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

Focusing on museum quality exhibitions and secondary market art sales, William Turner Gallery has upheld a reputation for representing some of the most exciting contemporary artist’s in LosAngeles. The gallery’s knowledgeable staff works hand in hand with clients, contemporary interior designers, and architects to match investment quality artwork with the most refined living and corporate spaces.

The Gallery is  located at  2525 Michigan Avenue,Santa Monica, CA (310) 453-7535.

The reception is at 6 pm .  Hope to see you there, Art Enthusiast!!!!

Yours Truly,

The ArtChronicle

HIGHLIGHTS FOR THE 2012 OPENING NIGHT PREMIERE PARTY An installation by performance artist Mark Mothersbaugh, who will debut a much anticipated artwork combining sculpture and music in an interactive experience.A special re-creation of The Myths of Rape, originally performed in 1977 by Leslie Labowitz-Starus as part of Three Weeks in May. This unique event is part of Three Weeks in January, a new work by Suzanne Lacy presented by LACE as part of Pacific Standard Time.                                CHINA PAVILION: Classic Buddhist Paintings: A Retrospective of Xia Jingshan. This unprecedented exhibit in the US will feature a retrospective of important works by this renowned Chinese master brush painter and will introduce the work of Xia Jingshan’s preeminent student Tong Hongsheng, bringing the voice of the next generation of the master’s Beijing-based school, Xia Xue, to light. The exhibition will also showcase the re-creation of an elaborate reading room of an antique Qing Dynasty wooden home from Southern China.

HOPE TO SEE YOU THERE!

Yours Truly,

Tsvetana Yvanova,

For TheArtChronicle

is presenting Kristan Marvel in  CONTEMPORARY BRONZE  show.

THE ART OF KRISTAN MARVELL

Kristan Marvel’ s sculptures derive from a technique, which he developed and has worked with over the last twenty years, that he calls spontaneous carving. His  bronze sculptures begin as monolithic chunks of Styrofoam. As a stone carver has marble, Marvell has Styrofoam. The sculptures evolve as Marvell pulls and  manipulates large hot wires through massive blocks of Styrofoam. This process   allows for the improvisational removal of material and produces a unique visual    vocabulary. Also, Styrofoam, a material devoid of sensuality, an industrial    emblem, is in a sense corrected and made sensual as it progresses towards its  transformation into bronze.
Through this visual vocabulary Marvell explores the confrontation between the  natural, the organic, and man’s manipulation and reconstruction of the world.
On the most obvious level, the natural landscape is used as a point of inspiration, a visual ode to the raw power of its geological beauty. The work acknowledges and utilizes nature’s ability to elicit emotional transcendence. However, the sculptures are not replicas of natural formations. As a sculptor, Marvell, is interested in thematic or formalist concepts such as the relationship between mass and density, or volume and spatial balance. He likes the enigma of creating sculptures where mass is levitated in unusual ways, where unwary fragility is able to bear great weight. By way of modernist formal concerns the work references the concept of man’s transformation of nature through the intellectual event of manipulation.
As the eye wanders the sculptural planes, there is a sparseness, a focused control of surface and texture, in which the hand of the artist is evident. In that organization of space, a thoughtful and heart felt integrity emerges, imbuing the sculptures with emotion and grace, reaffirming the power of the object.

by Nicholette Kominos

For  The Art Chronicle

The scheme to take over the pedestrianised thoroughfare is led by the Cass Sculpture Foundation, a charitable trust that commissions and sells monumental work on display at its 26-acre estate at Goodwood, near Brighton.
“As a partner of the Cultural Olympiad, we have been working on the Exhibition Road project for the past two years with the Royal Borough of Kensington & Chelsea,” says entrepreneur and philanthropist Wilfred Cass, who established the foundation in 1992. ( Right, Photo of Tony Cragg, Sculptor-www.tony-cragg.com. View a video of on Cragg’s work, click here.)

In another significant move, culture minister Ed Vaizey has expressed interest in the unique funding model of the foundation. Ahead of the 20 October comprehensive spending review, the politician was no doubt keen to discover how the organisation has survived without receiving any funding from state-backed bodies such as Arts Council England.
“The charity’s simple business model effectively means that no outside funding is necessary,” says Cass. “The overheads of the foundation are paid for in full by admission charges and events.” Ed Wilde, technical director at the foundation, says: “When a piece by a particular artist is sold, we will commission another work from them using the foundation’s half of the proceeds. This effectively means that the artists will benefit from 100% of the net profit of a sale, even though the contractual fee is 50/50.”

The sculpture park attracts about 18,000 visitors a year, who pay £10 each to enter. Major sales recently have been to foreign collectors such as Portuguese billionaire José Berardo.

“People find it difficult to understand that a charity can also be commercial but isn’t this the kind of scheme favoured by the current government? With institutions such as the arts council and museums throughout the country facing major cuts, we see our role as working more closely with these bodies,” adds Cass.

VITAL FACTS ABOUT THE CASS SCULPTURE FOUNDATION

The Cass Sculpture Foundation has won a broad international reputation by carefully honing its expertise in the commissioning and sale of large-scale sculpture from the finest British artists.

Profits from all sales are split equally between the artist and the foundation to date we have displayed over 440 new sculptures and have provided an internationally renowned platform for a significant number of British sculptors.
We are now extending our visibility and international profile by planning a major series of events outside of Goodwood.

Tsvetana Yvanova

Editor,The Art Chronicle

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

.

RECEPTION:

SATURDAY, OCTOBER 23, 3:00 – 6:00 PM

OCTOBER 23 – DECEMBER 4,

2010 WILLIAM TURNER GALLERY

2525 Michigan Avenue E-1

Santa Monica, CA 90404 PH: 310.453.0909

www.williamturnergallery.com

Some brief facts about Andy Moses:

Biography

1962 Born in Los Angeles, CA

1979 – 1982 California institute of the Arts, Valencia, CA

Exhibitions

2006 Gallery C, Hermosa Beach, CA

2006 George Billis Gallery, Los Angeles, CA

2006 McClain Gallery, Houston, TX (solo)

2006 Patricia Faure Gallery, Los Angeles, CA(solo)

2005 Patricia Faure Gallery, Los Angeles, CA(solo)

2005 McClain Gallery, Houston, TX(solo)

2005 Berman Turner GalleryLos Angeles, CA

2004 Patricia Faure Gallery, Los Angeles, CA(solo)

2003 Off Main Gallery, Los Angeles, CA(solo)

2003 Gallery C, Hermosa Beach, CA

2003 Double Vision, Los Angeles, CA

2002 Anita Shapolsky Gallery, New York, NY

2002 Arts Manhattan, Manhattan Beach, CA

1998 Lenora Vega Gallery, New York, NY(solo)

1997 Nabi Gallery, Sag Harbor, NY

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

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

Filed under: American Modernist, Art Consultants, California Art, Contemporary Art Forum, Gallery Opening Tagged: Billy Zane, Expressionism, Franks Pictures Gallery, Laurie Frank Gallery, Pos Art, Rauschenberg ]]> http://tyvanova.wordpress.com/2010/09/14/billy-zane-the-surprise-of-bergamont-station/feed/ 0 The Art Chronicle BILLY Zanebookcoverss frances-fisher-e1277932742331 Suddenly-e1277933320834 telemundo-noborder BIG SMILE http://tyvanova.wordpress.com/2010/08/18/for-fine-art-publishers-and-galleries/ http://tyvanova.wordpress.com/2010/08/18/for-fine-art-publishers-and-galleries/#comments Wed, 18 Aug 2010 00:44:09 +0000 The Art Chronicle http://tyvanova.wordpress.com/?p=901 ]]> 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.

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

The Barack Obama Portrait is completed – and the few minutes of videotaping are showing the  final touches – they are  interesting to watch as well. It was quite challenging and exciting experience  to constantly  study the features of a historical figure such as Barack Obama – regardless of one’s belief system  – one thing is certain – Mr. Obama is a historical milestone in the American history, that marks  a change in the way America  thinks and the way the world perceives America. A Visionary.

By clicking on the highlighted link, you may view the YouTube Obama Art Video or  click here for  Tsvetana Yvanova’s YouTube channel.

Hope you enjoy the video! Tell us what you think of the  image?

I can tell you this – in real viewing – people’s behaviour becomes a bit more  respectful, as if the President himself is there and not a sculpture of him . . . . Subtle, but eloquent! That is a real  seal of approval for me.

Your truly,

Tsvetana

I am always deeply impressed by Artists, who cross boundaries – or erase the them. An Artist, who  is capable of organizing an installation with a message of this caliber – deserves special attention. I myself love with trees. Period. I have no explanation. Just love trees, their grandeur, their  ability to be complete habitats for thousands of  flora and fauna and last but not least – their genetic design to last for over a  milleneum and sustain our very own life on Earth. I can go on and on .  We owe the existence of any civilization on earth to the existence of trees. Few things create more indignation in me that cutting down rainforrest species, under the pretext ( and ignorance ) that they will grow again . . .I also happen to be a deep believer , that with common efforts we can preserve  our environment  healthy  and even  reverse the damage done to the environment up to this point. This is why I was taken by the efforts of an Artist Angela Palmer to create this installation showing  the stumps of Rainforrest species – after they have been cut down due to the  greed, ignorance and plain  miopia of the effect of such cutting.  I do not use the word  ‘harvested’, ( harvesting would mean that it was planted by the  party, who has cut it) – even harvesting trees is equally damaging.  Not to say that ‘harvesting’ trees is justifiable  in any way ,  shape of form. Below follows  is a part of Angela Palmer’s  statement for this installation  in her own words -http://www.angelaspalmer.com .

‘The connection between deforestation and climate change, and the challenge to express that visually, is the basis for my most ambitious and logistically challenging work yet. The concept is to present a series of rainforest tree stumps as a ‘ghost forest’ – using the negative space created by the missing trunks as a metaphor for climate change, the absence representing the removal of the world’s ‘lungs’ through continued deforestation.’

‘Over the past few months I’ve made several field trips to a commercially logged primary rainforest in Ghana where we sourced a group of 10 tree stumps. The Ghost Forest was exhibited in Trafalgar Square in London November 16-22, courtesy of the GLA. It then moved to Copenhagen from December 7-16 to coincide with the UN Climate Change Conference, and was situated in Thorvaldsens Plads, a magnificent city centre square next to Parliament Square and the National Museum. More than 12,000 delegates from 193 nations attended the Conference where the future of rainforests was a key component of the agenda.’

‘Both locations provide a powerful stage: Trafalgar Square is one of the world’s most visited tourist sites and the epicentre of Western industrialisation over the past 200 years. Nelson’s Column stands over 50 metres (169 feet) tall, the approximate height many of these trees would have stood. In Copenhagen, Ghost Forest stands as a symbol of threatened rainforest trees throughout the world. Seven indigenous species are represented – Denya, Dahuma, Danta, Hyedua, Mahogany,Wawa and three varieties of Celtis – all with a rich and varied ecology and all with equally diverse uses by man.’

‘It is important to explain the source of these particular trees, Ghana. The tropical rainforests of the Congo Basin are the closest to Europe, just 3,000 miles due south from Trafalgar Square along the Greenwich Meridian. Having lost 90% of its primary rainforest over the past 50 years, Ghana now exercises strict regulations in sustainable and responsible forestry. Last year it became the first country in Africa to enter the VPA (Voluntary Partnership Agreement) with the European Union in an effort to outlaw illegal logging. Its remaining concessions are all selectively logged, which means the retention, crucially, of the forest canopy; the natural regeneration of the forest; and a viable and sustainable timber industry for the local workforce: the installation therefore carries a message of hope and optimism.’

‘The project has the support of Deutsche Bank, the main sponsor; Arts Council England; the Global Canopy Programme; Oxford University’s Environmental Change Institute and the Oxford Centre for Tropical Forests; and several other charities and companies. In addition many passionate individuals have given very generously, both financially and with their time. We are still raising funds to complete the Ghost Forest Art Project. I’d be incredibly grateful for any contribution, however small. You may make a donation, and if you wish, leave a message on the Ghost Forest Donation Tree, which is here.

‘My interest in Climate Change began two years ago when I had a dream that I went to the most polluted place in the world wearing a floating white outfit. I then went to the cleanest place on earth wearing an identical white outfit, and exhibited both in a stark white gallery. When I woke I resolved to do just that. I spent a week in the most polluted place on earth, Linfen in Shanxi province in China, a city in the heart of China’s coal mining region, which according to official surveys has the world’s most polluted air and water. I then visited the cleanest – Cape Grim in the North West tip of Tasmania, which benefits from the cleansing blast of the winds of the Roaring Forties. In both places I wore an identical white outfit, and brought back film, photographs, water and air samples, all of which I juxtaposed for my final show at the Royal College of Art in London. The work will be exhibited next month at the Wellcome Collection on Euston Road in London. Entitled ‘Breathing In’, the show opens on October 20.’

‘Many people have commented that at the core of my work is a desire to ‘map’; the work is almost always accompanied with a narrative, often the result of months of research involving many specialists. In a way it is old fashioned story-telling, perhaps largely informed by my background in journalism. A common theme running through all my projects is the collision between art and science, and almost without exception the work is the result of collaborations with scientists in every conceivable discipline, from engineers specialising in bio-fluidics, to dust-mite and spider experts, radiologists, veterinary scientists, paediatric dentists and specialists in ancient Egyptian dyes.’

To view the entire text and Angela Palmer’s website -just click on the link.

SOME FACTS YOU PROBABLY DO NOT KNOW:

1.One of the tallest rainforrest species is  Brazil Nut Tree ( Bertoletia Excelsa) is one of tghe largest species in the Amazon  Rainforrests, reaches 100 – 150 feet and may live 500 up to 1000 years. It reproduces with difficulty – its reproduction depends on a certain type of orchid. Withg a straight stem, 3 -6.5  feet in diameter, and a crown that towers over all other canopies of  surrounding tees.

2. Other common  species – in California - Platan (Platanus Occidentalis)  very  tall as well – up to 130 feet, can live up to 2300 years if left alone.

Sincerely,

Tsvetana Yvanova, ASLA,

Artist, Designer & Tree Lover

Filed under: African Rainforrest Trees, Conceptual Art, Contemporary Art Forum, ENVIRONMENTAL ART, Visual Arts Tagged: Angela Palmer, Arts Council England, Brazil Nut Tree, Deutsche Bank, Ghost Forrest, Global Canopy Programme, London, Oxford University’s Environmental, Platanus Occidentatlis, Rainforrest Trees ]]> http://tyvanova.wordpress.com/2010/04/20/a-ghost-forrest-in-the-heart-of-london/feed/ 0 The Art Chronicle ghostforesttrafalgar1 angelapalmer ghostforesttrafalgar2 as4_angelaonstump BIG SMILE http://tyvanova.wordpress.com/2010/03/28/meet-jeremy-lipking-a-true-california-talent/ http://tyvanova.wordpress.com/2010/03/28/meet-jeremy-lipking-a-true-california-talent/#comments Sun, 28 Mar 2010 23:57:03 +0000 The Art Chronicle http://tyvanova.wordpress.com/?p=652 ]]> A Note From Jeremy

Dear Friends,

I hope you are enjoying your winter (or summer for my southern hemisphere friends), I know I am. Here in southern California the Winters and Spring are my favorite times to paint outdoors, the hills are green, the streams are full and the temperatures can be in the 70′s and 80′s. I’ve been trying get out there when I can to take advantage of the great conditions. I’ve also been lucky this Winter to have had a chance to paint with some great visiting artists like Christopher Pugliese and Rose Frantzen who currently has an exhibition at the Smithsonian National Portrait Gallery in Washington DC. Here are some upcoming events I’d like you to know about.

California Workshops May and June In each of these workshops we’ll be painting the figure in the studio and outdoors. Click on the links to register and pay. May Workshop: May 14th, 15th & 16th 2010 June Workshop: June 25th, 26th & 27th 2010 Location: Agoura Hills CA Cost: $495. For people in Southern California I also offer a weekly painting class in my studio on Tuesday nights 7-10pm. The cost for 8-weeks is $480. To register or for more info on this or the 3-day workshops contact Danielle or call 818-451-7675 You may also pay online for the weekly class here. Realist Revolution: Panel Discussion Contemporary Art: REALIST REVOLUTION and CRITICAL RELEVANCE, Is Main Stream Media Missing an Important Cultural Trend? Date: 4:00PM Friday April 23rd 2010 Location: Hyatt Regency Reston, VA (Washington D.C area) Cost: Free (you must reserve tickets though) I am really excited to announce this panel discussion I’ll be moderating at the 2010 Art of the Portrait Conference in the Washington D.C area next month. We have a top notch panel that will be discussing the current movement in representational art and its place in the contemporary art world. Panel members are: Jacob Collins, artist & founder of Grand Central Academy Alexey Steele, artist and recipient of 2009 Gusi Peace Prize James Panero, writer and managing editor of The New Criterion Dr. Vern Swanson, author and expert on Academic and Realist art & Director of the Springville Museum. This is an important discussion for any artist or collector. Although it is part of the Art of the Portrait Conference agenda, this one event will be open to anyone at no cost but you must reserve tickets by emailing Christine Egnoski at info@portraitsociety.org or call 877-772-4321 Solo Exhibition NY And Last but not least my Solo Exhibition I have been working on for two years night is opening Thursday night June 10th. 2010 at Arcadia Gallery, 51 Greene Street New York, NY 10013 212-965-1387 I hope to see you there. Sincerely, Jeremy Lipking www.lipking.com

My art  Professor Angelakov  used to say -  you have to be able t create with anything that is available to you – if you have a pencil – use a pencil, you have oils – use oils; if you have nothing else available- paint with your fingers – if you have no canvas – draw on anything that comes to hand . . .’  His wisdom still follows  me.  The message was clear – never be swayed by  limitations – be it of materials or anything else.  Let your creativity flow no matter what. His words have nourished y creativity all these years.

A new medium has been added to my presentation palette – YouTube and Vimeo.  A skeptical attitude at first has prevented me to pay closer attention to  this popular public channel of  information. But as soon as I watched a science lecture from Harvard University about Nano particles and  not long after I discovered the most talented video artists of all time Philip Geist – I was a ‘convert’!

A special regular editorial will be dedicated to my Facebook and YouTube  ‘discoveries’.  It is only fair to say – I  am incredibly pleased to find out that there are so many unbelievably talented Artists out there! Has it not been for these networking platforms – I would have missed out on this knowledge ! I am very pleased  that  I am ‘in’.  My scepticism was a thing of the past – I was ‘converted’. Just like Facebook has modified my perceptions about social networking.

Here is a link to my latest video - I tried to make a bronze figure to dance . . . .You will know if I have succeeded. The music of  Antonio Vivaldi became a perfect background for the dancing ballerina. If you log in to The Dance Lesson – you will have the opportunity  to see the result of the new video – www.youtube.com/stylevieworg.

Enjoy it!

Tsvetana Yvanova  for

Tsvetana Yvanova Fine Art

MATERIAL MATTERS

Presenting:
JAMES HAYWARD
ANDY MOSES
STEVE VAN NORT
SUZAN WOODRUFF

MARCH 13 – APRIL 17

Reception: March 13, 6:30-8:30

William Turner Gallery

PH: 310-453-0909 F: 310-453-0908 2525 Michigan Ave. E-1, SM, CA 90404

Upon visiting  the Frank LLoyd Gallery, at The Bergamont Station in Santa Monica  – Larry Bell’s work attracted me with its impeccable execution – and somber colors. The textures of the collages were unique – with this  fine, yet commercial feel to it. There is beauty in   the primal compositions ,  executed in the finest of techniques. Add to the blend metallic paint and  all shades of  the dark palette – and you get the picture. Two words come to mind – refined mysticism. We are left with our imagination – wondering where is Joan now?

Larry Bell’s work emerged in the mid-1960’s, and is often included in major exhibitions of Minimal art. His work was shown in the first exhibit to focus on Minimal art, “Primary Structures”, at the Jewish Museum in 1966. Bell’s work was also included in the seminal Museum of Modern Art exhibit, “The Responsive Eye” in 1965. More recently, Bell’s work was prominently presented in the Museum of Contemporary Art’s show, “A Minimal Future? Art as Object 1958-1968”, and discussed at length in the catalogue essays.
Bell is one of the most prominent and influential artists to have come out of the Los Angeles art scene of the 1960s, first showing at the Huysman Gallery, and then at Ferus. He became associated with the most important movements at the time, such as Light and Space art and what was described as “Finish Fetish” (a term coined by the late critic John Coplans). Bell has continued to investigate the complexities of highly refined surface treatments of glass, as well as large-scale sculptural installations.

Larry Bell was born in Chicago in 1939, and currently resides in Taos, New Mexico. The artist now maintains studios in Taos, New Mexico and Venice, California. Having grown up in the San Fernando Valley, Bell attended Chouinard Art School in Los Angeles from 1957 through 1959, where he was a student of Robert Irwin. He was extraordinarily successful as a young artist, and showed regularly at Pace Gallery in New York between 1965 and 1973. In September of 2005, Pace Wildenstein presented a show of works titled “Larry Bell: The Sixties”.

His work is in public collections throughout the world, including The Museum of Modern Art, New York; The Albright-Knox Gallery, Buffalo; Art Institute of Chicago; Solomon R. Guggenheim Museum, New York; Los Angeles County Museum; Massachusetts Institute of Technology, Cambridge; Museum Ludwig, Cologne; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Tate Gallery, London; Walker Art Center, Minneapolis; and the Whitney Museum of American Art.

Currently Showing at  Frank LLoyd Gallery,  Bergamont Station Santa Monica,CA Frank Lloyd Galler,2525 Michigan Avenue, B5B, Santa Monica, CA
90404, tel: 310 264-3866, fax: 310 264-3868

info@franklloyd.com

As a native-born Angeleno, artist Dave Lefner has always had a love for the city around him.  His work reflects a nostalgia for its aging, but unique signage, storefronts, and architecture from all Los Angeles areas,  ranging from the Valley to Hollywood, to his current home of Downtown L.A.

For Dave, the beauty of this metropolis, whether it’s found in the extreme shadows cast from a broken neon sign at midday or maybe the intricate web of powerlines crisscrossed overhead, provides the perfect inspiration for his detailed, very limited-edition, reduction linoleum block prints.  Since earning his degree in Art from the California State University at Northridge, he has made it his main goal to try to document the history of LA through its urban landscape to help in the preservation of this city, especially Downtown’s historical core.  Even in his chosen medium of reduction linocuts, he hopes to further his goal of preservation.  Because of the immediacy of today’s world, the labor-intensive, process-oriented technique of block printing is being lost and forgotten in the face of a digital age.  But for Lefner, the beautiful mystery of this process, as the piece slowly reveals itself with each new color, is worth preserving as much as his subject matter, his city- a ciudad of angels. Skidmore Contemporary Art Gallery

is opening for Dave Lefner tomorrow  – City Blocks

Reduction Linocuts, March 6 – 27, 2010,

Opening Reception -  Saturday March 6, 4-6 pm
Bergamot Station,  2525 Michigan Avenue, B5, Santa Monica, CA 90404
1-310-828-5070

Filed under: American Modernist, California Art, Contemporary Art Forum, Gallery Opening Tagged: Artist, Dave Lefner, Skidmore Contemporat Art Gallery, Tsvetana Yvanova Fine Art ]]> http://tyvanova.wordpress.com/2010/03/05/dave-lefner-at-skidmore-contemporary/feed/ 0 The Art Chronicle SKIDMORE Lefner, Los Angeles II Skidmore-dave lefner portrait cropped SKIDMOORE - ogo http://tyvanova.wordpress.com/2010/02/19/philip-king-award-winning-sculptor/ http://tyvanova.wordpress.com/2010/02/19/philip-king-award-winning-sculptor/#comments Fri, 19 Feb 2010 22:18:34 +0000 The Art Chronicle http://tyvanova.wordpress.com/?p=528 ]]> Congratulations To  Mr.Phillip King on His Award!

Phillip King was born in Tunisia in 1934, arrived in England in 1945, and studied modern languages at Cambridge University from 1954 to 1957. He began to make sculpture during his time at university and from 1957 to 1958 studied sculpture at St Martin’s School of Art, where Anthony Caro was teaching. King taught at St Martin’s for a year before working as an assistant to Henry Moore, where he gained experience working on a larger scale.

In 1964 King had his first of many solo exhibitions at the Rowan Gallery. He also had several solo shows in America in the 1960s. He established a major reputation in both group and solo shows in Britain and overseas using a variety of materials from fibreglass and metal through to wood and slate. He has had several retrospective exhibitions, including one at the Whitechapel Art Gallery (1968) and at the Hayward Gallery (1981). He was commissioned to create work for Expo ’70 in Tokyo. Further retrospectives of his work were held at the Yorkshire Sculpture Park in 1997, and at Forte de Belvedere, Florence in 1997. King was only the second English sculptor to be given this honour, the first being Henry Moore.

Phillip King was a Trustee of the Tate Gallery from 1967 to 1969. He taught at St Martins School of Art from 1959 until 1980, and was Professor of Sculpture at Hochschule der Künste, Berlin (1979-80). He was Professor of Sculpture at the Royal College of Art, London from 1980 to 1990, and was made Professor Emeritus at the College in 1990. He went on to be elected Professor of Sculpture at the Royal Academy Schools, London in 1990, a post which he held until his election as President of the Royal Academy in 1999.

Recent solo exhibitions
2008 Bernard Jacobson Gallery, London
2007 Bernard Jacobson Gallery, London
2006 Bernard Jacobson Gallery, London
2003 Jesus College, Cambridge
2002 Place Gallery, Cavagnole, Italy
2001 Bernard Jacobson Gallery, London

More on Phillip King ________________________READ

Contact details for further information
Email:  membershipoffice@royalacademy.org.uk

Tsvetana Yvanova, for The Art Chronicle

(Hamilton, NJ, USA) The International Sculpture Center (ISC) has announced it’s 2010 Lifetime Achievement Award will be presented to world-renowned British sculptors Phillip King and William Tucker. This year’s recipients will be acknowledged at the ISC’s 2010 Lifetime Achievement Award Gala being held on Friday evening, April 9, 2010 at Chelsea College of Art & Design’s 45 Millbank, London, United Kingdom. This year’s gala dinner will bring together art patrons, collectors, gallery owners, and supporters of the artists as well as sculpture enthusiasts, for cocktails, dinner, and award presentation.  The evening’s speakers include former Lifetime Achievement Award winner Anthony Caro; Peter Murray, Director of Yorkshire Sculpture Park; and Keith Patrick, internationally recognized art critic, curator and editor.  Both Mr. King and Mr. Tucker are confirmed to attend this event. The gala dinner is being held in conjunction with the ISC’s 22nd International Sculpture Conference also being held in London, April 7-9, 2010.

Phillip King and William Tucker are British sculptors who spent considerable time during the development of their careers in the UK.  Both were educators and are known for their generosity of spirit toward other artists.   Phillip King’s impact on the sculpture community has been recognized in a number of ways including being only the second British artist to have an exhibition at the Forte di Belvedere in Florence.   Tucker is still widely recognized for his earliest contribution to the academic world of sculpture, The Language of Sculpture, a book he published in 1974 and has continued to be recognized for his numerous contributions to sculpture.  Both will be featured in the April 2010 issue of Sculpture magazine.

The International Sculpture Center’s Board of Directors established the Lifetime Achievement Award in 1991 to recognize individual sculptors who have made exemplary contributions to the field of sculpture. Candidates for the award are masters of sculptural processes and techniques who have devoted their careers to the development of a laudable body of work, as well as to the advancement of the sculpture field as a whole. Past recipients include Manuel Neri, Magdalena Abakanowicz, Fletcher Benton, Louise Bourgeois, Sir Anthony Caro, Elizabeth Catlett, John Chamberlain, Eduardo Chillida, Christo and Jeanne-Claude, Mark di Suvero, William King, Claes Oldenburg and Coosje van Bruggen, Nam June Paik, Arnaldo Pomodoro, Gio’ Pomodoro, Robert Rauschenberg, George Rickey, George Segal, Kenneth Snelson, and Richard Hunt.

Tickets for the 2010 Lifetime Achievement Award Gala are £250 with tables starting at £5,000.  Table donors of £10,000 and above will receive works of art by the award recipients.  For further information, please contact Dawn Molignano, by calling USA 609.689.1051, extension 308, or via email at dawn@sculpture.org. All proceeds from the Gala benefit the programs and services of the International Sculpture Center.

The International Sculpture Center (ISC) is a member-supported, nonprofit organization founded in 1960 to advance the creation and understanding of sculpture and its unique, vital contribution to society. Members include sculptors, collectors, patrons, architects, developers, journalists, curators, historians, critics, educators, foundries, galleries, and museums-anyone with an interest in and commitment to the field of sculpture. Please visit www.sculpture.org.

International Sculpture Center, Publisher of Sculpture magazine,
19 Fairgrounds Rd., Suite B,Hamilton, NJ 08619-3450  USA
TEL 609.689.1051   FAX 609.689.1061  www.sculpture.org

Not until recently -  have I become familiarized with the opportunities YouTube has offered to Artists!  It all started as a simple means to be able to  present to all who are willing to view my art a means to just see it up close and in detail, without going to a gallery! Finally, using this simple premise and without any prejudice of my lack of formal video training – I approached the issue with the Nike moto in mind – “Just do it!”  And I did .  In the duration of one week – I produced six brief videos, which serve the sole purpose – to present the artwork in person without narration. From now on – the road to improvement is wide  open!  I am looking forward to improving the quality of these mini-art clips in the near future.  For the time being – enjoy the ones already in circulation. Here is the link:

www. youtube.com/stylevieworg.

This link will lead to the Channel for art videos.  And finally -  it would be a thrill if you decide to to let me know which one you like the most! If you do decide to subscribe – thank you in advance! On the left is  another sample of Art on video – the link for this Artist  is www.youtube.com/camoec. Have a look – you may be pleasantly surprised!!

Tsvetana Yvanova

www.TheArtChronicle.com