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The Art-Bridge Newsletter (ISSN: 1537-9671)
November, 2007
Issue Contents
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A WORD FROM THE EDITOR
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RECENTLY ADDED WEB SITES TO THE ART-BRIDGE DIRECTORY
>
ARTISTS CALL: Artist
Profile in collectable art books
>
THE WORD OF ARTIST:
Leora Farber
"Dis-Location / Re-Location"
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PRESS RELEASE:
PSYCHIC PHOTOGRAPHS.
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CLASSIFIED ADS.
ARTS INSTITUTE AT BOURNEMOUTH
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AB LINKS YOU CAN USE:
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If you have an informative article and you would
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FROM THE
EDITOR.
The Art-Bridge Team would like to
THANK the many thousands of personal and business websites listed in our
directory. You helped us grow to where we are today.
Recently we changed the AB Newsletter format, added pictures to featured
articles and Artist presentations. We hope you would like this
publications and keep support it by sending us your press releases,
articles, and other promotional materials. We also glad to hear
comments from artists, art businesses and galleries from all over the
world. While we fully appreciate everyone who submitted materials
for possible publication, we unfortunately can't use all articles and
press releases for various reasons, number one being:
Space. We are trying to squeeze as much interesting information
as possible every issue, but The Art-Bridge Newsletter space continues
to be very limited.
We are looking for quality ARTICLES on topics of interest to our
audience. Articles should be in the 500 to 800-word range and can
include a 3 to 4 line promotion of the author's site & contact
information. Send articles to:
newsletter@art-bridge.com
RECENTLY ADDED
WEB SITES TO THE ART-BRIDGE DIRECTORY
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Davison, Paul - Much of
my work is inspired by my adopted home of the Languedoc. I
have previously painted in water colours, but I moved to oil
paints in an effort to capture the sheer vibrant luminosity
of my surroundings
-
Wall Murals with a View
- Refresh your view today. Offering dramatic artistic wall
murals and wall accents along with colorful unique wall
tapestries.
-
Pictureproud
- Exclusive
Personalized Children's Gifts & Bedroom Furniture. Offering
personalized toy boxes, keepsake boxes, door plaques, child
tea sets, pictures and birth announcement cards.
-
Egyptian
papyrus paintings museum and online shop
- Art museum and online store for Egyptian papyrus
paintings depicting pharaonic frescoes and murals found in
tombs, and tribal, African and oriental sceneries, which
characterize Egyptian diverse modern and ancient cultures.
-
Komarov,
Vitali -
Visit the impressionist oil paintings of Russian painter
Vitali Komarov. Art inspired by Van Gogh include landscape,
portrait, still life and flower paintings. Order online,
free shipping.
-
Fine Art,
Abstract Oil Painting Reproduction, Framed Poster
- Pay less and free shipping for fine art, oil painting, and
poster
-
Mandela Art
- A site profiling a series of sketches by Nelson
Mandela.
-
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Infinite Eye Photography
Unique photography including landscapes, wildlife,
flowers, abstracts, cultural and transformational
composite images influenced by my background in
ecology, meditation and integral philosophy.
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-
Art Italian
Gallery Modi'-Arte: Sell Paintings, shopping online. Made in
Italy -
Italian painting, paintings artist Italian Panorama, Tuscany
landscape, still life, figurative, nude marine of Amalfi
Positano Portofino Capri Sardegna, Florence Venice, decor,
Tuscan decor, picture of Italy, Italian style, shopping
online.
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ARTISTS CALL: Artist
Profile in collectable art books
Contemporary art trilogy:
FAMOUS
/
TRENDS
/
MASTERS
MASTERS, TRENDS and FAMOUS are three collectible art books, a
contemporary artists trilogy that represents a confirmation of our
affinity to the same art ideal in the view of the artist contemporary
history. The books size is 22x22 cm / 8½x8½ inches; print run 25,000
copies.
Professional artists are invited to submit materials for selection to
become advertised/published in MASTERS :100 Contemporary Artists and
TRENDS :121 Contemporary Artists, two collectable global art books
(FAMOUS:121 Contemporary Artists was released on June 1, 2007- order
your copy from
Amazon
now!) |
Additional, the works in FAMOUS. MASTERS and TRENDS will include a
multimedia installation on e-paper that will feature the works
published. One of the art museums and/or art fairs we cooperate will
hold the multimedia exhibition that will also credit the artists CV.
Briefly, FAMOUS, MASTERS and TRENDS would be also stored on electronic
paper (e-paper) programmed to typeset and download and display itself
the image files and text. On digital e-paper the books could be read and
seen as if it were on paper. (Electronic paper should not be confused
with digital paper).
the selection:
The nominations are judged solely by visuals submitted as attachment
send to:
artist@mastersoftoday.com
The editors will review all submission and make decisions on acceptance.
After notification of acceptance and after receiving the publishing
materials a layout alternative will provided as e-mail attachment (PDF's
/JPEG).
Advertising Rate: The
inclusion fee for
accepted and
completed submission is Euro 990 for two-page advertising in one book
(full-rate 6,949 euro for one-page advertising in a print run of 25,000
copies.)
The fee is required no later than the accepted artist will receive a
layout alternative. The inclusion fee should be provided by a gallery or
museum, corporation or individual contributor representing the artist or
self-provided.
Materials to be received:
To get the nomination completed for two-page inclusion please provide by
email to
artist@mastersoftoday.com:
. 3 - 6
art works (JPG /TIFF image files, 300 dpi /up to 22 cm / 9
inches)
. The
works details: title, year, media, size.
. Up to
500 words of critic essay or statement
. The
personal website
. The
place of residence and work
. A
photo of yourself (300 dpi /4 cm./ 1,5 inches)
BOOK
SIZE: 9x9 in. /22x22 cm., hardcover, print run 25,000 copies. Each
artist will receive three free copy of the book. Subject to
availability, additional copies may be purchased at shipping and
handling cost.
DISTRIBUTION: is through large book wholesalers and ecommerce channels,
in US bookstores and internationally including Barnes and Noble,
Borders, and Amazon in
USA,
Canada,
France,
Germany,
UK,
Australia
and others. Each artist will receive three free copy of the book.
Webite:
www.worldofartmagazine.com
www.mastersoftoday.com
Deadline: The
books are in advanced editing. Submit visuals for selection and
nomination in MASTERS 100 Contemporary Artists and TRENDS 121
Contemporary Artists. The books scheduled for publication December 2007
- February 2008.
THE WORD OF ARTIST:
Leora
Farber
"Dis-Location / Re-Location"
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Dis-Location / Re-Location, is a traveling exhibition
scheduled to tour to seven South African Museums as of June 2007 to May
2008. The exhibition will be on at the US Art Gallery from 16 October –
17 November 2007.
“As a result of the demise of colonialism and apartheid, many South
African whites might be said to feel severed from their European roots
and seem to be in a situation where there is a need to renegotiate their
identities as South Africans. ‘Belonging’ and ‘displacement’ are often
contested terms. In the work on the exhibition, Farber explores these
ambivalences through a dialogical relationship between South African
colonial histories and lived present experience. Farber uses her image
as metonym for herself and Bertha Guttmann - a Jewess brought to South
Africa from Sheffield in 1885, in order to enter into an arranged
marriage with the Lithuanian immigrant to South Africa, entrepreneur
Sammy Marks. Residues of British and Jewish ancestry are visually and
audibly grafted together with current influences from the Pan-African,
post-colonial environment of Johannesburg. Ambivalences around belonging
and displacement within this post-colonial environment are negotiated in
relation to the artist’s second-generation immigrant status.
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In the work on exhibition, the amalgam of Bertha Marks and
Farber is represented as engaged in needlework activities, considered as
'women's work' in the Victorian era and as a signifier of 'femininity'
through docility and labour. The craft of needlework is used as a
metaphor for the protagonist’s attempts to negotiate a sense of being
'African' within a post-colonial environment by attempting to 'graft' a
new identity physically and psychologically into herself.
Bertha’s bedroom in the Sammy Marks Museum, Pretoria, is the space of
such self-induced transformation - a private space wherein the
protagonist performs a series of physical and psychologically
transformative acts upon her body. The physical room might be considered
as a metaphoric ‘transitional space’, wherein unpredictable outcomes may
emerge from the grafting of diverse materials and cultures to give rise
to new, hybrid, identity formations.”
My artistic practice revolves around a general theme with multiple
offshoots, namely the (de)construction of gender identity. One of these
offshoots is the interrogation of Western constructs of ‘femininity’,
realized through an exploration of the female body as discourse - a site
of plentitude and pain, control and excess, order and chaos, matter and
form.
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Western
philosophical and literary traditions are predicated on the positioning
of man as the hub of privilege around which binary oppositions such as
presence/absence, culture/nature, order/chaos revolve. Language
therefore colludes in constructing the female as negative in relation to
the polarity of male positively. In a binary system, these dualities can
only be understood through a structural relation of opposition that does
not allow access to equality. In my practice, I have attempted to
deconstruct these binary oppositions, favoring a more reciprocal
relation between them. Likewise, my representations of the body have not
been based on either a purely bodily or mental experience, as I perceive
of these as interrelated. This exploration has been grounded in a
reciprocal relationship between theory and practice. Not intending to
simply ‘illustrate a theory’, I find that working from written texts to
the visual and visa-versa allows for a fluid interaction that both
informs and supports my production. |
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My theoretical
position is based on phenomeno-logical theories of embodiment i.e.
conception of the subject as situated in the world. Using my physical
being-in-the-world (the ‘lived body’) as starting point, I attempt to
depict the body not as static shell, but as felt experience - a vehicle
through which women (Westernized, urban, but not necessarily only
Caucasian) experience the world and through which that experience is
mediated.
The tension between the female body as object and the
‘embodied feminine subject’ forms a theoretical starting point for the
work. Through the work, I explore tensions of feminine embodiment i.e.
how women attempt to negotiate a sense of self/agency in relation to
their bodies. These may be viewed as attempts to become embodied
subjects rather than ‘mere bodies’ in relation to various power
structures which determine women as objectified within a broader context
of Western visual culture. This tension of feminine embodiment enables
me to situate my, and other women’s experiences of their bodies, in
relation to various controlling cultural discourses through which these
experiences are mediated. These discourses are symptomatic of a culture
where it is possible to view ones body as objectified, separate from who
one is (or would like to be) and as a site to negotiate identity within
a context of structured hierarchies of power. They thus become both an
expression of the objectification of the female body and of struggles to
find a sense of agency/selfhood within that system.
On the Web:
http://www.leorafarber.co.za
http://www.everardread.co.za/Farber
Leora_Exhibition.htm
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PRESS RELEASE:
PSYCHIC PHOTOGRAPHS
9 October - 30 November, 2007
Images: High res images available Dates & Times: 9 October – 30
November, Tue-Fri 12-5pm & by appointment
Venue : artandphotographs ltd 13
mason!s yard, st. james!s, London sw1y 6bu Contact: Tel .
(0)207-321-0495, or 07966-501674
Email:
info@artandphotographs.com
Web:
http://www.artandphotographs.com
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artandphotographs gallery sifts the evidence for the
arguably self-fulfilling belief in spiritualism by the bereaved (as
against the more probable manipulation of photographic séances), with a
fascinating collection of
Psychic Photographs from the 19th and 20th centuries.
The strikingly surreal images taken at psychic séances by the successful
Falconer brothers, much praised and defended as genuine spirit
photographers during the 1930s in the pages of the weekly spiritualist
publication, The Greater World,
are evidently of devious intention and effect.
Craig and George Falconer (whose mother was a
conventional spiritualist medium) specialized in holding sittings where
visitors were allowed to see the camera being loaded with fresh film and
observe the whole process from exposure to development. This reinforced
the authenticity of their psychic photographs, distinguished by the
appearance of spirits or 'extras" alongside their human counterparts.
They were eventually arrested, tried and convicted of fraud in South
Africa in 1931, on the evidence of two plainclothes men posing as
sitters. All their equipment was confiscated and the brothers were
sentenced to pay fines of £150 each, or serve 12 months imprisonment
with hard labor. The prosecution established that the 'extras' they
obtained were photomechanical images that displayed the dotted
appearance of screen-printing. The cloudy 'ectoplasm' surrounding them
was found to be cotton wool: a photographic cutting and cotton wool was
in their possession. Most incriminating, an unexposed plate, when
developed showed a pre-exposed 'extra'. Despite this the magazine
continued to support them, collecting funds for their defense,
contesting the charges and condemning the verdict as the product of
anti-spiritualist bias. Even Sir Arthur Conan Doyle, who earlier
espoused the fake photographs of fairies, seems to have been convinced
by what now appears blatant trickery.
Also included is a selection of Victorian photographs
that often appear to delight in the naïve insouciance of viewers, while
simultaneously deploying all the obvious artifices of distinctly amateur
drama. Although many seem quite obviously faked from our now
sophisticated perspective of computer manipulation, we can appreciate
that at the time these images were not easily, or lightly made.
Photography was still considered by some as a type of alchemy and thus a
natural ally of necromancy; not to mention the sheer amount of time that
sitters would have to hold still and props kept in place, during the
long exposures required to make them at all convincing. |
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