Cincinnati Art Museum’s Post

An important highlight of the current exhibition is the painting "Et in Arcadia ego" (1630/2016) by Nicolas Poussin, which represents the next period in the work of RASSIM® - since 2006 the artist has been painting with organic materials and natural pigments such as urine, salt, burnt motor oil, petroleum and bluestone. Although an exact compositional replication of the original, this work from the "Old Pictures" series can be referred to as "unfinished" due to the sketchy nature of its pictorial development and the looser treatment of form, background, and overlooked details. Such a presentation of the author in front of the public is rare in contemporary art, because to a large extent the already mentioned "aura" derives from the mystery of genius, from the work hidden from all viewers in the studio, and from the illusion of almost non-artificial perfection - an illusion maintained by institutional standards in the art world. That is why this time, not with the yellow gloves from the cover of a magazine, but with white gloves and directly from his studio, RASSIM® provokes with a frank look at the unfinished and imperfect, but carefully preserved for years paintings and preparatory drawings. We must ask the question, do unfinished works have a legitimate place in the exhibition halls or are such attempts exotic, valuable only to researchers and specialists? This institutional case can be answered in principle positively - that in the world of art today everything is subject to legitimisation - especially if it falls within the field of historical science. And precisely because final conclusions are the prerogative of art history, I believe that within the framework of this exposition, freed from academic commitments, we can allow ourselves to form a preliminary and partially adjusted idea of the "unfinished works" of RASSIM®. Ivan Stefanov * The opening of the exhibition will take place on the 15th of May 2024 at 19:00 in the space of ONE Gallery, address: 1A Dyakon Ignatiy Str.!

ARTS: FINE ART:TITLE: WHEN SPRING BLOOMS II Experience the enchantment of spring awakening in "When Spring Blooms II." This captivating fine art piece transports you to a tranquil park scene, where nature begins to stir from its winter slumber.As your gaze wanders through the photograph, you'll be captivated by the subtle signs of the season's arrival. The majority of trees stand bare, their branches reaching towards the sky, while a few boast delicate blooms, heralding the imminent burst of life.Neatly lined pathways adorned with classic cast-iron streetlamps guide your imagination through the scene, offering a sense of tranquility and order amidst nature's chaos. In the distance, a statue on a pedestal whispers of the park's cultural or historical significance, adding depth to the narrative.The landscape unfolds with lush green grass and vibrant spring flowers, painting a picture of renewal and vitality. Natural light filters through the trees, casting a soft glow that bathes the scene in warmth and serenity.Step into "When Spring Blooms II" and immerse yourself in the beauty of nature's rebirth. Let the tranquil atmosphere and delicate details transport you to a place of peace and wonder, where the promise of spring fills the air with hope and possibility.Purchase here -> https://lnkd.in/gXKxD556

Walking into an Anselm Kiefer exhibition is a deeply impactful experience that simply makes you stop in your tracks in sheer wonder and amazement. Anselm Kiefer’s use of scale, texture, alchemy, biblical and historical references touching upon complicit guilt are always astounding and awe inspiring. Anselm Kiefer's art deeply intertwines with alchemy, symbolizing transformation and creation. His works, often monumental, use alchemical symbols to explore themes of history, memory, and decay. This approach allows Kiefer to address complex subjects like German history and the Holocaust, transforming materials and symbols to reflect on cultural and personal regeneration. Alchemy, for Kiefer, becomes a metaphor for artistic creation and the transformative power of art. His use and technique of “impasto” is an important aspect of his work, as it adds to the texture and dimensionality of his paintings. Impasto is a technique of applying thick layers of paint, often with a palette knife, creating a sculptural effect on the canvas. Writing Credit: Mignon Marshall Article Courtesy: Ocula

Collecting contemporary art can be a rewarding experience, but it requires careful consideration and research. Here are some steps to guide you: 1. **Educate Yourself**: Familiarize yourself with the current art scene, artists, and trends. Visit museums, galleries, and art fairs. Read art magazines and books. 2. **Set a Budget**: Determine how much you're willing to spend on artworks. Remember to consider additional costs like framing, shipping, and insurance. 3. **Define Your Focus**: Decide on the type of contemporary art you want to collect, whether it's paintings, sculptures, photography, or mixed media. Also, consider if you want to focus on emerging artists or more established ones. 4. **Research Artists**: Identify artists whose work resonates with you. Look into their background, exhibitions, and auction records. Consider attending artists' talks or studio visits if possible. 5. **Visit Galleries and Art Fairs**: Engage with galleries that represent the artists you're interested in. Art fairs are also a great place to discover new artists and artworks. 6. **Build Relationships**: Establish relationships with galleries, curators, and other collectors. Networking can provide insights and opportunities in the art world. 7. **Consider Authenticity and Provenance**: Ensure that the artworks you're interested in are authentic and come with proper documentation. Provenance (the artwork's history of ownership) is essential for establishing authenticity and value. 8. **Consult Experts**: If you're unsure about a purchase or need advice, consider consulting with art advisors, appraisers, or curators. 9. **Care for Your Collection**: Properly display, handle, and maintain your artworks to preserve their condition and value. Consider obtaining insurance to protect your investment. 10. **Enjoy the Process**: Collecting art is not just about acquiring objects; it's about building a connection with artists, artworks, and the art community. Enjoy the journey and the stories behind each piece in your collection. Remember that collecting art is a personal endeavor, so trust your instincts and choose artworks that speak to you.

Kelly Omodanwen's exhibition titled "Beyond Mimesis" is a captivating exploration of artistic expression, featuring a stunning collection of sixteen bronze works that push the boundaries of creativity and imagination. With just 11 days remaining until the exhibition's grand opening, anticipation is building as art enthusiasts eagerly await the opportunity to experience Omodanwen's masterpieces. Each bronze sculpture in the exhibition is a testament to Omodanwen's artistic vision and technical skill. From the fluidity of form to the intricate details, each piece invites viewers to delve deeper into the realms of reality and abstraction, challenging conventional perceptions of art and representation. As the countdown to the exhibition continues, excitement mounts with each passing day. With just 11 days left, the anticipation of witnessing Omodanwen's breathtaking bronze works is palpable. From the moment the doors open, viewers will be transported into a world where art transcends mere imitation and becomes a powerful medium for exploration and introspection. Now is the time to mark your calendar and prepare for an unforgettable artistic journey. Don't miss your chance to be among the first to experience "Beyond Mimesis" and immerse yourself in the beauty and wonder of Kelly Omodanwen's extraordinary bronze sculptures. How likely are you to attend Kelly Omodanwen's "Beyond Mimesis" exhibition? 1. Very likely, I wouldn't miss it for anything. 2. Likely, I'm interested and plan to attend if my schedule permits. 3. Unsure, I need more information about the exhibition. 4. Unlikely, I have other commitments and won't be able to attend. 5. Very unlikely, I'm not interested in attending.

A friend recently visited our local museum of contemporary art (CMASD) and saw two of the three pieces of art you see below. Excited as she was by the visit, I asked for some details. Her share motivated me to write this post and create the montage below. #1) of course, is Michelangelo’s David, permanently located in Florence, Italy, which once almost anyone sees in person, they will never forget . . . #2) The middle piece, which she didn't clearly recall seeing until I showed her a photo on the museum’s website . . . #3) The simple abstract, which was so enriching, she recalled it well enough to sketch out a rough diagram of it for me! Though she rarely enjoys abstract art, something made it possible for that 3-color 1963 painting by Ellsworth Kelly to stick in her mind in a way she was visibly able to show it to me. . . Wow! What made such a difference? It turns out she was part of a guided tour. What made that tour so memorable was the explanation she heard from the guide that completely altered the way she experienced each piece of art. That’s what good context provides: insight, relevance, meaning, and value. How can we best do this for the people with whom we share things? Here’s a simple, proven, basic three-step process: 1) Offer a visual image (like a sketch or photo) to add clarity. 2) Explain or share what’s invisible: the intention, challenge or unique feature beneath what’s obvious. 3) Ask the person with whom you’re sharing a question like:          How do you see this? What does this mean to you? What’s your own take-away? Just as perception is subjective, so is clarity!  Call or write me if you’d like to help others enjoy greater clarity faster through increased visual thinking. (By the way, #2 above is a 13 ft. 1998 sculpture, “Big Ganesh” by Niki de Saint Phalle.) #visualliteracy  #VisualThinking   #visualstorytelling   #visualcommunication   #VisualFacilitation  #Visualization

Back to the Grimoire: The Emerging Artists of the Occult | Call for Submissions | January 8th Deadline | https://lnkd.in/g63ywnBy BACK TO THE GRIMOIRE: THE EMERGING ARTISTS OF THE OCCULT  Exhibition: February 14 – March 3, 2024 Submission Deadline: Monday, January 8th, 2024 at 11 pm  Notification of Acceptance:  Monday, January 15th CALL DESCRIPTION What is the “occult”? From the Latin term “occultare” (meaning secret or hidden), it is most often associated with demonic, dark imagery. The Oxford dictionary defines “occult” as a series of supernatural, mystical or magical beliefs, practices, or phenomena from a wide range of cultural backgrounds – Norse, Celtic, Egyptian and other Pagan religions like Wicca. However, it is also a presentation of self-expressionism, an exploration of the subconscious and the analysis of breaking societal conformity. This exhibition focuses on how we can utilize the occult in contemporary art practice. How does it inspire you? How do you view the occult? And how can we break the boundaries of its definition? It’s back to the grimoires, artists! Submission to this Juried Exhibition is for Emerging Artists ONLY. An Emerging Artist is defined as an artist who has been exhibiting their work publicly for less than five years. We ask only that you find a way to utilize the occult as a source of inspiration in your contemporary practice. You DO NOT have to self-identify as pagan, wiccan, etc. to submit and all cultural forms of expressing in an occultist fashion are welcome. We encourage submissions of ALL mediums including but not limited to painting, drawing, illustrations, sculpture, video, installation, performance, audio, and photo-based works. Curated by Lex Barrie (Bio)

Reading certain previous posts here, we might think that French Impressionism was essentially an aesthetic movement, insensitive to social issues. This isn't true at all. Whether objective or consciously subjective, the ability of the Impressionists to visually and sometimes critically reflect the surrounding reality is great. This, regardless of political orientation, which could be opposite, as for the conservative Edgar Degas or the progressive Camille Pissarro. Below, a few relevant examples. Impartially, in particular Gustave Caillebotte portrayed both the upper or middle class, and an urban working one. Top images, two oil paintings of the second type. On the left: “House Painters” (private collection; 1877). On the right: “The Floor Scrapers” or “The Parquet Planers”, housed in the Orsay Museum at Paris (there are more than one variant or version of it, in private collections). Because of its alleged vulgar subject, the latter was refused at the 1875 Paris Salon, academic and collective annual art exhibition. Thus, Caillebotte decided to join the Impressionists, presenting his painting at the group's second exhibit in 1876. His work gained considerable attention, moreover giving rise to controversial comments. In the lower images, two oils on canvas by Pissarro and by his friend Armand Guillaumin, respectively on the left and on the right: “Riverside at Argenteuil” (private collection; 1873), and “Sunset at Ivry” (Musée d'Orsay; 1873). These riverine scenes look similar to one another, and to not a few rural landscapes, dear to Pissarro and vaguely idyllic or idealized. Especially the latter, though, shows the disfiguring or polluting effects of an early industrialization. Actually, it precociously anticipates an environmentalist or ecological, today well-known worry. By the way, Guillaumin was also friend to Vincent van Gogh.

Let's continue exploring the mysterious aspects of life and art together. I want to talk about curatorial collections. My work has been recognized and included in the "Mystery and Intrigue" collection by the curators at Singulart. It's very gratifying. I feel it as an incredible recognition and share this joy with you. Curators typically work on thematic exhibitions and collections, which can add attention to an artist in the context of a specific theme or movement in art. This can help strengthen the artist's position and influence within the art community. For an artist, it's important when their work is selected for inclusion in a collection by art curators for several important reasons: Recognition and validation of talent. When art curators choose an artist's work for inclusion in a collection, it serves as significant validation of the talent and quality of their art. It means their work has been evaluated by professional experts, which is always gratifying and motivating for the artist. Audience expansion. Inclusion of work in a collection, especially in a well-known art platform, can attract the attention of a new audience. It allows the artist to present their art to a wider public and garner more attention from collectors, galleries, and potential buyers. Sales opportunities. Being included in a curatorial collection can lead to an increase in the value of the artist's art, which, in turn, can result in higher sales and commercial success. Exploring new horizons. Curators often seek art that raises questions and sparks interest. Being included in a collection focused on "mystery and intrigue" can open up new horizons for the artist and stimulate their creative abilities. Including an artist's work in a curatorial collection is recognition of their creative contribution, expanding opportunities, and increasing visibility, which can have a positive impact on both their career and the public's perception of their art. These works leave room for interpretation and invite each of you to explore the uncharted territory in the world of art https://lnkd.in/eKNCWKdC

Would You Pay to See Fake Masterpieces? Imagine if your local art gallery had exact copies of famous paintings by Da Vinci and Picasso. Would you pay to see them? Probably not. But why? Seeing the colors, textures, and sizes of these masterpieces without the hassle and expense of traveling sounds great. You could just go to the local mall instead. Yet, most people wouldn’t bother. In the 1930s, a thinker named Walter Benjamin used the term “aura” to describe the special feeling we get from original works of art. He noticed that reproductions, like prints or copies, lacked this unique presence and emotional connection. Back then, “aura” was all about being in the same room as the original artwork. Today, things are different. In our digital world, where anything can be copied and shared instantly, we look for something more—authenticity. But how can you tell if something is real? How do you know the Mona Lisa in the Louvre isn’t just another fake? Even experts can struggle with this. This is where trust comes in. We believe in the authenticity of the Mona Lisa because it’s in the Louvre, a storied and trusted place. People are willing to spend time and money for authentic experiences. In a world where everything can be copied, trust becomes essential. Companies often focus on the paintings and neglect the gallery. How do you present your masterpieces?