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Everglades Artists in Residence

Everglades Artists in Residence
“Micropterus salmoides hideaway” archival ink photographic print (edition of 5) 12 x 16 in. / 30.48 x 40.46 cm @ 2020

Artists in Residence in the Everglades (AIRIE) Announces 2023 AIRIE Fellows

Everglades Artists in Residence
Everglades Artists in Residence

Artists in Residence in the Everglades (AIRIE), the South Florida-based non-profit organization that empowers artists to think critically about their relationship to the environment, announces its 2023 AIRIE Fellows.

The 2023 AIRIE Fellows are Atéha Bailly, Germane Barnes, Pierce Eldridge & Ashleigh Musk, Diana Eusebio, T. Eliott Mansa, Sydney Maubert, Gal Nissim, Alejandro Rodriguez, Monica Sorelle, and Khari Turner.

AIRIE believes artists have a unique ability to deepen the connection between communities and the natural world. Over the course of the 2022 and 2023 seasons, AIRIE artists are responding to the prompt “How can we make the outdoors a space of belonging?” during their one-month stay in Everglades National Park.  

“AIRIE fellows are engaging audiences traditionally left out of environmental and climate change conversations, yet disproportionately impacted by these same forces. We are excited to welcome our 2023 cohort of multidisciplinary artists who will continue this important work,” said Evette Alexander, AIRIE’s Executive Director.

AIRIE received more than 220 applications for its 2023 residency program, and finalists were selected by a National Advisory Committee of established artists, scholars, and community leaders.  AIRIE works together with artists to curate an immersive residency experience through excursions and engagements with scientists, park rangers, indigenous groups, historians, and community leaders to provide an in-depth look at this biologically and culturally significant ecosystem, as well as the myriad challenges it faces. 

The 2023 fellow bios and headshots are available in the press kit here. Artists’ bios are also available below. 

About AIRIE 

Artists in Residence in Everglades (AIRIE) is a 501(c)(3) not-for-profit that empowers artists to think creatively and critically about our relationship to the environment with a mission of revealing new paths forward. AIRIE’s immersive residency program provides artists the opportunity to live, research and create inside Everglades National Park, a UNESCO world heritage site currently listed as in danger of disappearing forever.

Through our programs, AIRIE brings art, environment, and racial justice together for a more sustainable and inclusive future. Since 2001, AIRIE has supported the careers of over 190 artists, writers, musicians, curators, and other creatives through full immersion in the park. 

To stay updated on events and exhibitions, or to sign up for our newsletter, visit airie.org. We invite you to connect with AIRIE on Instagram at @airieverglades.

About the 2023 AIRIE Fellows 

Atéha Bailly

Atéha “Jojo Sounds” Bailly is a singer-songwriter, multi-instrumentalist, and producer based in Somerville, MA. He is a Master of Divinity candidate at Harvard Divinity School where he studies music’s role in religious and racial identity formation and the ethics of artistic persona. Inspired by his multiethnic and multi-religious family background, his music blends musical traditions from across the black diaspora to explore life in the interstices of cultures, places, and identities. He is currently working on a collection of songs that consider the relationship between waterways and ideas of migration, home, and homeland. He has also released several projects under the name Jo Atto and was awarded the Kaspar T. Locher Creative Scholarship for his 2016 release Things I See. He is an alumnus of the Boston Children’s Chorus, a member of the Boston-based vocal ensemble Voices 21C, and the bassist for Realized Nation, a music collective that collaborates with Boston nonprofits.

Germane Barnes

Barnes’ award-winning research and design practice investigates the connection between architecture and identity, examining architecture’s social and political agency through historical research and design speculation. Mining architecture’s social and political agency, he examines how the built environment influences black domesticity. Born in Chicago, IL Germane Barnes received a Bachelor of Science in Architecture from the University of Illinois at Urbana-Champaign and a Master of Architecture from Woodbury University where he was awarded the Thesis Prize for his project Symbiotic Territories: Architectural Investigations of Race, Identity, and Community.  Currently, he is an Assistant Professor and the Director of The Community Housing & Identity Lab (CHIL) at the University of Miami School of Architecture, a testing ground for the physical and theoretical investigations of architecture’s social and political resiliency. His work has been featured in international institutions most notably, The Museum of Modern Art NY, San Francisco MoMA, LACMA, Chicago Architecture Biennial, MAS Context, The Graham Foundation, The New York Times, Architect Magazine, DesignMIAMI/ Art Basel, Metropolis Magazine, Domus, Wallpaper* Magazine and The National Museum of African American History where he was identified as one of the future designers on the rise.

Pierce Eldridge

Pierce Eldridge is a curator, dramaturg, and writer based in London, originally from Meanjin. They have been involved in projects for Camden Art Centre, El Warcha, Studio Scilicet, Studio Wayne McGregor, Victoria & Albert Museum, Darwin Festival, Supercell Festival, Bleach Festival, NextDoor ARI, Modern Times, Worms Magazine, MAP Magazine, Fortified Journal, Gillian Jason Gallery, Antiuniversity Now, Pop Up North Queensland Festival. They are a Distinction graduate of MA Curating Contemporary Art from the Royal College of Art London.

Diana Eusebio

Diana Eusebio is a Peruvian-Dominican multidisciplinary artist based in Miami, Florida. In a practice that spans wearable garments, textiles, and photography, Eusebio researches Black and Latinx diasporic stories and Pre-Columbian textile traditions. Her pieces employ color as a means to honor indigenous natural dyeing techniques and recontextualize our reciprocal connection to the natural world. By combining ancestral and modern processes such as natural dyeing and digital textile printing, her work catalogs a powerful record of contemporary Afro-Latinx and Indigenous history. Eusebio was the recipient of the 2022 Green Family Foundation Award. Institutional exhibitions include the Museum of Modern Art in New York, The Hall of Nations in Washington D.C., and the Rubell Museum in Miami. Studio residencies include Anderson Ranch Art Center in Aspen, CO; Oolite Arts’ in Miami, FL; Deering Estate in Miami, FL; and Red Hook Labs in New York, NY. Eusebio holds a BFA in Fiber from the Maryland Institute College of Art.

T. Eliott Mansa

T Eliott Mansa b. 1977 lives and works in Miami, Fl. Mansa received a BFA from the University of Florida (2000) and an MFA from CUNY-Hunter College (2018). Recent exhibition venues include African American Museum of the Arts in Deland, FL,  Miami Museum of Contemporary Art of the African Diaspora.  Mansa has received the 2019 Creator Award from Oolite Arts, a Green Space Initiative Grant, a Young Arts Emergency Microgrant, and a Miami Independent

Artist Stipend Grant. He has attended residencies at Oolite Arts in Miami Beach, and Artpace in San Antonio. His work is in the permanent collection of the African American Museum of the Arts in Deland, FL.

Sydney Maubert

Sydney Rose Maubert is a Miami architect, artist, and professor. She holds post-professional and professional degrees in architecture from Yale (2022) and the University of Miami (2020), with double minors in writing and art. She has received several awards including the Yale Moulton Andros Award (2022), the University of Miami Alpha Rho Chi Award (2020). She is the founder of Sydney R. Maubert LLC., her art and mural practice. Her scholarly research interests are architecture, geography, and cultural production in the Caribbean and American South. The work is largely shaped by black studies, gender studies, decolonial studies, history, and cultural geography. Currently, Sydney Rose is the predoctoral fellow at Cornell’s Strauch Fellowship, where she will be teaching and producing research (Fall 2022- ongoing). Her research explores racial-sexual perception in the built environment. 

Ashleigh Musk

Ashleigh Musk (she/her) is a dancer, choreographer, dramaturg, and community arts facilitator based on unceded Arrernte Country (Mparntwe/Alice Springs) in the Northern Territory (Australia). Her work explores alternate futures to spark conversations around our co-existence with the more-than-human world and our responsibilities in the ecological crisis we have created. Often using industrial materials which are activated in experimental ways, complex relationships are revealed through the handling of these junk-like objects with radical care and tenderness.

Gal Nissim

Gal Nissim is an Israel-born, New York-based, interdisciplinary artist and researcher who investigates human-animal interactions. Nissim’s work has been exhibited at the New Museum, Tel Aviv Museum of Art, Time Square, Pioneer Works, Central Park, New York Hall of Science, Artport Tel Aviv in Public Space, Science Gallery Detroit, GStreamer Conference (Berlin), among others. Nissim has participated in residencies and fellowships with, Artport, New Museum, Science Sandbox, LMCC Creative Engagement, Culture & Animals Foundation, NYFA, Google’s Experimental Storytelling, and the Weizmann Institute of Science for outstanding young researchers. She received her Master’s from NYU’s ITP. Nissim studied at Bezalel Academy of Art while earning her BSc, summa cum laude, in biology and cognitive science from the Hebrew University, Jerusalem. Nissim teaches at Columbia University at GSAAP, and NYU’s Environmental Studies, Animal Studies, and ITP, Tisch. Currently, she is an Innovator in Residence at Rutgers University.

Alejandro Rodriguez

Alejandro Rodriguez is a Miami-based writer, director, and founding Artistic Director of The Peace Studio’s Artist as Catalyst Program. His writing has been featured in collaborations with musicians, choreographers, and filmmakers all over the globe. His first full-length show, Sorry, enjoyed two sold-out runs at the LaGuardia Performing Arts Center (LPAC) in New York, and his earlier work, Now is the Time, was produced three times in NYC including at the Joyce in Chelsea. He has been the recipient of residencies through the Miami Light Project, SPACE at Ryder Farm, Makehouse, and the Center for Innovation in the Arts at Juilliard, as well as grants from the Queens Council of the Arts, CUNY Dance Initiative, and the Miami-Dade County Department of Cultural Affairs. He’s lectured at multiple colleges, is on faculty at The Performing Arts Project, and has carried an adjunct professorship in the CUNY school system. His newest creation, In My Body, a collaboration with the Canadian street dance company, Bboyizm, is currently on tour across Canada and was the recipient of four Dora Awards in 2022 including Outstanding Production. Directing credits include Letters from Cuba and Anna in the Tropics for The Acting Company, Wilder & Wilder for PlayMakers Repertory Company, and many more. He began his career as an actor and performed in theaters across the US such as the Kennedy Center, Lincoln Center, the Guthrie Theater, and the Humana Festival, as well as on television. Formerly, he served as the Associate Artistic Director for PlayMakers, and as Deputy Executive Director for Arts Ignite (formerly ASTEP,) a global nonprofit that delivers art education to over 3000 children annually on four continents. A graduate of Juilliard where he was awarded the Michel St. Denis Prize for outstanding achievement.

Monica Sorelle

Monica Sorelle is a Haitian-American filmmaker and artist born & based in Miami. Her work explores alienation and displacement and preserves cultural traditions within Miami & the Caribbean with a focus on the African & Latin diasporas that reside there. Her photo and video work has been shown in group exhibitions at Oolite Arts and the University of Maryland and supported by Pérez Art Museum Miami’s Caribbean Cultural Institute Artist Fellowship. She has produced and worked as a department head on films for Film Independent, A24, HBO & PBS. Her work has won awards at Berlinale, BlackStar, and Miami Film Festival and has been exhibited at Sundance, New Orleans Film Festival, and Criterion Channel. Monica is a member of Third Horizon, a creative collective dedicated to developing, producing, exhibiting, and distributing work that gives voice to stories of the Caribbean, its diaspora, and other marginalized & underrepresented spaces in the Global South. Currently, Monica is completing post-production on her feature film directorial debut Mountains as an Oolite Arts’ Cinematic Arts resident.

Khari Turner

Khari Turner (born in 1991) is an emerging artist from Milwaukee, Wisconsin. Khari is currently living in Brooklyn, NY after finishing his residency in Stockholm, Sweden with CFHILL gallery. His early inspiration was his grandfather that worked as a draftsman drawing small images that Khari would recreate at an early age. Growing up in Milwaukee, his landscape consisted of vast nature and dense cityscapes fighting amongst a city well known for its continued segregation. This created a relationship with Black people, water, and his environment that plays a major role in his work now. He currently takes water directly from different bodies of water including the Pacific and Atlantic oceans, his hometown’s Lake Michigan, and Milwaukee River water. He incorporates them in the work either mixing the water with paint or pouring directly on the surface of the work. His aims are to eventually start work directly related to water health, environmental conservation, and bringing art to low-income neighborhoods.

Exhibit New Paintings by Raúl Cerrillo

Raúl Cerrillo
Raúl Cerrillo

Visu Contemporary to Exhibit New Paintings by Raúl Cerrillo

The Artist’s First Solo Exhibition in Miami

Jan 21-Feb 25, 2023 — Opening Sat, Jan 21 – 6-8 PM

Visu Contemporary is pleased to announce Raúl Cerrillo’s Inner and Outer Worlds: Finding Balance as the next exhibition in the gallery at 2160 Park Avenue and 22nd Street, Miami Beach. 

This is the artist’s first one-person exhibition in Miami and will includes over 25 new paintings, full of energetic use of color, texture and narratives with various combinations of oil, enamel, spray paint and collage- creating what Cerrillo describes as, “a perfect balance between the conceptual subject and the plastic and chromatic expression.”

In this show you will find paintings clearly influenced in expressionism and the CoBrA movement that break from the traditional rules of composition, figuration and abstraction. 

Cerrillo has always been interested in the challenge of finding his center. His paintings bridge the two worlds we live in: the inner spiritual, and the outside aesthetic and artificial (ying yang). In these recent works viewers can see paintings depicting astronauts in yoga poses which evoke the idea of balance — as well as other paintings impregnated with a sense of personal and recurrent iconography. 

Raul Cerrillo (Mexico City B.1977) is a multidisciplinary artist primarily known for his large-scale thick energetic paintings.  He is focused on finding and creating new paradigms for understanding the mystery of our past mother ancestral cultures with the future of our contemporary technological era. His work transits from a neo-baroque figuration to a visceral and immediate neo-expressionist abstraction with the consistency of distinctive simple archetypal symbols creating a subjective narrative for the spectator. He conceives his work with vast layers of paint and meaning, as his way of understanding the conformation of individuality and life itself through layers and layers of experience as a consequence Raul´s body of work reveals a tremendous amount of evolution in practically all aspects of his craft: style, medium, composition and subject matter. 

Cerrillo trained at the National School of Art “La Esmeralda” (where Frida Kahlo and Diego Rivera taught) in Mexico City. He has had individual shows in most of the major cities in Mexico and his work has been part of collective exhibitions in Austin, Dusseldorf, Hamburg, Barcelona, Milan, Paris, Venice and London. His paintings have been awarded numerous grants and awards, as well as honorable mentions. In 2018 he received the Mexican National Award for Painting “Alfredo Salce”.

Visu Contemporary is an artist first gallery where emphasis is placed on quality and presentation. VISU Contemporary’s mission is to contribute to the art history canon by presenting provocative and inclusive exhibitions, projects, installations, collaborations and performances with the goal of making each exhibition a must-see, while inspiring curiosity and intrigue from every visitor. 

#Visu Contemporary 

Raúl Cerrillo, Inner and Outer Worlds: Finding Balance

VISU CONTEMPORARY 2160 Park Avenue, Miami Beach

Opening – Meet the Artist – Jan 21, 2023, 6-8 PM

Jan 21-Feb 25, 2023

Call for Submissions, TIJUANA TRIENNIA

Big Bang Mirror
Big Bang Mirror

Open Call for Submissions

TIJUANA TRIENNIAL: 2. PICTORIC INTERNATIONAL ART

Tijuana Cultural Center
July 2024 – February 2025

First Call

The Tijuana Cultural Center, CECUT, an organism from the Ministry of Culture of Mexico, invite the international artistic community to participate in the public contest with artworks or projects that use the pictorial as a starting point to explore other poetics, new issues and drifts that allow the build-up of different aesthetic models.
The call´s objective consists of not being repetitive inside the creative tradition, trusting only in the figurative representation as the do-over of the plastic formalist components. The goal is to pursue the pictorial sense inside the disruptive as an image that expresses transformation and invites to implementation of hybrid strategies that stimulate a two-directional dialogue with the spectator.
The Triennial accepts the pictorial, recognizing its metamorphic, recursive, controversial, experimental, resurgent, unsolved, (in)tense, and ultra-dialectical nature. The pictorial can be expressed as a visual, tactile, auditory, static, or dynamic manifestation to build with certainty or uncertainty, with regular or vague, offering distinct perceptive opportunities and awake other insights, encouraging to speculate to not conforming and never to become an unmovable postulate. It also considers the significance of disassociating from rules that standardized contests since this action limits the creative potential. In this manner, The Triennial seeks to liberate the art from the restraints of formats, space, and supports, allowing the opportunity to think in the interdisciplinary and multidisciplinary to a new creative independence.
In the spirit of liberation, democracy becomes a necessary referee to determine how to imbue the process of selection and award of the contest’s entries with certainty and trust. For that reason, the first step is to have the participation of a curatorship foreign to our context, avowed for its critical and ethical soundness that will select the entries that will become the Triennial exhibition without bias. As a second step, to determine with fairness the first-place award and honorable mentions through a three-part voting system (curator, participants, and popular vote) in which the sum of two or more coincident votes will allow to establish the awards; all of this under the scrutiny and legality of a certified public notary.

Guidelines

Participants

1.- All artists over the age of 18 of any nationality can apply to this call. (The only people excluded from participating will be the government officials, professional service providers of the Secretariat of Culture, and officials disqualified by law)
2.- Only one pictorial proposal will be accepted per individual and/or collective.
3.- Submitted artworks must be finished or be an in situ art-installation project, which must be thoroughly described in the application format.
4.- Submitted artworks must have been elaborated during 2021–2023 and, if it’s an in situ art installation, these must be able to be completed, at least, five days before the exhibition’s opening day.
5.- Submitted artworks must be original creations and should not have participated in any previous contest or exhibition, nor participate in any other contest at the same time. Infringe upon this guideline Violating this rule is penalized with an automatic disqualification.
6.- There are no restrictions in formats or dimensions. The only limit is to be able to complete the artwork, as it is proposed, in the given space.

Procedure for the submission

This call will remain open from the day of its publication in the official digital channels of the Secretariat of Culture (cultura.gob.mx/convocatorias), and CECUT (trienal.cecut. gob.mx/en/calling/), until April 28th, 2023.
Applicants must send an email to the following address: [email protected], up until April 28th, 2023 with the following documentation in a single PDF file titled as: Trienal de Tijuana – Artist’ full name

1.- Personal data (full name, artist name, email, address, and telephone with zip codes and local area codes).
2.- Copy of an official current ID.
3.- Title of the artwork or project.
4.- Characteristics of the artwork: technique, materials, size (in centimeters), weight (in kilograms), and year of elaboration; technical need for its installation and, if it’s an in situ art-installation project, the specific description of the technical needs for its installation and estimated time to produce it. If it’s a polyptych, attach the final disposition of the pieces and, if necessary, an instruction manual to its proper installation.
5.- Statement of the artwork (maximum 4,000 characters).
6.- Individual curriculum summary (maximum 6,000 characters). If it’s a collective project, the concept or trajectory as a group and a curriculum summary of each member must be presented.
7.- Three to five images of the artwork that clearly shows the shape, volume, and dimensions. If possible, one of the images must be taken showing the final position of the artwork and using the same material needed for its installation.
8.- In the case of a proposal for an in situ art-installation project, sketches with the final measures and a work schedule must be included.
9.- Production appraisal* of the artwork or project in USD to cover the transit insurance.

*The production appraisal is the approximate value of the artwork, or the cost invested to produce it. It will always be less than the retail appraisal and it allows to acquire a less expensive transit insurance.

Procedure for selecting the finalists

1.- Starting from the publication of this call, the Curatorial Committee will be formed, and its members will be announced at the right time.
2.- In response to the global demand for gender equality in the art world, this Curatorial Committee will choose, at least, 50% of female artists, with special emphasis on the diversity of gender identities.
3.- The selected artworks will reflect the current state and innovation of the pictorial, as well as the technical and thematic diversity.
4.- The selected artworks will be published on the official website of the Triennial, on October 20th, 2023.
5.- The Committee reserves the right to exclude any artwork that does not faithfully correspond to the images sent or that does not have the proper documentation attached and/or in the requested format. Any author who submits two or more artworks will be automatically disqualified.
6.- If the selected artworks or project is conceived to be exhibited outside of CECUT facilities, as urban art projects —either art-installation or in situ works—usually are, CECUT will inquire and process the permits needed to the proper government instances, who will decide the acceptance or rejection. If the permit is not granted, CECUT will notify the participant to search for other options.
7.- Because it’s exposed to the environment, all urban art projects will be exposed to the natural damage done by atmospheric phenomena and climate, as well as ossible vandalism. CECUT is not responsible for this kind of contingencies and the participant accept such things can happen the moment it sends its proposal.

Shipment

1-. Selected artworks must be properly physically sent from 9:00 to 14:00 hours, in business days between November 6th, 2023 and March 1st, 2024, to CECUT’s address: Paseo de los Heroes 9350, Zona Urbana Rio Tijuana, Tijuana, Baja California, Mexico, 22010 (zip code).
2.- The artworks must be sent properly packed in a wooden box or crate that fulfills phytosanitary international regulations, completely immobilized and isolated to prevent damages, with its lid screwed on to allow that the same package is used to return the artwork when the exhibition is over.
3.- The author must cover the shipping costs of its artwork, and it must purchase transit insurance, which should be acquired using the production appraisal as the base value.
4.- In the case of artworks that require specific electronic components (such as adapters, cables, batteries, etcetera) the participant must include them in the shipping, as well as a replacement if the component has an expiration date.
5.- If the packing does not comply with the stipulated safety features or it arrives damaged because it does not follow the instructions above this paragraph, the Tijuana Triennial organization will not be responsible for its restoration and keeps its right to exclude them and have them returned to the author, at his or her expense.
6.- Once received and reviewed for good status, CECUT will insure each artwork from its arrival until its return to the author at the end of the exhibition.

In situ art-installation projects

1.- CECUT will be responsible for the installation of all artworks, except the in situ art-installation projects, whose value resides in the manual labor and the care of the author. The artist is responsible for the installation of this kind of project and he or she must come to CECUT —during business hours and days— to complete it, at least five days before opening day.
2.- Artists must solicit the dates they will require to work on their piece inside the facilities, which will be reviewed by the Tijuana Triennial organization in order to accommodate them. The stipulated time frame to complete the artwork cannot be exceeded, except a major emergency occurs.
3.- The artist must cover the cost of his or her travel and lodging and should comply with the safety measures and technical possibilities of CECUT.

Return

1.- The selected artworks will be returned once the exhibition is finished. CECUT is responsible for the return of the artworks, and they will be shipped back using the same container/packing used by the author and through a shipping company designated by CECUT.
2.- An exception will be made to urban art, in situ art-installation projects, murals or any piece that, given its ephemeral nature, does not require to be returned.
3.- The winning artworks will become part of the CECUT collection and part of the organization’s patrimony

Award selection process

In a spirit of democracy, criticism, and reasoning, the organization establishes that the process to choose the selected artworks that will form the exhibition will be in the hands of the chief curator, invited for that purpose; and the process to choose the winning artwork and two honorary mentions will be based on a triple vote:

Curatorial vote

A second curator will be invited exclusively for this stage, and he or she will select the artworks that fulfill the spirit of the event and he or she considers had merits to be acknowledged with the prizes.

Participant vote

Each selected artist or collective will have one vote to select an artwork, refraining from voting for themselves, according to an agreement of procedure, confidentiality, and ethics that will be signed in due course.

Popular vote

The public may vote electronically on the official website of the Triennial. If at least two of these three votes coincide, the artwork that had more votes in these coincidences will be declared the winner, and in descending order the two honorary mentions will be awarded. These decisions will be backed, always, by a certified public notary.
If there is no coincidence in the votes or in case of an eventuality disrupts the process, the organization will meet again, under the scrutiny of the public notary, and will decide on publicly and with a sustained reasoning, the controversy, seeking to be as transparent as possible at all times

Awards

To encourage participation and recognize the work of artists, the organization —in accordance with the unappealing ruling of the jury and with the ethical confirmation of the designated notary— will deliver the following incentives through a bank transfer in Mexican pesos or the equivalent to another currency:

First place:

$ 1,000,000.00 (one million pesos) (MXN).

Two honorable mentions:

$ 250,00.00 (two-hundred and fifty-thousand pesos) (MXN), each.

Winners must have a bank account in their name in which the payment will be made, submit their documentation for registration in the Accounting and Budget System (SICOP) and the Federal Integrated Financial Management System (SIAFF).
Payment will be deposited in the account once the corresponding procedures are completed.

Opening day and award ceremony

The opening day will be on July 26th, 2024 in the facilities of CECUT.
The award ceremony will be on August 23rd, 2024, at 18:00 hours in the facilities of CECUT.
The selected artworks will be exhibited from opening day until February 2025, at they cannot be removed from the exhibition, unless CECUT gives a precise and justified decision.
Note: CECUT is not responsible for any damage that the artworks suffer because of the quality of the material used in its production; however, it will try to repair the damage, to the extent of its abilities and possibilities, in accordance with the author.

Use of personal information

By participating in this call, the author gives authorization to the Tijuana Triennial organization to reproduce the images of its artwork and the information of its curriculum vitae on the platforms they deem appropriate.

Observations

The rules and guidelines of this contest are accepted by the applicants at the time of sending their application to this call.
Any circumstance not foreseen in this call will be resolved by the organization, together with the Award Jury, as the case may be.

For more information, please contact:
[email protected]
Phone: +52 664 687 9652

trienal.cecut.gob.mx

Call for Submissions: Language | English

Convocatoria abierta: Language | Spanish

INTERVIEW WITH FRANCISCO CERON/THE SOUL OF THE CITY

Francisco Ceron NY 19
Francisco Ceron NY 19

INTERVIEW WITH FRANCISCO CERON/THE SOUL OF THE CITY

By Dr. Milagros Bello/art critic/curator*.

Francisco Cerón proposes a contemporary figurative work of urban references. His work intertextually recomposes the icons of the cities he visits in a mixture of American pop culture, pre-Columbian art, and Colombian figurative art. In a compendium between the classical and the contemporary, his work projects neo-cubist decompositions, in his way of fracturing and recomposing the symbolic figures of the city, but also draws on snapshot images, creating new figurative patterns that emblematize the urban and today's society dominated by consumerism and commercial icons.

Cerón was born in the city of Pasto, Colombia in 1968. He studied at the Escuela de Bellas Artes Antonio María Valencia in the city of Santiago de Cali, Colombia and in 1993, he obtained a degree in Graphic Design. That same year he founded in Cali his graphic design company, "Objetivo Grafico". In 2000 he moved to the United States and settled in Miami, Florida, where he began to experiment with art media. In 2007 he studied Marketing and Business at the University of Miami. In 2008, she decided to launch herself as a professional visual artist and found in Pop Art an ideal space for her creations thanks to the graphic nature of her work. This same year he exhibits in galleries and events and presents his first solo exhibition at Unilatina International College in Davie County. At the same time Francisco Cerón continues with his design and marketing company. He obtained a specialization in Neuro Marketing at the University of Barcelona, Spain and received his PhD from the University of California in subconscious studies and clinical hypnosis. He has participated in important international art fairs and museums such as Palm Beach Art Fair, Art Wynwood, AQUA Art Fair, in Florida; Beijing Art Expo and Shanghai Art Fair in China; Art Monaco in Monaco; World Tour Exhibition in London, UK; International Art Fair, Dubai; Museo de Arte de Monterrey, Casa Grau, Colombia. Francisco Cerón's work captures the "soul of cities" through the antithetical use of visual media. He currently lives in Cali, Colombia.


Milagros Bello: In your beginnings, how were your first artistic experiences? How did it reveal to you that you are an artist?

Francisco Cerón: From a very early age I stood out for my drawings compared to my preschool classmates and later in school they were already more complex and elaborate drawings, I think that since that time I had already decided what I wanted to be. While preschool children made simple drawings of trees and houses, mine were panoramic views of cities with helicopters in the foreground, spaceships, balloons, airplanes, and other details.

My story goes back to my childhood, I was born with a shorter Achilles tendon in my left foot and for that reason I underwent several surgeries as a child. Of course, this prevented me from walking for a long period of time, but during this time I could only sit and the best thing my family could do for me was to give me pencils, crayons and paper and that changed everything. I know I was sitting there all the time, but my thoughts and my creativity were never there, they transcended with each drawing, traveling outside those four walls, visiting unimaginable worlds, creating at my own pace, and perfecting day by day my strokes and my skills as an artist.

I am curious by nature and that led me from painting to explore the third dimension of sculptures and from there to the fascinating assembly of installations. I believe that the artist should not stay on a single plane.

Francisco Ceron Roma
Francisco Ceron Roma

MB: How were the beginnings of your artistic career?

FC: When I was trying to find the career that best suited my tastes, I stumbled upon graphic design at the Conservatory of Fine Arts in Cali. This place was a total cultural center, we had ballet, performing arts, plastic arts, music, and graphic design, but the best thing is that all careers had to do with each other and in that environment of art, culture and bohemia I connected with visual art. Those who know me tell me that I never grew up and that I am still that child drawing at ease, lost in his own world and in his own time, creating and inventing without stopping. I am passionate about art and creativity. My spirit needs to be creating and inventing, sharing my vision to others. It's what I came into this world to do. My values, my thoughts and my attitude are in each of my works, always positive, vibrant and full of life and color. I believe that the artist puts his energy into his work and this work comes to life and that is the reason why each work has its own feeling.

Francisco Ceron Puerto Resistencia
Francisco Ceron Puerto Resistencia

MB: Who are the main artists you identify with in art? Why? Explain

FC: My impact references go back to the avant-garde of the 20th century, the century where I was formed. Although previously, Van Gogh visually resonated with me in his raw and frontal use of colors and impasto. But Picasso was one of the great references for me. I connected with him because of his visual acuity and his ability to create stages, always innovating without limitations or measures. For me he was an artist who broke the rules, an artist unafraid to create and determined to believe in himself without caring about anyone or anything. Cubism broke with the notion of composition, and that is a radical reference in my work. The freedom with which Picasso recomposes a face or a still life fascinates me. His radical geometrism was an artistic guideline for me. Then other models of rupture of the sixties also had an impact on me. Andy Warhol with his graphic handling of figures, his viral printing techniques and his use of contrasting flat colors. I was impressed by his daring to create anti-themes, such as the Campbell can, or the chromatic Marilyn that stopped being real, to become a referential illusion of an old photograph found by Warhol in a newspaper; Roy Lichtenstein amazed me with his use of comics and showed me new ways of expression; Keith Haring with his graphic simplicity, made me reflect on how repetitive and interactive lines can evoke powerful visual worlds. With Takashi Murakami I understood how the legacy of American Pop took shape in the new avant- garde expressions of Japan. These creators opened new doors allowing me to make profound reflections on the methods of art.

Francisco Ceron Pasto
Francisco Ceron Pasto

MB: You have gone through different stages in your artistic career, from illustration, painting, sculpture, photography, installation, creating different creative optics. Now you are creating a stage that is more in the field of digital art. Tell us about this digital work.

FC: I think this stage came at the right time to make the most of it. After having traveled to different places I could not pass up the opportunity to show the world my vision of each city I visited. So, one day I decided to do something with the thousands of photographs I had saved, willing to compress them all and form a single image that would reflect the spirit of each city.

The “soul of the city” as you call it.

At first it seemed an impossible task without going through the classic collage, but little by little the structure was revealed that would allow me to reconstruct each city in the manner of a visual puzzle in which I inserted fragments of different photos taken in the city I was visiting. It was a process in time. I would decide where I was going to go, and when I arrived in the city I would start to walk through it without a specific plan, discovering corners, streets, people, events, shop windows, banners, water, bridges; everything that appeared selectively before my eyes. It was a visual journey of free discovery; I visited the typical tourist sites, I retraced them, but I also went into unexpected places, I saw new angles. The process in each city was an artistic experience but it was also an existential experience. It meant connecting not only with the material appearances but also with the essence of the places visited. If you will, it was the photographer's eye, cropping, framing, capturing, but it was also the intuitive search to find unseen angles, which guided me to concentrate on the overall vision that defined that city.

Francisco Ceron-911
Francisco Ceron 911

MB: This digital series about the soul of cities, which you call "City Icons", you work with intertextual images, combining the iconic of the city with unexpected discoveries. Tell us more about your method that goes beyond the simple collage.

FC: In my "City Icons" work, I visit each city and extract from it its essence in photographs, its color, its flavor, its music, its people, its means of transportation, its architecture, fauna, nature and details that go unnoticed by its inhabitants such as manhole covers, traffic signs, graphics, advertising signs, phrases written on walls, among many other things that make up the graphic life of that city and of course the most touristy and visited places. I then review all the photographs and begin to create an unpublished image of that city. Hundreds of digital photographs are compressed between silhouettes, shapes, details, backgrounds, colors and textures to achieve the construction of a visible and recognizable city in its essence, full of details that the viewer recognizes and reconnects with, a city that tells its story graphically, in colors and shapes but at the same time is neither unitary nor homogeneous. The process was to select from the thousands of shots, those that could fit into the visual “puzzle” wanted to achieve. Using different digital techniques, I was recomposing, assembling, structuring, fragments creating a new visual whole. This is an ongoing process, which will generate new directions. I still feel that I am rediscovering this technique, and I know that there is still a lot to create and to share.

Francisco Ceron-911
Francisco Ceron City Hall

MB: Which are the cities that have moved you the most. Tell us about a striking experience related to your creation.

FC: Undoubtedly it was one of the last creations, “Puerto Resistencia”made in Cali, Colombia. Cali is my beloved city, Cali is rooted in my heart, and this work, which represents many mixed feelings, was transcendental because of its social and historical importance in the city. “Puerto Resistencia”artistically transcribes an event that should never be repeated. Between April and July 2021 there was a social and political outbreak in Colombia which I was able to experience firsthand in the city of Cali. I saw all the atmosphere of war, the confrontations, the unrest that was generated. The city was burned. At the site of Puerto Rellena, now called Puerto Resistencia, a sculpture of between 13- and 15-meters high was erected, a sculpture in the form of a forearm and hand, based on the Holocaust memorial in Miami and representing the hand of Kay Kimi Krachi, Mayan god of battle. In the hand a banner bearing the word “Resist ‘ as the symbol of resistance of many people, and in homage to all the blood that flowed in Cali. Puerto Resistencia was one of the sites of greatest concentration of demonstrators. For some it is the representation of the horror of death, war, disillusionment, lies, loss, hypocrisy, poverty, abuse, power and all the low human feelings that can be carried in critical historical and social moments such as this one; for others, it is the representation of struggle, hope, change and resistance. Two currents of strong emotions that accompanied that moment. Between the pain of loss of life and despair, and at the same time the feeling of hope and achievement. In my work, I based myself on the photograph of the monument, and added in the background, human faces and scenes that symbolize the spirit of man in the face of his vicissitudes. In this work I capture the moment of the event, the social and human essence of what was experienced. As an artist, this work represents another type of visual inquiry, capture the essence of a city in combustion and crisis.

Francisco Ceron-Medellin
Francisco Ceron Medellin

MB: You have developed utilitarian objects in which you have included images of your works. Tell us about it.

FC: I call this art object project “Canvas in Motion” because, following the guidelines of Andy Warhol, Keith Haring, and Takashi Murakami, I have created an imprint of my work on travel objects such as bags and suitcases. These are imprinted with the image of my cities, and “travel“ along with the travelers to their various destinations. These suitcases were bought by normal people, to travel, to move around. These suitcases appear spontaneously in airports, streets, hotels, houses and cities, as moving canvases projected in the different environments, transforming the landscape, and surprising passers-by who discover the signs of the cities, projected in unexpected ways. “Canvas in Motion” aims to expand art to places outside of galleries and museums.

Francisco Ceron-MIA
Francisco Ceron MIA

MB: What are your plans for the future?

FC: At the moment, I continue to create new proposals for the “City Icons” series. I’m still in the process of re-inventing images. I’m also continuing to delve into new technological media. For the near future I am continuing my travels to iconic cities around the world and also expanding to the Middle East and Asian countries. But I’m taking another approach, creating a focus on ecology. I am interested in emphasizing the environment and climate change, now undeniable. My work should become a voice of awareness of our current situation.

www.ceronart.com https://ceronart.com/exhibiciones/

Francisco Ceron New York City
Francisco Ceron New York City

*** Curator Dr. Milagros Bello holds a PhD in Sociology with a doctoral thesis in Sociology of Art from the Sorbonne University (Paris VII-Jussieu), and a master’s in art history, from the Sorbonne University (Universite de Paris I) both in Paris, France. She obtained a B.A. in Psychology, specializing in Clinical Psychology, from the Universidad Central de Venezuela, and followed master’s courses in Family and Individual Counseling in her home country, Venezuela. Dr. Bello is an art critic member of the International Association of Art Critics (AICA), and a member of the National Federation of Psychologists of Venezuela. She is an independent curator and currently directs MIA Curatorial Projects (former

Curator's Voice Art Projects founded in 2010 in Wynwood Art District, Miami). From 2010 to the present, Dr. Bello has curated numerous exhibitions of contemporary art nationally and internationally. Notably, in April-November 2022, as part of the 59th Venice Biennale, she curated the exhibition “Americanos. Current Imaginaries”, which was on display until November 2022 at the European Cultural Center in Venice, Italy. On June 30, 2022 she gave a lecture on the same topic at Personal Structures/Reflection, at the European Cultural Center, in Venice, Italy. She is a lecturer at museums and art institutes; art writer for local and international art magazines, and former editor-in-chief of the art magazine Arte Al Dia International. For fourteen years, from 2000 to 2014, she has taught as a professor of art in various theoretical areas of specialization, such as Critical Theories, Art History, History of Modern and Contemporary Photography, Sociology, graduate and undergraduate levels at US universities, Florida International University (FIU), Florida Atlantic University (FAU), Miami International University (The Art Institute/Miami), and Istituto Marangoni/Miami. She is currently the director and chief curator of MIA Curatorial Projects in Miami. Dr. Bello is a mentor and motivational coach for artists. @milagrosbellobcurator @curatorsvoice E: [email protected]

JEAN MICHEL BASQUIAT

Jean Michel Basquiat
Jean Michel Basquiat

JEAN MICHEL BASQUIAT

Brooklyn, New York, United States

1960 – 1988

“If you wanna talk about influence, man, then you’ve got to realize that influence is not influence. It’s simply someone’s idea going through my new mind.”

                  – Jean-Michel Basquiat

Jean-Michel Basquiat (b. 1960, New York – d. 1988, New York) is widely considered to be one of the most important artists of the late twentieth century. As a young adult, Basquiat experimented with street art and became well known by the moniker SAMO in the downtown art scene in New York City. In 1981, he was included in a groundbreaking exhibition at MoMA’s PS1 outpost in Long Island City, titled “New York/New Wave.” Throughout his brief and glamorous career, the artist explored issues of black identity in America, colonization and consumerism.

Jean-Michel Basquiat was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement. 

Wikipedia
Born: December 22, 1960, Brooklyn, New York, NY
Died: August 12, 1988, Great Jones Street, New York, NY
Periods: Contemporary art, Neo-expressionism, Primitivism
Buried: November 3, 1988, The Green-Wood Cemetery, New York, NY
Siblings: Lisane Basquiat, Jeanine Basquiat, Max Basquiat
Parents: Matilda Andrades, Gerard Basquiat
On view: UCCA Center for Contemporary Art

Jean-Michel Basquiat (b. 1960, New York – d. 1988, New York) is widely considered to be one of the most important artists of the late twentieth century. As a young adult, Basquiat experimented with street art and became well known by the moniker SAMO in the downtown art scene in New York City. In 1981, he was included in a groundbreaking exhibition at MoMA’s PS1 outpost in Long Island City, titled “New York/New Wave.” Throughout his brief and glamorous career, the artist explored issues of black identity in America, colonization and consumerism.

Jean-Michel Basquiat was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement. 

Jean-Michel Basquiat’s contributions to the history of art and his explorations of multifaceted cultural phenomena––including music, the Black experience, pop culture, Black American sports figures, literature, and other sources––will be showcased through immersive environments providing unique insight into the late artist’s creative life and his singular voice that propelled a social and cultural narrative that continues to this day.

Organized and curated by the family of Jean-Michel Basquiat, this exhibition of over 200 never-before-seen and rarely shown paintings, drawings, multimedia presentations, ephemera, and artifacts tell the story of Jean-Michel from an intimate perspective, intertwining his artistic endeavors with his personal life, influences, and the times in which he lived.

Jean-Michel Basquiat’s contributions to the history of art and his explorations of multifaceted cultural phenomena––including music, the Black experience, pop culture, Black American sports figures, literature, and other sources––will be showcased through immersive environments providing unique insight into the late artist’s creative life and his singular voice that propelled a social and cultural narrative that continues to this day.

Organized and curated by the family of Jean-Michel Basquiat, this exhibition of over 200 never-before-seen and rarely shown paintings, drawings, multimedia presentations, ephemera, and artifacts tell the story of Jean-Michel from an intimate perspective, intertwining his artistic endeavors with his personal life, influences, and the times in which he lived.

Jean-Michel Basquiat was a Neo-Expressionist painter in the 1980s. He is best known for his primitive style and his collaboration with pop artist Andy Warhol.

Who Was Jean-Michel Basquiat?

Jean-Michel Basquiat first attracted attention for his graffiti under the name “SAMO” in New York City. He sold sweatshirts and postcards featuring his artwork on the streets before his painting career took off. He collaborated with Andy Warhol in the mid-1980s, which resulted in a show of their work. Basquiat died on August 12, 1988, in New York City.

Early Life

Basquiat was born in Brooklyn, New York, on December 22, 1960. With a Haitian-American father and a Puerto Rican mother, Basquiat’s diverse cultural heritage was one of his many sources of inspiration.

He left home as a teenager to live in Lower Manhattan, playing in a noise band, painting, and supporting himself with odd jobs. In the late 1970s, he and Al Diaz became known for their graffiti, a series of cryptic statements, such as “Playing Art with Daddy’s Money” and “9 to 5 Clone,” tagged SAMO. In 1980, after a group of artists from the punk and graffiti underground held the “Times Square Show,” Basquiat’s paintings began to attract attention from the art world.

A self-taught artist, Basquiat began drawing at an early age on sheets of paper his father, an accountant, brought home from the office. As he delved deeper into his creative side, his mother strongly encouraged him to pursue his artistic talents.

Basquiat first attracted attention for his graffiti in New York City in the late 1970s, under the name “SAMO.” Working with a close friend, he tagged subway trains and Manhattan buildings with cryptic aphorisms.

In 1977 Basquiat quit high school a year before he was slated to graduate. To make ends meet, he sold sweatshirts and postcards featuring his artwork on the streets of his native New York.

In the 1981 article “The Radiant Child,” which helped catapult Basquiat to fame, critic Rene Ricard wrote, “We are no longer collecting art we are buying individuals. This is no piece by Samo. This is a piece of Samo.” This statement captures the market-driven ethos of the 1980s art boom that coincided with polarizing views played out in government and media, known as the culture wars. In this context, Basquiat was keenly aware of the racism frequently embedded in his reception, whether it took the form of positive or negative stereotypes. In his work, he integrated critique of an art world that both celebrated and tokenized him. Basquiat saw his own status in this small circle of collectors, dealers, and writers connected to an American history rife with exclusion, invisibility, and paternalism, and he often used his work to directly call out these injustices and hypocrisies.

Before his tragic death in 1988 at the age of twenty-seven, Basquiat expressed seemingly boundless creative energy, producing approximately a thousand paintings and two thousand drawings. Over the decades, the study of Basquiat’s paintings and drawings has offered textured insights of the 1980s and, importantly, continued reflections on Black experience against an American and global backdrop of the white supremacist legacy of slavery and colonialism. At the same time, Basquiat’s work celebrates histories of Black art, music, and poetry, as well as religious and everyday traditions of Black life.

Crown Motif

In his earlier works, Basquiat was known for using a crown motif, which was his way of celebrating Black people as majestic royalty or deeming them as saints.

Describing the crown itself in further detail, artist Francesco Clemente posited: “Jean-Michel’s crown has three peaks, for his three royal lineages: the poet, the musician, the great boxing champion. Jean measured his skill against all he deemed strong, without prejudice as to their taste or age.” 

Paintings

Three years of struggle gave way to fame in 1980 when Basquiat’s work was featured in a group show. His work and style received critical acclaim for the fusion of words, symbols, stick figures, and animals. Soon, his paintings came to be adored by an art-loving public that had no problem paying as much as $50,000 for a Basquiat original.

His rise coincided with the emergence of a new art movement, Neo-Expressionism, ushering in a wave of new, young and experimental artists that included Julian Schnabel and Susan Rothenberg.

Many of Basquiat’s works have been likened to the improvisational and expansive compositions of jazz. Often themes accumulate through multiple references on the surface, emerging as patterns out of gestural brushstrokes, symbols, inventories, lists, and diagrams. Most images in Basquiat’s works have double and triple meanings, some of which the artist discussed and others that he left undefined, remaining open to viewers’ interpretations. Basquiat sought and enjoyed unlikely collisions of imagery and words, massive influxes of information and stimuli that recreated the experience of being in a world by turns exciting, inspiring, oppressive, and toxic.

Basquiat (1996)

Basquiat is a 1996 biopic/drama film directed by Julian Schnabel based on the life of American postmodernist/neo expressionist artist Jean-Michel Basquiat. Basquiat, born in Brooklyn, used his graffiti roots as a foundation to create collage-style paintings on canvas. Jeffrey Wright portrays Basquiat, and David Bowie plays Basquiat’s friend and mentor Andy Warhol. Additional cast members include Gary Oldman as a thinly-disguised Schnabel, Michael Wincott as the poet and art critic Rene Ricard; Dennis Hopper as Bruno Bischofberger; Parker Posey as gallery owner Mary Boone; and Claire Forlani, Courtney Love, Tatum O’Neal and Benicio del Toro in supporting roles as “composite characters”.

Jean-Michel Basquiat Documentary on Youtube

The Radiant Child

Director: Tamra Davis

2010

1 hr 33 min

A thoughtful portrait of a renowned artist, this documentary shines the spotlight on New York City painter Jean-Michel Basquiat. Featuring extensive interviews conducted by Basquiat’s friend, filmmaker Tamra Davis, the production reveals how he dealt with being a black artist in a predominantly white field. The film also explores Basquiat’s rise in the art world, which led to a close relationship with Andy Warhol, and looks at how the young painter coped with acclaim, scrutiny and fame.

23 Things You Didn’t Know About Jean-Michel Basquiat

Basquiat had an affair with Madonna and the two eventually dated.

Basquiat produced a rap record with Fab Five Freddy and Rammellzee called “Beat Bop.”

At the age of 6 he was already a Junior Member at his favorite museum, the Brooklyn Museum. His mother often took him to art museums in Manhattan when he was still young and encouraged his artistic talent.

At 17, he left his home in Brooklyn for good to live in Lower Manhattan.

He survived in Lower Manhattan by couch surfing, panhandling, drinking wine with winos, and eating 15-cent bags of Cheese Doodles.

He was hit by a car as a child and suffered a broken arm and internal injuries that could have killed him.

After the car accident, his mother gave him a copy of the medical book Gray’s Anatomy, which later inspired the name of his band, Gray, and remained a major reference for a lot of his artwork.

He played the clarinet and other instruments in Gray, despite not knowing how.

The TIME art critic Robert Hughes said about Basquiat that he was the “Eddie Murphy of the art world,” and that what people like about him was his “young, loud… invincibly dumb” persona. He also said of Basquiat’s close friend Keith Haring that he was nothing but a “disco decorator”.

At 21, Jean-Michel was the youngest artist ever to show at Documenta in Kassel, Germany.

Both the Museum of Modern Art and the Whitney Museum of American Art rejected Basquiat’s work.

In the early ’80s, he didn’t have a bank account. He kept his money around his loft on Crosby Street—under rugs, in books, and under the couch.

He threw a pie at his high school principal and never graduated.

By the age of eleven, Jean-Michel Basquiat spoke three languages : English, French and Spanish. His mother was Puerto Rican and father Haitian and both spoke to him in their native tongue.

Dean & Deluca was his favorite food store.

He was in Blondie’s music video for the song “Rapture.”

Debbie Harry (from Blondie) and her boyfriend Chris Stein bought Jean-Michel’s first painting for $200.

Before the world knew him as Basquiat, he wrote graffiti under the moniker “Samo” (same old sh*t) with his friend Al Diaz.

At seventeen years old, he left his parents’ home in Brooklyn to live in Lower Manhattan. He managed to survive by crashing at friends’ places temporarily, or living in the streets with winos and druggies. He supported himself by selling t-shirts and homemade postcards.

He lived in Larry Gagosian’s home for a year. He worked in a basement type space. His paintings were exhibited in the West Hollywood Gagosian gallery in Los Angeles. He was in a relationship with Madonna at the time, and she lived with them for a couple of months.

When he was a kid, he was hit by a car causing very serious internal injuries. To distract him while he was at the hospital, his mother gave him a medical book, Gray’s Anatomy, which later inspired the name of his band Gray. More importantly, this book was a major reference in his artistic work as his style was defined by the symbols and imagery of the anatomical language.

He started out as a graffiti artist and used the nickname “Samo” (which stands for Same Old Sh*t) with friend and collaborator Al Diaz. He would strategically place his art near galleries and museums and where artists hung out in order to make a name for himself. In 1978, the magazine Village Voice congratulated him for getting noticed this way.

He had a noise rock band named Gray. He also produced a hip hop record called “Beat Bop” featuring K-Rob and Rammellzee. Basquiat designed the cover of the single, which appealed to both art and record collectors.

Source:

  1. https://www.biography.com/artist/jean-michel-basquiat
  2. https://www.basquiat.com/
  3. https://www.thebroad.org/art/jean-michel-basquiat

Art Palm Beach 2023

Art Palm Beach 2023
Art Palm Beach 2023

Art Palm Beach 2023
PALM BEACH COUNTY CONVENTION CENTER
650 Okeechobee Blvd, West Palm Beach, FL 33401
January 25 – 29, 2023

West Palm Beach, Fla. (Jan 3, 2022) – Art Palm Beach, now under new ownership and directed by the producers of the prestigious LA Art Show, is thrilled to announce the inclusion of immersive experiences focused on the climate crisis and the impact humans are having on our planet.
For the first time, DIVERSEartPB will launch in Palm Beach, a sister to the LA Art Show signature curatorial project DIVERSEartLA. Renowned Curator Marisa Caichiolo who is behind DIVERSEartLA, is leading DIVERSEartPB. “Humans are changing the earth’s natural systems in rapid and unprecedented ways. This has propelled our planet into a new geologic era: the Anthropocene,” said Caichiolo. “Contextualizing through immersive experiences and installations, we can all work together on solutions.”
For its debut, DIVERSEartPB will be supporting Florida based non-profit arts organizations and museums and is pleased to present a special exhibition by internationally renowned multi-media artist Marcos Lutyens. In his installation, Lutyens takes the viewer on a hypnotic journey addressing the current drought in California and the rest of the world. DIVERSEartPB is also proud to introduce a collaboration between artist Guillermo Anselmo Vezzosi and scientist Dr. Eric Larour from NASA’s Jet Propulsion Lab. The immersive experience and art exhibit in rising sea levels will also include a sculpture by Vezzosi, bringing new life to discarded waste.
Art Palm Beach will be held January 25th to 29th, 2023 at the Palm Beach County Convention Center. There will be more than 80 prestigious contemporary, emerging and modern art galleries. Art Palm Beach will donate 15% of all ticket proceeds to St. Jude Children’s Research Hospital. For more information about the show please visit www.ArtPalmBeachShow.com.

Tickets can be purchased here

Event Details
Art Palm Beach is internationally renowned as the premiere mid-winter contemporary art fair in The Palm Beaches along Florida’s coastline by both art critics and enthusiasts. The fair taps into the booming market of Palm Beach, one of the world’s most culturally sophisticated and affluent cities, during the peak winter season.

Featuring some of the most prestigious contemporary, emerging and modern art galleries, the show will provide a new entrée for collectors to explore and acquire the best of a broad selection of global contemporary and modern art in the vibrant cultural hub of South Florida. Geared to benefit from the current real estate boom, proximity to Miami and wealth of the Tri-County Area, Art Palm Beach 2023 will focus on presenting international modern and contemporary galleries featuring work by notable emerging artists as well as top names from the contemporary, modern, classical modern, post-war and pop eras.

A portion of all ticket sales supports the lifesaving mission of St. Jude Children’s Research Hospital.® Families never receive a bill from St. Jude for treatment, travel, housing or food – because all a family should worry about is helping their child live. By purchasing a ticket and attending the show, you are supporting the lifesaving mission of St. Jude where its purpose is clear: Finding cures. Saving children.®

OPENING NIGHT PREMIERE
Wednesday, January 25, 2023
6pm – 10pm
Opening Night Ticket + Art Party, $150
VIP Gold Card, By Invitation Only

SHOW HOURS/TICKETS
General Admission, One Day Ticket $30
Thursday, January 26, 2023
12pm – 7pm

Friday, January 27, 2023
12pm – 7pm

Saturday, January 28, 2023
11am – 7pm (Early entry, VIP Gold Card, By Invitation Only
and Opening Night Ticket)
12pm – 7pm (General Admission)

Sunday, January 29, 2023
11am – 6pm (Early entry, VIP Gold Card, By Invitation Only
and Opening Night Ticket)
12pm – 6pm (General Admission)

For more information, please visit us at https://www.artpalmbeachshow.com/

FURTHER ENQUIRIES

[email protected]

We look forward to seeing you at Art Palm Beach 2023!

Opening Night Premiere

About the Show

Art Palm Beach is internationally renowned as the premiere mid-winter contemporary art fair in The Palm Beaches along Florida’s coastline by both art critics and enthusiasts. Before its acquisition by the Palm Beach Show Group, which also owns the LA Art Show, the fair was previously organized by IFAE founders Lee Ann & David Lester, the original founders of both Art Miami and Art Asia Hong Kong. It is Palm Beach County’s longest running fair dedicated to contemporary, emerging, and modern master works of art of the 20th and 21st centuries.

Building on the LA Art Show’s reputation, expertise, success and growth, Art Palm Beach will be held January 25 to 29, 2023 at the Palm Beach County Convention Center. Featuring some of the most prestigious contemporary, emerging and modern art galleries, the fair will provide an exceptional forum for gallery presentation in front of the affluent demographic of collectors in the vibrant cultural hub of South Florida.

about1

About Palm Beach

Palm Beach, founded by Henry Flagler, has been the winter home of America’s elite industrialists and Wall Street icons since the early 20th century. Over 24% of the world’s wealthiest families reside in South Florida from January through April. In addition to offering galleries access to America’s wealthiest towns during the winter, Palm Beach is the crown jewel of cultural life in Florida. It boasts the highest percentage of arts and cultural institutions per capita of any town in America. The average age is 44 years and residents spend four and a half times the national average on art and cultural events. Palm Beach’s Worth Avenue is world renowned for international luxury brands attracting buyers from the Miami-Palm Beach metro area of 4.5 million residents.

Every corner of this county boasts world-class art, music, theater, and cultural events equal to many major cities. Now home to many of New York’s leading top blue-chip galleries and international auction houses, Palm Beach has become Florida’s collector “must-see” gallery district during the winter season.

El valor de la palabra poética en la saga

El valor de la palabra poética en la saga, Eduardo Planchart Licea, curador y crítico de arte
El valor de la palabra poética en la saga, Eduardo Planchart Licea, curador y crítico de arte

El valor de la palabra poética en la saga

Por Eduardo Planchart Licea, curador y crítico de arte

Snorri creó un género literarios llamado saga, inspirado por la tradición oral para narrar en épicas escritas las aventuras de estos pioneros de la navegación.

Snorri creó un género literarios llamado saga, inspirado por la tradición oral para narrar en épicas escritas las aventuras de estos pioneros de la navegación, entre ellas se encuentra la saga de “Egil Skallagrinsson”, es una de las obras maestras de la literatura islandesa medieval.

Escrita entre en el siglo XII, narra la vida del vikingo y poeta Egil. En ella devela la esencia del espíritu y peculiaridades de su épico y el alto valor que le daban a la palabra poética, algunas de estas creaciones islandesas crearon ficciones como es el ciclo arturiano.

Los personajes de las sagas, palabra que se podría traducir como contar o narrar, creen y dan la vida por ella, pues representa la verdad como verdad obligante, en donde lo dicho y afirmado dirige y determina la conducta.

Es el poder de la palabra como verdad, también se encuentra en otras culturas donde tiene un valor primordial, y también brotan en un contexto bélico con carácter épico como se narra en el Mahabharata en la cruenta guerra entre primos: Los Pandavas y Kuravas, y en ese contexto se crean uno de los textos más espirituales de la humanidad como es el Bagavad Gita, conocida como ética de la acción desinteresada.

Y esto no es casual, investigadores de la talla de Georges Dumezil crearon la hipótesis de que los indoeuropeos y que tanto los Hindúes como los nórdicos y germanos tiene una cultura ancestral común, y para demostrar escribió el maravilloso trabajo publicado en tres tomos Mito y Epopeya para sustentar estas ideas, que han logrado aceptación en el medio académico.

Los personajes de la saga creen en la palabra, como un realidad ética y real, en la saga de Egil S., la hipocresía, la mentira no tienen lugar, aunque en su panteón de dioses Loki representa la viveza, la triquiñuela por eso es engañosa, hipócrita y en ocasiones ingenioso para hacer sus maldades, por eso era despreciado hasta cierta forma en esta religión germánica, su acto más ruin fue planear el asesinato de Balder, deidad que representaba la paz, la armonía en este panteón, por tanto no existe una deidad que represente estos valores éticos entre los nórdicos y germanos.

La palabra poética en la saga se encuentra tramada con la verdad, y cualquier sacrificio es válido para convertirla en una realidad, en uno de los poemas de esta saga Egil afirma:

“Odin el guerrero/ habituado al combate,/ me concedió un arte./ Perfecto y sin tacha,/ que obliga al enemigo/ a descubrir sus tretas,/ tal es la fuerza de la poesía”.

Entre estos hombres rudos y sensibles, que vivieron entre el mar, el frío, glaciales y erupciones volcánicas, situaciones demasiado contrastantes por eso no es de extrañar que en su civilización nacieron metáforas poéticas que sorprenden por su belleza, como: el zumo del pecho, el néctar de Odin para referirse a la poesía; destructor de mástil, enemigo helador para las tormentas; cisne del mar, corcel de las ondas, hoja lanceolada que flota, para hacer referencia a sus ágiles y bellos barcos que lograron incluso llegar al nuevo continente antes que Colón pero no lograron esas nuevas tierras que se convirtieron en leyendas, bajo el mando de Leif Erikson, hijos de Eric el rojo en el siglo X.

Lo genial de la saga de Egil es que en ella estamos, ante un claro sentido de lo poético, en su verbo no hay dudas, ni titubeos. La poesía arrastra consigo la vida y la verdad, no encontramos en ella la sombra de la mentira, ella muestra el rostro del corazón y la realidad.

Es la poesía como sentido al existir, por tanto posee un sentido existencialista y sacro, que se muestra rotundamente en Egil S. ante el dolor que lo domina por la muerte de su Hijo:

“La lengua se resiste/ alzarse en mi boca,/no pudo levantar/ la balanza del verso;/ en el néctar de Odin,/ no es fácil que surja/ de su hogar en mi pecho.”

Sólo logra calmar su angustia y dolor a medida que compone el poema, como narra Snorri Sturlusson: “Cuando terminó Egil Skallgrimnsson el poema, lo recitó ante Agerd y Thorgerd y la familia: se levantó entonces de la cama y se sentó en el escaño de honor, y la quietud volvió a su corazón; llamó este poema “Pérdida irreparable de los hijos”.

Más tarde mandó el padre hacer un funeral para su hijo según las antiguas costumbres en un ágil bote poso su cuerpo, lo incendio y lo lanzó a la mar para que esta lo abrazara. Y cuando volvió a su casa lo despidió con obsequios a sus mejores amigos.

Se está ante la poesía no solo como verdad sino como catarsis, este sentido se encuentra asociado a como Odin obtuvo el néctar de las runas, la magia, y el poder de las palabras, episodio que es descripto en las profecías del Voluspa en las Eddas, así como el Valhalla palacio donde vive Odin con más aguerridos guerreros muertos en batallas y llevado a ese sacro lugar por las Valquirias, por eso morir valientemente era considerada un honor en esta visión del mundo descrita también por Snorri S.

El dios de la profecía obtuvo estos dones al sacrificar uno de sus ojos a la fuente de Mimir, sacrificándose a sí mismo para que las runas llegaron a él tras nueve días, número asociado simbólicamente a la gestación: “ Yo se que colgué del árbol batido por los vientos/ nueve noches enteras,/ herido de venablo y sacrificado./ Yo a mismo a mí mismo.

No me dieron pan, ni hidromiel,/ aceche debajo de mí./ Hice subir las runas, lo hice llamándolas por mi dolor,/ y entonces caí del árbol.”

El poder del verbo profético fue obtenido por el sacrificio de sí, por esto este don es capaz de exorcizar el dolor del ser. Difícilmente se encontrará un ejemplo más rotundo del aprecio a la palabra poética, que el episodio en que Egil Skallagrimsson salvó su vida gracias a un poema.

Debido a una tormenta se vio obligado a llegar a las costas de los dominios de uno de sus peores enemigos, el rey Eirik, y se le dio el don antes de ser ejecutado de hacer un drapa, osea un poema de veinte estrofas que tituló: El Rescate de la Cabeza, y su enemigo quedo tan satisfecho del poema que le perdonó la vida, en que otro contexto literario se podrá encontrar un testimonio más elocuente y conmovedor del amor a la palabra poética, tras oírlo su enemigo dijo: “Está vez Egil te regalo tu cabeza, pues la pusiste a mi merced y no quiero cometer un crimen en ti, tras oír el drapa.

A lo que él poeta y destructor de mástiles respondió:

“No me incomoda/ que aunque yo sea feo/ me regale el rey/ el yelmo de apoyo de mi cuerpo (Cabeza)…

Bibliografía:

Sturlusson, Snorri. Saga de Egil Skallagrimson. Editora Nacional. España. 1993.

Sturlusson, Snorri. Textos mitológicos de las Eddas. Ediciones Nacional. España. 1982

Altamira Libros

Altamira Libros
Altamira Libros

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Eduardo Planchart Licea

Eduardo Planchart Licea

Curador y crítico de arte Eduardo Planchart Licea

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Eduardo Planchart Licea (1954): Es magíster en filosofía Latinoamericana en la USB de Venezuela y PhD de la UNAM, México en Historia de Arte Latinoamericano. Ha desempeñado funciones como curador e investigador en el MACC, Mujabo, Museo Cruz Díaz, Cenaf, Fototeca de Barquisimeto Y diversas galerías y museo a lo largo del paìs.

En Venezuela como la Galerìa Freites, Ascaso, Astrid Paredes en espacios públicos como el Orinoco Mall en Puerto Ordaz ha realizado más de 90 curadurías en Venezuela, México, Puerto Rico, Curazao,Francia y Japón. Ha escrito más de veinte libros de arte y sigue investigando nuevos proyectos, escritor de novelas como: El Mago de la Niebla, Hacedor de Santos y La Búsqueda.

Actualmente sigue escribiendo e investigando y realizando curadurías de artista que publica en Analítica. Com y el Diario Primicia y portales de Mèxico y Miami, trabajó por más de 15 años como ensayista de arte y cultura en el Universal, El Diario de Caracas, El Mundo, El Globo Últimas Noticias. Certifica y evalúa obras de arte y fotografías.

Nació en México en la ciudad de Guadalajara en 1954, su padre Eduardo Planchart Montemayor, y Reyna Licea Mendoza de Michoacán, con quien se caso y se radicó por años en la Colonia Roma, en la Av. Yucatán. Al caer la dictadura de Pérez Jiménez retornan a Venezuela en la presidencia de Rómulo Betancourt, en 1960. Inicia sus estudios de Medicina los cuáles abandona en al tercer semestre, donde crea con Jorge Cajias el periódico ¿Que Hacer? Tras leer el libro de Ortega y Gasset ¿qué es la filosofía? Descubre su vocación, y se inscribe en Escuela de Filosofía mediados de los setenta. En ese espacio de reflexión se encontró con su primo Julio Planchart, y fueron sus compañeros de clases Moisés Moleiro, Alfredo Maneiro, Arnaldo Este, Ruperto Arocha en los momentos que la Escuela de la Filosofía de la UCV, modifica su curricula introduciendo materias como S. Freud, Lacan, H. Marcuse, Bakunin, Kropotkin, F. Nietzche, J.J. Rousseua que con anterioridad eran despreciados en ese recinto académico. Se licencia con la tésis J.K.Rousseau y la Crisis de Occidente, tutoriada por Pedro Duno.

En esos años los setenta comenzó a escribir en el Nuevo Venezolano, donde tenía una columna semanal fija sobre ecología cultural, materia que había estudiado en Diplomado, en el IVIC con el PhD. Leslie Sponsel, quien lo incorporo al proyecto el Hombre y la Biosfera, que lo llevo a realizar por más de una año trabajos de campo en la base de río Negro, Amazonas. Su temática era la relación mitología-estética y ecología. Realiza trabajos de campos entre los Yanomami y los Curripacos, donde conoce al padre Bortolli, Emilio Fuentes, Antonio Pérez y Jacques Lizot. En ese período el arte se convierte en el punto de referencia de sus investigaciones, es contrato en el Inidef (…)para desarrollar la temática Mitología-estética y ecología, institución dirigida por Isabel Aretz, auspiciada por la OEA, luego pasa al INAF donde sigue concentrado en esta temática, más al haberse encontrado con la obra y metodología de Mircea Eliade, se hace fundamental para su formación. Paralelamente se dedica a la docencia en la UNIMET en el área Historia de la Cultura, Filosofía y cursos libre por diez años. Donde presenta el trabajo de Acenso: Del Chamanismo a la Filosofía, tutoriado por el Phd. Angel Cappelleti, la cual que es aprobado por unanimidad. empieza a colaborar de la página cultural de EL Universal por casi doce años, y El Papel literario del Ultimas Noticias por más de una década, escribe ocasionalmente en el Diario de Caracas, y con constancia en el Globo a lo largo de toda su existencia, donde hizo trabajos en conjunto Moraima Guanipa.

Realiza en ese ínterin la maestría de Filosofía, en la USB especializándose en Mitología y Filosofía Prehispánica. Continua escribiendo ensayos sobre arte y literatura, mientras recorre el país, gracias a incorporarse al MACC como curador e investigador, siendo su primera curaduría la retrospectiva de Oswaldo Vigas(…) y la ultima Mare Nostrum, de Asdrúbal Colmenárez, realizando más de siete curadurías y diversos catalogos. En esa fecha publica su primer libro el “Gigante del Tisure: Juan Fèlix Sanchez, para Gràficas Armitano donde se recopilan mas de una treintena de ensayos publicados en El Universal, que pudo realiza gracias habérsele aprobado un proyecto de investigación por la unidad de Investigación Enrique Bernardo Nuñez, de la Biblioteca Nacional y la Fundación Bigott, que le permiten realizar una investigación in situ por más de tres años en el Tisure, en el Páramo de la Ventana, Mucichíes experiencia que le permite realizar el documental: El Mago de la Niebla, o también titulado Juan Félix Sánchez: El Hombre del Tisure, con apoyo técnico de la unidad de Tecnología Educativa del ME, terminado en 1992. Inicia su investigación en el área de Bailadores, centrada en el arte popular y en el tecnólogo popular Luis Zambrano, publicando el libro testimonial años después de haberlo escrito, junto al del artista Eduardo Rojas Ovalles, con auspicio del IMUC de Bailadores, y su director Néstor Abad. Todo el material de entrevistas y fotográfico de más 3.200 imágenes a color y Blanco negro cliqueadas por Mari Carmen Carrillo, y un microfilm del diario personal se encuentra en la sede de la Biblioteca Nacional de Venezuela.

Al finalizar su permanencia en el MACC, continua trabajando en las diversas Galerías como La Freites, Astrid Paredes, Ascaso, Graphic Art del país, en Colombia, México y Puerto Rico, desarrolla una intensa labor curatorial de más de treinta muestras expositivas, y desarrolla el proyecto “La Estética del Acero” para Sidor, 1993, donde trece escultores venezolanos se trasladan a la siderúrgica a crear esculturas monumentales en acero, por dos semanas, participando artistas como Asdrúbal Colmenarez, Carlos Medina, Sidia Reyes, Miguel Acosta, Pedro Terán…que se concreta en un libro titulado “La Estética del Acero”, y un documental titulado “La Estética del Acero” , tras regresar de México hace la exposición en el Museo Jesús Soto de Ciudad Bolivar.(año)

Al terminar al proyecto es becado por la OEA y la Secretaria de Relaciones Exteriores de México (1994), junto a su esposa la artista Mari Carmen Carrillo, él a realizador su doctorado en Historia del Arte Latinoamericano, de la Facultad de Filosofía de la UNAM, siendo su tesis doctoral: Lo Sagrado en el Arte: La Risa en Mesoamérica, publicado en el 2000 por la Universidad Veracruzana de México. Y Mari Carmen Carrrillo realiza exitosamente su maestría en la Escuelas de artes Plásticas, de la UNAM, en Medios Mixtos. Y en Venezuela salen publicados los libros de EPL: “Lo Sagrado en Arte Venezolano”, y “Marta Cabrujas: Mitología Creativa, Gráficas Armitano.

Al regresar a Venezuela desarrolla el proyecto con Cementos Caribe, “El Arte del Cemento en el Caribe”, que publica un hermoso libro de arte. Y empieza a trabajar en el Museo Jacobo Borges, como jefe de investigación y programación, desarrollando una intensa actividad para integrar el Oeste al Museo, por cuatro años, así surgieron las exposiciones “Rompiendo el Muro” y “El Mercado de Chacao”, El Pozo, Manases, Urdimbres e Indumentarias. Al finalizar esta labor retorna por tres años a Fundef; anteriormente conocido como INIDEF fundido al INAF dirigido por la Lic Alicia Briceño, como investigador y coordinador editorial, donde se dedica a investigador el acervo, catalogar en una base de datos el material fotográfico de esta institución entre los años 1949-1969, y centrándose en el área de la etnografía Fotográfica que se concreto en la publicación de tres libros de su autoría: Rostros y Cotidianidades (…), ; Margor Bencerraf…., y La Reinserción de una Colección, diablos de Yare. Además de diversas exposiciones como: Textiles de Estado Lara, Taller la Chamarrra, Diabladas…

Paralelamente funda y dirige el Centro Cultural del Ince (2011-2012), proyectado personal presentado a la institución, cuya función es ser un puente entre el arte de Este de Caracas e integrar el Ince a las zonas aledañas. Estaba fundando un núcleo del sistema de orquestas Simón Bolívar. Se creo una intensa programación de actividades teatrales y musicales para los habitantes y acompañamiento de las muestras expositivas, realizando cinco exposiciones con sus respectivos catálogos: Tejedurías Indígenas, Arte-Sano-Larense, Lo sagrado en la obra de Manuel Pérez y Onofre Frías: flores caribeñas, Cotidianidad y Feminidad y Pesebres Navideños. Logrando integrar el Ince parte de la población de la Nueva Granada, mientras existió el Centro Cultural. A raíz de ese empuje regresa a la plaza del edificio del Ince, de la nueva Granada, hecho por el arquitecto Tòmas José Sanabría, asesor del Centro Cultural, la escultura de Maillol de la cual había sido despojada por el MACC, y se recupera y restaran las obras de arte del complejo cultural como el mural de Gego y Leuffer, toda esta actividad se paraliza al tomar al ser transformado el Ince de un centro educacional, a un centro de formación ideológica socialista.

Por su parte Planchart Licea sigue desarrollando su labor en el arte social con la Fundaciòn Chacao, en ese entonces dirigida por la gerente cultural y artista Diana López, donde desarrolla el proyecto Historia de Barrios y comunidades, que se concreta en una colección de nueve libros, realizados con metodologías de etnografía fotográfica, periodismo participativo, dibujos proyectivos y aprobación de cada libro por la comunidad. Y a través de un donación de la casa Hellmut se pudieron realizar talleres con cámaras desechables, para que los miembros de la comunidad recuperen la visión de su entorno, junto a talleres de mapas mentales y escenificación de historias locales.

Al terminar esta etapa, inicia un proyecto similar en el Centro Nacional de Fotografía dirigido por Sandro Oramas, donde es director de proyecto sociales, concentrándose en el Barrio Primero de Mayo, con metodologías participativas junto a la fotógrafa Anabel Guerrero, y el equipo de la unidad publicando el libro “ El barrio Primero de Mayo” que se continua con los sectores populares aledaños a la Biblioteca Nacional y al Centro nacional de Fotografía al usar la fotografía como una forma de potenciar valores como la solidaridad y la innovación, y utilizar cámaras fotográficas digitales, para la fotografía participativa, y camara de videos digitales, para realizar taller de corto metrajes comunitarios, realizados en varios sectores populares, y el sistema Nacional de Orquestas con sede en los Caminos.

En el 2011 publica su primer novela, El Mago de la Niebla inspirada en la vida y obra de Juan Félix Sánchez. Actualmente esta en revisión las segunda novela EL Hacedor de Santos. Desde hace varios años se ha dedicado a colaborar como ensayista y escritor en los portales Notialdia.com, lamentablemente desaparecido por el fallecimiento de su director, actualmente publican constantemente en Analitica.com y el www.Diario Primicia.Com.

Se dedicado a la docencia en la USB del núcleo del Litoral Central, donde se radico desde el 2009. Continuando su labor como curador e investigador de manera independiente. En el 2014 realizo la curaduría de la obra de Fabiana Zapata, para el Caja del Centro Cultural Chacao, texto curatorial junto al historiador Elias Pino Iturrieta, en el 2105 de la obra de José Vivenes para la Sala Mendoza, y la curaduría y escritura del Catalogo de la José Vivene: Actuantes.

En el 2017 inicia una investigación en la obra fotográfica y pictórica del explorador y artista visual Ivan Mikiolji, que se empieza a materializar en la curadurías y textos para las exposiciones individuales: Ivan Mikolji: De la Fotografía a la Plástica, la sala del Carabobeño, 2018; Ivan Mikolji: Entre la Ciencia y el Arte, Sala Fundación la Salle, San Félix; muestra reestructurada y expuesta en el Orinokia Mall, Puerto Ordaz, Ivan Mikolji: Paisajes Acuáticos, Fototeca de Barquisimeto, 2018. Curaduria y textos de exposición “Mirando hacia el Sur…es natural”. Heriberto Nieves: pintura y escultura urbana, Museo de Arte Contemporáneo de Bogotá, 2018. Libros publicados, exposiciones especificas las envió en la hoja de vida sintetica.

Juan Félix Sánchez: El gigante del Tisure (Spanish Edition) Hardcover – January 1, 1992

Spanish Edition  by Eduardo Planchart Licea  (Author)

  • Publisher ‏ : ‎ Armitano Editores; 1st edition (January 1, 1992)
  • Language ‏ : ‎ Spanish
  • Hardcover ‏ : ‎ 152 pages
  • ISBN-10 ‏ : ‎ 9802160725
  • ISBN-13 ‏ : ‎ 978-9802160723

HISTORIAS DE BUCARAL

Autor: Planchart Licea, Eduardo

Editor: Caracas: Fundación Chacao , 2005.

ISBN: 980-6472-14-4

Comentario: Recopilación de los cuarenta y ocho años de la comunidad de Bucaral. Se incluyen las memorias de una vida a través de testimonios, la fotografía participativa y el dibujo referencial de un pueblo. En esta obra el discurso visual fusiona el sentimiento interno de la comunidad, con la mirada externa de varios jóvenes fotógrafos, a través de la imagen auto-representativa y álbumes familiares. Filósofo, historiador, curador y crítico de arte, con un doctorado en Historia del Arte Latinoamericano, Planchart posee varios libros publicados.

JULIO CÉSAR BRICEÑO

Autor: Planchart Licea, Eduardo

Editor: Caracas: Odebrecht , 2004.

ISBN: 980-6821-00-9

Comentario: Edición en tapa dura, con sobrecubierta y papel satinado. Se ofrece la primera visión de conjunto de la obra del artista plástico venezolano Julio César Briceño. Cientos de hermosas fotografías permiten apreciar su arte. Incluye bibliografía, cronología y esculturas del período 1970-2004. Filósofo, historiador, curador y crítico de arte, con un doctorado en Historia del Arte Latinoamericano, Planchart posee varios libros publicados.

MITOLOGÍA CREATIVA DE MARTA CABRUJAS

Autor: Planchart Licea, Eduardo

Editor: Caracas: Armitano Editores , [2002].

ISBN: 980-216-194-2

Descripción: 143 p.; 27 x 24 cm.

Comentario: Cuidada edición en papel satinado que ofrece una selección de más de 80 esculturas y obras de la artista venezolana Marta Cabrujas. Sus obras nacen de una profunda reflexión sobre la realidad y las revelaciones, los mitos y anhelos, fundando su estética en una visión cíclica de la historia, reinterpretando la contemporaneidad.

Artículos publicados en la Prensa Nacional

  • Eduardo Planchart Licea, Filosofía de la Risa, Suplemento Cultural, Ultimas Noticias, 16/4/200
  • Planchart Licea, Eduardo, Sacralitud y Proceso Creativo entre los mayas (II), Suplemento Cultural, Ultimas Noticias, 20/2/2000
  • Planchart Licea, Eduardo, Sacralitud y Proceso Creativo entre los Mayas (I), Suplemento Cultural, Ultimas Noticias, 13/2/2000
  • Planchart Licea, Eduardo, Jesús Soto: Arte y conocimiento, Suplemento Cultural, Ultimas Noticas, 26/12/1999
  • Planchart Licea, Eduardo, Lo edénico y el tiempo, en la obra de Alvaro Mutis, Suplemento Cultural Ultimas Noticias, 28/11/1999
  • Planchart Licea, Eduardo, Lo simbólico en la obra de Arturo Michelena: Carlota Corday, 1889, Suplemento Cultural, Ultimas Noticias, 24/10/1999
  • Planchart Licea, Eduardo, El Constructivismo: El arte como crítica al mecano- desarrollo, Suplemento Cultural Ultimas Noticias, 10/10/1999
  • Planchart Licea,Eduardo, ¿La Posmodernidad Murio? Suplemento Cultural, Ultimas Noticias, 8/7/1999
  • Planchart Licea, Eduardo, Arte Experimental versus Posmodernidad, Suplemento Cultural, Ultimas Noticias, 18/7/1999
  • Planchart Licea, Eduardo, Asdrúbal Colmenárez, Latencia Nómada, Suplemento Cultural, Ultimas Noticias, 4/6/1999
  • Planchart Licea, Eduardo, El arte como destino, Suplemento Cultural Ultimas Noticias, 9/1/2000
  • Planchart Licea, Eduardo, Estética Pluvial, El Mundo, 8/5/2000
  • Planchart Licea, Eduardo, Enseñanzas del Siglo XX, El Mundo 28/2/2000
  • Planchart Licea Eduardo, Caballos y héroes, El Mundo, 21/2/2000
  • Planchart Licea, Eduardo, Línea color vivencia: N.Maya, El Mundo, 14/2/2000
  • Planchart Licea, Eduaro, El eterno retorno, El Mundo, 15/3/2000
  • Planchart Licea, Eduardo, Noticias de la Utopía, El Mundo, 20/3/2000
  • Planchart Licea, Eduardo, Culturas Selváticas, El Mundo, 24/4/2000
  • Planchart Licea, Eduardo, Arte e ideología, El Mundo, 17/4/2000
  • Planchart Licea, Eduardo, El teatro y el ritual, El Mundo, 10/4/2000
  • Planchart Licea, Eduardo, Arte y Menudencias: Lo digital como paradigma estético, El Mundo, 9/9/99
  • Planchart Licea, Eduardo, Arte y Menudencias: Régulo Pérez, El Mundo, 9/7199
  • Planchart Licea, Eduardo, Arte y Menudencias: Lo Nacional en la FIA, El Mundo, 2/8/99
  • Planchart Licea, Eduardo, Arte y Menudencias: Inventores de la selva, El Mundo, 9/11/199
  • Planchart Licea, Eduardo, Arte y Menudencias: Acción y partcipación: Tone Fink, El Mundo, 20/9/99
  • Planchart Licea, Eduardo, Arte y Menudencias: Problemas metodológicos de los salones de arte, El Mundo, 9/11/99
  • Planchart Licea, Eduardo, Arte y Menudencias: Arte e innovación en el Oeste, El Mundo, 13/9/99
  • Planchart Licea, Eduardo, Arte y Menudencias: W.Barboza: Abstraccionismo El Mundo, 22/11/99
  • Planchart Licea, Eduardo, Arte y Menudencias: La pintura como tema, W.Lira El Mundo, 6/12/199
  • Planchart Licea, Eduardo, Arte y Menudencias:Arte popular digital, David Bello El Mundo, 11/10/99
  • Planchart Licea, Eduardo, Arte y Menudencias: Arte popular Urbano El Mundo, 27/9/199
  • Planchart Licea, Eduardo, Arte y Menudencias: Urgente rescate de la ética en Salones y Museos, El Mundo, 26/5/99
  • Planchart Licea, Eduardo, Arte y Menudencias: Jesús Soto, eco de lo incognoscible, El Mundo, 17/1/2000
  • Planchart Licea, Eduardo, Arte y Menudencias: Arqueología Espiritual, Luis Daniel Barrios, El Mundo, 13/9/99
  • Planchart Licea, Eduardo, La obra de Juan Félix Sánchez reta a la contemporaneidad, El Globo, Caracas, 22/9/98.
  • Planchart Licea, Eduardo, Ehrenger: Tradición y Contemporaneidad, El Globo, Caracas, 13/9/98
  • Planchart Licea, Eduardo, Ejército Zapatista de Liberación Nacional: Revolución y Arcaismo, El Universal, Verbigracia, 19/4/98
  • Planchart Licea, Eduardo, Arnoldo Roche:¿Arte o exorcismo?, El Globo, Caracas, 14/4/1998
  • Planchart Licea, Eduardo, Aproximación al Arte Experimental(I), El Globo, Caracas, 3/4/1998
  • Planchart Licea, Eduardo, Negret: Arte mutado en mitos creativos, El Globo, Caracas, 25/3/1998
  • Planchart Licea, Eduardo, Arte Digital, El Globo, Caracas, 25/2/1998
  • Planchart Licea, Eduardo, La palabra cosmogónica de Alvaro Mutis, Verbigracia, El Universal, Caracas, 1/2/1998
  • Planchart Licea, Eduardo, Rescate de fragmentos de la identidad espiritual, El Globo, Caracas, 27/1/1997
  • Planchart Licea, Eduardo, La pirámide del Tajín roca y tiempo, El Globo, Caracas, 21/01/1997
  • Planchart Licea, Eduardo, Irma Villaloboas, Imágenes de las traspiel, El Globo, Caracas, 14/12/1996
  • Planchart Licea, Eduardo, Renaceres:Lo sagrado en Puerto Rico, El Globo, Caracas, 9/12/1996
  • Planchart Licea, Eduardo, Asdrúbal Colmenárez arqueología del futuro, El Globo Caracas, 13/10/1996
  • Planchart Licea, Eduardo, Mary Carmen Carrillo: De lo lúdico a lo ritual, El Globo, 25/6/2000
  • Planchart Licea, Eduardo, El Renacer de Materia: Sebastían, El Globo, Caracas, 13/8/1996
  • Planchart Licea, Eduardo, Yuye de Lima: Geometrismo expresivo, El Globo, Caracas, 12/8/1996
  • Planchart Licea, Eduardo, Lo sagrado en el arte joven mexicano, El Globo, Caracas,11/08/1996
  • Planchart Licea, Eduardo, Escultura y poesía, El Globo, Caracas, 22/10/1996
  • Planchart Licea, Eduardo, Paisajes cosmógonicos, El Globo, Caracas, 8/10/1994
  • Planchart Licea, Eduardo, Cultura en Positivo, El Globo, Caracas, 6/8/1994
  • Planchart Licea, Eduardo, Paralelismos en las propuestas de W.Lam y R. Matta, El Globo, Caracas, 21/6/1994
  • Planchart Licea, Eduardo, La Dureza geométrica de Carlos Medina, El Globo, Caracas, 11/7/1994
  • Planchart Licea, Eduardo, Marta Cabrujas: diálogo con el arte, El Globo, Caracas, 8/7/1994
  • Planchart Licea, Eduardo, Asdrúbal Colmenárez en París, El Globo, Caracas, 23/7/1994
  • Planchart Licea, Eduardo, La estética del acero, El Globo, Caracas, 20/5/1994
  • Planchart Licea, Eduardo, El americanismo de O.Vigas, El Globo, Caracas, 8/5/1994
  • Planchart Licea, Eduardo, Héctor Ernández al encuentro de la sacralitud del caballo, El Globo, Caracas, 27/2/1994
  • Planchart Licea, Eduardo, Gaudí Esté: la rebelión al poder, El Globo, Caracas, 14/2/1994
  • Planchart Licea, Eduardo, Lo Lúdico en el arte joven, El Globo, Caracas, 20/2/1994
  • Planchart Licea, Eduardo, Arte joven mexicano, El Globo, Caracas, 25/4/1994
  • Planchart Licea, Eduardo, Gabriel García Márquez del amor y otros demonios, El Globo, Caracas, 23/5/1994
  • Planchart Licea, Eduardo, Narrativa: Pacal entra a la senda, El Globo, Caracas, 22/4/1994
  • Planchart Licea, Eduardo, Mujeres Virreinales, El Globo, Caracas, 13/4/1994
  • Planchart Licea, Eduardo, Cantos de alabanzas: Carmelo Zambrano, El Globo, Caracas, 2/5/1994
  • Planchart Licea, Eduardo, La tradición cultural como fuente inagotable, El Globo, Caracas, 25/4/1994
  • Planchart Licea, Eduardo, Artistas noveles (II), El Globo, Caracas, 29/3/1994
  • Planchart Licea, Eduardo, Alquimia de la contemporaneidad, El Globo, Caracas, 26/3/1994
  • Planchart Licea, Eduardo, Ecos del amarre: Fabiola Sequera, El Globo, Caracas, 21/3/1994
  • Planchart Licea, Eduardo, Noveles artistas (I), El Globo, Caracas, 13/3/1994
  • Planchart Licea, Eduardo, Fragmento de novela: Luis Zambrano, El Globo, Caracas, 7/3/1994
  • Planchart Licea, Eduardo, Mario Vargas Llosa: La sacralitud de la violencia, El Globo, Caracas, 21/2/1994
  • Planchart Licea, Eduardo, Belleza y emoción: Miguel Ríos, El Globo, Caracas, 20/2/1994
  • Planchart Licea, Eduardo, Acercamiento a un pueblo maya, El Globo, Caracas, 7/2/1994
  • Planchart Licea, Eduardo, Narrativa: Pacal la última morada, El Globo, Caracas, 16/1/1994
  • Planchart Licea, Eduardo, Chamula: religión de resistencia, El Globo, Caracas, 23/1/1994
  • Planchart Licea, Eduardo, Ingrid Lozano: sacralización del acero, El Globo, Caracas, 21/1/1994
  • Planchart Licea, Eduardo, El constructivismo: Fonseca, El Globo, Caracas, 9/1/1994
  • Planchart Licea, Eduardo, Los paisajes de Lionel Arteaga, El Globo, Caracas, 2/1/1994
  • Planchart Licea, Eduardo, La plástica en el espacio teatral, El Globo, Caracas, 19/11/1993
  • Planchart Licea, Eduardo, La búsqueda de las raíces: R. Antolinez, El Globo, Caracas, 12/11/1993
  • Planchart Licea, Eduardo, La sacralitud caribeña: Luisa Alberto Hernández, El Globo, Caracas, 13/10/1993
  • Planchart Licea, Eduardo, El Silmarillion de J.R.R. Tolkien, El Globo, Caracas, 10/10/1993
  • Planchart Licea, Eduardo, El eterno femenino: Baltazar Lobo, El Globo, Caracas, 19/9/1993
  • Planchart Licea, Eduardo, Arqueología de un continente: O.Vigas, El Globo, Caracas, 14/9/1993
  • Planchart Licea, Eduardo, Arte y filosofía, El Globo, Caracas, 6/9/1993
  • Planchart Licea, Eduardo, La plástica en el espacio teatral, El Globo, Caracas, 19/11/1993
  • Planchart Licea, Eduardo, El abstraccionismo de S.Amundaraín, El Globo, Caracas, 26/8/1993
  • Planchart Licea, Eduardo, Huellas del silencio: F.Sequera, El Globo, Caracas, 9/8/1993
  • Planchart Licea, Eduardo, La plástica en el espacio teatral, El Globo, Caracas, 19/11/1993
  • Planchart Licea, Eduardo, Pez y comunión: M.E. Manrique, El Globo, Caracas, 3/8/1993
  • Planchart Licea, Eduardo, Mare Nostrum: A. Colmenárez, El Globo, Caracas, 19/8/1993
  • Planchart Licea, Eduardo, Ética y literatura fantástica, El Globo, Caracas, 15/8/1993
  • Planchart Licea, Eduardo, Estética y ética, El Globo, Caracas, 7/8/1993
  • Planchart Licea, Eduardo, Expresionismo de Nacache Toro, El Globo, Caracas, 25/6/1993
  • Planchart Licea, Eduardo, Experimentalidad de Samuel Baroni, El Globo, Caracas, 20/6/1993
  • Planchart Licea, Eduardo, Arte y desacralización: Manuel Pérez, El Globo, Caracas, 14/6/1993
  • Planchart Licea, Eduardo, El carrusel: C.Sánchez, El Globo, Caracas, 7/6/1993
  • Planchart Licea, Eduardo, El teluricismo de I. Suárez, El Globo, Caracas, 4/6/1993
  • Planchart Licea, Eduardo, Arte y computación: Miguel Chevalier, El Globo, Caracas, 4/5/1993
  • Planchart Licea, Eduardo, Acero mutado en arte, El Globo, Caracas, 16/5/1993
  • Planchart Licea, Eduardo, Iconografía y computación: A. Pantín, El Globo, Caracas, 29/4/1993
  • Planchart Licea, Eduardo, Tradición y contemporaneidad: Juan Félix Sánchez, El Globo, Caracas, 13/4/1993
  • Planchart Licea, Eduardo, El vuelo de la abstracción: Félix Georgue, El Globo, Caracas, 6/4/1993
  • Planchart Licea, Eduardo, Estética y computación (II), El Globo, Caracas, 4/4/1993
  • Planchart Licea, Eduardo, Estética y computación (I), El Globo, Caracas, 29/3/1993
  • Planchart Licea, Eduardo, La Transparencia escultórica: M. Salazar, El Globo, Caracas, 27/3/1993
  • Planchart Licea, Eduardo, Geometrismo escultórico: W. Barboza, El Globo, Caracas, 21/3/1993
  • Planchart Licea, Eduardo, El Gallo escapado: H.D. Lawrence, El Globo, Caracas, 8/3/1993
  • Planchart Licea, Eduardo, Dualidad encarnada en piel: D. Barboza, El Globo, Caracas, 5/3/1993
  • Planchart Licea, Eduardo, The Dinnig Suite: Jorgue Estever, El Globo, Caracas, 24/2/1993
  • Planchart Licea, Eduardo, El museo Armando Reverón, El Globo, Caracas, 13/2/1993
  • Planchart Licea, Eduardo, Chillida: de lo sagrado a lo fantástico, El Globo, Caracas, 31/1/1993
  • Planchart Licea, Eduardo, Lo sagrado y lo iniciático: Juan Rulfo(III), El Universal, Caracas, 31/1/1993
  • Planchart Licea, Eduardo, Arte y naturaleza: Maruja Rivas, El Universal, Caracas, 10/1/1993
  • Planchart Licea, Eduardo, Lo popular en el arte, El Universal, Caracas, 3/1/1993
  • Planchart Licea, Eduardo, Arte y fantasía: L. Podolski, El Universal, Caracas, 13/2/1993
  • Planchart Licea, Eduardo, El desnudo femenino: R. Garrido, El Universal, Caracas, 13/12/1992
  • Planchart Licea, Eduardo, Cuatro rumbos de lo sagrado, El Universal, Caracas, 6/12/1992
  • Planchart Licea, Eduardo, Metamorfosis: Marta Cabrujas, El Universal, Caracas, 29/11/1992
  • Planchart Licea, Eduardo, Arte conceptual: Luis Villamizar, El Universal, Caracas, 1/11/1992
  • Planchart Licea, Eduardo, Bin bang:M.Elisa Castro, El Universal, Caracas, 18/10/1992
  • Planchart Licea, Eduardo, Jorgue Stever: Dinnig Suite (I), El Globo, Caracas, 21/10/1992
  • Planchart Licea, Eduardo, Geometricismos: Frank Stella, El Universal, Caracas, 4/10/1992
  • Planchart Licea, Eduardo, La instalación en A. Colmenárez, El Universal, Caracas, 27/9/1992
  • Planchart Licea, Eduardo, Esculturas levitantes, El Universal, Caracas, 29/9/1992
  • Planchart Licea, Eduardo, Paraísos primigenios, El Universal, Caracas, 13/9/1992
  • Planchart Licea, Eduardo, A. Arvelo: el pintor de petare, El Globo, Caracas, 2/9/1992
  • Planchart Licea, Eduardo, Alirio Oramas: eterno presente, El Universal, Caracas, 30/8/1992
  • Planchart Licea, Eduardo, La saga y la palabra poética, El Universal, Caracas, 16/8/1992
  • Planchart Licea, Eduardo, La vida de Milarepa, El Universal, Caracas, 9/8/1992
  • Planchart Licea, Eduardo, Aion: M, Blanco, El Globo, Caracas, 29/7/1992
  • Planchart Licea, Eduardo, A. Colunga o la vida como un circo, El Universal, Caracas, 25/7/1992
  • Planchart Licea, Eduardo, La feria Iberoamericana, El Universal, Caracas, 12/7/1992
  • Planchart Licea, Eduardo, La revolución somos nosotros: J. Beuys, El Universal, Caracas, 5/7/1992
  • Planchart Licea, Eduardo, La saga y la palabra poética, El Universal, Caracas, 16/8/1992
  • Planchart Licea, Eduardo, Arte y tecnología: M. Blanco, El Universal, Caracas, 28/6/1992
  • Planchart Licea, Eduardo, Geometría del Ser: G. Medina, El Universal, Caracas, 21/6/1992
  • Planchart Licea, Eduardo, Miguel Sanoja: esculturas oraculares, El Universal, Caracas, 14/6/1992
  • Planchart Licea, Eduardo, La carga: E. Moreno, El Universal, Caracas, 16/6/1992
  • Planchart Licea, Eduardo, Escultura: Gaudí Este, El Universal, Caracas, 4/6/1992
  • Planchart Licea, Eduardo, A. Colmenárez en Japón, El Universal, Caracas, 31/5/1992
  • Planchart Licea, Eduardo, M.M. Manrique: Océanos, El Universal, Caracas, 24/5/1992
  • Planchart Licea, Eduardo, Alirio Palacios: geografías espirituales, El Universal, Caracas, 17/5/1992
  • Planchart Licea, Eduardo, Arte y ecología: M.V. Dangel, El Universal, Caracas, 3/5/1992
  • Planchart Licea, Eduardo, A, Lazo y su obra, El Universal, Caracas, 26/4/1992
  • Planchart Licea, Eduardo, C. Godoy: mutaciones, El Universal, Caracas, 19/4/1992
  • Planchart Licea, Eduardo, J. Salas: esculturas pétreas, El Universal, Caracas, 12/4/1992
  • Planchart Licea, Eduardo, Diego Barboza: collages, El Universal, Caracas, 5/4/1992
  • Planchart Licea, Eduardo, E. Sánchez: expresionismo, El Universal, Caracas, 22/4/1992
  • Planchart Licea, Eduardo, Arte y ambiente, El Universal, Caracas, 9/3/1992
  • Planchart Licea, Eduardo, Ludicismo en el arte: F. Vegas, El Universal, Caracas, 5/3/1992
  • Planchart Licea, Eduardo, Yuye de Lima y sus neoformas, El Universal, Caracas, 16/2/1992
  • Planchart Licea, Eduardo, La taza y el herbario, El Diario de Caracas, 16/1/1992
  • Planchart Licea, Eduardo, Creyentes y paisajes: A. Palacios, El Diario de Caracas, 24/12/1991
  • Planchart Licea, Eduardo, Arte y devoción religiosa, El Diario de Caracas, 12/1/1991
  • Planchart Licea, Eduardo, G. Segal: escultura y fotografía, El Universal, Caracas, 29/12/1991
  • Planchart Licea, Eduardo, J. L. Fajardo: las miradas del ser, El Universal, Caracas, 10/11/1991
  • Planchart Licea, Eduardo, Recuerdos y existencia, El Universal, Caracas, 3/11/1991
  • Planchart Licea, Eduardo, J.M. Caro o las formas de la angustia, El Universal, Caracas, 27/10/1991
  • Planchart Licea, Eduardo, Narrativa: La búsqueda (I), El Universal, Caracas, 29/8/1991
  • Planchart Licea, Eduardo, Acercamiento a P. A. González, El Universal, Caracas, 22/8/1991
  • Planchart Licea, Eduardo, A. Colmenárez: Preludio 7 fuga 7, El Universal, Caracas, 15/8/1991
  • Planchart Licea, Eduardo, S. Cárdenas Arte y engaño El Universal, Caracas, 8/8/1991
  • Planchart Licea, Eduardo, Antolinez: entre el arcaísmo y la contemporaneidad, El Universal, Caracas, 25/8/1991
  • Planchart Licea, Eduardo, Luis Rocca Brito, figuración expresiva El Universal, Caracas, 11/8/1991
  • Planchart Licea, Eduardo, Marquelis: magia y ensamblaje, El Universal, Caracas, 21/7/1991
  • Planchart Licea, Eduardo, Antolinez: entre el arcaísmo y la contemporaneidad, El Universal, Caracas, 25/8/1991
  • Planchart Licea, Eduardo, Sidia Reyes: la alcantarilla, El Universal, Caracas, 14/7/1991
  • Planchart Licea, Eduardo, La contemporaneidad del arte de J.F.Sánchez, El Universal, Caracas, 7/7/1991
  • Planchart Licea, Eduardo, L.A. Hernández: tiempo y espacio sacro(II), El Universal, Caracas, 30/6/1991
  • Planchart Licea, Eduardo, L.A.Hernández: encantamiento(I) El Universal, Caracas, 23/6/1991
  • Planchart Licea, Eduardo, Lo sagrado y lo iniciático, Juan Rulfo (I), El Universal, Caracas, 2/6/1991
  • Planchart Licea, Eduardo, O.Frías: magia y cotidianidad, El Universal, Caracas, 27/6/1991
  • Planchart Licea, Eduardo, Ver, reconocer y escatología en A. Lazo(II), El Universal, Caracas, 26/5/1991
  • Planchart Licea, Eduardo, Antolinez: entre el arcaísmo y la contemporaneidad, El Universal, Caracas, 25/8/1991
  • Planchart Licea, Eduardo, Gaudí Este: perros, sillas y parihuelas, El Universal, Caracas, 5/5/1991
  • Planchart Licea, Eduardo, Las formas del poder, El Universal, Caracas, 28/4/1991
  • Planchart Licea, Eduardo, Lo sagrado y lo iniciático en la literatura: M.V.Llosa (II), El Universal, Caracas, 7/4/1991
  • Planchart Licea, Eduardo, Lo religioso en la obra de A. Lazo, El Universal, Caracas, 31/3/1991
  • Planchart Licea, Eduardo, J. Berretini o la transparencia del Ser, El Universal, Caracas, 24/3/1991
  • Planchart Licea, Eduardo, Lo sagrado y lo iniciático en la literatura: M.V.Llosa, (I) El Universal, Caracas, 24/3/1991
  • Planchart Licea, Eduardo, Pedro Morales o la búsqueda del centro, El Universal, Caracas, 3/3/1991
  • Planchart Licea, Eduardo, Kristo en la contemporaneidad: Jesús de Montreal, El Universal, Caracas, 24/2/1991
  • Planchart Licea, Eduardo, Ver, reconocer y escatología en A. Lazo(I), El Universal, Caracas, 21/2/1991
  • Planchart Licea, Eduardo, Arte, mito y etnología (III), El Universal, Caracas, 17/2/1991
  • Planchart Licea, Eduardo, Arte, mito y etnología(II), El Universal, Caracas, 3/2/1991
  • Planchart Licea, Eduardo, Gaudí Este: esculturas de poder, El Universal, Caracas, 20/1/1991
  • Planchart Licea, Eduardo, Don Viviano Vargas el artista de Canoabo, El Universal, Caracas, 23/12/1990
  • Planchart Licea, Eduardo, Entre santos, trapiches y muñecas, El Universal, Caracas, 16 /12/1990
  • Planchart Licea, Eduardo, M. Angel Parada o alegría de crear, El Universal, Caracas, 9/12/1990
  • Planchart Licea, Eduardo, Un panorama de la cultura popular El Universal, Caracas, 2/12/1990
  • Planchart Licea, Eduardo, La Biblioteca Nacional, El Universal, Caracas, 25/11/1990
  • Planchart Licea, Eduardo, E. Rojas Ovalles(II), El Universal, Caracas, 11/11/1990
  • Planchart Licea, Eduardo, E. Rojas Ovalles buscador de la perfección, El Universal, Caracas, 28/10/1990
  • Planchart Licea, Eduardo, La figuración actual de O. Vigas(II), El Universal, Caracas, 14/10/1990
  • Planchart Licea, Eduardo, La universalidad del arte de O.Vigas, El Universal, Caracas, 7/10/1990
  • Planchart Licea, Eduardo, Reclama el artista del Tisure, Diario de Caracas, 3/9/1990
  • Planchart Licea, Eduardo, Eutanasia a la Biblioteca Nacional, El Universal, Caracas, 16/9/1990
  • Planchart Licea, Eduardo, Agonía de la cultura popular: L.A. Arvelo, El Universal, Caracas, 5/9/1990
  • Planchart Licea, Eduardo, Acercamiento a M.Q. Castillo, El Universal, Caracas, 26/8/1990
  • Planchart Licea, Eduardo, Luis Zambrano (II), El Universal, Caracas, 19/8/1990
  • Planchart Licea, Eduardo, Agonía de la cultura popular, Luis Zambrano, El Universal, Caracas, 16/8/1990
  • Planchart Licea, Eduardo, Arte y filosofía en Luis Zambrano, El Universal, Caracas, 16/10/1990
  • Planchart Licea, Eduardo, El vuelo de la libertad interior en O.Vigas(II), El Universal, Caracas, 8/7/1990
  • Planchart Licea, Eduardo, El vuelo de la libertad interior en O.Vigas(I), El Universal, Caracas, 1/7/1990
  • Planchart Licea, Eduardo, Arte arcaico y americanismo en O.Vigas (II), El Universal, Caracas, 3/6/1990
  • Planchart Licea, Eduardo, Arte, arcaico y americanismo en O.Vigas(I), El Universal, Caracas, 27/5/1990
  • Planchart Licea, Eduardo, Don Viviano Vargas el artista de Canoabo, El Universal, Caracas, 23/12/1990
  • Planchart Licea, Eduardo, Arte, mito y etnología(I), El Universal, Caracas, 13/5/1990
  • Planchart Licea, Eduardo, Emiliana Nadal: entre santos y muñecas, El Universal, Caracas, 6/5/1990
  • Planchart Licea, Eduardo, Don Viviano Vargas el artista de Canoabo, El Universal, Caracas, 23/5/1990
  • Planchart Licea, Eduardo, Diciembre tiempos de Epifania, El Universal, Caracas, 30/4/1990
  • Planchart Licea, Eduardo, Don Viviano Vargas el artista de Canoabo, El Universal, Caracas, 23/12/1990
  • Planchart Licea, Eduardo, El séptimo sello o la impiedad, El Universal, Caracas, 22/4/1990
  • Planchart Licea, Eduardo, Juan Félix Sánchez y O. Vigas, El Universal, Caracas, 15/4/1990
  • Planchart Licea, Eduardo, Arte y antropología los Desana, El Universal, Caracas, 8/4/1990
  • Planchart Licea, Eduardo, El arte popular en arte del encuentro, El Universal, Caracas, 1/4/1990
  • Planchart Licea, Eduardo, J.J.Rousseau y la revolución francesa, El Universal, Caracas, 4/3/1990
  • Planchart Licea, Eduardo, Lo divino en A. Reverón J.F.Sánchez(II), El Universal, Caracas, 4/2/1990
  • Planchart Licea, Eduardo, Lo divino en A. Reverón J.F.Sánchez(I), El Universal, Caracas, 21/1/1990
  • Planchart Licea, Eduardo, Narrativa: El mago de la niebla(IV), El Universal, Caracas, 14/1/1990
  • Planchart Licea, Eduardo, Narrativa: El mago de la niebla(III), El Universal, Caracas, 7/1/1990
  • Planchart Licea, Eduardo, Narrativa: El mago de la niebla(II), El Universal, Caracas, 24/12/1989
  • Planchart Licea, Eduardo, Narrativa: El mago de la niebla(I), El Universal, Caracas, 10/12/1989
  • Planchart Licea, Eduardo, El rostro de la luz en Armando Reverón, El Universal, Caracas, 3/12/1989
  • Planchart Licea, Eduardo, Lo sagrado y lo iniciático en la literatura G.G. Márquez, El Universal, Caracas, 26/11/1989
  • Planchart Licea, Eduardo, Lo sagrado y lo iniciático en la literatura, El Universal, Caracas, 19/11/1989
  • Planchart Licea, Eduardo, El escandaloso libro de los versos satánicos,(III) El Universal, Caracas, 22/10/1989
  • Planchart Licea, Eduardo, S., Rushie: literatura y psicología,(II) El Universal, Caracas, 15/10/1989
  • Planchart Licea, Eduardo, Mahoma y los versos satánicos,(I) El Universal, Caracas, 28/10/1989
  • Planchart Licea, Eduardo, Lo iniciático en la obra de A. Reverón,(I) El Universal, Caracas, 1/10/1989
  • Planchart Licea, Eduardo, Gringo viejo e ideología, Diario de Caracas, 9/9/1989
  • Planchart Licea, Eduardo, L.A. Arvelo el pintor del trapiche de Petare El Universal, Caracas, 27/8/1989
  • Planchart Licea, Eduardo, Épica y ética en la Ilíada y el Mahabarata El Universal, Caracas, 20/8/1989
  • Planchart Licea, Eduardo, Josefa Sulbarán: la pintora de los cerrillos El Universal, Caracas, 23/7/1989
  • Planchart Licea, Eduardo, El señor de los anillos de J.R.R. Tolkien y el Voluspa, El Universal, Caracas, 16/7/1989
  • Planchart Licea, Eduardo, Mito y literatura: el Bolívar de G.G. Márquez El Universal, Caracas, 11/6/1989
  • Planchart Licea, Eduardo, Simbología y arte popular El Universal, Caracas, 4/6/1989
  • Planchart Licea, Eduardo, Épica y ética: el Bhagavad-Gita El Universal, Caracas, 17/4/1989
  • Planchart Licea, Eduardo, Lo ético y lo religioso en la vida de J.F. Sánchez El Universal, Caracas, 19/3/1989
  • Planchart Licea, Eduardo, R.I.P. de J.L.López, El Universal, Caracas, 12/3/1989
  • Planchart Licea, Eduardo, Arte y cultura popular, El Universal, Caracas, 11/3/1989
  • Planchart Licea, Eduardo, Acercamiento a Villanueva, El Universal, Caracas, 29/1/1989
  • Planchart Licea, Eduardo, Los libros de Terramar de U.K.Le Guin, El Universal, Caracas, 18/12/1988
  • Planchart Licea, Eduardo, Pesebres y tradiciones, El Universal, Caracas, 11/12/1988
  • Planchart Licea, Eduardo, Cultura y política cultural, El Universal, Caracas, 27/11/1988
  • Planchart Licea, Eduardo, Religión arte y filosofía en el calendario azteca, (II), El Universal, Caracas, 20/11/1988
  • Planchart Licea, Eduardo, En búsqueda del unicornio de Juan Eslava, El Universal, Caracas, 14/7/1988
  • Planchart Licea, Eduardo, Gandí y el Bhagavad Gita, El Universal, Caracas, 30/10/1988
  • Planchart Licea, Eduardo, J. F. Sánchez y la filosofía de la cotidianidad, El Universal, Caracas, 3/10/1988
  • Planchart Licea, Eduardo, La palabra del Mama Kogi, Suplemento Cultural de Ultimas Noticias, Caracas, 4/10/1988
  • Planchart Licea, Eduardo, La plástica en la vida de J.F. Sánchez, El Universal, Caracas, 25/9/1988
  • Planchart Licea, Eduardo, Simbología y arte popular: la piedra, El Universal, Caracas, 28/8/1988
  • Planchart Licea, Eduardo, Etnocidio.Los Kogi, Suplemento Cultural de Ultimas Noticias, Caracas, 28/8/1988
  • Planchart Licea, Eduardo, Religión y ecología: la visión Desana del mundo, Suplemento Cultural de Ultimas Noticias, Caracas, 21/8/1988
  • Planchart Licea, Eduardo, Del shamán al filósofo Náhuatl, Suplemento Cultural de Ultimas Noticias, Caracas, 29/5/1988
  • Planchart Licea, Eduardo, Educación en la cultura Náhuatl, Suplemento Cultural de Ultimas Noticias, Caracas, 13/3/1988
  • Planchart Licea, Eduardo, Charly García o la búsqueda de una nueva ligiosidad, El Diario de Caracas, 15/5/1988
  • Planchart Licea, Eduardo, ¿Cuál es el secreto de milagro?, El Universal, Caracas, 17/7/1988
  • Planchart Licea, Eduardo, La Semana Santa en el Tisure, El Universal, Caracas, 10/7/1988
  • Planchart Licea, Eduardo, Religión y mito en J.F.Sánchez, El Universal, Caracas, 3/7/1988
  • Planchart Licea, Eduardo, ¿ Quién es Juan Félix Sánchez?,(II) El Universal, Caracas, 26/6/1988
  • Planchart Licea, Eduardo, ¿ Quién es Juan Félix Sánchez?,(I) El Universal, Caracas, 19/6/1988
  • Planchart Licea, Eduardo, ¿ La angustia de Juan Félix Sánchez?, El Universal, Caracas, 28/4/1988
  • Planchart Licea, Eduardo, Epifania Gil, El Universal, Caracas, 8/4/1988
  • Planchart Licea, Eduardo, Religión arte y filosofía en el calendario azteca,(I) El Universal, Caracas, 8/4/1988
  • Planchart Licea, Eduardo, Juan Félix Sánchez un mito viviente, El Universal, Caracas, 6/3/1988
  • Planchart Licea, Eduardo, Del hablador a la guerra del fin del mundo, El Universal, Caracas, 21/2/1988
  • Planchart Licea, Eduardo, La narrativa en la obra de Juan Félix Sánchez, El Universal, Caracas, 3/1/1988
  • Planchart Licea, Eduardo, Épica y ética el Mahabarata, El Universal, Caracas, 27/12/1987
  • Planchart Licea, Eduardo, Juan Félix Sánchez: arte y devoción religiosa, El Universal, Caracas, 12/11/1987
  • Planchart Licea, Eduardo, Quetzalcóatl el Prometeo americano, Suplemento Cultural de Ultimas Noticias, Caracas, 22/11/1987
  • Planchart Licea, Eduardo, Juan Félix Sánchez: Sacralitud y cotidianidad, El Universal, Caracas, 6/9/1987
  • Planchart Licea, Eduardo, Nuestra alimentación y costosa, El Nuevo Venezolano, Caracas, 3/3/1980
  • Planchart Licea, Eduardo, El mercado indígena de Puerto Ayacucho, El Nuevo Venezolano, Caracas, 3/2/1980
  • Planchart Licea, Eduardo, Notas sobre cultura ecológica, El Nuevo Venezolano, Caracas, 4/2/1980
  • Planchart Licea, Eduardo, La voz de una raza oprimida, El Nuevo Venezolano, Caracas, 12/2/1980
  • Planchart Licea, Eduardo, Las sociedades indígenas y ecología, El Nuevo Venezolano, Caracas, 3/12/1979
  • Planchart Licea, Eduardo, Ingeneria contranatura, El Nuevo Venezolano, Caracas, 11/12/1979
  • Planchart Licea, Eduardo, Convivamos con la naturaleza, El Nuevo Venezolano, Caracas, 8/11/1979
  • Planchart Licea, Eduardo, Exterminio de los caimanes del Orinoco, El Nuevo Venezolano, Caracas, 16/11/1979
  • Planchart Licea, Eduardo, Nuestro baboso mar, El Nuevo Venezolano, Caracas, 23/11/1979
  • Planchart Licea, Eduardo, La conquista del Sur, El Nuevo Venezolano, Caracas, 7/10/1979
  • Planchart Licea, Eduardo, Caracas veneno de muchos, El Nuevo Venezolano, Caracas, 15/10/1979
  • Planchart Licea, Eduardo, Caracas ciudad intoxicada, El Nuevo Venezolano, Caracas, 22/10/1979
  • Planchart Licea, Eduardo, Los enemigos del medio ambiente, El Nuevo Venezolano, Caracas, 22/9/1979
  • Planchart Licea, Eduardo, Nos quedamos sordos, El Nuevo Venezolano, Caracas, 12/9/1979
  • Planchart Licea, Eduardo, El agua embotellada, El Nuevo Venezolano, Caracas, 3/8/1979
  • Planchart Licea, Eduardo, Las misiones a la conquista del Sur, El Nuevo Venezolano, Caracas, 14/8/1979

Publicaciones en Revistas

  • Planchart Licea, Eduardo, Lo telúrico en el arte: Oswaldo Vigas, Art Nexus Colombia, 1999
  • Planchart Licea, Eduardo, Irma Villalobos: a foco, Rv. Castálida, México, Otoño 1997
  • Planchart Licea, Eduardo, Una familia de tantas, Rv. La Casa Grande, México-Colombia, Mayo/Septiembre 1997
  • Planchart Licea, Eduardo, Arte contemporáneo venezolano, Rv. A Propósito, Puerto Rico, Mayo 1997
  • Planchart Licea, Eduardo, La última morada,(cuento) Rv. Colmena, Universidad de Puerto Rico, Mayo 1996
  • Planchart Licea, Eduardo, Un acercamiento a lo religioso en el arte, Rv. Guest, Venezuela, 1993
  • Planchart Licea, Eduardo, Fragmentos germinales, Rv. Nexo, Mayo/Septiembre 1993
  • Planchart Licea, Eduardo, Arqueología espiritual de un continente, Rv. Imagen latinoamericana-CONAC, Venezuela, Agosto 1993
  • Planchart Licea, Eduardo, Acero estética ignorada, Rv. Imagen latinoamericana-CONAC, Venezuela, Agosto 1993
  • Planchart Licea, Eduardo, Alirio Palacios-entrevista, Rv. Imagen CONAC, Venezuela, Junio 1992
  • Planchart Licea, Eduardo, Ramiro Llona entre realidades, Rv. Imagen CONAC, Venezuela, Mayo 1992
  • Planchart Licea, Eduardo, Arte y ecología, Rv. Imagen CONAC, Venezuela, Abril 1992
  • Planchart Licea, Eduardo, Milton Becerra: arte y ficción, Rv. Imagen CONAC, Venezuela, Marzo 1992
  • Planchart Licea, Eduardo, Miguel Acosta: espacio y arqueología, Rv. Imagen CONAC, Venezuela, Mayo 1992
  • Planchart Licea, Eduardo, Gladis Medina, Rv. Imagen CONAC, Venezuela, Febrero 1992
  • Planchart Licea, Eduardo, La tormenta del desierto, Rv. Imagen CONAC, Venezuela, Enero 1992
  • Planchart Licea, Eduardo, Jose Luis Fajardo: Rostros, Rv. Imagen CONAC, Venezuela, Diciembre 1991
  • Planchart Licea, Eduardo, Fabiola Sequera, arte textil Rv. Imagen CONAC, Venezuela, Octubre 1991
  • Planchart Licea, Eduardo, Alirio Palacios: paisajes y creyentes, Rv. Imagen CONAC, Venezuela, Octubre 1991
  • Planchart Licea, Eduardo, Archipenko, cosmos y feminidad Rv. Imagen CONAC, Venezuela, Septiembre 1991
  • Planchart Licea, Eduardo, La fuerza de la tierra, Rv. Criticarte-FUNDARTE, Venezuela, Junio 1991
  • Planchart Licea, Eduardo, Los misterios de Armando Reverón, Rv. Eidos UNIMET, Venezuela, Julio/Diciembre 1989
  • Planchart Licea, Eduardo, Profetas,chamanes y palabras, Rv. Anthropos, Venezuela, Enero/Junio 1986
  • Planchart Licea, Eduardo, Los versículos satánicos, Rv. Imagen CONAC, Venezuela, Julio 1989
  • Planchart Licea, Eduardo, Profetas,chamanes y palabras, Rv. Anthropos, Venezuela, Enero/Junio 1986
  • Planchart Licea, Eduardo, La historia sin fin o la historia interminable, Rv. Criticarte FUNDARTE, Venezuela, Febrero 1986
  • Planchart Licea, Eduardo, A través de un mito wayú, Rv. Anthropos, Venezuela, Enero/Junio 1985
  • Planchart Licea, Eduardo, Profetas,chamanes y palabras, Rv. Anthropos, Venezuela, Enero/Junio 1986
  • Planchart Licea, Eduardo, Xóchitl,la rosa náhuatl Rv. Eidos UNIMET, Venezuela, Julio/Diciembre 1985
  • Planchart Licea, Eduardo, Notas sobre dependencia ideológica Rv. Eidos UNIMET, Venezuela, Julio/Diciembre 1984
  • Planchart Licea, Eduardo, Notas sobre dependencia, Rv. del INAF CONAC, Venezuela, Julio/Diciembre 1984
  • Planchart Licea, Eduardo, Lo onírico en el mito y la literatura, Rv. Eidos UNIMET, Venezuela, Julio/Diciembre 1983

Here’s my top 9 takeaways of the year! Use them to maximize your success in 2023.

Here’s my top 9 takeaways of the year! Use them to maximize your success in 2023.

Nick Friend
Owner, Art Storefronts

1. You’re underpriced. Reaching proper pricing is one of the first challenges we help our newest members overcome. The most common culprit of artwork being undervalued? Pricing to your own budget rather than collectors’ budgets. Watch out! You are not your target market. 

2. Your subject matter defines your revenue potential. What is the true size of your target market? Many struggling artists we work with have accidentally painted themselves into a corner by creating work for an audience of only a few thousand potential buyers. This doesn’t create enough opportunity to grow a sustainable business.

3. The most successful artists and photographers embrace experimentation. One thing we’ve found in common among nearly every artist on Art Storefronts selling over $100,000 a year? They freely and enthusiastically experiment with subject matter. They jump on trends, get frequent feedback from their audiences, and are always looking for the next “lightning connection” niche. This flexibility is a great indicator of success. 

4. Lead generation continues to be underestimated. How many email addresses have you collected from fans of your work in the past 30 days? Our case studies have found a good target number is about 500. If you aren’t at this level yet, working towards it is likely the single best thing you could be doing for your business. Moving your social media audience onto your email list is the only way to make sure no algorithm changes or even complete platform shutdowns can affect your ability to build relationships with your fans and buyers. 

5. Merchandise is key! This continues to be a tough pill to swallow for many but I can’t say it enough – YOU NEED TO BE SELLING FINE ART MERCH! Art buyers are rarely in the market for wall art, but they are always in the market for beautiful fine art merchandise like tote bags, mugs, and coasters. Our data is clear: today’s tote bag buyer comes back when they need high-end wall art. Don’t underestimate these sneakily strategic products. 

6. “Romance marketing” – or content that educates and entertains your audience – is a major booster of perceived value. In other words, when you use social media and email marketing to reveal your artistic processes, inspirations, struggles, and discoveries – you help your audience better see the talent and hard work behind every new print or piece.

7. No collector list, no business. Only sell your art via channels that don’t give you buyer information if you absolutely must. It is a major limiter to future growth and you deserve to know who’s buying your work so you can build lasting relationships with them.

8. Instagram Reels were the exposure opportunity of the year. Did you focus on them? If not, be sure to course correct quickly while the easy exposure is still there!

9. Running promotions at the right times is the single greatest revenue generator. Art does not sell randomly, it sells during reliable periods of year – often anchored by holidays like Mother’s Day, Black Friday, and Christmas. Be sure to prepare for these high revenue times with a properly-executed sale.

Early access to learnings like these are why Art Storefronts members continue to sell more, faster.

We are obsessed with solving the starving artist problem, and give away everything we know about selling art to our 8,000+ members on a daily basis.

From being alerted to upcoming art-selling opportunities, to using the EXACT social media and email language we’ve learned works, the difference Art Storefronts makes will have you wishing you joined years ago.

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