View allAll Photos Tagged VisualArtist
ca. 1960s --- Allegra Caracciolo di Castagneto, Italian painter, modeling bundle hairstyle, holding her pug Charlie. --- Image by © Condé Nast Archive/Corbis
Visiting Assistant Professor of Drama Amanda Culp 09 performed with her friend and former classmate Sasha Velour 09, as a part of the The Big Reveal Live Show! in the Villard Room, Vassar College, April 23, 2023.
Photo Credit: Allyse Pulliam/Vassar College
D843_009
08/04/2017 : Le Puy-Sainte-Réparade, Château La Coste : exposition Mountains and Seas (Ai Weiwei)
Etant donnés
Each time an inspiratior of mine celebrates birthday or dies I make them a portrait.
Simone de Beauvoir 9 January 1908 - 14 April 1986
Watercolor, embroidery on paper 29cm x 49cm
intagram loanaibarra
facebook www.facebook.com/LIM.LoanaIbarraMazari/
contact ibarraloana@gmail.com
este chamaco ha sido motivo de controversia por estados unidos , que si es racismo o quien sabe que.. como si nosotros les hubiesemos dicho algo por speedy gonzales...lo que si es que este niño es parte de la historieta mexicana , de lo mejor , ya que no es solo una historieta, muestra tan buenos valores humanos que en filipinas lo hicieron de lectura obligatoria en los niños ...hasta alla llego.
C431_34
16/08/2009 : Saintes-Maries-de-la-Mer, château d'Avignon, exposition "Château en chantier" : Cement Truck (Wim Delvoye, 2008)
Ericka College girl 21
Model: Ericka Guereni
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens: 18 – 55
Ella siempre seguía ahí a pesar de las estupideces que llegue a hacer, ella siempre fue una buena amiga, hasta la fecha creo que aun cuando nos hemos distanciado ella ...
In February 2006 Craig Tracy opened the PaintedAlive Gallery in his home city, New Orleans, La, USA. PaintedAlive is the first gallery in the world dedicated exclusively to fine art Bodypainted images. But where did his passion for using the human body as a canvas start?
Read on...
Susan Adele Greenfield the 61 year old UK Baroness and neuroscientist who specializes in the physiology of the brain pertaining to Parkinson’s and Alzheimer’s disease, has expressed concerns that digital technology may be having negative impacts on early development of children’s brains. Greenfield suggests that social networking sites in particular may be having an impact that we will not become aware of for several decades, pointing to the fact the human brain can change and the environment is capable of doing so. Criticized in some academic circles for her lack of clinical research, Greenfield’s likens her critics to "like the people who denied that smoking caused cancer". Greenfield says she is not criticizing the technologies themselves, but rather how and the extent to which technologies are used.
A recent trip to Goa turned out to be a great break after a stressful October-November.
More images: Facebook page.
I shot this wedding for a friend Avinandan and his bride-to-be Bhargavi, a couple months back. Didn't post any pics then because I needed to make sure they had the pictures first!
Here's one from after the dinner party; taken in the hotel lobby.
More images: Facebook page.
Shot this while driving by Maharashtran countryside near Lonavala, on a documentary trip. You can see some amazingly warm tones in the dry natural landscape there this time of year.
And also, worth mentioning, the dots in the sky are paragliders.
More images: Facebook page.
Jean Cocteau was the kind of man who treated reality as if it were a hotel lobby: pleasant enough, but not somewhere you'd want to spend the night. Some people make paintings. Some people write poems. Cocteau seemed to wake up each morning wondering how many art forms he could inconvenience before lunch.
There's an old rule that if you do too many things, history won't know where to shelve you. Cocteau answered by setting fire to the library. He drew with the confidence of someone signing a check on another bank. He wrote novels that dreamed they were mirrors. He made films where statues breathed, mirrors liquefied, and death behaved less like an ending than a maître d' showing guests to another table. Today we'd call it multimedia. Back then it was simply refusing to stand still long enough for critics to pin a label on him. The twentieth century loved artists who suffered publicly. Cocteau preferred immaculate suits. That alone made people suspicious.
Modern art often survives by persuading you that confusion is depth. It erects a monument to ambiguity, hires a publicist, and invoices the taxpayer. Cocteau played a different game. He understood that mystery is not the same thing as obscurity. A magician who spends twenty minutes explaining that his trick cannot be understood is probably hiding empty sleeves. That's the difference between enchantment and institutional prestige.
Cocteau knew style was not decoration; it was velocity. A line drawing by him arrives before you've finished looking at it. It doesn't ask permission from theory. It doesn't require a curator to translate it into sociology. It either lives or it doesn't. Today, that confidence can seem almost offensive. Somewhere along the road, art criticism decided that beauty was naïve, craftsmanship was suspect, and intention mattered less than political utility. The artwork became an excuse for the wall text. If the explanation is better than the object, you've entered the museum gift shop of ideas. Cocteau would have smiled at that. Not because he rejected intellect. Quite the opposite. He distrusted the bureaucracy of interpretation. He knew symbols should travel light. Once they require committee approval, they stop being symbols and become paperwork. His collaborations tell their own story. Give him dancers, composers, actors, aristocrats, boxers, addicts, saints, opportunists—he found use for everyone. The twentieth century often looked like a masquerade. Cocteau understood the masks better than the faces. Maybe that's why his work still feels strangely alive. It doesn't explain itself. It seduces, disappears around a corner, leaves a cigarette burning in an ashtray, and expects you to follow. There's something almost unfashionable about that now.
We live in an age that demands artists provide user manuals. State your position. Announce your moral credentials. Declare your trauma. Publish your methodology. Include references. Cocteau simply handed you a key and pointed toward a mirror. Whether you walked through it was your responsibility. That's a dangerous proposition. Not politically dangerous. Imaginatively dangerous. Because imagination can't be audited. And perhaps that's why Jean Cocteau remains difficult to classify. He wasn't building a movement. He wasn't manufacturing theory. He wasn't auditioning for sainthood. He was making beautiful traps—objects designed to catch the moment when certainty slips and wonder sneaks in through the side door.
Some artists leave masterpieces. Cocteau left a passport.
ink, watercolor on paper
contact ibarraloana@gmail.com
The new landing page for my Facebook page.
Do have a look and "like" if you appreciate the work. Your support is needed and will be really appreciated.
There are musicians who play music, and then there are musicians who seem to be listening for something that the rest of us have forgotten how to hear. Alice Coltrane was one of those musicians.
Alice Coltrane came out of Detroit with the blues in her bones and jazz in her bloodstream, sat at the piano beside some of the great names of the twentieth century, and then kept going—past the clubs, past the applause, past the ordinary borders of what a jazz record was supposed to be. You could hear her searching in the harp, in the organ, in those waves of sound that seemed less interested in entertaining you than in carrying you somewhere. Somewhere between jazz and prayer, between improvisation and devotion, between the earthly piano bench and whatever might be waiting beyond the ceiling. Her records can feel like weather from another planet. The harp glimmers. The organ rises up like stained glass. A melody appears, disappears, and comes back wearing different clothes.
And then there’s my own personal favorite “Krishna Krishna”.
Beautiful, simple, almost startling in its intimacy. Coltrane sings in Sanskrit, offering the devotional words with a tenderness that doesn't need to announce itself. And underneath that voice is the humble little sound of a Casio keyboard.
That's the strange magic of it: an ancient prayer, a human voice, and a small piece of modern electronics sitting there in the room together. You don't need a cathedral when you've got that. You don't need a hundred musicians. Sometimes you just need a woman, a keyboard, and a name she's willing to sing until the name becomes the music.
Alice Coltrane understood something about repetition that the rest of us sometimes miss. A repeated phrase isn't necessarily going in circles. Sometimes you're digging. Sometimes you're knocking on the same door because you're beginning to suspect somebody is home.
And she kept knocking.
That’s Alice Coltrane for you. She could make the cosmic feel homemade. She could take a keyboard, a harp, a voice, a prayer—and suddenly the distance between Detroit and the stars didn’t seem so far at all.
ink, watercolor on marbled paper
contact ibarraloana@gmail.com
Another long exposure, shot at Bandstand at Bandra, just at sundown. I know sunset shots are super-overdone, but this is a first for me in long exposures + HDR. I am pretty pleased with the result, but I know there are so many areas to improve upon. Also, I finally feel like I can make use of the 2 ND8 filters I bought now that this year's heavy monsoons are over.
I forgot again to carry a flashlight to these dark rocks (which are slippery enough to break your back), but I managed to tread about alright.
Converted to HDR from 1 RAW file. Been shooting RAW only recently but, boy! do I now see what the hype was all about!
More images: Facebook page.
Will algae farms be the farms of the future? Can washed-up jellyfish be repurposed to make a durable material? Are algae the solution for clean energy harvesting? Through performance and talks, we explored aquatic life in the framework of harvesting. Sound and visual artist Sabina Ahn, designer Charlotte van Alem and researcher Dr. Ben van den Broek contemplated these questions and more.
www.mediamatic.net/en/aquatic-harvesting
Photography by Anisa Xhomaqi
Sarah Sze the 42 year old American contemporary artist who uses ordinary objects to create sculptures and site-specific installations, states “I want people to stop and look at my art”. Sze’s latest installation profiled by Vanessa Thorpe for the Observer at the London Victoria Miro gallery, Thorpe states “…known for the involving intricacy of her sculptural work, but this dramatic piece, which now dominates a room … seems in danger of hypnotising even her. It is a theatrical construction that plays with light and water and yet is made entirely of household items. …The installation reminds me of student storage, with desk lamps, electric fans, paperclips, stepladders, books, chairs, and the added intimacy of folded clothes and a sleeping bag. Sze picks up bits and bobs everywhere she goes, she says; happy to exhibit the trace of her travels. … A talent for subtle showmanship has won her an international reputation and next year she will represent the US at the Venice Biennale. She is always thinking about the way the viewer sees her art and wants visitors to the London show to feel drawn to a "backstage area", to glimpse things they feel they were not intended to. … "I am aware people might dismiss my art, but I'm interested in getting them to stop and look; for no other reason than that is what I do.” Inspired by The Guardian ow.ly/c4XGD image source Columbia University ow.ly/c4Yqi
D655_024
26/06/2012 : Marseille 3e, bd National / rue de Strasbourg, îlot National : exposition Une collection de collections (Maryvonne Arnaud et Philippe Mouillon)
collection d'art populaire sud-africain (Guy-André Lagesse)
In February 2006 Craig Tracy opened the PaintedAlive Gallery in his home city, New Orleans, La, USA. PaintedAlive is the first gallery in the world dedicated exclusively to fine art Bodypainted images. But where did his passion for using the human body as a canvas start?
Read on...