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1 day ago @Falk von Schönfels
Hear Ye Hear Ye!
Next group-exhibition at Galerie FOE 156 // Opening: 5th of April 2017 // 19:00 pm
Bring friends, fun & fidelity // Oberföhringer Straße 156, 81925 München
See you hopefully there!
1 week ago @Edwin,Barrington Lue-Shing
I shall be one of many artist and sculptures exhibiting at the APPART?S annual Art Exhibition& Sculpture Trail at Prior?s Field School , everyone is welcome. I was personally invited by the curators Evelyn Phillips & Gwyn Phillips to exhibit , here is a foreword from a AAP ART themselves:
PRIOR?S FIELD SCHOOL SHOWCASES ARTISTS OLD AND NEW
APPART?S annual Art Exhibition& Sculpture Trail at Prior?s Field School showcases new, emerging artists, along with many old favorites exhibiting their work. Foremost among these artists is Philip Jackson, a renowned Scottish sculptor with an outstanding international reputation.
The AppArt Exhibition & Sculpture trail is open every day from Saturday 1st April to Sunday April 16th. Admission is free.
Prior?s Field School, Priorsfield Rd, Godalming GU2 2RH
Please view the site for more info. and hope to see you there - Edwin http://www.appartonline.co.uk/
2 weeks ago @Edwin,Barrington Lue-Shing
Well thanks for looking
in, just to give you some background?.my most recent exhibition was with ?ARTROOMS
2017?, in the heart of London, in a Hotel called Meliá White House
Hotel, Albany ST Regent?s Park, NW1 3UP - Saturday, January 21, 2017 at 1:00 PM - to -
Monday, January 23, 2017 at 12:00 PM (GMT).
When asked by Artrooms to comment on my experience, this is what I had to say: A great exhibition and proud to say I was a part of. I don't know how Cristina (the Founder ) does it but you feel like a 1st class artist. EVERYBODY knows ure name and very, very friendly. People from all over the world come to YOU. The networking I did over the course of the exhibition was phenomenal. The offers to exhibit was overwhelming and took advantage of every offer..
This has to the best exhibition
I have been involved in , we exhibit in
the hotel room, on the walls and the invited general public and invited gallery
owners as well as high roller art buyers are brought around to the artists
rooms. The venue is dived up into the world?.Asia, Europe, Canada & USA and
the UK. It was hard work and the longest exhibition I have been involved in
over 4 days ,but very rewarding. And I would do it all again ?.for sure! I have
posted a few photos of the exhibition and some of my fellow artists works too. Edwin
1 month ago @Aziz Anzabi
This painting represents the real meaning of war. War doesn't have a winning side and both sides at war are losers because both sides inflict pain and sorrow to their citizens and death of people. The main reason for war is leaders within that country not normal people because they want to keep their power and are willing to do anything to keep their power and believe that everything they say is right. Some people are usually against or for these leader's beliefs and goals and the outcome of this is destruction, death and sale of weapons. Aziz has used a lot of grey which is a cold colour to show that war doesn't bring any happiness and hope but instead makes the people divide, each with their own goals and beliefs they view as right. The person at the top of the painting which covers a large amount of the canvas to me symbolises the spirits of those who have died during the war . This is somewhat threatening as the spirits will remain at the top where even if war is finished they will still hover over this city where blood was shed. It makes me as a viewer empathize with the people at war and I feel a strong connection between me and the painting. The painting creates a sense of being uneasy especially with the way the clouds in the sky are gathering towards the man at the top as if even the sky is weeping and tired of this ruthless war. To me it is ironic because on the left side of the painting where the king is the buildings are brown while on the other side the buildings are grey. This might suggest that the king brings destruction as he goes with his luxuries and horse not caring about the others that might suffer. Behind the king is a donkey carrying a bag full of skulls which might be the king?s consciousness. This imagery horrifies me as Aziz has managed to capture how disgusting and heart-breaking war is. The fact that a donkey is following him shows that the king is foolish and mindless, and that he is the cause of people's deaths. The fish's bones represents the innocent people that die in the war because fish are cruelly captured by humans and the shadows behind the fish is a family which is so meaningful because it shows that people of any age and gender are killed in war with no mercy. It also shows that even if people don't want to be involved in war they are always somehow involved without their will. Overall this painting is really meaningful and in my opinion it can inspire others to help people at war as this painting explores how war truly is.
Oil and Acrylic on Canvas
102cm x 102cm
1 month ago @Armando Alemdar
Forever and Always: New Works by Armando Alemdar Ara at Zari Gallery, London
1 month ago @Armando Alemdar
2 months ago @Tansu Talat
Welcome to my blog!
I'm a budding artist making alot of plans for things to do:
An illustrative book on a battle between Hatred & other family (this is gonna be a picture portrayal of what my imagination got up to during it's moments)
Lots of paintings i've done over the years with different themes, concepts and ideas.
Lots of crafts i'm getting up to!
and ... there will be more! :)
Take care and cherry bye!
2 months ago @David Powell
Susan Sontag - Regarding the Pain of Others 2003, The Pornographic Imagination 1967, On Photography 1977, Notes on Camp 1964
Georges Bataille - The Story of the Eye 1928, The Big Toe 1929, Tears of Eros 1961, Visions of Excess; Selected Writings 1927 - 1939,
Blue of Noon 1935, Eroticism 1957, My Mother 1966, Madame Edwarda 1956, The Dead Man 1967
Michel Surya - Georges Bataille, An Intellectual Biography 2002
Jean Baudrillard - Seduction 1979, Simulacra and Simulation 1981, Fatal Strategies 1983, Why Hasn't Everything Already Disappeared? 2009
Nick Land - Thirst for Anninhilation; Georges Bataille and virulent nihilism (an essay in atheistic religion) 1992, Fanged Noumena 2011
Marquis de Sade - The Complete Marquis de Sade: Justine 1791, Juliette 1799, 120 Days of Sodom 1789,
Philosophy in the Bedroom 1795 (republished 2005)
Nicolas Bourriaud - Relational Aesthetics 1998, Post - Production 2001, The Exform 2016
Julia Kristeva - Powers of Horror (An Essay in Abjection), 1982
Sigmund Freud - The Complete Psychological Works 1886 - 1939
Gilbert & George - The Words of Gilbert & George: With portraits of the artists from (1968 - 1997), 1997
Samuel Beckett - Collected Shorter Plays (1957 - 1984)
John Fletcher & John Spurling - Beckett the Playwright, 1972
James Knowlson - Damned to Fame, The Life of Samuel Beckett, 1996
Anthony Burgess - A Clockwork Orange, 1962
Andy Warhol - The Philosophy of Andy Warhol (From A to B and Back Again), 1975
Michel Foucault - Manet and the Object of Painting; With an introduction by Nicolas Bourriaud 2009
Kenneth Willaims - Acid Drops; The classic collection of put downs, 1980, The Kenneth Williams Diaries - Russell Davies, 1994
John Lydon - Anger is an Energy; My Life Uncensored, 2014
David Sylvester - Interviews with Francis Bacon, 1962 - 1979
Hitchcock/Truffaut - The Definitive Study of Alfred Hitchcock, 1983
Penguin Reference - Dictionary of critical theory, 2000
Pierre Cabanne - Dialogues with Marcel Duchamp, 1979
Liam Gillick - Proxemics: Selected Writings (1988 - 2004), 2005
2 months ago @Barbara Rowell
Continuing with my ongoing work interrogating themes of identity, time and place as observed through markings on walls, I have added a new layer to this painting inspired by 'Impasse 453', a street in the Gemmayzeh district of Beirut.
In 2015, I started with a very free sketch in charcoal and dry acrylic on a new piece of stretched canvas measuring 75 x 115 cm:
In 2016 I worked over this in acrylic with a graphic representation of a section of the wall
In 2017 abstracted forms have been layered over the work in thick and thin washes of oil paint
The history of the underpainting is preserved