naked Tom Cruise art BY HIMSELF

cruise-shroud-2

An upcoming Tom Cruise art installation is as mysterious as it is bizarre.

It was announced Wednesday that a giant Cruise shroud and commemorative medals will be unveiled in tribute to the actor’s 25-year involvement with the Church of Scientology — but the controversial religion claims to have no part in the spectacle.

The 14-foot-by-3-foot shroud — which depicts a very well-endowed nude likeness of the 53-year-old — and medals featuring his profile were created by artist Daniel Edwards and will be displayed next month at a “pop-up Church of Scientology” near the organization’s Clearwater, Florida, headquarters, the artist says.

But a spokesperson for the church denied any involvement in the project, telling Page Six that it’s a “publicity stunt and any claim to the contrary is false.”

artist invitations and 6 best places to sell/buy art online

The first-ever Plein Air Painting invitational in Boothbay Harbor and around the peninsula will be held Sept. 7-13 The event has been added as a Harbor Fest highlight and will feature a week of painting events, public receptions and art sales.

Where it all began: the Boothbay peninsula, one of Maine’s most photographed coastlines and historic artist colonies, has become an outdoor painting studio for world-renowned plein air painters. Over the past five years, a community collaboration among artists, business owners and media, including Corinne McIntyre, Mary Phelps, Carol Hartnett, Lindy Bragg, Win and Lori Mitchell, Roger Milinowski and Lisa Kristoff, has developed into what will now become the first Plein Air invitational event in our region: A Stroke of Art.PR072915-2Tickets purchased before Aug. 31 will include a $50 voucher toward a painting purchase at the Collectors Brunch. Tickets are limited and early purchase is recommended. Tickets are currently available online at www.boothbayharborfest.com or at COCO VIVO, 129 Commercial Street, Boothbay Harbor, and the Boothbay Farmers Market, Boothbay Common, every Thursday, 9 a.m. to noon.

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Fine Art and Wine Invitational

Three shows coming to Loveland Aug. 7-9; Art in the Park, Sculpture in the Park, Fine Art and Wine Invitational

August Art Weekend

Art in the Park: 10 a.m.-5 p.m. Saturday, Aug. 8, and 10 a.m.-4 p.m. Sunday, Aug. 9, North Lake Park, 2800 N. Taft Ave., Loveland. Admission is free. Event offers art and food items for purchase. Info: Lincoln Gallery, 970-663-2407, or artintheparkloveland.com.

Sculpture in the Park: 9:30 a.m.-6 p.m. Saturday, Aug. 8, and 9:30 a.m.-4:30 p.m. Sunday, Aug. 9, at Benson Park Sculpture Garden, 2908 Aspen Drive, Loveland. General admission is $7 (children 14-younger free). A private patron party on Friday, Aug. 7, costs $75. Info: Loveland High Plains Arts Council, 970-663-2940, or sculptureinthepark.org.

Loveland Fine Art and Wine Invitational: 10 a.m.-5 p.m. Friday, Aug. 7-Saturday, Aug. 8, and 10 a.m.-4 p.m. Sunday, Aug. 9, at Owens Field southwest of Loveland High School, on the south side of 29th Street. General admission is $7 (children 14-younger free). The event will have on-site ATMs, food, beverages and entertainment. Info: 623-734-6526 or vermillionpromotions.com.

Artists’ Charitable Fund Auction: 7 p.m. Saturday, Aug. 8, rain or shine, Norma & Lynn Hammond Amphitheater, Taft Avenue and 29th Street adjacent to the Loveland Fine Art and Wine Invitational. Auctioneer is sculptor George Lundeen. The event will include sub sandwiches, beer and wine. Sculptures and two-dimensional art donated by artists from around the country. Info: 970-577-0509.

Parking and transportation: Parking areas for people with disabilities available near the entrances to the shows. A valid disabled parking permit is required in this area. Guests are encouraged to use the free shuttle bus service from various locations around Loveland. Buses will be available 8:30 a.m.-5 p.m. Saturday, Aug. 8, and 8:30 a.m.-3:30 p.m. Sunday, Aug. 9.

Shuttles will stop at King of Glory Church, City of Loveland Service Center, Thompson Valley Towne Center, Orchards Shopping Center and Massage Envy at Centerra.

Jessica Benes: 970-669-5050 (ext. 530), jbenes@aespotlight.com, twitter.com/jessicabenes

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The 6 Best Places to Buy Art Online

Captured: This online store is focused on gorgeous large-format photography with a brilliant twist—only one striking image at a time is available, and it’s only available for a single week. Once it’s gone, it’s gone, and it’ll never be available again.01-fine-art-online-main

Art

The 6 Best Places to Buy Art Online

Getting into art is often intimating, but it shouldn’t be. Here are a few great places to shop for the good stuff in a way that’s easy and fun, not snobby and confusing.
01-fine-art-online-main.jpgCaptured: This online store is focused on gorgeous large-format photography with a brilliant twist—only one striking image at a time is available, and it’s only available for a single week. Once it’s gone, it’s gone, and it’ll never be available again.

• • •02-fine-art-online-main.jpgArtsy: Not only is Artsy a beautiful encyclopedia of the world’s greatest art, but it’s also an outstanding place to find the perfect piece for your pad. The process is a little more involved than hitting “add to cart” and typing in your shipping address, but the personal and white-glove experience via its partnered galleries makes any purchase through the site all the more special.

Gray Malin: The sunny and stunning work of Gray Malin, one of the greatest fine-art photographers living today, has some serious Slim Aarons vibes. His store is loaded with jet-set-focused large-format photography that will make any room feel like a postcard.

Artspace: This site has tasteful art advisers that are standing by to help you find the right art for your home. It’s loaded with tons of easy-to-digest information too, so going from novice to enthusiast just by browsing is likely.

1stdibs: Acting as a middleman and curator for the world’s most beautiful things, 1stdibs is a great resource and catalog of some of the coolest furniture, jewelry, watches, and fine art money can buy. It’s all killer, no killer—it does a great job filtering out the boring.

Saatchi Art: Considered to be the world’s largest online gallery, Saatchi Art has a little bit of everything, but most interestingly, has a wide range of prices. So whether your budget is three figures or six, there’s art for you.

Online art mags and Chicago seeks art

Seeking Visual Art for Lit Mag Summer Issue

no pay

Lime Hawk, an independent online journal focusing on culture and environment, seeks visual art – including photography, illustration, mixed-media, drawing, etc. – for its upcoming Summer Issue. Submit original, unpublished artworks via our Submittable page: limehawk.submittable.com/submit.

Visit limehawk.org/journal for more information and to view previous issues.

Thank you for sending us your artwork!

  • do NOT contact me with unsolicited services or offers

post id: 5148660417

posted: about 20 hours ago

email to friend

best of [?]

No contact info? if the poster didn’t include a phone number, email, or
other contact info, craigslist can notify them via email.

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Graphic Designer Visual Arts Magazine

Scotland’s leading visual art magazine

Deadline: 10 August 2015 at 18:00

To start soon. Highly organized print and online ad designer for bi-monthly art magazine. Experienced-fast and creative. Contemporary design flair. Latest equipment. Lap top-InDesign- Photoshop etc. Must have also worked with large printing company. Reside in the Lothian’s central to Edinburgh office. Set fee. Personable with good written and verbal skills. Send CV and 3 ad samples with contact info. Love of design, topography and magazines a must !

Location: East Lothian, Edinburgh City, Midlothian, Scottish Borders, West Lothian

For further information, please contact christiedessy@gmail.co.uk

The deadline is Monday 10 August 2015 at 18:00.


TAGGED:
Design / Visual Arts / Literature and Publishing

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A lot goes on at Primer.

The monthly event fuses cocktail party, concert and art viewing — plus a segment for projects and businesses in the spirit of Technori pitch events — to promote artists’ development in Chicago.

It’s a product of Canvas, a Wicker Park-based event company and community of event producers, entrepreneurs and artists.

The event is one of several the 2-year-old initiative has in place to enable artists to collaborate and share resources.
Glappitnova panel: Chicago needs investment, startups that stay
Glappitnova panel: Chicago needs investment, startups that stay

“We thought, ‘Let’s bring a little more structure that seems to be around the Technori style, as well as an element of what’s at art and creative events,’” said Preston Jones, co-founder and director of operations at Canvas.

The event bridges the gap between enterprise and creativity, Jones said. He said about 70 percent of attendees are creative types, the rest entrepreneurs.

The fifth and most recent event last week included, among other things:

• short pitches from a company that does events for creative types combining art, music, yoga, drinks and a charitable component;
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• an arts and beer activity seeking brewery and artist participation;

• the developer of a live-show ticket-purchasing app in need of bands for testing;

• and a community arts center bringing awareness to its Indiegogo campaign;

Canvas runs an accelerator for creative endeavors including audio, visual and literary projects. It produces experiential events and art installations for brands and gatherings, and it organizes a regular collaborative that pairs visual and musical artists for an evening’s entertainment.
Glappitnova and a founder’s vision of storytellers and investors
Glappitnova and a founder’s vision of storytellers and investors

Artists Vincent Naples, who goes by DrmBt, and Lefty carry out many of the initiatives.

“We want to shift the way people think about how you buy and experience art,” said Jones, who started Canvas in 2013 with Naples. “Traditionally, bands tour with other bands. Why can’t a visual artist go on tour with a musician?”

Last week’s Primer included folks who sported topknots and dreadlocks and carried a skateboard or two. Attendees interacted in the Canvas courtyard with drinks amid displays from a featured visual artist and performances by a local musician and DJs. Along the way, they heard short pitches from those touting programs.

“It’s about putting a roomful of people together, inspiring them and allowing them to connect,” Jones said. “So many networking events, they have a stuffiness about them. We try to ease that into the environment, and organically people will just happen to meet each other because that’s what’s in the air.”

Pugs Atomz, creative director and designer at Chicago-based Iridium clothing company, said he appreciated the opportunity to get in front of creators and ask them for proposals on collaborations. He said he made contact with a couple of DJs whom he booked to play at the store.

“It’s a really good place to say what we need, as opposed to other events where people are offering what they have,” Atomz said.900x506

OXFORD and Amsterdam ART FAIR 2016 – call for artists

PEN CALL EARLY BIRD – EXTENDED OFFER 
Submit before 3rd Aug 2015 to receive the early bird OFFER – FREE social media promo to 80,000+ followers (normally £75 GBP)

Use promocode: EARLYOIAF Valid till 3rd Aug 2015.

SUBMIT ONLINE http://www.oxfordinternationalartfair.com/apply/oxford-art-fair-113+copia

DIGITAL ART SHOWCASE

Amsterdam International Art Fair 28-29 August 2015

What’s included in the Digital Art Showcase:

  • Exhibition of 2 or 4 artworks displayed on High Def Plasma at the Fair
  • Intro shot of your Artist name and website
  • Credits and Advert in the official Art Fair Catalogue
  • Mention of Artist in Exhibitor List on the Art Fair Website
  • Mention of Artist on Art Fair Banner
  • Possibilities of shipping Business Cards
  • Shipping of Catalogue to your address at a small extra fee
  • Extra Promotions available such as Interview, Social Media promo, etc.

Only 5 spaces left – book before 3rd Aug 2015.

Galleries: let’s ditch the artspeak and artybollocks

http://www.theguardian.com/culture-professionals-network/2015/jul/30/galleries-lets-ditch-the-artspeak-and-artybollocks?CMP=new_1194&CMP=

As an art student eager to know about the latest arts discourse and reviews, I thought nothing of spending hours poring over the library’s copy of contemporary art journal Studio International. With dictionary to hand, I would assiduously look up the unfamiliar words and decipher all the specialist concepts and terms. I was there to study. I had time and inclination to understand the theories of fine art practice. I needed to understand, appreciate and critique art and after all, this publication wasn’t aimed at the general public.

Nowadays, surveys such as Taking Part tell of high levels of general public interest in the contemporary visual arts. According to Tate director Sir Nicholas Serota, the Plus Tate network of galleries small and large across the UK are pulling in the punters, their programmes “enthusiastically adopted by their local communities”. So have contemporary art galleries adapted their language, in recognition of their now wider (and more culturally diverse) audiences?

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Does knowing that Peter Fraser has always been a “poet of the quotidian” galvanise interest to go along to a recent photographer’s talk at Liverpool’s Open Eye Gallery? Are Piers Calvert’s paintings made more appealing to visitors because they contain “faces that at the same time are millenary and somehow totally contemporary”? Or is the statement: “Alfred Wallis was an artist and mariner. He painted from the memory of his experiences, depicting ships at sea, wrecked, and at harbour, houses and landscapes” – about a Kettle’s Yard exhibition – easier to understand?

Manchester International Festival’s outgoing artistic director Alex Poots observed that many of the divisions in the arts are human-made. Current art language is one such barrier, overwhelming you with adjectives, superlatives and jargon. For example, there’s a “fascinating and engaging introduction” to Towner Gallery’s collection; “friendly and knowledgeable” gallery staff at the Hepworth Wakefield; and “exciting and ambitious” programming at Edinburgh’s Collective.

Today’s contemporary art … well, it’s got to be hyped up as the best. It’s variously unique, brilliant, cutting-edge or – at the very least – high-quality. Arts institutions (that often reside in “landmark buildings”) claim to be centres of excellence, world-class and inspiring. Exhibitions are ground-breaking, blockbuster and vibrant. Curators are renowned, respected and innovative. The work presented is offered as thought-provoking, experimental, playful and absurd.

Why is it necessary for exhibitions to have such pompous, overblown statements? The 56th (this year’s) Venice biennale intro gets my Twitterati’s gong for one of the best/worst examples of such artspeak: “Rather than one overarching theme that gathers and encapsulates diverse forms and practices into one unified field of vision, All the World’s Futures is informed by a layer of intersecting filters, namely Garden of Disorder, Liveness, On Epic Duration and Reading Capital. These filters in their iterative choreography across the exhibition represent a constellation of parameters that circumscribe multiple ideas, which are touched upon to both imagine and realise a diversity of practices.”

I agree with writer and artist Alistair Gentry: such excessive art jargon seems only to “grant power and prestige to a minority of privileged insiders while trying to withhold access by the rest of us.”

If public galleries really want to make themselves more accessible, do exhibition titles such as The Heart is Deceitful Above All Things (an extract from Jeremiah 17:9) and Happiness is a New Idea (a phrase apparently first coined in the French revolution) assist?

Surely more user-friendly are descriptions such as those for John Virtue: The Sea (“large paintings and works on paper, studies of the North Norfolk coast”); American Dream (“a response to capitalism and our consumption-driven society”) and Real painting (“an exhibition of new and existing work by ten artists working nationally and internationally”).

If you’re working in the contemporary visual arts and want to attract wider and more diverse audiences, the verbosity and artybollocks will just have to go. Instead, try plain English, “written with the reader in mind and with the right tone of voice” – or take some tips from George Orwell:

  1. Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.
  2. Never use a long word where a short one will do.
  3. If it is possible to cut a word out, always cut it out.
  4. Never use the passive where you can use the active.
  5. Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent.
  6. Break any of these rules sooner than say anything outright barbarous.

Join our community of arts, culture and creative professionals by signing up free to the Guardian Culture Pros Network.

Artspeak alert: what not to write or say

From ‘radical unreality’ to ‘leggy plasticity’, we collate the most baffling examples of art lingo going, as submitted by you

Visual by Tagul, which only works on the desktop version of this page – hover your cursor over the words to read in full

“There are so many beautiful flowers in my garden, I took some pictures of them.” So starts Jörg Colberg in his self-imposed mission to write an artistic statement for his own work. It’s not until several minutes and rewrites later that we hear the final iteration, describing his work as “timelessly sublime and superbly majestic” relating to “humanity’s ever-evolving disconnect from its innermost self”.

While this might be parody, there are artist statements and performance programmes out there littered with posture and pretence. And how we communicate our work is an important issue, as the recently-launched website Interpretation Matters shows – artspeak can have a profound impact on audience experience, visitor rates, artist reputations and more.

So in a call to cull more tortured descriptions, we asked you to send us the most offending words, sentences or paragraphs of artspeak you’ve read. From press releases to portrait labels, you submitted in your droves to help us collect some of the most confusing and complex material going, and we’ve visualised some of the best (or is that worst?) examples above.

Enjoy, and let us know if there’s anything we’ve missed by adding them in the comments section below.

This content is brought to you by Guardian Professional. To get more articles like this direct to your inbox, sign up free to become a member of the Culture Professionals Network.

few of my latest 31 JULY 2015

In my will it states that: no museum, gallery, curator, collector,etc who is in possession of any work from the Koons or Hirst ‘art’ factories, or an Ono, Emin or Danh Vo will be allowed to purchase or hang any of my work, as I do not wish to be associated with what is passed off as ‘art’ by those or similar individuals, who live OFF art and not FOR it.

ap59ab ap43 ap43a ap44 ap44a ap45 ap45a ap46 ap46a ap47 ap47a ap48 ap48a ap49 ap50 ap51 ap52 ap53 ap54 ap55 ap56 ap57 ap57a ap58 ap58a ap59 ap59a

Art Journeys; golden ratio aesthetic myth

An Art-to-Art Journey to Switzerland’s Masterpieces
Bob Preston, a resident of Geneva and the founder of the leading travel companies Swiss Panache and Panache.Voyage, has created a tour that highlights both Swiss craftsmanship—its famous watches and knives—as well as its contributions to the worlds of art, architecture and design. You’ll see important works by Paul Klee, Le Corbusier, and others. Between all the cultural highlights (some described in more detail in this guide), Bob will make sure you experience the best of Switzerland’s hotels and restaurants.
http://www.afar.com/journeys/an-art-to-art-journey-to-switzerland-s-masterpieces?utm_source=outbrain&utm_medium=paid&utm_campaign=journeys

Switzerland. get natural.  MAMCO, Geneva's Museum of Modern & Contemporary Art opened in an old factory in 1994. Special exhibitions and works from the last 40 years are displayed. Schweiz. ganz natuerlich. Mamco, Genf. Das Musee d'Art Moderne et Contemporain wurde 1994 in einem Industriebau eroeffnet und praesentiert auf 4000m2 Sonderschauen und Werke aus den letzten 40 Jahren.  Suisse. tout naturellement.  Mamco, Geneve. Le Musee d'art moderne et contemporain a ouvert ses portes en 1994 dans un ancien batiment industriel. Il presente des expositions temporaires et des oeuvres des 40 dernieres annees. Copyright by Switzerland Tourism              By-line:  swiss-image.ch/Christoph Schuerpf
Switzerland. get natural.
MAMCO, Geneva’s Museum of Modern & Contemporary Art opened in an old factory in 1994. Special exhibitions and works from the last 40 years are displayed.
Schweiz. ganz natuerlich.
Mamco, Genf. Das Musee d’Art Moderne et Contemporain wurde 1994 in einem Industriebau eroeffnet und praesentiert auf 4000m2 Sonderschauen und Werke aus den letzten 40 Jahren.
Suisse. tout naturellement.
Mamco, Geneve. Le Musee d’art moderne et contemporain a ouvert ses portes en 1994 dans un ancien batiment industriel. Il presente des expositions temporaires et des oeuvres des 40 dernieres annees.
Copyright by Switzerland Tourism By-line:
swiss-image.ch/Christoph Schuerpf

The Golden Ratio: Design’s Biggest Myth
The golden ratio is total nonsense in design. Here’s why.3044877-slide-s-1-the-golden-ratio-designs-biggest-urban-legend-copy

In the world of art, architecture, and design, the golden ratio has earned a tremendous reputation. Greats like Le Corbusier and Salvador Dalí have used the number in their work. The Parthenon, the Pyramids at Giza, the paintings of Michelangelo, the Mona Lisa, even the Apple logo are all said to incorporate it.

It’s bullshit. The golden ratio’s aesthetic bona fides are an urban legend, a myth, a design unicorn. Many designers don’t use it, and if they do, they vastly discount its importance. There’s also no science to really back it up. Those who believe the golden ratio is the hidden math behind beauty are falling for a 150-year-old scam.

What Is The Golden Ratio?

First described in Euclid’s Elements 2,300 years ago, the established definition is this: two objects are in the golden ratio if their ratio is the same as the ratio of their sum to the larger of the two quantities. The value this works out to is usually written as 1.6180. The most famous application of the golden ratio is the so-called golden rectangle, which can be split into a perfect square, and a smaller rectangle that has the same aspect ratio as the rectangle it was cut away from. You can apply this theory to a larger number of objects by similarly splitting them down.

In plain English: if you have two objects (or a single object that can be split into two objects, like the golden rectangle), and if, after you do the math above, you get the number 1.6180, it’s usually accepted that those two objects fall within the golden ratio. Except there’s a problem. When you do the math, the golden ratio doesn’t come out to 1.6180. It comes out to 1.6180339887… And the decimal points go on forever.

“Strictly speaking, it’s impossible for anything in the real-world to fall into the golden ratio, because it’s an irrational number,” says Keith Devlin, a professor of mathematics at Stanford University. You can get close with more standard aspect ratios. The iPad’s 3:2 display, or the 16:9 display on your HDTV all “float around it,” Devlin says. But the golden ratio is like pi. Just as it’s impossible to find a perfect circle in the real world, the golden ratio cannot strictly be applied to any real world object. It’s always going to be a little off.

The Golden Ratio as Mozart Effect

It’s pedantic, sure. Isn’t 1.6180 close enough? Yes, it probably would be, if there were anything to scientifically support the notion that the golden ratio had any bearing on why we find certain objects like the Parthenon or the Mona Lisa aesthetically pleasing.

But there isn’t. Devlin says the idea that the golden ratio has any relationship to aesthetics at all comes primarily from two people, one of whom was misquoted, and the other of whom was just making shit up.

The first guy was Luca Pacioli, a Franciscan friar who wrote a book called De Divina Proportione back in 1509, which was named after the golden ratio. Weirdly, in his book, Pacioli didn’t argue for a golden ratio-based theory of aesthetics as it should be applied to art, architecture, and design: he instead espoused the Vitruvian system of rational proportions, after the first-century Roman architect, Vitruvius. The golden ratio view was misattributed to Pacioli in 1799, according to Mario Livio, the guy who literally wrote the book on the golden ratio. But Pacioli was close friends with Leonardo da Vinci, whose works enjoyed a huge resurgence in popularity in the 19th century. Since Da Vinci illustrated De Divina Proportione, it was soon being said that Da Vinci himself used the golden ratio as the secret math behind his exquisitely beautiful paintings.

One guy who believed this was Adolf Zeising. “He’s the guy you really want to burn at the stake for the reputation of the golden ratio,” Devlin laughs. Zeising was a German psychologist who argued that the golden ratio was a universal law that described “beauty and completeness in the realms of both nature and art… which permeates, as a paramount spiritual ideal, all structures, forms and proportions, whether cosmic or individual, organic or inorganic, acoustic or optical.”

He was a long-winded guy. The only problem with Zeising was he saw patterns where none exist. For example, Zeising argued that the golden ratio could be applied to the human body by taking the height from a person’s navel to his toes, then dividing it by the person’s total height. These are just arbitrary body parts, crammed into a formula, Devlin says: “When measuring anything as complex as the human body, it’s easy to come up with examples of ratios that are very near to 1.6.”

But it didn’t matter if it was made up or not. Zeising’s theories became extremely popular, “the 19th-century equivalent of the Mozart Effect,” according to Devlin, referring to the belief that listening to classical music improves your intelligence. And it never really went away. In the 20th century, the famous Swiss-French architect Le Corbusier based his Modulor system of anthropometric proportions on the golden ratio. Dalí painted his masterpiece The Sacrament of the Last Supper on a canvas shaped like a golden rectangle. Meanwhile, art historians started combing back through the great designs of history, trying to retroactively apply the golden ratio to Stonehenge, Rembrandt, the Chatres Cathedral, and Seurat. The link between the golden ratio and beauty has been a canard of the world of art, architecture, and design ever since.

Ian Yen via Yanko Design

You Don’t Really Prefer The Golden Ratio

In the real world, people don’t necessarily prefer the golden ratio.

Devlin tells me that, as part of an ongoing, unpublished exercise at Stanford, he has worked with the university’s psychology department to ask hundreds of students over the years what their favorite rectangle is. He shows the students collections of rectangles, then asks them pick out their favorite one. If there were any truth behind the idea that the golden ratio is key to beautiful aesthetics, the students would pick out the rectangle closest to a golden rectangle. But they don’t. They pick seemingly at random. And if you ask them to repeat the exercise, they pick different rectangles. “It’s a very useful way to show new psychology students the complexity of human perception,” Devlin says. And it doesn’t show that the golden ratio is more aesthetically pleasing to people at all.

Devlin’s experiments aren’t the only ones to show people don’t prefer the golden ratio. A study from the Haas School of Business at Berkeley found that, on average, consumers prefer rectangles that are in the range of 1.414 and 1.732. The range contains the golden rectangle, but its exact dimensions are not the clear favorite.

Many Of Today’s Designers Don’t Think It’s Useful

The designers we spoke to about the golden ratio don’t actually find it to be very useful, anyway.

Richard Meier, the legendary architect behind the Getty Center and the Barcelona Museum of Contemporary Art, admits that when he first started his career, he had an architect’s triangle made that matched the golden ratio, but he had never once designed his buildings keeping the golden ratio in mind. “There are so many other numbers and formulas that are more important when designing a building,” he tells me by phone, referring to formulas that can calculate the maximum size certain spaces can be, or ones that can determine structural load.

Alisa Andrasek, the designer behind Biothing, an online repository of computational designs, agrees. “In my own work, I can’t ever recall using the golden ratio,” Andrasek writes in an email. “I can imagine embedding the golden ratio into different systems as additional ‘spice,’ but I can hardly imagine it driving the whole design as it did historically… it is way too simplistic.”

Giorgia Lupi of Accurat, the Italian design and innovation firm, says that, at best, the golden ratio is as important to designers as any other compositional rule, such as the rule of thirds: maybe a fine rule-of-thumb, but one that good designers will feel free to reject. “I don’t really know, in practice, how many designers deliberately employ the golden ratio,” she writes. “I personally have never worked with it our used it in my projects.”

Of the designers we spoke to, industrial designer Yves Béhar of Fuseproject is perhaps kindest to the golden ratio. “I sometimes look at the golden ratio as I observe proportions of the products and graphics we create, but it’s more informational than dogmatic,” he tells me. Even then, he never sets out to design something with the golden ratio in mind. “It’s important as a tool, but not a rule.”

Even designers who are also mathematicians are skeptical of the golden ratio’s use in design. Edmund Harriss is a clinical assistant professor in the University of Arkansas’ mathematics department who uses many formulas to help generate new works of art. But Harriss says that the golden ratio is, at best, just one of many tools at a mathematically inclined designer’s fingertips. “It is a simple number in many ways, and as a result it does turn up in a wide variety of places…” Harriss tells me by email. “[But] it is certainly not the universal formula behind aesthetic beauty.”

The Sacrament of the Last Supper, 1955, Salvador Dali

Why Does The Myth Persist?

If the golden ratio’s aesthetic merit is so flimsy, then why does the myth persist?

Devlin says it’s simple. “We’re creatures who are genetically programmed to see patterns and to seek meaning,” he says. It’s not in our DNA to be comfortable with arbitrary things like aesthetics, so we try to back them up with our often limited grasp of math. But most people don’t really understand math, or how even a simple formula like the golden ratio applies to complex system, so we can’t error-check ourselves. “People think they see the golden ratio around them, in the natural world and the objects they love, but they can’t actually substantiate it,” Devlin tells me. “They are victims to their natural desire to find meaning in the pattern of the universe, without the math skills to tell them that the patterns they think they see are illusory.” If you see the golden ratio in your favorite designs, you’re probably seeing th

Art & maths, publish your own art book, Bauhaus artists

Bridges 2015: a meeting of maths and art – in pictures

The Bridges Conference is an annual event that explores the connections between art and mathematics. Here is a selection of the work being exhibited this year, from a Pi pie which vibrates the number pi onto your hand to delicate paper structures demonstrating number sequences. This year’s conference runs until Sunday in Baltimore.http://www.theguardian.com/science/alexs-adventures-in-numberland/gallery/2015/jul/30/bridges-2015-a-meeting-of-maths-and-art-in-pictures600

http://www.gaapublishing.com/your-personal-book/

You can now have your very own book about yourself as an artist, with fabulous images of your artworks, your exhibitions and all your major achievements to show the world, and hand out to important contacts, galleries, dealers, agents, collectors, media. We also offer Amazon selling, and worldwide distribution services, so your art book could be in the bookshops shortly!

WE OFFER;
– Personal Book Design, (from £ 35 GBP per page. Content to be supplied as per instructed)
– Printing, (from £ 298 GBP) View all prices here
– Publishing & Distribution, (from £1550 GBP incl Amazon)
– Promotions. (from £ 50 GBP)

SUBMIT ORDER

Own a book about yourself! And distribute to the right contacts.
All greatest artists have one! A book published about their work and achievements. Having your own art book is a great promotion & advertising source of a professional standard making you as an experienced artist coming across proficient, professional and well-established.

Giving you the opportunity to make important and meaningful contacts. Stand out with a classy and sophisticated book containing serious information with the exceptional artworks that you have created.

Printed to the highest quality by double Queen’s Award winning printing company Seacourt Ltd who are world renowned, multi award winning and famous for their eco-friendly ethos – adding huge value to your Art book. Expect museum quality… Bringing the art to life!

Book specifications:

A4 size Portrait or Landscape or choose Square 216mm x 216mm
Hardcover case-bound or Softcover
Full Colour throughout / High Quality Colour vibrance
Choose amount pages: 4pp cover + 48pp inside pages or 4pp cover + 96pp inside pages
Choose quantity: (10 – 20 – 50 – 100 – 200 – 250 – 300 – 500)
Multi Award-Winning Printer Seacourt Ltd
Museum Quality Art Book
Creative layout provided by professional and experienced Agency if required (costs are extra)
Environmental and Waterless Printing
Prepress Review
Includes Delivery
ISBN (optional)
Distribution Amazon, & bookshops around the world. (extra costs, optional)
Allow 2-3 weeks for design layout (extra costs, optional)
Allow 2-3 weeks for printing
Allow a few days for delivery (depending which country)
Design can also be delivered by yourself in high res PDF – saving layout costs.
Landscape Books cannot be processed for Amazon print-on-demand.

To be included in your book, if we to create design:

50-100 high quality pictures of your artwork, or scans of the works in JPG. or TIFF format, 300DPI in CMYK.
Artwork information: Title, Year, Media, Size, Collections
Writing, essays, statement, texts, CV, exhibitions, awards, honours, etc.
Profile/studio/action pictures
Important. Content has to be supplied as per instructed; Good copy supplied in Word file indicated with page numbers + Excel file which shows which image to go on which page + caption field if required.

PRICES:

View Print Prices

Optional Extra’s:

Book Design and Layout : £ 35 GBP per page (1 round of changes included)
ISBN Certified, includes 10 ISBN numbers : £ 475 GBP
Amazon print-on-demand distribution and other online retailers worldwide including ISBN : £ 1550 GBP (only possible for A4 portrait & square books)
Ebook publishing, Apple, Amazon, iBookstore, Scribd, Copia, Central, Kobo, Gardners Books, and others. : £ 950 GBP (incl reformatting)
Social Media Promo FB & Twitter (60,000+) : £ 75 GBP
Instagram Promo (7000+) : £ 50 GBP
Interview about book release published online + Social Media Promo : £ 295 GBP
Dedicated Newsletter about release of book (32,000+ incl press contacts) : £ 500 GBP

SUBMIT ORDER:

If interested please submit the order below. Once the order is confirmed, a payment deposit of 50% will need to be made within 7 days of invoice and the final 50% once the design is approved by you. VAT might be subject to your order. All orders include FREE UK Delivery. Please Read T&C which also includes detailed information about Amazon print-on-demand and other details.

By submitting your order you agree to the schedule and the T&C – Read here.

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Bauhaus Artists

Hirschfeld-Mack, Ludwig
Hirschfeld-Mack, Ludwig

600

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series of calls for artists; Laurel Arts District

;The Des Plaines Arts Council (DPAC) announced the first in a series of calls for artists to submit applications for temporary display of public art in Des Plaines.c05120d2-ee9b-4316-9b3f-229fc4fa86f7_570

Artworks will be displayed in a storefront located in downtown Des Plaines’ Metropolitan Square.

A reception is planned for October, after the artwork has been installed, in coordination with the Des Plaines Arts Council’s annual Des Arts event.

Artists are responsible for the transportation and installation of their work. Artwork will be accompanied by labels identifying the artist, artwork, and directing interested patrons to the Des Plaines Arts Council website (dpartscouncil.org). A page will be posted on the arts council’s website with more information about the artist, purchase price for works on display, and a link to the artist’s website (if available). Proposals will be reviewed and juried by a committee of arts council members and community representatives.

If an exhibited work is sold during the Art Moves Des Plaines pop-up show, a 25% commission of the sales price will be paid to the Des Plaines Arts Council. These funds will be used to sustain future public art programs in Des Plaines. Preference may be given to work that has already been completed. Conceptual proposals will be considered if the artwork can be completed within the presented timeline, and applications are submitted with clear and detailed specifications and renderings.

A signed contract and license agreement approved by the Des Plaines Arts Council will be required before artwork can be displayed.

General liability insurance is not required from the artist. However, the arts council does recommend that all artists obtain property insurance to cover their work.

Artists interested in submitting proposals for consideration must submit a completed application with required attachments at: dpartscouncil.org. Applications are due Aug. 15. Jurying and selection of works will be announced by Aug. 31.

For more information go to dpartscouncil.org.

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I

n the shade of the downtown Laurel Arts District, nestled alongside the Patuxent River, a silk road for artists is winding its way through new businesses on Main Street.

Laurel Artist District Committee president Ada Ghuman, a driving force behind the concept, credits local artists and the Laurel proprietors who are displaying their work around town with creating a “chain reaction.”

Fine art is selling in Old Town. And the eateries providing exhibit space are fostering a dynamic ambience for their businesses — the works on display refresh monthly to attract new and returning patrons.

According to its website, the Laurel Arts District Committee is an organization that aims to “promote wide-ranging community growth via the arts” while preserving the “unique historical town” of Laurel.

Fields, who recently left her job with the city, connected Ghuman with Nadol Hishmeh, owner of Olive on Main, a Mediterranean restaurant that opened in 2014 in the 500 block of Main Street, a space previously occupied by Salute Ristorante Italiano.

The Arts District Committee holds monthly Meet the Artist happy hours at Olive on Main. The events have attracted an increasing number of art enthusiasts to discuss the works on display with the artists who created them.

This month, the committee and Olive on Main celebrated a full year of partnership at their happy hour, drawing more than 70 attendees, double the number of the first reception. The work of Laurel resident L. Anjanine Kvale was featured, and the artist who sold eight of her paintings.

A member of the Laurel Arts Guild and a 13-year Old Town resident, Ghuman said she’s known neighbors to meet and socialize at Main Street establishments in the past, but that discovering modern art on the walls to discuss, and perhaps purchase, is new.
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As an artist, Ghuman said she believes such collaborations between the Laurel arts community and business owners are reenergizing the city’s culture and shifting the focus from traditional to contemporary art.

Olive on Main’s Meet the Artist happy hours and rotating monthly exhibits have been so well received that the committee has artists lined up to show work there through the third quarter of 2016.

“I think there is a natural progression for something like this,” Ghuman said. “And I am finally at the point where I found four other people [to help].”

Those four — Laurel residents Kvale, Zinoosh Farbod, Clayton Cooper and Amy Knox— round out the Laurel Arts District Committee.

The committee’s annual Laurel Arts Festival has expanded from visual arts to include performances by musicians, theater troupes and poets.

Last October’s festival at the Laurel Armory was co-sponsored by the city; Klingbeil Capital Management, developers of C Street Flats across from Venus Theatre; and Main Street’s Cork and Bottle Liquors and featured a performance by Farbod’s band, Channel Volatile.

Coffee and art

Works by local artists are also displayed at More than Java Cafe, a new Main Street coffee shop that opened this summer a few blocks away from Olive on Main.

Business has been brisk since the cafe opened and two of Elkridge resident Linda Wicksell’s abstracts, “Down the Rabbit Hole” and “Forever Garden,” have already sold.

Wicksell, a former Howard County Arts Guild member and current Laurel Arts Guild member, said she feels inspired by the quick sale of her paintings. She foresees historic Laurel becoming “another Ellicott City as a venue for artists to promote their work.”

On Friday, July 31, More Than Java Cafe will host an evening reception entitled “13 Artists Exhibit.” In contrast to the displays at Olive on Main, which showcase the multiple works of a single artist each month, cafe owners Ronnie and Tabitha Clark prefer a more eclectic art vibe for their Internet cafe.

Tabitha Clark said she plans to make the event “special for everyone” with wine and cheese tastings and samples from More Than Java Cafe recipes.

Currently working on pairing a new wine ice cream with homemade desserts for the reception, Clark said she appreciates the art work coming to her cafe and feels tempted to buy some of the art herself.

She particularly favors a digital composition by Joanna Yoder, “Mr. Rogers Three Hats, Claxton GA,” hanging near the storefront window. Clark said it seems to belong there.

“It just fits so well,” she said. “I would be sad if it left.”

The More Than Java Cafe exhibit is catching attention from regular patrons. Whiskey Bottom resident Alex Watts, who plans to frequent the cafe every Saturday, said he appreciates the art he’s discovered hanging on the walls as much as the “great coffee.”

“I think I’ve been waiting for more art to come to the city,” he said. “Laurel is finally blossoming.”

Other artists showcasing their work at More Than Java include Ghuman, Kvale, Diane Shipley, Errol McKinson, Barbara Talbott, Steve Williams, John Cholod, Jon Shields, Paul Gush, Diego Sifuente and Patricia Steck.

Ghuman, Kvale and Sifuente also have their work on display through Aug. 15 at “Power of Words,” an exhibit at the Empower 2 Move U Studio near City Hall on Sandy Spring Road.
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More than Java set to open on Main Street in June

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More than Java set to open on Main Street in June

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On Aug. 20, the Olive on Main Meet the Artist happy hour will feature works by West Laurel resident Agnes Conaty. “Memories of Home” is a nostalgic collection of watercolor and acrylic paintings inspired by her life in the Philippines and Maryland.

Ghuman said the Laurel Arts District Committee looks forward to organizing more regular exhibits and lots of special events — hopefully every other month — in the coming year.

As the network continues to spread, Ghuman said the committee plans to grow its organization as a nonprofit. The members are currently working on developing an advisory board to focus on legal and financial issues and applying for grants.
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“I feel this sleepy town is waking up with all sorts of creative endeavors and I support our kindred spirits,” Ghuman said.