Promoting a work of art is not an easy process as one might consider. It is a crucial one. There are various factors that can mean the difference between accepting or rejecting your work from an art event. However, if you consider some of the effective steps in formatting an art portfolio it maximizes the chance of noticing your work. The artists must have fundamental concepts about the events or gallery. They should have proper information about the theme of the fairs. Artists have to submit work that is related to the theme of the event or it is a wasted of your time and also of the curators. Every art festival provides instructions and terms related to submission of work. So, it is always mandatory and helpful to read and follow the specific rules. If you intend not to abide the mentioned conditions then strong chances exist of declining the work. Many renowned galleries have adopted the online art portfolio with the objective of creating interest among the young artist and students. The art portfolio should reflect professionalism. To give a professional look weave subject matter those are vital in a concise and rational manner. Artist should try to avoid circumstances or topic that might create confusions on the judge or audience mind. A detailed cover letter describing yourself as an artist and the subject matter might be indeed helpful. Such heading helps to evaluate the mind and the skill of putting the ideas on a paper. Art portfolios reflect the artist vision. Another worthwhile step of promoting your art portfolio is by creating a web site. The website empowers the work of the artist to reach innumerable number of art lovers. On the website you can create your own blog where you can highlight the work and impart information and express the ideas.
Archive for December, 2009
Rewarding Tips for Promoting Your Art
December 29th, 2009Contemporary Art: the Importance in Today’s World
December 29th, 2009Contemporary art has gained a lot of importance in modern households. It has become one of the most sought after household items and it has been recognized in every aspect of human life. Modern art is nowadays a tool for interpersonal communication and has far reaching effects. The increased number of persons visiting exhibitions and art galleries clearly signifies the rise in contemporary art importance. It is an indicator about the awareness of art amongst the people.
Large appreciation of masses and easy understandability are the main reasons of success of modern art. The accessibility of these arts are easy as it is released in numerous copies and forms like disks, e-books etc. Original paintings, which were hard to get in the old days, are now easy accessible through art galleries, which eventually increased the number of admirers of modern art.
However, contemporary art critics raised an argument that some arts should be reserved for certain group of people. They argued that true appreciation of art can come from people who can understand modern art. In other words, only an artist can understand the value of an art. It is true in some cases, but an artist would like to get appreciation from as many people as possible. Contemporary art will continue to express publicly understood ideas so as to get the maximum appreciation from the public.
There are various ways of acquiring modern art today. Online auctions are one of the ways where by abstract arts, oil-based painting, and impression arts can be purchased. But before you make a purchase, it is important that you do some homework on what art you would like to collect. One way of collecting required information is to make extensive research work in the internet. Other sources include libraries, magazines etc. which can give you your desired information on art.
But you have to be careful when buying a contemporary art work as there are lots of fakes in the market. But you can appoint an appraiser for the art you want to purchase. Online art auctions generally keep a track record of the art seller’s sales history and can help you determine whether the seller is a reputable person.
By: Sam D’Costa
John Stezaker’s Biography and Exhibitions at Saatchi-gallery
December 28th, 2009John Stezaker is fascinated by the power of images and questions the authority of pictures found in books, magazines, postcards and encyclopaedias by directly intervening into their ordinary status. Through the handcrafted act of splicing together, inverting, or simply adjusting an image Stezaker embarks upon ‘a process that cuts it off from its disappearance into the everyday world’.
Stezaker has been centrally influential in a number of developments in art over the last three decades; from Conceptual Art, New Image Art through to the contemporary interest in collage. Showing first as a part of the British Conceptual Art group in ‘The New Art’, 1972 (the first Hayward Annual), Stezaker’s interest in the concept soon gave way to a long-term fascination with the image, finding new aesthetic allegiances with the image through working with found photographs and printed matter.
This fascination is translated into alterations, deletions, visual concordances and juxtapositions of disparate sources, intuitively creating new images, relationships, characters and meanings. Stezaker’s investigations continue to develop in this exhibition of new works that concentrate specifically on the portrait. In the ‘Love’ series, subtle but masterful alterations to found original film star portraits shift and magnify emotion and expression that had before only been implied, sometimes imperceptibly, in the original image. The glamorous and carefully posed faces are subtly transformed into otherworldly, uncanny beings. Playing with ideas of cubism and caricature, Stezaker’s series of black and white portraits fuse male and female faces, reflecting the idea of marriage and hybrid symmetry, but also a discord of union. Perhaps the most subtle of found image alterations are the ‘Reclined’ series;
what to Do Next. . .
Find more information about John Stezaker Exhibitions or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/john_stezaker. htm
Art Photography
December 28th, 2009The Saatchi Gallery’s artistic versatility dictates its open attitude toward art, and this attitude is present in its welcoming posture toward the work of photographers around the world. The gallery opens its doors to photographers who have been widely unrecognised in their circles and provides a source of promotion and exposure to these young, talented persons. This offer is inclusive of photo artists from countries all around the world. At Saatchi Online, artistic photographers are encouraged to upload their photographs and place them on display for the millions of potential art enthusiasts on the internet. Images must be uploaded as jpg files and the sizes of these files should be below 2MB. This opportunity given free of charge by Saatchi not only allows these photographers to increase their standing as renowned artists, but it also allows them to enter into the professional artistic realm by making (or arranging for) commission-free online sales.
Photographers are also free to create their own profile package online. Therefore, not only do viewers and potential buyers get the chance to review a wide range of their works (as many as eight pieces are accepted), but they are also able to offer the public significant information about themselves and their art. In addition to the services mentioned, Saatchi also allows the photographers to get messages from those interested in their art—such as viewers, fellow photographers, and even potential buyers. Therefore, this improves the artists’ ability to network in this scene where fellow artists, a potential source of inspiration, may be difficult to find. The Saatchi service to photographers may therefore be considered an ultimate method of artist promotion.
Selected Feng Zhengjie Artworks at Saatchi-gallery
December 28th, 2009Feng Zhengjie was born in the countryside of Sichuan Province in 1968. In response to the explosive development of China’s entertainment industry, Feng creates works that serve as a commentary on the new glamour and fashion of today’s society. His works also reflect a personal ambivalent fascination with and an aversion to Chinese pop culture.
Education
1992-1995
• Oil Painting Dept of Sichuan Academy of Fine Arts, MFA
1988-1992
• Fine Arts Education Dept of Sichuan Academy of Fine Arts, BFA
Feng Zhengjie decided to take inspiration from the popular images he had grown up with in rural Sichuan. Critics are unanimous in placing Feng’s paintings in the realm of the critique of contemporary consumer societyMalicious and mischievous are the glances that seem to cross only in the series “Romantic Trip”; these fleeting looks reflect games played by young couples for whom the sole possible form of communication is loving attraction. Sparkles are covered by large sunglasses in the case of the “humanoids” which are the subject of the series “Coolness”: characters are portrayed with naked bodies and big heads, bald and posed in the attitude of a famous movie star, looking similar to extraterrestrials that study our behavior whilst at the same time mocking us.
In this phase of his work he is young, just graduated at the Fine Art Academy and, already, he is searching for his place in the world where he can express his ideas and show a determination that somewhere in the future will always be his distinctive outlook. Then, after the sectioning of their skin and muscles, the faces of his characters become as happy and plump as the ones to be found in typical Chinese New Year posters. These augural posters emerge in the 16th century as a popular artistic form; their gaudy colors depict historical, legendary, folkloristic and daily scenes. This form of art developed further in the following centuries, reaching its zenith under the Qing dynasty and subsequently becoming aligned to advertising and political propaganda posters. Maoist ideology becomes “pop” and, through Feng Zhengjie’s interpretation, the figures gain something of the kitsch and grotesque. Little seems enough to make these people smile; the illusion of a “romantic trip” is frozen by a photographic shot in a plastic and fake pose. Times change, historical phases go on and, with a critical look, Feng Zhengjie follows their evolution.
Find more About Feng Zhengjie paintings end Exhibitions at Saatchi-Gallery
http://www. saatchi-gallery. co. uk/artists/feng_zhengjie. htm
About Isa Genzken Exhibitions and Paintings at Saatchi-gallery
December 27th, 2009Isa Genzken was born on 1948 in Bad Oldesloe and currently lives and Works in Berlin, Germany. Urlaub possesses a ridiculous elegance, caught between high design and holiday festivity. Drawing from the Minimalist concept of objective abstraction, Genzken’s work straddles the spheres of formalist purity and narrative interpretation. Entrenched in the process of making, Genzken’s work is the result of her own intimate interaction with materials, tempering the procedure of formal decision-making with the spontaneity of imaginative play. Kitsch objects such as plastic leaves, figurines, and an oversized wine glass carry their own associative references while operating as neutral compositional elements of shape, colour, and texture. Urlaub exudes escapist fantasy while retaining a refined order, culminating as surreal microcosm of caprice vs. rationale.
Isa Genzken EDUCATION:
1993-1997
• Düsseldorf Art Academy
1993-1975
• Studied Art History and Philosophy at the University of Cologne
1971-1973
• Berlin University of Fine Arts
1969-1971
• Hamburg College of Fine Arts
SOLO EXHIBITIONS
2005
• Der Spiegel 1989-1991: Isa Genzken, The Photographers Gallery, London, UK
• Kinder filmen, Galerie Daniel Buchholz, Cologne, Germany
New Work, David Zwirner, New York, NY
2004
• Wasserspeier and Angels, Hauser & Wirth, London, UK
• China Art Objects, Los Angeles, CA
• International Art Prize, Cultural Donation of SSK Munich, Munich, Germany
2003
• Isa Genzken, Kunsthalle Zürich, Zürich, Switzerland [catalogue]
• Empire Vampire Teil II, Städtische Galerie im Lenbachhaus Kunstbau, Munich, Germany
• The Wrong Gallery, New York, NY
2002
• Haare wachsen, wie sie wollen, Skulpturenprojekt Galerie Meerrettich (Josef Strau), Berlin, Germany
• Museum Abeiberg Mönchengladbach [catalogue]
• Wolfgang-Hahn-Preis, Museum Ludwig, Cologne, Germany
2001
• Galerie Daniel Buchholz, Cologne, Germany
• Magnani, London, UK
• Science Fiction/Heir und jetzt zufrieden sein, AC-Saal (with Wolfgang Tillmans),
• Museum Ludwig, Cologne, Germany [catalogue]
Conclusions:
Isa Genzken has been making a name for herself with an oeuvre including sculpture, photography, film, video, works on paper and canvas, collages and books.
What to Do Next. . .
If you want any information about Isa Genzken or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/isa_genzken. htm
Selected Jeppe Hein Exhibitions and Paintings at Saatchi-gallery
December 27th, 2009Jeppe Hein’s works address us individually; though, importantly, we might not have asked them to. Hein delights in apparently serendipitous events, suspending common sense laws of cause and effect and conjuring up scenarios in which, in direct response to our presence, seemingly sentient behaviour is coaxed from inanimate things.
selected GROUP EXHIBITIONS
2005
Museum of Contemporary Art, Los Angeles
MCA, Chicago
2004
Wohnseifer / Hein, Union Projects, London
Moving Parts, Kunsthalle Graz / Museum Jean Tinguely Basel
Performative Installation, Siemens 2004, Galerie für zeitgenössische Kunst, Leipzig
A Secret History of Clay: From Gauguin to Gormley, Tate Liverpool
Gegen den Strich, Kunsthalle Baden-Baden
Quicksand, De Appel, Amsterdam
What did you expect?, Galerie Jan Mot, Brussels
2003
Hein, Schellberg, Wohnseifer, Schnittraum, Köln
The straight or crooked way, Royal Collage of Art, London
Biennial of Ceramic in Contemporary Art, Albisola
Auf eigene Gefahr, Schirn Kunsthalle, Frankfurt
Performative Installation, Galerie für Zeitgenössische Kunst, Leipzig
2002
Ingrepp, Uppsala Kunstmuseum, Uppsala
I promise it`s political, Museum Ludwig, Köln
Fuzzy, Galleria Minini, Brescia
Inside / Outside, Galerie für zeitgenössische Kunst, Leipzig
Hell, neugerriemschneider, Berlin
No Return. Positions from the Collection Haubrok, Museum Abteiberg, Mönchengladbach
2001
Changes possible, Kiel
Biennale di Venezia
Arbeit, Essen, Angst, Kokerei Zollverein, Essen
Frankfurter Positionen 2001, Frankfurt
Strategies against Architecture II, Pisa
Neue Welt, Frankfurter Kunstverein
Take off, Arhus Kunstmuseum
In some of his pieces he articulates a dialogue between the work itself, the person encountering it and the gallery space in which it is sited – though this is a conversation for which one is wholly unprepared. Works of this kind imply a wry relationship both to the Minimalist sculpture of the 1960s and to those forms of institutional critique that sought to question the authority of the museum or gallery space. Yet Hein’s practice does not really fit either tradition – the mode of address and playful tone is at odds with, for example, phenomenological interpretations of Minimalist sculpture, in which the viewer participated in the work but as a relatively abstract presence.
The other wall shows what I chose to create in the end. With this exhibition I’ve been thinking about the gallery’s situation, and how it presents and represents art. How artists can go into an exhibition space and use it to stage their art. My job has been to find out how I, with the room as frame, can make my work function best, while maintaining a relationship with the room itself.
what to Do Next. . .
Read more Articles about Jeppe Hein http://www. saatchi-gallery. co. uk/artists/jeppe_hein. htm
Art Schools and Colleges Portfolio at Saatchi Gallery
December 27th, 2009Saatchi Gallery presents the gallery portfolio, an online application through which students at the primary and the high school levels have the chance to display their work in an environment that will grant them the exposure they need to encourage future artistic endeavours. With this application, teachers or other representatives of the school create a profile for their respective institutions, and these profiles give the schools an opportunity to promote and attract visitors to their physical school premises or to their school’s own art website. Most importantly, the institution’s art department is featured via the presentation of the works of its most talented students.
The students’ works are uploaded along with student profiles and descriptions of the work itself. Descriptions of the school’s artistic achievements and events are also facilitated on their very own page. In addition, the Saatchi Gallery goes to great lengths to encourage these schools and their art students, through the regular hosting of competitions that grant monetary compensation. These rewards are used to equip the art departments of schools whose students show great promise in the visual and/or performing arts. The competitions also endow the winning and runner-up students with funds to facilitate their own artistic efforts.
The Saatchi Portfolio is a valuable resource that grants artistic exposure and benefits to these primary and secondary educational institutions and their students, and even gives some of these young individuals the chance to see their work on physical display at the Saatchi Gallery. Uploading the artwork of the students at your school could grant your department a significant boost in enrolment and student interest. Participating in the Portfolio aspect of Saatchi’s artistic outreach has favourable and tangible benefits that can place the young artistically inclined person on the right track toward a prosperous and fulfilling career in the visual arts.
Art Colleges
December 26th, 2009Colleges and universities will find the Saatchi Gallery a very valuable resource to boost the appreciation and renown of their art, fashion and performing arts departments. Saatchi caters to these institutions on an international scale, and provides them the impetus and exposure they need in order to present their departments to the public as a progressive arm of the institution. The Saatchi Gallery caters specifically to the effort to market these institutions by welcoming posts and sample work from the students and faculty, allowing these parties to showcase their work on the internationally recognised website. Representatives of each university are empowered to upload material in the form of photos, videos or scanned art work to the site as a method of drawing attention to the abilities of their students and the expertise of the faculty that grooms them.
On the Saatchi Gallery website, colleges and universities have the freedom to highlight the achievements of their faculty members as well as the unique talents of their students. Yet they may also offer descriptions of their artistic programs, give information about their institutions’ location, and even provide links to their websites. The gallery is a supreme marketing tool because it provides a hub to which thousands of prospective students (and other persons interested in art) come to do research and locate educational institutions in which they may be groomed in the arts. It also provides critics with a method of gauging the artistic talents of a wide range of students without the need to travel, and therefore may afford your institution the recognition it would not otherwise have had. It also gives colleges and universities the chance of being recognised in an international gallery without incurring any expenses—as registration on the Saatchi Gallery’s site is always free of charge.
