MARÍA ELENA ORTIZ

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ART CURATOR

MARÍA ELENA ORTIZ

María Elena Ortiz is Associate Curator at the Pérez Art Museum Miami (PAMM), where she curated At the Crossroads: Critical Film and Video from the Caribbean (2014) and the upcoming exhibition, Firelei Báez (2015). Previously, she worked as the Curator of Contemporary Arts at the Sala de Arte Público Siqueiros in Mexico City, where she organized several projects including Carlos Motta, The Shape of Freedom and Rita Ponce de León: David. Ortiz has also collaborated with institutions such as New Langton Arts, San Francisco; Teorética, San Jose, Costa Rica; the Museum of Craft and Folk Art, San Francisco; and Tate Modern, London. In 2012, she curated Wherever You Roam at the Museum of Latin American Art, Long Beach. Ortiz has contributed to writing platforms such as Fluent Collaborative, Curating Now, and Dawire. She has a Masters in Curatorial Practice from the California College of the Arts (2010). In 2014, she was the recipient of the The Colección Patricia Phelps de Cisneros (CPPC) and Independent Curators International (ICI) Travel Award for Central America and the Caribbean. As part of this research, Ortiz will be presenting an upcoming screening program titled, Video Islands, at Anthology Film Archives in New York.

Art Curators in U.S.

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Editorial

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It’s clear that the landscape of the U.S. art world is undergoing a vital transformation, with a burgeoning presence of Black curators driving significant change. The fact that a mere 4% of professionals in curatorial, conservation, education, and leadership roles in U.S. museums are African American, as highlighted by the Mellon Foundation report, underscores the immense importance of these individuals. Each of the curators listed below is not just filling a role; they’re actively shaping narratives, diversifying collections, and creating more inclusive and dynamic spaces for art and artists.

Key Contributions of Influential Curators

Here’s a look at the significant impact each of these curators is making:

Adrienne Edwards: A leading voice in performance art, Adrienne transforms museum spaces into dynamic stages, fostering a deeper engagement with live artistic expression. Her work at the Whitney highlights the vital role of performance within institutional contexts.
Akili Tommasino: Akili brings a keen eye for modern and contemporary art to the Museum of Fine Arts Boston, while also championing diversity within the museum field through initiatives aimed at empowering students of color.
Allison Glenn: Allison excels at crafting nuanced group exhibitions that forge unexpected connections between artworks. Her curatorial approach invites fresh perspectives and broadens conversations around contemporary art.
Brittany Webb: Brittany is dedicated to preserving and promoting the legacy of sculptor John Rhoden. Her work at the Pennsylvania Academy of Fine Arts is crucial for ensuring his significant contributions are widely recognized and celebrated.
Courtney J. Martin: As a curator for the Frieze Artist Award and Deputy Director at Dia Art Foundation, Courtney champions site-specific installations and supports emerging artists, pushing the boundaries of how art engages with its physical environment.
Diana Nawi: Co-curating for Prospect New Orleans, Diana is known for her innovative approach to citywide exhibitions, transforming urban landscapes into vibrant platforms for artistic engagement and community interaction.
Elvira Dyangani Ose: As Director of The Showroom in London, Elvira is challenging traditional notions of art by commissioning experimental works and providing crucial platforms for artists to debut their solo exhibitions.
Erin J. Gilbert: Erin is strategically building and expanding the African American manuscript collection at the Archives of American Art, ensuring that invaluable historical voices and artistic narratives are preserved for future generations.
Franklin Sirmans: As Director of the Pérez Art Museum Miami and a Frieze New York curator, Franklin is a powerful advocate for platforms that elevate artists of color, actively reimagining and honoring the legacies of groundbreaking spaces like Just Above Midtown.
Hamza Walker: Hamza fosters interdisciplinary dialogue in the art world, particularly at Frieze Los Angeles. His approach seamlessly integrates conversations and music, highlighting the rich connections between various artistic mediums and forms of expression.
Jade Powers: Jade is dedicated to documenting and interpreting the contributions of African American artists within museum collections. Her work enriches the narrative of contemporary art by ensuring these vital voices are visible and understood.
Jamillah James: As a co-curator for the New Museum Triennial, Jamillah is instrumental in identifying and showcasing emerging global artists, fostering an international dialogue around the future directions of contemporary art.
Juana Williams: Juana brings a unique blend of historical insight and contemporary vision to her role, curating exhibitions that connect past contributions with present artistic expressions, particularly those of Black women artists.
Kelli Morgan: A critical race historian, Kelli meticulously contextualizes American art within complex social and historical frameworks. Her curatorial practice encourages deeper analysis of visual narratives and their societal implications.
Kristina Newman-Scott: As President of BRIC, Kristina is a driving force for accessible and diverse cultural programming in Brooklyn. Her leadership ensures that art remains a vibrant and integral part of community life.
Larry Ossei-Mensah: Larry champions an expansive, multidisciplinary approach to museum programming at the Museum of Contemporary Art Detroit. He believes in creating dynamic experiences that extend beyond traditional exhibitions, engaging diverse communities.
Lauren Haynes: Lauren consistently curates compelling exhibitions that explore identity and cultural power, particularly in her work at Crystal Bridges Museum and as a curator for The Armory Show’s Focus section.
Legacy Russell: Legacy’s work as a writer and curator delves into the intersections of gender, performance, and new media. At the Studio Museum in Harlem, she explores how digital narratives and fluid identities redefine contemporary artistic expression.
Linda Harrison: As Director and CEO of the Newark Museum, Linda is leading a significant charge in diversifying museum leadership and collections. Her vision is making the institution more inclusive and representative of broader cultural narratives.
Margot Norton: As a co-curator for the New Museum Triennial, Margot is key in identifying and presenting cutting-edge global artists, shaping the discourse around contemporary art’s most innovative trends.
N’Goné Fall: As the General Commissioner for Season Africa 2020, N’Goné is a pivotal figure in showcasing African creativity and perspectives on a global stage, spanning diverse artistic disciplines and cultural expressions.
Naima J. Keith: Naima is a vital force in nurturing emerging talent, with key roles at Prospect New Orleans and Expo Chicago. She creates crucial platforms for new artists and galleries to gain visibility and influence.
Naomi Beckwith: Naomi excels at curating impactful exhibitions with profound social and cultural resonance at the Museum of Contemporary Art Chicago. Her work often addresses complex themes related to the Black experience, fostering critical dialogue.
Ndubuisi C. Ezeluomba: Ndubuisi brings a rich, authentic perspective to African art at the New Orleans Museum of Art. His curatorial practice deeply explores the cultural and spiritual meanings embedded within these works.
Rayna Andrews: As an archivist at the Smithsonian Archives of American Art, Rayna plays a critical role in preserving and making accessible historical records of African American artists, ensuring their stories and contributions endure.
V. Mitch McEwen: V. Mitch uniquely connects art, design, and urban development through her curatorial work with IdeasCity. She explores how culture can drive the future of cities, envisioning more inclusive and sustainable environments.
Vera Grant: Vera is adept at weaving together modern and contemporary art with rich cultural narratives, particularly those of African and African American heritage, enriching the collection and dialogue at the University of Michigan Museum of Art.
Yesomi Umolu: As Artistic Director of the Chicago Architecture Biennial, Yesomi brings a global perspective and spatial sensibility to her curatorial vision, exploring how built environments shape our lives and perceptions.
Yolanda Wisher: As Curator of Spoken Word at Philadelphia Contemporary, Yolanda uniquely integrates poetry and performance into visual art spaces, bridging disciplines and creating immersive auditory and visual experiences.
Zoé Whitley: Zoé is a perceptive international art curator, notably for the British Pavilion at the Venice Biennale. She consistently champions artists who challenge conventions, presenting work that sparks profound reflection on global identities and narratives.

The collective efforts of these 30 individuals are not just about representation; they are about fundamentally transforming the art world, making it more diverse, inclusive, and reflective of the complex, multicultural societies we inhabit.

Toña Vegas. Energy Matters

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Editorial

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By Katherine Chacón

Toña Vegas - Energy Matters Triptic- 2018- 63__x26__- Watercolor, ink & oil on yupo paper- Photo @pedrowazzan — Toña Vegas – Energy Matters Triptic- 2018- 63″ x 26″- Watercolor, ink & oil on yupo paper- Photo @pedrowazzan

The long night. The sound of the water says what I think.

Gochiku

The recent work of Toña Vegas gathered in “Energy Matters” seems to be guided by and to propitiate an ineffable knowledge. The patient and methodical contemplation of nature that the artist has carried out as part of her existential experience has led her to understand the hidden essence shared by everything—the breath of cosmic life that is energy. In the pieces displayed, she transfers that energy by registering their tracings or by picturing their waves and effluvia.

Toña Vegas - Shizen series- 2018- 15__ x 12__- Perforated Shizen paper & black gesso- Photo @pedrowazzan jpg — Toña Vegas – Shizen series- 2018- 15″ x 12″- Perforated Shizen paper & black gesso- Photo @pedrowazzan

In the contemporary critical perspective, rooted in the western philosophical tradition, the fact that art produces a diverse mode of knowledge—in which forms and images involving both the spectator and the artist access a subtle understanding of reality and a special awareness of the world—is often left aside.

Toña Vegas- Energy matters. Homage to Oscar Perez- 2018- 101'X80__- Ink & oil on yupo paper- Photo @tonyavegasofficial — Toña Vegas- Energy matters. Homage to Oscar Perez- 2018- 101″ X 80″- Ink & oil on yupo paper- Photo @tonyavegasofficial

Following this idea, “Energy Matters” is presented as a sensitive lesson that suggests the great mystery of who and what we are—part of a nature that contains us, part of a cosmos that inhabits us, and part of an energy that transforms and continues towards infinity temporal space.

Toña Vegas - Energy Matters Triptic II - 2018- -12__x29__- Watercolor, ink & oil on yupo paper- Photo @pedrowazzan — Toña Vegas – Energy Matters Triptic II – 2018- -12″x29″- Watercolor, ink & oil on yupo paper- Photo @pedrowazzan

In the works of the Shizen and Scripture series, the “silent writings” of the sea, the surfaces of rocks, the bark and leaves of trees, or the shapes of clouds—“unveiled” by subjecting photographs of these elements to a high contrasting technique—have been transcribed into perforations on black-painted paper or, as in Traces, into the “positive” silhouettes of its contours. The Energy Matters series comprises paintings executed by Vegas using her fingers; this allows her to materialize her own energy pictorially. In the process, guided by her senses and intuition, energy appears simultaneously as structure and vibration in layers that overlap and interweave, creating a complex and deep space. These pieces are also traces, vestiges of an energy that is transformed into lines and stains, of a continuous flow suggesting skins of animals, leaves fluttering in a breeze, the wall of an old cave, or a burning emotion.

Toña Vegas - Scriptures. Leaves & Bark - Traces. Bark- 2018- 34__x24__ - Perforated Hahnemulhe paper & black gesso - Hahnemulhe paper & black gesso- Photo@pedrowazzan — Toña Vegas – Scriptures. Leaves & Bark – 2018- 34″ x 24″ – Perforated Hahnemulhe paper & black gesso -Traces. Bark- Hahnemulhe paper & black gesso- Photo @pedrowazzan

The nature of some works of art could be related to Eastern philosophical practices which incorporate subjectivity and non-explicit notions as parts of the knowledge process. As in Taoism—where the teacher does not teach what he knows as something that he possesses and transmits rationally and objectively—the work of Toña Vegas communicates knowledge in a poetic way, through “brushstrokes of meaning” that trigger understanding. This process assumes the relativity of the cognitive experience and, subsequently, the immeasurability of any notion of reality.

Translation: Jim Peele

Cover photo: Artist Toña Vegas by @pedrowazzan

ELLSWORTH KELLY (1923–2015)

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Editorial

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December 27, 2015 at 8:28pm

ELLSWORTH KELLY (1923–2015)

Holland Cotter reports in the New York Times that Ellsworth Kelly has passed away. Recognized for his elegant and vibrant works that blend hardedge abstraction with Minimalism, Kelly lived in Spencertown, New York. His death was announced today by Matthew Marks of Matthew Marks Gallery.

Kelly was born on May 31, 1923 in Newburgh, New York. After his discharge from the Army in 1945, he studied painting at the School of the Museum of Fine Arts in Boston from 1946 to 1947. In 1948, he moved to Paris and encountered numerous European artists, including Brancusi, Picabia, and Giacometti, among others. Here, he began to craft an aesthetic that incorporated strategies of chance with a tracing of motifs found in life. Returning to New York in 1954, Kelly further harnessed his output and distanced himself from Action Painting, instead focusing on a single shape or working with shaped canvases. These spare yet significant methods of working were examined and refined in much of his subsequent signature work. In his recent paintings, Kelly distilled his palette, often to white or black, and introduced new forms.

Of Kelly’s 1996 retrospective at the Guggenheim Museum in New York, James Meyer wrote for Artforum: “What can we learn from a retrospective of Kelly’s work? The rewards of sticking to one’s guns.”

FRAGMENTOS E IDENTIDAD. COLLAGES DE RICARDO CARBONELL

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Editorial

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Ricardo Carbonell Paris Bataclan Series V

Lieska Husband Sosa

Ricardo Carbonell Paris Bataclan Series IV

FRAGMENTOS E IDENTIDAD. COLLAGES DE RICARDO CARBONELL

Converso en esta oportunidad con el artista del collage Ricardo Carbonell, quien, desde Caracas, Venezuela, me comenta sobre su obra y sus inicios en este transitar del arte. Carbonell (Caracas, 1952) abogado de profesión, se desenvuelve conjuntamente desde hace más de dos décadas, en el difícil —a veces ingrato— quehacer del artista. La consolidación de su vida profesional como abogado, no fue nunca obstáculo para desarrollar en paralelo una expresión plástica que desde niño ya se manifestaba a través del dibujo y la pintura. Pero es el collage, esa expresión artística intimista y en su caso, de cortes y pegados precisos, lo que ha sido su línea de investigación por tantos años, convirtiéndose en el eje fundamental de su trabajo.

Sus herramientas, mayoritariamente objetos del cotidiano, papeles de distinto gramaje, tirros coloridos, exacto y tijeras, dan forma a maravillosos collages cargados de dinamismo compositivo dispuestos sobre el soporte, en tela o papel. Y es que esta técnica que ya tiene en su haber un recorrido de varias centurias, irrumpió con fuerza en las vanguardias de la primera mitad del siglo XX y se mantiene en el discurso plástico de los artistas contemporáneos.

Ricardo Carbonell Road Series #11 2019 collage on canvas 40x40 inches — Ricardo Carbonell Road Series #11 2019 collage on canvas 40×40 inches

Carbonell imprime un sello personal a su obra, —un género que abarca estilos, técnicas, materiales y soportes variados— con el uso de cintas plásticas para electricidad en cortes y composiciones diversas. Es un artista metódico, organizado y en algunas de sus series —si no todas—, la nomenclatura numérica se convierte en parte del registro de la pieza, seguido de una palabra que denomina un color. Algo así, como si de un código se tratase. La serie Columnas, desarrollada en años recientes, es un ejemplo de ello. El artista dispone en vertical, bloques de cintas adhesivas en tonalidades diversas a modo de columnas, asignando un número a cada color, con lo que cada pieza se denomina según los colores utilizados en su elaboración. El artista comenta: “…dado que la paleta de los tapes o cintas adhesivas es escasa, le asignamos a cada color un número…”. Me explica que dispone de una gama de apenas 9 colores y en ocasiones, el fondo blanco del soporte se convierte en columnas inadvertidas que dan peso visual a la composición.

La serie Collages, ha sido producida entre 2013-2019 y en palabras del artista, refiere a “…un sueño y su realización, que culminó con la ejecución de 138 obras…”. Elementos coleccionados por años, dan vida a este cuerpo de trabajo con el que el artista motiva al espectador a crear sus propias historias; objetos reconocidos por el colectivo y que podrían “hablarle” de una cotidianidad a otra. Es así como el cambio de uso de los objetos, les imprime otro carácter y es desde esa otra dimensión —la artística— en la que se han insertado, desde la cual tendrán una nueva identidad.

Tickets de transporte público, envoltorios de golosinas, pegatinas de tiendas por departamento, llaves, paletas de helado, restos de algún hilo colorido, entradas a eventos, trozos de alambre, cápsulas de precinto de botellas de vino, todo suma en polícroma composición sobre el soporte.
Una mirada intimista, muy cercana al recuerdo cotidiano.

En noviembre de 2015, un trágico hecho conmovió a la Ciudad Luz. París, la cuna del glamour, la gastronomía y la moda, se vio sacudida por múltiples explosiones que dejaron un saldo trágico de muerte y destrucción, entre ellos el ataque al Teatro Bataclan. La serie París Bataclán, nace de esa situación infortunada. Así lo relata el artista: “Ante esa negativa realidad ejecutamos a las horas de los acontecimientos,…una serie de seis (6) obras…”. De nuevo el carácter intimista de una técnica desarrollada en el silencio de un estudio de muy poco espacio, da pie para el desarrollo de un cuerpo de trabajo basado en los colores de la bandera francesa —azul, rojo y blanco—. El artista articula franjas verticales atravesadas por líneas laberínticas dispuestas sobre el plano. Las franjas, —columnas fracturadas y en ocasiones, interrumpidas por el color negro—, expresan la consternación de la tragedia. París, la ciudad idílica, ha quedado indefectiblemente impactada.

Ricardo Carbonell Road Serie 8 2019 collage on canvas 40×40 inches

Otra de sus series, Rupture, es una obra de carácter político con un componente de silente repudio a lo que acontece en su país natal, Venezuela. Un cuerpo de trabajo de 14 piezas elaboradas en tapes de colores amarillo, azul y rojo —los del tricolor nacional— dispuestos de manera horizontal sobre el lienzo como soporte. Las 7 estrellas blancas originalmente ubicadas en la franja central azul del estandarte nacional, dan paso a elementos triangulares en color negro, colocados en un ordenamiento específico a lo largo de toda la obra, y que expresan el oscurantismo por el que atraviesa la sociedad venezolana. Es la ruptura de la constitucionalidad, de una democracia venida a menos y de un sistema comunista impuesto por el régimen gobernante.

La obra de Ricardo Carbonell se nutre del cotidiano, de sus vivencias y de la observación consciente de hechos y realidades que lo marcan no solo en lo personal, pero además tienen repercusión en lo colectivo. Como espectador, no me distrae el colorido y la composición estéticamente agradable de sus piezas. En ocasiones me cuestionan en dialogo amable. Y cuando el arte es cuestionador, puedo llegar a ser empático con el artista, desde la conexión emocional con la obra a través de percepciones y sentimientos personales. Intentar interpretar qué ha sucedido entre el objeto en desuso y su escogencia por parte del artista —para infundirle nueva vida— es algo que queda en la mente del espectador.
Enero 11, 2021

NOTA: Imágenes cortesía del artista y de MIA Curatorial Projects.

Toña Vegas. Energy Matters

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Editorial

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Por Katherine Chacon

La larga noche; el sonido del agua dice lo que pienso.

Gochiku

El trabajo reciente de Toña Vegas reunido en «Energy Matters» parece guiado por y para propiciar un conocimiento que es inefable. La contemplación paciente y metódica de la naturaleza que la artista ha realizado como parte de su experiencia existencial, la ha llevado a comprender la esencia recóndita que comparte todo lo que contiene ese soplo de vida cósmica que es la energía, y que ella transvasa, en las piezas que hoy vemos, a través del registro de sus huellas gráficas o de la «pictorialización» de sus ondas y efluvios.

Toña Vegas Shizen series 2018- 15" x 12" Perforated Shizen paper & black gesso
Photo @pedrowazzan — Toña Vegas Shizen series 2018- 15″ x 12″ Perforated Shizen paper & black gesso
Photo @pedrowazzan

Para la perspectiva crítica contemporánea, arraigada en los constructos derivados de la tradición filosófica occidental, queda de lado frecuentemente el hecho de que el arte comporta un modo diverso de conocimiento, en el que, a través de formas e imágenes, tanto el espectador como el artista acceden a una comprensión sutil de la realidad y a una especial conciencia del mundo.

Siguiendo esto, «Energy Matters» se presenta como una lección sensible que nos asoma al gran misterio de lo que somos: partes de una naturaleza que nos contiene, de un cosmos que nos habita y de una energía que se transforma y continúa hacia la infinitud espacio-temporal.

En las obras de las series Shizen y Scripture las «escrituras calladas» del mar, las superficies rocosas, las cortezas vegetales, los follajes o las nubes —«develadas» al someter a alto contraste fotografías de estos elementos— han sido transcritas en surcos perforados en papel pintado de negro o, como en Traces, en las siluetas «en positivo» de sus contornos. La serie Energy Matters comprende pinturas ejecutadas usando los dedos como medios que permiten a la artista materializar pictóricamente su propia energía. En el proceso, guiado por la sensorialidad y la intuición, esta aparece simultáneamente como estructura y vibración, en capas que se superponen y entretejen, creando un espacio complejo y profundo. Estas piezas constituyen también huellas, vestigios de una energía que se transforma en trazos y manchas, en un caudal continuamente sugerente en el que aparecen, a un tiempo, la piel de un animal, hojas movidas por la brisa, la pared de una antigua gruta, o una emoción que abrasa.

La naturaleza de la obra de arte –o quizás de algunas muy especiales, como las aquí exhibidas– se emparenta con las prácticas filosóficas orientales, que incorporan la subjetividad y las nociones no explícitas como partes del proceso de conocimiento. Como en el taoísmo, donde el maestro no enseña lo que sabe como algo que posee y que trasmite racional y objetivamente, la obra de Toña Vegas comunica un saber de modo poético, a través de «pinceladas de sentido» que desencadenan el entendimiento, pero asumiendo dentro de sí la relatividad de la experiencia cognitiva y, más allá, lo inabarcable de toda noción de realidad.

Cover photo: Artist Toña Vegas by @pedrowazzan

Fineartamerica.com

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Editorial

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Fineartamerica.com

REPRODUCTION CANVAS PRINTS

Canvas Giclée Prints

Fine Art America is the premier online marketplace for buying and selling fine art originals, fine art prints, framed prints, stretched canvas prints, posters, and greeting cards. It’s also the easiest way to stay in touch with your local art scene! Our interactive website is designed to bring together fine artists, fine art galleries, and fine art collectors by providing power tools to all three groups. Artists and galleries are able to promote their latest releases and upcoming events. Collectors are able to view our comprehensive fine art directory and request bids from local galleries.

SELL ART ONLINE

Join Fine Art America and start selling your art today!

Welcome to the largest, fastest-growing art and photography community in the world. Fine Art America is the premier online marketplace for buying and selling original art, prints, home decor, apparel, and more. With just a few clicks, you can open an account, upload your images, select the products that you want to sell, set your prices, and begin selling your art to the millions of buyers all over the world.

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I am a visual artist / photographer who is interested in creating an online portfolio, selling print-on-demand products and original works of art, networking with other members, and more!

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THE WORLD’S LARGEST ONLINE ART MARKETPLACE

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Hundreds of thousands of artists from all over the world trust us to fulfill their orders for them, and we offer a money-back guarantee on every single product that we sell.

SATISFACTION GUARANTEE

Our return policy is very simple. If you’re not happy with a purchase that you made on Fine Art America, for any reason, you can return it to us within 30 days of the order date. As soon as it arrives, we’ll issue a full refund for the entire purchase price. Please note – Fine Art America does not reimburse the outgoing or return shipping charges unless the return is due to a defect in quality.

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iPhone Cases Galaxy,
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Iartor.com

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Editorial

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iartor.com

REPRODUCTION CANVAS PRINTS

Here You Can Easily Find the Right Artist to Paint an Art Reproduction for You.

The value of art should not only be auctions and investments, but also the feeling of human hearts. iArtor is doing and will keep doing the best to let people have more opportunities to enjoy better artworks closer.

iArtor has great cooperation with excellent painters, most of whom have painted for many years. All the painters must pass verification before displaying their info on iArtor.

Order a museum quality art reproduction and bring the masterpiece to your life.

Connect Art Lovers with Professional Painters

iArtor is a painting customization platform. You would find the right painter to make the artwork for you, multiple style & technique options.
Welcome worldwide painters to join iArtor. iArtor will do video communication, identity verification and painting review to select the qualified painters. All make sure iArtor is a reliable and trustworthy platform.

The Advantages of iArtor

Authority

All the artists on iArtor have been verified.

Safety

All the money will be kept by iArtor before your approval of the finished artwork.

Price

Order directly from painters. Save at least 60%, compared with buying from galleries.

Professionalization

Choose the most matched painter according to the style, technique and subject of your painting.

Quality

The photos of the finished paintings will be sent to customers for approval before shipping. If any need of revision, artists will do it for free till you are satisfied.

CONNECT ART LOVERS WITH PROFESSIONAL PAINTERS

iArtor is a painting customization platform. You would find the right painter to make the artwork for you, multiple style & technique options.
Welcome worldwide painters to join iArtor. iArtor will do video communication, identity verification and painting review to select the qualified painters. All make sure iArtor is a reliable and trustworthy platform.

ART SERVICE

– Find an Artist to Replicate a Painting

– Find an Artist to Paint Your Photo

Art Reproduction

The value of art should not only be auctions and investments, but also the feeling of human hearts. iArtor is doing and will keep doing the best to let people have more opportunities to enjoy better artworks closer.

iArtor has great cooperation with excellent painters, most of whom have painted for many years. All the painters must pass verification before displaying their info on iArtor.

Order a museum quality art reproduction and bring the masterpiece to your life.

Painting from Photo

The value of art should not only be auctions and investments, but also the feeling of human hearts. iArtor is doing and will keep doing the best to let people have more opportunities to enjoy better artworks closer.

iArtor has great cooperation with excellent painters, most of whom have painted for many years. All the painters must pass verification before displaying their info on iArtor.

Order a custom painting from one of your beloved photo and bring the memory to your daily life.

Nesbittphoto.com

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Editorial

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Nesbittphoto.com

Color accurate, precise, and confidential photography of high value paintings and drawings. We produce the highest resolution digital images of artwork in studio or at your location. Shoots on location. In Art Storage Spaces. For Private Collections.

Art reproduction service for artists, galleries, museums and private collectors. Technical photography by Alexander Nesbitt – on location or in studio.

Nesbitt offers exacting fine art reproduction services for artists, galleries, museums, and private collectors. Works are photographed in studio or on location as needed. We’re very familiar with significant works and the top end of the market; Nesbitt and his staff understand and operate with complete confidentiality. This complicates marketing our services and you will notice very few images on this page – this is by design and an integral part of our confidentiality commitment.

Reproduction Photography of paintings and art works can be done in our studio or by traveling to your location. Shooting can be done in residences, galleries, storage facilities or museums. Nesbitt shoots with a strobe flash lighting system which overpowers any existing lighting and subjects the art to just a few 100ths of a second of light. This is by far the least light intensive method. A series of color accurate reference cards are photographed with the art, these cards are the basis for a rigorous color management process. Challenges of texture, glare, glass, sheen, frame shadow and existing light are all easily managed using polarized light and various lighting strategies.

Printing reproductions is part of our service. We offer high-quality, color accurate photographic prints with our 5 machines and a variety of media options. Our art reproduction service includes sophisticated technical options like flat-bed printing, very large sizes, and prints on materials identical to the original. Let us know what you are thinking of and we can help guide you through the options.

Additionally Nesbitt has devised a system for photographing extremely large works using a combination of software and specialized camera mounts. This system produces images of 10 ft. x 10 ft. works at 250dpi – high enough to print precise reproductions. With an effective image size in the range of 400 Megapixels this is an uncommon capability and a rare solution for large artwork reproductions. Let us know if you require further details or have specific technical requirements.

On location reproduction photography of art work
Shooting on location $1500/day. Up to 5 pieces can usually be shot depending on size and lighting.

Finished image post production computer work which includes complex photoshop, image manipulations and accurate color adjustments billed separately at $100/hr.

Travel, rental, and production expenses are easily quoted, just let us know your situation. Nesbitt owns all the necessary equipment which generally avoids the expense and logistics of gear rental.

Nesbitt has shot significant and large scale works all over the US and world. Call the studio at 401-847-4255 or use the contact form.

Lic. ADRIANA LAURENZI

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Editorial

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Cristina Hauk, La trama y la estructura

Por Lic.Adriana Laurenzi
Wasmes, junio de 1879, Vincent Van Gogh le escribe a Théo;
No conozco mejor definición de la palabra arte que ésta: “El arte es el hombre agregado a la naturaleza”; la naturaleza, la realidad, la verdad, pero con un significado, con una concepción, con un carácter, que el artista hace resaltar, y a los cuales da expresión, “que redime”, que desenreda, libera, ilumina.
Un cuadro de Maule o de Maris o de Israels dice más y habla más claramente que la misma naturaleza.

En estas pocas líneas Van Gogh profundiza sobre la naturaleza del arte y del hombre como solo puede hacerlo un hombre sabio.
Las cosas están allí, todos podemos verlas. El verde de las hojas, las ondas del agua de un arroyo, las espigas de trigo en el campo arado. Están a la vista de todos, pero sólo se hacen presentes a la conciencia cuando las nombramos. En el caso de las artes plásticas es la imagen la que habla, cuando verdaderamente nos habla.
A esta definición del arte podemos suscribir la búsqueda de una artista como Cristina Hauk quien también parte de la naturaleza para nombrarla con el color y la forma. Para redimirla y liberarla. Para tejer una trama, una urdimbre, con la huella que deja el pincel, escribiendo, como una arañita su propia historia. Para entender y ser con la naturaleza, las cosas y los hombres. A la naturaleza se la puede nombrar representándola o como nos ha legado el arte moderno, evocándola en formas geométricas o abstractas.

La obra de Hauk articula constantemente dos niveles: la pura intuición, expresada en su natural manejo del color y la construcción de formas, generalmente de tramas que parecen descubrir, debajo de las apariencias fenoménicas, la esencia estructural de la vida en temáticas tales como las plantas, los animales, los paisajes y estanques o las transparencias en el agua. En cuanto al lenguaje plástico su imagen parte siempre del mundo fenoménico, para no decir real o concreto, ya que nada es en verdad tan rotundamente real y concreto, fuera de este hombre que la nombra. Hauk parte de objetos o paisajes observados para luego trabajar con el lenguaje de los colores y las formas sin necesidad de responder a una visión descriptiva.

Utiliza el color como un elemento constructivo, liberado del color concepto o color local, para crear juegos de contrastes y formas que le dan a cada imagen un carácter propio, un clima emocional ligado a la temperatura de determinadas paletas.
La imagen fluctúa entre la referencialidad icónica y la abstracción, con total libertad.
La lectura de la misma no implica un compromiso intelectual, porque la puerta de entrada está en la sensibilidad de la pura visión. Su imagen no representa, presenta distintos climas; fondos de rojos sostenidos, profundos azules o verdes que fluyen a los ocres y luego, casi inmediatamente, vamos descubriendo que los mismos colores tejen tramas y estructuras rítmicas en forma de círculos o elipses, de rectas o de ángulos agudos, dibujan otras veces celdillas ortogonales.

Fluyen, porque las tramas nunca son rígidas ni geométricas. Como así, en el orden natural, los tejidos, o las estructuras orgánicas siguen el trazado de la escuadra.
Las tramas en la obra de Hauk se arman con la fuerza y emoción de quien parte de una mirada encantada frente a la naturaleza y a sus formas.
Se materializa en el color y también conforman un orden, una estructura que subyace como en la naturaleza través de un ritmo interno, en el latido silencioso de ese indescifrable sentido de la vida.
Mientras los modelos de la ciencia describen y analizan los fenómenos, el arte revela aquello que está un poco más allá de las palabras, Hauk ilumina el sentimiento que acompaña a la razón, y la sostiene.

Art Miami MagazineArt Miami Magazine

Art Miami MagazineArt Miami Magazine

ART CURATOR

MARÍA ELENA ORTIZ

Key Contributions of Influential Curators

By Katherine Chacón

The long night. The sound of the water says what I think.

Gochiku

Translation: Jim Peele

ELLSWORTH KELLY (1923–2015)

Lieska Husband Sosa

FRAGMENTOS E IDENTIDAD. COLLAGES DE RICARDO CARBONELL

Por Katherine Chacon

La larga noche; el sonido del agua dice lo que pienso.

Gochiku

Fineartamerica.com

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iartor.com

REPRODUCTION CANVAS PRINTS

Connect Art Lovers with Professional Painters

The Advantages of iArtor

Authority

Safety

Price

Professionalization

Quality

CONNECT ART LOVERS WITH PROFESSIONAL PAINTERS

ART SERVICE

Art Reproduction

Painting from Photo

Nesbittphoto.com

Cristina Hauk, La trama y la estructura

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