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Camille Claudel -
Étude (I) pour Sakountala [1886]
Sakuntala, also known as Sakountala or Çacountala , is a sculpture by the French artist Camille Claudel, made in several versions in different media from 1886, with a marble version completed in 1905, and bronze castings made from 1905. The sculpture depicts a young couple, with a kneeling man embracing a woman leaning towards him. It was named after the play Shakuntala by the 4th-5th century Indian poet Kālidāsa, and is inspired by the moment when the title character Shakuntala is reunited with her husband Dushyanta after a long separation.
A terracotta study c.1886 is held by the Musée d'Orsay in Paris, an 1888 completed plaster version is held by the Musée Bertrand [fr] in Châteauroux,[1] a marble version completed in 1905 and renamed Vertumnus et Pomona is held by the Musée Rodin in Paris, and several bronzes were cast for Eugène Blot [fr] from 1905 entitled L'Abandon ("The Abandonment").[2][3] L'Abandon has been described as "one of the most famous and recognised masterpieces created by Camille Claudel".
Source: wikiwand
My artist wife Marianne having great fun drawing a scene at MacGregor Point Park ☼
Thank you Caro's Lines for the wonderful free texture
Concours Gymnastique artistique (GAM/GAF) de la Fête Cantonale Vaudoise de Gymnastique, 19.06.2022. ©Serge Widmann
Concours Gymnastique artistique (GAM/GAF) de la Fête Cantonale Vaudoise de Gymnastique, 19.06.2022. ©Serge Widmann
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
Assemblage, 42"w x 78"h x 36"d.
Outdoor temporary assemblages: these works were created in my garden as temporary installations.
They were created as fantasies and fun art pieces that will be dismantled in time and the component parts will possibly be reassembaled to make new assemblage works.
Camille Claudel -
Étude (I) pour Sakountala [1886]
Sakuntala, also known as Sakountala or Çacountala , is a sculpture by the French artist Camille Claudel, made in several versions in different media from 1886, with a marble version completed in 1905, and bronze castings made from 1905. The sculpture depicts a young couple, with a kneeling man embracing a woman leaning towards him. It was named after the play Shakuntala by the 4th-5th century Indian poet Kālidāsa, and is inspired by the moment when the title character Shakuntala is reunited with her husband Dushyanta after a long separation.
A terracotta study c.1886 is held by the Musée d'Orsay in Paris, an 1888 completed plaster version is held by the Musée Bertrand [fr] in Châteauroux,[1] a marble version completed in 1905 and renamed Vertumnus et Pomona is held by the Musée Rodin in Paris, and several bronzes were cast for Eugène Blot [fr] from 1905 entitled L'Abandon ("The Abandonment").[2][3] L'Abandon has been described as "one of the most famous and recognised masterpieces created by Camille Claudel".
Source: wikiwand
As seen at the Architectural Digest Home Design Show.
I was walking around shooting, so in many cases, I did not get the names or websites of the artists displaying their work. If anyone can provide me with the name or a url for this artist, I will be glad to post it.
At his studio in Chatham, Cape Cod in 2017.
CHATHAM, MA-Steven D. Lyons, 62, passed away Sunday morning March 21, 2021 at his residence in Chatham, Massachusetts from glioblastoma brain cancer. Steve was surrounded by his family, and close friends.
Steve was born July 9, 1958 to Woodrow and Lorraine (Major) Lyons, who both have preceded him in death.
Steve is survived by his son Eli-Lyons-Seiser of Eastam, Massachusetts, two brothers, Jeffrey L. (Mary) Lyons of Lima, Ohio and Rickey W. Lyons of Lima, Ohio and many nephews and nieces. Steve is also preceded in death by an older brother Gary D. Lyons and a younger sister Magdalene Beth Lyons, and partner Peter Demers.
Steve graduated from Portsmouth High School in 1976. In 1980 he graduated with a B.A. from Eastern Kentucky University, and in 1983 received an M.A. at Louisiana State University majoring in journalism and minored in art. Steven was the recipient of the Walter Hitesman scholarship.
Steve moved to New York City upon graduation from Louisiana State and worked many jobs within the city. A few notable employers were Judith Crist of the TV Guide, and with Pia Zadora in her public relations department. He continued pursuing his writing and exploring new ideas for movies and screen plays. Steve primarily lived in the New England area most of his adult life finally settling in Provincetown, Massachusetts. It was in Provincetown where he seriously began his artistic talent. His dabbling and future success in painting was uniquely discovered through the renovation of their home and the salvaging of old pumpkin plank board removed from their home floor. Steve began painting a variety of costal scenes of the local area on the different sizes of boards and displayed them on the streets of Provincetown, Ma for sale. His passion, perseverance, focus and commitment had finally paid off. Due to the success of his art, Steve moved his gallery and residence from Provincetown to Chatham, Ma in 2014.
In March of 2020 Steve became aware of his cancer diagnosis. He was initially treated at the Center for Neuro-Oncology at Dana Farber Cancer Institute, Boston, Ma. He was introduced to a clinical trial being conducted at UCLA Ronald Reagan Hospital in California. He began the clinical trial in October of 2020. He addressed this treatment opportunity with the same enthusiasm, determination, focus, optimism and commitment as he did his art. Steve's journey wasn't as hopeful and successful as we had wished. Steve passed away on March 21, 2021.
There will be a celebration of life on July 10, in Steve's memory at the American Legion Post 23, 705 Court St. Portsmouth, Ohio from 2pm to 6pm.
Published by The Daily Times from Jul. 6 to Jul. 7, 2021
Artist's Drive rises up to the top of an alluvial fan fed by a deep canyon cut into the Black Mountains. Artist's Palette is an area on the face of the Black Mountains noted for a variety of rock colors. These colors are caused by the oxidation of different metals (iron compounds produce red, pink and yellow, decomposition of tuff-derived mica produces green, and manganese produces purple).
en.wikipedia.org/wiki/Places_of_interest_in_the_Death_Val...
Candid photo of an artist at work during the recent "Chalk It Up" event in San Antonio. This was actually one of my favorite drawings of the entire event.
Title: Artists In Crime.
Author: Ngaio Marsh.
Publisher: Fontana Books.
Date: 1967.
Artist: Renato Fratini.
Biographie artistique
SORIN EMMANUEL
Professeur de danse et choregraphe
Directeur et fondateur L'Académie de Danse J.E.S.S -B.H.P(Ballet Haïtien de Paris).
Concepteur et créateur des Ballets, face a la mecque, l'illusion,haiti 200 ans
SORIN a créé plus d'une trantaine de choregraphies portant sur des themes varies.
Il a egalement mis sur point la technique Emmece, conçue pour faciliter la maitrice du corps et
l'appentissage rapide de la danse afro Haitien, afro Jazz, Hip-Hop jazz.
Né à Port -au -Prince Haïti, dès son plus jeune âge il se passionne pour la danse et la musique, Sa carrière a débuté à l'âge de 10 ans avec un petit troupe nommé AZAKA un peu de temps il a trouvé un bouse pour les plus connus d'école de danse en Haïti suivant assidûment les cours des Académies de danse de Port au Prince, dont :« Institut de danse Viviane GAUTHIER» « Haïti an American Academy » « R. M. T. Académie» Régine Mont-Rozier Trouillot.
Formé en danse folklorique Haitienne par Viviane GAUTHIER, en ballet jazz et la danse moderne par Nathalie Trouillot, il a également étudié avec Nicole LUMARQUE, fondatrice et directrice artistique du Ballet folklorique haïtien, (B.F.H.).
Compagnie de danse de L'institut français Haïti tchaka, avec Christine DUPUIS, joué et tournée avec la Compagnie, (Bahamas, Martinique, la France et l'Espagne).
Il a joué avec la R.T.M. et La Compagnie des Jeunes de la danse comprennant : Bal de graduation, Don Quichotte, la Petite Sirène.
SORIN Emmanuel, joué avec Eddy Toussaint qui a été le fondateur et directeur artistique de G.B.H. (Grand Ballet d'Haïti) et Les Grands Ballets du Canada.
IL a été comme danseur Invité par institut de dance lynn william Rouzier.
Remarqué lors de différentes manifestations de danse pour ses talents évidents de danseur mais aussi de chorégraphe, il obtient en 1988 une bourse d’étude.
Il perfectionne sa technique d’Afro jazz, Afro haïtienne, à différentes écoles de danse, à la Jamaïque puis à New York.
A la Jamaïque (Kingston), il se perfectionne dans les danses traditionnelles caraïbéennes à l'école des beaux arts Edna Manley (Edna Manley College of the Visual and performing Arts).
A New York, à l'école des beaux arts de l'Université de New York (Tisch School of the arts), SORIN se perfectionne dans la danse contemporaine post-moderne et, à ce titre, interprète les œuvres de célèbres chorégraphes tels David Dorfman, Ronald K.
Toujours à New York, à l'école de danse contemporaine Martha Graham, SORIN suit le programme indépendant dans lequel il se perfectionne dans la technique Graham. Dans le cadre de ce programme, il performe une de ses chorégraphies, Dèy (deuil), à Cape May (New Jersey) lors d'un spectacle de danse animé par les danseurs du Martha Graham Ensemble, la compagnie Martha Graham junior.
Ses études lui laissent le temps d’enseigner le Afro-jazz, Afro Haitien, Hip Hop jazz en France et en Haïti.
SORIN Emmanuel assure la chorégraphie et danse sur un thème moderne et AFRO. Les compagnies et les écoles de danse d’Haïti font souvent appel à lui pour enseigner, monter des chorégraphies et danser dans des spectacles dont le dernier « Roi Christophe » en décembre 1997 à Port au Prince avec le ballet Folklorique d’Haïti.(B.F.H) Au Ritz Kînam II il a dansé « Nég Marron » un extrait du ballet Toussaint Louverture en décembre 2000.
Sélectionné parmi les meilleurs danseurs en afro Haitien à Paris. On le remarque au Casino de Paris, en 2004 pour ses talents de danse afro Haitien dans : « let move the Haitian rate/rhythm » sur une chorégraphie de NAGO. Similaire à Arès dans la mythologie grecque, Ogou, dieu de la guerre, est puissant, fort et vaillant. Il confère le courage et la force à ceux qui luttent et est plus particulièrement reconnu pour avoir implanté l'idée de la révolte chez les esclaves d'Haïti et leur avoir transmis le pouvoir qui les a mené à la liberté.
Referans des Concept
Wutao Emmece Zoa (W.E.Z)
Eveillez l'âme du corps
Le Wutao Emmece Zoa ( W.E.Z ) est né au cours de l’année 2000 du métissage des expériences de SORIN EMMANUEL : Afro Haitien, Afro jazz, Hip-Hop, Qi Gong, Danse, et Bio-énergie occidentale, le tout revisité et réinventé à travers l’exploration du mouvement.
En chinois, Wutao s’écrit avec deux idéogrammes : « Wu » signifiant « danse » et « Tao » « voie, chemin ». Ainsi Wutao pourrait-il être traduit par « la Voie de la danse de la vie ».
La pratique se concentre sur le déploiement d’une onde déclenchée par le relâchement du bassin, à partir de laquelle se décline tout un ensemble de mouvements réalisés dans un profond respect de l’être et de sa corporalité. Les principes du Emmece Wutao Zoa restent au plus près de la sensibilité du sentiment pour insuffler de l’émotion à notre gestuelle. Car la douceur et la sensibilité sont les qualités que notre organisme accueille le plus efficacement.
Les différentes étapes de progression du Emmece Wutao Zoa: