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)

 

 

 





WHY I SCULPTED THE PRESIDENT

22 09 2012

THE PRESIDENT’S PORTRAIT FINALLY IN BRONZE!!!

By Tsvetana Yvanova

The story behind this work is long. It started in the spring of 2010.

I was asked often – Why did you sculpt the President?
The main inspiration behind the President’s sculpture portrait are Mr. Obama’s character, individuality and intelligence.
As an Artist – for portraiture, I am attracted to subjects, who posses a unique blend of character features, which are seemingly unrelated, but in reality are deeply interconnected. Mr.Obama’s features are of such nature. His contained radiance, his charisma stems from his deep belief and his deep caring for all Americans, regardless of age, financial status and color. This universal quality comes from the depth of his desire to awake the passion of millions and sparkle a call to action to make a difference –this is what made him inspirational.

When a person with such global vision ignites an idea, which comes from this love and compassion for all people – people follow. He managed to begin restoring the world’s respect and admiration for America – so tarnished during the previous presidency.
The historical fact that Barack Obama is the first black President is indisputable. This fact has a significance within our country and outside its borders. With in the US – it gave hope to all who have given it up – outside the US – his election proved to the world that America has changed and all the
shadows of the dark past were just that – shadows.

On a personal level – I have discovered subtlety in Mr. Obama’s character qualities, which make him more powerful. His kindness, his calm and collected demeanor blends with the resilience and enhances remarkable strength that he possesses. Artistically, I am only interested in the character of a subject, so I can give the sculpture a personal presence . In the case of Mr. Obama – this was not an easy task, since I have never met him in person. When I finished it in clay, one viewer made a remark , I will never forget “ Oh my God – he is ready to talk?”. This gave me the assurance that maybe I have accomplished my goal

That evening it was also the first time anyone would view the President’s Portrait in bronze. For all who viewed it that night, I hope I have created and image of a remarkable man, whose personal presence inspires and at the same time makes us ask ourselves questions. One question comes to mind: How far are we willing to go to make the United States of America the greatest country in the world once again? Are we ready ? Can we do it? We all know the answer.

Yours Truly,

Tsvetana

For The ArChronicle





TURNING DREAMS INTO BRONZE

6 06 2012

 PORTRAIT OF NICK

The story of this portrait is probably most unusual and has more depth  for  me than anyone else.  Our story started officially on June 3d. But it began a year before that. I have no intention of boring you with details of how I met Nick – but the truth is  it was   an accidental unexpected stroke of  simple destiny.  The suddenness, the beauty and the poetry of it –   will stay with me forever.  Instant bond.  He had this inexplicable capacity to bring the best in people.  Our connection ignited into a wonderful exchange of moments where we would literally finish each other’s thoughts.

On our first trip on Roamer III – he  invited me for lunch. Lunch was an hour away by water  from Marina Del Rey to Redondo Beach.  In  a warm California day in June, there is no better place to be than on water off the coast. The ocean  at this time of the year  is dark blue with playful ripples  as far as the eyes can see.  The coolness of the water, maintaining the steady 64 degrees Farenheit  offsets the summer heat. This extravagant gesture was meant to impress me – and that it did ! Magnificent ocean  views aside – on a purely intellectual level, I  always had a fascination of Motor Yachts  as well – their compact design, the aerodynamic grace, with which they are seeming gliding  on the surface, while reaching depths to preserve balance. The  inherent wisdom of their utility, where nothing must be in excess, except quality – the fine balance between necessities and  luxuries. The lack of space was complimented by high quality of craftsmanship and ingenuous design. Like a giant jewelry box  – everything in Roamer  III was well maintained, despite the fact that she was ready to be retired.

I was very new at Yachting – and fascinated immensely – being at awe of the ocean to begin with.  Roamer III was a lady. What a brave adventurer she was – a wanderer.  She could be tosses left and right – but always maintained balance.  (I believe it has a lot to do with technology on board.)  Roamer and I were quickly became best friends.  I loved the way the engine hummed away  – while gliding    through the surface of the water making its way towards the breakers.  I had to learn the terminology – ‘top deck’  ‘starboard’ and ‘port’  – and  at some point I even graduated to navigating it for an hour   in open ocean and was able to dock Roamer back into her slot, without wrecking it !

That particular day – it was a beautiful day in  June  9th  in early 2000  –  on top deck , on our way to Redondo Beach  – I observed him very carefully . It was sheer joy to see Nick navigate or dock his 75 foot ‘Princess’,  with focused and precise movements, that came  so naturally to him.  His profile was so distinctively British and hansome with the unruly long hair and bronzed skin. There was a remarkable unity between the color of his Celtic blue eyes and the color of the Pacific ocean at that moment. I    marveled the moment   –  while he watched me  be enthralled with the school of dolphins, that were  racing  the yacht.  I  wanted to remember this moment forever.  He  looked incredibly content in his reserved quiet kind of  way – given away only by the glimmer in his blue eyes!  I took some photos. This moment – the ocean, with all its blue power ,  the joy  of dancing dolphins,  Nick with  his boundless passion for yachting and me – all in one place  – will stay with me until my last day .

In the summer of 2005, I was getting ready for an art  show and I wanted to make a sculpture portrait of  Nick  as a surprise. The thought stayed with me for a long time. It always takes me a while before I make a decision to sculpt or paint someone close. In spring 2005 I finally started. I decided to  use water based clay, because it allowed me to work faster and achieve a more spontaneous effects.  His long unruly hair was a challenge – but it worked out well. Nick was   a  passionate Contemporary Art Collector with rather avant-guarde  taste and the portrait needed to reflect his persona and his visionary temperament.  There was something inspirational about him, that does not lend itself  to defining in words. I finished the piece on time and was able to cast it on time for the show.  As the show approached – I was  hoping Nick will come. He was out of town – in Cleveland, where he maintained a permanent residence – a place he loved very, very  much and where he spent a great deal of time.

The Art reception and opening were on July 9, 2005.  Attendance was fantastic –  Tony Michaels  piano virtuoso and Carol Chaikin  on trumpet  –  filled the air with  exquisite jazz improvisations;  everyone had a wonderful time. The next two days brought great  sales too.  Reception was at the Balboa Bay Club,  in Newport Beach. Nick did not come. He could not make it –  he sent someone else  instead  as an act of grace. He always used to do this. His impeccable  blue blood manners were his signature. After the show we talked  a  lot. A couple of weeks after the show we were planing to have dinner as soon as he returns from his short trip to London and Bordeaux, France. That was the last time we spoke.

He never  went to France.   Nor  to London that month. He never  even saw his portrait . Things developed with lightning speed. On August 19 – I received a call. Nick had undergone a six hour emergency operation, from which he did not wake up. It had happened the day before.

But the portrait,  remained  as a pure embodiment of that beautiful June afternoon, when  the stars  were aligned and the world was happy – Nick was happy – and I was extatic. He literally changed my perception of life. He brought out the best in me. That moment – I try to capture  in his subtle smile. His  head is tilted, looking down at the rotor handling  with absolute  precision  the   Read the rest of this entry »





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.

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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





WILLIAM TURNER GALLERY in 2012

7 01 2012

A few notes of my favorite gallery – William Turner Gallery has represented mid-career and emerging artists since its inception in 1991. William Turner Gallery began on the historical “Market Street” in Venice, California. The gallery now occupies an impressive 5000 sq. foot space at the Bergamont Station arts Center in Santa Monica, California.

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





LA ART SHOW IS FINALLY HERE!

7 01 2012

THE LA ART SHOW  HAS A NEW FORMAT!

Seems that the New Year 2012 – The Year of the Dragon – starts off with a splash for the Art world! With new ideas, new shows, new enthusiasm, and a new format for the show! It is actually three shows in one –  read on – and most of all ATTEND!  Seeing the work of so many creative powerhouses can be a very spiritual experience …It is for me!  I remember in past Art  shows – how impressed and moved I was by the transformational power of Art – especially the Los Angeles Company, The LA ArtMAchine-- who channels the talents of  local Graffiti Artists to elevate their ideas to a new plateau.  This transforms lives. ART transforms lives.  Art has the power to save! Better than religion, better than politics and certainly better than wars . Art and Love has always been intertwined in  literature in poetry. It is because it is in the very core of our DNA to create.  Creativity is based on light, truth and has a power, that transforms. You may disagree – but you know I am right. Read on!

…and have  A Happy New 2012 Year!!!!!

David Arquette, The Art of Elysium, the J. Paul Getty Museum Education Department, the Fine Art Dealers Association, the International Fine Print Dealers Association, Los Angeles Art Show LLC., and KR Martindale Show Management cordially invite you to attend the Opening Night Premiere Party of the 2012 Los Angeles Fine Art ShowLA Art Showand the LA IFPDA Fine Print Fair.

Join David Arquette and LA’s top collectors and benefactors for an evening celebrating creativity, diversity, and charity. Enjoy culinary, visual, and cultural delights as well as the unique compelling artistic expressions of Jim Dine, Ed Ruscha, Gorky, Thiebaud, Warhol, Botero, Guy Rose, Picasso, Camille Pissarro, Renoir, and more. Participate in the must-attend event of the year, support the community, and enjoy a magical evening of art.

DON’T FORGET TO ATTEND!!! JANUARY 18 HERE IS THE LINK:

THE LA ART SHOW

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.

SL_bwperformance                              LACE logo

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





Kristan Marvel Bronzes at Warner Center

20 07 2011

THE ART ART PROJECT with Curator Jeff Phillips

is presenting Kristan Marvel in  CONTEMPORARY BRONZE  show.

“CONTEMPORARY BRONZE”
July 15, 2011 – September 15, 2011
marvellpiece.jpg

Kristan Marvell
Opening Reception
July 30th, 2011   5-8pm

SCULPTURE @ THE PLAZA GARDENS

WARNER CENTER
21st Century Plaza
6301 Owensmouth Ave
Woodland Hills, CA 91367

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





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





TURNERGALLERY – Presents Andy Moses

21 10 2010

One of my favourite galleries,William Turner Gallery at Bergamont station, Santa Monica, presents Andy Moses paintings. Watch Andy Moses on YouTube, present his work in his own words . To watch, Click on the image below.


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

 





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





Tsvetana Yvanova Sculpts Barack Obama

17 08 2010

Video of  Sculpting A Visionary

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





Dave Lefner at Skidmore Contemporary

5 03 2010

Dave Lefner Has Aways Been In  Love With LA

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





You Tube Has Entered the World of Art!

19 02 2010

You Tube Has Become the New  Mecca of Visual Art !

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

http://www.TheArtChronicle.com






HERB ALPERT- AT THE ACE GALLERY

3 02 2010

RECEPTION FOR THE ARTIST:  THURSDAY, FEBRUARY 4, 2010
7:30-9:00 PM

BLACK TOTEM SERIES RECEPTION FOR THE ARTIST:
THURSDAY, FEBRUARY 4, 2010, 7:30-9:00 PM. ACE GALLERY BEVERLY HILLS, 9430 WILSHIRE BOULEVARD, BEVERLY HILLS, CALIFORNIA 90212
T: 310.858.9090 | F: 310.858.9091
WWW.ACEGALLERY.NET

Totems have pan-cultural associations throughout diverse cultures around the world, and these vertical forms have been used throughout history as tribal talismans representative of the spirit world and genealogies, ancestors and documenting societies. Herb Alpert, in his Black Totem series, has focused on this language of sculpture for the past 20 years and addresses this geneaology in his Black Totem sculptures.Alpert’s process for creating these sculptures is manually intensive. He works with wet clay first, molding it into vertical forms ranging from 8 to 36 inches tall. From these, he selects the ones he will make into larger sculptures that will range from 12 to 20 feet in height. These larger works are also hand formed with the wet clay. When completed, molds are made and then the sculptures are cast in bronze and patinaed black. Alpert’s totems read abstractly yet suggestions of recognizable forms appear; an eagle form seemly emerging from the top of one, or human shapes surfacing. That their forms evolved naturally, organically, and  are formed by the artist without carving tools further convey their biomorphic qualities. Alpert was, for the most part, inspired by the totems unique to the Pacific Northwest of North America such as those of the Haida, Tlingit, Kwakiutl tribes, whose totem poles were made of single pieces of cedar, some up to forty feet in height. For the Haida tribe, these ancestral totems are, and have been for hundreds of years, the essence of family and tribal identity and sometimes were used to mark entranceways to their lodgings, as depiced in the photograph, circa 1880, from Ketchikan, Alaska. The totem poles of the Pacific Northwest function as crests of families or chiefs commemorating major events or occasions, represented by  hierachies of different creatures, animals or various supernatural beings (each signifying different human attributes). In Native American tradition, a totem is an entity or symbol that watches over or ‘assists’ a family, clan or tribe. Totemism, derived from the Ojibwe language, refers to that which is kinship-related, and it is also a belief system that is frequently associated with shamanistic religions. Totems act as ‘familiars’ or guides accompanying one through life, both in the physical and spiritual worlds. Alpert’s forest of totems subliminally engage these theories and histories.

Alpert’s attraction to this sculptural form is understandable as it contains an enormous history. The black patina of his totems is evocative of ancient primal forms and the contemporary material belies an ancient prehistory. The pan-cultural consciousness invested into these dark sculptural forms also relate back in time to Egyptian obelisks as much as they evoke the Modernist sculpture of Constantin Brancusi – specifically Brancusi’s Endless Column (1937),  Alberto  Giacometti’s  extended  figures and early Louise Bourgeois sculpture. Alpert’s work shares with Bourgeois’ sculpture an affinity to animistic entities or guardians. Bourgeois’ first major body of sculpture were slender wooden sculptures – reminiscent of pillars or tribal effigies (she travelled to Africa in the late 1940s), which later developed into totemic constructions – a fusion of architecture with the body, its substitution for the body, or phallic surrogates. Alpert’s biomorphic totems are composed within the gallery space in a forest-like environment, yet while each is singular, they gain intensity as a group, amplified with Alpert’s use of black for the totems.Totemism was also a key element of study in the development of 19th and early 20th century theories of religions, especially for philosophers such as Émile Durkheim, who concentrated his studies on indigenous societies. Drawing on the identification of social groups with spiritual totems in Australian aboriginal tribes, Durkheim theorized how human religious expression was intrinsically founded in the relationship to a group. Sigmund Freud’s Totem and Taboo first published in 1913, employed the application of psychoanalysis to the fields of archaeology, anthropology, and the study of religion. Given a revisionist post-Colonial perception of tribal and indigenous cultures these perspectives now seem curiously Eurocentric. Author Edward Saïd’s Orientalism has been one of the most influential texts reddressing Eurocentric perspectives which has further generated a globalized dialectic. The structural anthropologist Claude Lévi-Strauss posited in his text Le Totémisme aujourd’hui (Totemism Today), that totems are chosen arbitrarily for the purpose of making the physical world a comprehensive and coherent classificatory system, but also recognized that the concept of totemism is an artifact of western thinking imposed by anthropology.

For Alpert, these towering spires are like frozen smoke, or akin to the ineffable notes of music captured and held still as interminable forms. These abstract, yet formal structures and their process of creation are fluid in a way that jazz is, making intangible compositions physical. Alpert who is also a musician and composer, would not deny that there is a focused fluidity in the making of these sculptures consistent with the intuitive, harmonious and spontaneous moves and swings embodied in his approach to his music.

There will be a forthcoming publication on Herb Alpert’s Black Totems by Hunter Drohojowska-Philp to be published in Spring 2010, distributed by D.A.P.

For further information and visuals please contact Jennifer Kellen
Ace Gallery Beverly Hills
310.858.9090 or email jenniferkellen@acegallery.net





Impressionist & Modern Art Evening Sale In London

30 01 2010

HENRY MOORE – Wed London Feb 3, 2010 7 pm, Sotheby’s
HENRY MOORE – 1898 – 1986 RECLINING FIGURE
inscribed Moore, numbered 7/9 and inscribed Morris Singer Founders London, bronze, length: 246cm. 96 7/8 in. ESTIMATE 2,500,000 – 3,500,000 GBP

CATALOGUE NOTES

Executed in 1982 and cast in bronze in an edition of 9 plus 1 artist’s proof.The subject of the reclining figure, initially inspired by Mexican sculpture and explored in this monumental work, was one of Moore’s chief preoccupations throughout his long career. He has commented that ‘from the very beginning the reclining figure has been my main theme. The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures’ (quoted in John Hedgecoe (ed.), Henry Moore, London, 1968, p. 151). David Sylvester described the genre in a manner particularly relevant to this sculpture: ‘They are made to look as if they themselves had been shaped by nature’s energy. They seem to be weathered, eroded, tunnelled-into by the action of wind and water. The first time Moore published his thoughts about art, he wrote that the sculpture which moved him most gave out “something of the energy and power of great mountains” [...] Moore’s reclining figures are not supine; they prop themselves up, are potentially active. Hence the affinity with river-gods; the idea is not simply that of a body subjected to the flow of nature’s forces but of one in which those forces are harnessed’ (D. Sylvester, Henry Moore, New York & London, 1968, p. 5). While Moore was working on his Shelter Drawings during the Second World War he became increasingly absorbed in the manner in which drapery could be made to denote sculptural volume. In part the enormous sculptural effects that could be achieved by draped figures had been inspired by Classical art, particularly some of the Parthenon figures. Moore noted that the shelter drawings caused him to look at and use drapery. Quoting Moore, David Sylvester considers drapery – accentuated in the present work around the figure’s legs – a form of contour making which assists in the successful integration of the sculpture into its surrounding landscape. Moore uses ‘the folds to create a variant of the metaphor of the figures as a landscape [...] to connect the contrasts of sizes of folds, here small, fine and delicate, in other places big and heavy, with the form of mountains, which are the crinkled skin of the earth’ (ibid., p. 109). For Moore, the use of drapery emphasised the tension of the covered form. Over time he began to treat drapery itself as an element formed by highlighting the curves and ruffles of the blanket. In this way, ‘The wrinkles and crinkles of the drapery at one stage began to remind me in close-up of mountain ranges’ (J. Hedgecoe (ed.), op. cit., p. 204). Moore has almost come full circle in his art and by 1982 the hills and crags represented by his early reclining figures are now linked to the curved solidity of his later sculpture. Other casts of this work are at the Museo de Arte Contemporáneo in Caracas and the Henry Moore Foundation in England.
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William Turner Gallery Opening Jan 23

22 01 2010

William Turner Gallery Presents Kadir Lopez -January 23, 2010

Kadir Lopez was born in 1972 in Las Tunas, a provincial Cuban town. He routinely exhibits in Havana and has enjoyed international success through solo shows in Latin America, Europe and the US.

Opening 6:30-8:30 at the Bergamont Station, 2525 Michigan Ave, Santa Monica, CA 90404, 1.310.453.0909





Sculpture Photoshoot By Kesley McNeal

22 01 2010

From Action Sequence Shots to Fine Art

From action sequence to shooting fine art – this the scope of McNeal’s professionalism is wide in scope and depth. The result of his masterful eye  is a series of photographs of two of Tsvetana Yvanova’s figurative sculptures – The Dance Lesson and The Contestant. ‘My sculptures have never been so  wondefully photographed’ said the Artist Tsvetana Yvanova. ‘When I saw the completed images – I simply gasped! My sculptures have gained a soul and literally came to life. I knew McNeal was good – but I was completely blown away what he can achieve with his camera!’ McNeal has worked with Isabella Vosmikova, Joseph Viles Michael Muller to take still photographs of 24. McNeal has focused on taking the episodic photos of cast members during production. Some of his work was shown at an exhibit at the Paley Center in Los Angeles in 2009.24: Redemption: Captured in Africa’ offered a rare inside look at the making of the show , dramatic stills from the spectacular action sequences and vivid photographic captures of the scenic South African locations.The Exhibit Featured the Work by Kelsey Mc Neal, Jon Cassar, Rodney Charters, Michael Klick, and  Kiefer Sutherland.

The photo above is a detail from ‘The Dance Lesson”





Art Classes By Westerberg

21 01 2010

Oil Painting Workshop in GlendaleMarch 6th and 7th

Westerberg Fine Art is conducting a Two Day Head and Figure, Monochromatic Oil Painting Workshop at Cope Studios, Glendale, 926 Western Ave Suit A, CA 91201. Cost : $300 .For more info :www.westerberg-fineart.com- March 6th and 7th , from 10-4pm, one hour break for lunch . This workshop will serve as a bridge from drawing to painting. Learn how to paint in a very limited and controlled manner.  Monochromatic or single color painting is one oldest and best ways to begin the journey into oil painting. Stressing shape, value, and edge we will go over basic supplies and techniques of monochromatic painting. Learn how to draw with a brush!





Contemporary Art in The Streets of Sofia

21 01 2010

The Hidden Public Art Treasures of Sofia

In the fall of last 2008 I was in Sofia. I had a walk with my daughter – revisiting the Palace of Culture in the heart of the capital of Bu I was drawn to an interesting sight – the channel was flanked by marble sculptures, composed in the manner of the Stone Hendge. The blocks were propped on top of each other in a primitive and beautiful harmony. I never found out who the Artist was – but the images it still stays with me as a reminder of what a talented nation I come from.

A Dove of Peace Made of Gun Barrels

On another day – waiting for a friend of mine, I spent over 20 minutes keeping company to a phenomenally exquisite sculpture of a Dove. Not very big – seven feet tall – it was mesmerizing to look at it. The unique Dove of Peace was made of old barrels of guns! Located on Rakowski Boulevard – this masterpiece of ingenuity is a timeless symbol of peace. The interpretation is up to the individual – but for me- it was clear. No more wars.  I regret not been able to find out who the artist was – but rest assured – his job is well done and his message is out – and I am very grateful  for that.





Meet Kristan Marvel- A California Sculptor

20 01 2010

Meet California Sculptor Kristan Marvel


Very often I meet Artists and sculptors and we review our work. Rarely, once in a while  – I  will meet a talent and what they have created – makes a lasting impression. One such talent is Kristan Marvel. Most of is work is in monumental scale. His style is so organic – that one may think these compositions have been carved by nature’s own hand. Kristan’s spatial vocabulary rich in depth and texture – it possesses this instant Zen effect that is difficult to define in words. If philosophy can take shape – then here it is! Entire symphony of shapes. Kristan Marvel has unusual beginning as a sculptor – with a degree in Biology and Political Science, and later Masters in Fine Arts in addition to 20 years of sculpture career – his body of work is remarkable. His work graces the private collections of Mr&Mrs. Art Cohen, Steve Chase, Howard Wright – to name a few. Marvel’s public sculpture projects include City of Hope, Duarte, CA, Santa Anna Botanical Garden – the list is long. He works out of his incredibly spacious studio with its own foundry in Los Angeles. He is also associated with working closely with Herb Alpert in his new sculpture show. We will keep you posted on his upcoming exhibitions_________________READ ON









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