CLIFF GARTEN STUDIO | A BRIGHT LIGHT ON THE HORIZON OF PUBLIC ART

17 05 2014

 

I have discovered Cliff Garten’s work in 2013, during my routine research about Harvard graduates of the Graduate School of Design. I was very inspired by what I saw – the scope of his work , the depth, the scale and the playful creativity, all while encompassing large projects with infrasctucture connotation. I was attracted and inspired by the Bullet & Suspect” composition imagery. Despite the harshness of the theme –since the project is a Forensic lab in Denver – and the hard durable materials – the poetry of the composition is undeniable. This is very similar to the well balanced wave design of the Los Angeles Overpass – the Baldwin Cliff Garten Bullet&Suspect Pic2Hills gateway, strongly reminiscent of e lace ribbon. There is a continuity in Cliff Garten’s work – that is rooted in his inner equilibrium. I was inspired by this giant visionary, who breaks boundaries and makes a statement – with harmony and without antagonizing the environment and the public.

Cliff Garten’s clear interest and in the connection between the Public and Private realm as it relates to Art , has always been close to my heart. Mr.Garten artistically embodies my inner belief system in that field. It is not incidental that my own artistic expression covers a wide range of medium, that can only be categorized as “multimedia “. That multidisciplinary quality was another one of Cliff Garden, that I deeply relate to. Somehow through the years – I always believed that Art and Architecture are closely related and the tangent is called Landscape Architecture.

CLIFF GARTEN STUDIO | Philosophy | Purpose
There is a latent potential in every public place and situation to become more than the specific functions it appears to perform. Public and private experiences are never distinct, but exchange places throughout the +Cliff Garten - Studio BLWH E-May2014day. My search for a place where desire intersects with our everyday activity is the search for sculptural forms which engage us in the poetry of our own actions and define our personal and social histories. The necessary facts of our public infrastructure are cause for the possibility of a public expression through the conscious design and integration of art. Sculpture defines our interaction and movement by creating energy between things, generating interest in public activity, reframing our private lives and creating a sense of place within public and private realms” ._C.G

 
Apparently the Harvard School of Design shares that view, since the graduate Public Art program and the graduate Landscape Architecture program belong to the same school.

On May 12th, 2013, the Los Angeles Arts Commission launched a new program of Open Studio talks with Artists – I was excited to attend to the Cliff Garten’s Open Studio. I was one of approximately twenty attendants. It was a great pleasure to meet Mr.Garten in person – for his level of sophistication, he is an approachable, kind mannered tall man. The presentation was a revelation of his noteworthy projects, his approach and his methodology.
Cliff Garten receptor Pic1There is hardly enough space to point out the details of the presentation- what was clear was that the success of the Studio is lined with depth , dedication and careful planning. Cliff Garten Studio . is a multidisciplinary Art studio for Public Art with the structure, discipline and organization of an Architectural studio, incorporating digital technology along with hands on craft. As Mr.Garten said – “You simply cannot buy a software and become a great designer because of it. The software is a tool – just like the brush and the sculpture rake.” You cannot design something that you are unable to craft with your own hands…” Excellent point. Artists vision for the concept comes first, dictated by the site and or the location – everything else follows, including the digital craft. To say that I agree is an understatement – I share this opinion 100%.
I am very enthusiastic about the rest of the Artists open studio events . Despite the facts that I have attended the most interesting and most inspiring Art talk. Why ? Perhaps because this new form of Art, the so called Public Art is a relatively new phenomenon and is born in the Unites States. And perhaps because it is the only form of Art, that has the capacity to transform the infrastructure of the public realm in this beautiful vast country of ours. Because America might be beautiful – when it comes to nature – but with the demographic +CliffGartenPhoto +Prsentingexpansion comes building an construction expansion that takes over and it is very easy to turn a green field into a concrete desert.

Cliff Garten’s vision has made vast breakthroughs in that regard – by showing that Public Infrastructure can be harmonious and functional at the same time. It is what people call beautiful. I call it simply brilliant.
If there is any slippery slope between Art and Function – it was not present in Cliff’s Garten’s work. When it comes to Public Art – Form and Function is allowed as long as it does carry artistic vision of a genius like Cliff Garten to unite the two in a interplay that brings subtle , yet unforgettable experiences.

Yours Truly,

IMG_0016Public Art Lover,
Tsvetana Yvanova

for the ArtChronicle

 

 





BOGDAN ALEXANDROV – A Modern Bulgarian Master

28 06 2013

Dear Friends, it has been a while… forgive my inconsistency! While the desire to write about artistic events and work that interest me is as usual boundless – time seems to be the only limitation. However – for those of you who enjoy these writings, that come from the heart of my love for Art , I am restarting my writing with this post– about a Bulgarian artist, whose work has crossed boundaries. I have always wanted to devote special posts to my Facebook ‘discoveries’. Some of these Artists  are unbelievable.1  Susanne Kessler ( a sophisticated installation Artist from Germany ), Philip Geist, Ross Ashton ( brilliant Multimedia artists from Germany and Great Britain ) ,  Cliff Garten ( a California Public Artist with incredible visions) to name a few.  These artists have something in common – they are absolutely brilliant! And inspirational!

     SUSPENDED (E)MOTION

As I promised in the beginning – I only show you artists who have in some way astounded me and inspired me. That is a promise I will keep! So before I resort to presenting each an every one of them in time, allow me to present you a very talented and masterful BOGDAN ALEXANDROV, whose latest work, that was exhibited in Yuzina Gallery(2013) –  I also encountered on Facebook.  The genuineness of his vision is undisputed. His latest exhibition in Sofia  has created quite a sensation. It id here – on the West coast by means of digital  media. The large canvases  by Bogdan Alexandrov convey a certain mood, that seems to captivate the viewer and leave a lasting impression. AndBOGDAn ART (3) makes us think. Makes us relate to the people in the images. ” What are they thinking? What are they talking about…? “After these questions fade away , we discover that it does not really matter. What matters is – that these paintings have captured a moment in time – that will never happen again. The eternal ‘now” as the Zen philosophy points it. The only moment that actually exists.

Regarding his method, in Mr.Alexandrov’s own words: ” Nowadays , people document life with greater ease than ever.” Says the Artist. ” Equipped with new technology, reporters, filmmakers and artists are “capturing” images constantly. The digital medium transmits images in a format, where the image is reduced to a time code and is modified by the imperfections of he optical systems being used.” These imperfections have been superimposed and intelligently used as the foundation of his method, that is difficult to define – by creating the illusion of the movement, without the still  frames…

BOGDAn ART (4)The Artist: “In my works I depict the characters by synthesizing multimedia images in a series of transitional transparencies. Their hands, faces, gestures and movements are in a state in which the conventional two-dimensions representational painting is replaced by the dynamic of the movement.”

The Artist Bogdan Alexandrov lives and works in Bulgaria, his website and his blog  are: http://bogdanaleksandrov.blogspot.com/

Enjoy !

Your Truly.

IMG_0016

Tsvetana  for

TheArtChronicle

For Your Viewing Experience – Below is Bogdan Alexandrovs List of Exhibits

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Bogdan Aleksandrov, Born in 1960, Vidin, Bulgaria.

 1

1989 – “St. Cyril and Methodius” University, Veliko Tarnovo, Bulgaria,

M.A. in Fine Art Painting.Lives and works in Vidin, Bulgaria.

Solo Exhibitions:

2012 “Purgatorium”, Rayko Aleksiev gallery, Sofia, BG. Curator Desislava Moneva.

2012 “Creation from nothing”, St. st. Cyril and Methodius University Veliko Turnovo, BG. Curator Georghi Minchev.
2012 “Local cooling”, Gallery L’Union, Plovdiv, (BG), painting.

2010 “Panta rei”, painting, Novi Sad, Serbia.

2010 “Noise”, Sofia City Gallery, Sofia,(BG), painting, sound installation.

2008 “Entrebaillement” Cite International Des Arts, Paris, France,  Video projection and performance

2008  “mixed”, Art Alley Gallery, Sofia, (BG), digital print, painting, video,drawings.

2007 “Initial E”, Gallery L’Union, Plovdiv, (BG), Video installation, work on handmade Japanese paper.

2007 “Replacement” , Nikola Petrov Gallery, Vidin (BG), painting and video projection,  curator Gordon Carter

2006 “Residual image”, Narodni muzej, Zajchar, Serbia

2005 “Residual image”, Stara Capetanjia Art Gallery, Zemun, Belgrade, Serbia and Montenegro

2003 “Anthropomorphous version”, National Art Gallery, Sofia (BG)

2002 “My Glagolitsa”, painting, Sofia Art Gallery, London (UK)

2001 “Shores”, painting, King’s Head Gallery, Presteign, Wales (UK)

1999 “Metamorphoses of the Instant”, painting and plastic arts, “Art 36″ Art Gallery, Sofia (BG)

1997 “DURE” Art Gallery, Timishoara, Romania

1997 “Stalbata” Art Gallery, Sofia (BG)

1994 Painting, “Spectra” Art Gallery, Veliko Tarnovo; “Ilia Beshkov” Art Gallery, Pleven (BG)

1993 “Agora” Art Gallery, Reshitza, Romania

1993 Painting & Drawing, Art Museum, Kalafat, Romania

1992 Painting, “Nikola Petrov” Art Gallery, Vidin (BG)

1990 Painting & Drawing, Higher Institute of Architecture, Sofia (BG)

1990 “Version of Progress”, Kinetic installation, Higher Institute of Architecture, Sofia (BG)

 

 

 





THE LA ART SHOW 2013

31 01 2013

THE LOS ANGELES ART SHOW AS SEEN BY THE ART CHRONICLE

The LA Art Show was much expected by Artists and Collectors and Art lovers just the same. It was here and it is gone Iphone 420now. I was able to attend for a brief Saturday afternoon – and it was packed! I thought I was in some kind of futuristic Art version of Neiman Marcus … Not that Neiman was ever that packed with visitors. That was the curious part – apparently, the organizers did a wonderful job promoting it.

Most impressive part was the variety of Art and the presence of Chinese Artists and GalleriesLA ART (27). Among the American Galleries, who are always present at every show like ABBY TAYLOR GALLERY (Boston) and LUREI GALLERY (Los Angeles) just to name a couple – the presence of Chinese art galleries was strong both as number of galleries and quality of Art. The Chinese traditional mastery was possibly the most impressive – A wonderdful large-scale portrait of an elderly lady stayed with me long after I left the show. Daniele Sculpture Woman with w cigaretteImpeccable brushstroke – and emotion for detail. For the short time I was able to view the show  – one other thing made an impression on me – very little sculpture. Almost nonexistent. Could it be that this means a Sculpture Art Show is in the making for 2014?  Hmmm – Maybe next ART SHOW  will have a special section exclusively for sculpture – Contemporary and Traditional Figurative…. In any case – LURIE GALLERY had two California Artists, both dramatically different in their sculpture technique – Jon Krawzhyk - contemporary abstract medium, usually  large scale and Daniele Matalon - traditional figurative third to half-life size bronzes. Daniele Matalon’s “Petra” is exquisite, sensual in a contained kind of way, and masterful in its execution. Daniele Matalon is a Sculptor, who started her career in early 2000. ‘Petra’ reminds me of a sculptural version of an Var5gas and Olivia’s glamourous pin-ups. To view the show , for you is a brief video on the Art Chronicle YOUTUBE  channel ( click on the red text to activate the link).  See you soon!

 Yours Truly,

BIG SMILE

 

 

 

Tsvetana Yvanova,

for The Art Chronicle





FINE ART STORIES by TSVETANA

10 02 2012

THE  “CHAOS&TRUTH”  STORY


Wow ! What a title! How did it come to coin this name, someone asked me once…

Here is how this name came to be one of my most cherished paintings….CHAOS & TRUTH. It started one  summer in early 2000. Summers in Southern California can be scorching – especially  for some of us, born in moderate  European continental climate  across the ocean. The trees in my luscious mini forest –  seem to take it better than the patio, which is turning into an oven for many hours   a day.

I had just begun to experiment with large scale abstract painting, as a diversion from the endless and tedious hours of sculpting. In large scale paintings – every layer consumes   a great deal of paint and needs to dry completely before the next layer be applied. So – the more I experimented – the more  time it needed to dry. The temperature is never the same – so all I could control in the process was the time, not the exposure. Eventually, the frames that I especially create for each piece, stays for great periods of time- waiting its turn  to be completed.

In reality – these new large scale  abstract pieces are as much of a creation of the Sun as they were by me. Really! The temperature makes its own changes on that particular layer – sometimes they are spectacular in its effect! Other time – not so much. In these cases – you have to start over form that point on. This is the spontaneous part I like. Constant discovery!

One time – I had imagined a very large, sprawling canvas, that is very gentle at the sale time…I wanted to make a piece that is very large, horizontal, that has this strong, but calming presence. I make my own frames – it is an involved physical, a little tough – but while I am laying out the wood and the fabric – it gives me time to  put even more thought in  the end result. So I built the frame  36″ by 120″ and let is wait. I used a very fine , but strong blend of linen and silk.  I believe in integrity – when you create something – make sure it is genuine to its  core – including the materials. The purity of material is important to me, whether it is sculpture or a painting.

One summer passed – the large frame stayed untouched. The next summer  I did one layer.  Another summer passed. Then – 3 years later – I put it outside, where I usually work under the blue sky – and  I let my imagination free.
Then one afternoon – in 2009 I had this moment of  discovery and innovation. I was ready to do something entirely different from the ZEN SWIRLS I first did   in 2000. And right there , on the  ground – next to the blossoming orange trees –  I started  layering  the spontaneity of many  years of suppressed intentions to complete for this piece.

The more my determination grew – the softer I wanted it to look! Somehow it always takes more effort to make something  that looks effortless…
Like the ancient  hieroglyphs – which express and entire event – not just a single thing! It is almost impossible to register the thoughts that were occupying my mind at that time. At this moment, you may say – this is my own private performance. It is full of emotions, joy, wonder,  discovery, impatience, – it runs the gamut of  human expression. Then you wait a few hours, because the heavy layers need to settle and be protected from everything – from falling orange blossoms petals –to the tiny cute faced lizard, who live under a near  by  decorative rock  to a wanderer squirrel or a cat, who see this is just a part of the yard , only wet and slippery …
If one had a glimpse of the scene, while I was doing this painting    – it would have been quite baffling to the unknowing eye – the scene would have been closer to a dance, than to painting, simply because of scale. And that is maybe the reason why  each of these large scale paintings have so much meaning for me.

In a few hot summer days in 2010 I managed to complete  CHAOS & TRUTH. There was this gentle lace-like effect, when you look from a distance; when you come close to explore in depth  – it transforms itself into an organic  universe with unexpected spatial depth, impossible to describe.  In the end – this canvas is as appealing vertical as it is horizontal.

The truth is – this piece is very dear to  me. It took years to complete. And I fulfilled my goal – to have a complex large scale painting, that changes with the distance it was viewed. And the chaos, that preceded its completion was simply a precursor for a truth, that emerged in the end.

Isn’t that always the case  – Truth always emerged from Chaos.
Chaos always  preceded the Truth.And that is my very own story behind this piece! Hope you enjoy  it!

 

Yours truly, Tsvetana for TheArtcChronicle

PS. The CHAOS & TRUTH is featured in a DVD, which showcases in  videoart  the paintings of  Tsvetana Yvanova. The idea is to find a brand new way to experience the viewing of art  – a very artistic way of viewing . This DVD selection is available for the first time on Amazon.com.





WHAT HAVE YOU DONE FOR YOUR ART LATELY?

7 01 2012

HOW RELEVANT IS YOUR ART?

A few weeks ago a good friend sent me a cut our from an article in a Northern California newspaper. The cutout was missing the subtitles in the corner … However – reading this short and yet powerful article – I decided as soon as I can – I will post it on this blog, since it is so relevant! In our daily lives as Artists and designers – recognition sometimes never comes soon enough . There are moments when you just wish you were someone else – not constantly working,  struggling – and when it comes to promoting your art- you take a back seat. No reason. Maybe you thin your art will speak for itself.  Or maybe it is too close to your heart  – or  you still think it needs to be perfected  … whatever the reason, you let it sit  in your studio. And time passes . The truth is – once you have created it – you have an obligation to share it! Forget the sales – forget the fact that very few can afford to purchase art. A sale may come or not – but if your art is worth it – it will leave a mark in someone’s life.  A memory – will awaken hope or  a dream or a sense of  belonging . Whatever the case may be – your art mean something to someone  – and you must show it for that t reason only.

Have we become do corrupted that we cannot say the word Art without infusing the word Money in it?  VALUE does not always have to do with money. The intrinsic value of your art is the one you must show the world.

What is intrinsic value?:” The intrinsic value of something is said to be the value that that thing has “in itself,” or “for its own sake,” or “as such,” or “in its own right.” (Stanford Encyclopedia of Philosophy)

If you put your heart in your Art – it will have value; intrinsic value to someone. And that is worth a lot more than any extrinsic value, expressed in modern currency. And that is worth a lot more than any extrinsic value, expressed in modern currency.  In the grand scheme of things – this form of value is of less importance, isn’t it?

What have you done for your art lately? Who did you show it to?

Here is Patrick Lydon’s Article:

ARTISTS MUST SHARE THE IMPORTANCE OF THEIR WORK

by Patrick Lydon

Recently a fellow San Jose Art Commissioner was speaking to a former firefighter. She mentioned her position on the commission, to which the man replied: “ Art? What is Art? I see them installing sculptures in front of the fire stations, but what does it do for us?”

The former firefighter essentially saw public art as a poor use of money that could be diverted to other utilitarian services. The commissioner dutifully retorted by explaining her point of view on how public art inspires us, educates us, makes us think, laugh, smile, fosters a sense of Community and generally makes our neighborhoods better places to live.
But Art is far more than this community and generally makes our neighborhoods better places to live. But Art is far more than this.
If you are an Artist, you might not notice the ubiquity of the firefighter’s sentiment, especially when you are around friends and family who support you. However, an overwhelming majority of people today for one reason or another do not understand how and why art and creativity are important.
And it is not their fault!
As artists we can’t so easily blame art literacy on those who don’t understand it, on school boards who cut it from the curriculum or on government for not supporting it financially. It is difficult to admit, but we first need to blame ourselves.
Those of us who understand the importance of art and the creative spirit are largely failing at making it a part of others lives – failing at teaching the importance of our craft, failing at reminding others every chance we get how important the arts have been to us, failing at showing how art and creativity can and should be an important part of everyone’s life.
Although art often competes poorly in people’s minds when put alongside science, math or even shopping, the use of art as an integral part of life actually predates the oldest of these activities by some 30,000 years. (See Chauvet in France, the topic of Werner Herzog’s new film “Cave Forgotten”) Art has long been one of the basic components of a balanced life.
Throughout history, the most successful developed societies have valued artists highly, not only for what they produce directly but also for the positive tangenial effect that their uninhibited creativity has on society as a whole. This mysterious gift of creativity that Artists wield has had a large part in shaping our world into what it is today. As difficult an idea as it may seem, without creativity and the arts, you and I could quite easily still be living in caves – and caves without drawings on the walls at that.
The definition of art is often confined to painting, sculpture and perhaps performing arts, but the art is far more broad than these disciplines. Whether we recognize it or not, art surrounds us. From the music on our iPod to the design of the chair we sit in, the effect of art enters our lives hundreds of times dally. Art is not relevant to us unless we are educated as to what it is and why it is not only important but necessary.
In order for that relevancy to be understood and maintained, the stories of art and creativity must be told again and again, and in as many times ways as possible for as many different types of people as possible.

So – for those of you who know the value of arts and creativity: WHAT IS YOUR CREATIVE ART STORY? AND WHOM HAVE YOU TOLD LATELY?

A few words about Patrick Lydon:

WHO IS PATRICK LYDON?

http://www.SocieCity.com

Editor-in-Chief
San Jose State University
About

A student of art, music, technology, and of the world around him, Patrick Lydon gained aesthetic and communicative training and interactions while earning his B.A. at San Jose State University. Following his studies, Lydon spent seven months traveling throughout East Asia and Europe, studying the energy and interactions between people, art, nature, and the urban space. From those experiences, his social/urban/nature research venture SocieCitywas formed, with content from a varied cast of authors, researchers, and artists, produced for consumption by the majority.

___________________________________________________

Perhaps Mr. Lydon does not realize it – but  his point of view has inspired  many.  This is my way of saying ‘Thank you!’

Yours truly,

Tsvetana Yvanova

for Art Chronicle





LONDON-FRIEZE ART FAIR BRIEF REPORT

21 10 2010

Big bold art –  sober prices

By Georgina Adam, Charlotte Burns and Melanie Gerlis

LONDON. Dealers were delighted to see hedge-fund honcho Steven Cohen, one of the world’s biggest art buyers, at the preview of Frieze yesterday morning. “It’s my first visit to the fair,” Cohen said as he viewed the work accompanied by his adviser, Sandy Heller.

But Cohen wasn’t the first in. At the front of the line were Dallas collectors Christen and Derek Wilson. “This is my favourite fair,” said Christen, a member of Tate’s North American acquisitions committee. British collectors Frank and Cheryl Cohen sauntered past Tate supremo Sir Nicholas Serota, who was deep in conversation with über-collector Charles Saatchi outside Sadie Coles HQ (C15). Adding serious glamour, Russian collector Dasha Zhukova swished towards Marian Goodman (F16), while supermodel Claudia Schiffer eyed up Thanksgiving 1985 (Table) by hot US artist Roe Ethridge at Andrew Kreps (A7).

Fellow stars included rock’n’roller Keith Richards, photographer David Bailey and an assortment of artists: Ai Weiwei, a wheelchair-bound Tracey Emin, Gavin Turk and Mike Nelson. Early-bird collectors also included Chicago’s Stefan Edlis with Gail Leeson, Hong Kong’s Richard Chang and Brazil’s Ricard Akagawa.

Greeting them were dealers on stands that boasted bigger and bolder displays than in the last two downturn years. Not to be outdone by the usual powerhouses of Gagosian (D8), White Cube (F15), Hauser & Wirth (C12) et al, most galleries this year are ratcheting up their ambitions with larger pieces.
So why is big back? Dealers claim they aren’t driving the trend: “It’s not my ego,” said New York gallerist Friedrich Petzel (D3). “Artists are producing bigger works.” His sales included a large-scale John Stezaker—Untitled (Veil Tiger), 1982—for around £50,000 to a European buyer.

“There are a lot of ambitious collectors still out there,” says James Lindon, visiting the fair from New York’s Pace. He added: “Dealers might be slimming down in terms of production, but that doesn’t impact scale.” In line with today’s more sober mood, many of the materials used are humble: cardboard, paper, flags or found objects.

READ ON …….

 

Tsvetana Yvanova,The Art Chronicle





BILLY ZANE – The surprise of Bergamont Station

14 09 2010

A Saturday visit to the Bergamont Station galleries was full of surprises. Me and a good friend, made an appearance on all  of the openings that night. The excitement, the buzz was there. Sometimes when expectations are high – impressions are  almost always slightly below. We were zigzagging from gallery to gallery faster than Mao Tse Dung breezed through Versailles . . . .Unril, I discovered Billy Zane exhibit at Laurie Frank Gallery ( Frank Pictures Gallery ). It lacked the hip and stylish arrogance of its neighbors – but it compensated in wonderfully curated Billy Zane show, well under its way. I was surprised both by the name as well as by the quality of his work. Robert Rauschenberg comes to mind. Obviously, Billy Zane’s talents have little boundaries. His work displayed controlled spontaneity and artistic confidence.

Below is their promo for the show.

Frank Pictures Gallery is delighted to present, Killing With Love. Billy Zane’s first show of paintings with an opening reception for the artist. Zane, best known for his achievements as an actor in over 80 films, most memorably as Caledon Hockley in the 1997 film Titanic, began painting during his seven months of filming the blockbuster with James Cameron. It didn’t take long for his interest in painting become more than a pastime, it became a consuming passion, often interrupted by his on set responsibilities. Since then he has set

Frances Fisher, Billy Zane & Friend

up makeshift art studios on almost every location he is filming in, the cultural influences and limitation to local materials influencing his spontaneous abstract offerings. ‘I love the mystery. The joy of making do with what you have to work with. The Hardware store is my art store and most countries, cities and villages have one in some form or another. If I can’t find canvas, I find old signage, shelf liner, or shipping crates. If I can’t find enough paint I use soil, clay, wine, spit, anything that adheres.”

He has been further influenced in his art by his practice of the Japanese sword fighting martial art Kendo. “In Kendo, or Specifically the Samurai ethic and art of swordsmanship, before it was diluted into a sport after WW2, one should not insult their opponent with a mincing, poorly executed cut It should be decisive, effective, a clean kill, informed with respect for ones adversary and ones own skill. In painting, it’s this commitment to task that interests me most, the cut, the stroke. The act supersedes the message. Logic and meaning, if any, emerges after the fact, but is also inherent, like the sculpture in the stone, and only evident when I have been guided by an almost brash confidence. Painting for me, is more physical than psychological or even emotional. Although, I derive great joy from the act and serve an almost insatiable desire to sling paint.”

That maybe so – but many have had the desire to ‘sling’  paint, few have done it well. And Billy Zane does it very well. The FRANKS PICTURES GALLERY is located on the address below:

Bergamot Station Gallery A-5, 2525 Michigan Avenue, Santa Monica California 90404, Tel. 310-828-0211, Fax. 310-828-0221

Moblie. 323-839-6166 .They  are open Tuesday – Saturday from

11:30 am – 6:30 pm or by appointment. Laurie@FrankPicturesGallery.com

They have a New York affiliate gallery – Johnny Wong.
Johnny@FrankPicturesGallery.com

Yours truly, Tsvetana Yvanova





FOR FINE ART PUBLISHERS AND GALLERIES

18 08 2010

Attention: FINE ART PUBLISHERS and GALLERIES


FINE ART PUBLISHERS, who wish to  inquire about reproduction rights of Tsvetana Yvanova’s art – sculptures, digital lithographs, paper prints, giclees, please fill in the contact form online or simply call between 9 am  and 5 pm weekdays to discuss all available options.Specify your field of interest.

FINE ART GALLERIES, who wish to  inquire about representing Tsvetana Yvanova in their  gallery – figurative  sculpture editions, original paintings, limited edition  lithographs, please fill in the contact form online or call between 9 am  and 5 pm weekdays to discuss all available options. Specify your field of interest.

When requesting a  catalog, for the purposes of reproduction – specify  the focus of your interest – Sculpture,  Portraiture, Figurative; Contemporary Paintings, Large Scale Digital Lithographs ( Giclees) or Museum quality Paper Prints.






Meet Alan Bamberger – Art Consultant

17 08 2010

Alan Bamberger -Art Consultant, Advisor, Author

ARTBUSINESS.COM’s site principal, Alan Bamberger, is an art consultant, advisor, author, and independent appraiser specializing in research, appraisal, and all business and market aspects of original works of art, artist manuscript materials, art-related documents, and art reference books. He has been selling art since 1979 and rare and scholarly art reference books since 1982, and has been consulting and appraising for artists, galleries, businesses, organizations and collectors since 1985.

Bamberger has appeared live on CNN’s Daywatch, KTLA’s Making It (Los Angeles), and KRON-TV in San Francisco, and answered art business questions on New York City Cable TV’s Project Art Show. He’s been quoted in numerous media including the New York Times, The Wall Street Journal, the International Herald Tribune, Great Britain’s Guardian Unlimited, the Toronto Star, Marketplace (National Public Radio), the Los Angeles Times, New York Newsday, the San Francisco Chronicle, Esquire, ESPN Magazine, Real Simple, ARTnews, The Arizona Republic and Wired and has been featured in the Chicago Tribune, the San Francisco Examiner, Kiplinger’s Personal Finance, Your Money, and other publications.

Bamberger has written about the art business since 1983. His syndicated column, “Art Talk,” debuted in 1985 and appeared in antique and collectibles newspapers and magazines nationwide including Antique Week, Mid-Atlantic Antiques Magazine, Yesteryear, Antique and Collectables, The Collector, Antiques and Auction News, Antique Gazette,Old Stuff, and Collectors Journal. Bamberger currently writes the “Turning Pro” column for Coagula Art Journal, has been a columnist for Art Calendar Magazine, and has written numerous articles about the art business for publications like American Artist, Antiques and Fine Art, Antiques West, Antique Trader, San Francisco Review of Books, and Art of California. He has also written three books, Buy Art Smart and Art For All, published by Wallace-Homestead in 1990 and 1994 respectively, and The Art of Buying Art, published by Gordon’s Art Reference in 2002, and then revised and enlarged in 2007.

He consults on legal matters involving art, has given expert testimony in court, done numerous radio interviews, spoken with Spencer Michaels of The News Hour With Jim Lehrer regarding a PBS news story about eBay, consulted with financial columnist Andrew Leckey for annual predictions on what’s hot in the art market, been interviewed by Random House editors for the art section of their book The Practical Guide to Practically Everything, and is a listed expert in Tony Hyman’s Trash or Treasure. He also speaks to museum and collector groups across the country and was the original moderator of the “Topics in Art” forum on the Antique Week website.

Bamberger is a member of the Association of Online Appraisers (of which he has served on the Ethics Committee), the Antiquarian Booksellers Association of America and the International League of Antiquarian Booksellers. He has served on the board of directors of Creativity Explored, an organization dedicated to encouraging artistic expression in the developmentally challenged, on the exhibition committee of Visual Aid, a service organization serving artists with life threatening illnesses, and worked with ArtSpan which produces San Francisco Open Studios

I have found Mr. Bamberger’s website to be of incredible value to Independent Artists. His Articles offer a wealth of knowledge and experience.

He may be contacted through his website as well as email: alanb@artbusiness.com

Yours kindly,

Tsvetana

The Art Chronicle Principle








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