Ideas That Are Unfamiliar and The Art of Mistakes eBook


ae71ae69ae70Ideas That Are Unfamiliar, Zany and Seemingly Crazy

The following comes from a message I originally shared with our sister site, Download the featured eBook, plus many other digital art books, video workshop downloads, and art magazines for 30% off today at North Light Shop.

Many of us are trained from early on to give too much consideration to the opinion of others. It’s not until we’re adults that we realize we don’t need someone else’s permission to be unique. We often hold back, refraining from saying what we really want to say or do. I’ll admit that there’s absolutely a time and a place for restraint, but I don’t think that time is in your art and self-expression.

Tapping into your art, and I mean YOUR art, involves finding out who you are and not being afraid to be different. I thrive on involvement with interesting people and things. One of my favorite questions to ask someone when we first meet is, “What do you love to do?” I don’t care about the weather or traffic. Tell me what you breathe for.

Melanie Rothschild, artist and author of The Art of Mistakes: Unexpected Painting Techniques and the Practice of Creative Thinking, is here to reassure us all that, as she says, we’re not going to get arrested if we push our own artistic boundaries and experiment. No one will chastise you.
Download The Art of Mistakes right to your computer!
Drips on Stripes by Melanie Rothschild (Pin this!)

“Understanding the nature of creativity helps us to embrace developing a wide spectrum of ideas–including the unfamiliar, the zany, the seemingly crazy, the never been done before, and an appreciation of certain mistakes,” Melanie says. “You just never know what’s going to spawn the germ of a thought that could be developed into something spectacular. And you don’t want to cut off any ideas that could ultimately turn out to be the next opposable thumb. If ideas are tamped down in the very early stage when all the potentials are strewn about, the best of the bunch might be left out because of an assumption that ‘it could never work.’ Premature judgments are the antithesis of a creative mind-set. (Like this? Tweet it!)

“Grasping appreciation for the tremendous value in exploring ideas and respecting the function of play is crucial in developing a creative approach to thinking. For artists, it should not only be permission, but a downright insistence on trying out all kinds of possibilities with abandon. It’s not just that it’s allowed. It’s more the case that it’s essential.

“And this same principle of developing and tolerating a wild, crazy spectrum of ideas, again, applies not only to artists, but to anyone interested in creative thinking of any sort. Whether it’s about arranging a way to get to the airport or coming up with the next tech sensation, generating and entertaining broad and imaginative possibilities are at the heart of a creative mindset.” ~Melanie

One way to understand and appreciate creativity is to read about it. I have an entire shelf of books dedicated to the subject, and what’s interesting is that every time I read one, I find myself coming up with new ideas. They’re random, plentiful, sometimes winners, and sometimes duds, but I’d rather have too many ideas than not enough. I can’t wait to see more of what Melanie has to say in The Art of Mistakes, so I can continue to tap into that wonderful wealth of inspiration.

Wishing you endless creativity in the new year,
Cherie Haas

Welcome to the Community! Cherie Haas
Online Editor, Artists Network

Discover great deals for artists, available instantly during the Digital Days Sale!

The fear of making mistakes in artwork is universal. Learn how to lose that fear with The Art of Mistakes!

You’ll love this inspirational art book if:

  • You’ve struggled with fear of failure in your artwork
  • Mental roadblocks prevent you from finishing–or starting–your artwork
  • You want to learn how to turn mistakes into material for even better creations

This new title from Melanie Rothschild will teach artists and creatives of every skill level how to lose the fear of making a mistake. Part creativity book and part instruction, this book will teach you how to use creative step-by-steps as stepping stones, rather than rules set in stone. Learn to break the rules in your art and branch out in creative play and experimentation.

Mistakes often give us ideas we’d never conjure up deliberately. This book will teach you how to not only become comfortable with making mistakes, but how to let those mistakes propel your art toward success! After considering topics like why an art class can be a dangerous place and seeing the creative benefit in the act of play, you will be encouraged to try art-making techniques that encourage finding the benefits of mistakes. You will be given permission to use and find value in cheap materials and learn how to take creative thinking into other parts of your life.

Order your copy today and find:

  • 16 painting techniques to encourage creative thinking and experimentation
  • Permission to make mistakes as you make art
  • Methods to discover how mistakes can serve your art and creativity

This is a must-read for seasoned artists and first-time creators alike. Maybe you have artistic impulses and desires but feel like you aren’t one of the “chosen few” who can make art. Now you can learn ideas and painting techniques that show you a way of creative thinking that turn even your mistakes into beautiful works of art!

About the Author Author
Melanie Rothschild has sold her artwork, much of which was inspired by mistakes, in many stores and galleries throughout the US. She has a Masters of Science in the Study of Creativity and teaches workshops on the subject.

SKU U5671
Author/Speaker/Editor Melanie Rothschild
File Type PDF
Format eBook
ISBN 13 9781440311765


Forecasts From Artists, Dealers, Collectors, Curators,etc for ART 2016


With an upheaval-filled 2015 coming to a close, we here at Artspace Magazine have compiled a poll of artists, curators, critics, and assorted far-flung experts from the art field on a fairly streamlined topic: What is the single most significant development in art (or the art market) that they will be following in 2016?

A big question, to be sure. To throw a few ideas in the hat, I ventured that I will personally be following:

– Painting’s identity crisis, and whether the market will embrace new figuration
– The use and ethical ramifications of animals in art
– The continuing penetration of so-called “speculative realism”
– How (or if) artists react to the spread of extremism and the new phenomenon of social-media terror
– The potential recuperation of early digital art into the market at some point!

In their predictions, the respondents gamely ranged from the optimistic to the doom-y, from the practical and programmatic to the rather far-fetched. A few commonalities, however, can be discerned from their answers—and, if they’re on target, it should make for an exciting year. Herewith, read what they had to say.


“The overdue embrace of historic artists of color, by curators, critics, and collectors, continues to be the story I will be following (and sharing) in 2016. Despite recent gains and buzz, there is still much work to do to acknowledge the contributions of African-American artists over the past 50 years, in particular Sam Gilliam and his peers, whose use of abstraction further challenged the politics of representation in the art world. Given the current visibility of racial violence and rampant xenophobia, there is no better time than this coming year to advance a more diversified history and future for art.” – David Kordansky, gallerist

“1. This year saw the national art press attempting intersectionality to challenge inequities and discussing, however flawed, racism and privilege in the art world. Regardless, little progress has been made in the newsrooms. The ethnic complexion of those editors, journos, and critics leading the conversation has remained the same: monochromatic. In the new year we hope to see the inclusion of POC editors and journos in positions of real power inside the publishing machine.

2. Experts are claiming Zombie Formalism is dead because it has been failing to gain new ground in the market. If that turns out to be the case, I believe serious collectors and flippers will turn their focus and cash to untapped and somewhat forgotten inventories of the so called “old but new” guard and middle-of-the-road artists with proven exhibition records and critical acclaim. Longevity and experience will be seen as an asset once again.

3. The frenzied colonization of Cuban art by the market.” – Pedro Vélez, artist and critic

“I think the most significant development in art in 2016 will be the entrance of Cuban art into the market.” – Nilani Trent, Trent Fine Art Advisor

“POLITICS.” – Deborah Kass, artist

“It will be interesting to see how the practice of rediscovering artists from the past will evolve or devolve. It’s been refreshing to see intergenerational group exhibitions following years dominated by the obsession for the next new thing, but if on the one hand this had the benefit of finally giving overlooked artists their dues, on the other hand the sudden critical and marketing consensus they have enjoyed after years in the dark makes you question the whole art system, its sense of zeitgeist, and its capability to assess the relevance of artists when in their prime.” – Michele Robecchi, curator and editor of the Phaidon Contemporary Artists series

“As an antidote to zombies, ‘Forever Now’s, and flippers, I’m interested in the way that queer and feminist artists are plumbing abstraction for its political potential—something Harmony Hammond proposed back in 1977 in the second-wave journal Heresies. These painters, sculptors, video artists, and photographers are showing us that while abstraction was (and now is, again) the Boys Club style du jour, it can also be fertile ground for radical and non-binary propositions. Audre Lorde may have said you can’t use ‘the master’s tools,’ but a lot of artists are making a pretty good case that you can.” — Ashton Cooper, writer and artist liaison at Maccarone Gallery

“I’ll follow any artist or curator who upsets the status quo. Are there any? And I’ll follow any artist or curator (or writer) who won’t sit idly by while the world spins out of control.” – Linda Yablonsky, writer and curator

“That the art world and indeed other worlds will make parity (of gender, background, belief) a mission. That artworks made in digital and live processes and mediums will start exerting some power in the commercial arena. That all art schools will become free. That prickly, political, power-hungry, egotistical, bullying art-world types will get a softening makeover. That museums and art institutions will flex their cultural, intellectual, and curatorial muscle—and start putting on great shows that lead our thoughts and aspirations and show us the unknown and magical.” — David Gryn, founding director of Daata Editions

“The most significant development in art that I will be following in 2016 is the relationship between museums and artists using performance, dance, and choreography. Following the full emancipation of immaterial capital and the current trading of human knowledge and feelings (whether conscious or unconscious), I am interested in how the institution is changing its policies in order to host and acquire works of art that are based on full immateriality.” – Nicola Trezzi, U.S. editor of Flash Art International and head of the Bezalel Academy of Art’s MFA program

“With large quantities of hope and trepidation, I will be following the efforts of art workers, including artists, to create and strengthen unions and other forms of collective bargaining. I’ll also be tracking the degree to which museums and alternative spaces make real efforts to compensate artists (through W.A.G.E. certification and other means) and employees adequately. As inequality worsens throughout the world, it would be nice if the art industry started living up to the ideals many would like to believe it embodies. On a related note, I’m looking forward to seeing which artists in 2016 follow Lucien Smith’s bold lead in collaborating with real estate developers. And on an unrelated note, I’m very pumped for the Museum of Modern Art’s Francis Picabia show.” – Andrew Russeth, co-executive editor of ARTnews

“I will be paying close attention to exchanges between the field of contemporary art and new discoveries in science and technology. Since well-rounded innovation reflects a porosity between art, science, and tech, I will be tracking art’s status as a field of exploration and discovery. The intelligence of sensation at the heart of artistic inquiry is the missing link in the current scientific paradigm, which will need the embodied perspective of firsthand experience to take the next leaps in quantum physics and the science of the mind. The further convergence of these fields will expand our rigorous exploration of the nature of reality. I will be following the potential instances for aesthetic experience to inform new discoveries of phenomena in the universe. In its highest form, art not only critiques and expresses—it also explores.” – Lia Chavez, artist

“I’ll be looking at the development of artworks, and metaphors more generally, that try to deal with the advent of machine-learning and how the rise of ‘smart cities,’ self-driving cars, and ubiquitous sensors are redefining ‘seeing’ and ‘perception’ in an increasingly post-human world.” – Trevor Paglen, artist

“I’m looking most forward to more developments with artist video-game concepts after our recent collaboration with the game studio TwoDots. It’s wonderful seeing artists work in the unexpected new contexts that technology innovation is enabling!” – Stacy Engman, Art Capsul curator

“The single most significant development in art that I will be following is ROBOTISM, aka robot-generated art!” – Hyatt Mannix, arts media relations specialist at Kickstarter

“I don’t think anything has changed much in art, at least not radically, but I do feel there has been a passive shift toward observation rather than action in art, and I don’t mean activism. My sense is that there has been a shift into passive waiting and outwardly observing the world to see the directions things go in. For me in particular, I am keenly watching the shift in environmental policy and the escalation of violence, two things that will eventually become linked closely.” — Jordan Wolfson, artist

“I look forward to seeing whether gallery- and museum-goers tire of Instagramming essentially interchangeable, lame-o pictures of themselves posing in/near photogenic art installations, or if artists begin to make works that are increasingly conducive to selfie-taking ‘as a commentary on our narcissistic age/shallow social-media-constructed identities’/for the free publicity.” – Emma Allen, art scribe, panelist, and “Shouts & Murmurs” editor at the New Yorker

“Will the market continued to confuse opportunism for cultural imagination?” – Michelle Grabner, artist and professor at the School of the Art Institute of Chicago

“I think the art-fair bubble may have reached its zenith in 2015 and we’ll start to see increasing interest in alternative and hybrid models during 2016. These will start to move further and further away from the luxury trade-show style of event that has now saturated the entire annual calendar. The intensity of the current fair calendar, the stress, the risk—it’s all terribly exhausting for everyone involved, and each year seems to leave participants in an even deeper kind of existential void. Similar to what’s happened with movements like Slow Food, I’ll be watching carefully for hints of new models that don’t ignore the need for a healthy, sustainable market but that seek to build deeper, more democratic, and more satisfying relationships and experiences.” — Brett W. Schultz, co-founder of Mexico City’s Material Art Fair

“I’m excited to see the Los Angeles gallery landscape develop under a growing spotlight as Hauser Wirth & Schimmel and Sprüth Magers join Maccarone by opening major L.A. outposts early in the year.” – Ellen Swieskowski, founder of the See Saw app 

“I am interested in the highly unlikely, potentially powerhouse collaboration, like when Whitney collaborated with Mariah, Brandy, with Monica; Larry Gagosian with Jeffery Deitch; the blue-chip with the mid-level and so on. I am also interested in alternative/satellite art communities and what they have to offer in relationship to cultural centers like New York, Chicago, L.A., Berlin, and so on.” – Kalup Linzy, artist

“I’m following the rise of the temporary alternative exhibition space, be it a closet, shop window, or the Newtown waterfront site.” – Patton Hindle, director of gallery and institutional partnerships at Artspace

“My work being sold for tens of millions of pounds. And/or Marc Quinn disappearing.”— Jeremy Deller, artist

“What will be the strategic implications of the profound and multiple management changes at Christie’s and Sotheby’s? Who will prevail in the multiple lawsuits between Yves Bouvier and Dmitri Rybolovlev? What art-market practices will the case reveal? Now that the money-laundering potential of freeports is clear, what will be the attitude of the public authorities supervising them? Who will come on top in the necessary distribution, displaying, transacting transformation of the video and digital art market among the different platforms aiming for this transformation? What will be the future of the mega-galleries losing their 70-plus-year-old founder (if it happens, of course)? Will Paddle8 or Auctionata or one of the big two auction houses take a firm lead in the online auction market? Who will prevail in the Simchovitz vs Ibrahim Mahama case?” – Alain Servais, collector

“How increasingly urgent geopolitical events—from the global climate crisis to ideological radicalization worldwide—will seep into the art world, as both artistic preoccupation and as business context.” — András Szántó, writer, teacher, and art consultant

“I think the political aspect of the world in general is something to take into consideration, including the huge amount of problems related to radicalism in Europe and the U.S. and the idea of further ghettoizing the ‘other,’ i.e. Arabs and Muslims. We hear so much about boycotts and the evils of certain regimes—for example with the death sentence of Ashraf Fayadh in Saudi Arabia—but so rarely do these international public figures in the art world try to engage with these situations and make a difference from within.” — Alia Al-Senussi, head of VIP Relations for the Middle East at Art Basel

“Although I don’t necessarily understand art in terms of system-wide developments, I expect to think even more in 2016 about artists who employ directly personal content while managing to address broad political or philosophical subjects. I expect to be more aware than ever that artists are alive, and that they are always performing their identities and the conditions of their lives, whether they mean to or not. In a period defined by systems and information and distance, art feels more and more necessary to me as a vehicle for intimacy.” — Forrest Nash, founder of Contemporary Art Daily 

“I will be watching to see how painting is further declared dead. I will also be watching the debate between abstract painting and figurative painting. One of them is always going up while the other is going down. In the meantime, I am going to stay in my studio and do my work no matter what anyone says about either of them.” — Betty Tompkins, artist

“I will be following the ripple effect of MoMA’s ‘Picasso Sculpture’ show on artists. Every so often there are large-scale historical exhibitions that have a resounding effect on artists, cleverly curated to provide meat for us to gnaw on for months as to how a historical artist’s ideas were groundbreaking then and prescient now. ‘Picasso Sculpture’ is such a show, providing a framework for reinvestigating Surrealism, and perhaps providing a formal environment to sift through the confusion of our intense political climate, as it did at the beginning of the 20th century.

Personally, Picasso’s exhaustive exploration of heft and space incites me to tease sculptural mass out of my painting, something I’ve been doing peripherally, but this show kind of kicked my ass emphatically down that road. I see the Picasso effect in activity in friends’ studios—in Michelle Segre’s buoyant investigations of mass and fragility, in Carl D’Alvia’s warped rhombi and 3-D animalier collages that look towards an uncertain futuristic demise, in Hillary Harnischfeger’s carved 2-D/3-D spaces, and in Matthew Weinstein‘s ever-surreal animations.

“I’m also paying close attention to painters playing with forms and mass, as in Bill Adams’s dense drawings of animals flattened by surface, Tommy White’s plaster works, Kaitlyn McDonough’s minute painting cubes, and Carroll Dunham combining his formidable drawing skills into laser-cut 3-D clusters. I’m excited to see how this all plays out in 2016.” — Jackie Saccoccio, painter

“All kinds of art making interests us—figurative and abstract, analog and digital, intellectually challenging and easily accessible. The line between fine art and craft—particularly ceramics—has softened. It almost seems like anything goes as long as the artist is putting his or her essential self into the work. The rule is there are no rules. One of the most interesting exhibitions we saw recently was at the Jewish Museum called ‘Unorthodox.’ It included video, painting, sculpture, ceramics, et cetera, and featured both artists who went to art school and who didn’t. Originality ruled. That’s what we like, and expect to see more of in 2016.” — Joel and Zoe Dictrow, collectors

“I think the answer to that is really at the core of why we collect—we don’t know that answer. We’re on the street looking and learning, so that potentially we can answer that question, and I think there’s a danger in trying to identify themes or ideas too early. I think the process of investigation is what’s at the core of art collecting, and perhaps it’s the most interesting way to go about it. To try to lump things in a category too early is a mistake. The fun is to learn about as it’s happening, and make judgments and form feelings about new bodies of work.” — Thea Westreich Wagner, collector, patron, and founder of Thea Westreich Art Advisory Services 

“The most significant goal for my gallery this year will be the same one we have pursued from the very beginning when I opened the gallery: striving to achieve equal success in terms of exposure, recognition, and price structure for all artists in my program, regardless of their gender or cultural background. Given the fact that, in a larger context, female artists in 2015 still have not received parity with their male counterparts, this is an area where we continue to make a concentrated effort to raise awareness.” — Suzanne Vielmetter, gallerist

“Collectors have many choices. There are a great deal of artists worth loving, and we buy what we love. However what we are watching and will continue to watch in 2016 is relative pricing. It concerns us that many younger artists have had their prices hiked well beyond what their CVs might suggest in terms of exhibitions and institutional support. This is unhealthy for the artist and the art market. If young artists and their galleries do not keep prices under control, then institutions will have difficulty buying in, and pricing will not correspond to CVs.

“We keep a close eye on relative pricing and have been and will continue to choose one great work by a mid-career artist who is in good collections and has institutional support over two works by a young artist who has been priced out of the game with regard to their CV. Also we will continue look for and collect work by great young artists who are represented by galleries that strive to place the works in good collections and institutions.” – Carole Server and Oliver Frankel, collectors

“I’m following two trends: the exodus of Chelsea galleries to the Lower East Side, and a secondary-market correction at the auction houses.” — Sue Stoffel, collector

“That art is now a luxury good—the prices are crazy. Eventually there will be a crash.” – Michael Hort, collector

“Price transparency in the art world.” – Magnus Resch, founder of Larry’s List and author of Management of Art Galleries

Two respondents took my own areas of interest above as a springboard for commentary. Here is what they had to say.


– Painting’s identity crisis, and whether the market will embrace new figuration

This is only an identity crisis for paranoid people.

– The use and ethical ramifications of animals in art

Hopefully some thought will be given to this. I’ve learned quite a bit from my uses of animals. Ethics is difficult to pin down (especially across cultures).

– The continuing penetration of so-called “speculative realism”

I’m not convinced art based on speculative realism would be distinguishable from most any art. Philosophy is not science, and neither is art.

– How (or if) artists react to the spread of extremism and the new phenomenon of social-media terror

They will, and it will likely be some of the more interesting art in the coming months/years.

– The potential recuperation of early digital art into the market at some point

Carol Greene will be one of the first?


– Painting’s identity crisis, and whether the market will embrace new figuration

I was unaware that painting was in anymore of a co-called (!!) “identity crisis” as it has ever been! Really. And who the hell cares what the market will or won’t “embrace”? We have no theory of the market therefore there is now way to even talk about it sensibly without getting depressed and sleepy. I think painting is breaking out all over. And doing pretty great of late. But I honestly do not know what this so-called “new figuration” is. It can’t possibly be anyone not painting is ways that are called—wrongly, of course, in shorthand parlance—“abstract.” All two-dimensional rendition of the world is by-nature abstract. The greatest imaged information technology ever developed—in the caves—by our species. “New figuration”! It makes my skin crawl.

– The use and ethical ramifications of animals in art

Fuck anyone raging against Gavin Brown’s Enterprise for giving New York the tremendous gift of re-staging Jannis Kounellis’s great 1969 work of early Arte Povera Untitled (12 Horses). I wish that they’d worry about something a little closer to home. Or go ahead: Protest a 1969 art work for not meeting your high humanistic standards.

– The continuing penetration of so-called “speculative realism”

I must really be out of it! As with the first term “New Figuration,” I can’t say that I have a clear idea about what is meant by “Speculative Realism.” Like Cave paintings? Mondrian’s Broadway Boogie Woogie? Chris Burden‘s Shoot? Or just ZoFo?

– How (or if) artists react to the spread of extremism and the new phenomenon of social-media terror

I thought that the cinema-in-the-expanded-field of Hito Steyerl was pretty riveting and harrowing. I don’t think that it has anything to do with your question, “spread of extremism and the new phenomenon of social-media terror.”

– The potential recuperation of early digital art into the market at some point

What the fuck is this supposed to mean? The market recuperation for “early digital art”? I am really out of it. Early digital art? #Seurat #Monet #vanGogh? Give me a drawing by van Gogh or Seurat and I’ll show you the recuperation of “early digital art.”

20 of the World’s Masterpieces to See in 2016


Nazca Lines, Peru. Photo: Dom Crossley.

Nazca Lines, 500 BCE – 500 CE
Nazca Desert, Peru

Only truly viewable from above, the Nazca geoglyphs are believed to be ancient messages intended for the gods in the sky, and perhaps as sacred trails to be walked. The Nazca made hundreds of figures, with the largest measuring over 660 feet across.


Elgin Marbles at the British Museum. Photo: Andrew Dunn.

Elgin Marbles, 447-438 BCE
British Museum, London, UK
Acropolis, Athens, Greece

The only way to truly appreciate the stolen beauty of the Parthenon Marbles is to see them both in the British Museum, and to see the site from where they were taken, the Acropolis in Athens. The dispute about where they belong is ongoing.


Terracotta Army, Xi’an, China. Photo: Walter Wilhelm.

Terracotta Army, 246-209 BCE
Xi’an, China

Over 8,000 life-size terracotta military figures were buried with Qin Shi Huang, the first Emperor of China. The sheer greatness of the endeavor is all but unfathomable, and the impression it leaves is formidable, to say the least.


Sleeping Buddha, Ajanta Caves. Photo: Kirk Kittell.

Ajanta Caves, 200 BCE – 480 CE
Maharashtra, India

Abandoned for more than a thousand years, some of the oldest and finest of all Buddhist art can be found in the Ajanta Caves, near Mumbai, within 28 caves containing stone-carved statues and mural paintings.


Bonampak Mural, room 3, depicting ritual celebration for victory in battle. Photo: Mando Barista.

Bonampak Murals, 580-800 CE
Chiapas, Mexico

While there are more architecturally impressive Mayan ruins, Bonampak offers the most impressive and intriguing murals. Within its three rooms, bloody depictions of war and ritual cover the walls from floor to ceiling.


Zhang Zeduan, Along the River During the Qingming Festival (detail), ca. 1080-1120.

Zhang Zeduan, Along the River During the Qingming Festival, ca. 1080-1120
Palace Museum, Beijing, China

The Palace Museum, located in Beijing’s Forbidden City, holds the great masterpieces of Chinese painting, including the original 12th century five-meter-long epic painting by Zhang Zeduan—a work of such great renown and the subject of so many remakes, it is known as “China’s Mona Lisa.”


Christ Pantocrator, Monreale, Palermo. Photo: Per-Erik Skramstad / Wonders of Sicily.

Christ Pantocrator, ca. 1170-1189
Monreale Cathedral, Sicily, Italy

This Byzantine-style Christ Pantocrator is, by many accounts, the most magnificent and terrifying of its kind. Gazing up from below, the figure looms 20 meters above the viewer, the curve of the nave exaggerating Christ’s outstretched arms in an omnipotent embrace.


Sandro Botticelli, The Birth of Venus, 1482-85.

Sandro Botticelli, The Birth of Venus, 1482-85
Uffizi Gallery, Florence, Italy

If you can only visit one repository of Renaissance art, the Uffizi Gallery should top your list. Along with Botticelli’s exquisite Birth of Venus, it holds Caravaggio’s Bacchus, Judith and Holofernes by Artemisia Gentileschi, the Venus of Urbino by Titian, and many other masterpieces.


Hieronymus Bosch, Garden of Earthly Delights, 1490-1510.

Hieronymus Bosch, Garden of Earthly Delights, 1490-1510
Museo del Prado, Madrid, Spain

The Prado contains many masterworks by Goya, Velazquez, and others, but perhaps the most intriguing is Hieronymus Bosch’s greatest masterpiece. Bosch’s proto-Surrealist triptych constitutes one of the greatest testaments to the human imagination, a painting that has inspired scores of artists since.


Leonardo Da Vinci, The Last Supper, 1494-98.

Leonardo Da Vinci, Last Supper, 1494-98
Church of Santa Maria delle Grazie, Milan, Italy

Leonardo’s ultra-famous fresco is located in a quiet rectory in a small convent in Milan. Its humble surroundings notwithstanding, being in the presence of this in situ masterpiece is awe-inspiring.


Michelangelo’s Sistine Chapel Ceiling. Photo: Mazda Hewitt.

Michelangelo, Sistine Chapel, 1508-1512
Vatican City, Italy

You’re already very familiar with certain details of the Sistine Chapel, but nothing can prepare you for the experience of gazing up at the entire thing. It is positively crowded with masterful figures, and is especially impressive since its restoration. Not to mention that the chapel also holds masterpieces by Botticelli, Perugino, and other Renaissance greats.


The interior side of the dome of the Sheikh Lotf-Allah mosque in Isfahan, Iran. Photo: Phillip Maiwald.

Sheikh Lotf-Allah Mosque, 1603-19
Isfahan, Iran

In a city brimming with jewel-like mosques, this 17th century mosque is truly one of the masterpieces of Persian architecture. While structurally simple, it boasts some of the most impressive, intricate interior and exterior ornamental decoration in the Islamic world. The celestial gold symmetry of the dome inspired many other works of Islamic art, including the famous Ardabil Carpet in the collection of the V&A in London.


Joseph Mallord William Turner, The Bay of Baiae, with Apollo and the Sibyl, 1823. Courtesy of the Tate Britain.

J.M.W. Turner Collection, 1792-1845
Tate Britain, London, UK

The world’s largest collection of Turner’s work is held at the Tate Britain, comprising over 300 paintings featuring the master’s signature atmospherics and sweeping landscapes, which would inspire countless artists after him.


Théodore Géricault, The Raft of the Medusa, 1818-19.

Théodore Géricault, The Raft of the Medusa, 1818-19
Louvre Museum, Paris, France

The Louvre holds some of the world’s most iconic masterpieces: the Mona Lisa, the Winged Victory of Samothrace, the Venus de Milo. But perhaps none of these are as physically astounding as Géricault’s masterwork of Romanticism.


Claude Monet’s garden in Giverny, France. Photo: David Alexander Elder.

Monet’s Garden, 1883-1926
Giverny, France

Claude Monet lived for 43 years at Giverny, and considered his flower garden and water garden as works of art in their own right. Visiting Monet’s home is a must for any lover of Impressionism, where you can take in not only Monet’s great works of art, but also masterworks of Japanese art, including Katsushika Hokusai’s famous print, The Great Wave off Kanagawa.


Edvard Munch, The Scream, 1893.

Edvard Munch, The Scream, 1893
National Gallery, Oslo, Norway

An icon of modern art and one of the first examples of Expressionism, Munch’s oft-stolen painting The Scream counts as one of the most influential masterpieces in history. More Munch can be had in Oslo at the dedicated Munch Museum, which also holds a later version of the painting.


Pablo Picasso, Guernica, 1937. Courtesy Museo Nacional Centro de Arte Reina Sofía.

Pablo Picasso, Guernica, 1937
Reina Sofía, Madrid, Spain

Picasso painted his epic protest painting Guernica during the Spanish Civil War, and refused to show the painting in Spain until democracy was once again established in the country. It arrived in Spain in 1981, after Franco’s death, and by then had become one of the most iconic anti-war works of art in history.


Interior of the Rothko Chapel. Courtesy of the Rothko Chapel. Photo: Hickey-Robertson.

Rothko Chapel, 1964-1971
Houston, Texas, USA

Mark Rothko wished for his paintings to elicit a deeply emotional response—a “religious experience”—within the viewer. To that end, the Rothko Chapel, a site-specific, meditative space lined with paintings of a deep black-mauve color, is the ideal place to experience this modern master’s work.


Robert Smithson, Spiral Jetty, 1970. Photo: Denny Mont.

Robert Smithson, Spiral Jetty, 1970
Rozel Point, Utah, USA

Half of the experience of visiting Robert Smithson’s iconic land art piece Spiral Jetty is in the journey it takes to get there. Protruding from a desolate side of Utah’s Great Salt Lake, the spiral evokes the primordial within an alien landscape of pink water, white salt crystals, and the rusted out remnants of nearby defunct mining operations. A pilgrimage every contemporary art lover should make.


—Natalie Hegert is a revolutionary online art information service which covers the world of art by collecting content about events, venues, artists, articles and auctions from thousands of web sites.


How many of the world’s art masterpieces can you say that you’ve seen in person? As we turn to 2016, we resolve to do more traveling, with an eye to experiencing the most spectacular, awe-inspiring artworks on the planet. Here we’ve compiled our top twenty destinations to visit to experience humanity’s creative genius from ancient times to modern history.

How many of the world’s art masterpieces can you say that you’ve seen in person? As we turn to 2016, we resolve to do more traveling, with an eye to experiencing the most spectacular, awe-inspiring artworks on the planet. Here we’ve compiled our top twenty destinations to visit to experience humanity’s creative genius from ancient times to modern history.


The Gold Mask of Tutankhamun, on display in the Egyptian Museum in Cairo. Photo: Bjørn Christian Tørrissen.

Burial Mask of Tutankhamun, 1323 BCE
Egyptian Museum, Cairo, Egypt

One of the quintessential works of ancient Egyptian art, King Tutankhamun’s burial mask was constructed from 11 kilograms of gold, with inlays of gemstones. Along with the Pyramids and the Great Sphinx in Giza, and the other marvels of Egyptian antiquity at the Egyptian Museum, this spectacular artifact is a must-see.

How many of the world’s art masterpieces can you say that you’ve seen in person? As we turn to 2016, we resolve to do more traveling, with an eye to experiencing the most spectacular, awe-inspiring artworks on the planet. Here we’ve compiled our top twenty destinations to visit to experience humanity’s creative genius from ancient times to modern history.


The Gold Mask of Tutankhamun, on display in the Egyptian Museum in Cairo. Photo: Bjørn Christian Tørrissen.

Burial Mask of Tutankhamun, 1323 BCE
Egyptian Museum, Cairo, Egypt

One of the quintessential works of ancient Egyptian art, King Tutankhamun’s burial mask was constructed from 11 kilograms of gold, with inlays of gemstones. Along with the Pyramids and the Great Sphinx in Giza, and the other marvels of Egyptian antiquity at the Egyptian Museum, this spectacular artifact is a must-see.

Biggest Art Auction Houses Are Adapting to internet market

As we all become increasingly inseparable from our screens, it’s no surprise that auction houses are devoting more energy and resources than ever to capturing audiences—and bids—online. Art collectors of all stripes (and generations) are browsing online catalogs, registering to bid online, and placing bids via apps and websites—and not just on middle-market items. So catering to a clientele that would rather scroll and tap than pick up a phone or raise a paddle is now a core component of any forward-thinking auction house’s business strategy.

With the U.S. Department of Commerce reporting e-commerce sales at $83.9 billion in the second quarter of 2015—up around 14% from the same period last year—it’s not just seasoned buyers who the houses are trying to reach; it’s all of the potential collectors out there who might not consider purchasing an artwork if they couldn’t do it from their laptop or iPad. According to 2014’s annual TEFAF Art Market Report, online art sales reached roughly $3.3 billion last year, a year-over-year 32% increase from 2013. Artsy checked in with the Big Three brick-and-mortar auction houses—Phillips, Sotheby’s, and Christie’s—to see where their ever-evolving digital strategies are taking them.






Phillips has seriously stepped up its game over the past year or so, investing in its own digital infrastructure rather than farming out its e-commerce initiatives to firms like Live Auctioneers. This fall, the firm officially launched its digital saleroom, where bidders can live-stream brick-and-mortar sales and bid in real-time through the auction house’s own website. This past fall, the house also introduced its mobile component, an iOS app that bidders can use via iPhones and iPads for all aspects of the process. “We’ve seen a nice uptick in registrations for sales since launching the app,” says Megan Newcome, Director of Digital Strategy at Phillips. “This season, we’ve seen almost $9 million in total sales through our digital saleroom platform—that’s combined for online and mobile sales,” she says. “The number of clients who registered to bid online increased 120% over the same period last year. 41% of online participants were new to Phillips.”

A deal with eBay, announced in September, is also aimed at helping in that department. So far Phillips has held six sales (contemporary art, photography) via eBay, but hopes to eventually put sales across the categories of Fine Art, Editions, Design, and Watches and Jewelry on the online auction giant’s site. (It’s worth noting that eBay is not yet equipped to handle the bureaucratic details of live auctions outside of the U.S. yet.) While Phillips hasn’t launched timed, online-only auctions yet, “they are definitely part of our roadmap,” says Newcome, who stresses that they don’t plan to limit objects offered on eBay or in future online-only sales to lower-value or middle-market items. “That stigma that online-only is for lower value, more approachable property is very much changing,” she says.

Recent online bid

In Phillips’s Contemporary Evening Sale in London this fall, one of Richard Prince’s Instagram inkjet paintings, Untitled (portrait) (2014), sold for £98,500 (around $150,000) to a collector bidding via Phillip’s website. A sale this past month in the Hong Kong Watches auction brought $2.4 million in online sales.

While Sotheby’s hasn’t been as quick as its competitors to roll out online-only auctions or mobile bidding apps, the house has been eagerly exploring different routes to reach new bidders. Earlier this month it became the first major auction house to have an app on the new Apple TV, with five channels devoted to everything from artists to luxury goods to live-streamed sales. Meanwhile, the auction house’s collaboration with eBay launched in April with a Sotheby’s channel on eBay’s Collectibles & Art section, conceived as a platform for live-streaming real-time auctions happening in the saleroom, specifically those offering property at the $1,000 to $25,000 price point—one that might appeal more to eBay’s audience.

Sotheby’s isn’t revealing any data yet regarding sales via that platform, but one of the inaugural collaborative sales last spring, “Photographs,” on April 1, brought in $5.17 million for 188 lots (versus around $4 million for 186 in Phillips’s “April Photographs” sale in 2014), and several meaty sales came through eBay. Since early December last year, Sotheby’s has seen a 65% increase in online bidders, a 41% increase in online buyers, and a 47% increase in lots sold online.  Two online-only sales (held in real-time but with no brick-and-mortar component—something relatively new for Sotheby’s) this past fall both sold 99% by value or more.

As for timed, rather than live, online-only auctions, the house teamed up with Artsy for its first foray into that field. Organized by Sotheby’s and hosted on Artsy from October 22 through October 30, the sale, titled “Input/Output,” featured a selection of contemporary works that showcase digital culture and technologies, from Instagram to 3D modeling. Artists ranging from Robert Longo and Christopher Wool to Cai Guo-Qiang and Wade Guyton were specifically targeted for consignment, in part with the help of Artsy’s data-driven insights on collecting patterns, from price points to types of work.

Priciest online bid:

A platinum and diamond ring from the “April Magnificent Jewels” sale in New York fetched $3.25 million from a collector bidding via the Sotheby’s website.



The Most Important Art Essays of the Year


This time last year, my editor asked me to put together a list of the most important essays of 2014, and I drew a blank.

I asked around. By far the most common answer I got from peers was, “Nothing comes to mind.” Even the professionals, who’ve got their eyes glued to this stuff like Malcolm McDowell in A Clockwork Orange, have trouble keep track amid the digital crush of “content.”

In the end, I culled a list of essays from last year that I thought were worth bookmarking. Still, the exercise made me think about the value of reflecting on what is worth saving. So this year I’ve tried to write a column each month remarking on some of the writings that I liked from around the web (I miss a lot of stuff that’s only available in print, I know, but I want to at least provide a resource that artnet News readers can use).

While I can’t say that I’ve even come near to picking through the volume of material produced each month, I can say that every time I engage in the exercise, I discover gems that I would have missed otherwise, like Esther Honig’s article about the price of having art go viral in the great New Orleans website Pelican Bomb, or new publications that are doing fascinating work, like BMore Art from Baltimore or Infinite Mile from Detroit.

Below, a few of the essays that I’m still thinking about at the end of the year.

Illuminator Guggenheim Gulf Labor

1. “Almost one third of solo shows in US museums go to artists represented by just five galleries” by Julia Halperin, The Art Newspaper
Halperin’s exercise in data journalism (with data analysis via Nilkanth Patel), is based on 600 exhibitions at 68 museums. It turned up the outsized presence of Gagosian Gallery, Pace, Marian Goodman Gallery, David Zwirner, and Hauser & Wirth. What this bias means is more controversial, but this article definitely got people talking about the conveyor belt that connects inequalities within the market to those at the museums.

Key passage:

In the run-up to a major solo show, galleries often provide curators with access to archival images, pay shipping costs, pre-order hundreds of catalogues and help to finance the opening reception, according to sources. “If a major museum is flirting with a show, we’ll play ball as much as we have to,” says one director of a medium-sized US gallery.

Amy Lien and Enzo Camacho, Nipple Stimulation 2 (2014), one of the subjects of Chris Kraus's essay on art schoolImage: Courtesy 47 Canal

2. “Chris Kraus on the Ambiguous Virtues of Art School” by Chris Kraus, Artspace
Kraus, the author of I Love Dick, is a legend in her time. This essay (an except from Phaidon’s collection of essays about art school, Akademie X: Lessons in Art + Life) shows why, merging personal anecdote, theory, and political reflection. Kraus’s theory that contemporary art has become the lint trap for culture, catching scraps from other disciples and fusing them into a new substance (my formulation), made this the essay that I recommended to people most this year.

Key passage:

One of art criticism’s great limitations is its inability to look beyond its own context and language. Why would young people enter a studio art program to become teachers and translators, novelists, archivists, and small business owners? Clearly, it’s because these activities have become so degraded and negligible within the culture that the only chance for them to appear is within contemporary art’s coded yet infinitely malleable discourse.

Containers in the yard of Natural Le Coultre, Ports Francs, Geneve. Photo: Hito Steyerl. Image courtesy of e-Flux.

3. “Duty-Free Art” by Hito Steyerl, e-Flux Journal
Like Kraus, Steyerl is tough to categorize; her free-form, sharply critical writing and her disorienting and erudite video essays form parts of a whole. In this piece (originally commissioned as an address at Artists Space) she looks at the free port—tax-free havens where art is stored—as a metaphoric lens through which to look at contemporary art amid the instability and chaos of the year.

Key passage:

The freeport contains multiple contradictions: it is a zone of terminal impermanence; it is also a zone of legalized extralegality maintained by nation-states trying to emulate failed states as closely as possible by selectively losing control. Thomas Elsaesser once used the term “constructive instability” to describe the aerodynamic properties of fighter jets that gain decisive advantages by navigating at the brink of system failure. They would more or less “fall” or “fail” in the desired direction. This constructive instability is implemented within nation-states by incorporating zones where they “fail” on purpose. Switzerland, for example, contains “245 open customs warehouses,” enclosing zones of legal and administrative exception. Are this state and others a container for different types of jurisdictions that get applied, or rather do not get applied, in relation to the wealth of corporations or individuals? Does this kind of state become a package for opportunistic statelessness?

A snow globe, sole as part of Jeff Weiss's "Prometheus" project

4. “The Ghost of Prometheus: A Long-Gone Tree and the Artist Who Resurrected Its Memory” by Carolina Miranda, The Los Angeles Times
This one made it to the front page of the LA Times, which is a rare achievement for an art story—particular one like this, that is neither about money nor scandal, but about art pursued as a pure intellectual passion. The specific subject is Jeff Weiss, whose tribute to Promentheus, a 5,000-year-old bristlecone pine that was felled in the name of science, becomes also a salute to the pungent realms of art that still persist at the fringes.

Key passage:

There aren’t too many people in the art world like Weiss. Wiry, charismatic and voluble, he’s an artist who knows a lot of people yet chooses to occupy the fringes. A former art professor (he’s taught at UCLA and the Rochester Institute of Technology), he’s been exhibited in galleries and museums over a five-decade career. But these days, at the age of 72, he doesn’t have much interest in a system he feels has become relentlessly commercial.

“I don’t do galleries,” he says, “and I don’t ‘show.'”

His venue of choice is the Galley, the 80-year-old Santa Monica bar and grill known for its exuberant seafaring theme of fishnets and pufferfish lighting fixtures. It was at the Galley where Weiss and several friends he dubs his “accomplices” planned the remembrance ceremony for the “Prometheus Project.”

Sesshu Foster<br>Image: via

5. “How is the artist or writer to function (survive and produce) in the community, outside of institutions?” by Sesshu Foster, East Los Angeles Dirigible Transport Lines
Foster stirred things up this year, causing debate with his criticism of the “Made In LA” biennial, and being dubbed by Al-Jazeera as the “the poet laureate of a vanishing neighborhood.” This long poem amounts to a personal manifesto about class, race, and creativity in a gentrifying city.

Key passage:

You, young artist, young writer. Go anywhere you like. But know that a community was there before you—this land was not a magically unpeopled wilderness to be colonized but a place of history, secrets, struggles, heroes and issues.  What made it a community was not magic, but labor. Maybe if your labor and your work relates to them, if your aesthetic process is open to that community, your work will not be superfluous. Your work might be useful. You may not have to suddenly flee, like a tourist from the off-season. As an artist or writer anywhere, you’ll need community to survive. Your community-building not only helps you survive, it helps you produce.

José León Cerrillo, <em>Speculation Table #3 </em>(detail) (2013)<br>Image: via

6. “A Note on the Long Tomorrow,” Sarah Resnick, Triple Canopy
Utopia was a theme of the year (see also science fiction author China Miéville’s terrific “The Limits of Utopia” in Salvage or my own “Art and the Ecological” from the Miami Rail). Resnick’s lovely, discursive essay on the despairing tone of cultural theory and the false utopias of Silicon Valley is well worth reading as a summary of the intellectual moment. Even better, it is the pendant to Triple Canopy’s archive of “Speculations” about the future by celebrated thinkers and artists, organized at MoMA PS1 last year.

For fans of the future, there’s a lot to read.

Key passage:

I had no interest in pathologizing technology or innovation, which struck me as yet another form of resignation, but I was bothered by the notion that the future was being designed by a small subset of the population, dominated by recent graduates of elite engineering programs, that seemed to harbor little interest in the potential contributions of the rest of us. They employed a specialized language to describe their future, which excluded anyone who isn’t an engineer or coder…. I read these elated tweets and the blogs congratulating their authors and felt disempowered. At the same time, surveying Silicon Valley’s reveries suggested that constructing images of alternative worlds has an essential social function, and that it can symbolize—even determine—the agency of the constructors.

AIDS-3D's OMG Obelisk in the New Museum TriennialImage: Courtesy New Museum

7. “Q/A Nik Kosmas: “Why did you decide to end your career as a young and successful visual artist?” by Nik Kosmas, Spike
Perhaps the most interesting verdict yet on “post-Internet art,” from Kosmas, formerly one half of the hot art collective AIDS-3D, who has decided to leave the art world behind altogether.

Key passage:

As a member of the collective AIDS-3D, I belonged to that genre of art called Post-Internet, which had something to do with “discussing the digital lifestyle and implications …”. At first we did this with a witch-house post-apocalyptic tech-dystopia flavor, but then this evolved into projects like The Jogging and a lot of sculptures of running shoes, water droplets, and lots of cheap stuff stacked or melted on top of each other and sold in big editions for €3k-12k. I just didn’t think there was a point or a respectable future in endlessly critiquing or arrogantly joking about innovations coming from other fields.


8. “Taking the Measure of Sexism: Facts, Figures, and Fixes” by Maura Reilly, ARTnews
In May, ARTnews editor-in-chief Sarah Douglas launched a special issue on feminism in the art industry, featuring thoughts on the subject from a wide swath of female artists. Curator and writer Maura Reilly’s centerpiece, summarizing the statistics around gender parity in the market, biennials, galleries, and more, will be a reference point on the subject for some time to come.

Key passage:

The common refrain that “women are treated equally in the art world now” needs to be challenged. The existence of a few superstars or token achiever—like Marina Abramovic, Tracey Emin, and Cindy Sherman—does not mean that women artists have achieved equality. Far from it.

Guggenheim Museum in BilbaoPhoto: Wikemedia Commons

9. “Toward a Museum of the 21st Century” by Holland Cotter, The New York Times
Cotter lays out the demands that a contemporary art museum would have to answer, and proposes that a “21st-century paradigm” is missing.

Key passage:

Museums like the Met are themselves grand history-writing-and-editing machines. Spectacle is built into them. But if they’re going to become 21st-century institutions, they’re also going to have to function in the mode of university teaching museums. Experimental—interdisciplinary, cross-cultural, self-critical, heterodox—approaches to art will have to be tried out if an audience for history, which is only as alive as our sense of investment in it, is not to be lost.

Amalia UlmanPhoto via: @amaliaulman Instagram

10. “Women on the Verge” by Johanna Fateman, Artforum
A vibrant and well-observed survey of the debates, doubts, and artistic strategies informing a generation of female artists whose formative experiences have come via social media culture.

Key passage:

If to put an image of one’s body on the Internet is to frame it with the apparatus of porn, to lose control of its circulation, and to expose oneself to the cultural anxiety, sexist scrutiny, and confounding hostility that attend the gesture, then what’s the way forward? There’s no single path, of course. But in many of the standout works that have emerged from this scene, young women—in registers of resignation or defiance, didactically or through performing the intertwinements of “sexuality, innocence, darkness, complacency”—seem to pull off the paradoxical feat of taking back their images at the very moment of surrender.


Artist’s statement creating the context to interact with your art


Many tools  to create an intersubjective and universal frame of reference to make sense of any art exist., for example art history, labels such as expressionism, impressionism, modern art, contemporary art, Fine art, Visual Arts, Northern Baroque Art, minimalist, post-minimalist, anti-art, anti-anti-art, New Aesthetics, new media, etc and ‘art speak” .


Here are three articles , as examples of the latter –

Why do so many galleries use such pompous, overblown prose to describe their exhibits? Well, there’s now a name for it: International Art English. And you have to speak it to get on. Andy Beckett enters the world of waffle.


International Art English

by Alix Rule & David Levine

On the rise—and the space—of the art-world press release.

“International Art English” was produced by Triple Canopy as part of its Research Work project area, supported in part by the Brown Foundation, Inc., of Houston, the National Endowment for the Arts, and the New York City Department of Cultural Affairs in partnership with the City Council.


How to Speak Artspeak (Properly)


A new guide decodes 146 essential buzzwords, movements, and trends of the postwar art world. How many do you know?

Your own art statement forms part of the above, attempting to create a general frame of reference for others to make sense of your art – in the way you wish them to interpret it. But your statement forms part of the discourse of art history and ‘art speak’  (universal or more localized versions) and tries to create the context in which others can dialogue and interact with and make sense of your art.

When reading art statements, catalogues accompanying exhibitions, how galleries, art dealers, curators, critics, reviewers and the media describe art it often seems as if they are not trying to assist one to understand work referred to as they become obstacles instead of aids assisting one to interact with the work.

A few words on one aspect of the social event when someone interacts with a work of art. Talcott Parsons and Juergen Habermas described in detail the so-called single and double contingencies involved in dyadic social interaction. One aspect concerns the assumption that the two individuals involved can ‘understand’ each other and to be able to do this they will share at least certain things that enable them to have some sort of shared frame of reference. For someone to interact meaningfully with a work of art  (as the other ) it is necessary that some sort of common frame of reference and understanding exist  and that is shared by the viewer as represented, depicted and expressed by the work of art. Many examples when this was not the case exist in the history of art. We are especially aware of such situations exist in modern and contemporary art, for example first vernissages of Impressionist work, the bed of  Tracy Ermin, the shark etc of Hirst, etc. It might be the case that this failure by art work to interact meaningfully with viewers existed in the history of art and that we are only aware of more recent situations because of  modern mass media.

I feel visual art should speak for itself and if  I need to explain an individual work in words then I could have written an article, a poem, short story, press statement, etc instead of using visual media and visual communication. This would be the ideal situation where all all individuals share the one, social, cultural background and universal frame of reference and understanding, interests, values, attitudes and norms. This obviously is not the case and this is the reason why I attempt to create some form of mutual context and frame of reference in which to interact with my own work and art process to those who are new to them by phrases such as the following – minimalist, post- minimalist, postmodern, aesthetic research and experimental exploration of   aspects of the Western tradition of  Fine Art and more specifically the genre of painting.

Video 26/12/2015

Such phrases do not replace the visual work, that always consist of  explorations by working in series, in which I try to be authentic and true to myself at each state of the process. Their purpose is not to label my work but merely to propose some kind of loose, common frame of reference for the work and the viewer to approach, make sense of  and understand it. Of course the painter cannot compel anyone to view, make sense of and interpret work in a certain way because when he has completed the work it is out of  his/her hands and it became an object in the public domain. Perhaps in the same way as we make statements about ourselves, my SELF,  by presenting or appearing in public dressed and behaving in a certain manner – how our presentation of Self is viewed and interpreted is out of our hands and it depends on the perception and frame of reference of interpretation and understanding (or cognition), values and attitudes of others we come across and interact with.

Exhibit and sell your artwork in Tokyo, International Art Fair 13-14 May 2016

Apply online to exhibit

Tokyo International Art Fair 13-14 May 2016

Exhibit and sell your artwork in Tokyo at the prime location of Omotesandō often referred to as “Tokyo’s Champs-Élysées”. Apply online to enter the curated selection process.




a visual dimension underlying better-known picture theories


Visual Studies
Kevin G. Barnhurst University of Illinois at Chicago
 Formal theories
 reveal a visual dimension underlying better-known picture theories. Patterns of elements such as lines, shapes, and spaces, along with their properties, generate emotional responses and follow visual styles in society. The elements combine into systems that create perspectives on the world. Formal awareness may generate an understanding of visual  philosophies and their inherent values and consequences.
 Picture theories
 start from the tension between scientific invention and artistic expression. From linguistics and philosophy, semiotics provides terms for analyzing  pictures as signs that mediate among mind, eye, and reality, operate within codes, and reproduce mythology. From film and literary aesthetics, narrative theory offers analytical structures that reproduce realism through supposed objectivity, rationality, and autonomy in dialogue with conventions and genres. Critical, cultural, and poststructural theories assert the inauthenticity of pictures, social construction of representation, and instability of meaning. Visual aesthetics, analysis, criticism, and ethics have entered flux in digital times.
 Aesthetics; Critical theory; Cultural studies; Design; Film/cinema studies; Literary studies; Narrative; Realism; Signs; Social construction of reality
 Barnhurst, Kevin G. “Visual Theory.”
 International Encyclopedia of Communication Theory and Philosophy.
 Ed. Klaus Bruhn Jensen

The guide decodes 146 essential buzzwords, movements, and trends of the art world and art speak


Articles on ARTSPEAK – Why do so many galleries use such pompous, overblown prose to describe their exhibits? Well, there’s now a name for it: International Art English. And you have to speak it to get on. Andy Beckett enters the world of waffle .
A new guide decodes 146 essential buzzwords, movements, and trends of the postwar art world.
Galleries: let’s ditch the artspeak and artybollocks

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