Lighthouse, above, an abstract painting by Randall Marmet’.
“This painting feels like a lighthouse to me, with the water splashing up from the rocks below,” says Randy Marmet’.
Lighthouse, above, an abstract painting by Randall Marmet’.
“This painting feels like a lighthouse to me, with the water splashing up from the rocks below,” says Randy Marmet’.
Face of Me And My Art, 41 cm x 30 cm, 2014, painting, graphite and charcoal on paper by artist Gideon Fasola of Ibadan, Nigeria, Africa.
The artist Gideon Fasola offers commissions of original fine art portraits capturing elements of you in combinations symbolizing your personality, profession, passions, collections, fantasy life, cos-play roles and creative activities in a visual yin-yang.
To discuss a possible commission from the African artists here, as well as other, and review their fees and details click here.
The unconventional portrait below, of a woman with her eyes closed, conveys her interior– thoughts, feelings, her mood– and gives us a glimpse into her inner sensuality.
The remarkable portrait below, by an artist that goes by the name Theopencil (his full name Theophilus Boateng Kwaku Sarpong), from Accra, Ghana, Africa is a demonstration of his accomplished photorealism rendering techniques used to depict this image from the artist’s imagination.
Artist D.A. Metrov was recently invited to conduct a public portrait session at the Santa Barbara Museum of Contemporary Art as part of Marinella Senatore’s highly-acclaimed Building Communities exhibition. The event was a huge success. Portraits from the exhibit definitely fit the category of the unconventional–
Metrov is known for his uncanny ability to capture his subject’s “spiritual essence.” “It’s not something I try to do, it’s simply what comes naturally. Some have called it a psychic ability,” says Metrov, an artist living and working in Santa Barbara, California.
Artist Julien Touchard sent us his Video: Rainbow Bethlehem Israël & Palestine.
“It’s my new art concept , your hand can become a pixel of the creation…” says Julien.
View more of his work on his website Julien Touchard.
Artist Marketing Resources features artist videos each Sunday. If you have a video you’d like us to feature and share on social media–Twitter, Google+, Facebook, Tumblr–send the YouTube or other link to us via email: MarieKazalia@gmail.com
California artist Metrov’s thirty minute film METROV: A Life in the War Zones of American Art has received accolades from such greats as Robert Zemeckis and others.
“Metrov is an American Treasure. He courageously bares his soul in this amazing and powerful film. A must-see for anyone interested in the Arts.” Robert Zemeckis, Academy Award winning director of BACK TO THE FUTURE, FORREST GUMP, CAST AWAY.
“Riveting… a great story!” Michael Lantieri, Academy Award winner, JURASSIC PARK.
“A fascinating, enjoyable film. I particularly enjoyed the unexpected humor.” Mark Johnson, Academy Award winning producer of RAIN MAN, BREAKING BAD.
Over the past month, we’ve made first gallery contacts for Metrov sending e-postcards of his wall art. Several gallerists replied positively and each time we reported back to Metrov . In the weeks to follow, Metrov decided to take an excursion to visit these galleries and launch in-person relationships with the gallerists. Metro reported back to us–
At Gallery A, Metrov met a nice, elderly woman gallerist with “a nice space and some cool art.” She also has since accepted Metrov’s Facebook friend request and he plans to follow-up further.
At Gallery B, which Metrov described as a great gallery space, Metrov just missed the gallery owner. But one of the gallery curators suggested emailing the owner, which Metrov will do.
At Gallery C, Metrov met the gallery manager; “a very cool dude. We agreed to keep in touch. Later, when Metrov got home, he send a Facebook friend request to this gallery owner who accepted. Now that they are friends on Facebook they can continue to interact with images and notes.
At Gallery D, Metrov met the gallerist who had replied to our e-postcard. Metro described him as “A very sweet man with a brand new (although quite small) gallery and a great show”. Metrov told him the report he had gotten from his “Marketing Director, Marie Kazalia” from the e-postcards sent. Metro said of this meeting, “You were right! He likes my work. He was very pleased to meet me in person and we agreed to keep in touch. The courting has begun!” It was a good time to stop in, just before the opening that evening and Metrov stayed a while but then had to get going on his long drive back home.
“These are all viable spaces for my work,” Metrov said, “and once I get to know the owners a little more I will propose exhibits to all of them. Whoa! I didn’t really want to make the 2.5 hour drive to LA (traffic is often nightmarish), but it was well worth the trip! Made me realize how important it is to meet people in person.”
Find out about our E-Postcard Marketing Service for Artists here.
|THE FEMINIST ART PROJECT PRESENTS A DAY OF PANELS AT THE MUSEUM OF ARTS AND DESIGNSATURDAY, FEBRUARY 14, 2015 FREE AND OPEN TO THE PUBLIC. No registration needed.|
| The Feminist Art Project (TFAP), now in its ninth year of successfully shining a spotlight on feminist art and its impact on art and culture worldwide, announces the schedule for a special symposium at the Museum of Arts and Design (MAD) in New York City. With an impressive list of participants, The Feminist Art Project will present a diverse set of panels that will be of interest to anyone curious about contemporary art and ideas. The 2015 Day of Panels will take place on Saturday, February 14 from 9am – 5pm at MAD. The panels, entitled Collective Creativity: Collaboration and Collectives in Feminist Art Practice, are organized by Damali Abrams, Artist; Jenn Dierdorf, Artist, Co-Director of the Fellowship Program and Development, A.I.R. Gallery; Kathleen Wentrack, Art historian, City University of NY,Queensborough. The symposium will focus on Collaborative working methodologies and how women’s collectives have been crucial to feminist art practice since the 1970s. As feminist practice continues to evolve, collaboration and collectivity continue to provide an alternative to the patriarchal ideal of individualism. This day of panels will explore both a communal approach to working in a variety of media and group support structures for women artists both historical and present day. Panels and Participants:*Collaboration and Collectivity: The Past or Future of Feminist Exhibition Making - Chair:KalliopiMinoudaki (Independent Art Historian) Panelists: DorisCaçoilo (_gaia), LaurenDenitzio (Artist; For the Birds), KateWadkins (Writer/Curator; For the Birds); Dr. Maura Reilly (University of Sidney),Ridykeulous (curatorial collective).* Roundtable: A Community of M/E/A/N/I/N/G – Co-Chairs: Susan Bee (Pratt Institute; University of Pennsylvania) and Mira Schor (Parsons, The New School) Panelists: Joyce Kozloff (Independent Artist) Sheila Pepe (Pratt Institute), Kara Rooney (Independent Artist, The Brooklyn Rail), Alexandria Smith (Independent Artist).*Gatecrashing: Feminist Collaboration and Institutional Intervention – Co-chairs: KatGriefen (Rutgers University), and Meredith Brown (Metropolitan Museum of Art) Panelists: A.K. Burns (Artist and Educator), Jorge DanielVeneciano, (ElMuseo del Barrio), and the collectiveHOWDOYOUSAYYAMINAFRICAN?.*When the Personal Becomes Political: Creative Activism/Collective Intentions - Chair: Nina Felshin (Independent Curator/Writer/Activist) Panelists/Collectives: Anjana Malhotra (SUNY Buffalo; Visible Collective); Mona Eldahry, (Arab Women Active in the Arts and Media); and Dread Scott (Postcode Criminals).
*Power, Collaboration, and Lies - Chair: Katherine Behar (Baruch College) Panelists: Stephanie Rothenberg (University of Buffalo); Jeff Crouse (Odd Division/NEW INC, New Museum); Larisa Mann (New York University); Sydette Harry (Body Ecology Performance Ensemble); Liz Flyntz (Smack Mellon/Extracurricular).
*Encouragements with Dave - Performance by J.R. Uretsky (Artist) and Emily Dix Thomas (Cellist)
*CollECtive NoW: Artists on the Collective Present – Roundtable – Chair: Dalida María Benfield (Vermont College of Fine Arts; Harvard University) Artist/Panelists: Salome Chasnoff (School of the Art Institute of Chicago, Personal Hermitage Productions, and Beyondmedia Education); Celia Herrera-Rodriguez (Artist/Teacher); Davida Ingram (Seattle People of Color Salon); Jessica Resmond (MEI Collectiv); Beatriz Santiago-Muñoz (Beta-Local); Robert Sember (Ultra-red, and The New School’s Eugene Lang College); Sasha Sumner (Hungry March Band, Pratt Institute, and the Pedagogy Group).
For more information and to view the full descriptions and schedule, and location details visit
The Feminist Art Project promotes diverse feminist art events and education through its website and online calendar. Website visitors can find exhibitions, lectures, artist talks, films, educational resources, and other art related activities in their area or to include in travel plans. The website offers hundreds of links to websites of interest. The Feminist Art Project is a program at Rutgers University, and is a unit of the Office of Institutional Diversity and Inclusion at Rutgers, The State University of New Jersey. For more information about TFAP, please visitfeministartproject.rutgers.edu.
Find more magic realism photography designs, such as on the iPhone 6 case pictured, in the Joyce Dade Art shop here.
It’s great getting unsolicited feedback about our resources and services, such as in a tweet that we received from artist Joyce Dade regarding the $39.95 price of our International Art Galleries Directory. Joyce tweeted to us @TransArtGuide “A very decent price for such an art directory. Paid $100 years ago for Italian version. I forget the name of publisher.”
Artist Alexis Avlamis, an artist curated into the Drawing Center New York City and featured on the Art21 interview blog wrote to us, in part:
“About two months ago, I stumbled upon your websıte and bought both the Transmedıa Artıst Guıde to Makıng Artıst Submıssıons and the Internatıonal Art Gallery Dırectory Share Lıst. I found them very professıonal, well wrıtten, ınformatıve and eye openıng, especıally when ıt comes to untanglıng the mysterıes and meshes of the art world.”
This week an artist in Europe wrote in an email:
“Hi Marie, I just wanted to say thanks for doing a good job…” an except from an email we received after our submission got this artist a much-needed magazine feature, a requirement to obtain an artist via to the USA. We are also assisting this artist in completing the USA Artist Visa application.
Plus, last week we received a thank-you gift of an original art piece in the mail from an artist we work with!
Artist Marketing Resources would like to thank all the artists who sent such positive feedback. We’d like to make this a regular monthly feature on our blog. So if you talk about us online, please let us know, and you could get mentioned along with an image and link to your site.
Click here to find the International Art Directory, Artist Guide ebook and other resources for artists mentioned above, plus details on our e-postcard marketing services.
An artist in France, Zalez, creates a wide variety of work. Zalez sent us this video of a trip to Los Angeles. You may or may not appreciate wheat paste art or street art, but we decided to share this Zalez video with you today. Video length: 3:27
We’d like to make Sunday our video feature day. If you are an artist and would like us to feature your video here, plus share it on Twitter, Facebook, Google+, and Pinterest– send your video to: MarieKazalia@gmail.com
“I am constantly looking for a heartbeat in the stillness of a photograph,” says photographic artist Thea Juliette Stevenson. In her series of works she calls Abandoned (the Alley Ways of Our Hidden Dreams), the artist gives us glimpses into what she calls “urban degradation” –images of stark little-traversed city pathways and human landscapes with an absence of humanity.
In a new set of imagery, she continues the themes of urban degradation, yet breathes life into the scenes with the introduction of dancers. This series she calls COMBUSTION.
While author Vicki Amorose was at work writing her article on how artists use Twitter, she contacted me for a quote. I complied, sending her an entire list of ways I use Twitter, never realizing that her request would result in a full-page feature of my painting in Professional Artists Magazine– on page 34 with credit caption text on facing page 35.
Get the October art marketing issue of Professional Artist Magazine available in print edition and digital edition here.
Follow Marie Kazalia’s Art blog here.
“Sometimes having a good start to a painting can be like a springboard, launching you forward in the process,” artist Allen Bentley wrote in a recent post on his blog.
“Other times the good start creates stress as you try to hold onto the strength of the initial drawing instead of allowing the painting to develop on it’s own. The beginning gesture of a painting is my favorite part of the process. Those first few lines can tell you if you have a fight on your hands or a really good ride. The whole painting can be found in the first few marks.”
Allen Bentley is making his mark with images of swimming couples, dancers made of quick, energetic touches and a bedroom series the artist calls Pillow talk.
Allen Bentley received his Master’s of Fine Art from the University of Pennsylvania in 2000 and his Bachelor’s of Fine Art from Western Carolina University in 1996. Bentley was represented by the Bridgette Mayer Gallery from 2001 to 2013 and is currently showing with F.A.N. Gallery, both in Philadelphia. He has exhibited across the country, with solo exhibitions in Philadelphia, New York, Chicago, and San Diego. He has shown in the Philadelphia International Airport and in Artworks at the Philadelphia Museum of Art. In 2009, Bentley had his first solo museum show at the Delaware Center for the Contemporary Arts in Wilmington, DE. Bentley lives in Montgomery Village, MD with his wife and children.
Breaking the Habit of Seeing, Rod Jones
I know on the surface this may be a bit unsettling to the Visual Artist. Consider that artists spend a lifetime being inspired by visual impressions and the interpretations thereof. What you see and what ultimately ends up in a work of art is invariably not what many artists intend. It’s comforting that you can always fall back on “I meant to do that” or “This came out better than I imagined, I must be a genius”. The reality is often a blend of all three.
For me I was extremely lucky. Vacillating between painting and photography at a very young age, I not so quickly determined that a camera presented a better future for someone with my personality and traits. Having the gift of gab, which I now understand made up for my now fashionable Dyslexia seemed to be a natural genesis of photographing people and objects for money. Commercial Photographers need to know how to sell. Most of the time your ability to communicate visually comes in second place.
Making the transition from Photographer to Brush Artist created a serious dilemma. For years I saw images. In fact, to this day I have to be somewhat careful as to what I expose the minds eye to. A real torment is television news. I can hang onto those images for a lifetime. Not a good thing. I take great comfort in visiting an art gallery, zoo, leisurely walk in the desert or by the ocean. But this in itself is laced with its own visual trickery.
What was your inspiration for that painting? It’s fun to be asked and even fun to explain. But to me this is the curse of really true originality. If you want…and this is not for every artist…you may embrace…Breaking the Habit of Seeing.
Give it a go…stop seeing with your eyes and try to develop visual thinking from within. Let your mind do the dictation. I’ve heard the pioneers of Modernism espouse this mantra. But as I’ve studied their work, more often than not, they were just smearing colors into shapes giving these works an esoteric title. I give Pollock credit for at least saying he was being directed by his sub-conscious mind when he was in the zone. Even he was surprised to see what ended up on the floor canvas. It’s not his work that I necessarily admire, although it’s quite good, but the fact he was forced to give a deeper meaning to his creations and managed to pull it off.
You will know when you pass the inspiration zone and start developing work that is purely inner brain driven. At first you will play hell trying to interpret what messages you’re receiving. The trick is to not be analytical but work at reception. Be prepared for a specific theme to emerge. Depending upon what’s going on deep within your psyche you can pull this off in a matter of months. For me this was a happen-stance. I started out painting what I saw, and I quickly realized that other than technique there was virtually no originality.
Don’t be judgmental of your creativity and never allow others, no matter their level of expertise to judge your work. Let it flow naturally…no time constraints or urgency. Hemingway would write every single day in his Moleskine notebook and commented, “This is crap.” But he also knew where those snippets of creativity were taking him. For every hundred paragraphs of disjointed words, he would give birth to brilliant prose…and he recognized it when he saw it. We can all benefit from the daily flexing of our creative muscles.
Be original…don’t play follow the follower. I realize that this method can improve technical skills but you will be better off in the long run paying less attention to what medium or color palette to use. If you need inspiration clear your mind in front of a blank canvas and be prepared to make many trips to your mind’s ether. During my journey the only reality was the style or name I gave my work. I call it Receptive Abstract Patternism because that is exactly what my history served up from the deepest and rarely visited niches of my mind.
Yesterday morning, just 16 followers away from reaching 10,000 followers on my @Artzon Twitter account, I put out the call to follow. Artists helped me reach my goal a few hours later at noon. This blog post is a special thank you to just some–I’ll be featuring more of those artists in future posts.
YK Hong is my 10,000th follower– in Brooklyn, New York, Y K Hong is revolutionary, artist, anti-oppression trainer, author, activist, techie, urbanbuddha, troublemaker, awesome–the link to her art site is http://www.ykhong.com/ykart
Watch YK Hong’s TED Talk :
Linda Klein is our 9,999th follower @Artzon follower. Shop hand-painted silk scarves in the Linda Klein Collection Etsy shop here.
Thanks to Anne Bevan aka @wncpainter for her tweet:
and Betty Esperanza @esperanza4hire
Dil Hildebrand’s work revolves around a study of architectural formations, exploring the parallels between creating structures and building images.
In a recent Studio Beat interview, that you can read it its entirety here, we see the artist at work in his studio, gorgeous works in progress leaning against walls. Dil Hildebrand describes to his interviewer and readers how he creates, saying– “In a regular classical painting of a vase on a table, there is pretending. However, what I’m trying to do is have the work physically pretend to be the thing.”
Canadian painter Dil Hildebrand has received much critical acclaim since 2006, when he quit his job as a theatre set painter and went back to school for an MFA. Reviews of Dil Hildebrand’s paintings appeared last year in Canadian Art and Blouin Art Info. Lengthy essays on Hildebrand’s work appear on the artists book publisher YYZ Artists Outlet site, linked here and here.
View more images Dil Hildebrand’s work on his website here.
Numbers art project www.numbersartwork.com
Artist James Soares aka Spires, sells his art prints and art designs printed on 3-D items in his store on the e-commerce site Society 6. Spires created the above side-by-side comparison of his artwork obviously used on the Urban Outfitters mini skirt. On his Tumblr blog the artist is asking others to reblog his story and share. The Huffington Post wrote this article about the design printed on the mini skirt without the artist’s knowledge, permission, any licensing contract, or payment. The Village Voice published an article on the mini skirt design yesterday. In the comments from readers of the Huffington Post article, one artist wrote, “It’s happened to me. I had my painting “Arizona Sunset” turned into a print for a dress . . . flattering and maddening at the same time.”
According to other artists, and other news stories, Urban Outfitters has copied more than one jewelry design. A necklace in the shape of New York State with a heart cut out, that was designed by Etsy artist Stevie Koerner and available in his e-commerce Etsy store as part of his United States of Love line, appeared in a new Urban Outfitters line of the same name. Steve Koerner wrote, in part, “The World/United States of Love line that I created is one of the reasons that I was able to quit my full-time job. They even stole the item name as well as some of my copy.” The story of this design theft appeared, with photos, in the Huffington Post article Urban Outfitters Steal and on the artist’s Tumblr page as Not Cool Urban Outfitters.
Some non-artist commenters on the recent Huff mini skirt article bring up questions of originality. Are these original designs– a map of New York state, the heart shape, a landscape of an Arizona sunset in a painting, or the geometric triangle pattern in the artist’s print (the one obviously copied and used on the mini skirt)? Haven’t we seen these things before and aren’t they part of our collective consciousness owned by all? Another question, does Urban Outfitters work with another company, BamBam, and are they responsible for the ripped off artist’s design on the mini skirt? Yet, it’s also reported by The Brooklyn Paper, and in an article in The Village Voice that an Indie jewelry designer selling at a Brooklyn flea market found her designs sold as very similar items by Urban Outfitters. Are such artworks and designs deliberately searched for, copied and used by large companies for the very reason that they doubt small business owners have the resources to fight back? Can these artists prove loss-of-income or originality of design?
It is time-consuming for artist-owners of small businesses to pursue matters legally, yet one artist that we featured in our blog last year did just that. She received a check in payment, compensating her for the unauthorized use of her artwork on three album covers. The lawyer she worked with was available free of charge via Volunteer Lawyers for the Arts.
I’ve always found the Huffington Post to be artist friendly–publishing artist news and featuring quality art news columns by several writers. Is Huffington Post the largest news source to cover these matters for artists? The Village Voice supports artists with reports on these artist rip-offs as well.
I can’t help but wonder how many times they get away with it? That is, how many times do such infringements go unnoticed in relation to the few instances companies are caught in outright copyright infringement?
According to Wikipedia, “a Superfiction is a visual or conceptual artwork which uses fiction and appropriation to mirror organizations, business structures, and/or the lives of invented individuals (Hill). The term was coined by Glasgow-born artist Peter Hill in 1989. Often superfictions are subversive cultural events in which the artwork can be said to escape from the picture frame… into three-dimensional reality.”
The practice of intentionally blurring the boundaries between fiction and fact has many precedents. Perhaps the best known is Orson Welles’ adaptation of H. G. Wells’ The War Of The Worlds which was broadcast in the style of a breaking-news report in October 1938.
A few months ago, we published a feature blog post on Moke Li’s superfiction contemporary art installation Hana Island Super Agency.
In 1989 Peter Hill created his fictive Museum of Contemporary Ideas on New York’s Park Avenue and sent press releases about the museum to news agencies such as Reuters and Associated Press and magazines, newspapers, museums, critics and specialist journals. With its “Encyclopedia of Superfictions”, Hill’s Web site is something of an information hub on methodically related artworks.