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The 8th South Beach Jazz festival 2024

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Editorial
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Unveiling the 8th Annual South Beach Jazz Festival
Unveiling the 8th Annual South Beach Jazz Festival

The 8th South Beach Jazz festival is January 4-7, 2024

One of the most anticipated events on the South Florida music calendar returns to Miami Beach January 4-7, 2024, as the 8th Annual South Beach Jazz Festival, presented by Power Access, brings star-studded names from the jazz world to key venues throughout the city. Celebrating the unparalleled artistry of global jazz sensations Cécile McLorin Salvant, Alfredo Rodriguez, the extraordinary pianist Matthew Whitaker, the dynamic ensemble of Something Else!, multiple grammy winning trumpeter, composer Brian Lynch, passionate jazz pianist Tal Cohen, and many more from the full spectrum of jazz, this year’s festival promises to be an unforgettable four days of music from top-tier internationally recognized artists, favorite regional bands, emerging local and student artists, underscoring a commitment to both musical excellence and the festival’s vital mission of inclusion and accessibility. The festival has grown in size and stature with 18 performances, master classes, and activations both, ticketed and free, from the intimate Faena Theater to the great lawn of Collins Park and The Bass to the iconic Miami Beach Bandshell and the Power Access stages on the world-renowned outdoor promenade of Lincoln Road all weekend long. In partnership with the Rhythm Foundation, the South Beach Jazz Festival is a must for jazz fans. Tickets and reservations including a limited “All Access Pass” at www.sobejazzfestival.com

Highlighted Performances:

  • Cécile McLorin Salvant with Sullivan Fortner at Faena Theater (SOLD OUT): The festival opens on Thursday, January 4, with 3x Grammy Award-winning American jazz vocalist/composer Cécile McLorin Salvant, joined by her longtime artistic collaborator, Sullivan Fortner, lauded as one of the top jazz pianists of his generation. 
  • Something Else! with Special Guest Matthew Whitaker at Collins Park: Friday night promises a night of Art and Music, the vibrant world of “Something Else!” celebrated for their soul-jazz and swing with special guest Matthew Whitaker, the South Beach Jazz Festival Society Jazz Night, will be in full swing with a concert on the great lawn of Collins Park and The Bass with top-shelf saxophonist and bandleader Vincent Herring and his hard-bop soul jazz supergroup, SOMETHING ELSE!, featuring guest star pianist/organist, Matthew Whitaker, on the B3, sitting in with the acclaimed sextet for their Miami Beach debut. Don’t forget to bring your dancing shoes! Lawn general admission is free, and there are free gallery tours at The Bass. VIP reserved tickets are available for those seeking an elevated experience. The concert is January 5 at 8pm in Collins Park. The concert is free for lawn seating. Attendees can bring chairs and blankets. The VIP Reception starts at 7pm. VIP tickets are $75 and include open bar, lite bites and reserved seating. 
  • Alfredo Rodriguez & Friends at Miami Beach Bandshell: Alfredo Rodriguez & Friends create an electrifying fusion of Latin, pop, timba, jazz, tango, and funk that will transport you straight to the heart of Havana. Their collective music chops will leave you breathless as you dance the night away at this pulsating fiesta of culture and sound. Don’t miss this extraordinary night of music and dance, courtesy of Alfredo Rodriguez and his musical all-star friends, celebrating Rodriguez’ latest release, “Coral Way,” which dominated the JazzWeek radio charts. Secure your ticket to an evening with unforgettable moments and pure musical magic! This electric fusion of styles will have the Miami Beach Bandshell echoing with applause on Saturday, January 6. Tickets start at $35.
  • Jazz for Tomorrow: During the day on January 6, enjoy the Jazz for Tomorrow student stage directed by jazz artist & educator Nicole Yarling, showcasing youth artists, including Young Musicians Unite, Frost, Broward College, JECC, Lighthouse, South Florida Center for Percussive Arts, with master classes and activations emphasizing the festival’s commitment to fostering emerging talent. The event is free and open to the public on January 6 from 10am – 5pm at 1100 Lincoln Road Plaza. 
  • Power Access Main Stage:  On Sunday, January 7, the South Beach Jazz Festival fills the 1100-1111 block of Lincoln Road with a full day of exciting bands and special guests, including Tal Cohen, the Smoogies, the Brandon Goldberg Trio, Goodwill Spirit Band, and Power Access Scholarship winners. As the special grand finale’ concert of the South Beach Jazz Festival, the South Florida Jazz Orchestra, led by the illustrious Chuck Bergeron with special guest Brian Lynch with the entrancing vocals of Lisanne Lyons, will close the festival under the Miami Beach stars. The event is free and open to the public on January 7 from 11am – 8pm at 1100 Lincoln Road Plaza. 
  • The Power Access Panel Discussion, Accessibility in the Arts:  The virtual panel discussion is scheduled for Friday, January 5. Dive into this purpose-driven conversation and discover more about accessibility within the arts. The event is free and starts at 3pm. Registration is required. 

At the festival’s heart is a mission of disability awareness, championing accessibility and inclusion for persons living with disabilities. Founded by R. David New, a Miami Beach local and national accessibility advocate, the festival is a platform to demonstrate the power of people of all abilities. The festival will showcase artists and special guests of all abilities throughout the weekend and celebrate disability awareness, access, opportunity, and inclusion in the arts for artists and audiences. 

Tickets for the 8th Annual South Beach Jazz Festival are on sale now. Seize the chance to partake in this iconic event that embodies the spirit of Miami, the joy of music, and the significance of inclusion. 

Visit SobeJazzFestival.com for the full schedule and tickets.

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, opportunity, and inclusion is celebrated through a festival that takes pride in presenting world-renowned and emerging artists from the entire spectrum of jazz. All are open to the public, with many free and outdoors. The sounds of jazz will 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, the Board of County Commissioners, the 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).

Arte concreto

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Editorial
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Arte concreto
Arte concreto

Arte Concreto: Un Movimiento Abstracto que Se Basa en la Forma y el Color

El arte concreto es un movimiento artístico que se desarrolló en la década de 1930 a partir de la obra de De Stijl, los futuristas y Kandinsky en torno al pintor suizo Max Bill. Se caracteriza por el uso de formas geométricas simples, colores puros y la ausencia de representación figurativa.

Artistas destacados

Algunos de los artistas más destacados del arte concreto son:
Max Bill, artista del arte concreto
Jean Arp, artista del arte concreto
Theo Van Doesburg (Países Bajos)
Piet Mondrian (Países Bajos)

El Manifiesto del Arte Concreto

El manifiesto del arte concreto fue escrito por Theo van Doesburg en 1930. En él, Van Doesburg define el arte concreto como “un arte que se basa en la forma y el color en sí mismos”. Afirma que el arte concreto no representa el mundo real, sino que crea un mundo nuevo a partir de las formas y los colores.

¿Qué es el Arte Concreto?

El arte concreto es un movimiento artístico que se caracteriza por el uso de formas geométricas simples, colores puros y la ausencia de representación figurativa. El objetivo del arte concreto es crear un arte que sea puramente visual, sin referencias al mundo real.

¿Cómo comenzó el arte concreto?

El arte concreto se desarrolló en la década de 1930 a partir de la obra de los movimientos De Stijl y el futurismo. El movimiento De Stijl, fundado por Theo van Doesburg, se basaba en el uso de formas geométricas simples, colores puros y la ausencia de representación figurativa. El futurismo, fundado por Filippo Tommaso Marinetti, se caracterizaba por su exaltación de la velocidad, la tecnología y la fuerza.

¿Qué es y cuáles son las características del Arte Concreto?

El arte concreto se basa en los siguientes principios:

Uso de formas geométricas simples: El arte concreto utiliza formas geométricas simples, como cuadrados, rectángulos, círculos y triángulos.
Uso de colores puros: El arte concreto utiliza colores puros, sin mezclas.
Ausencia de representación figurativa: El arte concreto no representa el mundo real, sino que crea un mundo nuevo a partir de las formas y los colores.
Arte concreto en Brasil

El arte concreto se desarrolló en Brasil en la década de 1950, a partir de la obra de artistas como Lygia Clark, Hélio Oiticica y Waldemar Cordeiro. Estos artistas se inspiraron en el arte concreto europeo, pero adaptaron sus ideas a la cultura brasileña.

Arte concreto en Argentina

El arte concreto se desarrolló en Argentina en la década de 1950, a partir de la obra de artistas como Tomás Maldonado, Alfredo Hlito y Jorge Soto. Estos artistas también se inspiraron en el arte concreto europeo, pero desarrollaron sus propias ideas y estilos.

Arte concreto en Cuba

El arte concreto se desarrolló en Cuba en la década de 1960, a partir de la obra de artistas como José Manuel Fors, Raúl Martínez y Servando Cabrera Moreno. Estos artistas se inspiraron en el arte concreto europeo, pero también incorporaron elementos de la cultura cubana.

El arte concreto es un movimiento artístico importante que ha tenido un impacto significativo en el arte moderno y contemporáneo. El arte concreto ha inspirado a generaciones de artistas, y su influencia se puede ver en el trabajo de artistas de todo el mundo.

Judith Lauand: Un giro Hacia MovimientoConcrete

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Editorial
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Judith Lauand La Dama del Concreto
Judith Lauand La Dama del Concreto

Judith Lauand: Un giro Hacia MovimientoConcrete

Una presentación muy esperada de la protagonista del arte concreto brasileño y miembro del Grupo Ruptura

La pintora y grabadora brasileña Judith Lauand (nacida en 1922) es considerada una figura clave del arte concreto. Lauand es la única mujer que participó en el Grupo Ruptura, un colectivo de artistas que inició el concretismo en Brasil y que contó con luminarias como Waldemar Cordeiro, Luiz Sacilotto, Geraldo de Barros, Lotar Charoux y Anatol Wladyslaw entre sus filas. Lauand, inicialmente autodidacta, se mudó a São Paulo en la década de 1950 y se encontró con el arte concreto mientras trabajaba en la 2ª Bienal Internacional. Poco después se sumergió de lleno en el movimiento, realizando una exposición individual dentro del mismo año.

Este recorrido abarca la tremenda obra de Lauand a lo largo de cinco décadas, prestando especial atención a su compromiso con el movimiento concreto que está plasmada en un llamativo estilo concreto, con líneas de cuadrados encerrados dentro de un estuche negro salpicado de recortes geométricos.

Lauand proclamó que su obra estaba “basada en elementos inherentes a la propia pintura: forma, espacio, color y movimiento. Me encanta la síntesis, la precisión y el pensamiento exacto.” El Grupo Ruptura, una cofradía de artistas concretos de São Paulo, que enfatizaba la racionalidad y el rigor matemático en su trabajo. Al igual que muchos miembros del Grupo Ruptura, Lauand se apoyó en gran medida en la teoría de la Gestalt sobre la mecánica de la visión para crear pinturas que sugerían movimiento y tridimensionalidad. En esta obra, las líneas negras pintadas alrededor de un vacío central parecen girar como un vórtice, mientras que el tablero sin marco parece flotar en la pared.

La teoría de la Gestalt es una escuela de pensamiento en psicología que sostiene que la mente humana organiza las sensaciones para crear una experiencia unificada del mundo. Los principios de la Gestalt se han utilizado en muchos campos, incluido el arte, para crear obras que son visualmente atractivas y estimulantes.

En esta obra, Lauand utiliza líneas negras y un vacío central para crear una sensación de movimiento y profundidad. Las líneas parecen girar alrededor del vacío, creando un efecto de vórtice. El tablero sin marco también contribuye a la sensación de tridimensionalidad, ya que parece flotar en la pared.

Esta obra es un ejemplo del enfoque preciso y racional de Lauand al arte. Su uso de elementos formales como líneas, formas y color está cuidadosamente calculado para crear un efecto visual específico. La obra también refleja su interés en la teoría de la Gestalt y su capacidad para crear experiencias visuales convincentes.

Judith Lauand

Por
Editorial
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Judith Lauand Judith Lauand Concrete Art
Judith Lauand Judith Lauand Concrete Art

Judith Lauand Concrete Art

Oliver Basciano Reviews 10 September 2014

Judith Lauand’s work could be suffocated by the dry language of art history. The 30 oil, ink and gouache paintings on paper and card shown in this decade-spanning overview have a seductive, visceral immediacy for the viewer; one that easily gets lost as the critic addresses their concurrent status as art-historical documents.

The facts nonetheless are these: Lauand, now ninety-one, was among the first band of Brazilian artists to embrace Concretism. Concrete art was espoused by Theo van Doesburg during the 1930s and introduced to Latin America by Max Bill via his 1950 exhibition at the Museu de Arte de São Paulo, and Lauand was part of Grupo Ruptura (the only female member, alongside the likes of Geraldo de Barros and Luiz Sacilotto), whose rejection of figuration or symbolism in their work was directly influenced by the import. Her work, of which the paintings in this show are typical, exhibits an internal logic to the forms and patterning depicted – they are ‘constructed entirely from purely plastic elements, that is to say planes and colours’, as van Doesburg defined Concrete art. While at first glance the works in this show seem to share a sensibility of automation that typified much of the work by those artists – Lygia Pape and Waldemar Cordeiro among them – who identified themselves as working within Concrete art in this period, when seen up close, they clearly reveal individual brushstrokes; in Lauand’s case the author is still present in the works. Concreto 151, Acervo 195 and Concreto 143, Acervo 194 (both 1959), for example, are made up of, respectively, repeated, alternatively orientated L-shapes and triangles, but each shape is ever so slightly unique. A wavering hand here, an inexact angle there.

Lauand does share the sense of postwar optimism that epitomised work from the avant- garde made during this decade, and it’s a sanguinity that still resonates, right through to the modern viewer. It can be found in Concreto 69, Acervo 201 (1957), which has a warm orange background, ink- penned onto which is a jagged, oscillating circuit, which in turn is housed within a similar circuit, and so on, until it seemingly radiates off the edges of the paper. It is abstract, but undoubtedly there is some notion of energy present in the forms – of something explosive, something exciting, rippling out from the epicentre. Untitled (1955), a turquoise, blocky, weblike composition on black painted board, contains a similar urgency within its aesthetic.

The second of the two gallery spaces is given over almost exclusively to works made with black ink on plain paper. Less vividly coloured, these works nonetheless share a formal lineage in their use of straight lines and abstract, free- floating, shapes. They have the appearance of technical or scientific drawings, though the repeated use of diamonds and triangles could summon spiritual connotations.

The paintings work independently of the hard historical facts. They have an enjoyably expressive mode to them that, across the decades, still invigorates the contemporary viewer through a self-referential, playful celebration of colour and formalism.

This article was first published in the April 2013 issue.

Unlocking the Power of Google Business Profile for Visual Artists

Por
Editorial
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Camille Graeser
Unlocking the Power of Google Business Profile for Visual Artists

Unlocking the Power of Google Business Profile for Visual Artists

In today’s digital age, a strong online presence is crucial for any artist looking to connect with potential clients and showcase their work. Google Business Profile (formerly Google My Business), a free and powerful tool, can be a game-changer for visual artists.

Here’s how visual artists can leverage Google Business Profile to amplify their reach and achieve their artistic goals:

1. Boosted Visibility:

  • When someone searches for “artists near me” or specific keywords related to your art form, your Google Business Profile can appear prominently in search results, leading potential clients directly to your virtual doorstep.
  • Optimize your profile with relevant keywords, including your location, art form, mediums, and specialties, to increase your discoverability.

2. Gallery Showcase:

  • Upload high-resolution images and videos of your artwork, studio space, and exhibitions.
  • Create virtual tours and 360-degree views to provide an immersive experience for potential clients.
  • Regularly update your profile with new work and events to keep your audience engaged.

3. Direct Communication:

  • Respond promptly to reviews and inquiries, demonstrating your professionalism and commitment to customer service.
  • Encourage visitors to leave reviews and testimonials, building trust and credibility with potential clients.
  • Utilize the built-in messaging feature to directly engage with potential buyers and collaborators.

4. Appointment Booking & Online Sales:

  • Integrate booking systems or online shop platforms to allow clients to easily book appointments, commissions, or purchase your artwork directly through your Google Business Profile.
  • This eliminates friction from the buying process, leading to increased sales and client satisfaction.

5. Building a Community:

  • Utilize Google Business Profile posts to share updates about upcoming exhibitions, workshops, and special offers.
  • Engage your audience with questions, polls, and behind-the-scenes glimpses into your artistic process.
  • Foster a sense of community around your art, building loyal followers and advocates.

Beyond these core benefits, here are some additional tips for visual artists:

  • Utilize Google Posts to share time-sensitive information, such as exhibition dates and opening hours.
  • Post engaging content showcasing your artistic process and inspiration.
  • Run targeted local ads to reach specific demographics and neighborhoods.
  • Connect your Google Business Profile to your social media accounts for cross-promotion.
  • Track your profile’s performance and analyze key metrics to identify areas for improvement.

By actively managing your Google Business Profile, you can transform it into a vital tool for attracting new clients, promoting your artwork, and establishing yourself as a successful artist in the online marketplace. Remember, consistency is key – regularly update your profile, engage with your audience, and demonstrate the passion and talent that defines your artistic journey.

Arte Concreto En Latinoamerica

Por
Editorial
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Arte concreto
Arte concreto

El Arte Concreto En América Latina: Un movimiento vanguardista que se extendió por todo el continente

El arte concreto es un movimiento artístico que se caracteriza por el uso de formas geométricas simples, colores puros y la ausencia de representación figurativa. Se desarrolló en la década de 1930 a partir de la obra de artistas europeos como Theo van Doesburg, Piet Mondrian y Jean Arp.

En América Latina, el arte concreto se desarrolló en la década de 1950, a partir de la obra de artistas de varios países. Estos artistas se inspiraron en el arte concreto europeo, pero también se interesaron por la cultura y la tradición de sus respectivos países.

Los orígenes del arte concreto en América Latina

Los primeros artistas latinoamericanos que experimentaron con el arte abstracto fueron los pintores Joaquín Torres-García y Rafael Barradas. Torres-García, conocido por su arte constructivista, fue influenciado por el arte precolombino y el arte africano. Barradas, conocido por su arte cubista, fue influenciado por el arte europeo.

En la década de 1940, un grupo de artistas latinoamericanos, conocidos como el Grupo Madí, comenzó a experimentar con el arte concreto. El grupo estaba formado por artistas de Argentina, Uruguay y Chile. Estos artistas se inspiraron en el arte concreto europeo, pero también se interesaron por la cultura y la tradición de sus respectivos países.

El Grupo Madí

El Grupo Madí fue un grupo influyente en el desarrollo del arte concreto en América Latina. El grupo expuso su trabajo en varias exposiciones importantes, y su trabajo fue ampliamente reseñado por la crítica.

El trabajo del Grupo Madí se caracterizaba por su uso de formas geométricas simples, colores puros y la ausencia de representación figurativa. El grupo también experimentó con una variedad de técnicas y materiales, incluyendo pintura, escultura y collage.

Algunos artistas concretos latinoamericanos destacados

En los años siguientes, surgieron otros artistas concretos destacados en América Latina. Algunos de estos artistas son:

  • Enrique Tábara (Ecuador): Tábara es conocido por sus pinturas abstractas que utilizan formas geométricas y colores puros para crear imágenes de belleza y armonía. Opens in a new windowecuadorendigital.blogspot.comPintura abstracta de Enrique Tábara
  • Gego (Uruguay): Gego es conocida por sus esculturas abstractas que utilizan alambre y otros materiales para crear imágenes de movimiento y dinamismo. Opens in a new windowwww.ondavasca.comEscultura abstracta de Gego
  • José María Velasco Ibarra (Ecuador): Velasco Ibarra es conocido por sus pinturas abstractas que utilizan formas geométricas y colores puros para crear imágenes de complejidad y misterio.
  • Ricardo Yrarrázabal (Chile): Yrarrázabal es conocido por sus esculturas abstractas que utilizan hormigón y otros materiales para crear imágenes de fuerza y ​​poder.

El arte concreto en América Latina en la actualidad

El arte concreto continúa desarrollándose en América Latina en la actualidad. Los artistas concretos latinoamericanos continúan experimentando con nuevas técnicas y materiales, y su trabajo continúa teniendo un impacto significativo en el arte latinoamericano y mundial.

Algunos artistas concretos latinoamericanos contemporáneos destacados son:

  • Gonzalo Fonseca (Uruguay): Fonseca es conocido por sus pinturas abstractas que utilizan formas geométricas y colores puros para crear imágenes de belleza y armonía. Opens in a new windowwww.artnet.comPintura abstracta de Gonzalo Fonseca
  • Luis Fernando Cárdenas (Colombia): Cárdenas es conocido por sus esculturas abstractas que utilizan acero y otros materiales para crear imágenes de movimiento y dinamismo.
  • José Dávila (México): Dávila es conocido por sus esculturas abstractas que utilizan madera y otros materiales para crear imágenes de complejidad y misterio. Opens in a new windowtravesiacuatro.comEscultura abstracta de José Dávila
  • Martha Boto (Argentina): Boto es conocida por sus esculturas abstractas que utilizan alambre y otros materiales para crear imágenes de fuerza y ​​poder. Opens in a new windowwww.raquelbalice.comEscultura abstracta de Martha Boto

Conclusiones

El arte concreto es un movimiento artístico importante que ha tenido un impacto significativo en el arte latinoamericano. Los artistas concretos latinoamericanos han sido pioneros en el uso de nuevas técnicas y materiales, y su trabajo ha ayudado a transformar la forma en que se entiende el arte en América Latina.

El arte concreto continúa desarrollándose en América Latina en la actualidad, y los artistas concretos latinoamericanos continúan explorando nuevas formas de expresión artística.

Thriving as a Visual Artist in the Age of Innovation

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Editorial
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Venezuelan artist Rafael Montilla to present new series "United We Are Art" during Miami Art Week
Venezuelan artist Rafael Montilla to present new series "United We Are Art" during Miami Art Week

Beyond the Canvas: Thriving as a Visual Artist in the Age of Innovation 2024

In 2024, the visual arts industry is a blend of tradition and innovation. While the principles of artistic mastery remain important, technology plays a major role in an artist’s success. To succeed, artists need to embrace digital tools alongside traditional techniques.

Here are some ways artists can thrive in this new landscape:

• Embrace the Digital Canvas:
Digital tools like AI-powered design software and VR experiences can enhance an artist’s creativity and expand their reach. Artists should learn to use these tools effectively to create interactive installations and augmented reality experiences.

• Master Storytelling:
 In today’s digital age, artists need to become storytellers. Art should evoke thought, spark conversation, and leave a lasting impression. By exploring human emotions, social issues, and the beauty of the world around us, artists can create narratives that resonate with viewers.

• Reach Global Audiences:
Social media platforms like Instagram, TikTok, and YouTube offer artists a direct path to a global audience. Artists can use these platforms strategically to share their creative process and build a robust online community.


• Collaborate with Other Artists:
Collaboration allows artists to share ideas, resources, and expertise. By working together on cross-disciplinary projects or online art communities, artists can create unique and innovative projects.


• Learn the Business of Art:
To succeed in the competitive art market, artists must also possess entrepreneurial skills. Artists should learn about marketing, building relationships with collectors and galleries, and managing their finances effectively.


• Find Inspiration in Other Art Forms: To widen your creative horizons, explore art forms beyond your own discipline such as music, dance, literature, film, or even architecture. This will help you discover unexpected sources of inspiration and new ideas. It can lead to a cross-pollination of concepts that can inject fresh energy and perspectives into your work. 
Challenging your assumptions by stepping outside your comfort zone and engaging with unfamiliar art forms can help you get out of creative ruts and challenge your preconceived notions of art. It can lead to a more dynamic and open-minded approach to your artistic practice. 

Learning about the techniques and materials used in other art forms can open up new possibilities for your work. You might find a new tool or process to adapt to your medium, leading to exciting new avenues of artistic expression.


• Participate in Competitions, Biennales, Public Art, and Exhibitions: Participating in recognized art events is a great way to gain exposure to a broader audience, including collectors, curators, and other artists. This can lead to increased sales, commissions, and opportunities for collaboration, ultimately increasing your visibility and credibility.
Competitions and exhibitions offer a platform for receiving constructive criticism from experienced judges and reviewers. This feedback can be invaluable in helping you further refine your work and identify areas for improvement. It helps you receive valuable feedback and recognition.

Participating in art events allows you to connect with other artists, collectors, and industry professionals. Building strong relationships within the art community can provide valuable support, mentorship, and opportunities for collaboration.


• Offer Workshops or Classes: By offering workshops or classes, you can share your expertise with aspiring artists and help them develop their creative skills. It contributes to the artistic community’s growth and serves as a source of income and personal satisfaction.

Teaching workshops allows you to connect with diverse individuals who may not have otherwise encountered your work. It can lead to new opportunities, collaborations, and even devoted fans of your art. 

The teaching process requires you to articulate your artistic strategy and explain complex concepts clearly and engagingly. It can significantly improve your communication and presentation skills, benefiting various aspects of your creative career.


• Write and Blog about Your Art: Writing and blogging about your art allows you to connect with your audience on a deeper level and share your artistic vision, inspiration, and creative process. It can foster a sense of community and engagement with your work. You can establish yourself as a thought leader and subject matter expert by providing valuable insights into your art and the art world. It can attract potential clients, collaborators, and opportunities for further exposure, ultimately establishing             yourself as an authority.

Writing regularly can significantly improve your writing skills, clarity of thought, and ability to articulate your ideas effectively. It can be beneficial not only for your blog but also for grant proposals, artist statements, and other professional communications.


• Give Back to Your Community: Contributing your time and expertise to your community through art projects, educational programs, or outreach initiatives allows you to use your art to make a positive difference in the lives of others. 

Engaging with your community can help you connect with individuals from diverse backgrounds and foster a sense of belonging and shared purpose. It can lead to valuable partnerships, collaborations, and opportunities for artistic expression.

By actively participating in community art initiatives, you can raise awareness about the importance of art and its role in society. It can increase support for the arts, benefiting the entire artistic community.

By embracing innovation, honing storytelling skills, leveraging the power of the internet, collaborating with others, and navigating the art business, artists can carve their unique path and flourish in this exciting new chapter of visual art.

Overcoming Procrastination: A Guide for Visual Artists

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Editorial
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Overcoming Procrastination: A Guide for Visual Artists

Procrastination is the act of delaying or postponing a task or set of functions. It is a common problem that affects people of all ages and backgrounds. Several factors can contribute to procrastination, including fear of failure, perfectionism, lack of motivation, boredom, distractions, overwhelm, low self-esteem, and mental health conditions such as anxiety and depression.

Procrastination can have several negative consequences, including increased stress and anxiety, decreased productivity, missed deadlines, and damaged relationships.

If you are struggling with procrastination, there are several things you can do to overcome it. You can set realistic goals by breaking down large tasks into smaller, more manageable ones. You can set deadlines for yourself and stick to them. You can reward yourself for completing tasks to stay motivated. You can find a distraction-free environment to work in, and if you struggle to overcome procrastination, you can talk to a therapist or counselor.

With a little effort, you can overcome procrastination and be more productive.

Procrastination is a common challenge for many people, including visual artists. The blank canvas, the daunting task of starting a new project, or the fear of failure can all lead to procrastination. However, there are a number of strategies that visual artists can use to overcome procrastination and get their creative juices flowing.

What is procrastination?

Procrastination is the act of delaying or postponing a task or set of tasks. It can be caused by a variety of factors, including fear of failure, perfectionism, boredom, or simply a lack of motivation. Procrastination can have a negative impact on both your personal and professional life. It can lead to stress, anxiety, and even depression.

Why do visual artists procrastinate?

There are a number of reasons why visual artists might procrastinate. Some common reasons include:

  • Fear of failure: Visual artists may be afraid to start a new project because they are afraid of failing. They may worry that their work will not be good enough or that they will not be able to live up to their own expectations.
  • Perfectionism: Visual artists may also procrastinate because they are perfectionists. They may want their work to be perfect before they share it with the world. However, this can lead to procrastination because they are never satisfied with their work and they keep putting things off.
  • Boredom: Visual artists may also procrastinate because they are bored. They may find that their current project is not challenging enough or that they are not interested in it. This can lead to procrastination because they are not motivated to work on the project.
  • Lack of motivation: Finally, visual artists may also procrastinate because they simply lack motivation. They may not have a strong desire to create art or they may be feeling overwhelmed by other commitments.

How to overcome procrastination

There are a number of strategies that visual artists can use to overcome procrastination. Here are a few tips:

  • Set small goals: Don’t try to tackle a huge project all at once. Instead, break it down into smaller, more manageable goals. This will make the project seem less daunting and more achievable.
  • Set deadlines: Give yourself deadlines for each of your goals. This will help you stay on track and avoid procrastination.
  • Reward yourself: Reward yourself for completing your goals. This will help you stay motivated.
  • Find a workspace: Find a workspace that is free from distractions and that is conducive to creativity.
  • Take breaks: It’s important to take breaks when you are working on a project. Get up and move around, or take a few minutes to relax and clear your head.
  • Join a group: Join a group of other artists who are also struggling with procrastination. This can help you feel supported and motivated.

Additional tips for visual artists

In addition to the general tips above, there are a few additional tips that visual artists can use to overcome procrastination:

  • Start with a sketch: Don’t worry about making your first draft perfect. Just get your ideas down on paper.
  • Don’t be afraid to experiment: Try new techniques and materials. Don’t be afraid to make mistakes.
  • Share your work with others: Get feedback from other artists or friends and family.
  • Don’t compare yourself to others: Everyone is on their own creative journey. Don’t compare your work to the work of other artists.
  • Remember that it’s okay to not be perfect: Perfectionism can be a major obstacle to creativity. Don’t let the fear of failure prevent you from creating art.

Overcoming procrastination can be challenging, but it is possible. By using the strategies listed above, visual artists can get back on track and start creating the art they want to create.

I hope this article has been helpful. If you have any questions, please feel free to leave a comment below.

I would also like to add that procrastination is not always a bad thing. Sometimes, it can be helpful to take a break from a project and come back to it with fresh eyes. However, if procrastination is preventing you from achieving your goals, then it is important to find ways to overcome it.

Carolina Lozada Todo es lo que parece

Por
Editorial
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Todo es lo que parece
Todo es lo que parece

Carolina Lozada Todo es lo que parece

Monroy Editor se complace en presentar un nuevo título de narrativa venezolana: Todo es lo que parece, de la escritora Carolina Lozada, autora también de El perro estar (2019), El cuarto del loco (2014), La culpa es del porno (2013), entre otras, y cuya obra es reconocida como una de las más sobresalientes de su generación. Esta publicación es la quinta dentro de la Colección de Narrativa Contemporánea de la casa editorial, y ya disponible tanto en formato impreso como digital.

La novela se sumerge en la historia de una mujer de mediana edad  y de esta época. Aunque la frase “una mujer que busca pareja y desgraciadamente la encuentra” podría resumir la trama, esta novela va más allá, explorando la complejidad de sus personajes, situaciones disparatadas, erotismo y opiniones que se entrelazan en una estupenda narración en la que el humor negro está siempre presente.

La presentación de Todo es lo que parece será el día jueves 14 de diciembre, a las 5:00 pm hora de Venezuela, vía Zoom. Liliana Lara, Magdalena López y Violeta Rojo sostendrán una conversación con Carolina Lozada, en torno a la novela; Violeta Rojo, coordinadora de la Colección de Narrativa Contemporánea de Monroy Editor, moderará el encuentro.

Todo es lo que parece de Carolina Lozada, El dibujo de la isla de Fedosy Santaella, Cálidas ruinas de Rubi Guerra, Preámbulo de Antonio López Ortega, El oscvro señor V de Norberto José Olivar y Diorama de Ana Teresa Torres se pueden adquirir en las librerías El Buscón, Kalathos, Sopa de Letras y Libroria, Insomnia, Alejandría en Caracas, y en TecniBooks en Porlamar, y El mundo del libro, en Cumaná. También se pueden encontrar en formato digital e impresión por demanda en Amazon.

La información y novedades de la editorial, se encuentran en su web (www.monroyeditor.com), y la cuenta @monroyeditor tanto en Instagram como en Twitter.

AUTORA

Carolina Lozada

(Valera, Venezuela, 1974)

Narradora. Magíster en Filosofía y Licenciada en Letras. Profesora de la Universidad de los Andes. Sus cuentos han ganado varios premios nacionales e internacionales, entre ellos el primer premio en el Certamen de Relato Breve El País Literario (Madrid, 2005) y el Concurso de cuentos de El Nacional (Caracas, 2014). Fue Becaria-Residente de la Fundación Bogliasco en el Centro Studi Ligure (Italia, 2012). Ha publicado: El perro estar (2019), El cuarto del loco (2014), La culpa es del porno (2013), La vida de los mismos (2011), Los cuentos de Natalia (2007), Memorias de azotea (2007), Historias de mujeres y ciudades (2007).

PRESENTADORAS

Liliana Lara, profesora universitaria. Cursa estudios de doctorado en Literatura Iberoamericana en la Universidad Hebrea de Jerusalén. Ha publicado: Abecedario del estío(2019); La música de los barcos (2018); Trampajaula (2012) y Los jardines de Salomón(2008; Premio de Narrativa de la XVI Bienal Literaria José Antonio Ramos Sucre, en 2007)- Cuentos y artículos suyos han aparecido en diversas publicaciones periódicas y antologías.

Magdalena López, PhD (University of Pittsburgh), Investigadora del Kellogg Institute for International Studies (Universidad of Notre Dame) y del Centro de Estudios Internacionales del Instituto Universitário de Lisboa. Es autora de la novela Penínsulas Rotas (2020) y los ensayos El Otro de Nuestra América: Imaginarios frente a Estados Unidos en la República Dominicana y Cuba (2011), Desde el Fracaso: Narrativas del Caribe Insular Hispano en el Siglo XXI (2015).

Violeta Rojo, profesora titular jubilada en la Universidad Simón Bolívar, doctora en Letras y magíster en Literatura Latinoamericana (USB); licenciada en Letras (Universidad Central de Venezuela). Research Fellow Kingston University (Reino Unido) 2000-2001. Individuo correspondiente de la Academia Norteamericana de la Lengua Española. Coordinadora de la Colección de Narrativa Contemporánea de Monroy Editor.

 LA EDITORIAL

Monroy Editor ha publicado nueve títulos de alta factura editorial en su línea fotográfica, entre ellos Metáforas modernas, de Petre Maxim; Trato y retrato, de Carlos Germán Rojas; El ojo de la ballena, de Daniel González; Las paredes no mienten, de Alexis Pérez-Luna; y Desmesura del cuerpo, de Renato Donzelli. Algunos de esos títulos han recibido reconocimientos internacionales como el Primer Premio Theobaldo de Nigris(México, 2019) al libro Ausencias, del fotógrafo Alexis Pérez-Luna; y en el 2020 Usier, de Juan Toro Diez, quedó en la selección especial en la Bienal Iberoamericana de Diseño, BID, que se realiza en Madrid. Y con la novela Diorama obtiene segundo puesto del Premio Theobaldo de Nigris en la categoría de encuadernación rústica (Colombia, 2021).

En marzo de 2021 presentó su Colección de Narrativa Contemporánea con la publicación del primer título de la serie: la novela Diorama, de Ana Teresa Torres, seguida por El oscvro señor V, de Norberto José Olivar y Preámbulo, de Antonio López Ortega y en mayo de este mismo año bautizo Cálidas ruinas de Rubi Guerra. 

Esperamos contar con tu grata presencia en este evento virtual donde compartiremos y celebraremos la obra de Carolina Lozada.

Andy Moses, Recent Paintings Exhibition William Turner Gallery

Por
Editorial
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Geomorphology 1607, Acrylic on canvas, over concave wood panel, 57 x 90 inches, 2023
Geomorphology 1607, Acrylic on canvas, over concave wood panel, 57 x 90 inches, 2023

Andy Moses, Recent Paintings Exhibition
William Turner Gallery, Los Angeles
September 9 to November 11, 2023
Whitehot Magazine Article
by Lorien Suárez-Kanerva

Andy Moses’ Recent Paintings will be showcased at the William Turner Gallery in Los Angeles from September 9 until November 11, 2023. Moses Recent Paintings’ distinct color use encompasses a predominantly white, blue, black and gold palette. All-white color tints, shades, and their lustrous variability are at play amidst clear, sharper, fluid lines, and softer open gradations, leading toward ethereal spaces. Moses’s sensibility spans a buoyantly luminous subtlety and achieves a refined definition through a meticulously grounded and richly orchestrated embodied perception. Maurice Merleau-Ponty pointed to embodied perception as the experience of the self in an environment at the crucible towards forms of relatedness that reveal meaning and expand perception.

Geomorphology 1607, Acrylic on canvas, over concave wood panel, 57 x 90 inches, 2023

Fiber Birren, Johannes Itten, and Carl Jung address the subject of color each through a psychological vantage point, cultural nuances (like Jung’s groundbreaking study of mandalas of the East by introducing these to the West), and Color Theory. The sensorial effects of color suggest a responsive universality based on similarities that bridge cultural bounds. In his works “Color and Meaning” and “Color and Culture,” John Cage supports these observations on color’s meaningful effect on sensorial understanding across cultures. Most salient in Moses’ works is the combination of white and blue, where black shifts through a reflective play with light toward shades of blue. From these earlier scholars’ observations, colors such as whites speak of clarity, illumination, and spirituality, and blues inspire serene tranquility and introspective depth.
As a countertone, gold’s earliest cultural associations with the sun’s radiant power extend the hue’s significance to encompass wealth and prominence. For Jung, gold represented the self’s individuation process, stimulating wisdom and enlightenment—likewise, Itten and Birren associated illumination and divine inspiration with gold. Extensively, gold in East Asia, including Japanese 18th-century iconography, signifies wealth, power, good fortune, and divinity.

Geomorphology 1606, Acrylic on canvas over concave wood panel, 57 x 90 in, 2023

Moses shares the American Transcendentalists’ numinously intuitive perception of nature alongside the critical figures of Thoreau, Whitman, Emmerson, and their predecessor, the Canadian Henry Wadsworth Longfellow. Poetry such as Henry Wadsworth Longfellow’s lines from his poem “The Tide Rises, The Tide Falls” are evident in Moses’ paintings, and they highlight a kinship, reveling in transcendental sensibilities grounded in the human experience of nature and its patterns throughout time. “The little waves, with their soft, white hands, Efface the footprints in the sands.”

Geodesy 1514, Acrylic on canvas over circular wood panel, 72 in diameter, 2023

“Lives of great men all remind us.
We can make our lives sublime,
And, departing, leave behind us
Footprints in the sands of time.”

Geodesy 1515, Acrylic on canvas over circular wood panel, 72 in diameter, 2023

Similarly, Moses perceived an affinity and kinship from the East with Ryukyuan lacquerware for its craftsmanship and conceptual design motif through his introduction while viewing LACMA’s “The Five Directions: Lacquer from the Ryukyu Islands” exhibition. This iconography and the craft itself of creating a painstaking layering of resin polished into lacquer was characteristic of Japan’s Ryukyu Islands from the 18 th century. The motif speaks of benevolent mystical forms seeking wisdom in East Asian cultural iconography. One particular piece in LACMA’s exhibition, a circular tray, inspired his painting titled Geodesy 1515. The matter of the enlightenment is also poetically crafted as an adornment – Dragons Chasing the Flaming Pearl. The Flaming Pearl holds as its essence the themes of wisdom within a spiritual scope. At the same time, the dragons culturally appear as strong protective forms that control natural elements.

Circular Tray with Dragons Chasing a Flaming Pearl, Black Lacquer on Wood Core with Mother of Pearl Inlay, 3.5 x 35.25 in, Ryukyu Islands, 1700-1800, LACMA Permanent Collection.

The American transcendentalist ethos, presented in the poem “Come, said my soul” by Whitman, attests eloquently to their literary movements’ vision of universal unity. Their writings draw deeply from their dedicated contemplation and communion with nature. This is akin to the sensibility the mystics have shared throughout time.

Geomorphology 1608, Acrylic on canvas over concave wood panel, 57 x 90 in, 2023

“Come, said my soul,
Such verses for my body let us write, (for we are one,)
That should I after death invisibly return,
Or, long, long hence, in other sphere,
There to some group of mates the chants resuming,
(Tallying earth’s soil, trees, winds, tumultuous waves,)
Ever with pleas’d smile I may keep on, Ever and ever yet the verses
owning – as, first, I here and now,
Singing for soul and body, set to them by name,
Walt Whitman

Andy Moses’s paintings attest to this universal transcendence, poetically defined, and breathtakingly revealing its cultural lineage’s kinship.

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