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Nella mia imperfezione sono un essere speciale perché sono riuscito a trasformare la mia eterna passione per l’arte in qualcosa di grande. Sono fortunato perché ogni giorno ho una musa che m’ ispira , essa è fiamma che arde continuamente nella mia mente. Ogni mia opera è sempre più bella dell’altra, come un’alba che sale, la mia musa mi offre la vera luce. Una genialità illuminata a giorno, tutta da scoprire e da dipingere pennellata dopo pennellata, nella tenerezza di attimi indimenticabili.
Con un piacere intenso che quasi violenta l’anima, ogni volta, scopro nuove prospettive di armonia e bellezza.
Così come il sole il suo sorriso m’ inebria il cuore rendendomi folle di quella passione per l’arte che in un intenso odor di Viola dona al mondo intero la mia “Grande Opera !”
Vincenzo Greco
Tel. 041 86 23 051 - 09 22 85 57 97
Fax 041 86 23 191 - 09 22 183 62 40
Cell. 347 70 43 345
APPARATUS for EPISODICAL VIDEO and SCULPTURE in ABANDONED LOTS. EPISODE 1.
permanent installation DRAKE HOTEL
this work is about discovery; anthropology and archeology. It is a process driven exploration of the vacant lot as a self-organizing and governing system.
land lying fallow forms its own function and culture while continually hiding it through new growth.
"Into the chasm gaping we
Mirrors multy reflecting this
Between spunk stained sheet
And odourous whim"
the painting, In the Flat Fields, is viewed through a vitrined mirror array opposite and complimented by a vacuum tube video exploration of a single space; bookended by a cantilevered sculpture meat hook. this apparatus for collection and description of landscape will be refit episodically by exploration of a new scape.
an evenings program of past and new video will give context to, and hopefully spur vitriolic discussion of, this new installation and its relation to cultural anthropology as mild drunkenness ensues.
above the sky and atmosphere are ominous, other worldly, the sun's rays reach out and suggest an annunciation; a visitation. The central clearing gives way to treed and over grown brush. On closer inspection the trees appear constructed and ooze liquid, they harbour tiny figures. The brush is rife with artifact and tiny people engaged in curious behaviors; this psycho-sexual landscape.
"I do get bored, I get bored
In the flat field"
Albert Einstein High School Visual Art Center EXPRESSIONS OF COMMUNITY Exhibition at Downtown Silver Spring Breezeway at Wayne Avenue Garage and Ellsworth Drive in Silver Spring, Maryland on Wednesday night, 25 November 2020 by Elvert Barnes Photography
Learn about the AEHS VAC EXPRESSIONS OF COMMUNITY Exhibition at www.downtownsilverspring.com/expressions-of-community/
Friends of the VAC at www.facebook.com/Friends-of-the-Visual-Art-Center-VAC-at-...
Elvert Barnes PUBLIC ART 2020 at elvertbarnes.com/PublicArt2020
Elvert Barnes COVID-19 Pandemic / Part 4 / End of Year 2020 docu-project at elvertbarnes.com/CV19EOY2020
THANKSGIVING WEDNESDAY EVENING WALK
Elvert Barnes HOLIDAY SEASON 2020 docu-project at elvertbarnes.com/HolidaySeason2020
This is an image from the exhibition at the Illinois State Museum Chicago Gallery entitled: Pro-Text: When Words Enter Visual Art
The show explores the combinative practices of artists who use language or text in their visual art. This exhibition showcases art that incorporates words, letters, or text, for narrative or graphic impact. The scope of the exhibition ranges from folk/ visionary art, to contemporary works in traditional media such as drawing, painting and sculpture, to experimental installation, mixed media and new media work. Works by emerging and mid-career artists are featured alongside select works drawn from the ISM Fine Art Collection. Exhibition is curated by Robert Sill, Assistant Director of Art, Illinois State Museum. Exhibition runs from September 8, 2014 through February 6, 2015.
Artists: Joanne Aono, George Blaha, Stan Bly, Mark Booth, Shayne Brantley, Jaun Angel Chavez, Michael Dinges, Don Colley, Betsy Dollar, Howard Finster, Indira Freitas Johnson, Ellen Greene, Phil Hanson, Kathy Halper, Jesse Howard, Kate Ingold, Allison Lacher, Gina Litherland , Jim Lutes, Ruth Ann Mazarim, Mike Miller, Michael Nakoneczny, Terry Rathje, Hollis Sigler, Brian Sullivan, Kevin Veara, Thom Whalen, Andrew Young.
Pro-Text is part of Chicago Artists Month 2014, the 19th annual celebration of Chicago's vibrant art community presented by the Chicago Department of Cultural Affairs and Special Events. For more information, visit www.chicagoartistsmonth.org
Minimalism in visual art, sometimes referred to as "literalist art"[3] and "ABC Art"[4] emerged in New York in the 1960s. It is regarded as a reaction against the painterly forms of Abstract Expressionism as well as the discourse, institutions and ideologies that supported it. As artist and critic Thomas Lawson noted in his 1977 catalog essay Last Exit: Painting, minimalism did not reject Clement Greenberg's claims about Modernist Painting's reduction to surface and materials so much as take his claims literally. Minimalism was the result, even though the term "minimalism" was not generally embraced by the artists associated with it, and many practitioners of art designated minimalist by critics did not identify it as a movement as such.
In contrast to the Abstract Expressionists, Minimalists were influenced by composer John Cage, poet William Carlos Williams, and architect Frederick Law Olmsted. They very explicitly stated that their art was not self-expression, in opposition to the previous decade's Abstract Expressionists. In general, Minimalism's features included: geometric, often cubic forms purged of all metaphor, equality of parts, repetition, neutral surfaces, and industrial materials.
Robert Morris, an influential theorist and artist, wrote a three part essay, "Notes on Sculpture 1-3," originally published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual framework and formal elements for himself and one that would embrace the practices of his contemporaries. These essays paid great attention to the idea of the gestalt- "parts... bound together in such a way that they create a maximum resistance to perceptual separation." Morris later described an art represented by a "marked lateral spread and no regularized units or symmetrical intervals..." in "Notes on Sculpture 4: Beyond Objects," originally published in Artforum, 1969, continuing to say that "indeterminacy of arrangement of parts is a literal aspect of the physical existence of the thing.” The general shift in theory of which this essay is an expression suggests the transitions into what would later be referred to as Post-Minimalism.
This panel involves writers and visual artists about text-image collaborations, as well as writers who have gotten inspiration from visual art, and it explores ways writers make connections with art and the visual artistic process, furthering the continuum of the artist’s studio as school, gallery, political stance, sanctuary, and muse. This event is part of the “Studio Chicago” calendar of events.
Contemporary writers and artists need a clean, well lit room of their own to create. Whether physical as a cabin in the woods or ubiquitous as online presence, the studio matters to Chicago culture makers because of the many out-of-time or out-of-ethics rituals it suggests. Making art doesn’t have to be political: this freedom is what makes art radically political. We will consider how Chicago institutions and colloquia opportunities might support Chicago artists and writers.
We will also discuss details about the spaces in which we work, whether those spaces are separate industrial studio space, home offices, or other kinds of spaces. Also, the nature of the work that happen in those studio spaces relates to how the spaces themselves are set up, whether the work involves what is done in solitude, or with collaborations (in physical and virtual spaces).
Participants will include Annie Heckman (Owner + Director, StepSister Press), Krista Franklin (writer, artist, and educator, Kathryn Born (editor of Chicago Art Magazine), Valerie Wallace (writer and educator), and Gene Tanta (writer, visual artist, and educator), moderated by Dan Godston (writer, musician, and educator).
This panel involves writers and visual artists about text-image collaborations, as well as writers who have gotten inspiration from visual art, and it explores ways writers make connections with art and the visual artistic process, furthering the continuum of the artist’s studio as school, gallery, political stance, sanctuary, and muse. This event is part of the “Studio Chicago” calendar of events.
Contemporary writers and artists need a clean, well lit room of their own to create. Whether physical as a cabin in the woods or ubiquitous as online presence, the studio matters to Chicago culture makers because of the many out-of-time or out-of-ethics rituals it suggests. Making art doesn’t have to be political: this freedom is what makes art radically political. We will consider how Chicago institutions and colloquia opportunities might support Chicago artists and writers.
We will also discuss details about the spaces in which we work, whether those spaces are separate industrial studio space, home offices, or other kinds of spaces. Also, the nature of the work that happen in those studio spaces relates to how the spaces themselves are set up, whether the work involves what is done in solitude, or with collaborations (in physical and virtual spaces).
Participants will include Annie Heckman (Owner + Director, StepSister Press), Krista Franklin (writer, artist, and educator, Kathryn Born (editor of Chicago Art Magazine), Valerie Wallace (writer and educator), and Gene Tanta (writer, visual artist, and educator), moderated by Dan Godston (writer, musician, and educator).
We relaxed and took shelter from the bitter winds in the excellent Reykjavík Art Museum. We explored the exhibitions, perused the well stocked library, played chess with giant pieces and debated when we should next have lobster soup.
April 2012.
Long weekend in the Netherlands, based in Amsterdam.
The Kröller-Müller Museum in the Hoge Veluwe National Park has a world-renowned collection of mainly 19th and 20th century visual art including a large collection of work by Vincent van Gogh and a sculpture garden.
Project choreographed by Gerry Turvey at Whitworth Gallery, Manchester, to run alongside the 'Walls Are Talking: Wallpaper, Art and Culture' exhibition. Performers included Vanessa Grasse (dance), Stuart Waters (dance), Daniel Weaver (music), Lynette Willoughby (visual art). Video/photos: Andy Wood.