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Fabiola Angulo entre las Top 25 líderes latinas de Florida

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Editorial
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Fabiola Angulo
Fabiola Angulo

Fabiola Angulo entre las Top 25 líderes latinas de Florida

La reconocida empresaria venezolana Fabiola Angulo recibió reconocimiento especial  por ser seleccionada por la revista Latin Times entre las Top 25 líderes latinas de la Florida, por su destacada labor social en pro de los más necesitados y ser una mujer emprendedora, con excelente capacidad de liderazgo, inspirada en aportar ayuda y constantemente ser motivadora en pro de quienes más la necesitan, sin esperar ningún beneficio personal.

El sencillo,  pero muy emotivo acto,  se llevó a cabo en la ciudad de Tampa en Florida, donde con mucho orgullo estas personalidades recibieron sus merecido reconocimiento por parte de los organizadores del evento, quienes,  cabe destacar, desarrollaron una ardua y minuciosa labor para realizar la selección de los galardonados.

La también actriz y modelo, Fabiola Angulo, expresó sentirse muy agradecida y motivada a seguir con su misión Filantrópica. «Siempre trato de aportar mi ayuda para que seamos una mejor sociedad, intento ser cada día más humana y tener empatía para con las demás personas,  me encanta motivar a quienes lo necesitan con mensajes y acciones positivas, siempre digo que no busquemos los obstáculos, debemos hallar oportunidades porque siempre las hay , esto se los digo con experiencia propia, ya que el aprendizaje es algo constante en mi vida «, también, expresó su agradecimiento a Dios, su familia y a todos los que hicieron esto posible, en especial a Marilyn Santiago por está nominación, así como Joly González y Víctor Padilla.

Dentro de las tantas actividades que realiza está destacada representante del emprendimiento latino en los Estados Unidos, quién es catalogada como una de las mujeres más influyente de Miami, también se desenvuelve en el mundo de las finanzas, es asesora de seguros nacionales, internacionales y protección de riesgos financieros, ayudando a muchas familias a organizarse para el futuro e impulsando a muchas mujeres a tener sus propios negocios.

Fabiola ha sido la precursora de muchos movimientos de labor social, forma parte de la Junta Directiva de la Fundación Special Mother in Action, un grupo de madres especiales que se ayudan mutuamente.

Exposición Colectiva, Hernán Gamboa Gallery

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Editorial
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Hernán Gamboa Gallery
Hernán Gamboa Gallery

Exposición, Hernán Gamboa Gallery

4000 W Flagler St, Coral Gables, FL 33134

Exposición Colectiva: Las múltiples visiones en Miami, eco del arte contemporáneo.

IcalmArte International (Colectivo de artistas plásticos latinoamericanos, europeos y asiáticos) conjuntamente con su aliado comercial Leaf Colours Art (Organización dedicada al Arte la Cultura y Educación) se complacen en invitar a la Exposición Colectiva Internacional: Maestros Internacionales de la Plástica en Miami, que se llevará a cabo en el New Professional Technical Institute, Coral Gables, Miami, Fl., en la sala Hernán Gamboa Gallery desde el 19 de noviembre al 7 de diciembre del 2021.
En el marco de la semana del Arte de Miami, continuando con el proyecto Ruta de la Plástica, nos invade el entusiasmo de generar un encuentro artístico, donde contaremos con la participación especial de Angela Uzcategui, músico y compositora venezolana, quien nos acompañará con su repertorio ameno para deleite de los visitantes.

El evento será inaugurado el 19 de noviembre a las 6:00 pm.
En esta ocasión estarán participando maestros consagrados del arte de 14 países, durante una jornada especial donde los asistentes podrán visitar la exposición en la modalidad presencial, todo un reto tras un año y medio de confinamiento y haciendo gala de nuestro slogan: “El arte no se detiene… y con IcalmArte seguimos trabajando” queremos que nos acompañen a este recorrido que convoca a maestros como: Asdrúbal Marot, Bárbara González, BEGU (Beatriz Gómez), Cecilia Byrne, DAU, Douglas Gil, Dora Gabay, Elizabeth N. Rossel, Gadu, Gabby Avalos, Guillermo Gambini, Jorge Díaz, Marilyn Caminero, Mark Shenkman, Mery Guerrero, Oscar García, Patricia Giovanzani, Policarpo Contreras, Raida Madriz, Silvia Parra y Yovanny Saracual, a cargo la curaduría del museógrafo Rafael Montilla, con nuestros patrocinantes que promocionan está exposición como medio de comunicación a nivel internacional TV Channel Network de Brasil e IcalmArte Magazine, para el brindis de la exposición con sus excelentes vinos Wine Sense Club, Además invitando a descubrir las múltiples visiones del arte contemporáneo que simultáneamente, aprovechando el auge tecnológico que nos mantiene conectados tendremos –para el alcance de todos- nuestra muestra virtual, a través de la TV en la sala de exhibición y en las redes de Leaf Colours Art e IcalmArte internacional, los artistas que participan en esta muestra virtual son:

Adolfo Constenla/Costa Rica, Askenaxi/Venezuela, Camila Bará/El Salvador, Cecilia Byrne/ Chile, Francisco Alarcón/El Salvador, Jorge Chávez/Perú, Liana Leiton/Costa Rica, Luis Jacinto Argumedes/Panamá, Lucho Capellán/ República Dominicana, Margarita Tellez/México, Mónica Dinucci/Argentina, Nuria Guevara/Costa Rica, Patricia Giovanzani/Colombia, Svetlana Lukash/Israel, Víctor Orrico Sánchez/México.

El arte no se detiene y como referente estético nos permite recorrer la historia y los acontecimientos de la humanidad, desde diferentes perspectivas y en lenguajes propios que se apoderan de lo colectivo, entre las variedades que nos traen estos maestros del arte, están: pintura, escultura e instalación. Estamos a la vanguardia de seguir en la promoción del arte actual, porque no hay pausas para la creación y nuestro compromiso es con ustedes. ¡Los esperamos!

Por Nahir Acosta

Miami Art Week 2021

Por
Editorial
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Miami Art Week

Miamio Art Week 2021

Art Basel Miami Beach
December 2 – 5, 2021

https://www.artbasel.com/miami-beach

The 2021 edition of Art Basel Miami Beach will be the first in-person fair in Miami Beach since 2019. It will bring together 253 leading international galleries to present the highest quality of artworks across all media, from painting and sculpture to photography and digital art. As the leading global art fair in the Americas, the list of exhibitors includes gallereis from 36 contries and territories spanning five continents, with more than half of the exhibitors from North and South America.

The fair welcomes 43 first-time exhibitiors. Seven joint booths will also be included. After a successful debut at the fair in 2019, the Meridians sector will return with a dynamic lineup of large-scale projects that challenge the boundaries of the traditional art fair layout. This sector will be curated by Magalí Arriola.

Art Basel Conversations – Past Conversations available on YouTube


Design Miami/
November 30 – December 5, 2021

https://shop.designmiami.com/

The 17th edition of Design Miami/ will run November 30th – December 5th. Curated by incoming Curatorial Director, Wava Carpenter. This year’s programming will explore the theme of Human•Kind, spotlighting design-led visions for a more equitable and interconnected future. Experience and shop the fair in-person and online at designmiami.com.

Design Miami/ is more than a marketplace for design, where the world’s top galleries gather to present museum-quality exhibitions of twentieth and twenty-first century furniture, lighting and objets d’art. Each show balances exclusive commercial opportunities with progressive programming, exciting collaborations with designers and design institutions, panels and lectures with luminaries from the worlds of design, architecture, art and fashion, and unique commissions from the world’s top emerging and established designers and architects.


AQUA Art Miami
December 1 – 5, 2021
Aqua Hotel, 1530 Collins Ave, Miami Beach, FL 33139
https://www.aquaartmiami.com/

The 16th edition is taking place, December 1-5, 2021, during Miami Art Week at the Aqua Hotel on Miami Beach. This year also includes a new Director, Cordelia de Freitas who has worked in the art world for over 15 years. Recently she was the Managing Director for HOFA & Maddox Gallery. Prior to that, de Freitas was the founder, co-owner and director of BOX Galleries in Chelsea, London.

Aqua Art Miami, the sister satellite fair to Art Miami. Aqua’s unique environment – in a classic South Beach hotel with spacious exhibition rooms that open onto a breezy, intimate courtyard – has become a favorite gathering spot for collectors, curators and art lovers to discover fresh talent and acquire new works while exchanging cultural ideas and forming meaningful connections.


INK Miami Art Fair
December 1 – 5, 2021
Suites of Dorchester
1850 Collins Avenue, Miami Beach, FL 33139
https://www.inkartfair.com/

INK Miami is a contemporary art fair held annually in December during Art Basel Miami Beach. The Fair is unique among Miami’s fairs for its focus on contemporary works on paper by internationally renowned artists. It is sponsored by the International Fine Print Dealers Association and exhibitors are selected from among members of the Association for their outstanding ability to offer collectors a diverse survey of 20th century masterworks and just published editions by leading contemporary artists. Since its founding in 2006, the Fair has attracted a loyal following among museum curators and committed collectors of works on paper.

If you’re looking to purchase prints or works on paper, you should plan on attending this small art fair. This fair is located just a few blocks from the convention center and Art Basel Miami Beach. It’s an easy walk in the direction of the beach.


Scope Miami Beach
November 30 – December 5, 2021
https://scope-art.com/

Celebrating its 20th year in Miami, it is with tremendous excitement that SCOPE returns to its iconic location on the sands of Miami Beach, nestled amongst the iconic architecture of Ocean Drive at 8th Street. With stunning views of the ocean, SCOPE’s extraordinary selection of contemporary art from 140 international exhibitors will be presented alongside museum-quality installations, panel discussions, and nightlife events.

SCOPE Miami Beach opens November 30th for its Platinum First View and VIP + Press Previews, and the show will be open to the public December 1-5th.

SCOPE Art Show is requiring that all individuals wear a mask, regardless of vaccination status. In addition to mandatory masks/face coverings, SCOPE Art Show requires that each visitor provide the following before entry to the fair: Proof of Full Vaccination in paper form or digital application. OR Proof of Negative COVID-19 Test Result (i.e. PCR/NAAT) taken within 72 hours of your visit. *No Rapid Antigen test results will be accepted. You might also find the same requirements for other art fairs, be sure to check before attempting to visit.


UNTITLED, Miami Beach
November 29 – December 4, 2021
https://untitledartfairs.com/

Untitled Art was founded in 2012 by Jeff Lawson. Each year, the fair selects a curatorial team to identify and curate a selection of international galleries, artist-run exhibition spaces, and non-profit institutions and organizations, in dialogue with an architecturally-designed venue. It launched the art world’s first virtual reality fair in July 2020 and will celebrate its 10th edition in 2021.

Untitled Art is an innovative and inclusive platform for discovering contemporary art. It balances intellectual integrity with cutting-edge experimentation, refreshing the standard fair model by embracing a unique curatorial approach. You will find them located on the sands of Miami Beach.

Art Miami
November 30 – December 5, 2021
https://www.artmiami.com/

Art Miami returns for the 31st Edition, November 30 – December 5th. Art Miami is the top ranked international art fair for attendance in the U.S. and second most attended globally, visited annually by established and budding collectors, curators, museum professionals, members of the press and art world luminaries. For the fourth year, the fair will be held at the prestigious waterfront location of One Miami Herald Plaza on Biscayne Bay nestled between the Venetian and MacArthur Causeways in the heart of Downtown Miami. Art Miami offers an unparalleled level of accessibility to the activities and collectors on Miami Beach.

As a part of the AllSecure program, all attendees of Art Miami are required to show proof that they have taken a rapid antigen test (or equivalent) with a negative result within 24 hours prior to attending the Fair. Attendees may choose, in their discretion, to opt out of this testing requirement by showing proof of having received full vaccination more than 2 weeks prior to attendance. Please be advised that these protocols are subject to change. Same goes for Context Art Miami and Aqua Art Miami fairs. Additional information available in the AllSecure Guide.


CONTEXT Art Miami
November 30 – December 5, 2021
https://www.contextartmiami.com/

CONTEXT Art Miami, presented by Art Miami, returns for its ninth edition November 30 – December 5, 2021 and will feature international galleries showcasing emerging, mid-career and cutting-edge artists. CONTEXT Art Miami continues to develop and push boundaries on the conversation about contemporary art. The Fair offers an exceptionally strong platform for collectors to discover and acquire fresh and significant works in today’s primary art market.

The fair will be held alongside Art Miami at the prestigious waterfront location of One Miami Herald Plaza on Biscayne Bay, nestled between the Venetian and MacArthur Causeways in the heart of Downtown Miami. Covid guidelines will be followed, see Art Miami information above.


Miami River Art FairNovember 30 – December 5, 2021

Miami Convention Center @ James L. Knight Center
Downtown – Brickell Financial Area
400 SE Second Ave, Miami, FL 33131
https://miamiriverartfair.com/

No information available about the 2021 edition. The website features dates and good coverage of the previous art fairs. The fair is usually in the Miami Covention Center downtown and in the past has been very enjoyable. If you are staying downtown, you should try to see this fair and if there’s an opening it’s fun and very different than other fairs.


NADA Miami
December 1 – 4, 2021
Ice Palace Studios
1400 North Miami Avenue
https://www.newartdealers.org/

The New Art Dealers Alliance (NADA) is pleased to present the 19th edition of NADA Miami, to take place December 1-4, 2021 at Ice Palace Studios. NADA Miami will feature over 170 exhibitors across three sections: Galleries; NADA Projects, an open, exhibition-like presentation of new art from emerging voices; and the latest addition, Artists’ Book Publishers, presented by Printed Matter and Exile Books. This exciting collaboration with Printed Matter and Miami’s Exile Books will host exhibitors featuring new work as well as historical and rare publications, accessible and DIY approaches to bookmaking, and subject matter that engages with varied critical perspectives. The onsite presentation will be accompanied by a digital platform featuring a schedule of free online programs in addition to exhibitor and publication highlights.


PINTA Miami
Digital Platform for 2020
December 1 – 5, 2021
https://www.pinta.art/

The 2021 edition of PINTA MIAMI LIVE arrives in Miami from December 1 through December 5, 2021, with around 100 galleries from Latin America, the United States and Europe, presenting artworks from over 300 artists. The digital platform allows access to free curatorial content that aims to continue stimulating interest in artistic production and expand its reach to new audiences.

Interesting programing from an art fair that specializes in Latin American Art.
Virtual gallery tours, artworks presented nicely and some YouTube videos and Pop-Up exhibitions.
Wonderful opportunity to see artworks from outside the United States.

Red Dot Miami
December 1 – 5, 2021
Mana Wynwood
2217 NW 5th Avenue, Miami, FL (at NW 22nd Street)
https://redwoodartgroup.com/red-dot-miami/

Red Dot Miami is a curated gallery-only contemporary art fair during Miami Art Week. In addition to showcasing 75 of the top galleries from around the world, Red Dot Miami features a provocative agenda that includes site-specific installations, ongoing collaborations with our partners, and specially commissioned events that take place during the fair.

Taking place at the iconic Mana Wynwood in the heart of the thriving Wynwood Arts District and running alongside sister fair Spectrum Miami, Red Dot offers the unique opportunity to connect with blue-chip galleries and emerging artists—all under one roof.

SPECTRUM Miami
December 1 – 5, 2021
Mana Wynwood
2217 NW 5th Avenue, Miami, FL (at NW 22nd Street)
https://redwoodartgroup.com/spectrum-miami/

Spectrum Miami is a curated art fair presenting 150+ independent career artists, studios, and younger galleries that are pushing the boundaries in surprising and significant ways. Taking place amidst Miami Art Week, Spectrum Miami offers the unique opportunity to talk to the artists, learn their stories, and take home pieces you love.

Taking place at the iconic Mana Wynwood in the heart of the thriving Wynwood Arts District and running alongside sister fair Red Dot Miami, Spectrum offers the unique opportunity to connect with blue-chip galleries and emerging artists—all under one roof.


VOLTA Miami
November 30 – December 5, 2021
1348 N Miami Avenue, Miami, FL 33136
Opposite Ice Palace Studios
https://www.voltaartfairs.com/

It is with huge regret that we have to inform about VOLTA’s decision to cancel this year’s Miami edition.

VOLTA as a brand is a boutique, curated, engaging experience, and all of these values must be met for it to be a true VOLTA fair. We pride ourselves on our international reach, especially in our stateside events, and the uncertainty of when and whether our loyal exhibitors would be able to travel was too serious to overlook. There were and are still too many covid caused obstacles for us to produce the standard that were are accustom for our debut VOLTA Miami edition and therefore are cancelling our 2021 Edition.

Everything You Need to Know to sell NFTs

Por
Editorial
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Arte Neoconcreto NFL
NFL

Tips for Selling Your Digital Artwork on NFT Marketplaces

NFT Marketing: Everything You Need to Know to Get Started

I am a digital artist and I want to share the strategies I use to promote my digital artworks on NFT marketplaces

What Is an NFT (Non-Fungible Token)?

A non-fungible token (NFT) is a unique digital asset that acts as a certificate of ownership for virtual or physical assets like photos, videos, Tweets, etc.. Each NFT represents a one-of-a-kind cryptographic item that cannot be interchanged with another and is maintained in a digital ledger called blockchain.

Examples of fungible (i.e. interchangeable) tokens:

  • Dollar
  • Bitcoin
  • Ethereum

What Is Blockchain Digital Marketing?

1.Blockchain Eliminates the Digital Marketing Middleman

2. Blockchain Builds Trust With Transparency

3. Blockchain Drives Public Accountability

4. Blockchain Gives the Consumer Control Of Their Own Information

5. Blockchain Offers Benefits for Branding

Examples of non-fungible (i.e. not interchangeable) tokens:

  • Domain name
  • Twitter handle
  • Digital games
  • Cryptokitties
  • House
  • An essay
  • Digital art
  • My Space post
  • A news article
  • Physical art
  • Diamond
  • Land
  • Any digital collective
  • Video footage of iconic moments in world history

1) Migrate to Twitter

2. Don’t neglect Instagram

3. Use hashtags correctly

4. Share more than just artwork

5. Seeking out collectors… or not

6. Discord forums

7. Promotion on Reddit

8. Newsletters about NFTs

9. Collaborations

10. Staying true to yourself as a digital artist

11. It is more than marketing online:

  • SEO
  • Content marketing
  • Paid ads (including Google Ads, LinkedIn Ads, Facebook Ads)
  • Social media optimization services
  • Demand generation
  • E-commerce marketing
  • SaaS marketing
  • Technology marketing
  • B2B marketing
  • Specialized blockchain marketing services
  • Media PR
  • Online PR
  • NFT influencer marketing
  • Video creation/marketing
  • Email marketing
  • Growth tracking
  • Reputation management
  • Listing and selling of NFT
  • PR and influencer marketing
  • Branding
  • NFT custodian management
  • Effective payout management in your preferred currency
  • Market research
  • Competitor analysis
  • Minting
  • Digital ideation and production
  • PR and email marketing
  • Short and long-term NFT marketing strategy
  • Brand partnerships
  • Content marketing
  • Social media marketing
  • Community marketing
  • Telegram marketing
  • Influencer marketing
  • Video creation marketing
  • Growth hacking
  • NFT listing services
  • Community Engagement for NFT
  • NFT Marketplaces and listings
  • Banners for NFT
  • Top of the funnel strategies: To draw the attention of your target audience towards your NFT marketplace, PR, SEO, video creation, paid ads, and influencer marketing strategies are used. This ensures that a vast majority of NFT audiences are aware of your marketplace so that your exclusive drops are not missed.
  • Middle of the funnel tactics: To start capturing relevant business leads, tactics like content marketing, affiliate marketing, NFT listing, social media ads, and branded search ads are used. When your NFTs are displayed everywhere, NFT buyers’ interest in your tokens develops further, leading to more sales.
  • Bottom of the funnel strategies: To convert more prospects into sales, the bottom of the funnel NFT marketing techniques such as CRO, email marketing, and remarketing social ads are used. Emails help to nurture prospects while remarketing persuades buyers to close the sale.

Manifiesto Preasistemático

Por
Editorial
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Manifiesto Preasistemático
Manifiesto Preasistemático

Si el pintor, el escultor, el poeta, el arquitecto madí están a salvo, es porque no pretenden falsificar la posteridad. Construyen un arte de hoy. No les preocupa la posesión durable de una verdad ni los datos que la reflexión hace inoperantes, si los valores comunicables y de conmoción no tienen apoyatura en círculos socialmente trascendentes.
Nuestro siglo, el de las dos X, ya no participa de la tradición grecolatina-egipcia. Es, indudablemente, un universalismo, En la actualidad, la obra madí es la más emocionada franquicia que alerta todos los atributos del espíritu.

De nada sirve forjar un nuevo sistema de significaciones. Esa empresa no nos corresponde, aunque en ella campea una especie de impunidad de la que suelen aprovecharse los improvisadores. De ahí el consentimiento que damos al artista no figurativo, que no sobre pasa al hombre, sino que lo prueba. Y lo prueba al dotar la realidad cotidiana de una res puesta. Dar respuestas es adelantar, sufrir su desarrollo, comprobar la fidelidad de la tensión estética. Es por eso que esa vinculación de artistas, como en nuestro caso, no puede cifrar su comunidad en una palabra, ni en una meta remota. Lo que fusiona al grupo son las realizaciones palpables, que se identifican por su estilo y el basamento social donde se desenvuelven sus integrantes.

Madí hará su parte en la necesaria selección de las innovaciones que determinará la sedimentación del proceso sociológico. Por consiguiente, es un dislate pensar que el artista madí emplea un idioma desconocido, des humanizador, aparentemente ininteligible para el público o para una crítica precaria que lo cualifica como una distracción de la cerebración o una irremisibilidad decorativa, cuando nuestro objetivo es el de interferir en lo des conocido, una consecuencia, la más constructiva quizá de nuestra época.
Mientras tanto, no puede haber tentativa de quebrar en estilo que fluye sin cortapisas del acto creador. Y si algún intento en sus comienzos pudo ser perjudicial para la tranquilidad pública, fértil en apremios y denso en interrogación apasionada, se impone más tarde una mesura, un rigor, una cohesión, una purga de silencio, hasta que la obra de arte se haga indiscutible, como un árbol.

Está cambiando la concepción visiva y la estructura de la mundanidad, y sobre todo cambia el tránsito que va de la conciencia al he cho, de la imaginación a la presencia.
Su utilidad, su condición energética de transformación hacen que la pintura, la vivienda, la poesía, todas las artes, se liberen definitiva mente. Un próximo manifiesto asistemático madí * abarcará entre otras cosas, las relaciones del objeto inventado, su integración en otra arquitectura y las teorías que, apoyadas en un vigoroso impulso colectivo, a veces beligerante, pugnan por adelantar una nueva forma de cultura.
Las ramificaciones e influencia de madí, ya escapan, previsiblemente, a la innecesaria estadística de su núcleo central en Buenos Aires. Comprobamos, con júbilo, coincidencia de es tilo en artistas americanos y europeos.

Nuestro propósito es que madí, llegado a adulto **, tenga el poder suficiente de disolver la política en arte. Por eso y por un mar gen razonable de provisionalidad, que roza a todo movimiento de vanguardia, es que sus alcances son en gran parte de orden mediato, en un postergado torneo con el tiempo ***. Pero siendo madí un mundo obstinadamente abierto a todos y que ha nutrido no pocas inteligencias, es casi seguro que, por una vez siquiera, hemos hecho que el futuro sirva para algo, pero anticipadamente.

* Creemos que los manifiestos pueden anularse secretamente unos a otros, En este caso lo de “asistemático” viene a confirmar la poca eficacia de las declaraciones por sistema y por temporada. Desde el manifiesto madí de 1946 no ha habido otros. Se impone, pues, una revisión y nuevas y más dilatadas perspectivas.

** Con esta exposición internacional que se realiza en la Galería Bonino, madí cumple dos lustros de existencia. La primera exposición se realizó en 1946, en el Instituto Francés de Estudios Superiores, Galería Van Riel. Con anterioridad, en el año 1945, se realiza la primera muestra del grupo, pero en ese entonces con el nombre de Arte Concreto-Invención.

*** Son permutaciones predecibles, por cuanto la lógica y la ciencia harán extricable determinado alcance excesivo de expresión, transformador de nuestra realidad.

Buenos Aires, 1956.

Manifiesto Madí

Por
Editorial
-
Rafael Montilla Queen Nandi 2020 acrylic on canvas 45x40 inches
Rafael Montilla Queen Nandi 2020 acrylic on canvas 45x40 inches

Se reconocerá por arte Madí la organización de elementos propios de cada arte en su continuo. En ello está contenida la presencia, la ordenación dinámica móvil, el desarrollo del tema propio, la ludicidad y pluralidad como valores absolutos, quedando por lo tanto abolida toda injerencia de los fenómenos de expresión, representación y significación.
El dibujo Madí es una disposición de puntos y líneas sobre una superficie.
La pintura Madí, color y bidimensionalidad. Marco recortado e irregular, superficie plana y superficie curva o cóncava. Planos articulados, con movimiento lineal, rotativo y de traslación.
La escultura Madí, tridimensioanalidad, no color. Forma total y sólidos con ámbito, con movimiento de articulación, rotación, traslación, etc.
La arquitectura Madí, ambiente y formas móviles, desplazables.
La música Madí, inscripción de sonidos en la sección áurea.
La poesía Madí, proposición inventada, conceptos e imágenes no traducibles por otro medio que no sea el lenguaje. Suceder conceptual puro.
El teatro Madí, escenografía móvil, diálogo inventado.
La novela y cuento Madí, personajes y acción sin lugar ni tiempo localizados o en lugar y tiempo totalmente inventados.
La danza Madí, cuerpo y movimientos circunscriptos a un ambiente medido, sin música.
En los países que alcanzaron la etapa culminante de su desarrollo industrial, el viejo estado de cosas del realismo burgués desaparecido casi totalmente, en ellos el naturalismo se bate en retirada y se defiende muy débilmente.
Es entonces, cuando la abstracción, esencialmente expresiva, romántica, ocupa su lugar. En este orden están involucradas las escuelas de arte figurativo desde el cubismo hasta el surrealismo. Tales escuelas han respondido a necesidades ideológicas de la época y sus realizaciones son aportes inestimables a la solución de los problemas planteados a la cultura de nuestros días. No obstante ello, su tiempo histórico debe darse por pasado. Por otro lado su insistencia en el tema “exterior” a sus cualidades propias es un retroceso al servicio del naturalismo contra el verdadero espíritu constructivo que se extiende por todos los países y culturas, como es el caso del expresionismo, surrealismo, constructivismo, etc.
Con lo concreto –que, en realidad, es un gajo más joven de ese espíritu abstraccionista– se inicia el gran período del Arte No Figurativo, donde el artista, sirviéndose del elemento y su respectivo continuo, crea la obra en toda su pureza, sin hibridaciones y objetos extraídos a su esencia. Pero en “lo concreto” hubo falta de universalidad y consecuencia de organización. Se cayó en hondas e insalvables contradicciones. Se conservaron los grandes vacíos y tabúes del arte antiguo, como ser en la pintura, escultura, poesía, etc., respectivamente la superposición, marco rectangular, atematismo plástico; lo estático, la interferencia entre volumen y ámbito; proposiciones e imágenes gnoseológicas y traducibles gráficamente. La consecuencia de ello fue que el arte concreto no pudo oponerse seriamente, por intermedio de una teoría orgánica y práctica disciplinaria, a los movimientos instruccionistas, que, como el surrealismo, han ganado para sí todo el universo. De ahí el triunfo a pesar de todas las condiciones en contrario, de los impulsos instintivos contra la reflexión, de la intuición contra la conciencia; de la revelación del subconsciente contra el análisis frío, el estudio y la detención rigurosa del creador ante las leyes del objeto a construir; del simbolismo, de lo hermético, de la magia contra la realidad; de la metafísica contra la experiencia.
En cuanto a la teoría y conocimiento del arte, campea en ellos la descripción subjetiva, idealista, reaccionaria.
Resumiendo, el arte antes de Madí:
Un historicismo escolástico, idealista.
Una concepción irracional.
Una técnica académica.
Una composición unilateral, estática, falsa.
Una obra carente de verdadera esencialidad.
Una conciencia paralizada por sus contradicciones sin solución; impermeabilizada a la renovación permanente de la técnica y del estilo.
Contra todo ello se alza Madí, confirmando el deseo fijo, absorbente del hombre de inventar y construir objetos dentro de los valores absolutos de lo eterno, junto a la humanidad en su lucha por la construcción de una nueva sociedad sin clases, que libere la energía y domine el espacio y el tiempo en todos sus sentidos y la materia hasta sus últimas consecuencias. Sin descripciones fundamentales referentes a la totalidad de la organización no es posible construir el objeto ni hacerlo penetrar en el orden constante de la creación. Es así como el concepto invención queda definido en el campo de la técnica y el de creación como una esencia definida totalmente.
Para el madismo, la invención es un “método” interno, superable, y la creación una totalidad incambiable. Madí, por lo tanto, INVENTA Y CREA.

Buenos Aires, 1946.

HUMBERTO POIDOMANI. I MISS YOU SONY

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Editorial
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Humberto Poidomani I Miss You Sony
I MISS YOU SONY - HUMBERTO POIDOMANI

HUMBERTO POIDOMANI. I MISS YOU SONY

By Milagros Bello, PhD.


Poidomani’s I miss you Sony is a wall work showing an imaginary woman covered in DVD’s and mixed media repurposed materials. Framed in gold rococo style, the artist repurposed an ensemble of recycled old Dvd’s that once formed his daily references for films, photos, and music, now outdated and useless. Once his delight and pleasure, they formed the allure of his days and the fascination and magic of digital images in their first steps. The work points out to the nostalgy of changing life instances, and the saying goodbye to old practices. In the consciousness of the passing of time, the work exorcises the philosophical stages of lifespan.
The work is profusely treated with strong outlines, gestural marks, and flat parches of pure color, finished the surface with gleaming resin.
At a second reading, the female personage stands as an imponent reference to women and love.

Humberto Poidomani I Miss You Sony
I MISS YOU SONY – HUMBERTO POIDOMANI


Located at the center of the composition, the feminine character imposes her presence and femininity. In her fashion dress it read the phrases” I miss you Sony.” “Te extraño” as the artist’s subjective approach to the fondness and affective connection to the women character, perhaps alluding to his personal biography. The phrase “”We are made of the same material that we dream of”. The Tempest, William Shakespeare”, and “Propero”, are the significant references for the artist, as this masterpiece is about letting go and accepting your fate.
About the artist Humberto Poidomani was born in Argentina. For over twenty years, Poidomani has developed an artistic career centered on ideological notions of societal crisis, ecology, life/death, poverty, which he develops through complex assemblages, sculptures, paintings, boxes and objects, and videos. He has indistinctively developed painting, sculpture, assemblages, installations, with a free-spirited mind that disrupts the notions of traditional art academics. In his painting Poidomani works from small format to monumental, large panoramic canvasses in which he paints a vast reflection of the world. Deep meta-narratives interloop with written phrases, as personal thoughts or as meaningful excerpts from Philosophy, Literature and Theater. In his sculptures, assemblages, installations, art boxes, he creates a dense compound of repurposed industrial and found materials mixed with thick gestural highly textured and colored lines, intercrossed with personal and literary word references. Echoing the provocative stanza of the “arte povera” and in a spirit of subversion, Poidomani creates absurd and comical overlapping combinations of wires, objects, rocks, fabrics with an individual high subjectivity. He points out to the diffraction of our culture and the lack of Utopias in contemporary times. As USA based curator and art critic Milagros Bello points out: “Premonitory art as anticipatory art in which artists prescient the development of an epoch, an event, an upcoming era, and as such display it in their works, is a profound artistic faculty. In his artworks, Poidomani has prefigured and has anticipated incisive current events. From his subconscious self, from this elusive realm, the artist has pulled out the signs of our current society and civilization.”

Poidomani has presented his works in museums, galleries, and art fairs. His solo shows include among others, a retrospective in the Contemporary Art museum of Salta, Salta Province, Argentina; E.C.A. Contemporary Spaces of Art, Mendoza, Argentina, SCOPE NEW YORK MARCH 2019, SCOPE NEW MARCH 2020, SCOPE INMERSIVE SEPTEMBER 2020 with Casa Poidomani and Curator’s Voice Art Project, in New York. He has participated in numerous curated shows and art fairs. He lives and works in Miami, Florida.
Humberto Poidomani is represented by Curators Voice/MIA Curatorial, Miami, Florida, USA

Chiaroscuro Studio of Art

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Editorial
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taller de dibujo y pintura
taller de dibujo y pintura

Chiaroscuro Studio of Art

The Florence Academy of Art is an American art school in Florence,

Redefining Realism 19th century academies from Florence, Italy

Chiaroscuro Studio of Art offers top level instruction in realistic painting and drawing. Our curriculum is based on the teaching method used by the famous classical-realist 19th century academies. We believe in the solid artistic basis this kind of training gives to the students, allowing them to achieve high standards of craftsmanship and technical skills. Our teaching methods and techniques provide the tools that students can use to create their own contemporary work and develop a personal artistic language.

Our mission is to promote a return to discipline in the learning stages of art. By teaching traditional, time-tested methods, we guaranteed the aspiring artist with a strong basement in drawing and painting.They also learn all about materials, tips and secrets of the craft, and the way of developing the skills they need to build a high standard professional career in representational, figurative and realist art.

Our goal is to bring to Florida the same high level of instruction and training method our instructors received in Florence-Italy for many years, as well as to create a large and strong community of contemporary realist artists in the area.

5961 NW 102nd Av. Miami, FL 33178

+1 786.208.8607

Boy Blue (Ben Baugham)

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Editorial
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Boy Blue (Ben Baugham)
Boy Blue (Ben Baugham)

Artists Were Made for People

Boy Blue (Ben Baugham) is a new wave visual communicator, and a street performer hell-bent on bringing the artist (not just art), back into social relevance. He has spent the past few years creating art in public and bringing visual excellence to the most bizarre locations. From construction sites to the office place, Blue has been hired all over the east coast to talk with and engage with people as he creates his works; thus, allowing people of any class, race or creed to feel a genuine connection with artists.

okay, Like she said on Boy Blue. Thank you. This one. That’s why I’m an artist and a street performer. And I just wanted a preface this by saying that art today is going to be a background to our conversation. So let’s just make that happen. Oh, that’s good. That’s good. So I’ve spent the past three years in a street performer, and I’ve talked with so many different people, and I’m talking like CEOs of big businesses to the homeless, And I’m trying to answer a question. I’m looking for an answer. The question is, why are people so uncomfortable with artists and art admiration? You know, everyone’s like artists are douchebags. It’s true, we’re bad people. So and I’ve come to a conclusion. I really have that I think has changed my life forever. So And don’t get offended. Art as we know it right now in my humble opinion needs to die. Okay, Andi, I think I want to be the one to kill it. I think me I want to dedicate my entire life to this cause. So let me explain why I think murder is such a good solution here. You can’t see that anywhere else. Wait, Go back several centuries ago during the Italian Renaissance, we will find something even more amazing than the art that was created. We will find a mindset. It is an attitude that they had so unlike modern artist today. And I am included in this. I’m not just bashing people. Unlike modern artist today, the greatest artists in human history, the greatest one’s Michelangelo, for example. They had art that was fueled by emotions, not based upon emotions. See, they were always making something for somebody else. They were always making something that was for something greater than who they were. See inspiration. It was not an abstract idea. It was a tangible property of our world. It was either a u know something inspired by the art that God created. That would be the planet, or is be something brought upon in light of God’s presence, which was the mind, right? So now when it comes to modern artists, you know, and I’m using this lightly, this brings me to my first point. And that’s art was made for people, not just the artists who make it see. Institution will tell you right now. They tell artist. They push this down our throats that somehow we are gods among men. You know, when you guys don’t understand what we’re trying to say, that just makes you stupid. Okay, That’s not right. Okay, let me give an example. If we send a text message to 15 different people and all of them tell us that they don’t know what we’re saying, that does not make the viewer stupid. That makes the communicator bad at communicating. Okay, Right. Thank you. OK, it makes him bad at communicating. So any artist who wants to become better at what they do will continuously search to become more sufficient communicators for other people. It’s for others. So and this is what led the entire Italian renaissance into becoming the epitome of artistic excellence. We know it as today. I mean, just thinking about this idea has changed me as an artist. So my ideas there now for you there for other people, they really are the emotions that you guys send right back to me allows me to restart that process. And that just exhilarate me. Really does. Until I’m asked why so many artists they asked me one. How do I get better. What I dio. And two, why are we so poor? That’s a great question. Why are we so freakin poor? And the answer is so simple when we deny that institution tells us that we’re gods among men and we see ourselves as public servants to you. Then people stop seeing what we do as a free luxury. And instead, they see it is a valuable service. Okay, so now the other point I wanted a point on This is something I like to call the Trinity of communication. And I’m going to use an example for this. Ah, musician musician goes up on stage. The musician creates art. And then art is given to the viewer, and the viewer gives emotion back to the artist that restarts the process. That’s what inspiration does for us. And that’s why musicians could make any song. You could be stupid. You could be terrible. And all of a sudden they’re rich. Okay, I am jealous. I’m being honest. I’m really jealous. So like, meanwhile, we have, like, our visual artists and they make something in their mom’s basement. I done it and then we put it up somewhere. It’s alone. It’s silent, untouched, and sometimes somebody comes up and they look at this piece and say, Wow, that piece really, really spoke to me But the artists had nothing to do with that conversation at all. In fact, ever so often you might see that little scribble at the bottom right hand corner of the you know, whatever canvas. But they’re not there. They’re not there to complete that trinity of communication. And since they’re not a part of your experience, who cares? Hey, ties back to that allegory say, if a tree falls in the forest and no one’s there to hear it didn’t make a sound. If a song is never heard, is it music? And if a piece of art is hanging on a wall with no artist there to lay claim to its glory, did the artists ever exist in the first place? And who cares? They weren’t a part of the experience anyway, So I mentioned for I’ve been doing a couple of different things to fix this for myself, and personally now I never drawn private ever. I never drawn private. I always make sure someone’s there toe watch me make a mistake someone’s there toe Watch me succeed They’re thereto Watch me innovate Whether I’m Tori the East Coast or I’m doodling in a coffee shop next to you I will be there. I want to be available to you because I want to have that connection with you I really want to talk to all the time. That’s just how it isthe. See, I have been given the opportunity to teach kids in different educational locations because I don’t even know schools. That’s a great place to call. You know, artist mind, right? Yeah. What is that? What’s the school then? Give It gave me this blessing to talk to these socially anxious kids about how to share their art and express themselves like a human. Okay, because that’s what they want. That’s what you want. And this goes out to any artist in the crowd. Craftsman, I don’t care what you are. People are dying to see what you can do. They’re dying to talk to you. I’m dying to talk to you. We want to connect with you like a person, not a God. That’s not what we’re here for. So for the love of God, any artist just show people what you do because we’re waiting for you and I’m dying to talk to you. So I want to leave you with something on. And that’s just the idea that everything that is truly great. I died once and came back better than it was before. I said before, I wanted to kill are not because I hate it, but because I know it’s rebirth as a beautiful form of communication can be so much better. Thank you guys for listening.

How can I share my art with the world?

Por
Editorial
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Big Bang Mirror
Big Bang Mirror

How can I share my art with the world?


No matter where you are on your art journey, you have art to share and you work hard finding the eyeballs that will appreciate it most. Many of us use the “spray and pray” method of approaching many galleries, entering many shows, selling at various venues, and trying all the ways out there to sell art online and in person.

This is a useful strategy. We learn and grow with each experience. The doors that open afford experiences that shape our development.

What if I told you that there are ways to reach out to buyers beyond the organized shows and venues? What if I suggested ways to engage beyond the group of artists, family, and neighbors you typically share your art with? Would you be interested in doing the work to broaden your network?


The answer may be no. There are artists whose strategy is to only sign with certain galleries or show in specific venues. Some may be building a commissioned art based business. They may teach or take on a part time job to pay for expenses until their sales materialize.
If you want to know how I worked to secure shows in art centers and museums across the United States, growing my collector base in new regions, read on.

If I could only use one word to describe how this is possible, it would be “relationships.” It’s hard work. It doesn’t happen overnight. For me it’s taken ten years to secure my first solo museum show. But it can happen. It can’t happen without building relationships.

What does it mean to build relationships? It means you arrange as much in person and on the phone time as you can with people at venues of interest. It means you follow them and read their newsletters and commit to interact with them for as long as it takes. It may be weeks or years before there is an opportunity to engage fully, but when it happens you are ready.

Let me share with you the list I’ve been using for several years now. Some weeks I can spend only an hour or less doing something on this list. Other weeks, I can knock out several. This isn’t a race. I do what I can, when I can.

1. I do an internet search of art centers, venues and museums in areas I will be traveling to soon. I call these venues and speak to someone about what upcoming exhibitions I can apply to, and who the contact person is if I am interested in exhibiting there. I’ve learned I have the most success when I seek out places that regularly hold classes and art exhibits. These are good indicators of an engaged and thriving community of art lovers who may be open to learning more about me.

2. Once I have my list of names and venues, I subscribe to newsletters, follow on social media, and learn all I can about the people and the places. When I visit, I can speak with genuine interest to the people I meet there.


3. Each time I visit the venues, I spend as much time as I can getting to know not just the organizers, but the other people there as well. I talk to the groundskeeper. I seek out the person who runs the front desk or the gift shop, and if I’m lucky they will have coffee with me. I try to get to know everyone, but of course there are usually only a handful of people I am able to develop close working relationships with. Those people are precious to me. Over time, I find opportunities to let them get to know me and my art better.

4. Throughout the steps above, I look for times when I can mention or refer other artists. For example, when I heard about a call recently for sculptors, I reached out to my 3D artist friend to let them know about an application at a visual arts center I am interested in. Of course, I put a bug in their ear by closing with “I hope one day we can exhibit our work together in a show.” I have a group of 4 artist friends I show regularly with. For larger spaces, which typically require 50 paintings or more, it has been a fun experience organizing shows. Those museums require more work than I can commit.

5. I always know when the time is right to pitch a venue with a show. Often, they will approach me. But if I have developed our relationship enough, I know who to approach, they are familiar with my work, and then it’s just a matter of working out logistics. But when I approach them, I always have a theme in mind for the show, my headshot, bio and artist statement are in order, and I have at least ten paintings available to commit for promotional images. I also have a press release prepared for the venue to use and edit as needed. I am able to set up a Dropbox with all of these files, so they can be accessed by the hosts.


6. At this point, the people I am working with know my work ethic. They know that I will do all I can to share and promote the event on social media and through my newsletter. Sometimes I will send postcards to my contacts. I always offer to do an art talk and a painting demonstration at the event. Demos nudge sales because they urge people to stay longer.

7. After the event, I am careful to send private messages to all who were there, if they have shared their contact info with me. I will ask if they would like to continue on this art journey with me by allowing me to share what I’m up to with them via email. I try very hard to record genuine reasons to contact them in the future. If they mention their birthday, or an anniversary, I’ll wish them well that day for example. The more often I can connect with them in a sincere way, the more likely they will be to want to see more of me and my art.


8. Last but not least on my list, I brainstorm ways to use these experiences to generate more. After I signed with my first gallery, I spoke of it with other gallery owners. When I organized a group show at a museum in MT, mentioning that experience helped us book shows in Japan, MD and VA. Artists I’ve met at openings introduced me to curators I’m working with now. I’m teaching at art centers I hope to someday exhibit at. Every interaction may lead to larger audiences for your art.

Using these steps, I have been successful in sharing my artwork with people who I never would have met otherwise.

Ironically, I doubt these folks would be vested in me if I’d just sent them an email with my best art images. I don’t think my resume would impress them, no matter how many best of shows or signature memberships are on it.


People pay attention to the artists they are familiar with.

Work first to become more familiar to more people. Did I just say you should forget about art marketing?

No, I said that developing relationships is a VERY important part of art marketing. When seeking a larger audience for your art, it may be THE most important aspect of art marketing.

How are you sharing your art today? Has this article inspired you to approach new locations? I’d love to know, and others will, too!

Debra Keirce
Regular Contributing Author, FineArtViews
www.DebKArt.com
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