A National NetWork of Art Installers to Serve Art Collectors, Art Consultants, Art Fairs

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Scott S. Solda, President, of the Art Installer Network contacted us with details on the co-op of freelancers he has assembled– “The ART INSTALLER NETWORK has essentially eliminated the need to pay for an art installer’s travel expenses. We have experienced and insured art installers in every North American city! Insured and experienced local professionals will install your art at affordable prices.”

In Las Vegas Market THe ARt INSTALLER NETWORK installed about 500 pieces in a week

In Las Vegas Market the ART INSTALLER NETWORK installed about 500 pieces in a week

“We are a co-op of freelance installers. Prices have been standardized. Sales, scheduling and billing are handled efficiently by the central office. Installers agree to work at a discounted rate and savings are passed on to our customers, a mixture of designers, framers, facility managers and homeowners.”

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The ART INSTALLER NETWORK does a lot of art installation in corporate settings, and in the Las Vegas Market their art handlers installed roughly 500 pieces in one week. “We’ll do this twice a year for art providers who show their products in the markets of Atlanta, High Point, and Dallas,” said Scott S. Solda.

Artists, let your collectors know about the Art Installer Network to help make the  sale–

 

I asked Scott S. Solda how visual artists might use the services of the ART INSTALLER NETWORK. Perhaps artists would like to recommend the services of the ART INSTALLER NETWORK to their collectors for home installation of larger paintings, sculpture/3D art installation projects?
“Artists and photographer​s have occasionally referred us to install their work, though more often than not, the projects are those of a designer. In regards to residential vs corporate installers, we have both.  An installer working a large scale install in a senior living facility uses different hardware and skill sets than one installing in a private residence. Our best large-scale installers have a strong FF&E background and deal well with the logistical challenges of large commercial installations.  We have a few Interior Designers working as installers and they work very well in residential installations. And yes, we have installers who work with sculptures, mural installations and a few as museum preparators, too.  We don’t get many calls for work in galleries.
A number of years ago, when working a job in Dallas for a Milwaukee-based art provider, I met an art installer local to that market who had recently installed in Milwaukee for a Dallas-based art provider. “What a waste!”, I thought. That meeting was the impetus for creating the Network.”
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#Art and #Artists : The Brilliant Works of Ula Einstein

I’ve been thinking about Ula Einstein’s art over the past several months, ever since she contacted me about her work. My overall impression is that her artworks are simultaneously detailed and minimal. It can become something of a conundrum thinking about this dichotomy. Yet that’s what stays with me–her lightweight airy paper works so complexly patterned. Even the color spots in the artist’s mixed media originals and prints contain an illusion that they are free-floating forms.

As she encompasses so much territory, Ula refers to herself as a “multi-disciplinary” artist “engaged with fragility and substance.”

Ula Einstein burned paper piece is light and airy, employing minimal tools and techniques, yet richly patterned and detailed.

Ula Einstein burned paper piece is light and airy, employing minimal tools and techniques, yet richly patterned and detailed.

Ula Einstein’s “mixed media” materials include paper, fire, hot glue, color pencils, and inks, as she employs the active techniques of burning, cutting, crumpling, tearing, piercing, erasing, taping, and stitching, among other actions. Ula sums up all this activity by simply stating — “making is part of the content.”

Vortex in Orbit #4, mixed media on paper ©Ula Einstein

Vortex in Orbit #4, mixed media on paper ©Ula Einstein

The art originals in Ula’s 2014-’15 Vortex in Orbit series, ©Ula Einstein, consist of Prismacolor premium color pencils, fire, and hot glue.  Limited Edition prints from the originals are digitized on a Cruse Scanner and professionally printed using archival pigments, and then signed and numbered in the edition by the artist.

 

Vortex in Orbit #5 ©Ula Einstein, Ltd edition prints 11 x 11″ $185. (Custom size available) - See more at: http://ulaeinstein.com/visualart/recent-work/vortex5/#sthash.yXtz93QL.dpuf

Vortex in Orbit #5 ©Ula Einstein, Ltd edition prints 11 x 11″ $185.

Prints and artworks can also be commissioned to larger sizes to meet your needs. Contact the artist via her website here.

Vortex in Orbit #19 ©Ula Einstein, Ltd edition prints 14 x 17″ $225. - See more at: http://ulaeinstein.com/visualart/recent-work/vortex19/#sthash.YND6ywbG.dpuf

Vortex in Orbit #19 ©Ula Einstein, Ltd edition prints 14 x 17″ $225

Ula Einstein also creates installations in components in her studio, which she then reconfigures for each exhibition.

 

Vortex in Orbit #3 ©Ula Einstein Ltd. edition prints 9 x 11″ $180. (Custom sizes available) - See more at: http://ulaeinstein.com/visualart/recent-work/vortex3/#sthash.CXDg5M4m.dpuf

Vortex in Orbit #3 ©Ula Einstein Ltd. edition prints 9 x 11″ $180

 

Ula Einstein is a highly visible New York City artist who exhibited several of her paper works at the 2015 Flux Art Fair seen here in photos published in a Hyperallergic feature. Üla’s work is internationally exhibited in galleries, museums, and non-profit art spaces, and are in numerous art collectors private art collections.

 

Vortex in Orbit #16 ©UlaEinstein Ltd. edition prints 14 x 17″ $225 - See more at: http://ulaeinstein.com/visualart/recent-work/vortex16/#sthash.QyRoytm6.dpuf

Vortex in Orbit #16 ©Ula Einstein Ltd. edition prints 14 x 17″ $225

 

Below are more artworks in the artist’s Vortex in Orbit series, as well as more on her materials and studio practice.

 

Vortex in Orbit #9 ©Ula Einstein, Ltd. edition prints 11 x 11″ $185 - See more at: http://ulaeinstein.com/visualart/recent-work/vortex9/#sthash.ZGKsloR8.dpuf

Vortex in Orbit #9 ©Ula Einstein, Ltd. edition prints 11 x 11″ $185

 

Vortex in Orbit #17 ©Ula Einstein- Ltd. Ed. Prints 14 x 17″ (ask me about custom sizes) - See more at: http://ulaeinstein.com/visualart/recent-work/vortex17-2/#sthash.Q4i7TGCg.dpuf

Vortex in Orbit #17 ©Ula Einstein- Ltd. Ed. Prints 14 x 17″ (ask Ula about custom sizes. Contact her via her website.)

 

Ula describes her art practice in this interview in her studio–

 

Ula Einstein's tools for her art practice

Ula Einstein’s tools for her art practice

 

 

New Art Gallery, Art Magazine, Art Book Publisher

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Since Artist Marketing Resources became a part of what’s happening online, beginning in 2008, we’ve noticed more multi-purpose organizations springing up–such as Tumuult, based in Berlin, Germany–which has both online and live art projects. Tumuult is scheduled to open in November of this year as an interdisciplinary art gallery focusing on up-and-coming artists and environmental issues,  working with both artists and scientists. Tumuult will be engaging with their public via pop-up installations and lectures.  Plus, they are a creative agency involved in Interior Design and furniture design, and publishes limited edition prints, an art magazine, and art books in English, French, and German.

Submit to the first issue of their magazine here. Find out more about their Pop-up projects and Tumuult publishing here.

These are all areas of interest to us–art magazines, limited edition artist prints, art exhibition venues, and Interior Design art sales– since we promote and submit artists’ work to art magazines and provide publication resources to artists in our e-list here, and have gathered together an extensive list of art print resources for artists here, provide an e-list of over five-thousand art galleries here, and a resources e-list of art consultants which includes select Interior Designers here, as well as Art Sales venues here, and Art Licensing resources here and photography resources here.

Please get in touch for unique solutions for your projects.

 

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“Set Of Books In The Shape Of Flower” Image courtesy of Danilo Rizzuti at FreeDigitalPhotos.net
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Buy it now

Open Call: The Male Nude in 2D, 3D, Digital + Performance

 

DMAC-Duo Multicultural Arts Center, the East Village, New York City is seeking works for its group show and performance art installation: The Nude + MALE opening in December, 2014. They are seeking submissions of art works including traditional two-dimensional works in any medium; digital video works; sculpture; architecture; animation as well as performance art that can be presented live in their gallery.

To submit your are for consideration to this curated exhibition, send your contact information, image script, your  brief bio, artists statement, and a link to online examples of your work or copy of your work in a digital format only to: thenudemale@gmail.com Attn: Michelangelo Alasa.

Submission Deadline: Sun Nov 30th, 2014

DMAC – Duo Multicultural Arts Center
62 East 4th Street
New York, New York East Village 10003
United States of America

Meaning in the Moke Li Mixed Media Art Installation–Hana Island Super Agency

Hana Island Super Agency, installation, Moke LI

Hana Island Super Agency, installation, Moke LI

A grand logo is displayed on the monitor; armchairs, indoor plants and an office carpet all in a setting to create a seemingly calm, peaceful, everyday scene. However, the goal of this installation is to stimulate spectators’ critical reflection on our hyperreal society and its power, which is continuously executed on micro levels. The intention of the artist is to create an ambience here tainted with death, a world resembling “the smile of a corpse in a funeral home, ” to quote from Jean Baudrillard, The Transparency of Evil : Essays on Extreme Phenomena.

Artist Moke Li’s installation HANA Island Super Agency is a mixed-media work simulating the reception area of a fake agency located in a holiday resort. Some elements in this piece were extracted from a real Chinese tourist city named Hainan Island. The island was originally demarcated as one of China’s special economic zones as part of the country’s economic reform policy–a place where people rapidly accumulate capital and power. Since the island has rich tourism resources, the tourism industry unites with mass media in making non-stop propaganda and manufacturing consumer demands in order to encourage people to consume. Yet the island has been ruined by rapid and extreme development; many unfinished buildings have been left on the island after the housing bubble burst in the 1990s. “For me, the interesting point is how a dilapidated island has been figured as paradise by propaganda. It’s a case in which the boundaries between reality and spectacle have become extremely contorted,” says Moke Li in her essay on her installation project.

Moke Li, Hana Island Super Agency, installation (detail)

Moke Li, Hana Island Super Agency, installation (detail)

Many elements in this installation have symbolic meaning.  The created rebar shelves denote the China state apparatus of control, that different parts share in a homogeneous structure guaranteeing social order by establishing institutions, statutes, ideologies, language and knowledge. The rebar is also a very important symbol of the abandoned buildings in the real-life Hainan Island.

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The irrational or non-rational elements in this installation, such as the fiberglass insulation on display shelves, weird souvenirs including monkey-head-shaped glass pots filled with energy drinks, postcards, and sculptural souvenirs shaped as red hands and bowling balls–gifts made from molds and mass-produced–are all meant to provide an entry-point to refuse the reality with which we’re confronted.

Hana Island Super Agency (detail), Installation, Moke Li

Hana Island Super Agency (detail), Installation, Moke Li

By incorporating these objects in his installation, Moke Li comments on ancient craft, long associated with quality and much manual labor, but within the logic of commodity production the concerns have shifted to quantities and efficiency rather than quality, destroying many ancient crafts, not just glass blowing.

Rebar, Glass, Fiber Glass, Paper, Plastic, Monitor & Projectors, CG Animation

The extremely flattened and detailed CG animation shows the hyperreal content of wonderful beaches and holiday villages behind sliding doors. As George Ritzer says: “It is a simulation that is more real than real, more beautiful than beautiful, truer than true. In a hyperreal world there is no way of getting at the source–the original reality.” For many people,  in their routine lives they are surrounded by simulation and images all the time– all designed and used to manipulate their desires.

Strange scenes flash on the projected videos on two walls of the installation, designed to contrive an illusory scene for viewers in order to allow them to feel those counterintuitive moments, and lead viewers to understand the underlying reality. A scene, which is of an unfinished structure, flashes for less than half a second in both projected videos. It is too quick to see clearly, so spectators are prone to believe it is their own hallucination or that something has gone wrong at that moment.

Stacks of different postcards designed by the artist sit on the shelves in the installation.  One of the postcards has an image of airships in sausage shapes covered with advertisements, making a statement on how media exercises its implicit violence and power through the non-stop bombardment of information and the promotion of various symbols. At the same time, mass media produces institutionalized and standardized welcoming smiles and attentive services. People can see advertisements simulating those intimate, personal communications happening between friends or loving couples in plastic-like tender feelings at the service of promoting consumption.  Causing consumers to lose their own values as they voluntarily follow media-oriented trends.

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Moke Li also associates scuba diving training and certification with the island tourism industry, and designed postcards “promoting” this content. Various training institutions have replaced the traditional confined school environment, and have become deeper-seated control mechanisms by providing special courses and one-on-one counseling. It seems as if there is more freedom. Many youths participate in continuing education voluntarily in order to gain more abilities which are recognized by society. Meanwhile, the training institutions have molded teenagers’ perceptions and preferences to make them believe it is sacred and beneficial that their leisure time be occupied.

Postcard 3, Fast Deeper Stronger, Moke Li

Postcard 3, Fast Deeper Stronger, Moke Li

Another recurring symbol in this piece is the gesture of the erect palm, which, in the mind of the artist, connotes the forbidden–the raised hand a symbol of oppressive force.

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Ironically, in HANA Island Super Agency, the palm also serves as one of those cheap tourist souvenirs.  Associated with social reality in China, for its people, the external oppressive power is obvious to feel and understand. Therefore, it is no longer an insidious enemy and it will be defeated and destroyed in the end. But it is hard for people to defeat their inner desires. They adhere to them in order to make correct value judgments when facing the dazzling array of consumer information. Baudrillard describes America as a desert, implying lack of depth and emotion.  Yet China has been inevitably importing the American mode of consumption during the decades of implementing reform and opening policy. Such consumption is an insidious and concealed power which could make people consume things beyond their needs–more dangerous than the visible governing power authority.

Moke Li’s website: http://limokeart.com