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Leipzig Spinnerei Herbstrundgang 9-2016
Leipzig Spinnerei autumn tour 2016/9
Kunstgalerien: Josef Filipp Galerie -
ASPN Jochen Plogsties: Shanzhai www.aspngalerie.de
Galerie b2_ HAYAHISA TOMIYASU: TTP www.galerie-b2.de
Art MÛR MONTRÉAL/LEIPZIG CAL LANE: DISOBEDIENT VIRTUES www.artmur.com
Galerie Dukan Paris/Leipzig Josef Filipp Galerie Rayk Goetze: Der Gegenwart www.filipp-galerie.com Galerie Jochen Hempel STEPHAN BALKENHOL: NEUE ARBEITEN www.jochenhempel.com Galerie Kleindienst CLAUDIA ANGELMAIER: LANDSCAPES www.galeriekleindienst.de R E I T E R STEFFEN JUNGHANS: "It's Me." www.reitergalleries.com THE GRASS IS GREENER HELGE HOMMES: CASPAR – [WIEDER] OHNE KOMPASS IM MORGENLAND Esther Niebel www.thegrassisgreener.de SPINNEREI archiv massiv JOHANNES TIEPELMANN: THE HICK LÆTITIA GORSY: BILDARCHIVE 29 Bertram Schultze,
HALLE 14:
TERRA MEDITERRANEA:
IN ACTION – ÜBER EINEN FLÜSSIGEN KONTINENT
Ana Adamović, Marwa Arsanios, Bank of No, Sofia Bempeza, Banu Cennetoğlu, Marianna Christofides, Tom Dale, Haris Epaminonda, Hackitectura, Lia Haraki, Timo Herbst & Marcus Nebe, Elizabeth Hoak- Doering, Eleni Kamma, Mahmoud Khaled, Zissis Kotionis, Mona Marzouk, Panayiotis Michael, Christodoulos Panayiotou, Nira Pereg, Polys Peslikas, Alexandros Pissourios, Ran Slavin, Paola Yacoub
PILOTENKUECHE ORIGIN
Amina & Karima Tarchouni [DE], Cristiano Carotti [IT], Fernando Davis [BR], Gabriel Secchin [BR], Latzi [IL], Milena Roglic [CA], Nina Perlman [US], Sally Lia Vigano [IT], Sofia Rossi Bunge [CH], So Jin Lim [KR], Wednesday Kim [US]
Artist Residency Martin Holz www.pilotenkueche.net
Werkschau
17./18. Sep 2016
INTERNATIONALE GASTGALERIEN
Billytown, Den Haag
Larm Gallery, Kopenhagen
Daine Singer, Melbourne
Black Swan Project, New York
Rutger Brandt Gallery, Amsterdam
Aeroplastics, Brüssel
Jonathan Ferrara, New Orleans
Christine König, Wien
Galerie Conradi, Hamburg
Galería Hilario Galguera, Mexico
Anca Poterasu Gallery, Bukarest
Pearl Lam Galleries, Hongkong/ Shanghai
L’Atelier-ksr, Monaco/Berlin
Guido Romero Pierini, Paris
Tobias Fischer
Leipzig Spinnerei Herbstrundgang 9-2016
Leipzig Spinnerei autumn tour 2016/9
Kunstgalerien: Josef Filipp Galerie -
ASPN Jochen Plogsties: Shanzhai www.aspngalerie.de
Galerie b2_ HAYAHISA TOMIYASU: TTP www.galerie-b2.de
Art MÛR MONTRÉAL/LEIPZIG CAL LANE: DISOBEDIENT VIRTUES www.artmur.com
Galerie Dukan Paris/Leipzig Josef Filipp Galerie Rayk Goetze: Der Gegenwart www.filipp-galerie.com Galerie Jochen Hempel STEPHAN BALKENHOL: NEUE ARBEITEN www.jochenhempel.com Galerie Kleindienst CLAUDIA ANGELMAIER: LANDSCAPES www.galeriekleindienst.de R E I T E R STEFFEN JUNGHANS: "It's Me." www.reitergalleries.com THE GRASS IS GREENER HELGE HOMMES: CASPAR – [WIEDER] OHNE KOMPASS IM MORGENLAND Esther Niebel www.thegrassisgreener.de SPINNEREI archiv massiv JOHANNES TIEPELMANN: THE HICK LÆTITIA GORSY: BILDARCHIVE 29 Bertram Schultze,
HALLE 14:
TERRA MEDITERRANEA:
IN ACTION – ÜBER EINEN FLÜSSIGEN KONTINENT
Ana Adamović, Marwa Arsanios, Bank of No, Sofia Bempeza, Banu Cennetoğlu, Marianna Christofides, Tom Dale, Haris Epaminonda, Hackitectura, Lia Haraki, Timo Herbst & Marcus Nebe, Elizabeth Hoak- Doering, Eleni Kamma, Mahmoud Khaled, Zissis Kotionis, Mona Marzouk, Panayiotis Michael, Christodoulos Panayiotou, Nira Pereg, Polys Peslikas, Alexandros Pissourios, Ran Slavin, Paola Yacoub
PILOTENKUECHE ORIGIN
Amina & Karima Tarchouni [DE], Cristiano Carotti [IT], Fernando Davis [BR], Gabriel Secchin [BR], Latzi [IL], Milena Roglic [CA], Nina Perlman [US], Sally Lia Vigano [IT], Sofia Rossi Bunge [CH], So Jin Lim [KR], Wednesday Kim [US]
Artist Residency Martin Holz www.pilotenkueche.net
Werkschau
17./18. Sep 2016
INTERNATIONALE GASTGALERIEN
Billytown, Den Haag
Larm Gallery, Kopenhagen
Daine Singer, Melbourne
Black Swan Project, New York
Rutger Brandt Gallery, Amsterdam
Aeroplastics, Brüssel
Jonathan Ferrara, New Orleans
Christine König, Wien
Galerie Conradi, Hamburg
Galería Hilario Galguera, Mexico
Anca Poterasu Gallery, Bukarest
Pearl Lam Galleries, Hongkong/ Shanghai
L’Atelier-ksr, Monaco/Berlin
Guido Romero Pierini, Paris
Tobias Fischer
LOVE TV, by Australian artist Rebecca McIntosh and art producer Victoria Johnstone, blended visual art, performance art and a talk show to invite New Yorkers to share their stories of life and love in New York City. LOVE TV explored the identity of people, places and diversity through the universal subject of love. The program followed artist Rebecca McIntosh, who posed as goddess Aphrodite, as she spoke with celebrities, musicians, historians, artists, local heroes and the public in her hot pink TV-shaped mobile studio. The performance encouraged creative conversation and provided the community with a chance to reclaim public space.
By partnering with artists like Rebecca McIntosh, DOT’s Urban Art Program aimed to enhance and enrich the public’s experience at Summer Streets, a three day closure of Park Avenue for recreation held on Saturdays in August. The LOVE TV performances took place at Foley Square and Centre Street at Pearl Street. Performances were also held as part of Weekend Walks in the Bronx, Brooklyn, Manhattan, Queens and Staten Island.
NYCDOT Urban Art Program, Summer Streets
LOVE TV by Rebecca McIntosh and Victoria Johnstone
Foley Square and Centre Street at Pearl Street, Manhattan
Nude Descending a Staircase, No. 2 (French: Nu descendant un escalier n° 2) is a 1912 painting by Marcel Duchamp.
In the composition, Duchamp depicted motion by successive superimposed images, similar to stroboscopic motion photography. The painting shows elements of both the Cubist and Futurist styles. Duchamp also recognized the influence of the stop-motion photography of Étienne-Jules Marey.[1]
Duchamp first submitted the work to appear in a Cubist show at the Salon des Indépendants in Paris, but jurist Albert Gleizes asked Duchamp's brothers, Jacques Villon and Raymond Duchamp-Villon, to have him voluntarily withdraw the painting, or paint over the title that he had painted on the work and rename it something else.
Of the incident he recalled,
I said nothing to my brothers. But I went immediately to the show and took my painting home in a taxi. It was really a turning point in my life, I can assure you. I saw that I would not be very much interested in groups after that.
He submitted the painting to the 1913 Armory Show in New York City where Americans, accustomed to realistic art, were scandalized. An art critic for the New York Times wrote that the work resembled an explosion in a shingle factory, and cartoonists satirized the piece. It spawned dozens of parodies in the years that followed.
Nude Descending a Staircase, No. 2 is on permanent exhibition at the Philadelphia Museum of Art.
British Columbia, Canada
The Village of Harrison Hot Springs is a small community at the southern end of Harrison Lake in the Fraser Valley of British Columbia. It is a member of the Fraser Valley Regional District; its immediate neighbour is the District of Kent and included in it, the town of Agassiz.
It is a resort community known for its hot springs, and has a population of just over 1500 people. It is named after Benjamin Harrison, a former deputy governor for the Hudson's Bay Company.
Harrison Hot Springs' greatest attraction is its titular springs, of course, but it also has the Ranger Station Public Art Gallery, a marina with jet boat tours of the lake available, a nine-hole golf course, and is the closest access to Sasquatch Provincial Park.
In July, Harrison Hot Springs hosts the Harrison Festival of the Arts, a ten-day celebration of world music and art. The annual Festival features free outdoor beach concerts, ticketed evening performances, a children's day, visual art exhibits, various workshops and two weekend art markets.
The Harrison Festival also presents ten to twelve professional performing arts events between September and May each year.
(Wikipedia)
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Thank-you for your visit!
I really appreciate it!
Sonja :)
The Gales Gallery of the Department of Visual Arts at my school York University presents exhibitions weekly during the academic year, showcasing the work of graduate and undergraduate student artists in the Faculty of Fine Arts.
Acrylic on canvas painting by NW Indiana artist and painter Steve Johnson.
More at::
Videos of the making of many of these at:
www.youtube.com/user/artbystevejohnson
Please feel free to use this image but don't claim credit for creating it (o:
Leipzig Spinnerei Herbstrundgang 9-2016
Leipzig Spinnerei autumn tour 2016/9
Kunstgalerien: Josef Filipp Galerie -
ASPN Jochen Plogsties: Shanzhai www.aspngalerie.de
Galerie b2_ HAYAHISA TOMIYASU: TTP www.galerie-b2.de
Art MÛR MONTRÉAL/LEIPZIG CAL LANE: DISOBEDIENT VIRTUES www.artmur.com
Galerie Dukan Paris/Leipzig Josef Filipp Galerie Rayk Goetze: Der Gegenwart www.filipp-galerie.com Galerie Jochen Hempel STEPHAN BALKENHOL: NEUE ARBEITEN www.jochenhempel.com Galerie Kleindienst CLAUDIA ANGELMAIER: LANDSCAPES www.galeriekleindienst.de R E I T E R STEFFEN JUNGHANS: "It's Me." www.reitergalleries.com THE GRASS IS GREENER HELGE HOMMES: CASPAR – [WIEDER] OHNE KOMPASS IM MORGENLAND Esther Niebel www.thegrassisgreener.de SPINNEREI archiv massiv JOHANNES TIEPELMANN: THE HICK LÆTITIA GORSY: BILDARCHIVE 29 Bertram Schultze,
HALLE 14:
TERRA MEDITERRANEA:
IN ACTION – ÜBER EINEN FLÜSSIGEN KONTINENT
Ana Adamović, Marwa Arsanios, Bank of No, Sofia Bempeza, Banu Cennetoğlu, Marianna Christofides, Tom Dale, Haris Epaminonda, Hackitectura, Lia Haraki, Timo Herbst & Marcus Nebe, Elizabeth Hoak- Doering, Eleni Kamma, Mahmoud Khaled, Zissis Kotionis, Mona Marzouk, Panayiotis Michael, Christodoulos Panayiotou, Nira Pereg, Polys Peslikas, Alexandros Pissourios, Ran Slavin, Paola Yacoub
PILOTENKUECHE ORIGIN
Amina & Karima Tarchouni [DE], Cristiano Carotti [IT], Fernando Davis [BR], Gabriel Secchin [BR], Latzi [IL], Milena Roglic [CA], Nina Perlman [US], Sally Lia Vigano [IT], Sofia Rossi Bunge [CH], So Jin Lim [KR], Wednesday Kim [US]
Artist Residency Martin Holz www.pilotenkueche.net
Werkschau
17./18. Sep 2016
INTERNATIONALE GASTGALERIEN
Billytown, Den Haag
Larm Gallery, Kopenhagen
Daine Singer, Melbourne
Black Swan Project, New York
Rutger Brandt Gallery, Amsterdam
Aeroplastics, Brüssel
Jonathan Ferrara, New Orleans
Christine König, Wien
Galerie Conradi, Hamburg
Galería Hilario Galguera, Mexico
Anca Poterasu Gallery, Bukarest
Pearl Lam Galleries, Hongkong/ Shanghai
L’Atelier-ksr, Monaco/Berlin
Guido Romero Pierini, Paris
Tobias Fischer
and the buildings speak for themselves.”
-Julia Morgan
It seems like everyday something new is sprouting up in not just Austin but in pretty much every city. This condo is one of the most recent buildings to come up as well as
The W which is currently under construction.
3 Exp HDR handheld- Merged in Photomatix and tweaked with Photoshop & Nik's Color Efex Pro
Leipzig Spinnerei Herbstrundgang 9-2016
Leipzig Spinnerei autumn tour 2016/9
Kunstgalerien: Josef Filipp Galerie -
ASPN Jochen Plogsties: Shanzhai www.aspngalerie.de
Galerie b2_ HAYAHISA TOMIYASU: TTP www.galerie-b2.de
Art MÛR MONTRÉAL/LEIPZIG CAL LANE: DISOBEDIENT VIRTUES www.artmur.com
Galerie Dukan Paris/Leipzig Josef Filipp Galerie Rayk Goetze: Der Gegenwart www.filipp-galerie.com Galerie Jochen Hempel STEPHAN BALKENHOL: NEUE ARBEITEN www.jochenhempel.com Galerie Kleindienst CLAUDIA ANGELMAIER: LANDSCAPES www.galeriekleindienst.de R E I T E R STEFFEN JUNGHANS: "It's Me." www.reitergalleries.com THE GRASS IS GREENER HELGE HOMMES: CASPAR – [WIEDER] OHNE KOMPASS IM MORGENLAND Esther Niebel www.thegrassisgreener.de SPINNEREI archiv massiv JOHANNES TIEPELMANN: THE HICK LÆTITIA GORSY: BILDARCHIVE 29 Bertram Schultze,
HALLE 14:
TERRA MEDITERRANEA:
IN ACTION – ÜBER EINEN FLÜSSIGEN KONTINENT
Ana Adamović, Marwa Arsanios, Bank of No, Sofia Bempeza, Banu Cennetoğlu, Marianna Christofides, Tom Dale, Haris Epaminonda, Hackitectura, Lia Haraki, Timo Herbst & Marcus Nebe, Elizabeth Hoak- Doering, Eleni Kamma, Mahmoud Khaled, Zissis Kotionis, Mona Marzouk, Panayiotis Michael, Christodoulos Panayiotou, Nira Pereg, Polys Peslikas, Alexandros Pissourios, Ran Slavin, Paola Yacoub
PILOTENKUECHE ORIGIN
Amina & Karima Tarchouni [DE], Cristiano Carotti [IT], Fernando Davis [BR], Gabriel Secchin [BR], Latzi [IL], Milena Roglic [CA], Nina Perlman [US], Sally Lia Vigano [IT], Sofia Rossi Bunge [CH], So Jin Lim [KR], Wednesday Kim [US]
Artist Residency Martin Holz www.pilotenkueche.net
Werkschau
17./18. Sep 2016
INTERNATIONALE GASTGALERIEN
Billytown, Den Haag
Larm Gallery, Kopenhagen
Daine Singer, Melbourne
Black Swan Project, New York
Rutger Brandt Gallery, Amsterdam
Aeroplastics, Brüssel
Jonathan Ferrara, New Orleans
Christine König, Wien
Galerie Conradi, Hamburg
Galería Hilario Galguera, Mexico
Anca Poterasu Gallery, Bukarest
Pearl Lam Galleries, Hongkong/ Shanghai
L’Atelier-ksr, Monaco/Berlin
Guido Romero Pierini, Paris
Tobias Fischer
Ghosts of Sarajevo
Sarajevo Red Line is a drama and music poem dedicated to the Sarajevans killed during the 1992-1996 siege of Sarajevo.
11,541 red chairs, arranged so that they create a red river – the Sarajevo Red Line – are lined up in rows along Sarajevo’s main street on 6th of April 2012. The empty chairs represent all of the people who were killed during the 1992-1996 siege of Sarajevo.
New York City (officially The City of New York) is the most populous city in the United States, with its metropolitan area ranking among the largest urban areas in the world. Founded as a commercial trading post by the Dutch in 1625, it has been the largest city in the United States since 1790, and was the first capital under the Constitution. Located on one of the world's finest natural harbors, New York is one of the world's major centers of commerce and finance. New York also exerts global influence in media, politics, education, entertainment, arts, fashion and advertising. The city is also a major center for international affairs, hosting the headquarters of the United Nations.
New York City comprises five boroughs: The Bronx, Brooklyn, Manhattan, Queens and Staten Island. With over 8.2 million residents within an area of 322 square miles (830 km²), New York City is the most densely populated major city in the United States.
Many of the city's neighborhoods and landmarks are known around the world. The Statue of Liberty greeted millions of immigrants as they came to America in the late 19th and early 20th centuries. Wall Street, in Lower Manhattan, has been a dominant global financial center since World War II and is home to the New York Stock Exchange. The city has been home to several of the tallest buildings in the world, including the Empire State Building.
New York is the birthplace of many cultural movements, including the Harlem Renaissance in literature and visual art, abstract expressionism (also known as the New York School) in painting, and hip hop, punk, salsa, and Tin Pan Alley in music. It is the home of Broadway theater.
In 2005, nearly 170 languages were spoken in the city and 36% of its population was born outside the United States. With its 24-hour subway and constant bustling of traffic and people, New York is sometimes called "The City That Never Sleeps." Other nicknames include the "Big Apple" and "Gotham."
Special Award, Animal:
Cindy Morris
Professional
Dock Days
Mixed Media
The Delaware State Employee Art Exhibition is designed to give artists at all skill levels a unique opportunity to exhibit their creative work and to compete for cash prizes.
Sponsored by the National Arts Program in support and cooperation with the State of Delaware and the Delaware Division of the Arts, the exhibit is judged by professional artists and visual art professionals.
Participants must be a current employee or immediate family member of a current employee of the State of Delaware. All entries must be the original work of the applicant and completed within the last three years. For more details, visit: arts.delaware.gov/national-arts-program/
Colectivo Carlos Perdomo - Cristina Poveda Espinosa, Instalación 'Recordando a China', (Installation 'Remembering China'), 2013, Exposición 'Salón Internacional de Artes Visuales Suramérica', 2013, edificio Suramericano, (Exhibition 'International Visual Art Salon South America' Suramericana building), Medellín, Colombia
Nathalia Rocío Montoya García 'Señora mía', (My Lady), 2011, Exposición 'Salón Internacional de Artes Visuales Suramérica', 2013, edificio Suramericano, (Exhibition 'International Visual Art Salon South America' Suramericana building), Medellín, Colombia
Visual art installation of antique boat and terracotta by Made Djirna (Indonesia) exhibit at the Singapore Art Museum during the Singapore Biennale 2016
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
Visual art installation of terracotta by Made Djirna (Indonesia) exhibit at the Singapore Art Museum during the Singapore Biennale 2016
Leipzig Spinnerei Herbstrundgang 9-2016
Leipzig Spinnerei autumn tour 2016/9
Kunstgalerien: Josef Filipp Galerie -
ASPN Jochen Plogsties: Shanzhai www.aspngalerie.de
Galerie b2_ HAYAHISA TOMIYASU: TTP www.galerie-b2.de
Art MÛR MONTRÉAL/LEIPZIG CAL LANE: DISOBEDIENT VIRTUES www.artmur.com
Galerie Dukan Paris/Leipzig Josef Filipp Galerie Rayk Goetze: Der Gegenwart www.filipp-galerie.com Galerie Jochen Hempel STEPHAN BALKENHOL: NEUE ARBEITEN www.jochenhempel.com Galerie Kleindienst CLAUDIA ANGELMAIER: LANDSCAPES www.galeriekleindienst.de R E I T E R STEFFEN JUNGHANS: "It's Me." www.reitergalleries.com THE GRASS IS GREENER HELGE HOMMES: CASPAR – [WIEDER] OHNE KOMPASS IM MORGENLAND Esther Niebel www.thegrassisgreener.de SPINNEREI archiv massiv JOHANNES TIEPELMANN: THE HICK LÆTITIA GORSY: BILDARCHIVE 29 Bertram Schultze,
HALLE 14:
TERRA MEDITERRANEA:
IN ACTION – ÜBER EINEN FLÜSSIGEN KONTINENT
Ana Adamović, Marwa Arsanios, Bank of No, Sofia Bempeza, Banu Cennetoğlu, Marianna Christofides, Tom Dale, Haris Epaminonda, Hackitectura, Lia Haraki, Timo Herbst & Marcus Nebe, Elizabeth Hoak- Doering, Eleni Kamma, Mahmoud Khaled, Zissis Kotionis, Mona Marzouk, Panayiotis Michael, Christodoulos Panayiotou, Nira Pereg, Polys Peslikas, Alexandros Pissourios, Ran Slavin, Paola Yacoub
PILOTENKUECHE ORIGIN
Amina & Karima Tarchouni [DE], Cristiano Carotti [IT], Fernando Davis [BR], Gabriel Secchin [BR], Latzi [IL], Milena Roglic [CA], Nina Perlman [US], Sally Lia Vigano [IT], Sofia Rossi Bunge [CH], So Jin Lim [KR], Wednesday Kim [US]
Artist Residency Martin Holz www.pilotenkueche.net
Werkschau
17./18. Sep 2016
INTERNATIONALE GASTGALERIEN
Billytown, Den Haag
Larm Gallery, Kopenhagen
Daine Singer, Melbourne
Black Swan Project, New York
Rutger Brandt Gallery, Amsterdam
Aeroplastics, Brüssel
Jonathan Ferrara, New Orleans
Christine König, Wien
Galerie Conradi, Hamburg
Galería Hilario Galguera, Mexico
Anca Poterasu Gallery, Bukarest
Pearl Lam Galleries, Hongkong/ Shanghai
L’Atelier-ksr, Monaco/Berlin
Guido Romero Pierini, Paris
Tobias Fischer
Street art is visual art created in public locations for public visibility. It has been associated with the terms "independent art", "post-graffiti", "neo-graffiti" and guerrilla art.
Street art has evolved from the early forms of defiant graffiti into a more commercial form of art, as one of the main differences now lies with the messaging. Street art is often meant to provoke thought rather than rejection among the general audience through making its purpose more evident than that of graffiti. The issue of permission has also come at the heart of street art, as graffiti is usually done illegally, whereas street art can nowadays be the product of an agreement or even sometimes a commission. However, it remains different from traditional art exposed in public spaces by its explicit use of said space in the conception phase.
Visual art installation of terracotta by Made Djirna (Indonesia) exhibit at the Singapore Art Museum during the Singapore Biennale 2016
Leipzig Spinnerei Herbstrundgang 9-2016
Leipzig Spinnerei autumn tour 2016/9
Kunstgalerien: Josef Filipp Galerie -
ASPN Jochen Plogsties: Shanzhai www.aspngalerie.de
Galerie b2_ HAYAHISA TOMIYASU: TTP www.galerie-b2.de
Art MÛR MONTRÉAL/LEIPZIG CAL LANE: DISOBEDIENT VIRTUES www.artmur.com
Galerie Dukan Paris/Leipzig Josef Filipp Galerie Rayk Goetze: Der Gegenwart www.filipp-galerie.com Galerie Jochen Hempel STEPHAN BALKENHOL: NEUE ARBEITEN www.jochenhempel.com Galerie Kleindienst CLAUDIA ANGELMAIER: LANDSCAPES www.galeriekleindienst.de R E I T E R STEFFEN JUNGHANS: "It's Me." www.reitergalleries.com THE GRASS IS GREENER HELGE HOMMES: CASPAR – [WIEDER] OHNE KOMPASS IM MORGENLAND Esther Niebel www.thegrassisgreener.de SPINNEREI archiv massiv JOHANNES TIEPELMANN: THE HICK LÆTITIA GORSY: BILDARCHIVE 29 Bertram Schultze,
HALLE 14:
TERRA MEDITERRANEA:
IN ACTION – ÜBER EINEN FLÜSSIGEN KONTINENT
Ana Adamović, Marwa Arsanios, Bank of No, Sofia Bempeza, Banu Cennetoğlu, Marianna Christofides, Tom Dale, Haris Epaminonda, Hackitectura, Lia Haraki, Timo Herbst & Marcus Nebe, Elizabeth Hoak- Doering, Eleni Kamma, Mahmoud Khaled, Zissis Kotionis, Mona Marzouk, Panayiotis Michael, Christodoulos Panayiotou, Nira Pereg, Polys Peslikas, Alexandros Pissourios, Ran Slavin, Paola Yacoub
PILOTENKUECHE ORIGIN
Amina & Karima Tarchouni [DE], Cristiano Carotti [IT], Fernando Davis [BR], Gabriel Secchin [BR], Latzi [IL], Milena Roglic [CA], Nina Perlman [US], Sally Lia Vigano [IT], Sofia Rossi Bunge [CH], So Jin Lim [KR], Wednesday Kim [US]
Artist Residency Martin Holz www.pilotenkueche.net
Werkschau
17./18. Sep 2016
INTERNATIONALE GASTGALERIEN
Billytown, Den Haag
Larm Gallery, Kopenhagen
Daine Singer, Melbourne
Black Swan Project, New York
Rutger Brandt Gallery, Amsterdam
Aeroplastics, Brüssel
Jonathan Ferrara, New Orleans
Christine König, Wien
Galerie Conradi, Hamburg
Galería Hilario Galguera, Mexico
Anca Poterasu Gallery, Bukarest
Pearl Lam Galleries, Hongkong/ Shanghai
L’Atelier-ksr, Monaco/Berlin
Guido Romero Pierini, Paris
Tobias Fischer
nonvisual-art awakens childlike curiosity and the spirit of research in all of us. On closer inspection, a picture that doesn’t seem to exist opens the view into another world. nonvisual art takes advantage of the physical phenomenon of light refraction: two polarization foils and cellophane foils arranged in different layers transform the apparent ‘nothing’ into strong colors.
Credit: Ars Electronica - Robert Bauernhansl