RONALD BLADEN

Por

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RONALD BLADEN

Ronaldbladenestate.com

1918 – 1936

Charles Ronald Wells Bladen was born on 13 July 1918 as the son of British immigrants in the Canadian city of Vancouver. After the daughter, Kathleen, he is the family’s second child. His father, Kenneth Bladen, was responsible for building up several steelworkers in Vancouver before working later as an expert in landscape gardening. His mother, Muriel Beatrice Tylecote, had studied at the Sorbonne in Paris and, as an active socialist, had taken part in the suffragette movement. Both parents later supported their son’s artistic interests.

The family moved several times within a relatively short period: in 1922 to the United States, to Hoquiam in Washington, and in 1926 to Aberdeen in the same state. In 1932, the family returned to Canada, living in Victoria British Columbia.

Already at the age of ten, Bladen was drawing intensively, making copies of works by Botticelli Titian, Picasso and Matisse, and creating free illustrations of Greek mythology. His talent was furthered in Aberdeen through participation in art courses at the high school while he was a pupil at junior high, and in Victoria through private art lessons given by the painter, Max Maynard. Apart from that, the young Bladen was enthusiastic about the sport, became a passionate dancer and baseball player, taking part also in tennis tournaments.

1937-1945

In 1937, Bladen began his studies at the Vancouver School of Art and continued them in 1938 to 1939, he attended additional courses in the figure study class of the painter, Allen Edwards.

In 1939, Bladen moved to San Francisco to continue his studies where, in the same year, he met the Mexican painter Diego Rivera, who was working on a large wall-painting commission. Up until 1943, Bladen studied painting and sculpture at the California School of Fine Arts, later renamed the San Francisco Art Institute, and attended evening courses at this school until 1945.

In 1941, when drafted into the Army, he was declared unfit for military service and obliged to work as a ship’s welder at the naval dockyards in Sausalito, California. For many years, this activity enabled him to earn his living as a toolmaker. This handicraft and aesthetic experience were to become important later on when constructing his sculptures.

Within a circle of friends, Bladen developed a growing interest in contemporary art, literature, music, and philosophy. He wrote poems, spent a lot of time in natural surroundings and experimented artistically with earth and plants that later lead on to a series of drawings, the Earth Drawings, which, together with the poems by Allen Ginsberg, he later published in the journal, The Ark. His spiritually and existentially oriented thinking led him to engage with East Asian philosophy.

Bladen had close contact with several writers and in 1945 joined the Libertarian Circle, a group of anarcho-pacifist artists around the writer, Kenneth Rexroth.

Bladen remained in the United States where, with interruptions, he lived in San Francisco until 1956 and then moved to New York.

1946 – 1955

In 1946, Bladen had his first solo exhibition at the Vancouver Art Gallery. At the same time, he was awarded a scholarship by the San Francisco Art Association which enabled him to undertake an eight-week journey to Tijuana in Mexico and New Orleans from June to August, as well as a stay of several months in New York until March 1947. There, in Peggy Guggenheim’s Gallery, he saw an exhibition with works by Jackson Pollock.

Within the Libertarian Circle, together with James Harmon, Philip Lamantia, Thomas Parkinson, Kenneth Rexroth, Sanders Russell, and Robert Stock, he founded the literary journal, The Ark, in 1947. Bladen designed the cover and made contributions in the form of drawings and linocuts.

In 1948, he met the actress Barbara Gross, whom he married a year later. Their son, Bran, born 1951, died shortly after of a kidney failure. The couple moved to San Carlos in California, buying a house on Winding Bay where Bladen set up a studio.

In 1951, Ronald Bladen was naturalized as a US citizen.

In 1955, he separated from his wife, Barbara Gross. Through his friend, Kenneth Rexroth, he got to know the poet, Michael McClure, at the end of the summer and moved back to San Francisco into McClure’s communal household with Joanna McClure, James and Beverly Harmon, Price Dunn and Larry Jordan. At this time a friendship arose with the writers, Allen Ginsberg, Jack Kerouac, and Henry Miller, as well as the painter, Al Held, who advised him to move to New York.

1956 – 1975

In 1956, Bladen moved to New York where he lived on Houston Street. Through Al Held, he got to know painters, George Sugarman and Nicholas and John Krushenick, who together founded the Brata Gallery co-operative in 1957.

Bladen continued to be active mainly as a painter. He made paintings in the style of Abstract Expressionism in which intensively colored patches of organic formations are integrated into almost landscape-like surface forms, similar in color.

In 1960, he took over Al Held studio a 5 West 21st Street, progressively restricted his painterly activity and began to occupy himself with collages made of folded paper and the first painted reliefs of plywood. As in previous years, to earn his living, he worked as a toolmaker.

In 1962, he exhibited his painted plywood reliefs for the first time at the Brata Gallery and the Green Gallery in New York. The following year he made his first free-standing, colored sculptures from plywood boards with metal struts. From this time on the Bladen dedicated himself exclusively to sculpture.

In 1964, he showed his first sculpture, White Z, at an exhibition in the Park Place Gallery in New York and got to know the sculptures, Connie Reyes, who later became his companion. He was awarded the National Medal of Arts by the National Endowment of the Arts. The first works include also Rambler, 1963/1964, and the Rockers, 1965, which Bladen understood as the artistic basis for all his further sculptures.

From 1956 on, Bladen enjoyed the growing attention of the New York art scene and beyond, so that subsequently he was represented with his austere sculptures, developed from geometric forms, at many famous exhibitions. His artistic stance, influenced by European Constructivism, American Hard-Edge Painting, and sculptures such as Isamu Noguchi and David Smith, in turn, had stimulating effect on a circle of younger artists including Carl Andre, Donald Judd, Sol LeWitt and Lawrence Weiner, who repeatedly called him the ‘father figure’ of Minimal Art.

In 1966, he showed a tripartite work made the previous year, Three Elements, at the exhibition, Primary Structures Younger American and British Artists, in the Jewish Museum in New York. This exhibition was very important for Minimal Art because it enabled a broader public to become acquainted with this new art movement for the first time. Together with other artists represented there, such as Carl Andre, Dan Flavin, Donald Judd, Sol Le Witt, Walter De Maria, Robert Morris, Tony Smith and Robert Smithson, since then Bladen has been assigned to this group working with an elementary frugality of forms, even though his conception, aiming at whole and the expressive power of the individual work, is distinguished from the serial and consistently matter-of-fact manner of artistic shaping and forming pursued by most of the other artists. This holds in a similar way for his sculptor- friends, Robert Grosvenor.

In 1967, at the Scale as Content exhibition in the Corcoran Gallery of Art in Washington, which brought together exclusively large sculptures by Bladen, Newman and Tony Smith, he showed his monumental sculpture, The X. set up in the hall, in the immediate neighborhood of Barnett Newman’s Broken Obelisk, which was positioned outside.

Bladen had his first solo exhibition as a sculptor in Hempstead, New York state, and was represented at a series of further groups exhibitions including also the show, American Sculptures of the Sixties, at the Los Angeles County Museum of Art. Articles appeared in several periodicals on his work, his position within contemporary sculpture along with extended interviews with him. On the basis of this positive resonance and associated purchases, Bladen was now able to devote himself exclusively to art. On the side, he taught at Hunter College in New York. Black Triangles arose between 1966 and 1967.

In 1968, Bladen was awarded the John Simon Guggenheim Memorial Foundation Fellowship, was represented at documenta 4 in Kassel, and was among the circle of artists presented to a European art public under the title, Minimal Art, West Berlin. He created Barricadeand a second version of Rockers, followed by Untitled (Curve) in 1969, Coltrane on 1970 and Boomerang in 1972.

At the beginning of the 1960s interest was growing in the United States in sculptures in public spaces. This turns toward ‘landmark signs’ and the clear, strongly expressive tectonics of Bladen’s works led him to receive numerous commissions from 1967 on. Thus The Cathedral Evening came about in 1969 for the Albany (New York), Vroom Sh-Sh-Sh in 1974 for Buffalo (New York), and Raiko I in 1975 for Galerie Schmela in Düsseldorf.

Since the mid-1960’s, Bladen’s works were represented by the Fischback Gallery in New York, Through its gallery director, Aladar Marberer, in 1973, he got to know the younger artist Bill Jenson, with whom he had a close friendship from then on. From 1974 to 1976, Bladen taught ass a guest lecturer at Columbia University in New York and was awarded the Mark Rothko Fellowship in 1975.

1976 – 1988

In 1976, Bladen was appointed teacher at the Parsons School of Fine Art, a post he held until 1978. An exchange with students gained generally in importance for him. He, therefore, accepted further teaching jobs, such as Artist in Residence in 1981/1982 at the Skowhegan School of Painting and Sculpture (Maine), and in 1982.1983 as a guest lecturer at Yale University in New Haven (Connecticut). In 1977, he was once again awarded the National Endowment of the Arts.

Bladen was mostly occupied with commissions which, since the 1970s, were often accompanied by preparatory models. Thus, in 1976, he created Cosmic Seed for Des Moines (Iowa), 1977, he created Kama Sutra for Central Park in New York, 1978 Oracle’s Vision for Springfield (Ohio), Black Lightning 1981 for Seattle and the campus of King Faisal University in Riyadh as well as Host of the Ellipse for Baltimore (Maryland). From 1985 on, the sculptor, Larry Deyab, assisted him in his work.

At the beginning of 1988, as recognition for his services to the summer academy in Skowhegan, Bladen was awarded the Skowhegan Trustees & Governor Award for Service to the Arts.

On February 1988, Ronald Bladen died in New York of cancer.

RONALD BLADEN SCULPTURE

Ronald Bladen Untitled 1966-67 (first made in wood 1965)

RONALD BLADEN EXHIBITIONS

Solo exhibitions
1946
Ronald Bladen, Vancouver Art Gallery, Vancouver, January 22-February 10.
1951
Raymond & Raymond, San Francisco, fall.
1953
Six Gallery, San Francisco.
1954
Kelly Gallery, Vancouver, October (two weeks).
1956
Paintings by Ronald Bladen, Fine Arts Gallery, University of British Columbia, Vancouver, October 23-November 17.
Six Gallery, San Francisco.
1958
Ronald Bladen, Brata Gallery, New York, May 9-30.
1960
Ronald Bladen, Brata Gallery, New York, March 11-31.
1962/1963
Ronald Bladen, Green Gallery, New York, December 11, 1962-January 5, 1963.
1967
Ronald Bladen, Fischbach Gallery, New York, January 3-21.
Ronald Bladen: Sculpture, Emily Lowe Gallery, Hofstra University, Hempstead, February 21-March 23; In association with the Fischbach Gallery, New York.
1970
Ronald Bladen: A New Work, Fischbach Gallery, New York, January 3-21.
1971
Ronald Bladen: New Work, Fischbach Gallery, New York, April 10-28.
1972
Ronald Bladen: A Sculpture, Fischbach Gallery, New York, January 8-27.
Ronald Bladen, Fischbach Gallery, New York, opened on November 4.
Pasadena Art Museum, Pasadena.
Tyler School of Art, Philadelphia.
1977/1978
Ronald Bladen: Outdoor Sculpture Proposals, Hudson River Museum, Yonkers, November 19, 1977-January 31, 1978; In conjunction with the Public Arts Council of the Municipal Art Society, New York, Westchester County Department of Parks, New Rochelle, and Department of Parks and Recreation of the City of New York, New York.
1980
Ronald Bladen: Models & Drawings, Hamilton Gallery, New York, May 10-June 7.
1986
Ronald Bladen, Drawings & Wood and Aluminum Wall Sculpture, Washburn Gallery, New York, January 8-February 22.
1987
Ronald Bladen: “The Wall Sculptures”, CompassRose Gallery, Chicago, May 1-June 15.
1988
Ronald Bladen: Recent Sculpture, Washburn Gallery, New York, February 10-March 19.
1989
Ronald Bladen: The 1950s, Washburn Gallery, New York, February 7-March 12.
1990
Ronald Bladen. Paintings and Sculpture, Washburn Gallery, New York, March 7-April 7.
Ronald Bladen: Abstract Expressionist Paintings of the Late 1950s, CompassRose Gallery, Chicago, October 12-November 2.
1991/1992
Ronald Bladen: Early and Late, San Francisco Museum of Modern Art, San Francisco, May 30, 1991-August 18, 1991; Vancouver Art Museum, Vancouver, February 8, 1992-April 13, 1992.
1992
Washburn Gallery, New York.
1995/1996
Ronald Bladen: Drawings and Sculptural Models, Weatherspoon Art Gallery, University of North Carolina at Greensboro, Greensboro; Sculpture Center, Long Island City.
1998
Ronald Bladen Sculpture, Bielefeld Art Gallery, Bielefeld, June 7-September 6.
1999
Ronald Bladen: Selected Works, P.S.1 Contemporary Art Center, Long Island City, February 7-May 30.
2004
Ronald Bladen: From Expressionism to Minimalism, Selby Gallery, Ringling School of Art and Design, Sarasota, October 29-November 27.
Ronald Bladen: Paintings from the Fifties, Danese Gallery, New York, October 29- November 27.
2007
Ronald Bladen – Skulptur. Werke der Sammlung Marzona, Berlin State Museums, New National Gallery, Berlin, March 22-May 6.
2008
Ronald Bladen: Sculpture of the 1960s & 1970s, Jacobson Howard Gallery, New York, October 16-November 26, 2008.
2011
Ronald Bladen, Loretta Howard Gallery, New York, ????, 2011.
2012
Ronald Bladen Painting 1955-1962, Loretta Howard Gallery, New York, April 19-May 25, 2012.

2008

Ronald Bladen: Sculpture of the 1960s & 1970s, Jacobson Howard Gallery, New York, NY, October 16–November 26
2011
Ronald Bladen: Large Scale Sculpture, Loretta Howard
Gallery, New York, NY, February 17–April 2
2012
Ronald Bladen in Context, Ronald Bladen: New York Paintings
1955–1962, Loretta Howard Gallery, New York, NY
April 19–May 25, 2012

ANGLE/EDGE/PLANE: The Sculpture of Ronald Bladen

The Ewing Gallery of Art + Architecture, The University of Tennessee, Knoxville, TN

September 2019

Group exhibitions
Exhibition titles appearing in brackets represent descriptive titles for which official documentation is unavailable.
1944
Sixty-Fourth Annual Exhibition, Oil, Tempera on Panel and Sculpture, San Francisco Museum of Modern Art, San Francisco, September 21-October 15.
1945
Paintings by Bernard Bolter and Ronald Bladen, Reid Hyde, Hand Weaving, San Francisco.
1946
Sixty-Sixth Annual Exhibition, Oil, Tempera and Sculpture, San Francisco Museum of Modern Art, San Francisco, October 10-November 3.
1950
[Lucille Austen, Ronald Bladen, Henry Dietrich, and Eileen Reynolds], Raymond & Raymond, San Francisco, July 6-31.
1955
Invitational Group Show, Six Gallery, San Francisco, April-May.
University of British Columbia, Vancouver.
1958
Brata Gallery, New York.
1959
[Sylvia Stone and Ronald Bladen], Brata Gallery, New York.
1960
New Forms – New Media I, Martha Jackson Gallery, New York, October.
1961
Mark di Suvero and Ronald Bladen, Green Gallery, New York, summer.
Ronald Bladen and Sylvia Stone, Brata Gallery, New York, September.
1963
Paintings, Drawings and Prints owned by Local Collectors, Wilmington Society of the Fine Arts, Delaware Art Center, Wilmington.
1964
Invitational Show, Park Place Gallery, New York.
1965
Concrete Expressionism, Loeb Student Center, New York University, New York, April 6-29.
Sculpture from All Directions, World House Gallery, New York, November 3-17.
1966
Primary Structures: Younger American and British Sculptors, Jewish Museum, New York, April 27-June 12.
68th American Exhibition, Art Institute of Chicago, Chicago, August 19-October 16.
1966/1967
Annual Exhibition 1966: Contemporary American Sculpture and Prints, Whitney Museum of American Art, New York, December 16, 1966-February 5, 1967.
1967
Bladen, Grosvenor, von Schlegell, Loeb Student Center, New York University, New York, February 6-March 5.
Contemporary American Painting and Sculpture from New York Galleries, Wilmington Society of the Fine Arts, Delaware Art Center, Wilmington, February-March.
American Sculpture of the Sixties, Los Angeles County Museum of Art, Los Angeles, April 28-June 25; Philadelphia Museum of Art, Philadelphia, September 15-October 29.
Sculpture ’67, City Hall, Toronto, June 1-July 17; Organized by the National Gallery of Canada, Ottawa.
Outdoor Show, National Gallery of Canada, Ottawa.
Projects for Macrostructures, Richard Feign Gallery, New York.
Rejective Art, University of Omaha, Fine Arts Festival, Omaha.
Scale Models/Drawings, Dwan Gallery, New York.
Sculpture and Architecture, School of Visual Arts, New York.
Serielle Formationen, Studio Gallery, J.W. Goethe University, Frankfurt.
Structural Art, American Federation of Arts, New York; Touring exhibition.
1967/1968
Scale as Content: Ronald Bladen, Barnett Newman, Tony Smith, Corcoran Gallery of Art, Washington, D.C., October 7, 1967-January 7, 1968.
Fifth Guggenheim International Exhibition, 1967: Sculpture from Twenty Nations, Solomon R. Guggenheim Museum, New York, October 20, 1967-February 4, 1968.
1968

4 documenta: Kassel ‘68, Fridericianum Museum, New Gallery, and Orangerie Auepark, Kassel, June 27-October 6.

1968/1969
Minimal Art. (Andre, Bladen, Flavin, Grosvenor, Judd, LeWitt, Morris, Smith, Smithson, Steiner), Gemeentemuseum, The Hague, March 23, 1968-May 26, 1968; Art Association of the Rhineland and Westphalia, Düsseldorf, January 17, 1969-February 23, 1969; Academy of the Arts, Berlin Annual Exhibition, Berlin (West), March 23, 1969-April 24, 1969.
Annual Exhibition 1968, Contemporary American Sculpture, Whitney Museum of American Art, New York, December 17, 1968-January 19, 1969.
1969
14 Sculptors: The Industrial Edge, Dayton’s 8th Floor Auditorium, Minneapolis, May 29-June 21; Organized by the Walker Art Center, Minneapolis.
1970
Ronald Bladen/Robert Murray, Vancouver Art Gallery, Vancouver, March 10-April 5.
American Sculpture, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, September 11-November 15.
Inaugural Exhibit, Contemporary Arts Center, Cincinnati.
Paula Cooper Gallery, New York.
1971
Sonsbeek ’71, Sonsbeek Park, Arnheim, June 19-August 15.
1972
Visiting Artists: Ronald Bladen and Allan d’Arcangelo, Elvehjem Art Center, University of Wisconsin, Madison, March 31-April 30.
American Drawings, Art Collection, Amsterdam; Annemarie Verna Gallery, Zürich.
1973
1973 Biennial Exhibition: Contemporary American Art, Whitney Museum of American Art, New York, January 10-March 18.
Works in Spaces: Stephen Antonakos, Ronald Bladen, Sam Gilliam, Robert Irwin,
Dorothea Rockburn, San Francisco Museum of Modern Art, San Francisco, February 9-April 8.
Art in Space: Some Turning Points, Detroit Institute of Arts, Detroit, May 16-June 24.
[The City is for People], Fine Arts Gallery, San Diego.
1974
Less is More: The Influence of the Bauhaus on American Art, Lowe Art Museum, University of Miami, Coral Gables, February 7-March 10; New York Cultural Center, New York.
[Competition Exhibition], Society of the Four Arts, Palm Beach.
Outdoor Sculpture 1974, Merriewold West Gallery, Far Hills.
1975
Monumental Sculpture in the 1970’s for Civic, Private, and Corporate Places, Janie C. Lee Gallery, Houston, February 1-March 15.
Ronald Bladen, Ernest Briggs, Judy Rifka, Stuart Shedletsky, Susan Caldwell Gallery, New York, April 12-30.
Collectors of the Seventies, Part 1: Dorothy and Herbert Vogel, Clocktower, P.S.1 Contemporary Art Center, Long Island City, April 19-May 17.
Contemporary Drawing, Ben Shahn Gallery, William Paterson University of New Jersey, Wayne.
New York Cultural Center, New York.
1975/1976
The Martha Jackson Collection at the Albright-Knox Art Gallery, Albright-Knox Art Gallery, Buffalo, November 21, 1975-January 4, 1976.
1976
200 Years of American Sculpture, Whitney Museum of American Art, New York, March 16-September 26.
The Golden Door: Artist-Immigrants of America, 1876-1976, Hirshhorn Museum and Sculpture Garden, Washington, D.C., May 20-October 20.
Rooms, P.S.1 Contemporary Art Center, Long Island City, June 9-26.
PARC Exhibit, Graduate Center Mall, City University of New York, New York.
1977
Project: New Urban Movements, Akron Art Institute, Akron, May 1-June 19.
Marquette for Large Sculpture, Monique Knowlton Gallery, New York.
Sculptor’s Drawings, John Weber Gallery, New York.
1978
Drawings, Touchstone Gallery, New York.
In Small Scale, Hamilton Gallery, New York.
1979
A Great Big Drawing Show, P.S.1 Contemporary Art Center, Long Island City, February 11-April 1.
Sculpture: Bladen, Kipp, Witkin, Ben Shahn Gallery, William Patterson University of New Jersey, Wayne, October 10-November 13.
Contemporary Sculpture: Selections from the Museum of Modern Art, Museum of Modern Art, New York.
The Minimal Tradition, Aldrich Museum of Contemporary Art, Ridgefield.
1980
10 Abstract Sculptures: American and European, 1940-1980, Max Hutchinson Gallery, New York, March 18-April 19.
Arte Americana Contemporanea, Civic Museums and Galleries of History and Art, Udine.
Hamilton Gallery, New York.
International Sculpture Conference, Washington, D.C.
1981
The Modern Room, Emily Carr Gallery of the Provincial Archives of British Columbia, Vancouver.
Ronald Bladen, Michael Goldberg, Vincent Longo, Adam L. Gimbel Gallery, New York.
1982
CAPS Benefit Show, New York.
Sculpture Now: Contemporary American Sculpture, Park West Gallery, Southfield.
Skowhegan Faculty Show, Colby College, Waterville.
1983
Beyond the Plane: American Constructions, 1930-1965, New Jersey State Museum, Trenton, October 29-December 31.
Artist Call, Leo Castelli Gallery, New York.
Museum of Drawers, traveling exhibit to Europe, Israel, and the United States.
1983/1984
Sculpture: The Tradition in Steel, Nassau County Museum of Fine Art, Roslyn Harbor, October 9, 1983-January 22, 1984.

1984
Contemporary Painting, Sculpture, Drawing V., Oil and Steel Gallery, New York, September 18-November 3.
Drawings by Sculptors, Collection of John E. Seagram and Sons, Inc., New York; Montreal Museum of Fine Arts, Montreal.
The Ways of Wood, Queens College, New York.
1985
Matter and Spirit, Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, October 1-24.
Ontogeny: Sculpture and Painting by 20th Century American Sculptors, New York Studio School, New York, November 20-December 19.
50 at 50 West, 50 West Gallery, New York.
Action Precision, Washburn Gallery, New York.
Preview and Review – Paintings, Drawings and Sculptures, Washburn Gallery, New York.
1986
Sculpture: Ronald Bladen, Jim Clark, Judy Pfaff, Connie Reyes, Sorkin Gallery, New York, October 3-November 1.
Contemporary Artists. Bladen, Bluhm, Cote, Jensen, Nivola, Youngerman, Washburn Gallery, New York, December 3-23.
The Metaphysical Landscape, Robeson Center Gallery, Newark.
1986/1987
Sculpture on the Wall, Aldrich Museum of Contemporary Art, Ridgefield, December 6, 1986-February 15, 1987.
1987
In Scale and Time: Ronald Bladen, Ilya Bolotowsky, Norman Bluhm, Alan Cote, Bill Jensen, Washburn Gallery, New York, September 2-26.
Sculpture, Procter Art Center, Bard College, Annandale-on-Hudson, October 15-November 18.
1987/1988
Works on Paper by Twenty-two American Artists, Beijing Art Institute, Peking, November 20-30, 1987; Shanghai Art Museum, Shanghai, December 10-20, 1987; Hong Kong Arts Festival, Hong Kong, January 14-30, 1988; Snug Harbor Cultural Center, New York, October 29, 1988-December 14, 1988.
Group Exhibition, Saint Peter’s Church, New York.
1988
Past/Present, Washburn Gallery, New York, September 6-October 1.
Envoys, New York Studio School of Drawing, Painting and Sculpture, New York, November 18-December 16.
1989
Past/Present, Washburn Gallery, New York, September.
1990
Works on Paper. Bladen, Jensen, Mason, Ryan, Smith, Washburn Gallery, New York, February 1-March 3.
Concept Art, Minimal Art, Arte Povera, Land Art: Sammlung Marzona, Bielefeld Art Gallery, Bielefeld, February 18-April 8.
1991
Circa 1960, Washburn Gallery, New York, January 23-February 23.
Lyrical Vision – The 6 Gallery, 1954-1957, Natsoulas Novelozo Gallery, Davis, January-February.
Past/Present, Washburn Gallery, New York.
1993
Fantastic Wanderings, Connecticut College, New London, October 9-November 10.
1995
Die Sammlung Marzona. Arte Povera, Minimal Art, Concept Art, Land Art, Museum of Modern Art, Ludwig Foundation, Vienna, June 14-September 17.
Egidio Marzona Collection, Palais Liechtenstein, Vienna.
1995/1996
Beat Culture and the New America: 1950-1965, Whitney Museum of American Art, New York, November 1995-February 1996; Walker Art Center, Minneapolis, June 2, 1996-September 15, 1996; M.H. de Young Memorial Museum, Fine Arts Museum of San Francisco, San Francisco, October 5, 1996-December 29, 1996.
1996
The San Francisco School of Abstract Expressionism, Laguna Art Museum, Los Angeles, January 27-April 21; San Francisco Museum of Modern Art, San Francisco.
Ronald Bladen. Nancy Haynes. Olivier Mosset., John Gibson Gallery, New York, March 16-April 13.
Sculptures and Drawings, Rosenberg & Kaufman Fine Art Gallery, New York.
1997
Fine Arts Museum of San Francisco.
Power of Abstraction, Eighth Floor Gallery, New York.
Ronald Bladen, Edward Dugmore – Paintings, Lennon, Weinberg, Inc., New York.
Sculptures and Drawings, Rosenberg & Kaufman Fine Art Gallery, New York.
1998
Abstracted Presence, Edward Thorpe Gallery, New York.
Sculptors’ Draw, Rosenberg & Kaufman Fine Art Gallery, New York.
2000
„Kontrapunkt”, Werke von Nam June Paik und Ronald Bladen, RWE Tower, Essen, January 17-March 19.
2000/2001
(E così via) (And so on). 99 artists from the Marzona Collection, Municipal Gallery of Modern and Contemporary Art, Rome, February 20, 2000-September 17, 2000; Kunstverein Ludwigsburg, Ludwigsburg, March 18, 2001-April 29, 2001.
2001
Marzona Villa Manin. Una collezione d’arte. A private collection. Die Sammlung Marzona, Villa Manin of Passariano, Codroipo, June 9-August 26.
Art Works. Sammlung Marzona. Kunst um 1968, Bielefeld Art Gallery, Bielefeld, June 17-August 19.
2001/2002
Probation Area: Versuchsfeld. Sammlung Marzona, State Museums of Berlin, Hamburger Bahnhof – Museum for Gegenwart, Berlin, November 29, 2001-July 21, 2002.
2004
A Minimal Future? Art as Object. 1958-1968, Museum of Contemporary Art Los Angeles, Los Angeles, March 28-July 26.
2005
Sculpture, Danese Gallery, New York.
2006
Galerie mit Bleistift Fischer – Papierarbeiten aus den 60er und 70er Jahren, Konrad Fischer Gallery, Düsseldorf, May 6-June 17.
2006/2007
Surface Matter: Collage from the Collection, Albright-Knox Art Gallery, Buffalo, November 17, 2006-February 11, 2007.
2007
Based on Paper. Die Sammlung Marzona. Revolution der Kunst 1960-1975, State Museums of Berlin, Museum of Prints and Drawings and Art Library, Berlin, March 21-July 15.

2008
Turning Point: The Demise of Modernism and Rebirth of Meaning in American Art, Museum of Art, Brigham Young University, Provo, UT, July 17, 2008– January 9, 2009
2010
Artists at Max’s Kansas City, 1965–1974: Hetero-Holics and Some Women Too, Loretta Howard Gallery, New York, NY, September 15–October 30
2013
Works from the 1970s, Pacific Design Center, Los Angeles, CA
2014
An Opening of the Field: Jess, Robert Duncan, and Their Circle, Grey Art Gallery, New York, NY, January 14– March 29 Out of 10th Street and Into the 60s, Loretta Howard Gallery, New York, NY, September 4–October 11
2015
Where Sculpture & Dance Meet: Minimalism from 1961–1979, Loretta Howard Gallery, New York, NY, September 1– November 7
2017-18
Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965, traveling exhibition: Grey Art Gallery, New York University, New York, NY, January 10–December 8, 2017; Kunstmuseum Luzern, Lucerne, Switzerland, September 28–November 25, 2018
Expanding Space: Ronald Bladen, Al Held, Yvonne Rainer, George Sugarman: Loretta Howard Gallery, New York, NY, November 2–December 21, 2017.

Perez Art Museum PAMM

Minimal Art

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Kubes in Action, Mono-ha artwork in Miami, FL

Minimal Art: The 25 Most Important Minimal Artists

CAI Contemporary Art Issue

The reference publication by Taschen on Minimal Art: https://amzn.to/3mLu1VQ.

Today we take on Minimal Art, presenting a definition, listing the main characteristics and discussing the 25 most important minimal artists. As we only discussed the artists in question briefly, for further reading on we highly recommend the following books:

Carl Andre: https://amzn.to/3BPs2nU
Dan Flavin: https://amzn.to/31nyJ3R
Donald Judd: https://amzn.to/3qbf959
Sol LeWitt: https://amzn.to/3bZWykB
Robert Morris: https://amzn.to/3qazEPB
Stephen Antonakos: https://amzn.to/3GStI3C
Jo Baer: n/a
Larry Bell: n/a
Ronald Bladen: https://amzn.to/305sv8t
Mary Corse: https://amzn.to/3q8qHpQ
Walter De Maria: https://amzn.to/3q6fPJf
Robert Grosvenor: https://amzn.to/3k8urUF
Carmen Herrera: https://amzn.to/3BMl2rF
Eva Hesse: https://amzn.to/3qawVWg
Gary Kuehn: https://amzn.to/3qa7Vyp
Robert Mangold: https://amzn.to/2YoRwec
Agnes Martin: https://amzn.to/2ZUUecb
John McCracken: https://amzn.to/3k9AKXW
Charlotte Posenenske: https://amzn.to/31ADes7
Robert Ryman: https://amzn.to/3qb55ta
Fred Sandback: https://amzn.to/3kbL8OZ
Richard Serra: https://amzn.to/3ERZBrp
Tony Smith: https://amzn.to/3GUsxRi
Robert Smithson: https://amzn.to/3bJz1nB
Anne Truitt: https://amzn.to/3wlOGTv

Contemporary Art Issue
Platform, Publisher & Gallery on Contemporary
Website: https://www.contemporaryartissue.com
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Publications: https://www.contemporaryartissue.com/…
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Every effort has been made to trace copyright holder. However, if you feel you have inadvertently been overlooked, please take up contact with Contemporary Art Issue.

Table of contents:
0:00 – I. Introduction
0:45 – II. Definition of Minimal Art
1:07 – III. Main Characteristics of Minimal Art
1:32 – 1. Carl Andre
2:40 – 2. Dan Flavin
3:20 – 3. Donald Judd
3:58 – 4. Sol LeWitt
4:40 – 5. Robert Morris
5:12 – 6. Stephen Antonakos
5:45 – 7. Jo Baer
6:29 – 8. Larry Bell
6:59 – 9. Ronald Bladen
7:31 – 10. Mary Corse
7:59 – 11. Walter De Maria
8:21 – 12. Robert Grosvenor
8:59 – 13. Carmen Herrera
9:38 – 14. Eva Hesse: https://amzn.to/3qawVWg
10:21 – 15. Gary Kuehn: https://amzn.to/3qa7Vyp
10:56 – 16. Robert Mangold: https://amzn.to/2YoRwec
11:35 – 17. Agnes Martin: https://amzn.to/2ZUUecb
12:08 – 18. John McCracken: https://amzn.to/3k9AKXW
12:42 – 19. Charlotte Posenenske: https://amzn.to/31ADes7
13:27 – 20. Robert Ryman: https://amzn.to/3qb55ta
13:50 – 21. Fred Sandback: https://amzn.to/3kbL8OZ
14:33 – 22. Richard Serra: https://amzn.to/3ERZBrp
14:58 – 23. Tony Smith: https://amzn.to/3GUsxRi
15:24 – 24. Robert Smithson: https://amzn.to/3bJz1nB
15:57 – 25. Anne Truitt: https://amzn.to/3wlOGTv
16:26 – Outro

Bibliography:
For the introduction we used Daniel Marzona, Minimal Art published by Taschen.

Read the entire article on https://www.contemporaryartissue.com/…

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Locust Projects

Por

AMM

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HOW TO_Oh, look at me_by GeoVanna Gonzalez_2021_Photo by Juan Luis Matos Locust Projects Miami — HOW TO_Oh, look at me_by GeoVanna Gonzalez_2021_Photo by Juan Luis Matos

Locust Projects, Miami’s longest-running alternative art space, to double in size with new home.

Artist Rafael Domenech to be first artist commissioned for new space as nonprofit celebrates 25th anniversary in 2023

Sept 21, 2022 (MIAMI) – On the eve of its 25th anniversary, Locust Projects – Miami’s longest-running nonprofit alternative art space – will double in size to offer more public programming and exhibition opportunities to artists at a new location in Little River.

Valerie Hegarty Break-Through Miami 2010_photo Zachary Balber Locust Projects Miami — Valerie Hegarty Break-Through Miami 2010_photo Zachary Balber

With 17-foot high ceilings, an open floor plan and access to a large enclosed courtyard, the new space will be an expanded laboratory for local, national and international artists to experiment with new media and materials. Located in a warehouse district at 297 NE 67th St. the 8,000 square-foot space also will allow Locust to offer more educational programming to accompany its exhibitions, and to be located in an industrial neighborhood that is home to artist studios, galleries, manufacturing and creative industries.

Daniel Arsham Welcome to the Future 2013_photo Zachary Balber

“As an incubator of new art and ideas, Locust Projects embraces a culture of ‘Yes,’ encouraging artists to experiment on a large-scale in ways not possible in traditional spaces. We’ve embraced everything from jackhammered floors and working kilns to hanging gardens and synchronized swimming in an above-ground pool,” said Lorie Mertes, Locust Projects’ executive director. “Giving artists freedom to realize ambitious and bold ideas leads to the breakthroughs they need to push their practice. Our new space will bring more opportunities for supporting the creation of dynamic new work.”

Matthew Suib and Nadia Hironaka Field Companion 2021_photo Zachary Balber

Artist Rafael Domenech will be the first artist to completely take over the Little River space in February 2023. The Cuban-born, New York-based Domenech earned his bachelor’s from Miami’s New World School of the Arts and his MFA from Columbia University. Currently, his work is on display at a solo exhibition at the Institute of Contemporary Art at Virginia Commonwealth University, and is featured in a new outdoor pavilion commission as part of the 58th Carnegie International in Pittsburgh.

Synesthetics 2008, a group exhibition curated by architect and artist Felice Grodin_courtesy Locust Projects

Locust Projects will continue programming at its current Design District location until its move in early 2023 opening three new shows in November for Miami Art Week. The public is invited to get a sneak peak of the new space at a community “Housewarming” fundraiser Nov. 12.

TM Sisters Whirl Crash Go 2008 Photo courtesy Locust Projects

“Embodying Miami’s innovation ethos, Locust Projects offers visual artists the opportunity to realize installations of ambitious new work, without the financial pressures of a gallery,” said Board Chair Debra Scholl. “In many ways, we operate like a laboratory, where the end result isn’t as important as the process the artists take to get there. They learn from each decision and mistake, pushing them forward in their careers.”

Jillian Mayer Precipice Post_Moden 2013_Photo Zachary Balber

Having outgrown their current home with a soon-to-expire lease in the Design District, the move is informed by a multi-year strategic initiative supported by a five-year $1 million grant in 2018 from the John S. and James L. Knight Foundation; the Incubator Annual Fund initiative launched in 2021 supporting core program areas; and a recent leadership matching gift from philanthropist and Board Member Diane “Dede” Moss, facilitating the move to the new space.

Sarah Crowner Sunday in the Park 2014_photo courtesy Locust Projects

ABOUT LOCUST PROJECTS

Founded by artists for artists in a warehouse in Wynwood in 1998, Locust Projects is Miami’s longest running nonprofit alternative art space. We produce, present, and nurture ambitious and experimental new art and the exchange of ideas through commissioned exhibitions and projects, artist residencies, summer art intensives for teens, and public programs on contemporary art and curatorial practice. As a leading incubator of new art and ideas, Locust Projects emphasizes boundary-pushing creative endeavors, risk-taking and experimentation by local, national and international artists. We invest in South Florida’s arts community by providing artists with project grants and empower creative careers by supporting the administrative work of being an artist through an onsite artist resource hub and access to pro bono legal services.

Locust Projects 2022-2023 exhibitions and programming are made possible with support from: The John S. and James L. Knight Foundation; The Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, The Children’s Trust; The Andy Warhol Foundation for the Visual Arts; The Miami Foundation; Susan and Richard Arregui; Florida, Department of State; Hillsdale Fund; The Albert and Jane Nahmad Family Foundation; The National Endowment for the Arts Art Works Grant; VIA Art Fund | Wagner Foundation Incubator Grant; Funding Arts Network; Diane and Robert Moss; Ruth Foundation for the Arts; Cowles Charitable Trust; Diane and Werner Grob; Kirk Foundation; and the Incubator Fund Supporting Sponsors and Friends.

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Clases de ballet

Por

AMM

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Deseo que mi hijo se inicie en el ballet, pero desde casa. ¡Felicitaciones..! Su niño va a recibir muchos beneficios, entre ellos el refuerzo de su desarrollo psicomotor y va a adquirir equilibrio, coordinación y
lo mejor de todo es que a través del ballet, se inculca a los niños un gran sentido de disciplina que es importante para su progreso intelectual y significativo para su vida futura. Así como educarle en cuanto a la apreciación de la música indicada.

¿Tiene el ballet una edad específica para iniciar?
No realmente, pero en el caso de los niños sí se recomienda los 3 ó 4 años.
Su aparato locomotor está evolucionando y así ellos pueden asimilar y fijar con más facilidad en cuanto a soltura de los movimientos y las técnicas de la danza.

Posteriormente se puede ir avanzando hacia la danza clásica. Esto se logra con cursos de iniciación, entre los 5 ó 6 años y continuar hasta conseguir magníficos resultados.
Es importante tener en cuenta que el ballet clásico es la base de todos los bailes y es esencial aprender desde muy temprano las técnicas y posiciones, tanto de pies como brazos.
En esta etapa de las primeras clases de ballet, es la oportunidad de aprender, lentamente y con cuidado, los pasos y movimientos, que se efectúan, haciéndolo acompañados por música, dirigidos a adquirir coordinación.

Siendo el ballet un estilo de danza clásico y por lo regular de manera grupal, al iniciarse en su disciplina los niños que lo practican obtienen diversos beneficios. Se van familiarizando con el desempeño de una buena interpretación, así como con la vestimenta, y demás elementos decorativos, lo cual redunda en un mejor bagaje cultural de los pequeños.

Si usted apoya el baile de su hijo desde casa y le gusta participar, es importante que antes de comenzar tenga escogida o en mente, una lista de reproducción, y visualizar la fluidez de su clase, también que busque planes de lecciones de clase de baile para comenzar, así como la asesoría y guía de un profesional, bien sea a distancia o presencial.
Durante el calentamiento, los bailarines pueden necesitar ayuda para redirigir su enfoque y si la actividad es entre amigos, es un buen momento para incorporar música ligera para estirar.

Existen siete pasos básicos en el ballet, estos son:
Plié. (doblado).Según el diccionario de la danza, es una flexión de las rodillas que colabora a flexibilizar los músculos y tendones, desarrollando un buen sentido del balance. Tiene unas subdivisiones que son el demiplié y el grandplié. Todos se hacen con la ayuda de la barra y con énfasis en la correcta posición de la cadera.
Relevé: Su nombre en francés significa «levantarse«. Literalmente, es empinarse, subiendo los talones del suelo hasta sólo mantener los dedos en el suelo.
El secreto es imaginar que el cuerpo está siendo estirado suavemente hacia el techo, a la vez que se elevan los talones, bajando luego suavemente. Este movimiento refuerza piernas, tobillos y pies y desarrolla el arco plantar.
Es un paso considerado como fundamental en la danza y uno de los primeros movimientos que se deben realizar al empezar la clase.
Arabesque: Una de las posiciones básicas en ballet clásico. Es una posición del cuerpo que ha de ponerse de perfil, apoyado respecto a una pierna, que puede ser recta o demi-plié o en relevè, y la otra pierna levantada detrás y estirada.
Battement tendu: Es un ejercicio para forzar los empeines hacia fuera. El
pie de trabajo sale de la primera o quinta posición hacia la segunda o cuarta
posición sin la elevación del dedo del pie de la tierra. Ambas rodillas se
deben mantener estiradas. Es un movimiento de rutina.

Battement fondu: Es un ejercicio en el cual la pierna soporte está doblada lentamente en demi plie (como hundiéndose) y el pie que trabaja señala el tobillo y se estira hacia el suelo o hacia el aire. Mientras que se endereza, se extiende la pierna soporte. El fondu puede ejecutarse con punta en el piso o en el aire. Se puede ejecutar en varias posiciones: al frente, al lado o atrás.
Jeté: Un salto a partir de un pie al otro, aquí la pierna de trabajo está doblada en el aire y parece haber sido lanzada. Hay una variedad amplia de jetés, y pueden ser realizados en todas las direcciones.

Rond de jambe: Movimiento redondo de la pierna, es decir, un movimiento circular de la pierna sin mover las caderas y la pelvis. El rond de jambe se utiliza como ejercicio en la barra.
Una vez que se manejan las posiciones básicas, es posible atreverse con algunos pasos.
Las cinco posiciones básicas del ballet de brazos y piernas para aprender en casa
 1ra posición. Con los talones pegados se gira los pies hacia afuera hasta formar una línea horizontal.
 2da posición. Los pies siguen en línea pero los talones y las piernas se separan.
 3ra posición. Los pies vuelven a juntarse y rompen la línea para situarse uno delante del otro.
 4ta posición. los pies están cruzados, el talón de un pie está a la altura de los dedos del otro, con un espacio entre ambos pies .Al igual que en la tercera posición se puede tener el pie derecho como el pie izquierdo delante…
 5ta posición. es igual que la cuarta posición, pero ambos pies se tocan y no hay espacio entre ellos.

¿El ballet en cinco pasos?
Estas cinco posiciones básicas son parte del pilar esencial y son la base para realizar el resto de movimientos y pasos de ballet. Estas posiciones se practican apoyando una mano en la barra de ballet.

¿Quién determinó que son básicas esas posiciones del ballet?
Según la historia, fue en el siglo XVII, en el Ballet de la Ópera de París, primera escuela y compañía profesional de ballet de la historia creada por el rey francés Luis XIV, donde se codificaron las cinco posiciones básicas del ballet. Específicamente fue el maestro de danza de la corte de Luis XIV, Pierre Beauchamp, el que creó y estableció las cinco posiciones básicas de pies y la técnica en dehors.

¿qué significa dehors?
Se considera uno de los fundamentos técnicos del ballet; por lo general, la práctica del ballet orienta la pierna hacia afuera desde la cadera, lo cual es esencial en la colocación correcta de los pies en las correspondientes posiciones.

Dehors: Traduce externo o hacia afuera. En pasos y ejercicios la palabra dehors indica que la pierna, en una posición, bien sea en el piso o en el aire, se mueve en una dirección circular, en el sentido de las agujas del reloj. Si se hacen piruetas, el término indica que una pirueta es hecha externa hacia la pierna que trabaja.

Y ya que como padres y madres responsables de niños pequeños desean aumentar la cultura de sus hijos, estas nociones pueden servir de ayuda en la aventura de iniciar a los pequeños en una clase de danza en casa, aunque siempre es recomendable insistir en la guía y orientación de un profesional en el área para ir más seguros en cuanto a la eficacia de las posiciones y movimientos.
Hoy existe la ventaja de las redes, donde puede solicitar asistencia de profesores expertos en danza para niños y constante comunicación.

Y, lo más importante: ese profesional le va a orientar en cuanto a la música apropiada en la etapa de iniciación y posterior. Ese paso no se puede dejar a la ligera, pues de la música depende que el estudiante se sienta “conectado” con la actividad que esté llevando a cabo.
De modo que es el momento de consultar la apreciación y recomendaciones que les vamos a suministrar para que su adquisición de la música indicada para la clase de danza de sus niños sea la mejor y, por ende, lograr un progreso estimulante en cuanto al entusiasmo de los pequeños por este arte escénico.

Perez Art Museum PAMM

PHOTOGRAPHY BY ADA RIVERA.

Por

AMM

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PHOTOGRAPHY BY ADA RIVERA. LINGUISTICS OF THE LANDSCAPE. THE HEROIC LANDSCAPE.

By Milagros Bello, PhD*

‘Photographs cannot create a moral position, but they can reinforce one—and can help build a nascent one.’ Susan Sontag On Photography

Ada Rivera creates powerful photographs that resignify the linguistics of classical photography. Her photographs, focused on landscape as a genre, establish a game of symbolic references that lead to a critical reflection on nature. Her works, both in black and white and in color, show montages of opposing visual signs, of a landscape in apparent calm and harmony that hides and metaphorizes its crisis in heroic survival. The work shows generic landscapes, unidentified places of tropical references, common to all parts of the planet where the sun prevails as a mobilizing force of the wild fauna and the profusion of groves. In that landscape it shows sceneries that overflow in bucolic forces, – in its luminous sunsets, its flashes, backlighting and silhouetted forms – reminiscences of forgotten paradises, or dream wastelands. However, within this apparent visual harmony appear compelling assemblages, frontal wooden frames that are installed undaunted next to trees or exposed over the infinite panorama of a horizon. Is this nature befallen under the hand of men? In other photographs, there are no industrial assemblages on the landscape but there are superimposed geometries that enigmatically float in the clouds or frame over on the trees; they are geometric structures that the artist has intentionally created with software programs. Radial, crisscrossing rectilinear shapes, squares in movement, create centrifugal tractions, or reclusive quadrature forms, in tensional enclosures that interfere the organic sinuosity of the nature. In both cases, Ada Rivera’s photography resignifies the landscape genre, away from traditional transcription of reality, portraying a landscape as a space of confrontations, and a dwelling of discrepancies. The landscape in this contemporary photography is not a site of complacency and enjoyment but a besieged and captive terrain. Breaking with the melancholia of a romantic landscape, the artist creates a place of socio-anthropological reflections on nature and its regression in this era of the Anthropocene. In Rivera’s photography there are no visual narratives but metaphorical discourses towards a topology of a crisis in the arbitration of the landscape between survival and destruction. The landscape in Rivera’s images is a heroic visual entity that subsists in the collision of investment capital interests and the conscience for preservation, debating between erasure and permanence.

Ada Rivera Naturaleza en Cautiverio II, 2020 — *Ada Rivera Broken Nature Series II, 2020*

Rivera, in her prolific production, has greatly expanded her investigation of mediums to the point to originally adding to her photographic image, the use of neon lights in intercrossing geometric shapes, that superimpose over the image, creating remarkable luminous effects, locating her work into the most contemporary languages of Photography.

Rivera’s work is well established as an aesthetic body of work reflecting solid photographic achievements and skills, a singular way of landscape framing, well-balanced compositions, as well as an accomplished handling of lights, backlights and visual milieux with strong chromatics on the scenes, however, her true artistic contribution lays on Rivera’s envisioning of the landscape as a metaphor for our dealings with the planet and its perilous consequences.

Her work aligns with other voices of women photographers who consciously look at our earth’s current condition and its precarious future in the hands of a civilization project of dubious results.

Ada Rivera Naturaleza en Cautiverio IV 2021 — *Ada Rivera Broken Nature Series IV, 2021*

*Ada Rivera was born in the city of La Vega, Dominican Republic, where at a very early age, she attended various disciplines including painting, sculpture, and music at the Palace of Fine Arts in her beloved town. He studied Design and Decoration at the University “Pedro Henríquez Ureña”, then traveled to Europe where he studied a degree in Fine Arts at the University of La Sorbonne in Paris, adding to this, studies of Painting at the Academy of the Grande Chaumiere. Later she moved to Italy where she continued to broaden her knowledge in Art History and Styles. Afterwards, he studied Art Curatorship at Saint Martin Lane School of Arts, in London.
This long journey through art, has led her to the world of photography, where she formalizes her lifelong passion for this discipline which seeks to share her perception of everything she has learned. Currently, she develops her photographic work focused on the uses of contemporary photography, including the use of neon added to the surface of the photographic work. She has developed a conceptual photography in which she directs her attention to the planet and the transformations of nature in contemporary industrial society.
Ada has participated in countless exhibitions, including two important shows in 2021, Cross Aesthetics and Concurrences/Oblique Views/Art Basel Season, curated by Dr. Milagros Bello at the MIA Curatorial Projects curatorial space in Miami. From September 1 to October 15, he participates in the X Edition of the International Festival of Photography and Video Photo imagen curated by Carlos Acero Ruiz at the Museum of Modern Art in Santo Domingo, Dominican Republic. She will soon exhibit at ARS Contemporáneo where he will continue to present his series on Nature in Captivity.

Ada Rivera Naturaleza en Cautiverio V 2021 — *Ada Rivera Broken Nature Series V, 2021*

This long journey through art, has led her to the world of photography, where she formalizes her lifelong passion for this discipline which seeks to share her perception of everything she has learned. Currently, she develops her photographic work focused on the uses of contemporary photography, including the use of neon added to the surface of the photographic work. She has developed a conceptual photography in which she directs her attention to the planet and the transformations of nature in contemporary industrial society.

Ada Rivera Naturaleza en Cautiverio VI, 2021 — *Ada Rivera Broken Nature Series VI, 2021*

Ada has participated in countless exhibitions, including two important shows in 2021, Cross Aesthetics and Concurrences/Oblique Views/Art Basel Season, curated by Dr. Milagros Bello at the MIA Curatorial Projects curatorial space in Miami.

From September 1 to October 15, he participates in the X Edition of the International Festival of Photography and Video Photo imagen curated by Carlos Acero Ruiz at the Museum of Modern Art in Santo Domingo, Dominican Republic. She will soon exhibit at ARS Contemporáneo where he will continue to present his series on Nature in Captivity.

Ada Rivera Naturaleza en Cautiverio VII 2021 — *Ada Rivera Broken Nature Series VII, 2021*

Ada Rivera Naturaleza en Cautiverio VIII and IX, 2021 — *Ada Rivera Broken Nature Series VIII and IX, 2021*

Ada Rivera Naturaleza en Cautiverio VIII 2021 — *Ada Rivera Broken Nature Series VIII, 2021*

*Curator Dr. Milagros Bello holds a Ph.D. in Sociology with a doctoral thesis in Sociology of Art from Sorbonne University (Paris VII-Jussieu), Paris, France. Dr. Bello is an art critic member of the International Association of Art Critics (AICA). Dr. Bello has curated numerous shows in contemporary art locally and nationally. Outstandingly, in the context of the 59^th Venice Biennale, she curated the exhibition “Americans. Current Imaginaries.” and gave a lecture at Personal Structures/Reflection, in the European Cultural Center, in Venice, Italy. She is an art writer for local and international art magazines, and a former Senior Editor of Arte Al Dia International art magazine. From 2000-2014, she has taught as professor of art in graduate and undergraduate levels at the Florida International University, Florida Atlantic University, Miami International University (The Art Institute/Miami), and the Istituto Marangoni/Miami. Currently, she is the director and chief curator of MIA Curatorial Projects in Miami, former Curator’s Voice Art Projects founded in 2010 in Wynwood Art District, Miami. Dr. Bello is an artist mentor and motivator of young emerging artists.

Perez Art Museum PAMM

Música De Ballet

Por

AMM

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Cómo Se Convirtió La Música De Ballet En Música Clásica

Por Ryan Spooner

El mundo de la música clásica es amplio. A pesar de su amplitud, nuestro enfoque en lo que constituye el canon de lo clásico tiende a ser estrecho. Vemos las sinfonías, óperas, conciertos, y música de cámara de maestros como Beethoven, Brahms y Mahler como las obras maestras del género. Sin embargo, algunas de las piezas de música clásica más reconocibles provienen de otros lugares. El Ballet es uno de esos lugares.

Actualmente, vemos la música creada para ballets de compositores como Tchaikovsky y Stravinsky como obras maestras, pero antes de ellos, la música de ballet era vista como inadecuada para los maestros sinfónicos.

He aquí la historia de cómo la música de ballet pasó de una ocurrencia tardía a una forma de arte – a música clásica que pudo ser apreciada, incluso cuando no había nadie bailando.

Una Breve Historia Del Ballet

El ballet se originó durante el Renacimiento Italiano en los siglos quince y dieciséis. Gracias a la influencia de Catherine de’ Medici, una dama de la nobleza italiana quien se casó con el Rey Henry II, se extendió a Francia, donde se desarrolló aún más. Los bailarines en estos primeros ballets de la corte eran mayormente novatos nobles, no los profesionales con los que estamos familiarizados hoy en día.

La profesionalización de los bailarines de ballet ocurrió bajo el reinado del Rey Louis XIV. Louis fundó la Académie Royale de Danse (Academia Real de Danza) en 1661, para establecer estándares y certificar a instructores de baile.

Durante la mayor parte de su historia temprana, el rol de la música en el ballet fue secundario, con el énfasis principal en el baile. La música era simplemente una compilación de música de baile de salón. Los compositores “serios” eran aquellos que componían sinfonías; los compositores de ballet eran vistos como mucho menos importantes o talentosos que sus iguales.

El Compositor Revolucionario del Ballet

Nadie hizo avanzar la música de ballet como Pyotr Ilyich Tchaikovsky (1840-1896). Antes de Tchaikovsky, componer para ballet se consideraba que estaba separado de las sinfonías. La música de ballet era mucho más directa y fácil de bailar, mayormente creada como un acompañamiento para los bailes. El Lago de los Cisnes de Tchaikovsky revolucionó la composición para ballet; fue la primera partitura creada por un compositor sinfónico.

Inspirado por la innovación de Tchaikovsky, la composición para ballet se volvió más compleja, con la música volviéndose una parte de la actuación por derecho propio. A finales del siglo 19, Marius Petipa, un coreógrafo y bailarín de ballet francés, colaboró con Tchaikovsky en la creación de los ballets La Bella Durmiente y El Cascanueces e incluso ayudó a revisar El Lago de los Cisnes después de la muerte de Tchaikovsky.

La Música de Ballet, a la Manera de Stravinksy

Igor Stravinsky (1882-1971) fue un compositor nacido en Rusia y uno de los más influyentes contribuidores a la música del siglo 20. Alrededor de los 8 años de edad, Stravinsky asistió a una actuación del ballet de Tchaikovsky La Bella Durmiente. Afortunadamente para nosotros, esto comenzó un interés en los ballets de por vida.

Aunque tuvo una larga carrera con una diversidad de estilos, fue la música de ballet la que lo ayudó a lograr la fama internacional. Estos tres ballets, El Pájaro de Fuego (1910), Petrushka (1911), y La Consagración de la Primavera (1913), transformaron cómo pensaban los subsecuentes compositores acerca de la estructura rítmica y le ganaron a Stravinsky una reputación como un músico revolucionario que expandió los límites del diseño musical.

Los Beneficios de la Música de Ballet

Escuchar música tiene muchos beneficios psicológicos. No sólo estimula el centro de placer y recompensa en la corteza orbitofrontal, justo detrás de los ojos, también activa el cerebelo en la base del cerebro, el cual es responsable de nuestra coordinación y movimiento.

Además, la música y el baile son una forma divertida de ponerse en movimiento. La teoría de la música, estado de ánimo y movimiento (MMM) propone que “la música altera el estado de ánimo, es una señal para el movimiento, y hace más disfrutable la actividad física llevando a resultados de salud mejorados de peso, presión arterial, azúcar en sangre y manejo del factor de riesgo cardiovascular, y calidad de vida mejorada.” Así que ¿qué está esperando? ¡Levántese y póngase en movimiento!

Música de Ballet Clásica en Calm Radio

Estamos aquí para ayudarle a ponerse en movimiento. Permita que la elegancia y belleza sonora de las obras de arte de ballet de Tchaikovsky, Stravinsky, y todos los compositores ofrecidos en nuestro canal Ballet le pongan de pie.

Además de buscar música para moverse, tenemos música para meditar, dormir, trabajar, y relajarse. Visite nuestra Guía de Canales para explorar.

Perez Art Museum PAMM

PRINCIPALES COMPOSITORES PARA BALLET

Por

AMM

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PRINCIPALES COMPOSITORES PARA BALLET:

In document Liceo Nuevo Chile. República de Colombia. El Ballet. Monografía presentada como prerrequisito para ser promovidas al grado sexto (página 67-73)

 PYOTR ILYCH TCHAIKOVSHY (1840-1893)

Compositor ruso del periodo del romanticismo, escribió algunos conciertos y música teatral, incluyendo los ballets El lago de los Cisnes, La Bella durmiente y EL Cascanueces. Su familia quería que fuera un abogado, sin embargo abandonó sus estudios y entró al Conservatorio de San Petersburgo en 1962. Fue un gran compositor de música lírica y dramática para el Ballet Imperial Ruso, lo que le valió los honores del zar y una pensión vitalicia. Murió a los 53 años de edad, aún no se conoce claramente las causas de su muerte.

68

Tomada de: wikimedia.org/wiki/Portada

 JEAN BAPTISTE LULLY (1632 -1687)

Fue uno de los primeros compositores de ballet para la corte de Luis XIV. Inició como bailarín y se convirtió en director de la Académie Royale de Musique. Una de sus obras más famosas fue Royal de la Nuit, donde Luis XIV interpreta a Apolo, el dios Sol.

Luis XIV interpretando al Sol en el Ballet de la Nuit Tomado de WWW.saranieto

 FRÉDÉRIC CHOPIN (1810- 1849)

Pianista Polaco, compositor de numerosas obras, no escribió piezas musicales para ballet, pero su música ha sido utilizada por muchos de ellos. La más conocida quizás es Les Sylphides, con coreografía de Fokine. Otros coreógrafos como Jerome Robbins y Ashton utilizaron piezas como: The concert y Dances at a Gathering y Un mes en el país. Su técnica ha sido comparada con la de Mozart, Bach y Beethoven, ya que ha perdurado a través de los tiempos. Sus obras representan el estilo romántico de forma más pura.

69

Única fotografía de Chopin. Se cree que fue tomada en 1849, poco antes de su muerte. Tomada de Wikipedia.

 IGOR STRAVINSKY (1882- 1971)

Compositor y director de orquesta ruso, fue uno de los más influyentes compositores del siglo XX. Sus obras más reconocidas a nivel mundial fueron sus ballets Pájaro de Fuego, Petrushka, Las bodas y La consagración de la primavera. “Para muchos, estos ballets clásicos, atrevidos e innovadores, prácticamente reinventaron el género” (15, Wikipedia). Stravinsky pasa por

tres periodos estilísticos bien definidos. Fue un artista muy dinámico por lo cual se convirtió no sólo en el compositor principal para Sergei Diaghilev de los Ballets Rusos, sino también colaboró con Pablo Picasso (Pulcinella, 1920), Jean Cocteau (Oedipus Rex, 1927) y Georges Balanchine (Apollon Musagete, 1928).

70 Los bailarines de ballet son agrupados por compañías, las cuales tiene un director y se encarga de coordinar el trabajo de los coreógrafos, bailarines, escenógrafos, iluminadores, maquilladores y todos los que entran en juego en el montaje de un espectáculo de ballet. Algunas de las principales compañías de ballet del mundo son:

 American Ballet Theatre (Estados Unidos)

 Ballet Australiano

 Ballet Bolshoi (Ruso)

 Ballet de Nueva York

 Ballet Kirov (Rusia)

 Ballet Nacional de Canadá

 París Opera Ballet

 Royal Ballet (Inglaterra)

La Bayadère – Bayerischen Staatsballett – Foto: Charles Tandy

Ya que en el primer capítulo nos acercamos al desarrollo del ballet en Cuba, por ser uno de los países latinoamericanos, con mayor desarrollo en esta disciplina artística, hacemos ahora una reseña de la compañía del Ballet Nacional de Cuba:

 BALLET NACIONAL DE CUBA

Esta compañía desde 1959, aún como Ballet de Cuba, hizo gira por Sudamérica incluyendo Venezuela, Brasil, Uruguay, Argentina y Chile.

71 En 1960 visitó México para participar en la toma de posesión del Presidente de ese país. En el mismo año se llevó a cabo la celebración del I Festival Internacional de Ballet de La Habana, con la participación de agrupaciones danzarias de varias partes del mundo, y grupos nacionales recién creados, como el Conjunto Nacional de Danza Moderna que fundara el maestro Ramiro Guerra.

En 1960 bajo el nombre de Ballet Nacional de Cuba, y la dirección de Alicia y Fernando Alonso realizaron una extensa gira por los entonces países socialistas, en estos países de la Unión Soviética, Alemania, Polonia, China, Corea, Checoslovaquia, Hungría y Bulgaria, recibieron a los danzantes cubanos en una agotadora pero fructífera gira que les serviría para reafirmar su nivel profesional y su altura artística, comparada con territorios conocedores del ballet y poseedores de compañías y escuelas con tradiciones centenarias.

Para 1964 con motivo del I Concurso Internacional de Ballet en la ciudad búlgara de Varna, donde acudieron Bailarines de todo el mundo; Alicia Alonso fue invitada como miembro del jurado, mientras tanto Cuba estuvo representada por una pequeña delegación con Mirta Plá y Josefina Méndez acompañada por el primer bailarín argentino Rodolfo Rodríguez.

Un logro asombroso, tuvo la delegación de la isla frente a rusos, franceses, daneses, ingleses, búlgaros, italianos, quien se alzó con las medallas de plata (Mirta Plá) y bronce (Josefina Méndez y Rodolfo Rodríguez).

Este logro ante todo, marcó una nueva visión del ballet cubano en la arena internacional. La manera de expresarse a través del movimiento de nuestras bailarinas, dentro del más estricto rigor académico, diferían del resto de las intérpretes; había una sensualidad, una forma de atacar la música, una interacción especial en el baile en pareja que, si bien poseía la individualidad de cada artista, reflejaba la unicidad de un estilo nuevo en el panorama del ballet.

El decano de la crítica danzaria, el inglés Arnold Haskell, presente en esas competencias, llamó a este fenómeno “el milagro cubano”.

72 “Fue en los concursos internacionales de ballet de Varna durante los tres

sucesivos de 1964, 1965 y 1966, cuando empecé a comprender que se había abierto un nuevo capítulo en la historia del ballet, que había nacido una nueva escuela, la escuela cubana, de formación estrictamente clásica, pero con características propias bien definidas”. (Arnold Haskell)

Surgía así el concepto escuela cubana de ballet que no sólo identifica la forma peculiar de bailar del cubano, el modo de acometer los pasos de la tradición académica, sino la estética que refleja –también al decir de Haskell– un

carácter nacional.

Este reconocimiento, producto de años de trabajo de Alicia y Fernando Alonso, y de Alberto Alonso, quien ya había realizado experimentos como Antes del alba (1947) y que para 1965 había producido Espacio y movimiento, verdadero manifiesto coreográfico de lo cubano en lo internacional, sería otro logro de la empresa que los Alonsos iniciaron el 1948 con la fundación de la compañía profesional de ballet y en 1951 con la creación de la academia.

Muchas figuras cubanas han participado en galas y compañías extranjeras, en Paris, en Espartaco, han logrado Premios y reconocimientos uno de ellos fue Fernando Alonso por la obra de toda una vida, Alicia Alonso, por su talento y profesionalismo, el joven Luvien Mederos, la coreógrafa camagüeyana Tania Vergara, los estudiantes de la Escuela Nacional de Ballet Estheysis Méndez, todos con premios por la excelencia artística, Couneux, con medallas de oro y de plata en competencias mundiales.

El 29 de abril, durante la gala por el Día Internacional de la Danza celebrada en el Teatro Mella, le fue otorgado el Premio Nacional de Danza 2008 a la maestra y coreógrafa Lorna Burdsall, norteamericana de nacimiento y cubana por adopción, fundadora y pionera de la contemporaneidad del movimiento danzario en la Mayor de las Antillas.

El primero de enero de 2008, la cultura cubana perdía al maestro Alberto Alonso, uno de los pilares de la escuela cubana de ballet y su principal coreógrafo, a la edad de 90 años, en Gainsville, Florida. Luego durante la VII

73 Muestra de Jóvenes Realizadores, se estrenó en Cuba el documental Danza de mi corazón del creador Ricardo Acosta, sobre su vida, reiterado en el XXX Festival Internacional del Nuevo Cine Latinoamericano. Los eventos del XXI del festival Internacional de Ballet de la Habana inundaron los 366 días de 2008.

La leyenda cubana de la danza, Alicia Alonso, continúa estrenando obras de ballet y aportando en el mundo de la danza de cuba.

El pasado año 2008, ha sido otro año lleno de danza, con logros e hitos pero también con carencias y deficiencias: los estragos de los huracanes que nos atacaron dañaron ostensiblemente muchos teatros de provincia, lo que deprimió la producción y redujo las presentaciones, sin embargo los eventos del XXI Festival Internacional de Ballet de la Habana, inundaron todo el calendario del año. Para este año 2009, la recuperación no se detiene ni la danza cubana se detendrá

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La mejor música de ballet para niños

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AMM

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Una guía completa de la mejor música de ballet para niños

Si su conocimiento de la danza clásica no se extiende más allá de los episodios fílmicos de los grandes bailarines, como Rudolf Nureyev, huyendo de la tiranía soviética, es el momento de ampliarlo y por lo tanto es hora de comenzar su port de bras, que es un conjunto de movimientos básicos o colocación de los brazos, consta de 5 posiciones básicas y se recomienda aprenderlos y desarrollarlos con disciplina.
Pero si quiere aumentar su conocimiento sobre este hermoso arte escénico, es propicio compartir algunos detalles históricos sobre el ballet.
Se afirma que desde el principio, los humanos nos comunicábamos corporalmente los diversos estados de ánimo en acontecimientos, tales como bodas, defunciones, etc. Siempre como rituales o ceremonias relacionadas con las cosechas o las guerras. Con la evolución de las civilizaciones surgieron los instrumentos de percusión y algunos de viento que acompañaban esas danzas rituales.
Pero el ballet, tal como se conoce hoy en día surgió en la Italia del Renacimiento (1400-1600), Gracias a la influencia de Catalina de Médici, una noble italiana que se casó con el rey Enrique II; de allí se extendió a Francia, donde se desarrolló aún más. Los bailarines de estos primeros ballets de la corte eran en su mayoría aficionados nobles, no los profesionales con los que estamos familiarizados hoy en día. Es durante el reinado de Luis XIV, que aumenta su difusión y se crea una escuela de baile en 1661. (Real Academia de la Danza), efectuando, en 1700, una clasificación y codificación de los pasos y figuras, y en 1725 sale a la luz un Tratado de Maestros de Danza, donde se perfeccionan todas las técnicas conocidas para el momento.
Sin embargo, el papel de la música en el ballet fue secundario, con el énfasis principal en la danza. La música era simplemente una compilación de música de baile de salón. Los compositores “serios” eran los que componían sinfonías; los compositores de ballet eran vistos como mucho menos importantes o artísticos que sus compañeros.
El mundo de la música clásica es extenso; y a pesar de ello, el enfoque en lo que constituye el canon de lo clásico tiende a ser estrecho. Se considera obras de Beethoven, Mahler o Brahms como maestras, aunque algunas de las piezas más reconocibles de la música clásica provienen de otros países, como los rusos Tchaikovsky y Stravinsky, con obras hoy en día reconocidas como obras maestras para ballet.
Piotr Ilich Tchaikovsky (1840-1896) fue un creador revolucionario del ballet. Nadie hizo avanzar la música de ballet como él. Antes, la música de ballet era más directa y fácil de bailar, en su mayoría creada como acompañamiento para danzas. El Lago de los Cisnes de Chaikovski revolucionó la composición del ballet; fue la primera partitura de ballet creada por un compositor sinfónico. Gracias a su obra, la composición del ballet se volvió más compleja, y la música en el ballet adquirió preeminencia y se convirtió en parte indispensable de la actuación de los bailarines. A finales del siglo 19, Marius Petipa, un coreógrafo y bailarín de ballet francés, colaboró con Tchaikovsky en la creación de los ballets La Bella Durmiente y El Cascanueces e incluso ayudó a revisar El lago de los cisnes después de la muerte de Tchaikovsky.
Asimismo, uno de los contribuyentes más influyentes a la música del siglo 20 fue Igor Stravinsky (1882-1971); también ruso. A la edad de ocho años, Stravinsky asistió a una representación del ballet de Tchaikovsky La Bella Durmiente, lo que produjo en él una pasión por el ballet que duraría toda su vida. Tuvo larga vida y larga carrera, y aunque con diversidad de estilos, fue la música de ballet lo que lo ayudó a alcanzar la fama internacional.
Estos tres ballets, El pájaro de fuego (1910), Petrushka (1911) y La consagración de la primavera (1913), significaron una reforma para los compositores jóvenes en cuanto estructura rítmica y para Stravinsky el título de revolucionario musical.

La palabra ballet la utilizó por primera vez Balthazar de Beaujoveulx, definiéndola como “una mezcla geométrica de personas que bailan juntas, acompañadas por varios instrumentos musicales” Sin embargo, Bastiano di Rossi lo definió como una especie de pantomima bailada y con música.
Hoy en día, se define el ballet como una forma de danza cuyos movimientos están basados en el control total y absoluto del cuerpo, y se recomienda empezar su práctica desde temprana edad debido a su grado de dificultad. A diferencia de otras danzas, en el ballet cada paso está codificado. Participan invariablemente las manos, brazos, tronco, cabeza, pies, rodillas, todo el cuerpo en una conjunción simultánea de dinámica muscular y mental que debe expresarse en total armonía de movimientos.

Mi niño tiene habilidades para el ballet ¿puedo iniciarlo en casa?
Si puede, aunque el primer paso debe ser tener la música adecuada, y esto es esencial, bien sea que lo esté ayudando a aprender o simplemente iniciarlo en la escucha de los grandes compositores y de la música académica. Pero lo más importante es saber que no cualquier CD clásico le servirá. Es necesario acudir a profesionales que posean una guía completa de la mejor música de ballet para niños, que incluye indicaciones útiles para orientar en cuanto a cuáles ejercicios practicar.

¿Existen piezas musicales para niños pequeños?
Algunas de las mejores obras musicales de ballet para niños tienen piezas ligeras y juguetonas, sin embargo, es recomendable que los niños mayores se beneficien y comiencen a relacionarse específicamente con la música de ballet clásico efectuando la práctica de barre, lo cual es una disciplina que se realiza con el apoyo o soporte de una barra de ballet, y se combina con ejercicios en el suelo.

¿Existen piezas musicales sólo para ballet o sirve cualquiera?
Existen partituras clásicas que fueron compuestas específicamente para la danza, o se han hecho famosas porque los coreógrafos, tradicionalmente las han empleado para ballets; y a efectos de informacíón, hemos hecho una selección de diez de ellas, que fueron compuestas para la danza, esto simplificará su escogencia de la música adecuada para su hijo. Las composiciones de Tchaikovsky: Ballet Suites, con El lago de los cisnes, La bella durmiente y El Cascanueces interpretadas por la Filarmónica de Berlín dirigida por Mstislav Rostropovich. Pero siempre nos preguntamos:

¿Cómo saber que estoy escogiendo una buena música de ballet para niños?
Si es un niño pequeño, una melodía simple y que sea familiar al oído lo anima a comenzar a moverse libremente. Pueden ser canciones de películas de Disney, canciones de rima, se prestan como calentamiento o enfriamiento a movimientos espontaneos, no muy estructurados. Y siempre hay que tomar en cuenta que muchos CD están dirigidos a un público de bailarines adolescentes o adultos, canciones que son diferentes a las adecuadas para una clase de ballet infantil.
Para calentamiento-enfriamiento, es recomendable alternar entre piezas lentas y piezas enérgicas, y en todo caso es bueno preguntarles cuáles son sus canciones favoritas y, si estas tienen buena calidad para ellos, se pueden incorporar a la clase.
Para la práctica en la barra, la mayoría de la música es clásica y tiende a ser piezas cortas. Y muchos CD de música clásica para ballet, incluyen los ejercicios apropiados, enumerados junto a cada pieza.
Si usted apoya el baile de su hijo desde casa y le gusta participar, es importante que antes de comenzar tenga escogida o en mente, una lista de reproducción, y visualizar en la fluidez de su clase, también que busque planes de lecciones de clase de baile para comenzar. Durante el calentamiento, los bailarines pueden necesitar ayuda para redirigir su enfoque y si la actividad es entre amigos, es un buen momento para incorporar música ligera para estirar.

¿Cuáles son los beneficios de la música de ballet?
Es reconocido que el escuchar música tiene muchos beneficios fisiológicos.
No solo como estimulante del centro de placer y recompensa, situado en la corteza cerebral, sino que también activa el cerebelo, que es responsable de nuestra coordinación y movimiento. Aunado a ello, la música y el baile representan una forma amena de ponerse en movimiento, ya que según la teoría de la música, ésta altera positivamente el estado de ánimo, emitiendo una señal para el movimiento y hace que la actividad física sea más agradable, lo que lleva a mejores resultados de salud del peso, la presión
arterial, el azúcar en la sangre y el manejo de los factores de riesgo cardiovascular, y una mejor calidad de vida”.

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IMPORTANCIA DE LA MÚSICA EN LA EXPRESIÓN ARTÍSTICA DE LA DANZA

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AMM

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Mùsica para Ballet

IMPORTANCIA DE LA MÚSICA EN LA EXPRESIÓN ARTÍSTICA DE LA DANZA

Por María Dolores Moreno Bonilla. Profesora de Danza.

La música posee la capacidad de despertar en las personas sentimientos de diversa índole, experimentando reacciones de alegría, melancolía, tensión, relajación etc. Esta misma circunstancia ocurre en el bailarín/a, produciéndole una enorme acción emotiva que le impulsa a expresarse a través de sus movimientos. La música aporta al bailarín/a la fuerza y la motivación que necesita para comunicarse. Pero para que la danza fluya, es necesario realizar previamente un análisis de la música que va a acompañar al movimiento, a fin de identificar aquellas estructuras que van a permitir desarrollar al máximo la expresión y la interpretación del bailarín/a.

Existen una serie de elementos de la música que inciden en el desarrollo de la expresión artística de la danza. Estos son: la melodía, la armonía, el estilo y el carácter.

1. La melodía:

Se puede definir como la combinación heterogénea de los sonidos musicales, o la sucesión de sonidos de diversa altura con la que el compositor expresa un sentimiento. A través del ritmo los diferentes sonidos de la melodía se agrupan unos con otros. El ritmo es importante en la danza, pero no es conveniente bailar sólo a golpe de tambor. La melodía aporta un soporte natural para la expresión y ayuda al uso de la respiración durante la interpretación.

La respiración del bailarín y la melodía actúan como cómplices que caminan juntos en la construcción de frases de movimientos. Una manera de agrupar la melodía es a través de la frase musical. Ésta es una unidad conceptual, que suele constar de ocho compases, aunque pueden tener menos. En danza, se suele trabajar con frases musicales de ocho compases, que permiten realizar frases de movimientos.

Estas frases de movimientos tienen un comienzo, un desarrollo y un final y se realizan respetando las frases musicales. La continuidad en el encadenamiento de cada frase es fundamental tanto para los músicos como para los bailarines y en el caso de la danza, dará lugar a una coreografía.

Los brazos tienen más soltura que las piernas a la hora de ligar los movimientos y de darle continuidad a las frases, es por ello que se les confía la misión de subrayar dicha continuidad.

2. La armonía.

Se define como la adicional textura de la melodía, o cómo la ciencia que estudia los acordes. Un acorde es un conjunto de tres o más sonidos que se oyen simultáneamente.

La armonía sirve de unión entre la melodía y el ritmo, enriqueciendo la melodía y aportándole variedad y carácter. Al bailarín/a le ayuda a ser más consciente de la respiración en los movimientos, mejorando así la calidad de las ejecuciones.

La respiración permite la preparación, el desarrollo y la finalización de los movimientos, la matización de los gestos y de los sentimientos y el encadenamiento de los pasos. Por todo ello la armonía juega un papel importante.

En este apartado nos encontramos con dos conceptos: tonalidad y modalidad.

La tonalidad se puede definir como el producto que se obtiene tras organizar los sonidos de una escala, donde el más importante se llama tónica y da nombre a la tonalidad.

La modalidad es una forma de construir una escala, y va a estar en función del lugar que ocupen los tonos y los semitonos. Puede ser Mayor o Menor.

Tonalidad y modalidad otorgan a la pieza musical un carácter determinado.

Los cambios de modalidad o la transposición en la tonalidad, ayudan al bailarín a sacar fuerzas renovadas para continuar realizando la variación de movimientos. Les otorga un aporte extra de energía muy útil para desarrollar la coreografía.

3. Estilo y carácter.

El carácter es el elemento expresivo que nos va a decir como es la composición musical. Indica qué cualidad tiene: si es alegre o triste, si tiene fuerza o es sensible, etc. Los términos usados para expresarlo son entre otros: amábile , appasionato, brillante, delicato, furioso, tranquilo etc. etc.

Cada instrumento tiene un carácter particular, y al igual que el músico opta por uno determinado para componer, porque es el que necesita para desarrollar el sentimiento que quiere expresar, en danza ocurre lo mismo.

El bailarín/a o coreógrafo busca aquellas músicas que mejor se adaptan al sentimiento que quiere transmitir. Así escoge un piano o un violonchelo o una pieza orquestada o lo que necesite, eligiendo además si lo que le conviene es que esa pieza sea adagio, allegro etc.

Esto es porque la música despierta en el bailarín/a una serie de emociones que le permiten transmitir un sentimiento.

Los estilos de las piezas musicales son diversos y es importante que el bailarín/a los conozca, para poder decidir qué clase de música es la que le conviene para el montaje de su coreografía.

La danza por su parte engloba diversos estilos que son específicos. Cada uno de ellos tiene un carácter determinado y nos indica el ritmo, la dinámica y la velocidad con la que se ejecuta un movimiento.

Es importante hacer coincidir el estilo de la música y su carácter, con el estilo y carácter de la danza que se vaya a desarrollar, a fin de fundir ambas disciplinas en una interpretación rica que llegue al espectador como un todo de expresión de sentimientos.

Todo lo expuesto nos lleva a una reflexión:

La música y la danza son dos disciplinas que necesitan tener algo que comunicar para poder crear o interpretar, y el bailarín utiliza la música como medio para hacer fluir sus sentimientos y comunicarse.

BIBLIOGRAFÍA.

1. Bachmann, Marie- Laure, (1998): “La rítmica de Jacques-Dalcroze”. Editorial Pirámide. Madrid.

2. Challet-Haas, J. (1983): “ Manuel pratique de danse classique”. Editorial Amphora. París.

3. Fuentes, P y Cervera, J (1989): “Pedagogía y Didáctica para músicos”. Piles editorial de música. Valencia.

4. Jay, D.M. y Kassing, G.(1988): “ Teaching beginning ballet technique” Editorial Human Kinetics. Illinois.

5. Orff, C. y Keetman, G.: “Música para niños Vol I”. Edición Unión Musical. Madrid.

6. Robinson, Jacqueline (1988): “ L´enfant et la danse”. Jacqueline Robinson. París.

7. Shinca, Marta (1989): “Psicomotricidad, ritmo y expresión corporal”. Editorial Escuela Española.Madrid.

8. Varios autores, (1979): “Música y Danza para el niño”. Edita Instituto alemán. Madrid.

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9 Steps to Become a Freelance Artist

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AMM

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9 Steps to Become a Freelance Artist (and Crush It) in 2022

Being a freelance artist is shrouded in stereotypes. You’ve probably heard the term “starving artist” enough to last a lifetime.

The truth is the starving artist stereotype is outdated, proven false by millions of freelance artists around the world who are making good money doing work that fulfills them.

I won’t tell you becoming a freelance artist is easy. It takes a lot of hard work and dedication.

But it is 100% possible.

Thanks to the Internet and an ever-growing need for visual content both online and off, there are more opportunities to make money as an artist than ever before.

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Nick’s Notes: Preston Lee contributed this post. Preston is the founder of Millo, an 8-year side-hustle that finally became his full-time business. He and his team help freelancers get clients and grow their business.

If that name sounds familiar, he was featured in episode 300 of The Side Hustle Show!

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Whether you want to become a full-time freelance artist or pursue art as a side-hustle, the world needs the art you have to offer.

This post will outline 10 steps to becoming a freelance artist—with tips and advice that have worked for artists before you.

Here are 9 steps to become a freelance artist in 2020:

Table of Contents show

1. Start with a Business Model

The biggest mistake most artists make when going freelance is failing to understand and decide on a business model.

As a freelance artist, you have two critical jobs:

Make Art
Run (and Grow) a Business

If the second job on the list sounds dreadful to you, I suggest you stop now and look for a job working for a company as an in-house artist. You’re not ready to be a freelancer and run your own business.

There’s no getting around it. If you want to thrive as a freelance artist, you can’t phone in the second job—running and growing your business.

Luckily, there are plenty of ways to make money as an artist in today’s world.

Decide on a Basic Business Plan

You don’t need to put together a 50-page business plan with financials, monthly tasks, projections, and other details. In fact, if you try to start that way, you’ll probably never make the leap to becoming a freelance artist.

But “making art first and monetizing later” should not be your business strategy.

Instead, take time to review ideas on how to make money as an artist and decide on one or two that you’ll pursue from day one.

Deciding on a business plan means determining what kind of work you’ll primarily offer.

Are you a fine artist? A graphic artist? A cartoonist? An illustrator? A musician?

What media do you work with? Are you a digital artist? An environmental artist?

Answering questions on who you are and what you offer is critical in moving on to step two of this process.

2. Find Your First Few Clients

Remember how I said you have two primary jobs as a freelance artist? Well, you literally can’t do the second job (run a business) until you have clients.

Clients are the definitive line between an artist who has a nice hobby and a freelance artist who has a business.

To get your first freelance art clients, start with these simple steps:

Tap Into Your Personal Network

Talk to family, friends, coworkers, fellow artists, and others in your network, letting them know that you’re currently offering work as a freelance artist. New clients will come out of the woodwork if you do this long enough.

Search Freelance Art Job Sites

Depending on the kind of art you want to sell, there are thousands of new job listings for freelance artists on all kinds of sites around the web each month.

For example, a quick search on FlexJobs, LinkedInJobs, Jooble, or Glassdoor reveals art jobs with well-known companies around the world.

(Save 30% on your FlexJobs membership w/ promo code FLEXLIFE.)

Do Some Strategic Pro Bono Work

While you should avoid doing too much work for free, finding the right strategic pro bono work in the early days of your freelance art career can pay off big-time down the road. Try targeting organizations and companies who have robust networks (hello, word-of-mouth referrals) or long-term art needs (great for future paid work).

Finding freelance clients can be a tedious process filled with rejection. Take courage, however, because as you practice, you’ll get better at it and begin to enjoy it more.

3. Build a Basic (but Powerful) Portfolio

As you begin working to find your first few freelance art clients and build a nice solid base on which you can grow your business, it’s time to create a simple portfolio.

Notice, I have emphasized “basic” and “simple” when it comes to creating your portfolio.

As an artist, you’ll have a tendency to want to go overboard with your portfolio—making it the most impressive thing anyone has ever laid eyes on.

And while that could be really great for business (debatable), it will also take a really long time.

The goal of this process is to get your freelance artist career started and humming along quickly so you don’t burn out and give up.

But building a simple portfolio doesn’t mean it has to be weak. Even with just one or two total pages on your portfolio site, you can still create a client-converting portfolio that will grow your business reliably.

With that in mind, here are a few tips I have for building your first portfolio:

Make in Online-Only at First

While your art may be more impressive in person, word can spread faster online which means focusing on your online portfolio first offers some definite advantages.

You can use a service like Wix or Squarespace to quickly and easily set up a nice looking portfolio to get yourself started.

Keep it 1-2 Pages

It can be tempting to create a whole list of pages you want to include in your portfolio:

about me
contact
work
my story
my philosophy
and on and on.

But don’t. In the beginning, keep it simple and reduce your pages to one (or maybe two) that focus entirely on capturing new clients (more on that next).

Focus on Client Conversions

Instead of focusing on how pretty your portfolio looks, make sure you concentrate on whether or not this portfolio will convert site visitors to paying clients.

Avoid any weird dead ends (like light boxes or empty pages) or off-ramps (like social media buttons or blog links) that take visitors away from your primary goal: getting them as a client.

4. Create, Create, Create

Remember I said you had two jobs as a freelance artist? To build your business yes (we’ve been doing mostly that so far) and to make art.

Now comes the time where you make art…a lot.

Start working on projects for the clients you’ve booked and the pro bono opportunities you secured in step 2. These pieces will eventually fill up the portfolio you built in step 3.

Most importantly, the work you do for clients now will lead to future work and word-of-mouth referrals from current freelance clients.

Many new freelance artists are tempted to start with this step: make, make, make. And while you should, of course, have some background in art to know it’s what you want to do for the long-term, far too many would-be freelance artists never actually get their creative business off the ground because they spend all their time on job 1 (making art), and no time on job 2 (building their business).

For this reason, I left “make lots of art” all the way until step 4 when you have the basic foundation of a freelance art business laid and you’re ready to move forward.

5. Deliver a Highly Satisfying Experience

As you continue to balance both jobs of being a freelance artist, you should focus on both sides of your work:

Making perfect art vs. satisfying a client perfectly.

There are dozens of arguments we could get into when it comes to balancing your art with your business.

For example, some artists consider it “selling out” to adjust your creative work based on client feedback. And while that may be fine and good for a well-known fine artist who has paid their dues, it’s a different story if you’re just getting started as a freelance artist.

In the early days of your freelance art business, you’ll want to focus on client satisfaction—sometimes even at the expense of your own artistic taste.

Why?

Because satisfied clients are the bedrock of a solid freelance art business. Satisfied clients refer you to other clients, which ultimately saves you from having to do endless outreach just to find more work.

Constraint Breeds Creativity

If you’re concerned about letting a client have too much say in your artistic process, think of it this way:

Part of the creative challenge of being an artist is to work within the confines of the work itself. For painters, they’re limited to their canvas of choice. For photographers, they’re limited to their surroundings. And for freelance artists, you must work and create within the confines of the client’s creative brief or guidelines.

The more you focus on client satisfaction, the faster your business will grow. And the faster it grows, the more flexibility you’ll ultimately have.

A young freelance artist with no work can’t assert their artistic liberty on a client nearly as easily as a seasoned, high-demand artist who’s booked out for months.

This leads me to my next piece of advice…

6. Don’t Get Too Selective Early On

If you’ve done much research about getting your first art clients, you’ve probably heard more seasoned artists tell you to “raise your rates” or “charge what you’re worth.”

This advice can be harmful.

Why? Because it leads freelancers to get too picky too early.

In the early days of your freelance art career, the key is to get as much business in the door as possible.

While it may be tempting to chase prestige and huge paychecks as a young artist, history tells us that those things are earned over time—not handed out early on as a reward for simply showing up.

Instead of being overly selective about the types of clients and projects you’ll work on, try to take on as many projects as you possibly can. This singular action will help you accomplish a few critical things:

You’ll Learn What You Like (and Dislike)

By taking on a wide variety of projects and clients, you’ll learn what you like and dislike so, later in your career, you can get more picky.

You’ll Build Up a Nice Foundation

If you take on a high number of (maybe) lower paying projects in the early days of your freelance artist career, you’ll be able to build up a nice foundation of both money and experience.

Set aside some of your money so you can, ultimately, begin to be more selective about projects, turning down clients that don’t match your mission.

And set aside your very best pieces into your portfolio in order to land more of the kinds of clients you want.

After you’ve built up a nice foundation of revenue and client projects, you should begin to be more selective about what kinds of clients you’re attracting. Eventually, if done correctly, this is how highly paid freelancers end up raking in big clients.

7. Find Another Round of Clients (and Keep Them!)

You might think I’m sounding like a broken record here: find clients, then find clients, then find clients.

But the truth of the matter is, if you don’t want to end up becoming subject to the feast-famine cycle that eats up so many freelance artists, you have to focus on consistently getting clients in the door.

Here are a few things you might consider doing to continually attract new freelance clients:

Set up alerts on freelance job sites to notify you when new freelance art jobs become available.
Partner with an agency, offering to take on any run-off work for them or their clients.
Nurture and grow your professional network both online (like on Linkedin) and off (like with local meetups).

You’ll quickly find that part of the secret to staying booked out with clients far into the future takes two key things:

A constant flow of new interested clients
A way to convert them to monthly recurring clients (instead of one-off jobs)

For a more in-depth look at how to accomplish both of these objectives, I suggest you read this list of suggestions from 20 pro freelancers who have figured it out.

8. Diversify Your Income Streams

Once you’re humming along as a freelance artist with a steady stream of clients and revenue, you may want to consider diversifying your income streams.

Relying solely on client revenue has its advantages and disadvantages—its biggest down-side perhaps being that it’s all “active” revenue, meaning you only get paid when you’re actively working.

On the flip side, many artists are finding way to generate additional more passive income with their art.

Here are just a few examples to get your mind going:

Turn your best art into merchandise you can then list for sale with tools like Printful or Merch by Amazon.
Use your talent to create digital bundles or other assets you can sell on marketplaces like CreativeMarket.
Use a platform like Udemy or Skillshare to teach courses to other artists who want to learn how to create the kind of art you do.

By diversifying, you’re adding stability and longevity to your business. You’re also giving yourself some wiggle room so you don’t become trapped by creating “just another job” for yourself as a freelance artist.

If you don’t rely 100% on client work, you’re free to take more time off, plan for the future, and get more picky about the clients you do take on.

It’s a major win.

9. Master the Skills it Takes to Run a Business

Just like it has taken you years (and will take you decades more) to refine your skill as an artist, becoming a good entrepreneur or freelancer takes time, hard work, and dedication.

You wouldn’t expect someone to pick up a paintbrush today and immediately paint a masterpiece.

Neither should you expect yourself to become a freelance artist and suddenly run your business perfectly.

It will take time.

In order to do it right, you’ll want to focus on the right skills—the talents needed to excel at business. For that, you can take business courses on Udemy or find a business coach that can help you through the process.

Just like becoming a talented artist, the key is consistency. Stick with it and don’t give up.

Freelance Artists, You’ve Got This!

I’d like to end by telling you what I tell my elementary school art students when I volunteer twice a week:

The world needs your art.

I’m personally saddened by how many people grow up loving art and then ultimately give it up because it’s “not a viable career option.”

Imagine our world without art, without creativity. It wouldn’t be a place I would personally want to live.

Becoming a freelance artist is an incredibly viable and popular way to both put your art out into the world and make a good living. Using the steps I’ve outlined above (and studying other resources), I hope being a freelance artist is a path you’ll consider—and even thrive on.

Good luck. You’ve got this!

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About the Author

Nick Loper is a side hustle expert who loves helping people earn more money and start businesses they care about. He hosts the award-winning Side Hustle Show, where he’s interviewed over 500 successful entrepreneurs, and is the bestselling author of Buy Buttons, The Side Hustle, and $1,000 100 Ways.

His work has been featured in The New York Times, Entrepreneur, Forbes, TIME, Newsweek, Business Insider, MSN, Yahoo Finance, The Los Angeles Times, The San Francisco Chronicle, Hubspot, Ahrefs, Shopify, Investopedia, VICE, Vox, Mashable, ChooseFI, The Penny Hoarder, GoBankingRates, and more.

LAST UPDATED JUNE 25, 2021

7 thoughts on “9 Steps to Become a Freelance Artist (and Crush It) in 2022”

Kayla Burnen November 17, 2020 at 11:46 am

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9 Steps to Become a Freelance Artist (and Crush It) in 2022

1. Start with a Business Model

Decide on a Basic Business Plan

2. Find Your First Few Clients

Tap Into Your Personal Network

Search Freelance Art Job Sites

Do Some Strategic Pro Bono Work

3. Build a Basic (but Powerful) Portfolio

Make in Online-Only at First

Keep it 1-2 Pages

Focus on Client Conversions

4. Create, Create, Create

5. Deliver a Highly Satisfying Experience

Constraint Breeds Creativity

6. Don’t Get Too Selective Early On

You’ll Learn What You Like (and Dislike)

You’ll Build Up a Nice Foundation

7. Find Another Round of Clients (and Keep Them!)

8. Diversify Your Income Streams

9. Master the Skills it Takes to Run a Business

Freelance Artists, You’ve Got This!

Like That? There’s More!

Join the 100,000 Who Get My Best Stuff via Email

About the Author

7 thoughts on “9 Steps to Become a Freelance Artist (and Crush It) in 2022”

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