Archive for November, 2009

Art Gallery

November 16th, 2009

The Saatchi Gallery is an international collection of the works by artists ranging from amateur to professional levels, and it is an indispensable resource both to the user who is serious about the study of art and to the casual art lover. To the serious student of the arts, it provides a wealth of information about contemporary art techniques, artists, and the direction in which art is and has been moving. The gallery hosts the work of hundreds of artists in and around the United Kingdom as well as across the world. It especially caters to the works of new artists and of those seasoned artists whose works have gained little or no attention in the past, providing insight into their techniques and inspirations. Ultimately, as a result of their exhibition of their work in the Saatchi Gallery, many of these new artists are offered the opportunity to conduct showings in galleries locally or internationally.

The gallery’s new home, located at http://www.saatchi-gallery.co.uk/ is of a stylish and modern architectural design that heralds the museum-quality work of the artists hosted within. This twenty-year-old gallery has grown over the years to accommodate approximately 600,000 annual visitors and 1000 annual school visits. It collaborates with the media to facilitate and host a wide variety of shows that put even more effort into showcasing the work of these talented artists. These shows have benefited from the input of such media houses as The Evening Standard, The Observer, and Time Out. This has led to a vast increase in the viewing audience in Britain, around Europe, and even to increases in international visits. This is the kind of public awareness for which Saatchi regularly campaigns on behalf of the artists whose works are hosted within the gallery. It represents a truly contemporary, businesslike, and professional approach to art promotion that brings artists and viewers together in a productive fashion.




By: Saatchi Gallery

Jorg Immendorff Paintings, Exhibitions at the Saatchi Gallery

November 15th, 2009

Jorg Immendorff presents a canvas divided in three parts: labour, knowledge and possibility. His central figure, a goddess-like woman embodying an owl of wisdom, is the icon nurture and virtue, radiant against the bleak background of storm clouds and darkness. Through her flows a stream of fertility and rebirth in the form of labia-like fruits, proffered from the toil of the rural worker.Immendorff’s style lies somewhere between painterly expressionism and political cartoon; equally revered and populist. Exaggerating each element to its graphic extreme, Immendorff uses paint as a means to negotiate his own position through documenting a 20th century zeitgeist. Operating like medieval religious painting, Immendorff not only presents the story of our time, but questions the morality and ethic of an increasingly frivolous society.Immendorff, the act of painting extends beyond creative function: it becomes the most relevant means by which an individual can make an impact in history: measuring oneself against the world, taking a personal viewpoint, and creating real meaning from contemporary existence.

Born in 1945, Immendorff was of the generation that experienced post-war disillusionment that politicized every waking moment. As a student in the 1960s, he faced the task of examining Germany’s tragic history and its fraught relationship with modernity. This forced him to devise a balancing act between eras.Immendorff subsequently takes on the multiple roles of jester, storyteller and historian. He actively participates in a self-conscious continuum of twentieth-century German art while simultaneously throwing stones at the powers that be. After running the full gamut of conceptual work á la fluxus, his adoption of painting appears as a sort of purposeful and elaborate bluff. Although this suits his needs, it makes the connection to Ludwig Kirchner and the original German expressionist group die Brücke seem almost superfluous. What comes to the fore instead is a weaving together of political, social and personal myth making. It is the content that matters most, putting him more in line with the social, satirical and metaphorical intents of George Grosz and Max Beckmann respectively.




By: Saatchi-gallery

List of Top Art and Design Colleges and Institutes

November 12th, 2009

Nowadays, there are a number of professions that are available for those who have a passion for art. However, apart from the fact that there are quite a number of careers in art to choose from, some of these professions pay really well, which makes them very attractive to those who want to have a career in art. As a result, there are now a large number of art colleges that help people who want a career in art get the skills they need to be able to practice a profession in art design, direction, and other professions. Unfortunately, the wide selection of art colleges to choose from in the market can make the search for an art college very difficult.

Some helpful colleges list is as follows-

San Francisco Art Institute

Founded in 1871 by artists, writers, and community leaders who possessed a cultural vision for the West, the San Francisco Art Association (SFAA) became a locus for artists and thinkers. The California School of Design (renamed California School of Fine Arts in 1916 and San Francisco Art Institute in 1961) was launched by SFAA two years later, and has been central to the development of many of this country’s most notable art movements.

The School of Art & Design Berlin

The School of Art and Design Berlin Weissensee was set up in 1946 as the “Northern Art School” in a Berlin that had been completely destroyed but not yet divided. It is founded by artists associated with the Bauhaus. Teaching began with some 500 students in the summer of 1946. The School’s first director was the metal sculptor Otto Sticht (1901 – 1973). One year later the Soviet Military Administration issued the School with the necessary licence to gain state recognition as a university of art. From that time the School was called “University of Applied Art”.

School Of Visual Arts, New York

Beginning as a trade school with three instructors and 35 students, the School of Visual Arts has grown into a dynamic multi-disciplinary institution with a faculty of more than 800 and a student body of over 3,500.In 1947, Silas H. Rhodes and illustrator (Tarzan) Burne Hogarth co-founded the Cartoonists and Illustrators School, with New York City-based professionals working in the arts as faculty, a practice that continues to this day. In 1956, the institution was renamed School of Visual Arts (SVA), reflecting a belief that there is more to art than technique, and that learning to become an artist is not the same as learning a trade.

New York University

Located in the Heart of Downtown New York, NYU Steinhardt’s Department of Art and Art Professions is shaped by the intensity and innovation of the international art world. A home for artists, who are celebrated for their dedication, creativity, and skill in exploring unconventional ideas, New York City has long been a place where art truly matters.




By: Saatchi Gallery

Art Museum

November 10th, 2009

Saatchi Gallery represents the one of the world’s most modern museums of art and is a refreshing addition as one that was made specifically for those who enjoy art in all its styles and types. It caters to the desires and needs of a wide range of art lovers, from students needing to be exposed to the different genres represented in art to young artists needing a place to exhibit their work. It aids in the development of young talent and deepens (formal and informal) students’ appreciation of the contemporary aesthetic depicted in the work and ideologies of contemporary artists. Yet, the museum also extends its influence and aid into the realm of non-traditional art, such as fashion designing and the performing arts. In fact, these artists are supported not just in procuring them an audience for their work, but also in facilitating the purchase of art pieces via the Saatchi interface, which eliminates the middle-man and renders the compensation over to the appropriate artist commission free. The resources available on the Saatchi website are many, as it houses the Stuart Museum that is specifically designated for student artists or recent graduates as a place where they are free to upload their work for public viewing, critiquing, and feedback.

Saatchi Gallery’s gift to the artistic public is valuable in that it offers a new generation of artists and art lovers access to the cutting edge of creativity. However, it allows for the personal and professional growth of the young artist too, by giving them the opportunity to interact with the public in colloquy, conference, as well as business settings. Therefore, through the resources provided by this gallery, students become more cultured in their exposure to contemporary art, and young creative people gain valuable, professional skills that will last them a lifetime.




By: Saatchi Gallery

Art Museums Around the World

November 9th, 2009

Museums collect and care for objects of scientific, artistic, or historical importance and make them available for public viewing through exhibits that may be permanent or temporary. Large museums are located in major cities throughout the world and more local ones exist in small cities.

At Saatchi Gallery you can see the List of Main Art Museums around the World few of those are given as below.

The Museum Of Modern Art – New York

The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. The rich and varied collection constitutes one of the most comprehensive and panoramic views of modern art. The Museum Archives contains primary source material related to the history of Museum of Modern Art and contemporary art.

National Gallery – London

The National Gallery houses some of the most famous and familiar paintings in the world, in a building that is an internationally recognised landmark.

The Metropolitan Museum – New York

The Metropolitan Museum of Art is one of the world’s largest and finest art museums. Its collections include more than two million works of art spanning 5,000 years of world culture, from pre-history to the present and from every part of the globe.

Tate Modern – London

Tate Modern is the national gallery of international modern art. Located in London, it is one of the family of four Tate galleries which display selections from the Tate Collection. The Collection comprises the national collection of British art and of international modern art from the year 1500 to the present day

National Gallery of Art, Washington – Washington DC

The National Gallery of Art, one of the world’s preeminent museums, was created for the people of the United States of America by a joint resolution of Congress accepting the gift of financier, public servant, and art collector Andrew W. Mellon in 1937.

Guggenheim Museum – New York

The Foundation realizes this mission through exceptional exhibitions, education programs, research initiatives, and publications, and strives to engage and educate an increasingly diverse international audience through its unique network of museums and cultural partnerships.

Los Angeles County Museum of Art – Los Angeles

Established in 1910 as part of the Los Angeles Museum of History, Art and Science,

Experience European masterpieces, cutting-edge contemporary art, an extensive collection of American art from the United States and Latin America.




By: Amit

Art Portfolios as Saathi Gallery

November 8th, 2009

At Saatchi Gallery all Primary and Secondary schools are now able to create school profiles and display artwork created by all pupils between 4-18 years old. The portfolio of an artist plays an essential role in deciding the success of the artist and evaluating the business. An impressive art portfolio can ensure the acceptance by renowned art colleges and win scholarships for the artist.

The Portfolio Schools Prize has also been launched, and is open to all schools around the world. A panel of art critics will choose their favourite works each year. A first prize of £10,000 will be awarded to the winning school’s art department. A further £2000 will be given to the winning pupil to be spent on computer and art equipment. There will be two runner-up prizes of £5000 each awarded to the second and third place schools with a further £1000 to each of the winning pupils.

Apart from maintaining diversity to ensure the right impression, art portfolios must be clear and properly organized. The artist should ensure that the paintings are well dried, before including them in the portfolio. They need to be labeled properly, including the name and address of the artist.

View Art Portfolio around the world, art portfolio exhibitions, group exhibitions and resource of art portfolio.




By: Saatchi Gallery

Abstract Art: a Breakthrough in Artistic Expression

November 8th, 2009

The origins of abstract art can rightly be attributed to the imagination of man. Abstract art is distinguishable from fantasy art, which makes imaginative characters and myths its subject. It is closer to reality as it reflects the real in figurative terms.  In other words, abstract art depicts real forms in a simplified or rather reduced way, keeping the original subject the same.

Abstract art did not originate all of a sudden nor is it the outcome of the 20th century thinkers. In the Jewish and Islamic religion, depiction of human beings was banned. As such, they took recourse to all forms of decorative and non-figurative arts or calligraphy.

Wassily Kandinsky is regarded as the inventor of non-figurative art in the 20th century. Gradually, his paintings moved out of figurative subjects. In 1910, he created the first figurative work of art- a watercolor sans any reference to reality. Kandinsky not only became the first abstract artist, he also took pains to promote it as a theorist. After Kandinsky, it was the Russian painter, Kasimir Malewich, who took abstract art to the next level. Melewich’s paintings mostly focused on simple geometrical forms.  

The landmark events in the mid-twentieth century changed the course of abstract art. The World War II, persecution of Jewish people by Hitler, and denunciation of modern art by the Nazis led to the immigration of hundreds of avant-garde European artists into the United States of America, especially New York. This created a new wave in the American art scenario prompting the birth of Abstract Expressionism.

Abstract expressionism is more a concept of performing art than a style. This movement stresses the trend of pushing the conventional boundaries beyond all limits. Some of the famous artists of this movement are Jackson Pollock, Willem de Kooning and Mark Rothko.

Currently, there are two primary segments of abstract art. One segment, known as Color Field Abstract Art, features unified blocks of color. Mark Rothko is one of the pioneers of this genre. The second segment includes multiple genres- Surrealism, Expressionism, Cubism, and Action painting. Regardless of all these influences, the core of abstract art paintings remains the capturing of the essence of the artist’s subconscious on canvas.




By: Suzanne

DUBAI’S 1X1 ART GALLERY BREAKS NEW GROUND WITH A MIXED-MEDIA PROJECT BY CHITTROVANU MAZUMDAR

November 7th, 2009

1×1 Art gallery

Stall no. B07,

Hall no. 7,

India Art Summit,

Pragati Maidan,New Delhi.

From – August 19, 2009 to August 22, 2009.

As the capital gets ready for the second edition of India Art Summit with every art gallery choosing the customary option of presenting a group of artists, there is one exception that comes as a breath of fresh air, and art! Dubai-based 1×1 Art Gallery is the only gallery to present a solo artist and will be showcasing a brand new series of works by Calcutta’s renowned and equally reclusive artist Chittrovanu Mazumdar at the summit.

Says Malini Gulrajani, Director, 1×1 Art Gallery: “Most people would shy from showing a single artist at such an international platform. I, however, believe that commerce should be the last concern of a gallery and to do justice to Chittro’s work that I admire so much, a solo exhibit was the only way.”

Reciprocating the loyalty in equal measure, artist Chittrovanu Mazumdar has created for this project a brand-new series ranging from three-four large mixed media works in mediums as difficult and diverse as tar, wax, metal, light and photography that will be wall mounted; a series of small photographic as well as wax works and a sculpture-installation. There are works made of lights on mild steel panel with dimmer, speakers and soundtrack; acrylic paint, wax and tar on plywood and mild steel; wax on plywood with gold leaf as well as tinted silver leaf and few digital works of human and landscape imagery with wax and tar on mild steel.

According to Chittrovanu Mazumdar – “The blueprint for my new works is the cohabitation of opposites.” He explains that by using light-hungry, night-dark tar and the trays of light that feed those depths while simultaneously reflecting off them; he has juxtaposed mythical reverberations of black and white. The human weight of history – of making, of handcrafting – bespoken by age-old materials such as beeswax, metal, tar has been combined with sheer virtuality to produce digital prints, screen images and electronic soundscape. The promise of touch foregrounded through the textured tactility of poured colour or the exposed skin are evident in the prints on display. The curved arc of the containing womb-pod with its eternal potential of bursting, birthing and the unsettling presence of the unknown and the known are present amidst all the neatly framed geometric assertion on the walls.

Another highlight at the summit will be Chittrovanu’s video titled ‘Sleep’ which will be shown at the Video Lounge. The fifteen-minute video showcases the interrogation of the surface where the depths erupt unpredictably through cracks in a seemingly seamless skin; the metaphor of sleep and escaping dreams that inevitably rupture the face of an ostensibly calm and tranquil order as aural signs of disruption, chaos, always imminent and never predictable, haunt the mind.

Says Chittrovanu Mazumdar: “I consider myself as an expressionist painter and believe that art is a private activity for the artist, a search within the individual. To me, work is the space of freedom where everything can move, turn around, transform and become something else. There are structures and systems that one follows up to a point but then gets out of them.”

While this would be 1×1 Art Gallery’s first foray into the Indian market, the artist himself is no newcomer. While his last solo show in Delhi was at Bodhi Art Gallery in 2005, Chittrovanu has shown extensively across the globe since his first art outing in 1985. He has established himself as one of India’s leading contemporary artists. Fusing the intellectual with the sensual in a unique way, the artist has exhibited across the world like at Jehangir Art Gallery (Mumbai); Bose Pacia Modern (New York); Seagull Foundation (Kolkata); Latit Kala (Chennai); Aicon Gallery (London). He had also been invited to display at the Victoria Memorial Durbar Hall, Calcutta (1991) and joined the ranks of the previous two invitees M F Husain and Bikash Bhattacharjee.

Born in 1956, Paris, Chittrovanu Mazumdar studied painting and printmaking at the Ecole Des Beaux Arts, Paris in 1983 after graduating from the Government College of Arts and Crafts, Calcutta with a gold medal. Starting his career as a painter with huge canvases, mammoth solo shows and exploring a broad spectrum of media and technology in his work, his range of references is vast, incorporating inputs from his own culturally rich upbringing in Kolkata and Paris and an astonishing range of eclectic reading in three languages – French, English and Bengali. His work pulls from various influences, be it visual, musical or lyrical. His paintings – using bold brushstrokes, layered imagery, abstract images and elements of collage – express the conflicting experiences and beliefs that exist within modern society and man. His canvases exude intensity and vigor and are representational of his feelings of angst and suppression in a fast paced city.  Distinctive by their blaze of colour and a free-flowing application of paint, his works have the ability to seamlessly shift from abstraction to figuration and naturalism. He treats the conventions of modernism not as constrictive theories but as stylistic options, employing abstraction, figuration, the macabre and the jovial all in a single work.

One of his most unsurpassed exhibitions in the past titled ‘Undated – Night Skin’ had amorphous sounds floating in plangent music. Embedded in the ominous military machines were fragments of human experiences – images of living spaces, dreamlike landscapes, panels of intense red impasto like coagulated blood, flowing water, cries, the lights of a city at night, the wail of an infant, a woman alone, sirens and traffic sounds, stained walls and doors and windows, a female voice pleading, a placid pig wallowing in the filth etc.

Equally evocative is the artist’s photography work that he has showcased in the past. His photographs tells a story of a place where violence, vandalism and death have just taken place, producing a comment on the present socio-political situation of India. One of the digital prints shows a calf’s carcass that lies abandoned to its fate, the potential symbols for death and decay, connoting the cyclical nature of life – what comes from the earth goes back to the earth. Says Chittrovanu: “I had a strong interest in photography and began to incorporate my own photographs in my works with painterly intervention or with a third presence, the intrusion of an exterior world. However, in due course of time, I started using photoshop on it. For the photographic series, I had travelled to Jharkhand where I chose a one square kilometer of desolated marshy land as the location and reworked on my clicked images. It was the textual and visual possibilities of a fictionalized documentary that inspired me to do these series.

Continuously reinventing himself for the past three decades, Chittrovanu has always been ahead of his times and moved in a new direction with every show, simultaneously returning to the most primeval of human emotions – fear, hunger, ecstasy, desire. His art boldly blends elements of pop art with abstract swathes of colour, dealing with human paradox and ambiguity, of the seeping grey of daily life that escapes the purity of black and white. What appears to link the very visually and formally different phases of his work is the intensity of sensual immersion demanded by the artist of both himself and the viewer. The viewer feels compelled to unravel the meaning behind the artist’s often fragmented compositions. Through the layers of translucent and opaque paint over collages of images and text, one suddenly notices the vehement gaze of belligerent eyes or a desperately outstretched hand. Mazumdar states, “I enjoy the fact that it isn’t a definite, complete form. The half-formed figure is always in the process of becoming. It remains a promise, full of possibilities.”

ABOUT 1X1 ART GALLERY

A major force in promoting Contemporary Indian Art in Dubai, 1×1 has organized and presented ‘Af-fair’ in Dubai in March 2008 curated by Bose Krishnamachari bringing to fore works of artist like Anant Joshi, Hema Upadhyaya, Jyothi Basu, Justin Ponmany, Riyas Komu, TV Santosh, Parvathy Nayar, Minal Damani, Vivek Vilsani and Aji VN soon to be launched as a documented book. Few other shows 1×1 has presented lately are ‘The New Place’, ‘Route-en-Route’, ‘Urban/Image’, ‘Art Paris’. Solo exhibits include Chittrovanu Mazumdar, Jogen Choudhary, Jatin Das, Jaideep Mehrotra, Senaka Senanayake, M.F Husain besides group shows presenting ‘Pratul Dash and Rajesh Ram’ and ‘Farhad Husain, Kazi Nazir and Binoy Varghese’.




By: Neha Chandra

Thomas Zipp Paintings, Exhibitions at the Saatchi Gallery

November 7th, 2009

Thomas Zipp develops fantasy scenarios verging on the eccentric and theatrical. Garnering inspiration from art history, politics, philosophy, and popular culture, Zipp uses unlikely combinations of sources and genres to trigger a sense of familiarity within the absurd. In a composition of two canvases and a drawing, E-Licht is sparsely hung with museum authority. Balancing a large abstraction above a painting of a zeppelin, Zipp uses the ambient qualities of formalism to create fictional space, the utopian aspirations of modernism doubling as a set of subterranean misadventure.Most of the nine artists come from southern Germany. They come to grips with the idea of narrative art, though without any debt to it. They are interested in the concept of the icon, in the true sense of the term, that of representative painting. The images in “Painting on the Roof” embody a nomadic character that constitutes their force with respect to other experimentation with painting of this generation. The new often appears in the guise of the old. For this reason, these figurative works possess a symbolic, realistic, calligraphic lightness. But their foundation is formed by the pursuit of archetypes and the visionary gaze at the invisible that always permeated the painting of the 20th century, starting with Kandinsky.

Thomas Zipp’s Der Schlaf IV fabricates a surreal landscape. Using each element of his installation as a referential prop, Zipp weaves together a narrative flirting between reality and fantasy. The painting, depicting a vast rugged landscape, is dwarfed by a foreboding sexuality, and the framed and censored note ends in a trail of tiny punctures. Creating a sense of clinical detachment, Zipp’s installation is accompanied by a large chandelier. Made from fluorescent tubing, its design follows an illogical mathematical proportion, reinforcing the irrational within the pursuit of lucidity.Zipp creates a parallel world envisioning a precarious future-fiction based on revisionist past. Schwartze Ballons is a nine-part installation comprised of paintings, drawings, and sculpture. Central to the piece is a large black structure. Ominous and strange, its ballooning form connotes a malevolent technology, stealth-like in its dead weight. The accompanying abstract drawings suggest scientific inventions that are equally playful and sinister. Painted portraits complete the scene with b-movie flair: dead zombie-like leaders with rivets for eyes add a subtext of evil, both spellbinding and humorous.




By: Saatchi-gallery

The Nature of Art Galleries

November 5th, 2009

Art Galleries are places where art is exhibited and in some cases sold. An introduction to art galleries should explain the difference between a commercial gallery and an art museum.

The make it out art galleries is depleted interchangeably between an actual art gallery where art is exhibited and sold for a profit and an art museum where collections of art are merely exhibited for the enjoyment and education of patrons. For the purposes of right now introduction to art galleries, the former will be used. Although some of the most famous and sizeable operates of art are exhibited in art museums around the world, they are not for sale. The exhibiting of art for the purpose of sale is the necessary function of the commercial art gallery.

A commercial art gallery exhibits art for the enjoyment of the patrons, but the art is in addition for sale. This means so the collections in an art gallery are changing quite ever as works are purchased and removed from the exhibit. The gallery might often have special exhibits featuring particular artists whose works are the centerpiece of special events. In most cases, the art galleries make their profits from taking a commission on the sale of the exhibited art, although in some cases, admission is charged. This is quite rare in the commercial art gallery business, however. In other galleries, the artist pays a fee to be allowed to exhibit at the gallery.

The majority of work exhibited in art galleries are Residual art through paintings being the most common form. Some galleries furthermore exhibit more sorts of art the as sculpture and photography also. Some galleries the specialize in sculpture are also renowned as sculpture gardens and those that specialize in photographs are celebrated as photo galleries. The hard work art gallery is most often used in place of these terms and many galleries feature all of the a good number of forms of art.

The expression contemporary art gallery performs not refer to a style of art, but is used to describe the modern commercial for-profit art gallery. The term is used to distinguish it from the art museum. Many contemporary art galleries tend to be clustered up in certain regions in larger cities. Greenwich Village in New York City is an example of this although most medium sized neighborhoods will usually have at least one gallery for local artists.

There are also art galleries that are artist collectives and not run for profit, but as a place for the artist to exhibit their own works. Regardless of the type, art galleries and art museums offer the public a possibility to enjoy art of all kinds and moreover the commercial galleries allow them the opportunity to take some of that art home with them to add to their own collections.




By: Flor Ayag