Art Palm Beach Wraps Up Successful First Show The show is celebrating major success and record sales
This weekend Art Palm Beach wrapped up its first show at the Palm Beach County Convention Center under new ownership. The show brought in tens of thousands of people and record sales for multiple galleries. Art Palm Beach is the longest running fair dedicated to contemporary, emerging, and modern art in the area. This year, the owners of the LA Art Show, the most prestigious and innovative art show in America, brought their knowledge and expertise to Palm Beach. “We created a new and completely revamped Art Palm Beach”, said Kassandra Voyagis, the producer and director of the show. “We are so proud of what we accomplished taking this show in a new and exciting direction. I could tell by the look on people’s faces when they walked in that they were wowed by the experience we provid-ed.”
The show kicked-off with a successful VIP night in conjunction with St Jude Children’s Re- search Hospital. A patient family spoke about their gratitude for the support from Art Palm
Beach. Fifteen percent of ticket sales from the five-day event benefitted St. Jude. From the “yel- low” carpet to the four Pablo Picasso art pieces for sale to Lorenzo Marini’s most loved immer- sive experience titled “Raintype” — art you can touch — guests and patrons alike commented on
the vibrant energy and fun buzzing through the course of the show. Art Palm Beach garnered national TV attention from networks like Discovery+, The Weather Channel and multiple local news segments highlighting the uniqueness of the show that focused on climate change. As a part of DIVERSEartPB, international artist Marcos Lutyens provided a trance room called “Echo of Oblivion” about drought. Renowned art curator Marisa Caichiolo also featured an immersive experience by artist Guillermo Vezzosi dedicated to the rising sea level. Guests were able to see, feel and touch recycled trash as an art form. Mark your calendars for next year’s show at the Palm Beach County Convention Center Jan. 24th -28th 2024. For more information about the exceptional show go to: ArtPalmBeach.com
A lo largo de la historia, la humanidad ha querido profundizar en los orígenes de la vida sobre la tierra o en los mitos referentes a las diversas religiones, lo cual indica que el ser humano busca siempre un motivo de adoración y religión; prueba de ello la obtenemos en los primitivos habitantes del mundo, que adoraban al Sol, la Luna y a muchos animales.
Sobre el tema numerosas líneas se han escrito y muchos han sido los autores e investigadores, como el mismo Darwin quien sostenía que el hombre era fruto de una evolución y negaba los mitos bíblicos.
Existen grupos, como los masones, antiguos y revestidos de un secretismo, atractivo para el común de las personas, que poseen gran información digna de conocerse; y es leyendo en algunas publicaciones que he podido hallar referencias al cubo y me permito compartirles, pensando que quizá te pueda interesar.
Parte de la información que aquí transcribo, la obtuve por el libro “El Simbolismo Francmasónico” y el Diccionario Masónico, donde se hace una síntesis de la ciencia masónica, su filosofía, leyendas, mitos y símbolos y del cual extraigo las siguientes citas:
La piedra angular de un edificio debe tener sus superficies completamente cuadradas, a fin de que los muros que sobre ella se levanten no se desvíen de la línea vertical, que es lo único que puede dar fuerza y proporción al edificio. Con las superficies perfectamente cuadradas es, como cuerpo sólido, un cubo perfecto.
Se sabe que la escuadra y el cubo son dos símbolos importantes y significativos. La escuadra es el emblema de la moralidad y el cumplimiento estricto del deber. La palabra inglesa square significa cuadrado y también escuadra. Es así como el cuadrado, como símbolo masónico enseña “a regular la conducta con principios de moral y virtud”.
Entre los griegos, era el símbolo de la perfección y la frase “hombre cúbico y cuadrado” se empleaba para designar a un hombre intachable e íntegro. Quizás sea por eso que Aristóteles decía que “quien soporta valientemente los golpes de la adversa fortuna, conduciéndose honradamente, es un hombre verdaderamente bueno y de postura cuadrada e irreprochable”.
En el lenguaje del simbolismo, el cubo significa la verdad, sabiduría y perfección moral.
La nueva Jerusalem, del libro del Apocalipsis, es descrita con igual longitud que anchura y altura.
En los tiempos primitivos se representaban todos los dioses por medio de piedras cúbicas.
Los mitólogos paganos representaban a Mercurio o Hermes con una piedra cúbica, porque era el símbolo de la verdad. Por su parte, los israelitas dieron la misma forma al tabernáculo, dedicado a la morada de la verdad divina.
El Cubo y la Esfera
La Esfera, al poder girar libremente hacia cualquier dirección, es una forma completamente dinámica y, considerada como la más perfecta parábola material de la misma esencia divina. Origenes decía que las almas, cuando entran en el Paraíso lo hacen rodando, «pues la Esfera es el más perfecto de todos los cuerpos». Cada uno de los puntos de su superficie dista lo mismo del centro; esto ya implica regularidad y orden.
Sin embargo, al mismo tiempo existe en esta figura una paradoja, ya que la Esfera procede de la irradiación de un punto central hacia el exterior, como una explosión. Donde cada punto de la superficie no es sino un punto unido por un radio al centro, lo que, en otras palabras, quiere decir que el centro contendrá el mismo número de puntos que la superficie exterior, es decir, infinito número de ellos
En cuanto a figuras geométricas, el Cubo, se opone visiblemente a la esfera, porque siendo ésta “la más móvil de las figuras geométricas”, el Cubo sería “la más estable” de todas las formas; parece sugerir inamovilidad y, apoyado en cualquiera de sus seis caras, es el símbolo de estabilidad completa, pero también de materialidad.
El proceso de formación de un Cubo es sensiblemente diferente. Un punto en desplazamiento genera una línea recta, una línea recta, a su vez, desplazada, genera una superficie y ésta un volumen. La proyección de cada una de las caras del Cubo así constituido, marca las seis direcciones del espacio; siendo la séptima el propio Cubo de origen.
Muchos arquitectos, de diferentes culturas han tomado en cuenta estas asimilaciones. Y esta complementariedad se aprecia en las construcciones árabes tradicionales formadas por una semiesfera superpuesta a un cubo.
El Cuadrado y el Círculo, a pesar de ser figuras trazadas de diversa forma, y aun siendo opuestas en sus significados y calidades, siempre terminan por ser relacionadas entre sí. Relacionar Cuadrado y Círculo (Cubo y Esfera), equivale a reconstruir una síntesis originaria superior a cada una de las partes. Pero, si bien el problema matemático no tiene solución, no ocurre lo mismo desde el punto de vista geométrico, existiendo distintas variantes para encontrar un Cuadrado cuya superficie equivalga a la de un Círculo.
Uno de los problemas matemáticos que se han mostrado irresolubles a lo largo de los siglos es el de la cuadratura del Círculo.
¿Qué simboliza el cubo?
Uno de los símbolos más usados en nuestra sociedad, en especial el de su versión negra.
Esta simbología la podemos encontrar en todos los aspectos de la sociedad, desde la religión hasta cultura.
En la religión es bien conocido su uso en las tradiciones musulmanas y judías las cuales no se cortan a la hora de rendir pleitesía a esta forma y color particular.
La Kaaba de la Mecca es una de las representaciones más conocidas de este cubo, y la misma representa el lugar sagrado más importante del Islam, nada menos, donde es interesante observar esa especie de fenómeno hipnótico de las masas alrededor del cubo girando en la dirección de las agujas del reloj.
El cubo en la simbología masónica (Diccionario Masónico, Barcelona, 2007, pp. 151-157).
En las gestas caballerescas, Arturo demuestra su derecho innato a ser rey de toda Inglaterra extrayendo una espada clavada en una gran piedra cuadrangular situada en el altar del templo, variante de la «piedra de reyes». Este simbolismo general de la «piedra de fundamento» remite a la idea axial o «polar» y la espada a un poder viril que hay que extraer de ese principio. También puede significar liberar un poder de la materialidad.
La piedra Cúbica, en Masonería, simboliza el cumplimiento de la obra. Es el equivalente a la Sal de los alquimistas, zona neutra en la que se reencuentran y establecen las influencias opuestas que proceden del Azufre y el Mercurio. El paso de la «piedra bruta» a la «piedra cúbica» representa la elaboración que debe sufrir la individualidad para devenir «apta» a servir de «soporte» a la realización iniciática. Es la «obra al blanco» alquímica.
Franklin Sirmans, Director at Pérez Art Museum Miami
Franklin Sirmans is the director of the Pérez Art Museum Miami (PAMM). Prior to taking his position at PAMM, Sirmans was Terri and Michael Smooke Department Head and Curator of Contemporary Art at the Los Angeles County Museum of Art (LACMA) and curator of modern and contemporary art at the Menil Collection in Houston, Texas. from 2010 until 2015. At LACMA Sirmans organized Noah Purifoy: Junk Dada, Variations: Conversations in and Around Abstract Painting, and Futbol: The Beautiful Game, among many other exhibitions. From 2006 to 2010, he was Curator of Modern and Contemporary Art at The Menil Collection in Houston where he organized several exhibitions including NeoHooDoo: Art for a Forgotten Faith, Steve Wolfe: Works on Paper, Maurizio Cattelan: Is There Life Before Death? and Vija Celmins: Television and Disaster, 1964-1966. In 2009 Sirmans was awarded the Gold Rush Award by the Rush Philanthropic Arts Foundation, he was the winner of the 2007 David C. Driskell Prize, and artistic director of Prospect.3 New Orleans from 2012-2014. He has mounted exhibitions as an independent curator at museums in Europe, Asia and the U.S., including the Bronx Museum of the Arts, Comune di Milano in Italy and the Museum Villa Stuck in Munich.
Some of his notable projects include “Basquiat” (Brooklyn Museum; Museum of Contemporary Art, Los Angeles; and the Museum of Fine Arts, Houston; 2005); “Make it Now: New Sculpture in New York” (Sculpture Center, 2005); “One Planet Under a Groove: Contemporary Art and Hip Hop” (Bronx Museum of Art; Spelman College Museum of Fine Art, Atlanta; and the Walker Art Center, Minneapolis; 2001-2003); and “Ralph Bunche: Diplomat for Peace and Justice” (Queens Museum of Art, 2004).
He has also been a curatorial advisor at PS 1 since February of 2006, and has organized exhibitions such as “Bearable Lightness” and solo presentations of artists including SunTek Chung, Philip Maysles, Curtis Mitchell and Senam Okudzeto. He has taught art history most recently at both Maryland Institute College of Art and Princeton University.
A former U.S. editor of “Flash Art” and editor-in-chief of “ArtAsiaPacific,” Mr. Sirmans has written widely on art and culture for such publications as “Art in America,” “The New York Times,” “Essence” and “Newsweek International.” Sirmans has also contributed monographic essays for catalogues on artists including Kevin ei-Ichi DeForest, Kehinde Wiley, Gajin Fujita, Wendell Gladstone and David Hammons.
Born in New York City in 1969, Sirmans was raised in Harlem, Albany and New Rochelle, New York. He earned English and Art History degrees from Wesleyan University, where he wrote his honors thesis on the artist Jean-Michel Basquiat.
Franklin Sirmans is an independent curator, writer, editor and lecturer based in New York City. A former U.S. Editor of Flash Art and Editor-in-Chief of Art Asia Pacific magazines, Sirmans has written for several journals and newspapers on art and culture, including The New York Times, Newsweek International, Art in America, ArtNews, Grand Street and Essence Magazine.
He is cocurator of Basquiat (2005-2006: Brooklyn Museum, Los Angeles Museum of Contemporary Art and the Museum of Fine Arts, Houston). He was cocurator of Make It Now: New Sculpture in New York at Sculpture Center; One Planet Under A Groove: Contemporary Art and Hip Hop (2001-2003: Bronx Museum of Art, Spelman College Art Gallery, Atlanta, the Walker Art Center, Minneapolis and Villa Stuck, Munich, Germany); and Ralph Bunche: Diplomat for Peace and Justice at the Queens Museum of Art (2004). He has also curated several other exhibitions including Americas Remixed in Milan, Italy; Mass Appeal in Ottawa, Montreal, Halifax and Sackville, Canada; and annual exhibitions for Atlanta (2003), Baltimore (2005) and Los Angeles (1999). Sirmans has also organized several exhibitions for commercial galleries including A Moments Notice in Houston, Things Fall Apart in Chicago, Notorious Impropriety in Boston, Color Theory in Torino, and New Video in Seoul; and New Wave, The Color of Sound, Summer Jam,Retroactive I and Rumors of War in New York.
Sirmans has edited numerous catalogues on contemporary art including Transforming the Crown: African, Asian and Caribbean Artists in Britain, (University of Chicago Press), Jean-Michel Basquiat (Tony Shafrazi Gallery), Freestyle and Black Belt at The Studio Museum in Harlem, and contributed to Gary Simmons at the MCA, Chicago and Double Consciousness: Black Conceptual Art Since 1970 (Contemporary Art Museum, Houston), in addition to several monographs on artists including Edgar Arceneaux, Monika Bravo, Iona Brown, Mia Enell, Manuel Esnoz, Charles Gaines, Kojo Griffin, Dario Robleto and Kehinde Wiley.
Sirmans was the 2005 Maryland Art Place Critic-in-Residence and an instructor at the Maryland Institute College of Art and Princeton University.
Born in New York City (Queens), Sirmans was raised in Harlem, Albany and New Rochelle, New York. He attended Manhattan Country School, Albany Academy and New Rochelle High School before receiving a B.A. in Art History and English from Wesleyan University (1991).
Installation View of Georg Karl Pfahler, Hard Edge | 1963 -1984, February 18 - March 19, 2022
Georg Karl Pfahler, German, 1926–2002
Pfahler dedicated his entire career to the investigation of the relationship between colour, shape and space, an objective he steadfastly pursued.
‘Colour has a value of its own, colour is weight, colour is quality, colour possesses an inherent limitation, of itself, through itself, through other colours, colour creates space, colour is form and space’ – Georg Karl Pfahler, 1968.
Rising to prominence in the early 1960s as one of the first hard edge painters in Europe, known for his vibrant and colourful works, Georg Karl Pfahler was an internationally recognised artist who represented Germany at the Venice Biennale in 1970 alongside Günther Uecker, Heinz Mack, and Thomas Lenk; and at the São Paulo Biennale in 1981. Pfahler dedicated his entire career to the investigation of the relationship between colour, shape and space, an objective he steadfastly pursued until his death in 2002. In doing so he was—and remains to this day—at the forefront of the colour field painting movement.
Pfahler was born in 1926 and studied at the Kunstakademie Stuttgart under Willi Baumeister, graduating in 1954. Influenced by the tradition of European Art Informel, he quickly adopted an innovative abstract geometric painting style, with block-like forms on crisp backgrounds appearing on his canvasses as early as 1962. It was then that Pfahler continued to reduce his style even further to exclusively focus on the dynamic between shapes, and to examine the deeper relationships between space and colour. In doing so Pfahler became a thought leader and one of the first European artists to simultaneously work in action, colour field, and hard edge painting—styles that his American contemporaries like Frank Stella, Ellsworth Kelly, Kenneth Noland and Leon Polk Smith, among others, explored as well.
In the late 1970s Pfahler’s work began to take increasingly gestural forms, introducing sweeping blocks of coloured shapes set against minimalistic black or white backgrounds, a stylistic preoccupation that continued to influence his work throughout the 1980s and into the early 1990s. By the late 1990s Pfahler’s compositions had progressed into a new and final direction, where a greater number of forms, layered on top of each other almost like a collage of coloured shapes are distributed across the surface of the canvas, adding a new and never before seen spatial dimension to his paintings.
Georg Karl Pfahler was a leading German painter known for his Hard-Edge abstractions. The artist dedicated his entire career to the investigation of the relationship between color, shape, and space, and was considered at the forefront of the Color Field movement. “In Pfahler’s painting the color has both a displacing and a constitutive function, which bewilders and stimulates the observer to critical reflection,” Peter Beye once wrote of his work. Born in 1926, Pfahler studied at the Kunstakademie Stuttgart under Willi Baumeister, graduating in 1954. Initially working as a sculptor, it was Baumeister who encouraged Pfahler to focus on painting. Influenced by the tradition of European Art Informel, he quickly began to adopt an innovative abstract geometric painting style by the early 1960s. Pfahler continued to reduce his style even further to exclusively focus on the dynamic between shapes, and to examine the deeper relationships between space and color. By the mid 1960s, Pfahler had exhibited alongside artists such as Frank Stella, Ellsworth Kelly, and Kenneth Noland in shows such as “Signale” at the Kunsthalle Basel, Switzerland. In 1966, Pfahler had his first show in the United States at Fischbach Gallery, curated by Barnett Newman. Pfahler went on to represent Germany alongside Gunther Uecker, Heinz Mack, and Kaspar Thomas Lenk at the Venice Biennale in 1970. In the decades that followed, Pfahler continued to experiment with the constraints and boundaries of painting. He died on January 6, 2002 in Emetzheim, Germany. Today, the artist’s works are held in the collections of The Museum of Modern Art in New York, the Städel Museum in Frankfurt, and the Neue Nationalgalerie in Berlin, among others.
BIOGRAPHY
Rising to prominence in the early 1960s as one of the first hard edge painters in Europe, known for his vibrant and colorful works, Georg Karl Pfahler was an internationally recognized artist who represented Germany at the Venice Biennale in 1970 alongside Günther Uecker, Heinz Mack, and Thomas Lenk; and at the São Paulo Biennale in 1981.
Pfahler was born in 1926 and studied at the Kunstakademie Stuttgart under Willi Baumeister, graduating in 1954. Initially working as a sculptor, it was Baumeister who encouraged Pfahler to focus on painting. Influenced by the tradition of European Art Informel, he quickly simplified his paintings to adopt an innovative abstract geometric painting style, with block-like forms on crisp backgrounds appearing on his canvasses as early as 1962.
It was then that Pfahler continued to reduce his style even further to exclusively focus on the dynamic between shapes, and to examine the deeper relationships between space and color. In doing so Pfahler became a thought leader and one of the first European artists to simultaneously work in action, color field, and hard edge painting—styles that his American contemporaries like Frank Stella, Ellsworth Kelly, Kenneth Noland, and Leon Polk Smith, among others, explored as well.
By the mid 1960s Pfahler had arrived on the international stage. Exhibitions such as “Signale” in Basel, Switzerland in 1965 contrasted color field artists from Europe and the United States. Pfahler showed his work alongside Al Held, Elsworth Kelly, Ken Noland, and Jules Olitski, and the critically acclaimed show cemented his status as a leading European artist of his generation. In 1966 Pfahler had his first show in the United States, where Barnett Newman curated his exhibition at Fischbach Gallery in New York. Then, at the Venice Biennale in 1970, Pfahler created one of the highlights of his career to much acclaim; a walkable structure that allowed visitors to physically experience the shape, color and spacial context that is central to his work.
In the late 1970s Pfahler’s work began to take increasingly gestural forms, introducing sweeping blocks of colored shapes set against minimalistic black or white backgrounds, a stylistic preoccupation that continued to influence his work throughout the 1980s and into the early 1990s. By the late 1990s Pfahler’s compositions had progressed into a new and final direction, where a greater number of forms, layered on top of each other almost like a collage of colored shapes are distributed across the surface of the canvas, adding a new and never before seen spacial dimension to his paintings.
Pfahler dedicated his entire career to the investigation of the relationship between color, shape and space, an objective he steadfastly pursued until his death in 2002. In doing so he was—and remains to this day—at the forefront of the color field painting movement, creating an impressive depth of work that is represeneted in several important private and public collections around the world.
“If you want to do something, to stay alive, you have to think of something radical.”
Minimalist Abstract Art
Imi Knoebel, purist explorations of form, color, space, material and support have made him an important and formative voice in 20th-century Minimalist abstract art.
Knoebel was born in Dessau, Germany, in 1940. Minimalist hybrids of painting and sculpture explore relationships between color and structure. Knoebel’s nonrepresentational works innovate on the modernist ideas and styles of Joseph Beuys, Kazimir Malevich, and the Bauhaus; the artist is interested in seriality, spare geometries, reductive color, and the use of industrial materials such as Masonite. Knoebel studied under Beuys at the Kunstakademie Düsseldorf and under László Moholy-Nagy at the Werkkunstschule Darmstadt; he has exhibited in Berlin, New York, Paris, Zürich, Tokyo, London, Vienna, and Rome. His work belongs in the collections of the Essl Museum, the Kunstsammlung Nordrhein-Westfalen, the Museo Reina Sofía, the Art Institute of Chicago, and the Museum of Modern Art. While Knoebel is best known for his sculptural paintings, his practice also involves drawing, photography, projections, and installation. His work has sold for six figures at auction.
I thought: everything has been done already. Yves Klein has painted his canvas blue, Lucia Fontana has cut slashes into his. What’s left? If you want to do something, to stay alive, you have to think of something at least as radical.
Knoebel employs a pared-down, formal vocabulary, his artistic practice is remarkably varied, encompassing painting, sculpture, drawing, photography, projections and installations. Knoebel’s oeuvre is dominated by large-scale, modular shapes and commanding color relationships, devoid of metaphor and allusion. Although Knoebel employs a pared-down, formal vocabulary, his artistic practice is remarkably varied, encompassing painting, sculpture, drawing, photography, projections and installations.
Imi Knoebel
Imi Knoebel drew formative influence from early Modernism in his consistent return to the notion of pure perception through the exploration of form and color. While his early pieces were black and white, as in the series “Linienbildern” (Line Paintings) (1966-69), he began to explore vibrant, saturated color in 1974 with his friend and classmate Blinky Palermo, to whom he would dedicate “24 Farben für Blinky” (“24 Colors for Blinky”) (1977), a series of brightly colored irregular shapes.
Imi Knoebel lives and works in Düsseldorf. He was the subject of solo museum exhibitions at Museum Haus Konstruktiv, Zurich, Switzerland (2018); Museum Haus Lange und Haus Esters, Krefeld, Germany (2015); Kunstsammlung Nordrhein-Westfalen, K21, Düsseldorf, Germany (2015); Kunstmuseum Wolfsburg, Germany (2014); Museum der bildenden Künste, Leipzig, Germany (2011); Gemeentemuseum, The Hague (2010); Neue Nationalgalerie, Berlin (2009); Deutsche Guggenheim, Berlin (2009); Dia:Beacon, New York (2008); Hamburger Kunsthalle, Germany (2004); Kestner Gesellschaft, Hannover, Germany (2002); Institut Valencià d’Art Modern, Valencia, Spain (1997); Kunstmuseum Luzern, Switzerland (1997); Haus der Kunst, Munich, Germany (1996); and Stedelijk Museum, Amsterdam (1996). His work has been collected by prestigious public and private collections worldwide.
From 1962 to 1964, Knoebel attended the Werkkunstschule in Darmstadt, where he took courses in structural design and constructive composition, according to the ideas of the Bauhaus artists Johannes Itten (Swiss, 1888–1967) and Lászlo Moholy-Nagy (Hungarian, 1885–1946). There, he met Imi Giese in 1964. Together, the two transferred to the Düsseldorfer Kunstakademie, where they both took a class with Joseph Beuys (German, 1921–1986). Knoebel began to create analytical works, with an interplay of colors and forms. Together with a few fellow students, he formed a Minimalist Art movement.
Knoebel initially dealt mainly with line images, light projections, and white images, and took a strong reductionist position. Beginning in 1974, he began to use color. In the same decade, he experimented with superimposed colored wood and aluminum panels and slats, which he used in certain spatial relations to each other, creating scale sculptures.
Knoebel was awarded an honorary doctorate from the Friedrich Schiller University Jena in 2006. In 2011, he created several stained glass windows for the Reims Cathedral. He is the recipient of numerous art awards, and his works can be seen in exhibitions around the world.
Imi Knoebel Face 2 Ed (2002–2013 Photo: courtesy Galerie Thomas Modern
Countering romanticism, the central tradition of German art, Knoebel revives the purity of utopian modernism, using pared down forms of constructivism to take his painting to a zero point. He attempts expression without representation or the restrictions of ideological painting programs. The goal is to purify and cleanse the present from the past and to start again, relying on new materials and aesthetic forms to move forward. Painters who came of age in the postwar era dealt with a fresh cultural memory of the ascendency and fall of German nationalism, West Germany’s rapid economic recovery and expansion after the demise of fascism, and the division and subsequent union of East and West Germany during the communist era. Knoebel’s approach was to look for the basic roots of art, which he felt were not in rhetoric but in things, in the simple interaction between humans and the essential conditions of their world
The Latinists series, 1987, clearly shows many of Knoebel’s concerns and interests. The forms, like those of American minimalism, are rudimentary (squares, rectangles, parallelograms) as are the materials of fiberboard, unused stretcher bars, and flat industrial white paint. Unlike American minimalism, however, Knoebel’s intention has nothing to do with finding a rational, positivist center by which to make art. Instead, his spare starting points become the criteria from which Knoebel’s intuitions take over, leading him to arrange his humble materials in ways that appeal to his aesthetic experiences and his perceptions of beautiful composition. The results are paintings that play into the realm of sculpture, retaining the basic figure/ground and picture plane conditions of a painting but extending off the wall and into the space, activating the room.
Biography
Knoebel has exhibited widely throughout his career, including solo shows at Haus Der Kunst in Munich (1996), Stedelijk Museum in Amsterdam (1996) and Neue Nationalgalerie in Berlin (2009). In 2011, the historic Reims Cathedral inaugurated a series of six monumental stained glass panes created by Knoebel on the occasion of its 800th anniversary. His work can also be found in the public collections of the Museum of Modern Art in New York, Dia:Beacon in Beacon, New York, the Museum of Contemporary Art, Los Angeles, Museo Reina Sofia, Madrid, Hamburger Bahnhof, Berlin, and the Musée National d’Art Moderne, Paris. Knoebel currently lives and works in Düsseldorf, Germany.
Education
1964 – 1971 Academy of Arts, Düsseldorf, Germany
Awards
2016 Officier des Arts et des Lettres, Haus der Stiftungen, Düsseldorf, Germany
2011 Kythera-Prize, Düsseldorf, Germany
2008 Glass Windows, Cathedral Reims, France
2006 Honorary doctor of the Friedrich Schiller Universität, Jena, Germany
Solo Exhibitions
2022
Galerie Jochen Hempel, Leipzig, Germany
2021
Dia:Beacon, New York, NY, USA
Galerie Bärbel Grässlin, Frankfurt am Main, Germany
2020
Galerie Bärbel Grässlin, Frankfurt am Main, GermanyWhite Cube, London, UK
2019
Galerie Heinrich Ehrhardt, Madrid, Spain
Jahn und Jahn, Munich, Germany
Patrick De Brock Gallery, Knokke, Belgium
Galerie Fahneman, Berlin, Germany
Galerie Thaddaeus Ropac, Paris, France
Kewenig, Berlin, Germany
2018
Museum Haus Konstruktiv, Zurich, Switzerland
Galerie Christian Lethert, Cologne, Germany
2017
New Works, Galerie Thaddaeus Ropac, Salzburg, Austria
Liaison Astéroïde, Galerie Thaddaeus Ropac, Paris, France
Red Yellow Blue, Museum der Bildenden Künste, Leipzig, Germany
Imi Knoebel – Fernand Léger: une rencontre, Musée National Fernand Léger, Biot, France
2015
Linienbilder 1966-68, Villa Griesebach, Berlin, Germany
Triller, Galerie Heinrich Ehrhardt, Madrid, Spain Anima Mundi, Galerie Thomas Modern, Munich, Germany Malewitsch zu Ehren, K21 Ständehaus, Düsseldorf, GermanyKernstücke, Museum Haus Esters, Krefeld, Germany Linienbilder 1966-68, Villa Grisebach, Düsseldorf, Germany Inside the White Cube, White Cube (Bermondsey), London, UK Recent Works, Patrick De Brock Gallery, Knokke, Belgium Galerie Bärbel Grässlin, Frankfurt am Main, GermanyWeiß – Schwarz, Galerie Fahnemann, Berlin, Germany
Inauguration of Imi Knoebel’s glass windows for the Notre-Dame Cathedral in Reims (May 11, 2015), Reims, France
2014
Rosa Ort, Galerie Kewenig, Berlin, Germany
Position, Galerie Bernard Jordan, Zürich, Switzerland Arbeiten aus den Jahren 1970-2014, Galerie Fahnemann, Berlin, Germany
Imi Knoebel, Works 1966 – 2014, Kunstmuseum Wolfsburg, Wolfsburg, Germany Raum 19 IV, Galerie Christian Lethert, Cologne, Germany
Position, Catherine Putman Galerie, Paris, France
Mahlzeit, Galerie Bärbel Grässlin, Frankfurt am Main, Germany
2013Das und Das, Galerie Thaddaeus Ropac, Salzburg, Austria
Galerie von Bartha, S-chanf, Switzerland
LUEB, Barbel Grasslin, Frankfurt am Main, Germany
Position, Jordan/Seydoux, Berlin, Germany
Eine Ausstellung, Parkhaus, Düsseldorf, Germany
Akira Ikeda Gallery, Tokyo, Japan
Galerie Hans Strelow, Düsseldorf
2012
Hirschfaktor, Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany
The Third Room, Kunsthalle Düsseldorf, Düsseldorf, Germany
Vera Munro Gallery, Hamburg, Germany
Galerie Clemens Fahnemann, Berlin, Germany
Galerie Hans Strelow, Düsseldorf, Germany
24 Colors – For Blinky, Dia:Beacon, Dia Art Foundation, NY, USA
2011
Werke aus der Sammlung Schaufler, Schauwerk Sindelfingen, Sindelfingen, Germany
Rosenkranz Kubus X, Museum der bildenden Künste, Leipzig, Germany
Kartoffelbilder, Galerie nächst St. Stephan, Vienna, Austria
Design of the gothic windows for the Cathedral of Reims, Reims, France
Weiss Schwarz, Galerie Bärbel Grässlin, Frankfurt
2010
Weiss – Schwarz, Galerie Thaddaeus Ropac, Salzburg, Austria
Mary Boone Gallery, New York, NY, USA
Der Deutsche, Giacomo Guidi Arte Contemporanea, Rome, Italy
Just love me, MUDAM – Musée d’art moderne grand-duc Jean, Luxembourg
2009
Ich Nicht und Enduros, Deutsche Guggenheim, Berlin, Germany
Zu Hilfe, Zu Hilfe…, Neue Nationalgalerie, Berlin, Germany
Werke aus der Sammlung Siegfried und Jutta Weishaupt, Kunsthalle Weishaupt, Ulm, Germany
Joseph Beuys and His Students – SSM – Sakip Sabanci Müzesi, Istanbul, Turkey
Galerie Fahnemann, Berlin
7 x 14 – Jubiläumsausstellung, Staatliche Kunsthalle Baden-Baden, Germany
2008Concept Space, Gunma, Japan
24 Colors – for Blinky, Dia:Beacon, Beacon, New York
Knife Cuts, Dia Art Foundation, The Dan Flavin Art Institute, Bridgehampton, New York
2007
Imi Knoebel – Werke 1966-2006, Wilhelm Hack Museum, Ludwigshafen, Germany
Anthony McCall and Imi Knoebel, San Francisco Museum of Modern Art, San Francisco, CA, USA
Galerie St. Johann, Saarbrücken, Germany
Amor intellectualis, Galerie Hans Strelow, Düsseldorf, Germany
Jova Lynne is a multi-disciplinary artist born and raised in New York City, of Jamaican and Colombian heritage. Lynne is interested in the parallels between fictional, historical and personal archives in identity development. Lynne seeks to subvert anthropological practice in utilizing lens, sculpture and performative practices. She is interested in the cognitive dissonance one experiences when navigating material, text and media-based archive specifically as it relates to Black culture. Lynne completed a Masters of Fine Arts in Photography at Cranbrook Academy of Art in May 2017. Since then Lynne has been based out of Detroit, MI, and has exhibited widely including institutions such as Crystal Bridges Museum of American Art, Detroit Institute of Art and Redbull Arts. Lynne is a grantee from various foundations which has supported her work in media and social practice based projects in Kingston, Jamaica and Berlin, Germany in addition to her work in the United States.
Education Masters of Fine Arts, Photography, Cranbrook Academy of Art, May 2017 Bloomfield Hills, MI Bachelor of Arts, Film/Video, Hampshire College, May 2010 Amherst, MA
Solo Exhibitions 2022 Soon Come, Simone DeSousa Gallery, Video, Photography, Sculpture Detroit, MI 2021 Hopes Garden, Red Bull Arts Detroit , Video, Photography, Sculpture Detroit, MI 2020 The Tourist, Neon Heater, Video Installation Findlay, OH 2019 A Cathartic Exercise in Rage, Vox Populi, Solo Exhibition, Video, Photography and Sculpture Philadelphia, PA 2018 Soft Thrones, University of Toledo Art Museum, Solo Exhibition, Video and Sculpture Toledo, OH 2018 Paradise Travel Company, Pops Packing, Solo Exhibition, Performative Installation Detroit, MI 2015 CONVERGE, Yerba Buena Center for the Arts, Performance San Francisco, CA
Group Exhibitions 2023 State of the Art II, Currier Museum of Art Keen, New Hampshire 2022 State of the Art II, MOCA Jacksonville Jacksonville, FL 2022 State of the Art II, Art Museum of South Texas Corpus Christi, TX 2022 Friction, SOIL Seattle, WA 2022 Untitled, Blanc Gallery Chicago, IL 2021 Queering Cream City, SAVE ART SPACE Milwaukee, WI 2021 With Eyes Open, Cranbrook Art Museum Bloomfield Hills, MI 2021 Unraveled. Restructured. Revealed, Trout Museum of Art Appleton, WI 2020 State of the Art II, Crystal Bridges Museum of American Art Bentonville, AR 2019 Breaching the Margins, Urban Institute for Contemporary Art, Sculpture Grand Rapids, MI 2019 BEACON, Torrance Art Museum, Video Torrance, CA 2019 MIND BODY, Petcoke Gallery, Video, Detroit, MI 2019 To Bring You My Love, The Neon Heater, Video and Photography Findlay, OH 2018 Tourists Coconut, Stroboskop Art Space, Video Warsaw, Poland 2018 Provisions, Caribbeing House, Sculpture Brooklyn, NY 2018 A Welcoming, Brooklyn Museum, Sculpture Brooklyn, NY 2018 Remedios The Beauty, G-CAAD Gallery, Video St.Louis, MO 2018 Sugar Sugar, Public Pool, Video and Sculpture Detroit, MI 2017 SIDEWALK Performing Arts Festival, Collaborative Performance Detroit, MI 2017 BEACON, Beacon Sacramento, Video Projection Sacramento, CA 2017 Graduate Degree Show, Cranbrook Museum of Art, Photo Installation Bloomfield Hills, MI 2017 Walking With Serpents, Forum Gallery, Sculptural Installation Bloomfield Hills, MI 2017 Stick it to the WALL, Forum Gallery, Photography Bloomfield Hills, MI 2016 CONTEXT, Rocks Box Contemporary Art, Sculpture Pontiac, MI 2016 FOUR WOMEN, Studio 14, Sculpture Bloomfield Hills, MI 2015 B.U.F.U, Forum Gallery, Cranbrook Academy of Art, Video Installation Bloomfield Hills, MI
Workshops and Residencies 2022 Anderson Ranch Arts Center Artist Fellow Snowmass Village, CO 2020 Halcyon Arts Lab Fellow Washington, DC 2020 Mass MoCA, Artist-in-Residence North Adams, MA 2020 Vermont Studio Center, Artist-in-Residence Johnson, VT 2019 ACRE, Artist-in-Residence Wisconsin, USA 2019 The Pennsylvania State University School of Visual Arts, Artist-in-Residence University Park, PA 2017 Ox-Bow School of Arts and Artist Residency, Fall Artist-in-Residence Saugatuck, MI 2016 SO((U))L HQ, Artist-in-Residence Kingston, Jamaica 2016 Talking Dolls, Artist-in-Residence Detroit, MI 2015 Advanced Mold Making II, The Crucible Oakland, CA 2014 Adobe, Media Professionals Development Training San Francisco, CA
Fair Presentations 2021 Printed Matter Art Book Fair 2021 New Art Dealers Alliance, Miami Art Week, Simone Desousa Gallery, Photography 2020 New Art Dealers Alliance Presents, Simone Desousa Gallery, Photography and Video Installation International Presentation
Selected Presentations 2021 University of Illinois, Photograph as Archive Ann Arbor, MI 2020 University of Michigan, Unlearning Failure in Photographic and Performance Practice Ann Arbor, MI 2020 Six Feet Apart, Lens Based Performance with Jova Lynne Johnson, VT 2019 Wayne State University, Enduring Archives with Jova Lynne Detroit, M 2019 Cranbrook Academy of Art, Enduring the body-Enduring Performance with Jova Lynne Detroit, MI 2019 Conversations with the Curator Detroit, MI 2018 New Art Dealers Alliance, In Conversation with Tyree Guyton Miami, FL 2018 Sculpture X, Notions of Disruption Toledo, OH 2018 Wayne State University, Performing Identities Detroit, MI 2018 Sculpture Center, Navigating the Art World Cleveland, OH 2018 College of Creative Studies, TALK: JOVA LYNNE Detroit, MI 2016 Detroit Institute of Arts, In Conversation with Jova Lynne and Njia Kai Detroit, MI 2013-16 Allied Media Conference, The Black Survival Mixtape, Artivism as Power Detroit, MI 2015 Market Street Prototyping Festival, Intersections Between Art and Activism San Francisco, CA 2014 Institute for the Future, Open Cities Festival, Youth Cities for the Future San Francisco, CA 2013 Next is Now, Video Art and Cultural Exploration San Francisco, CA
Selected Grants and Awards 2019 Knight Foundation, Knight Arts Challenge, Grant Recipient Detroit, MI 2017 Global Arts Fund, Astraea Foundation, Grant Recipient New York, NY 2016 Detroit Narrative Agency, Grant Recipient Detroit, MI 2016 American Association of University Women, Grant Recipient Washington D.C 2015 Cranbrook Academy of Art Merit Scholarship Bloomfield Hills, MI 2013 Center for Cultural Innovation, Next Generation Art Professionals, Grant Recipient San Francisco, CA 2011 The New York Foundation, Grant Recipient New York, NY
Bibliography 2020 Jova Lynne’s Majestic Portraits, October 2020 Published by The Detroit News 2020 Highlighting Detroit’s Invisible Artists: Art Workers, August 2020 Published by HyperAllergic 2020 Hour Detroit, A weekend with Artist Jova Lynne, February 2020 Published by HOUR DETROIT Editors 2019 ArtForum, Top 6 Artists to Watch November 2019 Published by ArtForum Editors 2019 New York Times Magazine, Tyree Guyton Turned a Detroit Street Into a Museum, Why is he taking it down?, Published by M.H Miller 2019 Contemporary& Magazine, How to Give Space, Published by Olivia Gilmore 2018 HyperAllergic, Booking a Trip to the Elusive Land Called Paradise, published by Sarah Rose Sharp 2018 Document Journal, The Class and Racial Complexities of Leisure, Published by Megan Wray 2017 Refigural, Featured Artist, Issue 12. 2016 BLAC Detroit, Renaissance Before Revival, published by Taylor Renee Aldridge 2015 Mask Magazine, Premiering SUCKA FREE – Queer Visibility in Music by Anjum Aska
Memberships and Collectives 2017 BULK SPACE, Co-Founder 2016 Black Artists Meet-Up–Detroit, Co-Founder/Facilitator 2016 POST M.O.V.E Cranbrook 2015 Diversity Club-Facilitator 2015 Black Survival Mixtape, Collaborator 2014 WOAH Collective, Co-Founder – Video and Film
Selected Collections Wedge Collection Progressive Art Collection Detroit Institute of Arts Cranbrook Art Museum Private Collections*
Selected Curated Exhibitions 2020 Forethought DarkRoom Detroit, Detroit, MI 2020 ArtWORK Art Mile, Detroit, MI 2020 With or Without You: America Shylo Arts, Detroit, MI 2020 Distant Future Vermont Studio Center, Johnson, VT 2019 Crossing Night: Regional Identities x Global Context Museum of Contemporary Art Detroit, Detroit, MI 2019 Useless Utility Museum of Contemporary Art Detroit, Detroit, MI 2018 Process Museum of Contemporary Art Detroit, Detroit, MI 2018 2+2=8: Thirty Years Heidelberg Museum of Contemporary Art Detroit, Detroit, MI 2017 FOUR WOMEN Studio 14, Bloomfield Hills, MI 2015 Emergent (Eco)nomy Yerba buena Center for the Arts , San Francisco, CA 2014 Visions of An Abolitionist Future Yerba buena Center for the Arts , San Francisco, CA
Selected Professional Experience 2019-Present Museum of Contemporary Art Detroit, Susanne Feld Hillberry Senior Curator Detroit, MI 2017-2019 Museum of Contemporary Art Detroit, Ford Foundation Curatorial Fellow Detroit, MI 2017-18 Allied Media Projects, People In Arts and Education, Program Coordinator Detroit, MI 2015-16 Cranbrook Academy of Art, Department Assistant, Visiting Artist/Public Programs Bloomfield Hills, MI 2015-16 Detroit Future Schools, Teaching Artist Detroit, MI 2012-15 Yerba Buena Center for the Arts, Youth Arts and Education Manager San Francisco, CA 2012-13 Oakland Leaf, Teaching Artist Oakland, CA
Por Eduardo Planchart Licea, curador y crítico de arte
En ellas se expresa la falsa solidez de la materia, y la existencia de un tiempo relativo que se transforma según la velocidad, verdades que el desarrollo de la física se encargaría de reafirmar.
Dentro de la concepción de arte experimental que delimitaré no entenderemos únicamente aquellas manifestaciones que adhieran a sus obras materiales o técnicas industriales, pues consideramos a este un criterio excesivamente limitante que dejaría afuera tendencias netamente vanguardistas como el cubismos, futurismo, el expresionismos y el surrealismo,etc..
Por ello, asumimos dentro de la experimentalidad tendencias o artistas que develan un nuevo sentido, y una búsqueda constante que abra nuevos caminos al arte y se enfrentan a concepciones diferentes del objeto plástico, que pueden llegar incluso a liberarse del soporte material o desmaterializarlo.
No debemos dejar de lado que en el desarrollo del arte moderno y contemporáneo no se hallan eliminado elementos de la pintura:“En la pintura moderna se han difundido y practicado tanto las técnicas operativas de la línea, del claroscuro y del color que han condicionado la casi totalidad de las corrientes artísticas. Basta con pensar que muchos de los surrealistas han continuado valiéndose de ellos y que hasta la pintura informalista ha seguido siendo pintura sobre lienzo. Además muchos indicios recientes demuestran que también en el terreno del llamado arte pobre se da un revival de la pintura hecha con pincel, casi como una rebelión del hombre marcusiano contra el empleo masivo de las técnicas condicionadas por nuestra sociedad de consumo”. [1]
Este vínculo de las vanguardias artísticas con la pintura de pincel tiene una significación que se puede interpretar como expresión de una dimensión ética del arte, que se niega a perder su carácter artesanal como una forma de evitar su deshumanización, lo cual expresa algunos investigadores enfáticamente: “A pesar de las sensacionales novedades que han renovado por completo el comportamiento técnico de muchas corrientes artísticas de las últimas décadas de siglo, son muchos los artistas individuales o los movimientos pictóricos que continúan utilizando una pintura de línea, claroscuro y color.., tenemos que reconocer que incluso en el momento del triunfo de la tecnología, y en plena sociedad de consumo, sobrevive la fe humanista que espera del homo faber, del hombre artesano, la recuperación ética de la humanidad.”[2] .
Los criterios de experimentalidad que nacen con el Constructivismo Ruso y la Bauhaus se manifiesta idealmente en una conciliación entre lo artesanal y la técnica industrial que busca dar nacimiento a un nuevo humanismo e incluso la búsqueda de un arte liberado del gusto y de los criterios clásicos de belleza como se plantea en las obras de Marcel Duchamp, realizadas con técnicas artesanales.
A medida que se entre en el siglo XX, el arte empieza asumir las técnicas e instrumentos industriales, pero con criterios artesanales y humanizadores tal como se manifiesta en los Relieves y Contrarrelieves,la creación de la Bauhaus, la soldadura en las esculturas de J.V. González.
Acercarnos a todos estos movimientos nos permitirá poner en duda las afirmaciones de la posmodernidad como ruptura de un paradigma que logro trascender las barreras de la modernidad.
Estas tensiones entre se manifiestan en Pollock, su obra puede ser considerada como el límite de la pintura hecha con color, plena de humanidad, revelando visiones donde el artista a través de elementos propios de la pintura de caballete como son el óleo y el lienzo crea una nueva manera de hacer pintura dándole un nuevo giro con su “action painting”, acentuando un concepto del hacer artístico que deja en la obra la impronta del acto creativo a través de la revalorización de lo casual y lo accidental, planteando la obra como proceso, lo cual tiene sus raíces en las propuestas de Marcel Duchamp.
Podríamos afirmar que el arte se ha ido revolucionando a sí mismo, al fusionar artes diversas como la pintura la escultura, y la arquitectura en la Bahaus y el constructivismo, la fotografía en los fotomontajes y la rayografia, la acumulación de desperdicios en los ensamblajes o Mertz de K. Schwitter, los readymade dentro de la esfera del dadaísmo.
Asumen maneras diferentes de hacer arte, rompen con la bidimensionalidad incorporando la realidad a la obra creando un espacio plástico que trasciende tanto la ilusión de origen renacentista como de las multiperspectivas cubistas, disolviendo el formato rectangular, incorporando elementos y materias dispares dentro de una misma propuesta como son los desperdicios tecnológicos liberándose de las composiciones bellas y armónicas, asumir lo cotidiano al hacer artístico, son estos pasos en parte responsables de los criterios de la experimentalidad actual que surgieron desde principios de siglo.
Por tanto, entenderemos como al arte experimental asociado a la búsqueda de nuevas formas de expresión y comunicación que no se estabilizan o congelan en una convención o códigos visuales, sino que sus rasgos dominantes son la búsqueda constante e implacable que intenta plasmar una nueva concepción de la realidad y del objeto plástico.
Y entre estas categorías son de interés particular: la fusión de las artes y técnicas, incorporación de nuevas maneras de percibir y sentir la creación, lo cual está íntimamente entrelazado a roles diferentes que asume el artista y las diversas concepciones del hacer creativo que se enfatizan en la investigación con materiales y técnicas extrapictóricas que dan nacimiento a nuevos conceptos del objeto plástico y del espacio-tiempo.
Entre los movimientos que plantean un acercamiento entre estas dimensiones, creando una plástica experimental entendida como una búsqueda de nuevas formas de expresión que comunicaran un nuevo horizonte plástico, el futurismo(1909-1919), sin dudas ocupa un lugar especial.
Desde esta perspectiva lo que determinó en parte la su experimentalidad guiada por la búsqueda que se lanzó al encuentro del dinamismo de la máquina, del tiempo y el espacio mecánico -que fue negado por los antimecanismo del dadaísmo- reconciliando así el arte con la ciencia y la concepción de belleza que subyace en lo tecnológico.
Esto se manifiesta a través de diversas propuestas (Bocciono, Carrà, Balla, etc..,) y ámbitos de la cultura, este movimiento tenía una concepción de arte integral, acentuado por un nihilismo y una ruptura con el sentido común que antecedió al dadaísmo.
Y se explicita en una manifiesto literario publicado el 20 de Febrero de 1909 en el periódico parisino “Le Fígaro”, firmado por el poeta y dramaturgo italiano Marinetti, quien provenía del ambiente de los poetas simbolistas franceses, defensores y divulgadores de las ideas anarquistas.
A este se continuaron otros textos como el Manifiesto de Pintores Futuristas (1910), Manifiesto Técnico (1910), Manifiesto de Escultura Futurista (1911).
Los aportes del futurismo rebasaron el terreno de lo plástico, habiendo determinado un estilo poético, musical, teatral y arquitectónico, involucrándose pasionalmente también en la política, de ahí su desvalorización, debido al trágico acercamiento del movimiento al fascismos y al belicismo, nconsecuencia de la irreverente agresiva que demostraron en sus manifiestos y acciones.
Como consecuencia de estas posiciones dos de sus más prometedores exponentes Umberto Boccioni y Antonio Sant´Elia murieron en la Primera Guerra Mundial. Esta exigencia demoledora y angustiosa por destruir el pasado y la tradición, no puede ser comprendida sino se contextualiza el movimiento en el momento histórico en que se desarrolló la cultura italiana que había sido dominada completamente por el culto al glorioso pasado, pero a pesar de la irreverencia del futurismo la negación no fue total.
La amplitud en terreno cultural de este movimiento lo señalan casi todos los investigadores del tema. Esta integración de las artes creando tendencias artística en diversos ámbitos culturales es una clara evidencia de las implicaciones de la experimentalidad futurista y de su actualidad, en el sentido de que muchos de sus logros aún tienen vigencia.
Se demuestra en este movimiento lo fructífero de una vanguardia que se plantea problemas concretos, intentando llevarlos a sus últimas consecuencias. Es este un sentido que es necesario destacar: la experimentalidad como el desarrollo de una problemática abierta que evita el cerramiento la cosificación de los lenguajes plásticos.
Tras esta búsqueda se desvelaba una visión del mundo que desmaterializó el objeto al indagar en la modificaciones generadas en los cuerpos por el movimientos y su dinámica interrelación con el ambiente, esto se manifiesta en obras de Boccioni como “Estados de Ánimo: las Despedida”, 1911; “La Fuerza de la Calle”, 1911, ambas en tela sobre óleo.
En ellas se expresa la falsa solidez de la materia, y la existencia de un tiempo relativo que se transforma según la velocidad, verdades que el desarrollo de la física se encargaría de reafirmar.
Las Vanguardias Artísticas del Siglo XX, define al futurismo como un movimiento polémico, de batalla cultural; fue un movimiento sintomático de una situación histórica; un acervo de ideas y de instintos, dentro del cual, si bien no claramente se expresan algunas exigencias reales de la nueva época: la necesidad de ser modernos, de aferrar la verdad de una vida transformada por la era técnica, la necesidad de hallar una expresión adecuada a los tiempos de la revolución industrial. El error profundo del futurismo fue no considerar la suerte del hombre en el engranaje mecánico. Sólo Boccioni, e inicialmente Carrà, se dieron cuenta de este problema.
Tuvo la influencia este movimiento del Constructivismo Ruso, lo cual es algo más que una suposición, pues Marinetti viajó a Rusia a dar varias conferencias en 1913, pero no fue bien recibido su nacionalismo belicista. En el estilo irreverente, negador y contradictorio de exponer sus postulados el futurismo se anticipo a Dada. Se establecieron los fundamentos de esta nueva estética, y de su íntima relación con la tecnología en sus manifiestos:
“4.- Nosotros afirmamos que la magnificencia del mundo se ha enriquecido con una belleza nueva: la belleza de la velocidad. Un automóvil de carreras con su capó adornado de gruesos tubos semejantes a serpientes de hálito explosivo…, un automóvil rugientes que parece correr sobre la metralla es más bello que la Victoria de Samotracia…, nosotros debemos inspirarnos en los milagros tangibles de la vida contemporánea, en la férrea red de velocidad que abraza la Tierra, en los transatlánticos, en los acorazados, en los vuelos maravillosos que surcan los cielos, en la audacia tenebrosa de los audaces submarinos, en la lucha espasmódica por la conquista de lo desconocido.”
Uno de los rasgos comunes del futurismo con otros movimientos es la idea de captar la esencia de la realidad, y Es Boccioni uno de sus máximos exponentes a la “búsqueda intuitiva de la forma única que dé continuidad en el espacio, es decir, de la forma única del infinito sucederse.”
[3] A la vez plantea una relación religante con la realidad, y con el cosmos, lo cual se desprende de la afirmaciones de Boccioni:“Para nosotros el cuadro es la vida misma intuida en sus transformaciones dentro del objeto y no fuera de él.., daremos su expansión, su fuerza, su manifestarse, que crearán su relación simultánea con el ambiente.»”
[4] Introduce Boccioni la idea de que la realidad es resultado de la interrelación del objeto y el espacio, lo cual determina la compenetración de planos y lo que llama líneas fuerzas, enriqueciendo de esta manera la relación del ambiente sobre el objeto plástico propia del impresionismo:“Por primera vez un objeto vive y se completa en el ambiente, influyéndose recíprocamente…, nuestros cuerpos entran en los divanes en que nos sentamos, y los divanes entran en nosotros, del mismo que el tranvía que pasa entra en las casas, las cuales, a su vez, se arrojan sobre el tranvía que pasa y se amalgama con él».” [5]
Este dinamismo y ritmo que es develado por la velocidad de la máquina, determina un nuevo tema dentro del arte, una manera de percibir la realidad, una creencia en los milagros tangibles de la ciencia y en categorías inexistentes hasta ese momento en la historia del arte como son la inmaterialidad de la realidad, la interrelación del objeto con el entorno, la simultaneidad, la continuidad, la compenetración de planos que conducen a la desmaterialización del espacio pictórico y a una nueva concepción del espacio y el tiempo, determinando los rasgos generales de la manera de representar el objeto plástico.
Auspician el triunfo indiscriminado del maquisnismo en el mundo del futuro, su técnica no es en modo alguna racional ni científica, pues la unidad de lo real en el movimiento se consigue esencialmente a través de la intuición que excluye de por sí un proceso racional. Se trata de un hecho que, con el tiempo, se revelará mistificante, y así principalmente desde los comienzos del futurismo, la mayoría de los artistas de vanguardia estarán dispuestos asumir únicamente los ropajes de la técnica.
Los aportes del futurismo en torno al problema del espacio y la desmaterialización son de interés: “Lo que intentan superar los futuristas es un espacio apriorística y euclidiano, el espacio como algo absoluto, sustituyéndolo por un espacio relativo consecuencia de la incidencia en él de los factores externos, los cuales en ciertos modo provocan la desmaterialización concreta del espacio pictórico. Esta desmaterialización según el propio Boccioni, llevó a los futuristas a un trascendentalismo físico. Es también de gran importancia la distinción entre movimiento absoluto y relativo para la comprensión de la concepción futuristas del dinamismo”.
Boccioni en su libro Pittura, Scultura Futurista distingue dos tipos de movimiento: el absoluto y el relativo. El absoluto es aquel que es propio del objeto que se mueve; el relativo es aquel que surge de la transformación que sufre el objeto al moverse tanto en relación a un espacio móvil como a un entorno inmóvil. El dinamismo es entonces la acción simultánea del movimiento absoluto y el relativo.
El movimiento absoluto del que habla es propiamente un movimiento cinematográfico e incluso fotográfico ya conseguido por la técnica de la época; recuérdese en tal sentido las fotografías estroboscópicas o las cronofotografías: el problema se resume en ir captando las distintas posiciones de un cuerpo u objeto que se desplaza de un punto A a un punto B. Giacomo Balla sin duda, con sus obras “Dinamismo de un Perro”, “Perro con Traílla”, “Muchacha Corriendo en una Galería” o su “Ritmo de un Violinista”, representó este tipo de movimiento.´
Para dimensionar la importancia que tal concepción supone dentro del arte moderno debemos acercarnos tanto al impresionismo como al cubismo, pues en cierto modo el futurismo intentó reunirlos en una irreconciliable síntesis. Se valió así de los aportes plásticos de ambos movimientos para poder plasmar su visión de la realidad, esto determina otro rasgo de este experimentalismo: el sintetizar los diversos lenguajes plásticos de la época en sus propuestas, lo cual sigue siendo un rasgos de las vanguardias estéticas.
Entre los aportes de mayor importancia por tanto del futurismo, debemos señalar sintetizando lo dicho su acercamiento a lo industrial y a la máquina en particular, establecer por tanto una nueva relación entre el objeto esto plantea la creación de un nuevo arte con nuevos temas y maneras diferentes de plantearlo. Es una ruptura total con la tradición cultural dominante, creando uno de los primeros esbozos de una visión sintética de las artes al integrar la pintura, la arquitectura, la escultura, la literatura, el diseño y la música en un movimiento.
38 Artist Interview Questions (With Sample Answers)
Author: Jamie Birt
Jamie Birt is a career coach with 5+ years of experience helping job seekers navigate the job search through one-to-one coaching, webinars and events. She’s motivated by the mission to help people find fulfillment and belonging in their careers.
Interviews are an important part of the hiring process for many art-related jobs, including teaching, working at a gallery or creating art for products and merchandise. Although each of these jobs may have different duties and require varied qualifications, many potential employers ask similar questions to artists who want to practice professionally. If you’re interested in a career as an artist, understanding some of the common interview questions for this field can help you prepare to speak with employers.
In this article, we discuss 38 artist interview questions and provide sample answers for a few of them to prepare you for interviews and increase your chances of getting hired.
General artist interview questions
Interviewers may ask the following general artist interview questions to learn more about who you are and why you’re interested in a career as an artist:
Where are you from and how does that affect your work?
Who are your biggest artistic influences?
Tell me about your favorite medium.
Where do you find inspiration?
When is your favorite time of day to create?
Describe how art is important to society.
What motivates you to create?
How do you define success as an artist?
Does art help you in other areas of your life?
How do you develop your art skills?
Questions about experience and background
Since employers want to know more about your past work history and the path you’ve taken to become an artist, they make ask questions like these:
Have you worked as a professional artist before?
What’s the purpose or goal of your work?
How can your work affect societal issues?
How do you navigate the professional art industry?
Which art trends inspire your current work?
How has your style changed over time?
What are your favorite and least favorite parts of professional art?
Do you have a network of other artists, and how do they support you?
What have critics and collectors said about your work?
Is there a specific environment or material that’s integral to your work?
In-depth questions
Depending on the role for which you’re applying, you may have to answer in-depth questions like these about how you might fit into a specific position:
Do you have an existing customer base?
What factors influence the price of your work?
How can this job help you improve your art skills?
What are your ultimate career goals?
How do you manage a work-life balance as an artist?
Describe your ideal working environment.
How can you benefit this workplace?
Do you plan to sell your work anywhere besides here?
Are you currently employed elsewhere?
Describe how we can encourage your career growth.
Artist interview questions with sample answers
Here are some common artist interview questions you might encounter during your job search, plus explanations of what employers expect from an answer and sample answers to help you prepare:
1. Tell me how you’ve developed your art career so far
Potential employers may ask about your career development to learn more about your previous experiences in the art industry and the knowledge you gained from various roles. This is an important question for employers to get to know your background because, for many art roles, there’s no definitive path that candidates must follow to reach a certain point in their career. To answer this question, consider the decisions you’ve made since you decided to become an artist to reach your current position. Then, explain some ways you’ve developed your career, like by taking art classes or expanding your network.
Example:“I’ve developed my career as an art instructor by doing commissions for custom ink drawings and working as a preschool teaching assistant. Each of these experiences and practices allowed me to become a better and more patient artist who can connect deeply with those attending my classes and teach them the basics of pen and ink drawing.”
2. Why do you want to make and sell art?
Questions about why you want to be an artist or make and sell art allow interviewers to understand your passion for this industry, your motivation and your goals. Often, people join this career because they enjoy creating and sharing their work, but you may also want to be a professional artist for other reasons, like making money from something at which you’re talented or working outside of an office. A good way to answer this is to consider what art means to you and what you want to accomplish as a professional artist.
Example:“My motivation for making and selling art is to illustrate my experience as a child growing up close to nature. Most recently, my art features many topics related to nature, like climate change and sustainability, and I use my digital drawings to start discussions about these important topics. Selling my art simply helps me have the funds to work fewer hours at my part-time job so I can focus on my art.”
3. Describe your dream project
When a potential employer asks about your dream art project, they may want to know whether your skills and desires match the role they’re filling. It’s important to answer this truthfully to ensure you get a job that you enjoy, but it’s also useful for employers who want to help you work on something like your dream project in the future. You can answer this question by describing a project that would be fulfilling, engaging and fun for you. If you don’t currently have a project you want to complete, you can simply describe one that you’d enjoy.
Example:“My dream art project would be if I could work on a community-designed mural to display on a building in town. Being able to connect with people in my community and show the diversity of ideas and cultures to visitors would be fulfilling and challenging, but I would greatly enjoy it. I also love working outdoors, so a project like that would make me very happy.”
4. How do you collaborate with other artists?
While each artist’s role may differ slightly, there are often times when you have the opportunity to work with other artists, so interviewers like to know how you typically collaborate. Collaborating can be useful in many art jobs because it allows you to incorporate other artists’ styles and ideas into your work and, on projects like murals or large sculptures, can improve efficiency. In your answer, describe a time you worked successfully with another artist. If you haven’t worked directly with other artists, you can explain how you’d share duties and how you might inspire one another’s creative process.
Example:“I love collaborating with artists like dancers and musicians when I have a gallery show because these mutually beneficial projects give audience members a deeper understanding of our art. When a gallery allows it, I present many of my sculptures with accompanying performative dance and music from various genres to set the mood and tell a deeper story. Lately, I’ve been collaborating with a local dance company to create a series of sculptures based on their dancers and help create choreography to present with my pieces.”
5. Do your other interests influence your art?
Employers may want to know if you have other interests, whether they’re different types of hobbies, study topics or recreational activities, that influence your art style, the topics about which you create art and your opinion of art. For example, if you enjoy gardening, you may see the colors and arrangement of your garden as a form of art, and describing this to employers can show your creativity and perspective. When answering this question, try to choose one or two other interests that may affect how you make art and detail those connections for the interviewer.
Example:“As the child of a chef, I’ve always been interested in how food can influence my art. My most recent projects use pigments from produce, herbs and edible flowers as watercolor paint. I think food waste is an important topic to discuss, so many of my pieces focus on showing the life cycle of produce and still-life paintings of people cooking real recipes with these products.”
6. Describe the best piece of art you’ve created
An interviewer may ask you about the best piece of art you’ve created to determine what you define as a successful art piece, how confident you are in your abilities and whether you can accurately describe the positive characteristics of a work to someone else. This information is valuable for most art positions, but it’s especially important to describe your work to potential buyers. Consider a recent artwork and detail a few aspects that made it unique, technically masterful and visually appealing.
Example:“My best piece of art is a ceramic tea set that took me months to perfect as I studied classic tea-set shapes worldwide and combined them to represent my cultural heritage. The teapot, each cup and each dish are white clay formed on a kiln and by hand, and the pieces all show a roundness from far away that matches well with the smooth, shiny glaze. I also colored each piece in pale blue and dark orange to represent my contrasting heritage, which increases visual interest.”
7. How has your education helped you in your career?
Because some artist roles don’t require specific educational credentials, employers are often interested in how artists use advanced degrees to improve their skills and careers. If you have a college degree, describe any way that it’s helped you establish a career as an artist. Some potential ways your educational experience may have helped you include introducing you to people who helped you get art jobs, teaching you important skills for your field or if your degree isn’t art-related, providing you with knowledge about other interests that influence your art.
Example:“While pursuing my degree in art history, I learned many medieval art techniques and found inspiration from those sources that still motivate my work today. My education also introduced me to art historian seminars, during which I met a medieval art specialist and children’s book illustrator who helped me get an internship as a graphic designer for their employer. This led me to combine my graphic design talent with my university knowledge to create and illustrate a series of historical fiction comics.”
8. Tell me about your techniques for overcoming creative blocks
Creative blocks are common for people in creative careers, and potential employers like to know how their employees overcome those types of challenges. Questions like this one help employers ensure candidates understand they must often submit work despite these challenges and show interviewers you understand yourself and your process well enough to find solutions to creative blocks. Try to answer this question with two or three techniques for overcoming creative obstacles that work best for you and help you stay on track for meeting work goals with your art.
Example:“When I encounter creative blocks with my work, I often switch between projects or take a timed break before attempting to continue a piece. If I feel very challenged by a piece, I might change something about it or work on it a few minutes at a time to ensure I finish it by my deadlines.”
Art in The Loop will celebrate its sixth year in east Memphis, near Poplar & I-240, on Ridgeway Loop Road. This unique site is situated in between 1.5 million square feet of high level offices and one of Memphis’ most exclusive residential areas. Our Sponsors include: WKNO TV & FM, the local PBS & NPR Affiliates & Memphis Magazine. Promotional efforts also include: outdoor advertising and an extensive direct mail effort (more than 11K on our list), as well as a vigorous campaigns involving press placements and social media.
Application Deadline: January 5, 2023Artist Notification: January 17, 2023Booth Fee Due: February 28, 2023 IIf you have any questions, please contact Greg Belz at [email protected] or call 901-327-4019 For more about ArtWorks Foundation go to – https://www.artworks.foundation
EVENT INFORMATION
Art Works Foundation announces its sixth annual edition of Art in The Loop, an Art Festival in Memphis, TN, Friday, April 14th – Sunday, April 16, 2023. Art in The Loop will be staged in east Memphis, near Poplar & I-240, on Ridgeway Loop Road. This unique site is situated in between 1.5 million square feet of high level offices and one of Memphis’ most exclusive residential areas (the founders of FedEx & AutoZone live right around the corner). In addition to offices, the area boasts several hotels (including the Memphis Hilton) and a 4 screen Cinema dedicated to films attractive to the over 45 audiences; there are also two Mega-Churches in view of our festival site, which bring additional traffic on Sunday. Our Sponsors include: WKNO TV & FM, the local PBS & NPR Affiliates & Memphis Magazine.
“Art in The Loop was one of the best to participate in for being the most thoughtful, and on top of that, one of the most profitable! This is a magic unicorn show!” Yvonne Miller, Mixed Media Artist Atlanta GA.
GENERAL INFORMATION
Art Works Foundation announces its fifth annual edition of Art in The Loop, an Art Festival in Memphis, TN, Friday, April 14th – Sunday, April 16, 2023. Art in The Loop will feature – and focus on the sale of – stellar works of art in metal, glass, clay, wood, fiber, jewelry, sculpture, paintings & photography, and more. We limit the number of artists by category, and are more concerned about the quality of work presented than the number of spaces we sell: from 60 to 75 artists will be admitted in 2022. The Booth Fee is $325.
We cannot know what we cannot know, but if our show should be cancelled all booth fees will be fully refunded. We hope it will not come to that, and it will be another great show. So, if you are comfortable resuming shows, please consider applying to Art in The Loop, April 14 – April 16, 2023, in Memphis TN.
Art in The Loop invites artists working in glass, metal, fiber, clay, wood, as well as found objects, and 2-D media to apply for acceptance.
Art in The Loop offers easy move-in, and lots of free parking (for both artists and festival-goers), as well as proximity to high-income households. Art in The Loop also offers visitors FREE Admission and amenities including cash bars, specialty food trucks, and – if health directives then permit – performances of Classical Music by area youth ensembles.
Up to 75 positions will be available for artists to participate. The show will be heavily advertised; public attendance will be encouraged via: direct mail; outdoor advertising; print and broadcast media; as well as through social media outlets. There will be also vigorous Public Relations support for the show.
Fine Craft and Fine Art are the focus of this event. Categories include the various disciplines for working in glass, metal, wood, clay & fiber, as well as Jewelry (NO stringers!!). Art in The Loop also invites artists working 2-D media including print-making, painting & photography to apply.
The show will be a juried selection with four judges. Standards of high quality and skill will be strictly maintained. Artists who wish to be considered should submit five (5) photos of representative work (including one booth shot), and complete the Zapplication entry module, according to the instructions therein.
The jury process will take place between January 8 & 14, 2023. Final Notification of application status will be sent out via email by January 17, 2023.
The Wait-List will not be used to fill space randomly; rather, those on the wait list will be called upon to fill spaces by category (i.e., if cancellations leave 5 spaces open, and everyone on the waitlist is a photographer, no one on the list will be added, unless we have openings in that category: we will not sell space for the sake of selling space).
There will be cash prizes awarded.
Artists will staff their own display throughout the show, handling all sales of their work. ArtWorks Foundation will provide Tennessee State Sales Tax remittance Forms to all artists who do not have a Tennessee tax account. (Credentials for up to two assistants will provided: but the artist must also be present.) Booth Sitters will be available as demand permits.
NO price reductions will be permitted during the run of the show; no show “specials;” no “sales.” The show is intended to be perceived as an exhibition of fine craft, NOT as a bargain-basement! Artists are required to make sure a full supply of merchandise is always on hand through the last minutes of the show, and are responsible for restocking their own displays.
Any packaging is the responsibility of the artist.
There is convenient, and plentiful, free onsite parking for guests, as well as LIMITED onsite RV parking (with no-hookups); artists desiring RV space must submit a request via email, these limited spots will be awarded on a first come first served basis).
Numerous hotels, in a variety of price ranges are located nearby.
Art in The Loop is staged by ArtWorks Foundation, a non-profit dedicated to “helping artists grow in their business and their work,” as well as to encouraging public interest in collecting the work of fine-craft artists. We are obsessed with the quality of what we present and how we present it.
If you have any questions, please contact, Greg Belz: phone (901.327.4019), or email [email protected] Thanks for your interest in Art in The Loop. For more about this show, see -http://www.artintheloop.org/ ArtWorks Foundation is a non-profit {501(c)3} dedicated to help artists grow in their business and their work. For more see www.artworks.foundation
RULES/REGULATIONS
Exhibiting artists must be 18 years or older and must be present during show hours. Exhibition is limited to invited artists, selected by our jury. Assistants are welcome, but agents or representatives of the artist do not replace the requirement of the artist to be present during show hours. Booth sitters will be provided as demand permits.
All items offered for sale must be created by the hand of the artist to whom the display space is registered: NO work created by parties other than the artist whose work has been accepted for the show may be displayed.
All designs offered must be original. Work made from commercial molds, kits, patterns or copyrighted designs not owned by the Artist are not permitted. Any commercially made embellishments must be subordinate to the handcrafted work. All work must be for sale. No reproductions may be displayed, except as follows: 2-D artists may offer reproductions of their work {if no more than 20% of their inventory!}; also 3-D artists may offer T-Shirts, or note cards/calendars, etc., embellished with reproductions of their work {if no more than 10% of inventory!}.
No (other) embellished manufactured articles are acceptable; nor may items such as antiques and collectibles be offered for sale.
Jurors will circulate during the show to ensure that all work is in compliance. We reserve the right to remove any items which were not submitted in the jury process, or are found otherwise objectionable.
Violation of any of these directives will result in immediate expulsion from the show. No fees will be refunded.
Additionally, any artist leaving prior to the end of the show, without the authorization of the show’s director, will be unable to exhibit in any ArtWorks Foundation show for at least two (2) years.
Sales: The exhibitor is responsible for remitting Tennessee state sales taxes (9.75%). ArtWorks Foundation will provide “one time only “ tax forms to any artists who do not have a Tennessee Tax account (there is no requirement for artists to have an account).
Conflicts: Artists accepted for Art in The Loop may not participate in any other show or sale in Shelby, Tipton or Fayette counties in Tennessee, or DeSoto County Mississippi, or Crittenden County Arkansas, during the run of the show (this includes, but is not limited to, private house shows).
Security: Armed security will be provided 24 hours a day from the beginning of set up on Friday morning, until breakdown is completed on Sunday evening. However, all exhibitors will display their work at their own risk. It is understood that neither Art in The Loop, nor ArtWorks Foundation, nor the venue, nor our sponsors, shall carry insurance to cover personal property of any exhibitor. Exhibitors are considered to be independent contractors, and it is suggested that exhibitors obtain their own insurance.
Images: Please note that in addition to providing a means to assess your work, any photographs submitted may (upon our acceptance of the artist) be used to promote the show (posters, postcards, etc.).
BOOTH INFORMATION
I. Overview: This three-day show sets up *starting at 9:00am, on Friday, April 14, 2023; the show will open to the public that day at 1:00pm, and run until 6:00pm that evening. Saturday’s hours will run 10:00am to 6:00pm; Sunday’s hours are 11am to 4pm. (Displays may not be removed before 4:05pm on Sunday, April 16).
II. Fees & Space Information: The cost of Exhibition Space is $325 (10’x10’). (Double booth = booth fee x2) All spaces are corners. No extensions may exceed the parameters of the allocated space by more than 2’, and must be removed if found objectionable by the promoter.
Individual display areas are 10’x10’ (with 3’ of storage at rear) and another 15’ to 20’ of open space to the next nearest booth). Artists’ displays will be located on pavement (asphalt roadway).
III. Set up & Standards: Artists selected for the show will be *assigned vehicle access times during set up on Friday, April 14th; artists will off-load immediately and return to install their displays. This same procedure will be followed in reverse during load-out.
All tents must be suitably weighted: at least 50 pounds per corner, suspended from the top of the tent: not sitting on the base). Tents will be on pavement, but may be staked into grass at the rear.
Each artist should display a sign identifying themselves, as well as any business name, & their medium; exhibitors will also receive a sign from the show identifying your name and city of residence.
Electricity must be battery powered.
No sound-amplification of any type will be permitted.
Move-out will begin at 4:05pm, Sunday, April 16. NO exhibitors may begin packing before that time (unless the promoters deem that conditions constitute an emergency which may affect life or property).
IV. Access & Hours On Friday parking is limited to the lots designated by the promoter; any artist who parks in any other lot will be towed and removed from the show. On Saturday and Sunday, however, there is plentiful, free parking surrounding the festival site, and artists will have multiple options for parking.
Limited reserved parking for trailers & RV’s is available (no hook-ups, though); artists must apply for these spaces via email: space will be awarded on a first come, first served basis (on street parking is also available).
The show opens to the public at 1:00pm, Friday (Open Hours: FR 1p to 6p; SA 10a-6p; SU 11a -4p). Move-out will not begin until 4:05pm, Sunday. NO exhibitors may begin packing before that time.
If you are accepted for inclusion in the show, and prefer to pay by check, checks may be mailed and made payable to: ArtWorks Foundation / 60 North Century / Memphis, TN 38111.
JURY DETAILS
Average number of applications submitted each year:
180
Average number of artists selected from the jury to participate in the event:
70
Average number of exempt from jury artists who are invited to participate in the event:
4
How returning artists are selected:
Received an award
Vendors that are excluded/ineligible:
No stringers, or anyone using kits should apply. Our standards are very high. All artists must be present.
How images are viewed by jurors:
Computer monitor
Comments for “Select the method in which images are reviewed at the jury.”
The jury reviews applications seperately and later confers to review scores.
Within a medium category, applications are sorted and viewed by:
Random Order
Jurors score applications using the following scale:
1 – 5
Comments for Scoring System.
1 is lowest 5 is highest
Number of jurors scoring applications:
5
The show organizes the jurors for a:
Single jury panel that scores applications for all medium categories
Jurors score
Separately from various locations
Am I allowed to observe the jury process?
Jury process is closed
The Role We Play
ArtWorks Foundation is a 501{c}3 non-profit focused on helping artists grow, in their business and their work, through programs including exhibitions and education initiatives.
ArtWorks Foundation stages juried shows, ranging from intimate Art Gallery experiences to large Art Festivals featuring the work of Fine-Craft Artists.
Promoting public appreciation for skillfully made utilitarian and decorative objects created by Artists working in 3-D Disciplines, such as glass, metal, clay, fiber, wood, & other media, is our primary focus, but we do from time to time offer programs that include painters, photographers,
and other visual artists.
In addition to providing artists with exhibition opportunities, our programs include scholarship awards to established artists for advanced study workshops at schools for Fine-Craft. We are also working to build a regional center for Fine Craft, as well as an endowment to fund Emergency Relief Grants to help area artists resume careers derailed by disasters or catastrophic illness.
ArtWorks Foundation
Mail: 60 North Century, Memphis TN 38111
Phone: 901.327.4019
Event Agreement
Art in The Loop 2023
ArtWorks Foundation, the show’s sponsors, and the venue, assume no liability for any Exhibitor’s loss through fire, theft or other causes. All exhibitors will display their work at their own risk. It is understood that neither Art in The Loop, nor ArtWorks Foundation, nor the venue, nor event sponsors, carry insurance to cover personal property of any exhibitor. Exhibitors are considered to be independent contractors, and it is strongly suggested that exhibitors obtain their own insurance.
Unless the show is cancelled by the promoters (or government). No refund of fees will be made except in the case of a death in the artists’ immediate family within the two weeks prior to the show (subject to verification suitable to ArtWorks Foundation), or in extreme cases of illness (subject to verification suitable to ArtWorks Foundation), at the sole discretion of Art Works Foundation’s Board of Directors. If refunds are offered, some portion of the fees involved may be retained.
No person will be excluded from participation in or otherwise subjected to discrimination in regard to services, programs and employment provided by ArtWorks Foundation based on color, national origin, sexual orientation, disability, age or religion: we only discriminate against lack of talent and skill.
Power Access announces the full line-up for the 7th Annual South Beach Jazz Festival (SBJF), January 5-8, 2023. Sixteen (16) performances by world-renowned Jazz greats and local Jazz favorites will take place at venues throughout Miami Beach. From an exclusive night with Grammy-nominated legendary Jazz pianist Monty Alexander to Mambo Night with the Big 3 Palladium Orchestra’s first-ever appearance in Miami, the 2023 South Beach Jazz Festival brings a weekend full of fabulous music to our shores. To purchase tickets and view the complete schedule, please visit sobejazzfestival.com/tickets.
OPENING NIGHT: Monty Alexander with Luke Sellick & Jason Brown.
Thursday, January 5 at Faena Theater. Grammy-nominated, legendary pianist Monty Alexander headlines Opening Night at the sumptuous, jewel box Faena Theater. Monty’s style includes a range of Jazz and Jamaican musical experiences — the Great American Songbook, the blues, gospel and bebop, calypso and reggae. His endless melody-making, effervescent grooves and sophisticated voicing always delight a global audience drawn to his vibrant personality and soulful message, making him an American Jazz classic. His recently released album, Love Notes, couples his passion for music with his extraordinary piano playing and the intimacy of his wonderful vocals.
SOCIETY JAZZ NIGHT: South Florida Jazz Orchestradirected by Chuck Bergeron with special guest star Grammy-nominated Nicole Henry.
Friday, January 6 at The Bass.
Enjoy cocktails, mingle and stroll the museum galleries — all while delighting in the sensational big band music of the South Florida Jazz Orchestra led by bassist Dr. Chuck Bergeron. Featuring our own region’s top jazz musicians, the band swings with pulsating energy propelled by outstanding charts and arrangements that showcase brassy instrumentals and scintillating big band Jazz including a guest appearance by Power Access Scholarship winner, multi-instrumentalist and vocalist, Eva Carizza. Powerhouse Grammy-nominated Jazz vocalist Nicole Henry joins as the special guest star for the evening. Among the Jazz world’s most acclaimed performers, Nicole possesses a potent combination of dynamic vocal abilities, impeccable phrasing, and powerful emotional resonance.
MAMBO NIGHT IN MIAMI BEACH: Big 3 Palladium Orchestra, featuring Tito Puente Jr., Tito Rodriguez Jr., and Machito Jr.
Saturday, January 7 at the Miami Beach Bandshell. In a rare opportunity, The legendary music of Tito Puente, Machito and Tito Rodriguez comes to the historic Miami Beach Bandshell for the Big 3 Palladium Orchestra’s South Florida premier. Embodying the spirit of the original and performing the electrifying music of these three celebrated bandleaders, composers, and the fathers of Latin Jazz, their sons, second generation, world- class artists, Tito Rodriguez Jr., Machito Jr., and Tito Puente Jr., alternating as band leaders in an exciting and competitive format, with a 17-piece orchestra, including original band members, take you back to the great, renowned Palladium Ballroom in New York City, in a concert infused with the energy of modern day Miami. The Big 3 Palladium Orchestra brings you the best Latin Jazz this side of Havana!
Many of the South Beach Jazz Festival performances are free and held outdoors. The festival is proud to offer two full days of exciting free concerts on Lincoln Road from international Jazz greats to a showcase for the next generation of Jazz talent.
POWER ACCESS MAIN STAGE: Sammy Figueroa, Mike LeDonne’s Groover Quartet, Wendy Pedersen Quintet, Gafieira Rio Miami and More.
Sunday, January 8 on Lincoln Road.
Seven performances jazz up 1100 Lincoln Plaza all day with a series of free performances from Latin Jazz great Sammy Figueroa presenting A Tribute to Cal Trader, world-renowned Jazz pianist, and Hammond organist Mike LeDonne, to South Florida favorite Wendy Pedersen, inspirational locals, to a fabulous festival finale by Gafieira Rio Miami, an authentic Brazilian Big Band that fuses samba, jazz and funk with a powerful 5-piece horn section, plus bass, guitar, drums, percussion, and vocals. The full line-up includes: The Spirit of Goodwill Band, Power Access Scholarship winner Marnel Jean, Inspirational vocalist Aristide Reinoso, Wendy Pedersen Quintet, Sammy Figueroa presents A tribute to Cal Tjader, Mike LeDonne Groover Quartet, and Gafieira Rio Miami.
JAZZ FOR TOMORROW STUDENT STAGE: The Next Generation of Jazz. Talent. Saturday, January 7 at Lincoln Road.
Six of South Florida’s top student Jazz organizations perform all afternoon with free performances in addition to Talk and Q&A and a Kiddos Master Class in the morning for a day of Jazz curated by renowned musician and educator Nicole Yarling. The full lineup includes Bill Pettaway Jr., South Florida Center for Percussive Arts, JECC Jazz Bootcamp Ensemble, Broward College Jazz Combo, Frost Alternative String Ensemble, Miami Beach Senior High School Hi Tide Jazz Band, and Young Musicians Unite Jazz Collective.
In addition to the exceptional musical talent performing, the SBJF is excited to introduce a virtual panel discussion on disability and the arts.
DISABILITY PRIDE IN THE ARTS PANEL DISCUSSION.
Friday, January 6. Virtual Event.
Featuring Mike LeDonne, founder of NYC Disability Pride Parade and R. David New, founder of Power Access and the South Beach Jazz Festival. Moderated by Leticia Latino, host, Back 2 Basics Podcast. Advocates from disability and arts organizations will join Mike, David and Leticia for a fascinating conversation.
David New, Founder & Artistic Director of the South Beach Jazz Festival and
President of the Power Access Board of Directors:
“Unforgettable and internationally renowned talent combined with highly acclaimed local artists will create a diverse musical lineup that features local, regional and global talent. I am excited to see our festival grow and reach new audiences every year.”
Please visit SobeJazzFestival.com/tickets to purchase tickets and more information.
2023 South Beach Jazz Festival Program Schedule:
Thursday January 5, 2023, 9 p.m. -11 p.m. (doors open at 8pm)
“Opening Night”
Monty Alexander with Luke Sellick (bass) and Jason Brown (drums)
Mike LeDonne, founder of NYC Disability Pride Parade, R. David New, founder of Power Access and the South Beach Jazz Festival, and advocates from disability and arts organizations. Moderated by Leticia Latino, host, Back 2 Basics Podcast.
Location/Address: Virtual
Friday January 6, 2023, 8 p.m – 10 p.m. (doors open at 7pm)
“Society Jazz Night “
South Florida Jazz Orchestra directed by Dr. Chuck Bergeron with guest Power Access Scholarship winner, Eva Carizza, and special guest star Nicole Henry.
Location/Address: The Bass, 2100 Collins Avenue
Saturday January 7, 2023, 10 a.m. – 5 p.m.
“Jazz For Tomorrow Student Stage ”
Coffee, Talk, and Q&A with veteran composer, producer and performer, Bill Pettaway Jr. moderated by Zach Larmer, Young Musicians Unite.
Kiddos Master Class – South Florida Center for Percussive Arts with Brandon Cruz
Broward College Jazz Combo
JECC Jazz Bootcamp Ensemble (Jazz Education Community Coalition)
FASE – Frost Alternative String Ensemble with special guest Power Access Scholarship winner Eva Carizza.
Young Musicians Unite Jazz Collective with special guest Power Access Scholarship winner, Jeremiah Martial
Location/Address: Lincoln Road Oval, 700 Lincoln Road at Euclid Avenue
Saturday January 7, 2023, 8 p.m. – 11 p.m. (doors open at 7pm)
“Mambo Night in Miami Beach”
Big 3 Palladium Orchestra, South Florida premier, featuring Tito Puente Jr., Tito Rodriguez Jr.,and Machito Jr.
Location/Address: 1100 Lincoln Plaza. 1100 Lincoln Road at Alton Road
About The South Beach Jazz Festival The South Beach Jazz Festivalis produced by Power Access, a 501(c)3 non-profit humanitarian organization. The festival takes place in multiple venues throughout Miami Beach over four days in January. The mission of disability awareness, access, and inclusion is celebrated through a festival that takes pride in presenting world-renowned artists from the entire spectrum of jazz including traditional, contemporary and Latin as well as cutting edge acts. Many of the performances are free and outdoors. All are open to the public. The sounds of jazz enliven the city all weekend long providing residents and guests to Miami Beach a time to enjoy, listen and learn. “From Disability to Serendipity.”
The South Beach Jazz Festival is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor, Board of County Commissioners, City of Miami Beach, the Cultural Affairs Program and the Cultural Arts Council. This project is sponsored in part by the State of Florida, Department of State, Division of Arts and Culture and the Florida Council on Arts and Culture (Section 286.25, Florida Statutes).
