STONE HARBOR, N.J., May 31, 2012 /PRNewswire/ -- As a founding member of The Hollies, and Crosby, Stills & Nash - a band that has been called the "voice of a generation," Graham Nash has made his indelible mark as a music legend. This July, the multi-talented Graham Nash offers a glimpse at another artistic passion when he debuts his never before seen artwork at Ocean Galleries in Stone Harbor, NJ.
The Art of Graham Nash exhibition is a worldwide, first-ever showcase of Graham Nash's exquisite artwork. The exhibition opens at Ocean Galleries (9618 Third Avenue, Stone Harbor) on Thursday, June 28, 2012 and runs through Sunday, July 8, 2012. Graham Nash will be at the gallery signing purchased artwork on Sunday, July 1 from 7:00 PM until 10:00 PM.
"We are humbled that Graham chose Ocean Galleries to debut his paintings, pastels, and artistically enhanced photography," said gallery owner Kim Miller. "When we first started researching the possibility of hosting this exhibition, we searched all over the Internet looking for examples of his artwork to no avail. We then learned from Graham that, although he has shared some of his photographs in a few select viewings, his exhibition at our Stone Harbor, NJ gallery will mark the first time he shares his amazing original artwork with the public. The pieces are absolutely magnificent – what a talent! People will be blown away when they see the exhibition!"
Graham Nash is a true modern day Renaissance man. He was inducted into the Rock and Roll Hall of Fame twice - once with Crosby, Stills & Nash and once with The Hollies. He has been inducted into the Songwriter's Hall of Fame twice - both as a solo artist and with Crosby, Stills & Nash. In 2010, he was named Officer of the British Empire (OBE). His company's original IRIS 3047 digital printer is now housed in the National Museum of American History at the Smithsonian Institution in recognition of his revolutionary accomplishments in the fine arts and digital printing world.
Born in the coastal town of Blackpool, England and raised in Salford, near Manchester, Nash picked up a camera before a guitar; he was inspired by his father, an amateur photographer. Taking pictures of his family at age 11 proved life changing for Graham, who has said, "That was the first time I realized that I could see things differently." The guitar and further watershed moments came shortly after when, at age 13, he decided that music was his calling.
The artwork of Graham Nash represents the manifestation of his love for music and art over the past 50 years. There are a variety of techniques used in his artwork, many of them a natural evolution of his experimentation with photography. Several of his pieces incorporate block print or newsprint, mixed with photography, each piece more unique than the next. The artist's story behind each distinctive piece of art is arguably as special as the artwork itself.
Over his history-making life ensconced in the music industry, Nash captured the fleeting moments with photographs and written stories, many of which eventually became songs. Delving into this area led to the creation of "Love, Graham Nash" – a handmade fine press book that is a sublime celebration of the artist's photography, music, and life. The collection focuses on the 1960s and 1970s, a period that Nash's era-defining artistry helped shape. Portraying friends, family, and fellow musicians, they capture the essence of a momentous time in American culture. The collection includes Nash's photos of band mates, other famous singers from Johnny Cash to Joni Mitchell, and handwritten notes of lyrics that are now second hand to generations of fans. A few copies of the coveted book, which was released as a limited edition keepsake (80 copies), will be available for purchase during the exhibition.
The Art of Graham Nash exhibition will include 91 of Graham Nash's exquisite paintings, pastels, and artistically enhanced photographs. The limited run exhibition opens at Ocean Galleries (9618 Third Avenue, Stone Harbor) on Thursday, June 28 running through Sunday, July 8, 2012. Graham Nash will be at the gallery signing purchased artwork on Sunday, July 1 from 7:00 PM until 10:00 PM.
The Stone Harbor location of Ocean Galleries is open from 10:00 AM until 10:00 PM daily throughout the summer season. For more information or for directions, call 609-368-7777 or visit www.oceangalleries.com
For over 25 years, Ocean Galleries has provided quality art by contemporary artists to their clients while practicing the highest standards of credibility and integrity in a comfortable and unpretentious atmosphere. With locations in Stone Harbor and Avalon, New Jersey, the distinguished art galleries feature an ever-changing display of artwork that includes local artists' watercolors, nationally recognized artists' originals, popular beach prints and high-end reproductions. Ocean Galleries also carries fine furniture and hand-made crafts from America and around the world. For more information, please call 609.368.7777 or visit www.oceangalleries.com
Source: finance.yahoo.com
Bouncing its way to Britain: Giant RedBall artwork turns heads from Taipei to St Louis...and now does the same in Paignton - Daily Mail
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It has made appearances around the world - turning heads in Taipei, Chicago and Abu Dhabi.
Wherever it has gone, the RedBall by artist Kurt Perschke has become a public spectacle stopping people and traffic in the street.
And now, it is doing the same in Devon - the latest stop on the giant ball's world tour.
Internationally-renowned artist Kurt Perschke's RedBall has intrigued people all over the world and is now doing the same in Paignton, Devon
The famous RedBall has shown up in Paignton, where the iconic RedBall has appeared to become wedged into the seafront esplanade.
And the travelling sculpture could also be drifting to a town or city close to you as it tours the rest of the country.
As part of the Jubilee weekend celebrations, the artwork will also visit the towns of Torquay, Paignton and Brixham, as well as a number of other destinations in the South West.
Keep pushing: The 250lb RedBall is inflated at every site where it is displayed, and has squeezed its way into spaces the world over
Kurt Perschke's artwork is already proving a hit in Devon, where it will tour around before making its way to London's South Bank
Making himself comfortable: Artist Kurt Perschke with his head-turning creation on the Devon seafront
And after touring there, the RedBall project will finally end up by the banks of the River Thames as it becomes wedged on London’s South Bank.
Whatever you do though, make sure you don't think of kicking this ball, as the super-sized artwork weighs in at a colossal 250lbs.
Instead, artist Mr Perschke explains his hope that the piece will leave people 'stunned' in the street:
'You're drawn in by this big beautiful thing.
The RedBall project, pictured here in Chicago, has attracted attention wherever it has ended up
Pictured in Taipei smashed between two buildings, the RedBall frequently drew traffic to a standstill
Snapping it up: The RedBull is the subject of thousands of photographs wherever it is displayed, such as here in Chicago
'The deliberate charisma of the piece [is that] it brings people in.
'And if someone drives by and sees it and doesn't know it's art but is stunned - that's brilliant.
'Other people want to come up and there's this really magnetic thing that goes on... They want to play with it. They want to jump into it. They're engaging immediately and of course it's play...but playing is also serious business.'
In each of the locations around Britain where the artwork will be on display, the RedBall will be inflated on site.
Don't kick it! A Toronto schoolboy larks around with the giant ball, which weighs in at 250lbs
An aerial shot shows the Ball perched above pedestrians on La Salle Bridge in Chicago
The iconic artwork has been displayed at locations across the world, and turned heads wherever it has gone, such as in El Bruc, Spain (left), and in Barcelona (right)
And in some cases in the past, it's been hoisted by cherry pickers and city workers scaling buildings and bridges to put it into place.
But for Mr Perschke, it's not just about the huge spectacle of the RedBall - but what it symbolises.
'It's about imagination and where it's going and imagining where it might be,' he explained.
'People take it on. They start thinking about where it's going to go, where it could go, cities it's been to. Each city has a story and it's a story around the globe, and I think people connect to that.'
Source: www.dailymail.co.uk
Tang summer shows highlight collections and collecting - Saratogian
SARATOGA SPRINGS — Three exhibitions opening May 31 at the Tang Teaching Museum and Art Gallery at Skidmore College will feature works from the Tang’s collection as well as that of contemporary art collectors Ann and Mel Schaffer.
“Hearing Pictures,” which runs through Dec. 30, invites visitors to both look at and “listen to” artwork. “The idea is to imagine auditory worlds in silent images,” said Tang Curatorial Assistant Megan Hyde, who organized the show. Arranged to evoke a musical score, the works embody sounds from thunderous blasts to barely audible whispers. Some evoke sound through abstract compositions of line, form and color that produce the feeling or mood of a sound, while others depict scenes and actions that we know generate sounds — images of rushing water, an explosion, or people playing musical instruments.
The exhibition highlights work from the Tang Collection in a range of styles and media, from a 17th-century woodblock print by Japanese artist Nishikawa Sukenobu to a recent Carrie Mae Weems photograph. The exhibition also features work by artists deeply invested in the relationship between sound and vision, including John Christie, Wassily Kandinsky, and James McNeill Whistler. Works such as Heide Fasnacht’s drawing “Blast” (1997-98) clearly evoke a specific sound, while Stanislaw Kubicki’s linoleum cut “Der Turmbau” (c. 1917) might be “heard” as an exuberant choir or a group of people screaming in flight. Abstract works like Eduardo Paolozzi’s “Similar remarks apply to Uranium 235” (1965-70) are open to broad auditory interpretation.
Visitors will be able to create sounds they “hear” in a particular artwork using a small recording set-up in the gallery, which will play back on the Tang’s website. Events over the course of the exhibition will bring a range of regional musicians to perform at the museum, using the artworks as their score. These various recorded responses will become material for a piece in the Tang’s “Elevator Music” series.
Those visiting the Tang early in the summer will have the opportunity to explore two other shows organized to coincide with Skidmore Alumni Reunion (May 31–June 3) and SaratogaArtsFest (June 7–10).
From May 31 through June 10, the Tang will feature important works of contemporary art in “RIOT: Selection from the Ann and Mel Schaffer Collection.” Skidmore alumna Ann Schapps Schaffer and her husband, Mel, have been collecting contemporary art for more than 40 years. This selection from their extensive collection includes drawings, photographs and sculpture from such leading artists as John Baldessari, John Chamberlain, Robert Gober, Vik Muniz and Cindy Sherman. At the thematic center of the exhibit is Arnold Odermatt’s crashed Volkswagen photograph “Stansstad” (1958). A Swiss traffic policeman, Odermatt photographed hundreds of car wrecks, taking both the official photographs and a second set for himself — eerie, carefully composed images that, in their combination of formal precision and violent imagery, reveal scenes of discomfiting beauty. Expanding on Odermatt’s film-noir-like photography, “RIOT” brings together artworks that, taken together, form a loose narrative of tension, politics and social strife.
“The Schaffers have collected for many years, and their interest in social tensions and political themes is what draws this collection together — and what makes it very interesting to us as a teaching museum,” said the Tang’s Dayton Director John Weber, who welcomed the opportunity to bring works from the collection to the museum in conjunction with Ann’s 50th Skidmore reunion.
As early supporters of emerging artists, the Schaffers have collected works by a number of artists who subsequently became very well known. Two artists featured in “RIOT,” Cindy Sherman and John Chamberlain, recently had major retrospectives in New York at the Museum of Modern Art and the Guggenheim, respectively.
Also opening on May 31 and running through the end of July is “Twisted Domestic,” a student-curated exhibition that investigates our complex relationships with home. Exploring how the home can be a site of charged relationships, some of the works on view address aspects of loss, longing and disappointment. Others transform common household objects to recapture the quirks and distortions of childhood imagination. Installed on the Tang’s mezzanine, “Twisted Domestic” includes works from the museum’s collection by Marek Cecula, Julia Jacquette, Robert Lazzarini, Michael Mode, George Segal, Dean Snyder, George Stoll and Jil Weinstock. The exhibition is curated by Alexander Unkovic, class of 2012, the Tang’s Eleanor Linder Winter intern.
The Tang Museum is open from noon to 5 p.m. Tuesday through Sunday, closed on Mondays and major holidays, and open until 9 p.m. Thursdays. Now in its 12th year, the Tang Museum hosts some 40,000 visitors annually, ranging from local students who visit through programs with area schools to museum-goers from around the globe. Continued...
Source: www.saratogian.com
Can you love a fake piece of art? - BBC News
A court battle is fought over whether a painting is fake, a drawing said to be Warhol is disputed, but is there ever a case for cherishing the fake and the forged?
Wrong signature. Dubious provenance. Fake. These are words an auction house dreads to hear.
This is exactly what happened recently with a drawing hailed as an early Andy Warhol. It was denounced by his brother as a fake but discussions on its authenticity are ongoing.
A work by Van Gogh or Munch can fetch tens of millions. Cast a shadow of doubt over its provenance and that value rapidly declines.
But if it has a level of draughtsmanship, colour and imagination that is nearly enough to fool an auction house expert, isn't that worth something?
Van Meegeren in the press
January 1948: Van Meegeren, who had been arrested as a "political delinquent" after the liberation of Holland, declared that lack of appreciation of his merits as an artist was the cause of his war-time activities.
September 1950: He was a fertile painter - instead of making reproductions of old masters, he painted original pictures... even art experts mistook them for authentic pieces.
January 1957: Here was a man who, as the result of long and laborious study, could reconstruct the whole process of Vermeer's painting... he could paint not merely a replica but that "original" Vermeer the Christ at Emmaus which for a while took everyone in.
The Times Newspaper
Han van Meegeren is a candidate for the greatest forger ever. The Dutchman came closest to being acclaimed as an artist in his own right after gaining notoriety forging 17th Century Dutch masters that would fool art-loving Nazis.
While his own paintings were of little interest to critics, his forgeries earned millions and conned, among others, Hitler's deputy Hermann Goering.
Van Meegeren was arrested in 1945 and charged with treason for selling a Vermeer - classified as a Dutch national treasure - to the Nazis. Facing a possible death penalty, he confessed all - that he was a forger.
The Dutch authorities didn't believe him. To prove he was no traitor, he was asked to paint a copy.
"A copy," Van Meegeren is reported to have exclaimed, "I'll do better than that. Give me the materials and I will paint another Vermeer before witnesses."
Before the war, frustrated that his style of painting did not suit the world's new-found interest in modern art, Van Meegeren had forged a Vermeer in his own style that was "unlike any previous Vermeer", says Frank Wynne, who wrote a biography of the forger.
"What infuriated him was a skill that would have made him famous in an earlier age was of no interest to anyone at a time when the world was interested in post-impressionism."
His experiment worked. His painting, The Supper at Emmaus, was hailed as a previously unknown masterpiece by Vermeer and was one of the most visited paintings in the Netherlands until it was revealed to be a fake.
Van Meegeren wanted to prove that a famous signature on a painting hugely influences how beautiful we think it is, says Wynne.
"A famous artist's signature gives us the romantic notion that their paintings are sacred artefacts that were touched by the hand of a genius."
Van Meegeren's work has since come to be appreciated in its own right.
He has even inspired other forgers to fake his work, an example of which was recently presented to the BBC's Antiques Roadshow, and valued at only £200 to £300.
Convicted forger John Myatt has had a little of the same recognition. He was arrested in 1995 for fraudulently selling around 200 paintings in the style of modern masters.
He claimed he didn't initially set out to dupe art collectors, but after a fake sold at auction for £25,000, his collaborator John Drew offered him half the cash in a brown envelope. A partnership of crime had begun.
Myatt painted fresh works in the style of famous modern artists while Drew created false paper trails, showing previous supposed sales.
It was - according to Scotland Yard - the start of "the biggest art fraud of the 20th Century".
Myatt was convicted for conspiracy to defraud, and spent four months in Brixton prison. He now legitimately sells his paintings in the style of famous artists, with "genuine fakes" written on the back. But he believes 120 of his illegal forgeries are still in circulation.
Like Van Meegeren, Myatt does not simply copy famous works. His paintings are entirely new, but in the style of a master. He says he "climbs into their minds and lives" and searches for the inspiration behind their work.
Later this year he has an exhibition in his own name and says people seem to be "fascinated by fake paintings".
"There can be quite a lot of demand from people who can't afford a Van Gogh but are looking for the same aesthetic experience for a fraction of the price."
Pretentious critics and the "disgusting amounts" of money changing hands can leave people feeling alienated by the art world, he adds.
"People also like the idea that experts are fallible and make mistakes."
Forgers have a certain charm because they are seen to be rebelling against the establishment, says Philip Mould, art detective and presenter of BBC's Fake or Fortune.
He believes their outsider status captures the public imagination in a similar way that graffiti artist Banksy has.
But he stresses that he finds this type of deception disgusting and says forgers are "unattractive chancers" who will only ever make a fraction of the value of the masters they are copying.
"The world of fakery is shabby, venal and unromantic. It is just a slightly more glamorous form of criminality."
Of course, even great masters have had their originality questioned. French impressionist Paul Gauguin claimed that "art is either plagiarism or revolution".
Vernon Rapley, head of security at the V&A and formerly in charge of Scotland Yard's arts and antiques unit, says that people's interest in criminal masterminds makes the world of art forgery appeal to a wider audience than art lovers alone.
But he says it is wrong for forgers to benefit financially following criminal convictions for fraud.
"There are thousands of art students who can do the same job [as forgers]. It is repugnant that forgers are able to benefit from the notoriety of their crimes."
Myatt admits that his popularity may be a direct result of the crimes he committed. He says when he came out of prison he had no interest in painting again but now accepts that "a good thing can come out of something bad".
For some, Mould says, it may simply be the story behind a forged work of art that makes it so appealing. The story is of a man tricking authority, but Myatt recognises his was not a crime without victims.
"If I ever saw one of my paintings again I would just smile to myself and say nothing. What's the point? The person selling it would lose a lot of money if I revealed it to be a fake, and that would be an immoral thing to do."
Source: www.bbc.co.uk
When I close my eyes, Amber Rose comes to mind.
- biff, barstow, 04/6/2012 01:37
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