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Damien Hirst’s Planned Venice Exhibition Targeted by Animal Rights Group

 Damien Hirst’s hotly anticipated exhibition in Venice—slated to open to the public on April 9—has been hyped by many as the YBA’s triumphant return to the limelight following several years of market and critical decline. Indeed, three weeks ahead of the opening, the artist is making headlines once again but for all the wrong reasons.

On the night of March 6, some 40 kilograms of animal dung were dumped at the doors of one of the exhibition’s venues, the Palazzo Grassi, along with a banner that read “Damien Hirst Go Home! Check Out This Work of Art! 100% Animalisti.”

Dung and banner outside the Palazzo Grassi in Venice, in protest of Damien Hirst’s upcoming exhition. Courtesy 100% Animalisti.

On its website, 100% Animalisti, the animal rights group behind the action, explained that Hirst “is one of those fake artists (like Hermann Nitsch andMaurizio Cattelan, whom we have already taken care of) who build their ephemeral fortunes on the use of animals—stuffed, quartered, often killed for the occasion—as the ‘material’ of their performances.”

Hirst’s exhibition, titled “Treasures from the Wreck of

Herzog & de Meuron to Overhaul Abandoned Brooklyn ‘Bat Cave’ Into Art Center

 The Gowanus Batcave, a graffiti landmark and one of the last remaining holdouts of Brooklyn’s cycle of gentrification, will be transformed into a manufacturing center for the arts by Pritzker Prize-winning Swiss architectsHerzog & de Meuron.

Commissioned by the non-profit Powerhouse Environmental Arts Foundation, the renovation will overhaul the 113-year-old building. Originally built as a power station, the property has fallen into disrepair since its abandonment in the 1950s. In the subsequent decades, the building has gone through several iterations as a punk hangout, rave venue, a squat for drifters and the homeless, and a graffiti temple.

Acquiring the building in a $7 million deal in 2012, the foundation has long considered what to do with it. According to the New York Times, initial designs for turning the building into artist studios were discarded in favor of creating workshops for Brooklyn’s expanding creative economy. Under the current plans, the space will house facilities for metal and woodwork, ceramics, textiles, and printing, in addition to spaces for exhibitions and events.

According to DeZeen, Herzog & de Meuron will refurbish the large turbine hall,

Scientists Decode the Mysterious ‘Mona Lisa’ Smile

 The world has long been captivated by Leonardo da Vinci’s Mona Lisa and the subject’s enigmatic expression. Part of the famous painting’s widespread appeal is said to be its ambiguity, but participants in a new scientific study almost universally agreed that the portrait’s subject is unequivocally happy.

The study, conducted by neuroscientists at the University of Freiburg, paired a black-and-white version of the Mona Lisa with eight manipulated versions of the image in which the angle of the mouth had been adjusted so that four looked sadder and the others happier. The nine copies were shown to participants in random order 30 times, and the original painting was judged to be happy no less than 97 percent of the time.

“We really were astonished,” study co-author Juergen Kornmeier toldAgence France Presse. “There may be some ambiguity in another aspect … but not ambiguity in the sense of happy versus sad.”

Of course, this isn’t the first time that scientists have claimed to crack the da Vinci code, so to speak, when it comes to the painting’s subtle expression. In 2015, scientists from the UK’s Sheffield Hallam

Tips To Make Your Art Project Exciting

Paint on something interesting

Time and time again I see students who paint or draw on white cartridge paper and nothing else. There is nothing wrong with cartridge paper. Some cartridge papers – especially thick, gutsy, wetstrength ones – are beautiful. Sometimes, a thin, flimsy sheet (the kind that warps at the mere hint of moisture) is all you need. But, often, experimentation and creativity with media brings considerable advantage. There is a joy –a wonderful aesthetic discovery – that takes place when you paint on something unexpected: a surface with history that brings with it colours, textures, marks and irregularities of its own.

Draw on coloured paper

The first thing you can do is embrace papers of other colours. Select those that integrate seamlessly with your coursework project (creams, browns, greys and blacks are likely to be more appropriate than psychedelic pink, for example).

Dark colours can be great for drawing on with light mediums; mid-tone papers (those that are a ‘medium’ tone – not too dark and not too light) are also excellent. As in theJuan Gris example above and the Indian ink work below, the colour of the paper acts as

7 Tips to Create an Excellent Observational Drawing

Tip 1: Look at what you are drawing

Failing to look at what you are drawing is one of the most fundamental errors an Art student can make

This sounds obvious, but it is the most common error made by art students. Many students attempt to draw things the way that they thinkthey should look, rather than the way they actually do look.

The only way to record shape, proportion and detail accurately is to look at the source of information. Human memory does not suffice. Forms, shadows and details are hard enough to replicate when they are right there in front of you; if you have to make them up, they appear even less convincing. In order to produce an outstanding observational drawing, you must observe: your eyes must continually dance from the piece of paper to the object and back again. Not just once or twice, but constantly.

Note: even if you pursue a theme about mythical creatures, fairy tales or some other imaginary form, you should work as much as possible from observation. Piece your creatures together from fragments of life. Dress people up and then draw them or merge different

Tips to Save Oil Paints

1. Drying Oils

Drying oils used in artists’ paints are mainly linseed, safflower, poppy or walnut. We know that linseed oil is safe to work with because we can buy specially processed food-grade quality linseed oils in health food stores as a great source of omega-3 fatty acids. The health food industry uses the term flaxseed oil in reference to the plant from which we derive linseed. We use both safflower oil and walnut oil in cooking. Poppy oil doesn’t appear to be popular in the health food realm, and references point only to its use in paints; however, manufacturers do use it in skin care products.

2. Stabilizers

The stabilizers, if used, are metallic fatty acids. Because they’re mixed into the paint, they do not pose an independent threat to a person using an art material.

3. Soaplike Substance

Water-soluble oils contain an ingredient that would be considered close to soap, which makes water combine with the oil for assistance in cleanup.

Pigments can be as benign as common dirt or as harmful as many other chemicals are to the human body. Many of the paints used by artists from the

Tips to Paint with Understanding Color

If you’re an artist and don’t understand color, you’re like a traveler who left your luggage at home. Sooner or later you’ll have to go back and get it if you want to get very far.

Art without color? Inconceivable! But why settle for ordinary color when you can create radiant works of color? Beautiful color is no happy accident. You can have fantastic color, too. Color can be learned.

To explore color, you can use any type of artists’ paint, pastel, oil pastel, colored pencil, yarn, fabric or paper collage—whatever medium you work with. Make collages with colored papers to plan your paintings; make watercolor or acrylic sketches to design your oil canvases. Color knows no boundaries in art media.

Once you learn how to mix and arrange colors, exploring harmonious color triads and expanded palettes along the way, you’ll have the tools to build a solid foundation for creative color. In no time, you’ll start solving the mysteries of color and be well on your way to becoming a master colorist. That means that, if you love color, you can unlock its secrets—if you work at it. So, begin your travels now in

Tips to View Your Photo Reference for Accurate Drawings

We have clear definitions in our mind, stored much like a computer. When we think of an eye, for instance, instantly a preconceived image pops into our head. The same goes for all of the facial features. So as we draw, rather than really looking at our reference, we have a tendency to draw what we “think,” instead of what we “see.”

Our photo reference gives us all the information we really need. But often, we lack the focus to truly analyze it properly. What we end up with in our drawing is usually a composite; a blend of what we’re actually looking at and what we’re recalling from our minds.

Even when someone is focusing on their photo reference, I’ve found that the placement of their photo is usually all wrong. Often it’ll be off to the side, at a completely different angle than their artwork. So they look at the photo, then look away to work on their art. Again, they’re drawing from memory this way. There’s no way to be accurate doing this.

The solution for all of this is proper placement of your photo reference while you are drawing. Here are

7 Painting Substrates Acrylic Painting Tips

1. Canvas

Canvas is commonly used as a painting surface and offers many advantages: it’s absorbent, has a wonderful fabric texture, is lightweight and portable. Canvas supports comes in three types: unstretched, stretched and commercially made canvas boards. Canvas paper also comes in pads, but canvas paper feels very slick, not at all like real canvas fabric.

Stretching it yourself takes practice. You’ll need wood stretcher bars, a staple gun and stretcher pliers. Wrap the canvas around the bars and tack it down in the back, pulling it tightly each time. Start from the center and work outward. Stretched canvases can be purchased in standard sizes, or custom-made by your art store or framer. Those that are mass-produced with a machine can sometimes cost about the same or less than supplies for stretching it yourself.

2. Paper and Cardboard

Paper and cardboard are great support choices if you are a beginner or just want to experiment. Both are economical and easy to find. Both have absorbent surfaces that make washes and over-watered acrylic techniques possible. Select acid-free papers or cardboard, which are more archival and will not have impurities that might stain through into

Tips to Working with Vintage Materials

Vintage materials add unique touches to mixed-media art, telling a story and providing texture, dimension, color, and patina. Whether it’s bumpy rust on an antique hinge, a hand-written ledger entry, or a threadbare piece of an old quilt, these items have a story that artists love to share.

A few expert tips and techniques can go a long way in working with these treasured bits. We’ve gathered several ideas from our artists just for you, along with helpful resources. Pull some vintage items from your stash and start creating!

1. Old photos offer plenty of possibilities for art journal pages, collage, and more, but sometimes it’s tough to give up the original. Kristen Robinson and Ruth Rae used a transfer technique and incorporated it into an assemblage titled “Cherish” for their book Explore Mixed Media Collage. Start with a photocopy of a vintage photo (a laser print will also work) and apply gel medium over the surface. Place the copy image-side down onto fabric; in this case, a vintage white baby dress. Once the gel medium is dry, wet the back of the paper and roll the paper off gently with your fingers. Allow to dry.

Tips to Choosing The Right Painting Medium

Here are lists of pros and cons for most common painting mediums. In addition to those listed here, paintings can be made with many other mediums such as gouache, oil pastel, ink, pencil, markers, spray paint and silkscreen among others. Experimenting with new painting mediums, even for a short period of time, can be fun and inspiring, and expand how you use your current medium once you return to it.

Painting with Oil

Pros: Oil paint is slow drying, allowing for more time to make changes and to blend colors. Oil refracts the color pigment in the paint for a beautiful, rich glowing color. Great for realism, blending and detail, oil can also be used for experimental and playful methods of abstraction

Cons: Working transparently (such as glazing) requires the use of oil mediums that often contain toxic solvents. Oil paint alone is not toxic, but some mediums used to extend oil paint are toxic. Reduce toxicity by using non-toxic mediums in the paint and baby oil to clean brushes.

Oil paint never fully cures even when dry to the touch, so correct care must be taken for handling and storage. The painting must not

What Is Mixed Media Art

All stirring and wise and fearless words to live by from artists featured in Seth Apter’s book, The Mixed Media Artist. The guide showcases 40 artists and the tips, tricks, dreams, and points of focus they use to inspire themselves and keep their creativity active and energized.

Just skimming it in preparation to discuss the resource with you, I got distracted because there was so much to ignite my creative side:

  1. Take out a pen and paper and ask yourself what three things you are inspired by. Write them down. Can you think of three? Can you think of 30? What first three come to mind and are they what you would call your “most inspiring” inspirations? The answers might surprise you.
  2. Desk clutter is not clutter at all. These are our touchstones–objects we see every time we sit down to work and that means they have power. Keep items that inspire you nearby as well as the essentials for your art-making. Anything from a camera or iPad to a collection of favorite pencils to a glass of wine or tea (depending on the time of day) can be what you need to have at hand to

Pikachu Garden And a Ruthless Critique of Consumerism

Remember way back in the summer of 2016? Barack Obama was president, and the world was obsessed with Pokemon Go. In many ways, it was a simpler time. As New York digs itself out from the blizzard of 2017,Castor Gallery invites visitors to escape the winter blues with Michael Pybus’s Pikachu Orchid Garden, a summery art installation full of cuddly stuffed versions of the undisputed star of the Pokémon franchise.

The bloom may be off the Pokémon Go these days—although I still occasionally spot museums advertising the presence of Pokéstops on site—but relaxing in a plushy, albeit commercialized Pikachu oasis sounds like it could be just the sort of soothing experience art lovers are in need of. And Pybus isn’t just jumping on the bandwagon: He’s worked with the character for over a decade.

The work, titled In 3D the basil never wilts, is part of Pybus’s exhibition inspired by global brands. Everything in the garden was purchased at IKEA, which has bragged about using CGI to create three quarters of its catalogue’s imagery. (The show’s title is derived from a quote from the company.)

As it becomes nearly impossible to tell the

Why Cyprus Is Europe’s Most Exciting

There is movement afoot in the art world, triggered by the rising scale of the art market coupled with the downturn in Western economies, from the cultural capitals to places on the margins where physical space is more affordable and mental space more expansive.

Dropping out is not the risk it used to be: While the conditions in major cities have become prohibitive to creative production and the stakes higher, art producers and dealers have become nomadic, even shedding gallery spaces, to chase increasingly interesting marginal markets around the globe.

In turn, art production is becoming less object-oriented and artists hop from residency to residency, making it easier to participate from the periphery.

Located at the southern terminus of the European Union, Cyprus is both isolated and yet highly contested for its strategic proximity to three continents as well as offshore oil and gas resources. The heart of the capital, Nicosia, is split down the middle by barbed wire—a formerly lively market street and the international airport left bereft in the UN buffer zone—the scar of a political stalemate between Turkey and Greece. The threat of conflict is escalating even now as hard-line Turkish president

From Art to Selfies

One of the first photographs I ever took was of Pete Townshend of the Who at what is now known as the band’s seminal concert at Leeds University in 1970.

I had been a drummer in a band that practised in my mate’s garage, fortunately a small venue as we were terrible. I thought that the next best thing to being in a band was to photograph my heroes – and none were bigger than the Who. I duly took the film into the local chemist and, a week later, I went to collect my works of art.

I opened the first sleeve and nothing, the next nothing, the next nothing and so on. I got to the end and, bingo, there he was, Townshend complete with Dr Martens boots in mid flight, framing Keith Moon perfectly.

This is what I wanted to do for the rest of my life – I was in heaven. The trouble was I didn’t know how this particular frame had come out. I had moved all the dials in different directions during the gig and one combination collided to work.

Nevertheless, this fledgling experiment with the genre was

The Art Copyists Giving The Renaissance

The curator at the National Gallery could not contain her wonder. Calling me over to the replica of the Borgherini Chapel that has been installed as part of the gallery’s Michelangelo and Sebastiano exhibition, she pointed out a surreal detail. Not only has this reproduction of a piece of Renaissance architecture got hyperrealistic reproductions of the frescoes, marble decor and a half-domed alcove – it even has a modern plug socket sunk into the plaster.

That immaculate eye for detail is typical of the work of Factum Arte, a Madrid-based studio whose combination of digital analysis with assiduous craft is transforming the way we see art. I have been watching their work develop for nearly a decade. I am now convinced it is the most important thing happening in 21st-century art – because it can quite literally save civilisation.

The new kind of high-fidelity 3D reproduction being pioneered by Factum Arte is going to abolish the difference between past and present and make distance no obstacle to seeing any masterpiece. We are entering an age when museums can – this is no hyperbole – have their own perfect replicas of the Sistine Chapel,Titian’s Assumption

The Visionary Architects Who Shaped Japan

In a forest clearing in West Sussex, a tall wooden chimney stands propped up on timber scaffolding, a fierce jet of fire roaring from its top. All of a sudden, the flaming flue crashes to the ground with a loud thud, splitting open in a cloud of smoke to reveal a scaly blackened surface of charred planks within. “No trained architect would use this material,” says the 70-year-old Terunobu Fujimori, as he scuttles away to douse some more newspaper in a bucket of petrol. “Which is exactly why I like to use it,” he adds with a broad grin.

The mischievous architectural historian turned builder has made a name for himself in Japan by crafting beguiling little buildings that refuse to follow any of the usual rules. His hand-made structures look like the nests or cocoons of curious creatures, woven, whittled and thatched with organic, earthy materials that could have been scavenged from the forest floor. He has built a tiny teahouse for himself in Nagano, vertiginously perched at the top of two tree trunks (“because one leg is dangerous and three legs are too stable and boring”), and another – named theFlying Mud Boat

An Artist Who Tore Down The Old to Build The New

For years, I would encounter Gustav Metzger in public talks and at galleries, often away from the beaten track. He was always there, always watching and listening. At first I found him a bit intimidating. More recently, I would see him, looking slightly frail and small and in a certain disarray, struggling with bags of documents and other papers, as he went to and from where he lived in London’s East End.

His activities included the accumulation of thousands of newspapers and other ephemera, and he could appear a little eccentric and vulnerable. But impressions can be deceptive. Everything Metzger did had purpose, even his inveterate walks in the city he had known since the second world war.

From the 90s onward, appearances in large exhibitions – where Metzger showed, on one occasion, the congealed liquid slides he had once used for light shows with Cream and the Who in the 60s – located him among younger artists who regarded him as a sort of errant father figure.

For Metzger, who arrived in England on the Kindertransport in 1939, it was David

Painter Howard Hodgkin dies aged 84

Sir Howard Hodgkin, one of Britain’s greatest contemporary artists, known for his explosively coloured paintings of what he once described as “emotional situations”, has died aged 84.

The artist, a central figure in contemporary art for more than 50 years, died peacefully in hospital in London, only a few weeks after returning to the UK from India.

He was known for paintings, always on wood rather than canvas, full of vividly coloured, emotion-packed splodges, swirls, loops and smears. It may not have been obvious to the viewer but the works always had a subject and they were not abstract – he said that he had never painted an abstract picture in his life, that he was a “a figurative painter of emotional situations”.

The director of the Tate galleries, Sir Nicholas Serota, who curated Hodgkin’s first museum exhibition in 1976, led the tributes, calling Hodgkin “one of the great artists and colourists of his generation”.

He added: “His sensuous, intense paintings were infused with his love and understanding of late 19th-century French painting, especially Degas, Vuillard and Bonnard, and by his feeling for the heat and colours of India, which he visited on many

The beauty of art can counter Islamophobia

What kind of Islamic art has the power to open American hearts and minds, at a time when Donald Trump has relaunched his attempt to ban entry from several Muslim-majority nations?

In May, a new Institute of Arab and Islamic Art, set up by Qatar’s Sheikh Mohammed Rashid Al-Thani, will open in downtown Manhattan. The timing is not accidental. Al-Thani is trying to humanise Islam and broaden perceptions of it in the US. He hopes the institute will “not only showcase the breadth of art and culture from the Arab and Islamic worlds, but also challenge certain stereotypes and misconceptions that hinder cross-cultural understanding”, he told the Art Newspaper.

Some hope, you may say. The depth of prejudice flaunted by Trump (and apparently shared by many of his voters) is so aggressive in its refusal to engage with a complex world that it seems unlikely to be healed by a bit of Islamic art in New York. Surely that’s the wrong location, anyway – the hearts and minds that need opening are hardly those of Manhattanites who voted Hillary.

Yet that’s too pessimistic. If there is one thing that can communicate across every