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Tag: Fine Arts

  • Trump-appointed arts panel approves his White House ballroom proposal

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    The U.S. Commission of Fine Arts, a panel made up of President Donald Trump’s appointees, on Thursday approved his proposal to build a ballroom larger than the White House itself where the East Wing once stood.The meeting was supposed to be on the design, with a final vote expected at next month’s session. But the chairman, Rodney Mims Cook Jr., made a motion to also vote on final approval, and six of the seven commissioners who were all installed by the Republican president since the start of the year voted in favor twice. One commissioner, James McCrery, did not vote because he was the initial architect on the project.“Our sitting president has actually designed a very beautiful structure,” Cook said before the voting. “The United States just should not be entertaining the world in tents.”Cook echoed one of Trump’s arguments for adding a ballroom to the White House: It would end the long-standing practice of erecting temporary structures that Trump calls tents on the South Lawn to host visiting dignitaries for state dinners and other functions.Cook said no other president had taken steps to correct that “until President Trump.”The project will be the subject of additional discussion by the National Capital Planning Commission in March.At the fine art’s commission’s January meeting, some commissioners questioned the lead architect about the “immense” design and scale of the project even as they broadly endorsed Trump’s vision for a ballroom roughly twice the size of the White House itself.Some changes suggested at that meeting were made and were welcomed by the commissioners on Thursday.Trump’s decision in October to demolish the East Wing prompted a public outcry when it began without the independent reviews, congressional approval and public comment that are typical even for relatively minor modifications to historic buildings in Washington.The National Trust for Historic Preservation has sued in federal court to halt construction of the ballroom. A court decision in the case is pending.The project is scheduled for additional discussion at a March 5 meeting of the National Capital Planning Commission, which is led by one of Trump’s top White House aides. The commission has jurisdiction over construction and major renovations to government buildings in the region.___This story has been corrected to reflect that the ballroom was approved by six of the seven commissioners and that one commissioner did not vote because he was the initial architect on the project.

    The U.S. Commission of Fine Arts, a panel made up of President Donald Trump’s appointees, on Thursday approved his proposal to build a ballroom larger than the White House itself where the East Wing once stood.

    The meeting was supposed to be on the design, with a final vote expected at next month’s session. But the chairman, Rodney Mims Cook Jr., made a motion to also vote on final approval, and six of the seven commissioners who were all installed by the Republican president since the start of the year voted in favor twice. One commissioner, James McCrery, did not vote because he was the initial architect on the project.

    “Our sitting president has actually designed a very beautiful structure,” Cook said before the voting. “The United States just should not be entertaining the world in tents.”

    Cook echoed one of Trump’s arguments for adding a ballroom to the White House: It would end the long-standing practice of erecting temporary structures that Trump calls tents on the South Lawn to host visiting dignitaries for state dinners and other functions.

    Cook said no other president had taken steps to correct that “until President Trump.”

    The project will be the subject of additional discussion by the National Capital Planning Commission in March.

    At the fine art’s commission’s January meeting, some commissioners questioned the lead architect about the “immense” design and scale of the project even as they broadly endorsed Trump’s vision for a ballroom roughly twice the size of the White House itself.

    Some changes suggested at that meeting were made and were welcomed by the commissioners on Thursday.

    Trump’s decision in October to demolish the East Wing prompted a public outcry when it began without the independent reviews, congressional approval and public comment that are typical even for relatively minor modifications to historic buildings in Washington.

    The National Trust for Historic Preservation has sued in federal court to halt construction of the ballroom. A court decision in the case is pending.

    The project is scheduled for additional discussion at a March 5 meeting of the National Capital Planning Commission, which is led by one of Trump’s top White House aides. The commission has jurisdiction over construction and major renovations to government buildings in the region.

    ___

    This story has been corrected to reflect that the ballroom was approved by six of the seven commissioners and that one commissioner did not vote because he was the initial architect on the project.

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  • Alberta art exhibit uses virtual reality to explore who we are as digital beings  | Globalnews.ca

    Alberta art exhibit uses virtual reality to explore who we are as digital beings | Globalnews.ca

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    Why are people interested in virtual reality and what can it tell us about who we are and what we might become in a digital world?

    “As an artist, it’s a question I’ve been asking for decades,” said artist and media arts professor Marilene Oliver. “Now with virtual reality, when we really are completely immersed in the digital, I wanted to ask that question.”

    In addition to her teaching work, Oliver is the co-curator of an art exhibit at the University of Alberta’s Fine Arts Building gallery called Know Thyself As a Virtual Reality.

    “It’s based on a Greek maxim: Nosce te Ipsum, which was used in the Temple of Apollo in Delphi. In that time, it was: ‘To know your place within a social hierarchy.’

    “Later you find it in anatomical engravings, where it’s: ‘To know thyself as a divine work of God.’ And now, the more we’re becoming digital, the more we’re creating these huge data sets of everything we do, we now need to know ourselves, I believe, as digital objects and subjects,” Oliver explained. “This is what we are called to do now to understand ourselves.”

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    Read more:

    Ottawa unveils new rules for use of personal data, AI in privacy bill

    There are seven artworks that use virtual reality to explore different aspects of data and the digital aspects of human life. The works brought together many different disciplines including fine art, radiology, engineering, music, digital humanities and computing science.

    Oliver explains one focus of the exhibit as: “Can we find a way to visually communicate what we’re becoming as digital beings?”

    That’s where the virtual reality comes in. Donning a headset and hand controls, a person is immersed in data — the information, how it looks, sounds and feels — and can interact with it.

    “In one of the projects that I was part of, called My Data Body, we try to create a body which you can take apart and dissect,” Oliver explained.

    “It has many different data bodies in it. It has my MRI scan, all my social media data, my Google data, banking data, my data cookies and it’s put it in kind of this vessel that you can then take apart in an attempt to try and see it, to try and hold it, because how else can we see all this data that we’re generating?”


    Click to play video: 'New exhibit ‘transformé’ hits Montreal’s Palais des congrès'


    New exhibit ‘transformé’ hits Montreal’s Palais des congrès


    Know Thyself artworks

    Where are You? 

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    “aAron Munson has made a work called Where Are You? and that makes us think about how social media is changing the way our brain works and where we place our attention,” Oliver said.

    Munson compared fMRI scans of their brain: neutral, after meditating and after using social media. People can use the VR headset to experience the three different brain scans.

    Read more:

    The dark side of social media: What Canada is — and isn’t — doing about it

    a vessel, a body, a home

    “Chelsey Campbell has made a piece that is very peaceful and restful,” Oliver said. “It makes us think about how much work we constantly feel we need to be doing all the time. She stands against that and has created a very quiet space where you should just lay and enjoy the beauty of the room.”

    In the VR experience, the user is transported to a domestic bedroom space.


    Click to play video: 'How lines between information sharing and feeding anxiety are blurring during the pandemic'


    How lines between information sharing and feeding anxiety are blurring during the pandemic


    Ancestry & Me

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    “We have another piece by Lisa Mayes, which actually isn’t with an MRI scan, but with her DNA data,” Oliver said.

    “She sent off a sample to Ancestry and found out about her family history. She talks about how the scientific data recording somehow legitimized all the conversations that had been had in her family about her ancestral roots, which come from Ireland, from France, Scotland and Ghana.”

    Read more:

    Are ancestry DNA tests private? What you’re giving away with a tube of spit

    The Nearest Window

    “We have another artist who is presenting bodies that aren’t normally present in digital works, which are MTurk workers,” Oliver said.

    Artist Dana Dal Bo looks at Mechanical Turk (MTurk) crowdsourcing.

    “If you don’t know, Amazon has a service which allows you to employ, for a very little amount, this invisible labour,” Oliver explained. “People do surveys, they do a lot of AI processing … labelling data sets.”

    The artist asked MTurk’s anonymous workers to take a picture of what they could see out of their nearest window and send it to her.

    A mirror with no reflection

    “We have the artist Nicholas Hertz, who’s made a work which is really about the experience of being scanned and the sense of feeling that data is taken from you and then not recognized, not really recognizing the results of those data,” Oliver said.

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    Using VR, audience members can experience MR scans, the sounds and feelings they produce and the images they create.

    Hertz also questions just how “non-invasive” this procedure is and what it’s like to see yourself reflected in this way.


    Click to play video: 'Social Media Hygiene to Manage Stress'


    Social Media Hygiene to Manage Stress


    “We tried to create an exhibition which has many different perspectives,” Oliver said. “Maybe it makes people think: ‘OK, what would I do? How would I treat my data if I were making a VR artwork?”

    She hopes the art makes people think personally and relationally.

    “I hope firstly that they will think about all the bodies of data they have and how responsible they are for it and also how they interact with others.”

    Know Thyself as a Virtual Reality

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    FAB Gallery, University of Alberta

    8807 112 Street NW

    Feb. 21 – March 18, 2023

    Tuesday – Friday: 12 p.m. – 5 p.m.

    Saturday: 2 p.m. – 5 p.m.

    Free 


    Click to play video: 'Virtual reality technology allows long-term care residents to experience anything and everything their heart desires'


    Virtual reality technology allows long-term care residents to experience anything and everything their heart desires


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    Emily Mertz

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  • KingsArts Introduces New Platform, Brings USA Easy Access to Thousands of the Best Chinese Contemporary Art Pieces

    KingsArts Introduces New Platform, Brings USA Easy Access to Thousands of the Best Chinese Contemporary Art Pieces

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    The art trading platform’s newest “Triangle Engine” is being used by Art Advisors, Art Executives, and Art Professionals. Designed to assist both artists and collectors.

    Press Release



    updated: Jun 18, 2022

    KingsArts is setting a new standard for the Chinese Contemporary Art Market, breaking the iceberg to allow people to easily find thousands of great Chinese contemporary artworks. Through its unique Triangle Promotion Engine, contemporary art trading platform KingsArts aims to offer strategic promotion through online and offline marketing advancement services targeting U.S. markets. The new app provides artists with both e-infrastructure and art cultivation opportunities. It also promotes quality art and cultural education for collectors interested in learning more about contemporary Chinese art. 

    As contemporary art sales continue to bottleneck, marketing costs are rapidly increasing. This has made it difficult for artists and collectors to respectively produce and secure the true value of contemporary art. In an effort to promote the globalization of Chinese contemporary artwork, KingsArts’ Triangle Promotion Engine will serve as a promotional resource that relies on an open price model and high transparency to support local artists and collectors. 

    The Triangle Promotion Engine is led by Art Professionals, Executive Art Advisors and Art Advisors. The Art Advisor communicates and integrates the life philosophy of artists and collectors. The Executive Art Advisor is responsible for team development, training, evaluation, leading the team, marketing promotion and finding a potential artist for the market. The Art Professional analyzes and resolves the management culture of complex art, observes professional ethics in business and financial management and thus provides new standards and norms.

    Artists can use the KingsArts app to safely store digital work, resumes and videos. All works can be listed on the KingsArts database for quotation, and each listing receives an official global certification from an outside agency working in collaboration with KingsArts. Thanks to KingsArts’ simple, direct and transparent marketplace, collectors can effectively identify artwork within the comprehensive KingsArts database that fits their respective budgets. Through KingsArts, advisors can study art history, market information, price and value information, and learn to become a curator to enhance their personal portfolio.

    Dr. Raymond Wong, founder of KingsArts, has constructed a powerful management team to accelerate this U.S.-focused initiative in 2022 and beyond. Dr. Wong is the chairman of Champ Pro Management Limited and works with over 3,500 financial planning consultants. In 2018, he graduated from Tsinghua University School of Fine Arts, Tsinghua University School of Economics and Management, Sotheby’s School of Art, with a master’s degree in Art Management.

    To learn more about KingsArts and its Triangle Promotion Engine, please visit https://kingsartsglobal.com

    About KingsArts

    Headquartered in Hong Kong, the international base for global markets, KingsArts aims to promote the globalization of Chinese contemporary artworks and to support the maximization of art collectors. KingsArts looks to deliver on this vision through high transparency, an open price model, as well as its unique Triangle Promotion Engine.

    https://www.kingsarts.com/#/

    Contact Information

    1. Contact Person (US Nation): Lorraine Moore (Email: lorraine@kingsarts.com)
    2. Official KingsArts WhatsApp: +852 5936 5108
    3. Official KingsArts Email: info@kingsarts.com

    Source: KingsArts

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  • NASTY WOMEN and BAD HOMBRES—An Exhibit of Bronze and Wax Sculptures About Our Times

    NASTY WOMEN and BAD HOMBRES—An Exhibit of Bronze and Wax Sculptures About Our Times

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    NASTY WOMEN and BAD HOMBRES—Bronze and Wax Sculptures About Our Times. May 1-6 2017 @ The Phyllis Harriman Mason Gallery, New York, NY.

    ​​From May 1 to May 6, Peruvian-born New York Sculptor, Oscar Garcia, will present “Nasty Women and Bad Hombres,” an exhibit showcasing the Wax and Bronze work of more than 30 New-York–based sculptors, also known as “The ASL Bronze Artists.” Opening reception is May 2, 2017, from 6 to 8 p.m., at The Phyllis Harriman Mason Gallery (second floor of The Art Students League of New York—see details below).

    The title of this exhibit, “Nasty Women and Bad Hombres,” is a commentary on the plight of women and immigrants in today’s changing political climate. Inspiration for this show is derived from the diverse artists who make up The ASL Bronze Artists. Mostly female and/or foreign born, they embody a “cross-fertilization of imagination coming from every corner of the globe.  Some of the work is satirical, of course, but also a celebration of positive energy, joy, even vulnerability,” says Oscar Garcia.  “We left it open so artists could express what they wanted to communicate, what was important to them in this new era.”

    “…a “cross-fertilization of imagination coming from every corner of the globe”

    Oscar Garcia, Exhibit Curator

    This exhibit is dedicated to the past, present and future women and immigrants who have the courage to pursue their dreams against all odds.

    About Oscar Garcia and the ASL Bronze Artists

    Mr. Garcia, a figurative and abstract master sculptor known for his environmental art and his creations out of organic materials, is also an expert in bronze work. Over the years, he has been commissioned to execute a number of public works as well as sculptures and reliefs for several churches.  Mr. Garcia holds a BFA and an MFA from the Escuela de Bellas Artes del Peru and studied Metallurgy and Materiality at the Universidad de Lima.  

    Twice a week, Mr. Garcia meets with the ASL Bronze Artists at the Art Students League of New York where he mentors the group on sculpting in wax and bronze. Mr. Garcia and his group cast their own bronze through the “loss wax process,” a method dating from the 3rd millennium BC.  

    For this group, Bronze is a preferred medium not only because it is corrosion-resistant, resilient, and stronger than stone but also because it is carvable and weldable, allowing artists to bring their vision to life in its finest details. It takes on a delicate and powerful form, as it captures movement and emotions, emanating life-like energy.

    ASL Bonze Artists (alphabetical order)

    ​Catherine Abrams
    Tina B
    Freddy Borges
    Val Brochard
    Larry D’Arrigo
    Mark Dawson
    Bette Elman
    Ralph Erman
    Richard Fallica
    Zalmen Glauber
    Kate Grandin
    Gaelle Hintzy Marcel
    Markus Holtby
    Muriel Kneeshaw
    Elena Komer
    Brian Lewis
    Jessica Mandrick
    Eileen Munson
    Tony Piscitello
    Sandra Schulz
    Grady Searcy
    Stanley Sheran
    Ella Sherman
    Max Singer
    Michelle Smith
    Sonia Stark
    Maria Stephens
    Nidia Tobaoda
    Toru Tokashiki
    Shoshana Vidra
    Natalie Vie
    Ray Warner
    Paul Yarden​

    Exhibit Details

    TITLE:    NASTY WOMEN AND BAD HOMBRES
    —An Exhibit of Bronze and Wax Sculptures About Our Times

    WHEN:     May 1- May 6, 2017

    WHERE:     The Phyllis Harriman Mason Gallery
    At The Art Students League of New York
    215 W 57th St, 2nd fl., New York, NY 10019

    Gallery Hours
    Mon-Fri: 9:00 a.m. to 8:30 p.m.
    Sat: 9:00 a.m. to 3:00 p.m.
    Sun: Closed

    ADMISSION:    Free

    OPENING RECEPTION:     Tuesday May 2, 2017
    6 p.m. to 8 p.m. 

    The Phyllis Harriman Mason Gallery
    At The Art Students League of New York
    215 W 57th St, 2nd fl., New York, NY 10019

    About the Art of the Loss Wax Process

    The artist covers the wax sculpture with a mix of plaster, silica, sand and water forming a mold that is then baked slowly. If the original sculpture is large, it is divided into sections to be individually cast so that each part better retains its shape. As the temperature rises, the mold hardens and the wax melts away, leaving a hollow cavity 
    in a hard shell. The molten bronze is then poured into the mold and left hardening in an exact replica of the one-of-a-kind wax sculpture. Thirty minutes later, the mold is chipped away to reveal the new bronze sculpture. Once all the casting is completed, 
    the separate parts have to be fitted together, welded, sometimes carved or bent, and smoothed. A patina is usually applied at the very end to alter the color of the surface and prevent further metal oxidation. 

    About The Art Students League of New York

    A legendary community of artists, the Art Students League of New York (ASL) was founded by artists in 1875 and has been instrumental in shaping America’s legacy in the fine arts. Yes, Bourgeois, Hirschfeld, Nevelson, O’Keeffe, Pollock, Rockwell, Rothko, and recently departed Rosenquist have practiced their art here, along with numerous other prominent artists. Today’s artists at the League share the same passions that those greats brought to their art.

    Dedicated to Non-Conformity

    The League was created by artists breaking away from the National Academy of Design. That independent spirit remains at the League today, where artists pursue their work unconstrained by dogma, politics or burdensome tuition. The format of ongoing monthly studio classes allows artists to work and explore their art at their own pace, exchanging ideas and learning from other prominent artists who have a range of artistic philosophies. 

    ​Photos and Media Kits

    ​To view and/or download photos of some of the work presented in “Nasty Women and Bad Hombres,” please go to:
    http://www.bronzeworkshop.com/media/

    ​To view and/or download photos of Oscar Garcia and some of his work, please go to:
    http://www.bronzeworkshop.com/media/

    Media Contact

    ​For more information about this exhibit, please contact:

    Val Brochard
    PR Specialist
    MG&G Advertising, Inc.
    (p) 646-638-1447
    vbrochard@mggadvertising.com

    ​Websites and social media associated with the ASL Bronze Artists:
    http://www.bronzeworkshop.com
    http://aslbronzeartists.com
    https://www.facebook.com/bronzeartists/
    https://twitter.com/bronzeartists 
    #bronzeartists
    https://www.instagram.com/bronzeartists/

    ​For more information about Oscar Garcia, please visit 
    http://www.artistoscargarcia.com

    ​For more information regarding The Art Students League of New York, please visit: http://www.theartstudentsleague.org

    ###

    Source: ASL Bronze Artists

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