Los “tokens no fungibles” (NFT) son certificados de propiedad almacenados en una cadena de bloques y respaldados por un blockchain. Los NFT ofrecen nuevas posibilidades de ingresos para los artistas, ya que al crear una obra digital pueden autenticar su archivo y tienen la posibilidad de darse a conocer en subastas digitales, a tal punto de vender sus obras por buen dinero.
Un ejemplo de lo mencionado anteriormente es la casa de subastas Christie’s, que vendió la obra de arte digital, Everydays: The First 5,000 Days, de Beeple por más de 69 millones de dólares,llegando a posicionarse junto a Picasso, Monet y Van Gogh. Como una de las obras de arte más costosas en ser vendidas en una subasta.
Para este punto del artículo algún artista o persona que esté interesada se preguntará ¿Cómo adquirir un Art NFT? La respuesta es sencilla. El artista adjunta la obra de arte digital a un NFT, que luego se pone a la venta en un mercado de criptomonedas, o un mercado especializado en arte, como Known Origin,Flipkick o Nifty Gateway y allí el usuario podrá realizar la compra.
Aclaración: Aunque el archivo digital adjunto se puede reproducir en un entorno digital, la obra de arte de NFT sigue siendo auténtica. Ya que su procedencia se remonta al artista original que creó ese token no fungible. De esta forma, los NFT representan la propiedad de los activos digitales para que los artistas puedan vender esa pieza de arte digital. En pocas palabras, los NFT representan el valor en criptomoneda de las obras de arte digitales, lo que les permite ser comercializadas como bienes digitales negociables. Aunque más allá de tratarse de un activo no tangible, lo que aumenta su valor son los comentarios positivos de los internautas hacia esa obra en particular.
El arte NFT ¿se trata de una burbuja o llegó para quedarse? Es algo que solo el tiempo y el interés por las obras podrán decidir, lo cierto es que desde 2019, las obras digitales no paran de ser vendidas.
Por qué los NFT está haciendo millonarios a muchos artistas
Internet democratizó la posibilidad de acceder a contenidos. Cualquiera con un dispositivo celular o computadora puede ver una obra de arte expuesta en un museo de Nueva York o cualquier parte del mundo. ¿Por qué las personas están pagando millones de dólares por tener algo que podrían descargar de internet?
Los tokens no fungibles (NFT) parecen haber salido disparados del éter este año. Desde arte y música hasta tacos y papel higiénico, estos activos digitales se venden como exóticos tulipanes holandeses del siglo XVII, algunos por millones de dólares.
Qué son los NFT y por qué están valorados en millones de dólares
Una pieza de arte que no existe en el mundo físico fue vendida en una subasta de Christie’s por US$69 millones: el comprador no recibirá una escultura, ni una pintura, ni tan siquiera una copia.
Recibirá un token digital (o vale digital) conocido como NFT.
Si el bitcoin fue aclamado como la respuesta digital a las divisas, los NFT son ahora considerados la respuesta digital a las piezas de colección.
Pero hay muchos escépticos que consideran que es una nueva burbuja a punto de explotar.
¿Qué es un NFT?
NFT son las siglas en inglés de token no fungible.
El argentino Sebastián Wainraich presentará el monólogo “Miami. Tierra prometida”
Wainraich actuará en Miami por primera vez; hará tres funciones inolvidables para reír sin parar y disfrutar del humor inteligente, que además nos invita a reflexionar. Jueves 31 de marzo: 7:30 pm; sábado 2 de abril: 7:30 y 9:15 pm. La cita es en The Alan and Diane Lieberman Theater, de North Miami Beach. Los boletos están disponibles en http://www.marjcc.org/wainraich Reconocido como uno de los principales comediantes de Buenos Aires, con 6 temporadas en el histórico Teatro Maipo; líder en su programa de radio; y protagonista de “Casi Felíz”, una de las series de comedia latina más vistas en Netflix. Con su mirada única, Wainraich recorrerá temas como el judaísmo, la vida en pareja, los hijos y el sinsentido de la vida que sabe plasmar con el sentido del humor que lo caracteriza. Es actor, comediante, guionista, presentador y escritor. Ha sido ganador del premio Martín Fierro. Ha hecho dos proyectos para Netflix: en 2015 grabó su especial de comedia, con una hora de su mejor material de Stand Up; y en 2020 estrenó “Casi feliz”, su serie de comedia. En 2016 estrenó “Una noche de amor”, su primera película, de la cual también es autor. Desde 2003 se presenta en teatro: primero en el espectáculo “Cómico Stand Up”; y luego con sus propios espectáculos, primero “Wainraich y los Frustrados” y luego “Frágil”. Es autor de dos libros: “Estoy cansado de mí” (2005) y “Ser felíz me da vergüenza” (2008). Fue conductor de más de 20 programas de la televisión Argentina. En los canales más importantes (Canal 9, América, Telefé, y Canal 13). También ha destacado en canales de Latinoamérica como Disney, Cartoon Network, VH1, y Comedy Central.
A non-fungible token (NFT) is a non-interchangeable unit of data stored on a blockchain, a form of digital ledger, that can be sold and traded. Types of NFT data units may be associated with digital files such as photos, videos, and audio. Because each token is uniquely identifiable, NFTs differ from blockchain cryptocurrencies, such as Bitcoin.
NFT ledgers claim to provide a public certificate of authenticity or proof of ownership, but the legal rights conveyed by an NFT can be uncertain. NFTs do not restrict the sharing or copying of the underlying digital files, do not necessarily convey the copyright of the digital files, and do not prevent the creation of NFTs with identical associated files.
NFTs have been used as a speculative asset, and they have drawn increasing criticism for the energy cost and carbon footprint associated with validating blockchain transactions as well as their frequent use in art scams and claimed structure of the NFT market to be a Ponzi scheme.
wikipedia.org
JOE CAMEL NFT by Rafael Montilla
What are some examples of non-fungible tokens?
Non-fungible tokens can digitally represent any asset, including online-only assets like digital artwork and real assets such as real estate. Other examples of the assets that NFTs can represent include in-game items like avatars, digital and non-digital collectibles, domain names, and event tickets.
Joe Cool NFT by Rafael Montilla
How does non-fungible tokens work?
Essentially, NFTs are like physical collector’s items, only digital. So instead of getting an actual oil painting to hang on the wall, the buyer gets a digital file instead. They also get exclusive ownership rights. That’s right: NFTs can have only one owner at a time.
Joe Cool NFT by Rafael Montilla
How do I buy NFT tokens?
How to buy The NFT Token
Download Coinbase Wallet. …
Choose a Coinbase Wallet username. …
Securely store your recovery phrase. …
Understand and plan for Ethereum network fees. …
Buy and transfer ETH to Coinbase Wallet. …
Use your ETH to buy The NFT Token in the trade tab.
Joe Cool NFT by Rafael Montilla
Is bitcoin an NFT?
For example, Bitcoin is not an NFT. But a one-of-a-kind piece of art is non-fungible. You cannot replace it. If you trade it with another piece of art you will have something completely different.
Joe Cool NFT by Rafael Montilla
What is an example of something fungible?
Commodities, common shares, options, and dollar bills are examples of fungible goods. Assets like diamonds, land, or baseball cards are not fungible because each unit has unique qualities that add or subtract value.
Joe Cool NFT by Rafael Montilla
Where can I sell NFT art?
11 NFT marketplaces you should know to sell your NFT ART
OpenSea. The broadest and most established NFT marketplace. …
Nifty Gateway. The NFT marketplace with big drops. …
Rarible. The NFT marketplace for rare media and sports collections. …
Binance NFT. One of the largest and future-proof NFT marketplaces. …
SuperRare. offers a traditonal gallery approach to NFTs. The NFT platform with an art gallery feel
Async Art. This NFT marketplace is a leader in programmable art. Async Art NFT market where you’ll find programmable art
MakersPlace. An NFT marketplace hosting established fine and modern artists.
KnownOrigin. This NFT platform supports limited-run drops and high-quality art. KnownOrigin is one of the most established NFT marketplaces
Foundation. An artist-run NFT marketplace with rare and exclusive projects. Foundation is a very select, artist-led NFT marketplace.
Zora. An NFT marketplace that supports artists and creators of all kinds. Zora enables creators to sell NFTs of physical items, such as RAC’s album Boy.
Mintable. A newcomer that makes creating and selling NFTs very easy. Create an NFT from almost any digital file on Mintable.
The best NFT marketplaces: frequently asked questions
There’s a lot of jargon involved in the world of NFT marketplaces, and some controversy around NFTs themselves. Many NFT marketplaces are trying to make their platforms easier to use, and some even now take debit and credit cards as well as crypto wallets, so creating, selling and buying NFTs is becoming easier. Below are the answers to some common questions many newcomers to the NFT scene still have.
What are gas fees?
This is the charge you need to pay on the Ethereum blockchain to perform a function, which includes the case of creating (minting) an NFT. Gas fees are measured in gwei, and they can go up and down depending on how heavy the use of the blockchain is. On average you’ll be charged 0.0042 ETH per transaction. You can find lower fees early in the morning, between 1am and 3 am (UTC) or late at night, between 9pm and 11 pm (UTC).
Can I avoid gas fees?
Yes, some NFT marketplaces are offering gas-free minting. These including OpenSea and Rarible. This approach essentially places the gas fee on the buyer not the creator, so it will show in the sale (a little like VAT, or the fuel tax added by some airlines). There are some blockchains that have no gas fees or at least lower fees. These include Polygon on Opensea, or ImmutableX on Mintable. Before minting or buying an NFT, look into the fees and at which blockchain and token are being used.
What is minting?
Like with physical currency, “minting” is the term used for the process of creating a currency and NFTs on a blockchain. With NFTs it’s usually on Ethereum. The process of minting records data in a public ledger that is unchangeable and tamper-proof, and which can follow and track the NFT as future sales are made. Minting usually has a cost – the gas fee that we mentioned above. But as we said, some marketplaces are becoming creative about how, when and to whom the fees are charged.
What’s a blockchain?
Investopedia describes a blockchain as: “a distributed database that is shared among the nodes of a computer network.” The strength of blockchain tech is that it guarantees security and trust without the need for a third-party, speeding up data transactions. The data entered is irreversible, ensuring it’s permanent. For NFTs, it means the artist can trace their NFT and ensure a percentage on future sales.
Do I need a crypto wallet?
In most cases, yes. In most cases, you will need to pay in cryptocurrency to mint an NFT, or to buy an NFT. As a result, most NFT marketplaces require you to create a crypto wallet to mint and trade NFTs. A common one is MetaMask, though Coinbase is another secure wallet. Some newer NFT marketplaces, such as Nifty Gateway, have started allowing the use of Fiat currency payments (US dollars, etc) via credit and debit cards, making access to NFTs easier.
Can anything be an NFT?
Yes. Any kind of digital file can be stored as an NFT. Most marketplaces are set up for digital artwork, but more are now supporting video, game assets, and music. Physical items are also now digitised as NFTs, for example physical limited edition Nike trainers. Expect NFTs to exist on and between the digital and physical spaces in the future.
Are NFTs controversial?
Yes. You can’t escape the fact Ethereum minting has a high carbon footprint, but perhaps not as high as some believe. Yet everyone accepts there is a problem. Ethererum 2.0 should solve this issue, and is due this year.
Are there any energy-efficient blockchains?
Yes, and NFT marketplaces are now offering alternatives to energy-hungry Ethererum with better carbon footprints. These include Flow, Tezos, and Polygon. New blockchain Solana boasts of being carbon-neutral. Check on your NFT marketplace which is being used and opt for one that suits your conscience.
Source: Creativebloq.com
What is the difference between cryptocurrency and NFT?
The term cryptocurrency is used for “virtual currency,” “tokens” and “digital assets.”) One NFT cannot be exchanged for another, and an NFT’s value, if any, is based solely on what someone is willing to pay the seller to buy it.
What is the meaning of fungible token?
A. F. A representation of an asset on a blockchain that is interchangeable. Cryptocurrencies are the prime example of fungible tokens because each coin has the same value as any other coin of the same type at any given moment.
What is meant by non-fungible?
A unique digital identifier that cannot be copied, substituted, or subdivided, that is recorded in a blockchain, and that is used to certify authenticity and ownership (as of a specific digital asset and specific rights relating to it)
Catching Up with David Byrne’s American Utopia’s band member Tendayi Kuumba
Exclusive: Catching Up with David Byrne’s American Utopia’s band member Tendayi Kuumba
Dec 17 Written By Wilson Morales
Currently playing at the St. James Theatre is the return of David Byrne’s American Utopia, which received a Special Tony Honor and won Primetime Creative Arts Emmy Awards for Rob Sinclair and Brian Spett’s Lighting Design/Lighting Direction for a Variety Special as well as Paul Hsu, Michael Lonsdale and Pete Keppler’s Sound Mixing for a Variety Series or Special. Both were based on Spike Lee’s pre-recorded version of the show..
Spike Lee’s acclaimed filmed version of David Byrne’s American Utopia made its world premiere opening the 2020 Toronto International Film Festival and is currently streaming on HBO Max. It also played in movie theaters nationwide for a special, one-night-only theatrical event on September 15, 2021.
The show features David Byrne with returning band members Jacquelene Acevedo, Gustavo Di Dalva, Daniel Freedman, Chris Giarmo, Tim Keiper, Tendayi Kuumba, Karl Mansfield, Mauro Refosco, Stéphane San Juan, Angie Swan and Bobby Wooten III.
Blackfilmandtv.com caught up with Tendayi Kuumba as she shared some insights to her background and experience being a band member.
How long have you been with the company?
Tendayi Kuumba: I’ve been performing with David in the band since the World Tour in 2018. I’m a dancer and backup vocalist.
How did you come to join the band?
Tendayi Kuumba: Well, I joined the tour about two months in, and they were in the midst of doing the world tour, the album, and the former person who held my role, I think was just having difficulty holding on to all of the work. And through word of mouth, colleagues, with the assistant grandma for Lizzie, who’s under NTB Pearson, and she and I had worked together formally. And so she passed on information along to David. And next thing I knew I was getting an email asking me to join the tour.
Was there no one else in the band that could step up?
Tendayi Kuumba: Well, everyone else in the cast are just musicians. So there are only myself and my counterpart Chris Giarmo, we’re the only two dancer vocalists of the entire show. So it’s just David and the two of us backing him up. And then everyone else are musicians. So they were looking for someone that could really hold off to the all of the choreography, as well as holding down the vocals to bring more to the show. I was glad I was able to step up to the part.
How challenging is it?
Tendayi Kuumba: What’s challenging now is getting back into shape post pandemic, in the midst of pandemic. But before the most challenging part was that I only had two weeks to learn the entire show, before joining the tour, and I didn’t meet anyone in the band before my first show. I met everyone that morning. And then did that show that day. So that was the most challenging part, just making sure I had everything down so I could just jump right in and not skip a beat.
Prior to this, had you watched any of his work before?
Tendayi Kuumba: I’ve seen some Talking Heads and some Talking Heads music. But I wasn’t as much as familiar with some of the other songs, and some of the other work that he’s done. Of course, now that I have worked with him for so long. I’ve just continued to discover more and more what he’s created in his legacy of history of music.
When you’re on stage, you can’t see the excitement before, during and after the show, but when you tell friends that you’re in the band, do you see the level of respect people have for him and the show?
Tendayi Kuumba: Yeah, all kinds of excitement. I think both excitement from people that are already familiar with his work. And then excitement from people that are just discovering it, that see videos or pictures pop up, and then they discover it for themselves, watch the film for themselves and or come to this show, and they’ve never heard of David Byrne and then just be blown away and opened up to a whole new world of music. So I’ve gotten a lot of positive response all around people that are familiar already with his work and are just super supportive in my life, as me as an artist, to have this situation and opportunity. And then also just being able to open up a new crowd of my world to his work and music too and find ways to keep it fresh. It’s been a really positive overall. The pandemic happened and we all have gained a pound or two.
How much time did you give yourself to get back in shape before you hit the stage again?
Tendayi Kuumba: Throughout the midst of pandemic, it was been this question of if and when. When the conversation started coming up, about a good four months before I was really like, Ok, gotta lock and load,” but prior to doing getting back into rehearsal, I had already started teaching some dance classes at NYU Tisch and some other workshops and doing some of my own choreography. And so I was lucky enough to already have some virtual and small social distance performances before jumping right into the show. I had a little combination of pre-peloton workouts for about three, four months before the show and doing some other stuff on the side that helped me tap in back into performance mode.
What’s been the protocol has been so far?
Tendayi Kuumba: Everyone’s vaccinated, and we get tested twice a week. And if we’re doing award shows, or events, we get tested again, I think about twice the day before and the day of. So it’s very consistent testing on a regular basis. If there’s ever any results or things like that, we’re always notified and taking precautions and all of that. So they’re all on it.
Is the show playing for a limited engagement?
Tendayi Kuumba: It’s a limited engagement. But right now, I believe towards the closing being either in March or June, which is a big gap. But I know June for sure. But as you know, things are up in the air. And fingers crossed that everything just keeps growing with Broadway opening up and ticket sales going up.
How long had you been dancing? Was this show the first time you did both dancing and singing?
Tendayi Kuumba: I’ve been dancing since I was three and singing since I was seven. My background in dance is a combination of modern ballet, tap, hip hop, West African, you name it, and vocally growing up singing jazz and musical theater. A lot of the people that I’ve been able to work with growing up even just doing musical theater, throughout growing up and high school and as well as other dance companies has always been a combo package for me. Before coming into David Byrne’s tour, I was consistently with a company called Urban Bush Women, which connects movement and sound and storytelling and all of that. So it’s second nature to me to have music, dance, movement, all in the same chord all the time. And even within my own work that I create with myself and with my partner. It’s always music and sound and movement all connected.
Is there a favorite song of David’s that you like performing?
Tendayi Kuumba: One of my favorite songs to sing is “Glass, Concrete and Stone” just because I really just love the harmonizing of it, on a personal selfish note. So yeah, that’s definitely one of my favorite songs to sing.
When you’re not on stage, what do you do during your downtime?
Tendayi Kuumba: Well, I do a lot of yoga, and meditation. And then my partner and I, my boyfriend Greg, we have our own creative world. Under the name UFly Mothership, we just create music and have fun in that in our own arena. I describe it as Neo soul, Afro futuristic, a little bit of hip hop, and a little bit of jazz inspired. We make music that makes us feel good. That’s inspiring. It’s storytelling. We put out a visual album and mixtape throughout during the quarantine. We just continue to build and it’s great. So that that’s our therapy, and then just staying active and getting rest, getting sleep, and eating good food. Tendayi KuumbaDavid Byrne’s American Utopia
Exclusive: Uzo Aduba talks Lynn Nottage’s New Play ‘Clyde’s’
Dec 31 Written By Wilson Morales
Currently playing at the Hayes Theater aka Second Stage Theater is Clyde’s, the new play from Lynn Nottage and starring Emmy Award winners Uzo Aduba and Ron Cephas Jones, along with Kara Young, Reza Salazar, and Edmund Donovan. The play has a limited run until Jan. 16, 2022.
In this stirring new play from the team of two-time Pulitzer Prize winner Lynn Nottage and director Kate Whoriskey (Ruined, Sweat), a truck stop sandwich shop offers its formerly incarcerated kitchen staff a shot at reclaiming their lives. Even as the shop’s callous owner tries to keep them under her thumb, the staff members are given purpose and permission to dream by their shared quest to create the perfect sandwich.
For Aduba, who is best known for her role as Suzanne “Crazy Eyes” Warren on the Netflix original series Orange Is the New Black and won two Emmy Awards for her performance as well as winning another Emmy Award for her role as Shirley Chisholm in the Hulu miniseries Mrs. America, this is her return to theater after years doing on-screen work. In 2021, she had the lead role in the fourth season to HBO’s In Treatment and was also featured in Amazon’s anthology series ‘Solos.’ In film, she appeared in Angel Kristi Williams’ Really Love, which is on Netflix and most recently National Champions, opposite Stephan James. That film is currently in theaters.
BlackFilmandTV.com caught up with Aduba as she spoke about her work in Clyde’s.
How long has it been since you’ve been on stage and what attracted you to this project?
Uzo Aduba: The last time I did a play was 2017. With this project, it was the story. Lynn Nottage. I opened the binder and the first page it said, “Clyde’s by Lynn Nottage,” who I’ve been a fan of since God was boy. She’s one of our, not just our black people, but globally, the world of all people, one of the finest writers who have ever existed. In terms of her ability to capture story. I think she does such an wizard job of centering women, strong women, who are complexed, complicated, and who are more than just the surface narratives that exist.
With this show, was it like riding a bike. Exercising muscle memory to being back on stage and being ready to do it eight time a week?
Uzo Aduba: Yes, in that, like, if I haven’t ridden a bike for years and years and years, and you’re trying to reacquaint yourself with how to change gears and make it seamless and then you start to remind and learn.
How’s working with this ensemble?
Uzo Uduba: It’s amazing. Actors like Ron Cephas Jone, for example, who I’ve respected and love. The first time I ever saw him was in a play called The Overwhelming in 2008. I just thought he was incredible, and I had been in love with him ever since. It’s been absolutely amazing. Everybody in this cast has such an incredible spirit and energy and voice and then what’s really been exceptional has been watching each person’s superpower come to life. Everybody has a different one in this piece and each one beautiful and exceptional. It’s really been wonderful to watch them spring up, and take voice, and take center take space. A show like this with such a beautiful makeup of so many different stories and background experiences for these characters, is really great. Just love it. Kate Whoriskey was the our director and has been a longtime collaborator of Lynn’s. She has such a specific great eye. she is a true artist and listener, which I think is really super important in a director. She’s great.
You can never stop learning, and you’re constantly working, This is Broadway and you said it’s been a minute since you’ve been back on stage. What are you learning now being back on stage?
Uzo Uduba: Take your time. Breathe. Enjoy.
What makes you say yes to the projects you take?
Uzo Aduba: Am I moved by them? Does it have something to say? Do I have something to contribute to it that I can say; that my voice can add into it? Yeah, That’s my guide. The challenge of it too. Those are the reasons I would say.
Regresa a Miami el célebre psicólogo y escritor bestseller argentino Jorge Bucay
Presentará “Conversaciones con Jorge Bucay / Los cuentos que me enseñaron a ser quien soy”. El 10 y 12 de marzo, en en North Miami Beach. En estas funciones Bucay desgranará “historias, relatos, leyendas, mitos, anécdotas, patrañas, fantasías, guiones, chistes, novelas, crónicas y ficciones de todo tipo, de todo el mundo, de todos los tiempos, que señalaron el camino y alumbraron con su luz los recovecos más umbríos y los tiempos más difíciles”. El psicólogo prosigue:“Nuestra memoria es la crónica de nuestra experiencia viva, igual que lo es la suma de los recuerdos de cada ser vivo en este universo que compartimos”, manifiesta el psicólogo bestseller. Para dimensionar la importancia de Bucay hay que señalar que sus libros se han convertido en best sellers internacionales, traducidos a una veintena de idiomas. Los más relevantes son “Cartas para Claudia”, “Déjame que te cuente”, y “Cuentos para pensar”. “Yo trabajo sobre la idea ‘aduéñate de tu vida: lo que tienes es tu responsabilidad’”, afirma el sabio terapeuta, de casi 70 años, y agrega que “el mundo no es un lugar para competir, sino para compartir, y una condición necesaria es mirarse a uno mismo». Bucay nació en(Buenos Aires el 30 de octubre de 1949. Es un médico, psicodramaturgo, terapeuta gestáltico y escritor argentino. “Hace muchos años que creo y repito que la vida es un viaje infinito. Nada más y nada menos. Un camino que probablemente comience el día de nuestra concepción, dentro del vientre de nuestra madre y que quizás termine el día de nuestra muerte”. Los boletos se hayan a la venta en http://www.marjcc.org/bucay
El músico argentino Gustavo Santaolalla, ganador de dos Oscar, se presentará en Miami
El espectáculo es anunciado por sus organizadores como “un viaje a través de las creaciones y la cosmovisión de uno de los músicos más trascendentes del mundo”. La cita es para el martes 22 de marzo, a las 7 pm, en el anfiteatro North Beach Bandshell, de Miami Beach, y los boletos se encuentran disponibles en https://www.venuepilot.co/events/47635/orders/new El concierto es parte de las SOFLO Fusion Nights, presentadas por Clix International.
Realmente muchos elogios se quedan cortos con Gustavo Santaolalla ya que cuenta con unos antecedentes que hacen abrir los ojos a cualquiera: es uno de los fundadores del rock en español; ganador de dos premios Oscar por la música de las películas “Brokeback Mountain” y “Babel”; ganador de 18 premios Grammy Latino y dos Grammy americanos; ex productor de Café Tacuba, Los Prisioneros y Julieta Venegas; y artífice del recordado grupo Bajofondo Tango Club. Santaolalla es multiinstrumentista, cantautor, productor y compositor. Ganar dos Premios de la Academia del Cine aumentó su perfil público. Esas partituras de películas no son más que capítulos en la vida de un compositor, productor, guitarrista, director de orquesta, propietario de un sello discográfico e historiador cuya aventurera actividad musical comenzó a mediados de la década de 1960 y continúa hasta el día de hoy. Santaolalla también ha escrito música para “Amores perros” y “21 gramos” de Alejandro González Iñárritu, “Diarios de motocicleta” y “En el camino” de Walter Salles, “Deadwood” de HBO, “Narcos México” de Netflix. Nacido el 19 de agosto de 1951, y oriundo de El Palomar, Provincia de Buenos Aires, Argentina, Santaolalla comenzó a tomar clases de guitarra a los cinco años. En su juventud formó parte de la banda Arco Iris. Desde sus inicios, la cuestión identitaria ha sido uno de los ejes principales de la visión artística de Santaolalla.
Dance Competition Music: 4 Tips on Choosing the Right Songs
With competition season, you’re probably in a whirlwind of costumes, choreography and cosmetics. Hopefully you’ve coordinated all these different aspects of your team’s performances to really impress the judges, but don’t overlook one of the most crucial aspects: the dance competition music.
Sure, you could go with a classic like “All that Jazz” or “Diamonds Are a Girl’s Best Friend,” but you might see some peoples’ eyes glaze over when they’ve already heard it three times that day. There are certainly a number of overused songs that you’ll hear at competitions – here’s a handy list from the Dance Exec – so spruce up your routines this year with unique, infectious music that will have the crowds on their feet.
1. Consider Age Appropriateness
If you’ve been competing for a number of years, you’ve likely seen a great dance team get cringes from the audience because their music crossed a certain line. While “Blurred Lines” by Robin Thicke is certainly catchy and has a fun beat, the lyrics aren’t something that parents want to see young dancers connecting with.
Always take the age of your performers into account when choosing music for their performances. It’s best to steer clear of songs with overly suggestive or mature themes – there are plenty of clean options to choose from!
2. Stay Away From Top-40 Songs
Top-40 songs are a go-to for many choreographers, but you can bet that hundreds of other studios have the same idea.
Stand out from the pack by choosing tunes that will make your performances unique!
Whether you choose an “oldie” or a track that hasn’t made it to the radio yet, you’ll be putting your team in position to give a one-of-a-kind performance.
3. Make Sure Everyone Loves It
You may love a certain ’60s rock ballad, but if your dancers aren’t keen on the music, their performance may fall a little flat. Work to find music that both you and your performers enjoy. After all, you’ll probably be hearing it 500 times or so before the competition, so it’s better if everyone likes the tune.
4. Look for Must-Haves
Once you’ve whittled down your choices to a handful of appropriate, under-utilized options, you can rule songs out by looking for certain must-have characteristics. Your song should be easy to cut down to the right length, and it also needs to have a strong beat and proper tempo.
You’ll also want to consider how the music fits into the genre your kids are performing in. When you take these aspects into account, you’ll be able to pick the perfect song!
Despite being short-lived, the constructivist art movement has had a significant influence on the artistic movements that followed. In this lesson, we will define constructivism and explore some examples that illustrate the style.
What is Constructivism?
In 2014, Kara Walker unveiled her newest work ‘Sugar Baby’ at the old Domino Sugar factory in Brooklyn, New York. Walker’s piece – a giant sphinx made of sugar – is a powerful commentary on the capitalist origins of slavery, but it quickly received attention for the ways in which white audiences chose to interpret or engage with the work. The dialog around Walker’s sculpture, though difficult at times, is an important reminder of the power of constructivism.
In the context of artistic movements, constructivism was a concept that emerged from Russia in the early 20th century. At its core, constructivism operates from the position that art should serve a social purpose that extended beyond aesthetics. Shepard Fairey’s ‘Hope’ image, for example, is a now iconic piece from Barack Obama’s 2008 campaign that was used to send a particular message about social change and the state of American politics.
Critical of the idea of art for art’s sake, the constructivist movement originally began with the idea that art should be used to emphasize how its materials and ideas could make a communist society stronger or more productive. This idea, however, was short-lived, as many within the movement still found considerable value in the power of art as a means of social critique and cultural analysis. Ultimately, the latter of these two arguments was successful, and the concept of constructivism in support of a communist state declined in the 1920s.
Aesthetically Appealing and Utilitarian
In its earliest form, constructivism was literally based on the importance of construction. For example, artists might use glass or wood to construct their art. Rather than simply being an aesthetic choice, the intent was to emphasize the material, and propose new ways that they could be used to strengthen society, literally and figuratively.
Take, for example, ‘Monument to Commemorate the Third International’, by the early constructivist artist Vladimir Tatlin. It was originally designed to be the headquarters of Russia’s Communist International Party (the Third International), but was never actually built. It remains only in the form of a scale model. Tatlin’s intention was for it to be a massive structure that towered over other monuments of the world, and celebrated the industrial achievements of Communism, through the use of a modern design and materials like glass, iron, and steel.
The concept of constructivism had a significant influence on the Bauhaus, a German art and design school that operated between 1919 and 1933. During this time, modernism was gaining in popularity along with the broader avant-garde movement that was spreading across Europe and into the United States. Like constructivism, the objective of the Bauhaus school was to blend design, industrial production and art, thus creating works that were aesthetically appealing and socially significant and utilitarian.
In both the work of Tatlin and the artists that emerged from the Bauhaus school, there is a noticeable shift away from the sentimental or subjective appeal that was present in art of the previous century. Instead, this new constructivist approach demonstrated how art could be integrated into a future oriented industrial society.
Constructivism in Two-Dimensional Art
The strongest examples of early constructivism are those that use materials in a new way to convey ideas of utilitarian potential, but the idea of constructivism extends well beyond that into areas like painting and photography.
In ‘Pure Red Color, Pure Yellow Color, Pure Blue Color’ (1921), for example, constructivist painter Alexander Rodchenko reduced the art of painting to its simplest form, in a tryptic of colored squares. Rodchenko’s painting is a symbolic representation of the Virgin Mary’s robes, but it is intended to challenge the conventional thought and emotional investment in painting. By reducing the romanticism of earlier paintings to their basic primary colors, the artist emphasized the materials being used (primary paint colors), and effectively rejected the sentimental notions that are often attached to art.
In many ways, constructivism has always had strong ties to politics, and nowhere is this more apparent than in the agitprop movement of the early 20th century. Combining the words ‘agitation’ and ‘propaganda’, the agitprop movement used bold, bright colors to convey political messages or ideas, in posters or advertisements, much like the Obama ‘Hope’ poster referenced earlier.
Agitprop uses bold and bright graphic design to promote political parties or causes, as in this work by Vladimir Mayakovsky.
Despite a less obvious emphasis on the materials being used to create the art, agitprop remains an important and popular form of constructivism. In this case, the fundamental elements are still present: art that serves a social, rather than individual purpose. Vladimir Mayakovsky’s ‘Want it? Join’ poster, for example, encourages citizens to support or join the shock brigades of so-called super laborers who were overly productive members of industrial society. Lesson Summary Constructivism was an artistic movement that emerged from Russia in the early 20th century. Taking a productive or utilitarian perspective, constructivist artists highlighted construction over aesthetics in order to emphasize the potential of the materials. Early constructivist Vladimir Tatlin, for example, used a column of winding steel in his ‘Monument to Commemorate the Third International’ as a celebration of industrialism.
As the movement spread across Europe, its influence grew, particularly with the Bauhaus School, which blended industrial production and art to create designs that were aesthetically pleasing and functional. While architecture was significant in the movement, painters like Alexander Rodchenko created constructivist works that challenged conventional ideas and sentimental attachments to art.
Finally, the agitprop works of artists like Vladimir Mayakovsky serve as a strong reminder of the movement’s political and nationalistic origins. Using bold and bright graphic designs, agitprop became a useful tool in the early 20th century for promoting political messages and propaganda.
“At the beginning of my journey as a visual artist, my only goal was to be able to express my interest in perceptual effects and optical illusions through the use of geometry; highlighting that discrepancy that exists between our perceptual judgement and the actual physical character of the original stimulus. Hence, my obsession with forms within forms, hiding and revealing them to the eye, supported by the brilliance of color, like in those vintage kaleidoscopes of my childhood.”
Ernesto Briel was born in Guanabacoa, Cuba in 1943. With a particular interest in scenography, Briel worked as a painter, producer, and set designer, and briefly as an actor. He studied painting at the Escuela Nacional de Bellas Artes San Alejandro and design at the Escuela Nacional de Diseño in Havana, Cuba, and later photography at the Parsons School of Design in New York. In 1969, he founded the Grupo Cubano de Arte Óptico with fellow artists María Irene Fornés, Helena Serrano, and Armando Morales, becoming the most representative and methodic artist of the genre. Feeling ostracized by the Cuban regime due to persecution directed at his sexual orientation, he migrated to the US through the Mariel boatlift mass emigration in the spring of 1980. Soon after his arrival to the US, he participated in the exhibit “Three Cuban Painters” at Middlesex County College, Edison, New Jersey in 1982. In 1992, the Jadite Galleries in New York City, NY presented the exhibit “Two Geometric Artists,” that featured Briel alongside Carmen Herrera’s pieces. Following Briel’s passing from AIDS-related complications in 1992, the Jadite Galleries in New York held a posthumous solo exhibition on the artist. His work is in various public collections nationally and globally, including the Jersey City Museum in Jersey City, New Jersey, the Museo Nacional de Bellas Artes in Havana, Cuba, and the Housatonic Museum of Art in Bridgeport, Connecticut.
Rather than leading the birth of a new aesthetic movement, Briel explored the pre-established confines of concrete abstraction through the use of three elementary geometrical figures: the circle, the square, and the triangle. Layered on top of these basic, recognizable shapes are the use of repetition, superposition, and displacement, creating a formal mixture and vocabulary that speaks on the growth of modernity within our developing world. Compared often to the mystic work of Hilma af Klint, the reserved, enigmatic nature of the artist’s works reveal the assertion the painter had with the idea of a dimension beyond the tangible; a space where the organic visuals the natural eye sees merge with the barely visible optics to create illusions and creative effects that emerge as ocular vibrations, striking juxtapositions, and unique perceptions that distort conventional visuals.
Ernesto Briel Untitled, mid-1960s India ink and corrective fluid on paper 21 1/8 x 29 inches 53.34 x 73.66 cm.
Ernesto Briel Untitled, ca. 1971 Indian ink on paper 10 3/4 x 7 1/4 inches 27.31 x 18.42 cm.
Ernesto Briel Untitled, ca. 1971 Indian ink on paper 10 3/4 x 7 1/4 inches 27.31 x 18.42 cm.
Ernesto Briel Untitled, ca. 1971 Indian ink on paper 10 3/4 x 7 1/4 inches 27.31 x 18.42 cm.
Ernesto Briel Untitled, ca. 1971 Indian ink on paper 10 3/4 x 7 1/4 inches 27.31 x 18.42 cm.
Ernesto Briel Untitled, ca. 1971 Indian ink on paper 10 3/4 x 7 1/4 inches 27.31 x 18.42 cm.
Ernesto Briel Untitled, ca. 1969 Indian ink on paper 16 1/4 x 21 1/4 inches 41.28 x 53.98 cm.
Ernesto Briel Untitled, ca. 1960s Indian ink on cardboard 9 1/2 x 12 3/4 inches 24 x 33 cm.
Ernesto Briel Different Directions, 1988 acrylic on canvas 48 x 36 inches 122 x 91 cm.
Ernesto Briel El Faraon, 1987 acrylic on canvas 48 x 48 inches 122 x 122 cm.
Ernesto Briel Darksome Night No. 4, 1986 acrylic on canvas 48 x 36 inches 122 x 91 cm.
Ernesto Briel Darksome Night No.2, 1986 acrylic on canvas 24 x 24 inches 61 x 61 cm.
Ernesto Briel Shape of Light, 1986 acrylic on canvas 24 x 24 inches 61 x 61 cm.
Ernesto Briel Day, 1990 acrylic on canvas 10 x 30 inches 25 x 76 cm.
Ernesto Briel Night, 1990 acrylic on canvas 10 x 30 inches 25 x 76 cm.
Ernesto Briel Untitled, 1992 acrylic on canvas 42 x 64 inches 106 x 162 cm.
Ernesto Briel Untitled, 1992 acrylic on canvas 42 x 24 inches 106 x 61 cm.
Ernesto Briel Untitled, 1992 acrylic on canvas 42 x 24 inches 106 x 61 cm.
ERNESTO BRIEL Born in 1943 in Guanabacoa, Cuba Died in 1992 in New York City, NY
EDUCATION 1961-1964 Escuela Nacional de Bellas Artes “San Alejandro,” Havana, Cuba
1976-1980 Escuela Nacional de Diseño, Havana, Cuba
1989 Photography. Parsons School of Design, New York, NY
AWARDS 1968 Acquisition Award. Salón Nacional de Dibujo, Galería de La Habana, Havana
1988-1989 Cintas Fellow in Visual Arts. Cintas Foundation, Institute of International Education, New York
PUBLIC COLLECTIONS Museo Nacional de Bellas Artes, Havana, Cuba Museo de Bellas Artes Ignacio Agramonte, Camagüey, Cuba Palacio de la Revolución, Havana Miami Dade College, Miami, Florida Cintas Foundation, Institute of International Education, New York Housatonic Museum of Art, Bridgeport, Connecticut Jersey City Museum, Jersey City, New Jersey
SELECTED SOLO EXHIBITIONS
2020 Ernesto Briel. Iridescent Geometries Juan Carlos Maldonado Art Collection, Miami, Florida
2017-2018 Ernesto Briel S2 Gallery, Sothebys, London, England
2016 Essential Ars Atelier, Paris, France
Merging Roads: The Art of Ernesto Briel and Cepp Selgas Jadite Galleries, New York
2011 Ernesto Briel: Le Monde Géométrique
2005 Tribute to Ernesto Briel [In Celebration of Mariel 25 The Wolfson Gallery. Miami Dade College, Miami, Florida
2000-2001 The Eye of the Beholder [with Jesús Selgas] Ars Atelier, Union City, New Jersey
1994 An Exhibition of Works by Ernesto Briel Jadite Galleries, New York
1992 Briel & Selgas. Recent Works Chuck Levitan Gallery, New York
Duo Geo [with Carmen Herrera] Jadite Galleries, New York
1991 Briel: Now Geo Taller Boricua Gallery, New York
1988 Briel. Paintings [with Jesús Selgas] Riverón Arts Center, West New York, New Jersey
The Geometric Eye. Paintings, assemblages [with Jesús Selgas] West Dade Regional Library, Miami, Florida
1974 Ernesto Briel Sala Martínez Villena, Unión de Escritores y Artistas de Cuba (UNEAC), Havana, Cuba
1971 Ernesto Briel. Exposición de Dibujos Galería de La Habana, Havana, Cuba
1968 Dibujos OP. Armando Morales. Ernesto Briel Galería La Rampa, Hotel Habana Libre, Havana
1967 Dibujos OP-POP Galería de Santa Clara, Santa Clara, Las Villas, Cuba
1966 Morales y Briel. Dibujos OP y POP Galería de Arte, Galiano y Concordia, Havana, Cuba
PUBLICATIONS
Briel Luzardo, Ernesto. Ernesto Briel. Exposición de Dibujos, Galería de La Habana, Havana, [illus.], May 7, 1971. (Catalogue).
_________(et.al). “[introductory text of Grupo Cubano de Arte Optico].” Grupo Cubano de Arte Óptico. Centro Arte Internacional, Havana [illus.], October 4-28, 1978. (Catalogue).
Memoria: Cuban Art of the 20th Century. International Arts Foundation, Los Angeles, California, 2002.
Ernesto Briel and the Geometric Abstraction. CD Rom [open edition- digital publication], The Estate of Ernesto Briel, New York, 2009.
Ernesto Briel-Homenaje. Ars Atelier City Magazine [special edition-issue 0], New York-Paris, Winter 2010.
Ernesto Briel: Celebrating the 70th Birthday of a Masterful Cuban Artist. Ars Atelier City Magazine [Essential Collection], New York-Paris, November 2013.
PAULY, Adriana. “Latin Kinetic and Op Artists at El Museo del Barrio.” Art Report, http://artreport.com/, February 10, 2016.
RAYNOR, Vivian. “Art; Prints and Drawings By Latin Americans.” The New York Times, New York, July 1, 1990.
VALDÉS, Gustavo. “Ernesto Briel. El Pintor y su Obra.” La Razón Newspaper, Union City, New Jersey, November 3-9, 1990.
_________. “Entrevista a Ernesto Briel.” La Razón Newspaper, Union City, New Jersey, February 15-21, 1992.
_________. DUO GEO. Jadite Galleries, New York, September 24-October 6, 1992. (Catalogue). _________. Briel. Recent Works. Chuck Levitan Gallery, New York, March 24-April 4, 1992. (Catalogue). _________. “El Color de la Palabra.
32 Artistas Cubanos.” Stet, Edición Especial, New York, Vol. I, No. 2 [illus.], p.13, 1992
_________. “Ernesto Briel: Heart and Soul”. Tributo to Ernesto Briel [In Celebration of Mariel 25] Miami Dade College Art Gallery System, Miami, Florida, June 2005. (Catalogue).
SELECTED GROUP EXHIBITIONS
2019-2020 Lost Loss Preview Digital Platform along with Feliciano Centurion and Leonilson, London, England. In collaboration with Cecilia Brunson Projects.
2016 In Focus / On Paper: Op Art from Latin America Jadite Galleries, New York
The Illusive Eye (An International Survey of Kinectic and Op Art) El Museo del Barrio, New York
2010-2011 La otra realidad. Una historia del arte abstracto cubano Museo Nacional de Bellas Artes, Havana, Cuba
2008 Reflections: Contemporary Cuban Art Silvermine Guild Arts Center, New Canaan, Connecticut
2004 Strictly Geometric Agustín Gaínza Fine Cuban and Latin American Art, Miami, Florida
1995 Art-Exhibit and Silent Auction of Works by Contemporary Artists to Benefit FAITH Services Jadite Galleries, New York The Geometric Abstraction Vista Gallery, New York
1991 Contemporary Caribbean Artists Creative Arts Workshop Gallery, New Haven, Connecticut
1990 Paper Visions II Biennial of Contemporary Latin American Artists. Housatonic Museum of Art, Bridgeport, Connecticut
Day Without Art The Clocktower Gallery, New York
Mariel: A Decade After Cuban Museum of Arts & Culture, Miami, Florida
1989 Contemporary: Juxtaposing Perceptions Museum of Contemporary Hispanic Art (MOCHA), New York
In Search of the American Experience The Museum of National Arts Foundation, New York
New Names, New Works Santa Fe East Gallery, Santa Fe, New Mexico
1988-1989 Expresiones Hispanas 88/89. Coors National Hispanic Art Exhibition and Tour Mexican Cultural Institute, San Antonio, Texas Southwest Museum of Art, Los Angeles, California. Arvada Center for the Arts and Humanities, Arvada, Connecticut. Triton Museum of Art, Santa Clara, California. Millicent Rogers Museum, Taos, New Mexico. Center for the Fine Arts, Miami, Florida
1988 Small Wall Works Amos Eno Gallery, New York
1987 Pride & Prejudice The Phillip Stansbury Gallery, New York
1985 Sotheby’s Casita Maria. Sotheby’s, New York
1983 Fine Arts Exhibition for the Festival de Las Artes Tamiami Park, Dade County, Florida
18 After Three Consolidate Bank, Miami, Florida
1979 Grupo Cubano de Arte Óptico. Exponen Centro de Arte Internacional, Havana, Cuba
XVIII Primi Int. de Dibuix Joan Miró Barcelona, Spain
Salón de Artes Plásticas UNEAC Centro de Arte Internacional, Havana, Cuba
1978 Salón de Artes Plásticas UNEAC Museo Nacional de Bellas Artes, Havana
1977 Exposición de Artes Plásticas. Homenaje al II Congreso de la UNEAC y al 60 Aniversario de la Revolución de Octubre Centro de Arte Internacional, Havana, Cuba
1971 Salas Cubanas Museo Nacional de Bellas Artes, Havana, Cuba
International Book Art Show Leipzig, Germany
1970 Salón 70 Museo Nacional de Bellas Artes, Havana, Cuba
1969 Salón Nacional de Artes Plásticas [drawing, engraving and experimental techniques] Centro de Arte Internacional, Havana
Joven Pintura de Cuba. ALGERIA/ U.S.S.R./MONGOLIA/KOREA.
1968 Salón Nacional de Dibujo Galería de La Habana, Havana, Cuba
1967 Salón Provincial de Artistas Noveles Galería de Arte, Galiano y Concordia, Havana, Cuba
1965 Salón UNEAC Galería Centro de Arte Internacional, Havana, Cuba
1964 Duodécima Exposición Anual de Artistas Noveles Lyceum, Havana, Cuba
Bienal de Artistas Noveles de Cuba Centro de Arte Internacional, Havana, Cuba
1961 El Arte en las Fábricas y en la Calle el 26 de Julio de 1961 Galería Municipal, Havana, Cuba.
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