelatin or digital prints. All platinum prints have a matte, not glossy surface, because the sensitizer is absorbed into the paper rather than sitting on the surface. A platinum print also has a more gradual tonal change from black to white. To the eye accustomed to the punch of a silver gelatin print, a platinum print will often feel “softer” or lower in con- trast. In reality there are actually more steps between pure black and pure white in platinum prints than in a silver gelatin print. This contributes to the deeper, richer feeling you experience when looking at these prints. My platinum prints are made from hand-mixed and hand-coated emulsions. These sensitizers are mixed just prior to use, coated on the paper with a brush. Once dry, a negative is placed in direct contact with the paper, and then exposed to sunlight or ultraviolet light. Exposure to the light source takes an hour or more, depending on the density and contrast of the negative. The image tone of a platinum print can vary in color. These prints can range from a cool, slightly purple black to split tones of brown and warm black, to a very warm brown. The proportions of the different components in the emulsion, choice of developers and the temperature of the developer control the final color. Some of my platinum prints are double layered like Irving Penn did it for some of his iconic images. To increase tonality and depth I also added in some of my images as a second component to the sensitizer some Iridium which makes the picture even more noble and creates more richness in the mid tones. As these emulsions are mixed and coated by hand no two prints are exactly alike and become unique art pieces. The Series is dedicated to my friend Kim Schwanhäusser, who had inspired me greatly to create this series. Her encouragement and help were vital to see the series realized.

Casa Equis

A través - Arantxa Solis

27 Jun 2020 – 10 Jul 2020

La artista Arantxa Solis presenta la exposición A través, en la que reúne una serie de piezas que están ligadas por un lado a la exploración de la luz, -tema recurrente en su trabajo pictórico- y al tema de la observación y la memoria. El título A través, se refiere a distintas maneras de percibir lo que vemos cotidianamente, ya sean objetos, personas, escenas, lugares, o paisajes…. A veces observamos en lo inmediato, a través de otras superficies y factores que modifican nuestra percepción visual, vidrios, atmósferas, materia, pero también a través de la memoria y los recuerdos, los cuales se encargan de modificar lo que percibimos o lo que alguna vez vimos, la mayoría de las veces estos recuerdos se vuelven poco nítidos e intervienen otras sensaciones que nos permitir “armar” un recuerdo gráfico. Algunas de las piezas remiten a esta idea de un recuerdo difuso, un calor de verano, un escenario inventado o un paisaje inexistente. Estos escenarios nebulosos en donde prevalece la memoria a través de la luz y algunos otros más nítidos, que reflejan luz y sombra a través del ejercicio puro de la observación.

DAG

Ghare Baire - Looking Beyond the City

26 Jun 2020 – 03 Jul 2020

The fourth and final session of DAG Museum Walkthroughs in collaboration with Heritage Walk Calcutta explores the influence and the representation of the rural in the art of Bengal. In the early-1900s, while painters of the Bengal School looked to forge a pan-Asian identity through art, a movement to recover fast-fading "folk" traditions of Bengal was already underway. The cumulative efforts of many eminent cultural activists resulted in a folk revival movement, which manifested itself in different ways. We look closely at the work of Sunayani Devi, Jamini Roy, Nandalal Bose and Ramkinkar Baij in this context, to understand how they interpreted their roles as artist vis-à-vis rural lives and art practices. A different mode of engagement is evident in the 1940s, particularly in response to the Bengal famine. Artists developed a new theory of societal responsiveness, and the works of Chittaprosad, Zainul Abedin and Gobardhan Ash make it evident that a romanticized engagement with rural life was no longer sustainable. The current virtual exhibition, “Looking Beyond the City”, attempts to showcase these changes in the history of Bengal art, tracing the aesthetic and ideological turns that are visible in visual arts in the first half of the twentieth century.

Muzej književnosti i pozorišne umjetnosti BiH

LICA ZEMLJE, LICA LJUDI

24 Jun 2020 – 30 Jun 2020

Akademski slikar mr. Drago Simić rođen je 1963. godine u Pelagićevu. Ovaj umjetnik koji je slikarstvo završio 1988 u Sarajevu u klasi profesora Ratka Lalića. Izlagao je 30 samostalnih i 50 kolektivnih izložbi u zemlji i inostranstvu. Zaposlen je u Centru za kulturu u Loznici od 1990. Jedan je od osnivača likovne kolonije i Međunarodne multimedijalne studentske kolonije u Tršiću. Dobitnik je više kulturnih priznanja u BiH i Srbiji. O njegovoj izložbi Lica zemlje, lica ljudi historičar umjetnosti Marina Cvetanović je napisala: “Samim izborom slika kojima je želeo da se predstavi, Drago Simić nas vodi kroz žanrovski bogat opus. Lica zemlje ili lica ljudi, svakako su nadahnuta osećanjem koje su u njemu izazvala. Predmetnost jeste nešto od čega on kreće, međutim on sa toliko veštine preobražava, omekšava krajnje realan prizor u lirski toplu, prepoznatljivu, a u fragmentima i asocijativnu sliku. Posmatrajući prirodu bira detalj ili čitavu predstavu koju gradi sa nekoliko osnovnih linija oko kojih prepliće taj, samo njemu znan, uzajamni splet materije, boje, svetlosti i senke. Iz te prvobitne usredsređenosti na motiv rađa se jedna suverenost i moć da dopre do najtananije iskrenosti, do najličnijeg slikarskog izraza. Iz svakog pejzaža ili predstave zrači usamljenost, nekakva nostalgija u nagoveštaju. Odsustvo ljudskog prisustva donosi malo mistike i duhovnog mira. Da li ga slikar ima ili ga traži? Lica ljudi pred nama nisu samo verni opisi fizičkog izgleda, već predstavljaju spoj unutrašnjeg i spoljašnjeg života portretisanog. Lica velikana izranjaju iz njihovih dela, iz njihovih zavičaja, iz njihovih sudbina, uzdižući samu ideju slike. Simić svesno potiskuje boju i donosi mukli kolorit koji više ističe lik u prvom planu. Pored volje da postigne fizičku sličnost, on ne odstupa od svog uobičajenog stila i tehnike, a to je asocijativno u slikarstvu. Upravo tako rešava pozadine portreta koje na taj način sugerišu bogatstvo unutrašnjeg života bilo koga od njih. Zapravo pravi sintezu figurativnog, simbiličnog, ali i apsraktnog te tako ispisuje njihove biografije. Portretima pristupa specifično poetski i bez teškoća ostvaruje vrlo određene izraze i osećaje na njihovim licima, u njihovim očima... Na neki način deli i sa nama svoja iskustva koja je u mislima doživeo sa svima njima. Lica ljudi ili lica zemlje svakako su slikareva iskustva koja sežu i van granica platna, a sva se opet mogu sažeti u samo jednoj slici, bila to zelena prostranstva, krovovi grada, reka ili Vuk Karadžić, Ivo Andrić...”

Galerie Lazarew

Sergey Kononov

Retrouvez les oeuvres disponibles de Sergey Kononov. Pour plus d'info (dimensions, prix, détails), cliquez sur chaque oeuvre et sur l'icône (i). Contact: laura@galerie-lazarew.com

David Benrimon Fine Art

The Water Lilies of Roy Lichtenstein

Of the most innovative works are Lichtenstein’s Water Lilies series, a small edition on metal, which plays homage to the water lily paintings of Claude Monet. Always drawn to popular and clichéd themes, Lichtenstein takes Monet’s Water Lilies, artworks as iconographic as Mickey Mouse, and reworks them in his signature comic style, transforming them into Pop Art. Landscapes were the first time-honored art genre Lichtenstein turned to after his comic inspired Pop prints of the early 1960s. Inspired by Impressionist Claude Monet’s Nympheas, Lichtenstein furthered Monet’s exploration of light with a contemporary sensibility. Lichtenstein screenprinted solid blocks of colored sign-painter’s enamel on stainless steel to create an appearance of reflected water. Although not fully apparent in photographs, the water-lilies constantly transmogrify light and color as they engage with their surroundings, shifting and changing as the work is viewed from different angles. This immersive quality recalls Monet’s engrossing and vast canvases of ponds and water lilies that envelope the viewer. This fascination with water-lilies is a motif found throughout Lichtenstein’s oeuvre, such as in his water-lilies and Mirror series. In addition to lessons of light, Lichtenstein expanded Monet’s rejection of illusory perspective by using his comic style and careful composition. For example, Water Lilies with Cloud reverses the traditional ideas of perspective and compositional order by eliminating depth with flattened forms, and an interchangeable foreground, and background on the same plane. With a wider tonal range that includes green, orange, and yellow, Lichtenstein reduces Monet’s dancing water-lilies to diagonal stripes, cascading Benday dots and flat areas of color to symbolize movement without being illusory. Lichtenstein parodied Monet’s masterworks throughout his career, such as in Cathedrals and Haystacks in 1969, rendering them with a mass-produced quality like a machine made an impressionist painting. Of Water Lilies, Lichtenstein noted, “Instead, say, of thick and thin paint which might be the European sensibility, I’m using flat areas of color as opposed to dotted areas which imitate Benday dots in printing and become and industrialized texture rather than what we’re familiar with as a paint texture.” David Benrimon Fine Art featured the Water Lilies series in our Lichtenstein: Reflections on Pop exhibition in 2014.

COLECTIVO VIRAL

Viral

26 Jun 2020 – 26 Jul 2020

Instagram @viral_colectivo Somos artistas emergentes Medios digitales Herpes CAM Proyecto Colectivo intermitente Apropiación Baile Entropía Autorretrato Rostro Tianguis Catarsis Caos Orden Familia Diversidad Feminismo Mujeres Identidad Biografías Movimiento Antes Después Abandonado COVID-19 Zoom Miradas Ambulante Infancia Lazos Memorias Contraste Empoderamiento Visibilizar Enredo Concierto de oficios Cagadero Hierofanía Enteógeno Rastro Huella Paladar Tradición Impronta Espacio Piel Interactivo 2020 :)

Richard FEnker

Abstract Adventures

02 Jun 2020 – 02 Jul 2020

Blurred Image Series Using Vaseline on the Lens in an Atlanta Mall, on the Westerdam in the Caribbean and in Sayulita, Mexico.

Afnakafna

La mostra Gioconda

17 Jun 2020 – 11 Jul 2020

Fabian and Claude Walter Galerie

PERCEPTIONS | People in American Photography

13 Jun 2020 – 11 Jul 2020

The group exhibition PERCEPTIONS at the Fabian & Claude Walter Gallery features works by American photographers, which concern themselves with issues like human contact, corporeality, intimacy as well as fragility. The photographs explore problems of everyday topics and situations, the importance and necessity of which are made clear to us only at times marked by restrictions, distancing, and isolation. With its choice of high-quality vintage prints from private collections PERCEPTIONS outlines time travelling through 20th century history of photography and focusses on perceptions and relations among humans. The exhibition presents vintage prints from private collections by Imogen Cunningham (1883-1976), Saul Leiter (1923-2013), Jill Freedman (1939-2019), Duane Michals (*1932), Jerry Uelsmann (*1934), Nan Goldin (*1953), Sally Mann (*1951), Jock Sturges (*1947), Herb Ritts (1952-2002) and Jack Pierson (*1960). In Addition, a selection of estate prints by Vivian Maier (1926-2009) are shown.