La cantante de música cristiana Elizabeth Sánchez lanza su primer disco, “Nace una esperanza”
La joven presenta su primer disco, “Nace una Esperanza”, elegido como Mejor Álbum por la Academia de Arte Cristiano de Nueva York. También da charlas sobre el bullying escolar, que experimentó en carne propia en la infancia, y sobre cómo enfrentar retos de la discapacidad. La canción promocional de “Nace una esperanza” -ya disponible en las plataformas digitales- se titula “No temeré”
Elizabeth Sánchez carga con los mejores antecedentes académicos y profesionales ya que se graduó en Interpretación Vocal por la Universidad Barry y fue soprano en la Ópera de Miami, pero también padece de una leve discapacidad cognitiva, que le hizo sufrir de bullying a temprana edad.
Además de la elección como Disco del Año, “Nace una Esperanza” ya le valió una nominación como Revelación para la Academia de Nueva York, y una como Revelación Femenina los Premios El galardón Internacional. La artista compuso ocho canciones del álbum.
Hija de dos brillantes académicos matemáticos, Elizabeth nació en Placetas, Cuba, el 11 de marzo de 1993. Un apagón hospitalario al momento del parto la tuvo al borde de la muerte.
Con Fe, la ayuda médica y el tesón de su familia sobrevivió. Su padre, Ricardo, es ingeniero, matemático, y profesor de la Universidad Barry. Su esposa, también llamada Elizabeth, estudió Economía Política en la Universidad de La Habana.
Cuando Elizabeth entraba en la edad escolar se mudó con su familia a otro país latinoamericano, donde comenzó a ir al colegio y lamentablemente enfrentó situaciones dolorosas al ser acosada por otras niñas, que se burlaban de ella.
La familia finalmente recaló en Miami hace dos décadas, se congrega en un templo evangélico bautista de la localidad de Davie. Allí, en otras iglesias y en los sitios donde se le requiera, Elizabeth cumple su vocación de cantar y, a la vez, dar un mensaje positivo para quienes sufren.
La argentina Mariana Quinteros lanza el disco “Tango de Nuevos Ayres”
El álbum fue producido por el pianista Aníbal Berraute y será presentado el sábado 30 de abril en el Club Alfaro’s, de La Pequeña Habana. El 13 de mayo será lanzado con un concierto en la Embajada Argentina, en Washington. “Tango de Nuevos Ayres” tiene un repertorio irresistible, integrado por clásicos de Gardel, Piazzolla y otros de épocas más recientes.
“Hicimos una mezcla interesante”, considera Quinteros, nacida en Buenos Aires, afincada en Miami desde el año 2014. Para Berraute, que tocó con glorias como Mariano Mores, en el disco hay “tangos tradicionales con el lenguaje musical de hoy”. “Con Mariana y los músicos buscamos una sonoridad cercana a la gente, hasta con algo de pop”, agrega.
“Tango de Nuevos Ayres” ya se encuentra disponible en las plataformas digitales. El título “Tango de Nuevos Ayres” juega con la idea de la novedad y con el nombre de la capital argentina, fundada hace 500 años como “Santa María del Buen Ayre”. En el disco tocaron algunos de los mejores tangueros, más invitados de lujo como Chico Novarro, Gabriel Mores, Daniel Mazza, y Néstor Torres.
“Todo cantante en algún momento tiene la necesidad de grabar un disco, plasmar en una grabación su evolución”, comenta Quinteros, que se destaca dentro del tango internacional; se ha presentado en diversos países, impresiona con su voz y su particular manera de interpretar.
Creció en un ambiente de grandes aficionados a la música; en la juventud comenzó a inclinarse por el canto y se profesionalizó en 2002. “Los tangos tienen una potencia musical y poética atrapante”, añade, recordando de paso que su padre, ya fallecido, era un gran tanguero.
Quinteros ha grabado tres discos. Ofrece conciertos semanalmente en Miami y otras ciudades, y también da clases de Canto. Su Instagram es @marianaquinterosmusic
The Case for Abstraction. The Art Assignment. PBS Digital Studios
For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopped trying to do that. It was shocking then and it still upsets and confounds today. How are we supposed to deal with art completely removed from recognizable objects? And why should we? This is the case for Abstraction.
Daniel Cookman
As a physicist, what struck me was the connection here with mathematics: from my perspective, maths IS abstraction in the realest of senses. Take, for example, numbers: when we first learn about numbers, we think of three beans or four cars, i.e. numbers as an adjective to describe. The first major leap of abstraction we teach is that four is not just a describing word, but also an idea, an object in itself that has properties attached to it (addition, subtraction, etc.). As the maths gets more complex, we continue to describe certain ideas (e.g. the concept of a vector) as objects, which of course from the literalist’s perspective is absurd: how can you have a number just exist in the world?! All of this isn’t coincidental. We use maths precisely because it strips away any of the guff (i.e. unnecessary context) not needed to solve the problem. Want to add to add three beans to two beans? Well, it’s exactly the same question as if you were talking about cars or anything else: what matters is the number, not the thing itself. By doing this, the tools we have left are not only incredibly efficient (algebra, calculus, etc.) but also can have the context built back into them with ease. The case for abstraction in mathematics is then self evident! Funny, how different fields of thought end up closing upon the same idea.
Katy Spencer
I think its interesting because as a 15 year old abstraction is so ingrained in our culture and art that it seems bizarre that there ever was not. It’s always a good reminder that your world isn’t yours and wasn’t always the same.
Scott Oconnor
As an artist who does a lot of abstract paintings I really enjoyed this video. You don’t waste any time going over the history of abstract art and the artists who started it, did it and some who probably still do it. Its amazing to me that it really only took off and became a well known and widely accepted art form in the early 1900’s. The history of art in itself is quite fascinating but how abstraction fits into it is very interesting. I had to watch this video twice since it moves so quickly but I think I learned something both times so it was worth it. “What’s strange may be the period when humans did not embrace abstraction” – Well said
Ivan Garcia
Abstractions can be good when their semantic is either self evident or if there is a consensus on its definition. They can be powerful by allowing the mind to handle complex concepts fast. If for the symbol “2” some people say it is two and others 3 it looses its value. The same happens with words. The problem I see with abstract art is that I don’t see them defining the semantics of texture, edge curves, or geometric shapes. It is meant to be open to subjective interpretation. If I make some random shapes/texture from the computer and place it as a form of art. Then someone inspect the “art” and starts making a whole complex story out of it. Does this makes sense? The same can be done with clouds. I can genuinely paint an abstract art with my emotions and state of mind. And what happens if the person that inspects the painting feels/interprets something totally different. It would be nice to see if someone has made an experiment with one of the best abstract paintings to see the meaning the infer and then interview the artist to explain what he/she tried to convey.
Aeromodeller1
I have always thought “abstract art” or “abstractionism” were misnomers. It does not correspond to my concept of abstraction. Abstraction seeks to generalize. Each piece of abstract art is a particular. What they usually mean is “nonrepresentational”. But even that concept is problematical. There are different ways to represent and degrees of representation. Especially paradoxical is “abstract photography”. A photograph is an exact optical representation of a particular object. Can’t get more representational than that. But photographs of eroded sandstone, broken glass, ice sheets, tree bark, architectural details or leaves are called abstractions. Representational photography shows an object or tells a story that can be put into words. Abstract photographs usually don’t. Most of the photographs you see are about the subject matter, not about the photograph. This is Aunt Em. This is the Golden Gate Bridge. Abstract photography is about the photograph and how it works. The picture of eroded sandstone is about how light plays on a surface to reveal shape and how the photograph captures that light, revealing form. It is not a geological description of sandstone. It does not suggest a conventional verbal category. It is purely about how tonal gradation reveals form. It is appreciated for itself alone, not for its depiction of something else. Being outside conventional categories makes abstract photographs a bit mysterious, and interesting. They are not limited by a title.
Rajesh Budhathoki
I am art student and very interested in abstraction, I’m going good with my structural understanding of value and proportions to portray things in a realistic order. But I’m focusing more on experiment and interested in abstract thinking, I’m spending most of my energy, time and money on it. I think what we see infront in this pragmatic world is very limited, and we may not be accurate to every creature that has a vision or own perspective. We are bound to believe in things that exist. we humans have achieved good work on technologies and material success, but not in deep knowledge vision which is yet to be known or introduced. I think abstract is a basic idea of understanding things inside every mater in this universe including us. I’m doing my work as a student in fine arts, I want to see beyond every question and things which doesn’t exist. I believe one day humanity Will reach out there and will be able to summarize the real reality!Show less
In 1966, Ernesto Briel burst onto the Cuban art scene with an exhibition of his drawings in a show entitled Op Pop. At that moment, Briel began his lifelong contribution to the international movement of Op Art, exploring the boundaries of visual play and optical illusion in his practice. Ahead of the upcoming exhibition at S|2, we look more closely at this compelling artist.
From its inception in Europe, the language of geometry and illusion within Kinetic and Optical Art had a strong pull for its followers in Latin America. It was not by chance that as early as the mid-1950s, Venezuelans Jesús Raphael Soto and Carlos Cruz-Diez were already in Paris alongside Frenchman Victor Vasarely; they were joined in 1958 by Argentine Julio Le Parc. This group of artists had begun to carve a place for themselves within this European scene. Geometric abstraction had already been deeply pervasive in visual language of modernist Latin American art; so a shift towards imbuing their works with movement, whether physically or by painterly effect, was second nature for these artists.
ERNESTO BRIEL, HAVANA, CUBA, 1960S. FROM THE ERNESTO BRIEL ARCHIVES. COURTESY OF THE ESTATE OF ERNESTO BRIEL, NEW YORK, U.S.A.
The development of Ernesto Briel’s work begins back in the early 1960s, prior to the 1966 exhibition that placed him at the vanguard of the Cuban contemporary art scene. It was in his small studio in Guanabacoa, an idyllic coastal town in Havana, that he started to create assemblages and three-dimensional pieces that played around with the feelings and proposals of the kinetic movement; and at times, revisited the essence and proposals of the historic Dada group. By the time of Op Pop, a two-man show shared with fellow Cuban artist, Armando Morales, Briel’s explorations had already produced an impressive number of works. The show mostly included works on paper executed with Indian ink, similar to those reproduced in this book. These drawings range from simple linear drawings to intricate compositions that propose a complex array of undulating, intertwining geometric forms, resulting in dynamic conundrums. The interplay of geometric forms and the movement this creates would obsess Briel throughout his career, but most significantly during this early period.
It would be on the occasion of this key, early exhibition that Cuban art connoisseur, writer and critic Samuel Feijóo would provide his insightful review of the exhibition and go on to label Briel as a ‘purist’, and as someone committed to a sophisticated play of rigorous geometry. This exhibition was acclaimed by both critics and the public at the time and brought about Briel’s inclusion in the permanent collection of the Young Artists Galleries at the Havana Museum of Fine Arts. From around this time, Briel’s career began to gain more national recognition, which led to his work being more widely shown, both in Cuba and abroad in the 1960s and 1970s. For the next decade or so, he would receive several public commissions. He produced a series of drawings for the design of stained-glass windows which were later constructed and placed permanently in one of Havana’s fashionable hotels located in the beach town of Santa María del Mar, and a mural at Avenida del Malecón, the road bordering Havana’s iconic seawall.
1980 was the year of an unprecedented exodus in Cuba. This important event, known as El Mariel, brought over 125,000 Cubans to American shores, looking for freedom. Many of them were artists who were also pursuing freedom of expression. Briel was amongst them. With his lifelong partner, fellow Cuban artist, Cepp Selgas, he settled in the midtown area of New York City and became rapidly acquainted with what the city had to offer. He lived and worked in his beloved adoptive city until his premature death in 1992. For Briel, leaving Cuba meant a re-evaluation of the definition of art, which was now seen for the first time through the lens of liberty. In New York, he finally had access to the work of other artists who had similar concerns, such as Bridget Riley and Frank Stella.
From 1982 to 1983, he produced one of his most celebrated series of drawings, executed with a painstaking attention to detail and elegant lyricism. A series of ink drawings of kites that he began in Havana in the seventies was completed in his studio located on 44th Street and 10th Avenue, in New York’s Hell’s Kitchen neighbourhood. As with all of his works from the 1960s and 1970s, each of these drawings were started and finished with no break, never lifting the drafting pen from the paper in order not to leave on it unwanted bulks of ink. These twelve drawings also mark the end of a period of linear drawings, and the departure for Briel from the Op Art movement.
Towards the late 1980s and the early 1990s, Briel’s work turned to a lighter yet more contrasting palette of washed whites, greys, browns, and bright golden greens. Both the compositions of the works and their titles reflect the painter’s philosophical and existential concerns at that moment. Works from this period were exhibited in his last solo show in SoHo, New York City in 1992. In the same year, a lifelong dream of Briel’s became a reality: he was asked to join fellow Cuban master Carmen Herrera in an exhibition at Jadite Galleries in New York entitled Duo Geo. Briel could not attend the opening of this exhibition due to his declining health, so Herrera represented both at the opening event. Briel would die of AIDS-related complications a few weeks later.
Ernesto Briel’s legacy is rooted in a profound passion and faithfulness to geometric abstraction. The purist draftsman of the 1960s and 1970s, the pioneer of Op art in his native Cuba, came full circle. Towards the end of his life and career, he drew, sketched, and painted with incredible strength and precision. He dared to give a flat pictorial surface a more painterly quality, enriching and adding more three-dimensionality to the planes of the picture. In his practice, Briel fused together elements of the linear, minimal, and geometric with an intricacy and depth of vision that reveals the flexibility and universality of his chosen subject matter.
At Museum Angelehner our dedicated staff are passionate about sharing the many facets of different art movements and techniques with young and old alike. We offer a variety of programmes, from art talks and guided tours for individuals and groups to workshops for schools, children, teenagers and adults.
Our Offer
Art education plays a central role at the Museum Angerlehner. It endeavours to make suitable offers available to all interested visitors. Highly qualified visitor support is available to all visitors who view the museum individually and would like to receive extra information on the exhibitions, the collection or the architecture of the building.
Public guided tours are offered once a month. These range from general guided tours, special tours around one of the current exhibitions, curator tours and architectural tours. Individual tours are possible at any time by appointment.
On many Saturdays a Saturday workshop for children aged between six and fourteen years takes place. These two-hour workshops always deal with a special theme in our current exhibitions and combine viewing pictures in the museum with opportunities for creative work. Modern art is thus made accessible by means of play and fun and the experience is then put into practice.
Adults have the opportunity to attend an adult workshop which also combines viewing art with practical work. Since the end of 2016 the artists’ workshops have become very popular. The individual participants are able to look over the shoulders of artists representing different styles of painting and receive assistance from them.
Once a year the Museum Angerlehner opens its doors to families free of charge. There is much to discover in and around the museum on this family day. An afternoon full of exciting impressions and activities await the whole family.
Workshops for school classes constitute a special emphasis in the programme of art education. A special workshop is on offer for each new exhibition. There are also workshops which can be booked at all times. These are individually adapted to the relevant target group. Work in small groups facilitates a deep immersion in contemporary art. The joy of discovery and creativity is at the forefront.
Besides the workshops, school classes also have the option of booking a onehour art interview. This dialogue format prioritises a joint discussion of the works and genres currently on display as well as theories of art.
Senior citizens also enjoy the stimulating workshops in the studio at the Museum Angerlehner in a pleasant atmosphere.
The museum constantly seeks cooperation with different institutions. Sustainable, long-term projects have already been honoured with awards.
In recent years much has been done in the studio. Shapes have been cast in concrete, objects dipped in plaster or laid in a marbling bath and watercolours have been created. Whether acrylics, wax, inks, UV colours or earth colour, any type of technique can be learned by visitors to the workshops. Moreover, time capsules have been buried, calendar pictures photographed, sounds recorded, attractive Christmas decorations made and wild dances performed. Chinese calligraphy has been intently perfected and the roadway painted with giant pieces of chalk. A pleasant picnic could only be recommended by the participants. In the laboratory dreams have been dreamt, traces analysed and abstractions developed. Participants are offered a programme that is more than varied. The number of registrations to the present day bear testimony to high quality and lasting success.
The Essl Museum is one of the main architectural works by Austrian architect and holder of the Austrian State Prize Heinz Tesar. The museum was built in 1999 and presents the completion of Tesar’s unique architectural design vocabulary.
The Essl Museum is home to works of the Essl collection and holds an exhibition space of 3.200 sqm.
In the lofty, bright space of the interior, a counterpart to the cool exterior, the visitor experiences contemporary art as interplay between art, light, space and movement. The spacy green of the surrounding area and the large panorama windows allow various perspectives of the floodplain forest of the Danube with the Essl Museum at the intersection of nature and culture.
With its layout of a right-angled triangle, the Essl Museum is situated between the floodplain forest of the Danube and the train tracks. The entrance on the south is accessible by use of a ramp – the ground floor of the Essl Museum is elevated because of the constant danger of flooding from the Danube – and leads to the entry hall with cash desk and wardrobe.
Go on to the mezzanine by the three-way staircase, past the narrow window slits in the outer wall and the studio space and onward to the first floor. These narrow windows slits are a recurring architectural element, just like the row of windows, which are easily recognizable from the outside. The first floor with its two separate exhibition spaces surrounds a green inner yard.
On the left you’ll find 7 galleries, which are trapezoid-shaped due to the right-angled triangle of the museum’s layout. The galleries’ skylights catch the sunlight and diffuse it evenly to spend an intense, consistant brightness that is ideal for exhibiting paintings. In the left wing you’ll also encounter a library with two stories that permits a view of the first gallery space via a glass wall.
On the right of the yard the exhibition hall of the first floor,which is divided by transverse walls, opens up to allow the visitor a view of the secret underbelly of the Essl Museum: Called “Raumschnitt” by Heinz Tesar, the incision in the hall shows the storage of the museum which is located on the ground floor. In the yard, an outer ramp leads up to the spacey terrace of the second floor.
On the inside of the building, the stairs lead past the well hidden office of musical director Karlheinz Essl to the second floor as well. On you go through the restaurant with its atmospheric terrace and the bookshop to the Large Hall, the third exhibition space of the Essl Museum.
The Large Hall which is divided from the restaurant by a temporary exhibition wall and the glass wall installation of artist Eva Schlegel, opens up in the back and boasts a sloping ceiling with light slits that imagines the waves of the nearby Danube. The large windows on the right offer a unique view of the floodplain forest behind the museum. The Large Hall is connected to the exhibition hall on the first floor by panorama stairs and a rotunda with a combination of round and square forms.
The architect: Heinz Tesar
Heinz Tesar was born 1939 in Innsbruck. He studied at the Academy of Visual Arts in the class of Roland Rainer from 1961 to 1965. After several stays abroad, he applied himself to his work as an architect and taught at numerous universities as visiting professor. Nowadays, his offices can be found in Vienna and Berlin.
His most important architectural works in addition to the Essl Museum are the Schömer-Haus (the headquarters of bauMax), the Protestant Church Klosterneuburg, the Museum for Celtic Culture Hallein and the “Haus am Zwinger” in Dresden.
Contact:
SE-Sammlung Essl GmbH An der Donau-Au 1 3400 Klosterneuburg bei Wien
Lux et Veritas (Yale’s motto, which translates to “Light and Truth”) will debut at NSU Art Museum on April 2.
This exhibition focuses on artists who attended Yale School of Art for graduate study during the period of 2000 to 2010, who created systems of support across the various departments of Painting, Graphic Design, Sculpture, Photography and Art History.
As people of color within a predominantly white institution, these art students formed groups that evolved into communities that networked and collaborated with one another, often passing on their supportive efforts beyond graduate study.
Renowned art curator and industry veteran Bonnie Clearwater has organized this exhibition byworking with an advisory committee of Yale graduates who were active at the school during and after graduation (Mike Cloud, MFA 2003, william cordova, MFA 2004, Leslie Hewitt, MFA 2004, and Irene V. Small, Associate Professor, Contemporary Art & Criticism, Princeton University, Yale Ph.D. 2008), conducting in-depth artist interviews and working with each artist on the selection and installation of their work (all post-graduate work) to reflect the dynamic connections they forged during their studies at Yale and after.
Important themes about Lux et Veritas:
As with similar programs at the time, Yale School of Art had not been historically diverse.
This lack of diversity spurred many of the featured artists to construct their own networks across their peer groups to form a community that provided like-minded and essential support and feedback for one another during their time at art school and after graduation.
They actively drove initiatives such as inviting artists, curators and writers of color as advisors and guest speakers, developing an interdisciplinary forum, publishing art journals, organizing exhibitions and documenting their experiences in video and photography.
The timespan of these artists’ studies at Yale coincided with historic cultural, political and art market shifts and events.
Having worked with several of these artists previously, including presenting a recent solo exhibition of Eric N. Mack (Yale, MFA, 2021) at NSU Art Museum (2021), Bonnie Clearwater, Director and Chief Curator of NSU Art Museum, noticed a distinct relationship between these artists and reached out to them to obtain insight into their graduate school experience and its impact on their work and careers in order to organize this exhibition.
The artists included in this exhibition share a common experience of their time at Yale but are diverse in their approaches to form and content.
More details on Lux et Veritas:
Among the artists included are: Mike Cloud, william cordova, Njideka Akunyili Crosby, Abigail DeVille, Torkwase Dyson, John Espinosa, Luis Gispert, Rashawn Griffin, Leslie Hewitt, Jamerry Kim, Eric N. Mack, Wardell Milan, Wangechi Mutu, Mamiko Otsubo, Ronny Quevedo, Mickalene Thomas, Anna Tsouhlarakis, Shoshanna Weinberger and Kehinde Wiley.
The exhibition brings together primarily post-graduate work as well as archival photographs and videos that document these artists’ student experiences showcasing how their works were influenced by their time at Yale.
Meet the Artists on Opening Day of Lux et Veritas Saturday, April 2, 202211 AM – 4 PM FREE
Support has been provided by the following Funds at the Community Foundation of Broward: Barbara and Michael G. Landry Fund for Broward, Peck Family Fund, Julia C. Baldwin Fund, and Frederick W. Jaqua Fund.
LEGENDARY ARTIST PETER TUNNEY UNVEILS TUNNEY MUNNEY: THE EXHIBITION AT GGA GALLERY AT WYNWOOD WALLS
Collector’s preview and reception Thursday, March 31 from 6 to 9 p.m. at the Wynwood Walls
Opens to the public April Fool’s Day 2022
GGA Gallery at the Wynwood Walls proudly presents: TUNNEY MUNNEY: THE EXHIBITION with a preview, reception and Q+A with the artist Peter Tunney on Thursday, March 31 from 6 to 9 p.m. The exhibition surveys the history of Tunney Munney, a proprietary project that has unfolded and evolved over 20 years. Never before seen vibrant and colorful large scale canvases will be on view; riffing on the themes of money, NFTs, crypto currency, and the brave new world we all inhabit today. Also on view will be the earliest examples of Tunney Munney, works on paper, the famed physical “munney blocks,” and other curious works of art that have been created over the past 2 decades. The exhibition explores the fascinating journey from the creation of a physical block of money, works on paper, followed by the launch of Tunney Munney non-fungible tokens, and now back to traditional paintings on canvas.
The exhibition of physical artwork follows the recent launch of Tunney’s first NFT project – “TUNNEY MUNNEY,” a collection of 5,000 NFT’s on the Ethereum blockchain inspired by Tunney Munney imagery. As part of the physical exhibition, viewers will also be able to explore Tunney’s NFT story on OpenSea along with the NFT landscape at large.
A core component of Tunney Munney is to activate a larger community and utilize the broad reach of NFT’s to raise awareness and move the needle on the social issues Tunney passionately supports. A portion of funds from Tunney Munney and the sale of artworks have supported The Sunny Center, The Christopher Reeve Foundation, The Innocence Project and Bring Change to Mind. These 501c3 organizations are near and dear to Tunney’s heart and he and his team have worked tirelessly for years supporting these projects.
Peter Tunney (b.1961) is a legitimate force of nature with boundless creative energy, spreading his positive messages in unconventional ways and delivering works of art to a worldwide collector base. He creates in almost every medium: paint, collage, wood, photography, found objects, and discarded materials. His nontraditional life, cache of extraordinary experiences, and countless wild adventures serve as the foundations for his work. Since declaring himself an artist in 1987, Tunney delivers his messages of Gratitude, Don’t Panic, The Time Is Always Now, Fear Less, Love More and Change the Way You See Everything to a vast and global audience. As Wynwood’s first tenant, The Peter Tunney Experience has been a fixture in the thriving Wynwood neighborhood.
GGA Gallery is located inside the Wynwood Walls at 266 NW 26th St, Miami, FL 33127. To RSVP to the preview and Q+A, email [email protected].
El flautista Néstor Torres presenta un nuevo tema, “Thank you, Willie”
El mismo es especial para Néstor porque “Thank you, Willie” marca su retorno al género del smooth jazz, tras años de ausencia, y homenajea a un amigo entrañable, fallecido poco, Willie Payne.
“Su pérdida fue devastadora, pero un día me dije que debía hacerle un tributo vital, como era él, con el ritmo que le gustaba y surgió ‘Thank you, Willie’”, cuenta el flautista, sobre su flamante single.
Payne fue un mecenas de California, empresario próspero, y amante del jazz, tan es así que co-fundó la San Diego Jazz Festival. El flautista reconoce que colaboró en el desarrollo de su carrera.
Néstor nació en Mayagüez, Puerto Rico, y creció en Nueva York. Ha grabado 18 discos como solista. Ha ganado un Latin Grammy, ha sido nominado para otros cuatro, y una vez para el Grammy americano.
Con cuatro décadas de carrera se ha ganado el estatus de leyenda de la música latina, por su trabajo individual y el de colaboración con Gloria Estefan, Ricardo Arjona, Calle 13 y Cachao, entre otros.
Ha recibido doctorados honorarios de las universidades Barry y Carlos Albizu por su compromiso con la juventud, la educación y los intercambios culturales. Ha tocado con orquestas sinfónicas.
“Miro hacia atrás y me siento agradecido por lo conseguido; hay un legado desarrollado y construido, pero me queda muchísimo por lograr, aspiraciones, sueños, metas”, reflexiona.
La música de Néstor es una fusión de sonidos latinos, clásicos, jazz y pop. Rico y atractivo, complejo y exuberante. En años recientes ha presentado dos álbumes clásicos y uno de jazz, “Jazz Flute Traditions”.
Geometric abstraction is a kind of abstract art. Geometric abstraction art combines geometric shapes in non-illusionistic spaces into non-objective compositions (non-representations). In geometric abstraction, common shapes and images are repurposed into a cohesive piece that tells a story on its own. Art of this kind is usually non-referential, meaning that it exists independently of external influences.We are naturally inclined to describe and name what we see and experience in the world. As a result, geometric abstract art, with its unrecognizable subjects, colors, and lines, can be challenging. If you agree with this statement, you might find this article helpful in learning more about geometric abstraction.
A Short Overview
Historically, geometric abstraction has appeared in many cultures (e.g., Navajo) as decorative motifs and as art pieces. The Islamic art, which forbade depicting figures, is an essential example of this geometric pattern-based art. Islamic art existed centuries before the movement in Europe and greatly influenced this Western school.
In 1908, artists such as Pablo Picasso and Georges Braque began the cubism movement to break away from the traditional painting style. Using this style as an influence, painters Kasimir Malevich (1878-1935) and Piet Mondrian (1872-1944) pioneered Geometric Abstract art with their distinctive styles (neoplasticism and suprematism).
Additionally, it inspired Theo Van Doesburg to create the De Stijl movement. The geometric abstraction style has continued to influence modern art and trends to this day. To find more about such movements and learn about inspiring painters, visit this geometric art blog.
What are its Characteristics?
Any abstract form of art leaves us with more questions than answers at first glance. While this form of reproducing art from life is not as popular as representational art, it still attracts a wide following among art lovers and the general public alike. Understanding abstract geometric art requires an understanding of its basic characteristics. Let’s take a look.
It is Non-representational
Geometric abstract art uses geometric shapes as images that are not representational. Their appearances are far from their actual appearances. Expression is free, uninhibited, and individual. Consequently, they are in opposition to paintings of the Renaissance model and figurative art.
It is Subjective
As opposed to facts, subjectivity is based on personal opinions and feelings. The same geometric abstract painting may be deemed “beautiful” by one person and “ugly” by another, but neither is right or wrong. As a whole, this form of art is designed to provide viewers with an intangible and emotional experience that can vary greatly depending on one’s mood, with the feeling the piece gives one, and with one’s artistic repertoire at the time.
It Uses Certain Basic Elements
Geometric abstract art uses colors, lines, and shapes as its basic elements.
Geometric abstraction art uses basic geometric shapes. Rectangles are the Original ideal shape because their lines are straight without being ambiguous. In modern geometric abstract art, circles/ovals, quadrilaterals, triangles, and amorphous shapes are created from smooth or sharp lines. The shape is linked to color and linearity in geometric abstract art.
In this art form, linearity is the primary element of contrast, while color is the secondary element. Therefore, the colors of the shapes are distinct, not blended, and are frequently delineated by bold colors. Geometric abstracts initially used only the primary colors of red, green, and blue but later evolved to include more colors to add depth and emotional impact.
Types of Geometric Abstraction
During the 20th century, innovative artists developed geometric abstraction into a prominent style for expressing their understanding of the world. Among them are:
OP Art
Op art is a style of art using only geometric shapes in black and white. Victor Vasarely introduced this style in his painting Zebra. For the viewer, it creates the illusion of movement.
Minimalism
Minimalism became a wave of art in New York in 1960. To express clarity, the content is reduced to its simplest form without the reference. The Die by Tony Smith is considered one of the most influential works of art of this form.
Suprematism
Kazimir Malevich started the suprematism movement in 1913, as his paintings created a different sensation, also known as synaesthesia. To depict emotions, it mostly used squares and trapezoids on a white background.
Concrete Art
It was coined in 1930 by Theo Van Doesburg as an art form that has no symbolic reference to the world. It was distinguished by its hard edges and frequent use of geometric shapes.
How to Understand and Reflect on Geometric Abstractionism?
To understand each piece in this style, you must turn off your internal critics and stop expecting traditional expressions. Geometric abstract art is like a figure of speech – you say one thing but mean something quite different. In this art form, hidden meanings, analogies, protests, and deliberate simplifications prove that everything complex is simple. The painting may be about the process itself, the artist may be using symbolism, or the artist may be simplifying something visible to its abstract essence. Understanding it is a skill and a technique that you can acquire with practice.
It is very valuable to be familiar with an artist’s entire body of work – their oeuvre. Take a look at different pictures and reflect on them. Analyze how the artist felt at each stage of their development. Examine how his feelings affected his artistic expression.
Knowing what paintings came before the one you are seeing helps in making sense of it. Knowing the history relevant to an artist helps in better understanding and reflecting on their painting since every artist is also a product of the culture and period in which they live.
A tip to remember is that good work is emphasized by its textures, both visual and physical. The combination of dimension, layering, thick impastos, and skilled brushwork makes for stunning and visually alluring work. All of these must evoke an emotion in the viewer to make the piece successful.
The Final Words
You may have previously found geometric abstract art difficult to understand. Hopefully, this article has changed your mind. Now go explore and enjoy geometric abstract art!
Ben Heine is a multidisciplinary content creator, marketing expert and world famous artist. His artworks have been exhibited and auctioned in famous museums and art galleries as well as published in newspapers worldwide. Ben also has a Master degree in Journalism and 20 years of experience in marketing, communication, copywriting, storytelling, visual art and video. He is the inventor of Pencil Vs Camera, Digital Circlism, among other series and the founder of CulturArt. He is specialized in content creation, art, photo, drawing, video, marketing and music.
